1988 YOSEMITE SAM 2" FIGURINE guns pirate pistols Looney Tunes vinyl figure RARE

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Seller: sidewaysstairsco ✉️ (1,180) 100%, Location: Santa Ana, California, US, Ships to: US, Item: 196291266656 1988 YOSEMITE SAM 2" FIGURINE guns pirate pistols Looney Tunes vinyl figure RARE. Check out our store for more great vintage, used, and new items! FOR SALE: A retired, vintage Looney Tunes / Merry Melodies collectible figurine 1988 YOSEMITE SAM WITH PISTOLS PVC FIGURE BY APPLAUSE DETAILS:

I'm the hootin'est, tootine'st, shootine'st, bob-tail wildcat, in the west!"

It's Yosemite Sam, the trigger-happy and always annoyed Warner Bros. character from the hilarious cartoon series Looney Tunes and Merry Melodies. This vintage 1988 PVC Yosemite Sam figurine depicts the fiery gunslinger in a confrontational state (as expected) with his hands clenched on his blunderbuss-style pistols. Sam sports one of his classic "get-ups" here with his huge, blue colored cowboy hat, traditional blue jeans, black boots, brown colored long sleeve top and belt, and his massive red moustache of course. This Yosemite Sam figurine was part of the Looney Tunes line of mini figures released in 1988 by the wonderful toy and collectible brand, Applause.

A must-have retired Yosemite Sam product!

Acknowledging the onerous problem of on-going gun violence, WarnerMedia officially announced in 2020 that they will be retiring Yosemite Sam's guns and Elmer Fudd's rifle from use - affecting their iconic looks and making this "with guns" figurine more relevant than ever. This vintage Looney Tunes character collectible is a must-have for the Yosemite Sam fanatic and collectors of all things Looney Tunes / Merry Melodies and Warner Bros. The 1988 Applause Yosemite Sam PVC figurine with guns is 35+ years old and this one has great looking, vivid colors - something that has become harder and harder find.

 

Dimensions:

Approximately 2-3/16" (H) x 2-11/16" (W) x 1-3/16" (D) CONDITION: In very good, pre-owned condition. The figure has acquired very little wear. The colors are vibrant and full. An excellent addition to any Yosemite Sam collection. Please see photos. To ensure safe delivery all items are carefully packaged before shipping out. THANK YOU FOR LOOKING. QUESTIONS? JUST ASK. *ALL PHOTOS AND TEXT ARE INTELLECTUAL PROPERTY OF SIDEWAYS STAIRS CO. ALL RIGHTS RESERVED.* ""Yosemite Sam is a cartoon character in the Looney Tunes and Merrie Melodies series of short films produced by Warner Bros. His name is taken from Yosemite National Park. He is an adversary of Bugs Bunny.[1] He is commonly depicted as an extremely aggressive, gunslinging outlaw, pirate or cowboy with a hair-trigger temper and an intense hatred of rabbits, Bugs in particular. In cartoons with non-Western themes, he uses various aliases, including "Chilkoot Sam" (named for the Chilkoot Trail; Sam pronounces it "Chilli-koot") and "Square-deal Sam" in 14 Carrot Rabbit, "Riff Raff Sam" in Sahara Hare, "Sam Schultz" in Big House Bunny, "Seagoin' Sam" in Buccaneer Bunny, "Shanghai Sam" in Mutiny on the Bunny, "Von Schamm the Hessian" in Bunker Hill Bunny, "Baron Sam von Schpamm" in Dumb Patrol, and many others. During the golden age of American animation, Yosemite Sam appeared in 33 shorts made between 1945 and 1964.... History Further information: List of Yosemite Sam cartoons Animator Friz Freleng introduced the character in the 1945 cartoon Hare Trigger. With his grumpy demeanor, fiery temper, strident voice, and short stature (in two early gags in Hare Trigger, a train he is attempting to rob passes right over top of him and he has to use a set of portable stairs to get on his horse; in Bugs Bunny Rides Again, he rides a miniature horse), along with his fiery red hair, Sam was in some ways a caricature of Freleng. While he often denied any intentional resemblance, in the Looney Tunes Golden Collection, surviving members of his production crew assert, and the late director's daughter acknowledges, that Sam definitely was inspired by Freleng. Other influences were the Red Skelton character Sheriff Deadeye and the Tex Avery cartoon Dangerous Dan McFoo. When he does a "slow burn" and cries "Oooooh!" he borrows a bit from such comedic character actors as Jimmy Finlayson (a frequent foil to Laurel and Hardy) and Frank Nelson (one of Mel Blanc's costars on The Jack Benny Program). Freleng also cited the Terrible-Tempered Mr. Bang, a character in the Toonerville Trolley comic strip, as an influence. In his memoir Chuck Amuck: The Life and Times of an Animated Cartoonist, Chuck Jones says that a great-uncle who occasionally visited his family was a retired Texas Ranger who was short, had red hair, a large mustache, and a hair-trigger temper (but no beard, unlike Sam). Michael Maltese originally considered calling the character Texas Tiny, Wyoming Willie, or Denver Dan, but then settled on the final name. Yosemite Sam as mascot of the 20th Intelligence Squadron Other characters with Sam-like features appear in several Looney Tunes shorts. The Bugs Bunny entry Super-Rabbit (1943) features the cowboy character "Cottontail Smith", whose voice is similar to Sam's. Stage Door Cartoon (1944), however, features a southern sheriff character that looks and sounds similar to Sam, except for a more defined Southern stereotype to his voice. In a Daffy Duck cartoon called Along Came Daffy (1947), Daffy has to contend with two Yosemite Sams, one with Sam's red hair and one with black hair. Finally, Pancho's Hideaway (1964) features a Mexican villain who is designed much like Sam but has a different accent. In addition, in the 1949 Chuck Jones-directed cartoon Mississippi Hare, Bugs Bunny battles with an old, pistol-toting gambler called Colonel Shuffle, one whose role could have easily been portrayed by Sam. (The Colonel reappears in "Dog Gone South", this time pitted against Charlie Dog, and accompanied by a bulldog named Belvedere, who resembles Hector the Bulldog).[3] Freleng created Yosemite Sam to be a more worthy adversary for Bugs Bunny. Until then, Bugs' major foe had been Elmer Fudd, a man so mild-mannered and good-natured that Freleng thought Bugs actually came off as a bully by duping him. Sam, on the other hand, was extremely violent and belligerent, not at all a pushover like Fudd. Freleng compacted into a tiny body and 11-gallon hat the largest voice and the largest ego "north, south, east, aaaaand west of the Pecos".[4] For over 19 years, except for one cartoon (Hare-Abian Nights in 1959) Freleng's unit had exclusive usage of Sam at the Warner studio. Though officially a cowboy, Freleng put Sam in a different costume in almost every film: a knight, a Roman legionary, a pirate, a royal cook, a prison guard, a duke (Duke of Yosemite, no less), a Hessian mercenary, a Confederate soldier, a mountain climber (climbing the 'Shmadderhorn' mountain in Switzerland), a hen-pecked house husband and even a space alien. The humor of the cartoons inevitably springs from the odd miscasting of the hot-tempered cowboy. However, some countries seem to prefer his pirate incarnation, as "Sam the Pirate" is his official name in France[5] and a frequent alternative name in Italy. While Sam's basic character is that of a cowboy, he wears a black Domino mask (or just a wide black outline on the outer sides of his eyes) to show that he is an outlaw. This is so associated with his persona that he wears the mask even when dressed as a duke, a riff, a pirate, or a Viking. Sam is significantly tougher and more aggressive than Elmer Fudd when challenging Bugs Bunny. He is also quicker to learn from his mistakes and never falls for the same ploy twice. But despite Sam's bluster, he does not prove much brighter than Elmer in his encounters with Bugs. His noise contrasts to the calmly cocky rabbit. Sam's own cockiness always gets the best of him; Bugs can see he is incapable of turning down a challenge. Every time Bugs dares Sam to "step across that line", he cannot help but do so, even if he steps off into empty space or down a mine shaft. In Wild and Woolly Hare, Sam and Bugs play "Chicken" in two locomotives going toward one another—Sam does not crash into Bugs but still ends up losing. In Knighty Knight Bugs, Sam is a Black Knight with a fire-breathing dragon. It is his own arrogance that ultimately leads to his being shot off to the moon: in his penultimate short, Devil's Feud Cake, he again takes Bugs hostage, this time on an airplane, then, when Bugs offers to draw straws for the only parachute, takes what he thinks is the parachute, only to find out too late that it isn't. Sam plummets uncontrollably to his death and, after Satan gives him two chances to retrieve Bugs in his stead and Sam fails both times, settles permanently in Hell. Yosemite Sam was depicted without six-gun pistols in Looney Tunes Cartoons on the streaming service, HBO Max. The series' executive producer and showrunner, Peter Browngardt, said the character could still continue to use cartoon violence, such as dynamite and Acme-related paraphernalia.[6] However, this change appears to have been reversed, as he is once again depicted using his pistols in Space Jam: A New Legacy (2021).[7] Personality Yosemite Sam is one of Bugs' toughest antagonists, proudly calling himself the meanest, toughest hombre in the West. Yosemite Sam is a character more aggressive than Bugs' other regular antagonist Elmer Fudd given that Sam has a tougher accent, a higher, fiercer voice, and a more violent spirit, although he is often portrayed as a bumbling fool in most of his appearances. Yosemite Sam has had several occupations in his life that Bugs has gotten in the way of. Among his occupations are:     Confederate Army Soldier: In Southern Fried Rabbit, Sam is a Confederate soldier who attempts to prevent Bugs from crossing the Mason–Dixon line. The skit does not take place in the American Civil War. In fact, Bugs tells Sam the war ended over 90 years ago. Sam insists, "I'm no clock-watcher!" and refuses to leave his post unless he receives orders from Robert E. Lee. The gag was likely inspired by the actual discovery of Japanese soldiers still manning their posts, long after World War II had ended.     Prison Guard: In Big House Bunny, Yosemite Sam arrests and imprisons Bugs for a false accusation (escaping prison) and gives him 99 years in jail. However, he gets infuriated and lets Bugs out of prison after Bugs annoys him including briefly getting Sam beaten up and locked up in jail himself. However, when letting Bugs out, he is jailed by the Warden (who gets infuriated with the antics that causes Bugs to get Yosemite Sam in trouble with him) for Bugs' doings and for letting a prisoner (Bugs) escape. Yosemite Sam then vows to get even with the stool pigeon who squealed on him. It then cuts to Bugs on a stool making the sounds of a pigeon.     Pirate: In Buccaneer Bunny, Yosemite Sam is known as "Sea-Goin' Sam", who is trying to bury his treasure, only for Bugs Bunny to foil his attempt. In Captain Hareblower, Yosemite Sam is a pirate captain who is able to intimidate and scare sailors and other pirates. Captain Sam encounters a trading ship led by Bugs Bunny and decides to take it for himself. With all of Bugs' fellow sailors too cowardly to face Sam or have drowned in the ocean, Bugs challenges Sam to a fight. Captain Sam and Bugs Bunny battle each other's ships with Bugs on the verge of winning. The battle ends up with Sam being forced to abandon ship to escape an inevitable explosion on his own pirate ship. Captain Yosemite Sam then unknowingly triumphs over Bugs by lighting Bugs' "powder room" (filled with make-up, not gunpowder) into exploding and escaping by himself, but not before giving a warning for Bugs to get the match (an order Bugs Bunny does not follow, believing that "Talcum powder doesn't explode."). And in From Hare to Eternity, Sam, a.k.a. "Buccaneer Sam", tries to find treasure, only to find Bugs Bunny protecting it.     Riff-Raffer/Cowboy: In Sahara Hare, Yosemite Sam is a proud intimidating North African version of a cowboy: a Riff-Raffer who owns the Sahara Desert. When Bugs ends up in the desert when trying to find Miami Beach, he sees the rabbit trespassing and chases him into a deserted castle. Yosemite Sam sees Bugs using the castle for protection and tries several unsuccessful attempts at breaking into the castle, eventually ending with Bugs escaping after causing a booby trap that Sam falls for: an armed bomb-coated door that will explode if Sam opens the door to the castle.     Guard Captain: In Roman Legion-Hare, Yosemite Sam is the captain of the Roman Imperial Guard, and he is ordered by Grand Emperor Nero to find a victim for the lions at once, or else he will be their prey. He then heads out to look for a victim with a small band of Imperial Guards when Bugs shows up. When asked if it was a convention of the legion, Sam replies he's looking for victims to feed the lions and is shocked to learn that no other victims – save Bugs – are present. He then chases the crafty cottontail into the Colosseum, where the lions await. Try as he might to keep the big cats quiet, they always tear his golden armor to shreds or ruffle the fuzz on his helmet. And when he does present Bugs to Nero, the lions surge directly toward them, leaving Bugs unscathed.     Viking: In Prince Violent, Sam is a Viking grunt who attempts to raid the archduchy castle, which happens to be under Bugs Bunny's protection. Bugs teasingly tells him that it's too early for Halloween and then kicks Sam out of the castle. He even hires an Asian elephant to first ram what Sam thinks to be a door, but it is really a painting imitating a door, so the elephant is reduced to the shape of an accordion - before smashing his master into the same shape. Next, the elephant tries to demolish the castle walls with large boulders, but Bugs still remains persistent in defending the castle by sprinkling pepper over the elephant's trunk, which causes the pachyderm to sneeze and launch a bolder into Sam. Next, Bugs signals for the bridge to lower, at which point, the elephant charges onto it with Sam riding, but the elephant's weight proves to be too much for the bridge. Next, he suggests attacking the castle from the rear, but Bugs (defensive as always) cleverly places a champagne cork in the elephant's trunk, causing him to swim back to land in his struggle to breathe, leaving Sam in the water. This drives Sam to permanently evict the elephant, chasing him away: "AND DON'T COME BACK!!!!! I'll handle that Prince Varmint myself!" His attempts to raid the castle are cut short when the same elephant joins Bugs in kicking him out of the kingdom for good.     Indian Chief: In Horse Hare, Yosemite Sam is the chief of an Indian tribe during the Indian-American wars in 1886. One day, Yosemite Sam sees a USA fort and decides to steal it for his tribe. He sees that Sergeant Bugs Bunny is guarding the fort and challenges him to war. Chief Sam has his men attack through various means such as launching himself into the fort, firing guns, etcetera, but Sam is put on probation when he is accused of firing at one of his soldiers (it was actually Bugs). Eventually, the USA cavalry returns, and it helps Bugs defeat Sam and his army of Indians.     Hessian soldier in the American Revolutionary War: In Bunker Hill Bunny, Yosemite Sam is Sam von Schamm, a German soldier defending a fort who attacks Bugs Bunny's fort. After being defeated, he concedes "I'm a Hessian without no aggression."     Enemy Pilot: In Dumb Patrol, Yosemite Sam is Baron Sam Von Schpamm, a World War I German Air Force pilot who tries to shoot down Bugs Bunny, but who fails and ends up as a Hell's Angel.     Duke: In From Hare to Heir, Yosemite Sam is the Duke of Yosemite. Bugs arrives at Sam's door with the promise to give him a million pounds if Sam keeps his temper. Bugs makes requests, annoys Sam at night, and stays in the bathroom in the morning, prompting Sam to lose his temper and shout unintelligible gibberish, cutting pounds off the offer in the process. When Sam comes up to Bugs saying that he does not get mad anymore, and has his assistants kick him in the rear end, throw a pie in his face and hit him on the head with a rolling pin to prove this, Bugs says "I haven't got the heart to tell him he's used up all the money."     Legendary Mountain Climber: A legendary mountain climber in Piker's Peak, Sam hears of a contest where whoever hikes up and reaches the deadly highest mountain in the world, will receive money equaled to trillions of dollars in today's money; 50,000 Cronkites (named after television host Walter Cronkite). ("Cronkite" is also a jest on "Klondike", the location of a great Gold Rush.) Yosemite Sam takes up the contest, and he decides to climb up the mountain which is based on Pike's Peak. However, when he reaches the basecamp at thousands of feet, he encounters Bugs Bunny, who hears about the contest, too. With both of them wanting the prize, Yosemite Sam then must race and defeat Bugs along the way up to Piker's Peak to get the money.     Cowboy: In Wild and Woolly Hare, Yosemite Sam is a legendary cowboy gangster who dominates much of the wild west through intimidation. One day, he comes to take over a cafe in an Old Western town and is insulted by Bugs Bunny. Angered by the insult, Yosemite Sam challenges Bugs Bunny to a fight to the death. With Bugs on the verge of winning through trickery and deception, Yosemite Sam decides to try one last time to intimidate the town; to rob a train. But Bugs Bunny hijacks the train to save it. Yosemite Sam tries to follow it by horse and orders Bugs to get off by the time he counts to a specific number. However, just before he reaches his final number, he always runs into some form of large obstacle, like a telephone pole or a tunnel wall and then falls off a bridge. A frustrated Yosemite Sam tries to get on another train and force Bugs to surrender by preparing to ram head-on into Bugs' train. However, Bugs foils him by switching the railroad tracks causing Sam's train engine to crash hundreds of feet into a gorge's river.     Alien: In Lighter Than Hare, Yosemite Sam of Outer Space is an alien from a foreign planet. Inside a flying saucer spaceship, Yosemite Sam reveals his mission to find an earth creature to take back to his planet for uses such as slaves, producing on their planet Etcetera. Yosemite Sam detects Bugs Bunny and has his army of robots to attack Bugs' hideout. After a long struggle, Yosemite Sam's robots are blown to pieces. Finally, an exasperated Yosemite Sam uses an incinerating laser cannon to threaten Bugs into surrendering and boarding his space ship. Yosemite Sam then flies out of earth to his planet, unaware that he has actually captured a decoy of Bugs filled with bombs. When Yosemite Sam presents the dummy to his leader, the bombs explode.     Sailor: In Rabbitson Crusoe, Yosemite Sam is a sailor whose boat is irreparably damaged, and lives as a castaway. ("A low tide and a high rock caused my predicament.") Yosemite Sam jumps across rocks to a deserted island and spends many years there being targeted as a meal by a shark named Dopey Dick. After some time, Yosemite Sam grows tired of eating coconuts and finds Bugs Bunny. He decides to cook up Bugs for dinner. After a long battle, eventually, the island is reclaimed by the seas and Yosemite Sam ends up being chased by Dopey Dick. Yosemite Sam is then forced to make a deal with Bugs where Bugs will not let Dopey Dick eat Sam and take Yosemite in his boat (the cooking pot) back to civilization ... but only if Yosemite Sam is the one that does all the work in paddling 2,736 miles to San Francisco, California, USA.     Chef: In Shishkabugs, Yosemite Sam has one of his rare performances where his goal is not for evil purposes and where he is not the aggressor. In this episode, Sam is a very kind, generous chef for a very rude, spoiled king who has Sam enslaved through blackmail. One day, Sam makes the king a usual buffet only for the King to rudely kick it away and demand something new. "Every day, it's the same thing: variety!" he complains. "I want something different!" That something new is Hasenpfeffer whose base is cooked rabbit. Sam captures Bugs and puts Bugs in the meal, but Bugs outsmarts Sam twice and the King blames it all on Sam. Eventually, the King loses his patience and has guards arrest Sam and installs Bugs as his new chef. The King claims to have set up Sam's death. But since Sam is seen alive in more episodes, it is presumed that either he was found not guilty by the kingdom court, the citizens demanded Sam's release, or Sam escaped.     Knight: In Knighty Knight Bugs, Sam is the Black Knight and has stolen the Singing Sword. King Arthur hires court jester Bugs Bunny to retrieve the sword. After retrieving it, Bugs escapes Sam and manages to lock Sam out of his castle. Sam attempts to break back in, but each attempt backfires. Eventually, Bugs leads Sam and his fire-breathing dragon into the dynamite storage facility. The dragon sneezes, blowing the two of them to the moon.     Trolley Conductor: In Tweety's High-Flying Adventure, Sam drives a trolley in San Francisco. The trolley is hijacked by Sylvester, who is hoping to use it to chase Tweety. Instead, he breaks the throttle which is used as a brake, rendering the trolley out of control. It speeds all over San Francisco, ending up on Alcatraz. During this, Sam attests to Sylvester's idiocy, eventually chasing Sylvester all over Alcatraz with his hat. He also chases Sylvester on a train to Las Vegas, only to be locked on another train heading out of the city. Later years Yosemite Sam made appearances in several television specials in the 1970s and 1980s, and in three of the Looney Tunes feature-film compilations. Sam was the star of his own comic book series from 1970 to 1984, for a total of 81 issues. Published by Gold Key / Whitman Comics, the official title of the series was Yosemite Sam and Bugs Bunny.[8][9] Yosemite Sam was the main basis for the character of The Grump from DePatie-Freleng Enterprises's TV series Here Comes the Grump. The Grump's dragon was similar to Sam's in Knighty Knight Bugs, right down to the fiery nasal explosions upon its master. He also makes a cameo appearance in Disney/Amblin's Who Framed Roger Rabbit, where he is blasted out of Toontown. In this film, he is the only Looney Tunes character to not be voiced by Mel Blanc.[10] Yosemite Sam was one of the classic Looney Tunes characters who appeared as faculty members of Acme Looniversity in the 1990s animated series Tiny Toon Adventures. Sam was shown teaching classes in Firearms and Anvilology (the study of falling anvils, a staple joke in the Looney Tunes genre), and was sometimes portrayed as the school principal (though at least one episode identified Bugs Bunny as the principal, and Wile E. Coyote was Dean of Acme Loo). As with all the main Looney Tunes characters, Sam had a student counterpart at Acme Loo in Montana Max. In "K-Acme TV", Yosemite Sam was seen as the judge of "Toon Court" (a parody of The People's Court) where he proceeded over a trial where Calamity Coyote issues a complaint against the ACME Corporation for negligence and faulty workmanship. The ACME Corporation's representative Bobbo ACME claims that the devices made by the ACME Corporation work if they are used right as he demonstrates the catapult on Calamity Coyote. Judge Yosemite Sam finds in favor of the ACME Corporation. In the same episode, Yosemite Sam appeared as a prospector in a documentary detailing about the sightings of a furry creature called Bigbutt (a spoof of Bigfoot). Yosemite Sam also appeared along with Bugs Bunny in a number of Mirinda commercials in early 90s, most probably due to direct competition to Fanta, being advertised with Disney characters at that time. He also appears in the movie Space Jam as a player for the Tune Squad. In a memorable scene, he and Elmer Fudd shoot off the teeth of one of the Monstars while clad in Pulp Fiction-esque attire, complete with Dick Dale's "Misirlou" playing. In an earlier scene, when the Nerdlucks hold all the toons hostage, he confronts the Nerdlucks, pointing his pistols at them, and orders them to release all the toons ... only to have the lead Nerdluck fire a laser pistol back at him, which leaves Sam smoldering naked and beardless as the phasers burned off his mustache. Sam also appeared in The Warners 65th Anniversary Special and two episodes of 1995's The Sylvester and Tweety Mysteries. In the 2003 movie Looney Tunes: Back in Action, Yosemite Sam is a bounty hunter employed by the Acme Corporation who was hired to finish off DJ Drake and Daffy Duck. In this film, he owns a casino in Las Vegas, which he calls Yosemite Sam's Wooden Nickel, and is accompanied by Nasty Canasta and Cottontail Smith from Super-Rabbit (who may be originally employed as his security guards). He goes as far as betting a large sack of money to get the card, stealing Jeff Gordon's car, and even using a stick of Dynamite to beat DJ and Daffy. Sam also plays the role of minor villain K'Chutha Sa'am (a parody of the Klingon) in the Duck Dodgers animated TV series. He also appears in the video games Loons: The Fight for Fame, Taz: Wanted, Bugs Bunny Crazy Castle, The Bugs Bunny Crazy Castle 2, Bugs Bunny Crazy Castle 3, The Bugs Bunny Birthday Blowout, Bugs Bunny: Rabbit Rampage, Bugs Bunny in Double Trouble, Bugs Bunny: Lost in Time, Bugs Bunny and Taz: Time Busters, Sheep, Dog, 'n' Wolf, Looney Tunes B-Ball, Daffy Duck in Hollywood and the Looney Tunes: Back in Action video game. In Looney Tunes: Acme Arsenal, Yosemite Sam makes an appearance riding a railway cart on the Wild West level. Yosemite Sam appears in multiple episodes of The Looney Tunes Show, voiced by Maurice LaMarche. Sam is depicted as being well meaning, but suffering anger problems. He first appeared in the show in three Merrie Melodies segments called "Blow My Stack", "Moostache" and "Stick to My Guns". Yosemite Sam is one of Bugs and Daffy's neighbors. In the episode "Daffy Duck, Esq.", it is revealed that his full name is Samuel Rosenbaum. In "Ridiculous Journey", it is revealed that Yosemite Sam has a cousin in Blacque Jacque Shellacque who Yosemite Sam enlisted to recover Sylvester, Tweety, and Tasmanian Devil after they were accidentally shipped to Alaska. It was through Yosemite Sam that Bugs Bunny and Granny enlisted Blacque Jacque Shellacque's help. In "You've Got Hate Mail" after accidentally being sent an angry email by Daffy, Sam decides to change his ways and proceeds to shave, sell his cowboy clothes, and become a normal suburbanite. However, after a particularly annoying book club meeting, he reverts to his old ways. Yosemite Sam appears in the 2015 DTV movie Looney Tunes: Rabbits Run voiced by Maurice LaMarche. He appears in New Looney Tunes (originally Wabbit) voiced by Maurice LaMarche in season one and by Fred Tatasciore in season two. His appearance has him depicted to having a larger moustache and a fat body. Yosemite Sam is often shown trying to commit crimes or obtain items where Bugs Bunny always thwarts him. He is also shown to own a lot of cats at his house. Yosemite Sam appears in Looney Tunes Cartoons. Voice actors Mel Blanc The role of Yosemite Sam was originated by Warners Bros' principal voiceman, Mel Blanc. In his autobiography, Blanc said he had a difficult time coming up with the voice when he played a similar character called Tex on Judy Canova's radio show. He tried giving Sam a small voice but did not feel that it worked. One day, he decided to simply yell at the top of his voice, which was inspired by a fit of road rage he had that day. It fit perfectly with the blustery character but was also a strain on Blanc's throat, thus he always did Yosemite Sam's lines at the end of a recording session so he could rest himself overnight. As he got into his 70s, the voice became too rough on his throat; the role of Sam was taken over by future Looney Tunes voice actor Joe Alaskey in Who Framed Roger Rabbit while Blanc played all his other Looney Tunes roles in the film. This makes Sam one of the few voices created by Blanc to be voiced by someone else during his lifetime. Blanc used the same voice to depict Bob and Doug McKenzie's father (portrayed by Dave Thomas, but dubbed with Blanc's voice) in the film Strange Brew (1983). Blanc voiced the character for the last time in his lifetime in the 1989 TV special Bugs Bunny's Wild World of Sports. Archive recordings of Blanc as Yosemite Sam (along with Sylvester and The Tasmanian Devil) were used in the 1990 pinball game, Bugs Bunny's Birthday Ball (a year after Blanc's death). Archived recordings of Blanc for Yosemite Sam were also used in the 1999 PlayStation video game, Bugs Bunny: Lost in Time (a decade after Blanc's death). Blanc used a voice similar to Yosemite Sam's for Mr. Spacely on The Jetsons. Others Gilbert Mack (Golden Records records, Bugs Bunny Songfest)[11][12] Richard Andrews (Bugs Bunny Exercise and Adventure Album)[13] Joe Alaskey (Who Framed Roger Rabbit, Tiny Toon Adventures, Bugs & Friends Sing the Beatles,[14] Bugs & Friends Sing Elvis,[15] Looney Tunes webtoons, TomTom Looney Tunes GPS,[16] Looney Tunes ClickN READ Phonics[17])[18] Jeff Bergman (1989 Macy's Thanksgiving Day Parade,[19] Tiny Toon Adventures, (Blooper) Bunny, Invasion of the Bunny Snatchers, Cartoon Network bumpers,[20][21] Looney Tunes Dash, Space Jam: A New Legacy[22])[18] Charlie Adler (Tiny Toon Adventures)[18] Keith Scott (Looney Tunes Musical Revue,[23][24] Spectacular Light and Sound Show Illuminanza,[25][26] Tazos Looney Tunes commercial,[27] KFC commercial,[28] The Looney Tunes Radio Show,[29][30] Looney Rock)[18][31][32][33] Greg Burson (Looney Tunes River Ride, Animaniacs, Warner Bros. Kids Club)[18][34] J. J. Sedelmaier (Cartoon Network presentation pitch)[35][36] Maurice LaMarche (Yosemite Sam and the Gold River Adventure, Tiny Toon Adventures, Taz-Mania, Carrotblanca, The Sylvester and Tweety Mysteries, Bugs Bunny's Learning Adventures,[37][38] Warner Bros. Sing-Along: Quest for Camelot, Warner Bros. Sing-Along: Looney Tunes,[39][40] Duck Dodgers, Bah, Humduck! A Looney Tunes Christmas, The Looney Tunes Show, Looney Tunes: Rabbits Run, Wabbit (Season 1), various video games, webtoons, and commercials)[18][41] Jim Cummings (The Sylvester and Tweety Mysteries, Animaniacs, Tweety's High-Flying Adventure, Scooby Doo and Looney Tunes Cartoon Universe: Adventure)[18] Bill Farmer (Space Jam)[18] Frank Gorshin (From Hare to Eternity)[18] Will Ryan (You Don't Know Doc! ACME Wise-Guy Edition, You Don't Know Doc! Coast-to-Coast Edition)[42][43] Jeff Bennett (Looney Tunes: Back in Action, Hare and Loathing in Las Vegas, Boomerang bumper[44][45])[18] Seth MacFarlane (Family Guy)[46] Gary Martin (Looney Tunes Take-Over Weekend promotion)[45] Seth Green (Robot Chicken)[47] Fred Tatasciore (New Looney Tunes (Season 2-3), Converse commercials,[48] Looney Tunes Cartoons)[18][41] Eric Bauza (Looney Tunes: World of Mayhem)" (wikipedia.org) "Looney Tunes is an American animated comedy short film series produced by Warner Bros. from 1930 to 1969, along with an accompanying series, Merrie Melodies, during the golden age of American animation.[2][3] The two series introduced Bugs Bunny, Daffy Duck, Porky Pig, Elmer Fudd, Wile E. Coyote, the Road Runner, Tweety, Sylvester, Granny, Yosemite Sam, the Tasmanian Devil, Marvin the Martian, Pepé Le Pew, Foghorn Leghorn, Speedy Gonzales and many other cartoon characters. Looney Tunes (and Merrie Melodies) were initially produced by Leon Schlesinger and animators Hugh Harman and Rudolph Ising from 1930 to 1933.[4] Schlesinger assumed full production from 1933 until selling his studio to Warner Bros. in 1944.[4] The Looney Tunes name was inspired by Walt Disney's musical cartoon series, Silly Symphonies.[4] The shorts initially showcased musical compositions whose rights were held by Warner's music publishing interests through the adventures of cartoon characters such as Bosko and, after losing him, Buddy.[4] However, the animation studio gained a higher profile after it brought in directors Tex Avery and Chuck Jones and voice actor Mel Blanc in the mid-1930s.[4] Porky Pig and Daffy Duck became the main stars of Looney Tunes at this time, while Merrie Melodies featured one-shot cartoons and minor recurring characters.[4] After Bugs Bunny became the breakout recurring star, Looney Tunes moved from black and white to color production in the early 1940s, Merrie Melodies having already been in color since 1934.[4] The two series gradually lost their distinctions, and shorts were assigned to each series randomly.[4] From 1942 to 1964, Looney Tunes and Merrie Melodies were the most popular animated shorts in movie theaters.[5] Looney Tunes has since become a worldwide media franchise, spawning several television series, feature films, comic books, music albums, video games, and amusement park rides, as well as serving as Warner Bros.' flagship franchise. Many of the characters have made and continue to make cameo appearances in numerous other television shows, films, and advertisements. The most famous Looney Tunes character, Bugs Bunny, is regarded as a cultural icon and has a star on the Hollywood Walk of Fame.[6] Many Looney Tunes/Merrie Melodies films are ranked among the greatest animated cartoons of all time (e.g. the "hunting trilogy" (Rabbit Fire, Rabbit Seasoning and Duck! Rabbit, Duck!), Duck Amuck, One Froggy Evening, and What's Opera, Doc?), and five (Tweetie Pie, Speedy Gonzales, Birds Anonymous, Knighty Knight Bugs, and For Scent-imental Reasons) have won Academy Awards.[7] Looney Tunes can currently be seen on Boomerang, HBO Max, and MeTV.... History In the beginning, Looney Tunes and Merrie Melodies were built around songs from Warner's vast music library, starting with Sinkin' in the Bathtub, a pun on the song Singin' in the Bathtub in 1930. [8] Between 1934 and 1943, Merrie Melodies were produced in color and Looney Tunes in black and white.[4] After 1943 both series were produced in color and became virtually indistinguishable, varying only in their opening theme music and titles.[4] Both series made use of the various Warner Bros. cartoon characters. By 1937, the theme music for Looney Tunes was "The Merry-Go-Round Broke Down" by Cliff Friend and Dave Franklin, and the theme music for Merrie Melodies was an adaptation of "Merrily We Roll Along" by Charles Tobias, Murray Mencher and Eddie Cantor. 1930–1933: Harman and Ising era In 1929, to compete against Walt Disney's Mickey Mouse short cartoons, Warner Bros. became interested in developing a series of animated shorts to promote their music. They had recently acquired Brunswick Records along with four music publishers for US$28 million (equivalent to $434 million in 2022) and were eager to promote this material for the sales of sheet music and phonograph records. Warner made a deal with Leon Schlesinger to produce cartoons for them. Schlesinger hired Rudolf Ising and Hugh Harman to produce the first series of cartoons. Schlesinger was impressed by Harman's and Ising's 1929 pilot cartoon, Bosko, The Talk-Ink Kid. The first Looney Tunes short was Sinkin' in the Bathtub starring Bosko, which was released in 1930.[2] 1933–1936: Leon Schlesinger Productions When Harman and Ising left Warner Bros. in 1933 over a budget dispute with Schlesinger, they took with them all the rights of the characters and cartoons they had created. A new character called Buddy became the only star of the Looney Tunes series for a couple of years. New directors including Tex Avery, Friz Freleng and Bob Clampett were brought in or promoted to work with animators in the Schlesinger studio, with Avery's unit housed in a bungalow the animators dubbed "Termite Terrace." In 1935 they debuted the first major Looney Tunes star, Porky Pig, along with Beans the Cat in the Merrie Melodies cartoon I Haven't Got a Hat directed by Friz Freleng. Beans was the star of the next Porky/Beans cartoon Gold Diggers of '49, but it was Porky who emerged as the star instead of Beans. The ensemble characters of I Haven't Got a Hat, such as Oliver Owl, and twin dogs Ham and Ex, were also given a sampling of shorts, but Beans and Porky proved much more popular. Beans was later phased out when his popularity declined, leaving Porky as the only star of the Schlesinger studio. 1936–1944: More star characters and switch to color The debuts of other memorable Looney Tunes stars followed: Daffy Duck in Porky's Duck Hunt (1937), Elmer Fudd in the Merrie Melodies short Elmer's Candid Camera (1940), Bugs Bunny in the Merrie Melodies short A Wild Hare (1940),[9] and Tweety in the Merrie Melodies short A Tale of Two Kitties (1942). Bugs initially starred in the color Merrie Melodies shorts following the success of 1940's A Wild Hare, and formally joined the Looney Tunes series with the release of Buckaroo Bugs in 1944. Schlesinger began to phase in the production of color Looney Tunes with the 1942 cartoon The Hep Cat. The final black-and-white Looney Tunes short was Puss n' Booty in 1943 directed by Frank Tashlin. The inspiration for the changeover was Warner's decision to re-release only the color cartoons in the Blue Ribbon Classics series of Merrie Melodies. Bugs made a cameo appearance in 1942 in the Avery/Clampett cartoon Crazy Cruise and also at the end of the Frank Tashlin 1943 cartoon Porky Pig's Feat, which marked Bugs' only official appearance in a black-and-white Looney Tunes short. Schlesinger sold his interest in the cartoon studio in 1944 to Warner Bros. and went into retirement; he died five years later. 1944–1964: Golden Age More popular Looney Tunes characters were created (most of which first appeared in Merrie Melodies cartoons) such as Pepé Le Pew (debuted in 1945's Odor-able Kitty), Sylvester (debuted in 1945's Life with Feathers), Yosemite Sam (debuted in 1945's Hare Trigger), Foghorn Leghorn (debuted in 1946's Walky Talky Hawky), Marvin the Martian (debuted in 1948's Haredevil Hare), Wile E. Coyote and the Road Runner (debuted in 1949's Fast and Furry-ous), Granny (debuted in 1950's Canary Row), Speedy Gonzales (debuted in 1953's Cat Tails for Two), and the Tasmanian Devil (debuted in 1954's Devil May Hare). 1964–1969: DePatie–Freleng and Seven Arts era During the mid-late 1960s, the shorts were produced by DePatie–Freleng Enterprises (and Format Productions) (1964–1967) and Warner Bros.-Seven Arts (1967–1969) after Warner Bros. shut down their animation studio. The shorts from this era can be identified by their different title sequence, featuring stylized limited animation and graphics on a black background and a new arrangement, by William Lava, of "The Merry-Go-Round Broke Down". The change in the introductory title cards was possibly to reflect the switch in the animation style of the shorts themselves. In 1967, Warner Bros.-Seven Arts commissioned an animation studio in South Korea to redraw 79 black-and-white Looney Tunes produced from 1935 to 1943 in color to be syndicated to TV stations.[10] The original Looney Tunes theatrical series ran from 1930 to 1969 (the last short being Bugged by a Bee, by Robert McKimson).[2] 1970–1999: Syndication and return to television and film The Looney Tunes series' popularity was strengthened even more when the shorts began airing on network and syndicated television in the 1950s, under various titles and formats. However, the Looney Tunes shorts were edited, removing scenes of violence (particularly suicidal gags and scenes of characters doing dangerous stunts that impressionable viewers could easily imitate), stereotypes and drinking alcohol. Production of theatrical animated shorts was dormant until 1987, when new shorts were made to introduce Looney Tunes to a new generation of audiences. New shorts have been produced and released sporadically for theaters since then, usually as promotional tie-ins with various family movies produced by Warner Bros. While many of them have been released in limited releases theatrically for Academy Award consideration, only a few have gained theatrical releases with movies. In the 1970s through the early 1990s, several feature-film compilations and television specials were produced, mostly centering on Bugs Bunny and/or Daffy Duck, with a mixture of new and old footage. In 1976, the Looney Tunes characters made their way into the amusement business when they became the mascots for the two Marriott's Great America theme parks (Gurnee and Santa Clara). After the Gurnee park was sold to Six Flags, they also claimed the rights to use the characters at the other Six Flags parks, which they continue to do presently. In 1988, several Looney Tunes characters appeared in cameo roles in Disney's film, Who Framed Roger Rabbit. The more significant cameos featured Bugs, Daffy, Porky, Tweety, and Yosemite Sam. It is the only time in which Looney Tunes characters have shared screen time with their rivals at Disney (producers of the film)—particularly in the scenes where Bugs and Mickey Mouse are skydiving, and when Daffy and Donald Duck are performing their "Dueling Pianos" sequence. On July 10th, 1989, after a battle with heart problems, Mel Blanc died at the Cedars-Sinai Medical Centre of cardiovascular disease. A picture depicting the Looney Tunes characters entitled "Speechless" was released shortly after his death. Nickelodeon aired all the unaired cartoons in a show called Looney Tunes on Nickelodeon between 1988 and 1999. In January 1999, it was reported that the cartoons shown on Nickelodeon would move to Cartoon Network in the fall of that year.[11] To date, Looney Tunes on Nickelodeon is the longest-airing animated series on the network that was not a Nicktoon. In 1996, Space Jam, a live-action animated film, was released to theaters starring Bugs Bunny and basketball player Michael Jordan. Despite a mixed critical reception,[12] the film was a major box-office success, grossing nearly $100 million in the U.S. alone, almost becoming the first non-Disney animated film to achieve that feat.[13] For a two-year period, it was the highest grossing non-Disney animated film ever.[14] The film also introduced the character Lola Bunny, who subsequently became another recurring member of the Looney Tunes cast, usually as a love interest for Bugs. In 1997, Bugs Bunny was featured on a U.S. 32 cent postage stamp; the first of five Looney Tunes themed stamps to be issued.[15] The Looney Tunes also achieved success in the area of television during this era, with appearances in several originally produced series, including Taz-Mania (1991, starring Taz) and The Sylvester & Tweety Mysteries (1995, starring Sylvester, Tweety, and Granny). The gang also made frequent cameos in the 1990 spinoff series Tiny Toon Adventures, from executive producer Steven Spielberg, where they played teachers and mentors to a younger generation of cartoon characters (Plucky Duck, Hamton J. Pig, Babs and Buster Bunny, etc.), plus occasional cameos in the later Warner shows Animaniacs (also from Spielberg) and Histeria!. 2000–2014: Network Exploration In March 2000, it was revealed that the entire Looney Tunes and Merrie Melodies library would be exclusive to Cartoon Network starting fall of that year.[16] Looney Tunes shorts were still airing on ABC as part of The Bugs Bunny and Tweety Show at the time, and the decision led to the show's cancellation. This decision would remain in effect for over 20 years, until MeTV began airing the classic Warner Bros. cartoons (along with MGM and Paramount's library) in January 2021. In 2003, another feature film was released, this time in an attempt to recapture the spirit of the original shorts: the live-action/animated Looney Tunes: Back in Action. Although the film wasn't financially successful,[17] it was met with mixed-to-positive reviews from film critics and has been argued by animation historians and fans as the finest original feature-length appearance of the cartoon characters.[14][18][19][20] In 2006, Warner Home Video released a new and Christmas-themed Looney Tunes direct-to-video film called Bah, Humduck! A Looney Tunes Christmas, a parody of Charles Dickens' A Christmas Carol. Other Looney Tunes TV series made during this time were Baby Looney Tunes (2001–2006), Duck Dodgers (2003-2005) and Loonatics Unleashed (2005–2007). On October 22, 2007, Looney Tunes and Merrie Melodies cartoons became available for the first time in High-definition via Microsoft's Xbox Live service, including some in Spanish.[21] From February 29 – May 18, 2008, many Looney Tunes artifacts, including original animation cels and concept drawings, were on display at the Butler Institute of American Art in Youngstown, Ohio, just off the campus of Youngstown State University, near where the Warners lived early in life.[22] At the 2009 Cartoon Network upfront, The Looney Tunes Show was announced.[23] After several delays, the series premiered on May 3, 2011. Produced by Warner Bros. Animation, the series centers on Bugs and Daffy as they leave the woods and move to the suburbs with "colorful neighbors" including Sylvester, Tweety, Granny, Yosemite Sam, etc. The series introduced the character Tina Russo, a duck who becomes Daffy's girlfriend. The show also features 2-minute music videos titled respectfully "Merrie Melodies" (as a tribute to the Looney Tunes sister shorts) which features the characters singing original songs, as well as CGI animated shorts starring Wile E. Coyote and the Road Runner (which were removed after the first season). The series was cancelled after its second season.[24] Also, Wile E. Coyote and the Road Runner returned to the big screen in a series of 3-D shorts that preceded select Warner Bros. films. There were six in the works that began with the first short, Coyote Falls, that preceded the film Cats & Dogs: The Revenge of Kitty Galore, which was released on July 30, 2010. On September 24, 2010, Fur of Flying preceded the film, Legend of the Guardians: The Owls of Ga'Hoole, and on December 17, 2010, Rabid Rider preceded the film, Yogi Bear. On June 8, 2011, Warner Bros. Animation announced that there will be more Looney Tunes 3-D theatrical shorts; the first titled Daffy's Rhapsody with Daffy Duck and Elmer Fudd, the next being I Tawt I Taw a Puddy Tat with Sylvester, Tweety, and Granny. Daffy's Rhapsody was to precede the film Happy Feet Two,[25] until the studio decided to premiere I Tawt I Taw a Puddy Tat instead. Daffy's Rhapsody instead premiered in 2012, preceding Journey 2: The Mysterious Island.[26] All five shorts were directed by Matthew O'Callaghan. In 2012, several announcements were made about a Looney Tunes reboot film titled Acme, in development.[27] Former Saturday Night Live cast member Jenny Slate was said to be on board as writer for the new film. Jeffrey Clifford, Harry Potter producer David Heyman, and Dark Shadows writers David Katzenberg and Seth Grahame-Smith were slated to produce the film.[28] On August 27, 2014, writers Ashley Miller and Zack Stentz were hired to script the film, directors Glenn Ficarra and John Requa were in talks to direct the film, while actor Steve Carell was rumored to be starring in a lead role.[29] Despite this, the film has yet to enter production. 2015–present: Revival At the 2014 Cartoon Network upfront, another series titled Wabbit: A Looney Tunes Production (later New Looney Tunes) was announced.[30] Starring Bugs Bunny, the series premiered on both Cartoon Network and its sister channel Boomerang in Fall 2015.[31] The series has had an unusually slow rollout, with the series having moved to the Boomerang streaming service in 2017, and was eventually cancelled on January 30, 2020.[citation needed] On June 11, 2018, another series, titled Looney Tunes Cartoons, was announced by Warner Bros. Animation. It premiered on May 27, 2020, on the streaming service HBO Max. The series features "1,000 minutes of new one-to-six minute cartoons featuring the brand's marquee characters", voiced by their current voice actors in "simple, gag-driven and visually vibrant stories" that are rendered by multiple artists employing "a visual style that will resonate with fans", most noticeably having a style reminiscent of the styles of Tex Avery, Bob Clampett, Chuck Jones, Friz Freleng and Robert McKimson.[32] According to co-executive producer Peter Browngardt, "We're not doing guns, but we can do cartoony violence — TNT, the Acme stuff. All that was kind of grandfathered in."[33] Sam Register, president of Warner Bros. Animation also serves as co-executive producers for the series.[32] However guns were implanted in Season 2.[citation needed] On February 11, 2021, it was announced two new series are in the works: Bugs Bunny Builders and Tweety Mysteries. Bugs Bunny Builders will air on Cartoon Network as part of Cartoonito and HBO Max; Tweety Mysteries will also air on Cartoon Network.[34][35] Bugs Bunny Builders will be aimed towards preschoolers; while Tweety Mysteries is a live-action/animated hybrid.[citation needed] A sequel to Space Jam titled Space Jam: A New Legacy, starring basketball player LeBron James, was released on theaters and HBO Max on July 16, 2021 after a Los Angeles special screening on July 12, 2021. It is a film with a story of LeBron James' second son, Dom, gets kidnapped by an evil AI named Al. G Rhythm (Don Cheadle), into the Warner Bros. server-verse. LeBron then assembles the Looney Tunes to play against the algorithm and get his son back.[citation needed] Home media In the 1980s, the shorts received VHS releases, with the pre-August 1948 shorts released by MGM/UA Home Video and the post-July 1948 shorts released by Warner Home Video. In 2003, Warner Home Video began releasing select shorts on DVD, aimed at collectors, in four-disc sets known as the Looney Tunes Golden Collection starting with Volume 1. This continued until 2008, when the final volume of the Golden Collection was released. Then in 2010 until 2013, the company released the Looney Tunes Super Stars DVDs. There have been numerous complaints regarding the Super Stars releases however, particularly the first two, having the post-1953 shorts in a 16:9 widescreen format. The last DVD in the Super Stars series was Sylvester and Hippety Hopper: Marsupial Mayhem, released on April 23, 2013. 2010 and 2011 saw the releases of The Essential Bugs Bunny and The Essential Daffy Duck DVDs. In 2011, the shorts were released on Blu-ray Disc for the first time with the Looney Tunes Platinum Collection series. On September 19, 2017, Warner Home Video's Warner Archive Collection released the five-disc Porky Pig 101 DVD-set.[36] Licensing and ownership In 1933, Harman and Ising left, taking the rights to the Bosko characters with them. However, Warner Bros. retained the rights to the cartoons and the Looney Tunes and Merrie Melodies brand names, leaving their former producer Leon Schlesinger to start his own animation studio to continue the Looney Tunes series. With their retained Bosko rights, Harman and Ising began making cartoons at Metro-Goldwyn-Mayer in 1934 until they were fired in 1937 due to a lack of success. MGM proceeded to form their own studio to create its own cartoons. Time Warner eventually acquired the Bosko characters from Harman and Ising's estates. Meanwhile, the Schlesinger studio continued to make popular cartoons until 1944 when Schlesinger sold his studio to Warner Bros. Since then, Warner Bros. has owned all rights to all post-1933 characters created by Leon Schlesinger Productions and Warner Bros. Cartoons. The rights to individual cartoons however are in other hands. In 1955, Warner Bros. sold the television distribution rights to 191 of its cartoons (which included the black-and-white Looney Tunes and the black-and-white Merrie Melodies made after Harman and Ising left) to Guild Films.[37] The copyrights to those cartoons were assigned to Sunset Productions, an entity owned by Warner Bros.[38][39] The cartoons were distributed by Guild Films until it went bankrupt and was bought by Seven Arts. Seven Arts bought WB in 1967, and WB regained the TV distribution rights to the black and white cartoons. In 1956, Associated Artists Productions (a.a.p.) acquired television distribution rights to most of Warner Bros' pre-1950[40][41] library, including all Merrie Melodies (except for those sold to Guild and Lady, Play Your Mandolin!) and color Looney Tunes shorts that were released prior to August 1948, while Warner still owned the copyright all of the cartoons. Unlike the previous TV package, this package had the Warner titles kept intact and an "Associated Artists Productions presents" title inserted at the head of each reel (as a result, each Merrie Melodies cartoon had the song "Merrily We Roll Along" playing twice).[42] Two years later, United Artists bought a.a.p. (which has also bought Paramount's Popeye films) who merged the company into its television division, United Artists Television. In 1981, UA was sold to MGM, and five years later, Ted Turner acquired the pre-May 1986 MGM library, as well the rights to the a.a.p. library. In 1996, Turner's company, Turner Broadcasting System (whose Turner Entertainment division oversaw the film library), was purchased by Time Warner (now AT&T's WarnerMedia) who also owned Warner Bros. Today, Warner Home Video holds the video rights to the entire Looney Tunes/Merrie Melodies animated output by virtue of Warner Bros.' ownership of Turner Entertainment. Turner's rights to some Looney Tunes cartoons was a motivation for the purchase.[citation needed] Starting in 1960, the cartoons were repackaged into several different TV programs that remained popular for several decades before being purchased by Turner Broadcasting System.[43] Turner's Cartoon Network reran the cartoons from their launch in 1992 until 2004, and again from 2009 until 2017. The Looney Tunes Show (not to be confused with the 2010s animated series of the same name), an early 2000s anthology produced by Warner Bros. Animation for the network, was broadcast from 2001[44] to 2004. The show featured shorts from the original Looney Tunes and Merrie Melodies theatrical series. As of 2021, classic cartoons continue to air on Cartoon Network's sister channel, Boomerang and MeTV. Differing curated collections of Looney Tunes and Merrie Melodies are available for streaming on both the Boomerang streaming service and HBO Max.[45] Five dozen Looney Tunes and Merrie Melodies shorts from before December 1943 have lapsed into the public domain and are thus freely distributed through various unofficial releases. Filmography Main article: Looney Tunes and Merrie Melodies filmography Characters Main article: List of Looney Tunes and Merrie Melodies characters Racial stereotypes Due to content considered offensive, stereotyped or insensitive, in 1968 Warner Bros. removed the "Censored Eleven" episodes of Looney Tunes and Merrie Melodies cartoons from broadcast or distribution. Depictions included those of African Americans, Native Americans, East Asians (especially during WWII, as in Tokio Jokio and Bugs Bunny Nips the Nips), Germans, Italians, White Southerners, and Mexicans.[46] Eleven cartoons were withdrawn from distribution in 1968 that prominently featured stereotypical black characters (and a few passing jokes about Japanese people, as in Coal Black and de Sebben Dwarfs and Jungle Jitters). In 1999, Cartoon Network ceased broadcast of all Speedy Gonzales segments, due to concerns about stereotyping of Mexicans.[47] Many Hispanics protested that they were not offended, and expressed fondness for the Speedy Gonzales cartoons. These shorts were made available for Cartoon Network broadcast again in 2002.[48] Many Warner Bros. cartoons contain fleeting or sometimes extended gags that make reference to racial or ethnic stereotypes, or use ethnic humor. The release of the Looney Tunes Golden Collection: Volume 3 includes a disclaimer at the beginning of each DVD in the volume given by Whoopi Goldberg. She explains that the cartoons are products of their time and contain racial and ethnic stereotypes that "were wrong then and they are wrong today", but the cartoons are presented on the DVD uncut and uncensored because "editing them would be the same as denying that the stereotypes existed." A written disclaimer similar to the words spoken by Goldberg in Volume 3 is shown at the beginning of each DVD in the Looney Tunes Golden Collection: Volume 4, Volume 5, and Volume 6 sets, as well as the Daffy Duck and Foghorn Leghorn Looney Tunes Super Stars sets and the Warner Bros. Home Entertainment Academy Awards Animation Collection. Accolades Inducted into the National Film Registry     Porky in Wackyland (1938), selected in 2000[49]     Duck Amuck (1953), selected in 1999     One Froggy Evening (1955), selected in 2003     What's Opera, Doc? (1957), selected in 1992 Academy Awards for Best Short Subject (Cartoon)     Tweetie Pie (1947)[50] (MM)     For Scent-imental Reasons (1949)[51] (LT)     Speedy Gonzales (1955)[52] (MM)     Birds Anonymous (1957)[53] (MM)     Knighty Knight Bugs (1958)[54] (LT) Academy Award nominations     Swooner Crooner (1944)     Walky Talky Hawky (1946)     Mouse Wreckers (1949)     From A to Z-Z-Z-Z (1954)     Sandy Claws (1955)     Tabasco Road (1957)     Mexicali Shmoes (1959)     Mouse and Garden (1960)     High Note (1960)     The Pied Piper of Guadalupe (1961)     Now Hear This (1963) Related media Television series Series marked with * are compilations of earlier shorts.     The Bugs Bunny Show (1960–2000)*     The Porky Pig Show (1964–1967)*     The Road Runner Show (1966–1973)*     The Merrie Melodies Show (1972)*     Merrie Melodies Starring Bugs Bunny & Friends (1990–1994)*     Tiny Toon Adventures (1990–1992)     Taz-Mania (1991–1995)     The Plucky Duck Show (1992)     The Sylvester & Tweety Mysteries (1995–2000)     Bugs 'n' Daffy (1995–1998)*     Baby Looney Tunes (2001–2006)     Duck Dodgers (2003–2005)     Loonatics Unleashed (2005–2007)     The Looney Tunes Show (2011–2013)     New Looney Tunes (2015–2020)     Looney Tunes Cartoons (2020–present)     Tooned Out (TBA)     Tiny Toons Looniversity (2022)     Bugs Bunny Builders (2022)     Tweety Mysteries (TBA) Television specials     Daffy Duck and Porky Pig Meet the Groovie Goolies (1972)     Bugs and Daffy's Carnival of the Animals (1976)     Bugs Bunny's Easter Special (1977)*     Bugs Bunny's Howl-oween Special (1977)*     Bugs Bunny's Thanksgiving Diet (1979)*     Bugs Bunny's Looney Christmas Tales (1979)     Bugs Bunny's Bustin' Out All Over (1980)     The Bugs Bunny Mystery Special (1980)*     Bugs vs. Daffy: Battle of the Music Video Stars (1988)*     Cartoon All-Stars to the Rescue (1990)     Bugs Bunny's Overtures to Disaster (1991)* Films Compilation films     The Bugs Bunny/Road Runner Movie (1979)     The Looney Looney Looney Bugs Bunny Movie (1981)     Bugs Bunny's 3rd Movie: 1001 Rabbit Tales (1982)     Daffy Duck's Fantastic Island (1983)     Daffy Duck's Quackbusters (1988) Feature films     Two Guys from Texas (1948) (cameo of Bugs Bunny only)     My Dream Is Yours (1949) (cameos of Bugs Bunny and Tweety only)     Who Framed Roger Rabbit (1988) (cameos only)     Space Jam (1996)     Looney Tunes: Back in Action (2003)     Space Jam: A New Legacy (2021)     Coyote vs. Acme (2023) Direct-to-video     Tiny Toon Adventures: How I Spent My Vacation (1992)     Tweety's High-Flying Adventure (2000)     Baby Looney Tunes' Eggs-traordinary Adventure (2003)     Bah, Humduck! A Looney Tunes Christmas (2006)     Looney Tunes: Rabbits Run (2015)     Teen Titans Go! See Space Jam (2021) (the Nerdlucks and archive footage only) Comic books Dell Publishing     Looney Tunes and Merrie Melodies Comics #1–165 (Dell Publishing, 1941–1955)     Bugs Bunny #1–85 (Dell Publishing, 1942–1962)     Porky Pig #1–81 (Dell Publishing, 1942–1962)     Tweety and Sylvester #1–37 (Dell Publishing, 1952–1962)     Daffy Duck #1–30 (Dell Publishing, 1953–1962)     Looney Tunes #166–246 (Dell Publishing, 1955–1962)     Beep Beep The Road Runner #1–14 (Dell Publishing, 1958–1962) Gold Key Comics/Whitman     Bugs Bunny #86–245 (Gold Key Comics/Whitman, 1962–1984)     Daffy Duck #31–145 (Gold Key Comics/Whitman, 1962–1984)     Tweety and Sylvester #1–120 (Gold Key Comics/Whitman, 1963–1984)     Porky Pig #1–109 (Gold Key Comics/Whitman, 1965–1984)     Yosemite Sam and Bugs Bunny #1–80 (Gold Key Comics/Whitman, 1970–1983)     Beep Beep The Road Runner #1–105 (Gold Key Comics/Whitman, 1971–1984)     Looney Tunes #1–47 (Gold Key Comics/Whitman, 1975–1984) DC Comics     Bugs Bunny #1–3 (DC Comics, 1990); #1–3 (DC Comics, 1993)     Looney Tunes #1–present (DC Comics, 1994–present) Plus various one-shots, specials and appearances in anthology comics like March of Comics, Top Comics and Dell Giant from various Western Publishing imprints. The numbering of the Dell issues generally includes 3-4 appearances in Dell's Four Color comics. Video games For a more comprehensive list, see List of Looney Tunes video games." (wikipedia.org) "Merrie Melodies is an American animated series of comedy short films produced by Warner Bros. starting in 1931, during the golden age of American animation, and ending in 1969. As with its partner series, Looney Tunes, it featured cartoon characters such as Bugs Bunny, Daffy Duck, Porky Pig, and Elmer Fudd.[1] Between 1934 and 1943, the Merrie Melodies series were distinguished from the black-and-white, Buddy or Porky Pig–starring Looney Tunes shorts by an emphasis on one-shot stories in color featuring Warner Bros.–owned musical selections. After Bugs Bunny became the breakout recurring star of Merrie Melodies, and Looney Tunes went to color in the early 1940s, the two series gradually lost their distinctions and shorts were assigned to each series more randomly. Merrie Melodies was originally produced by Harman–Ising Pictures from 1931 to 1933, and then Leon Schlesinger Productions from 1933 to 1944. Schlesinger sold his studio to Warner Bros. in 1944, and the newly renamed Warner Bros. Cartoons continued production until 1963. It was outsourced to DePatie–Freleng Enterprises and Format Productions from 1964 to 1967, and Warner Bros.-Seven Arts Animation resumed production for its final two years.[2] Three of the Merrie Melodies films (Tweetie Pie, Speedy Gonzales and Birds Anonymous) won the Academy Award for Best Animated Short Film and another three (Duck Amuck, One Froggy Evening, and What's Opera, Doc?) have been inducted into the National Film Registry of the Library of Congress.[3][4][5][6] In 2013, TV Guide ranked the Warner Bros. Cartoons (ranked as Looney Tunes) the third Greatest Cartoon of All Time (out of 60), one of only six film series to make the list (the other four being the Pink Panther series, Popeye the Sailor, Mighty Mouse, Woody Woodpecker and Tom and Jerry).... Background Producer Leon Schlesinger had already produced the music-based Looney Tunes series, and its success prompted him to try to sell a sister series to Warner Bros. His selling point was that the new cartoons would feature music from the soundtracks of Warner Bros. films and would thus serve as advertisements for Warner Bros. recordings and sheet music. The studio agreed, and Schlesinger dubbed the series Merrie Melodies. Walt Disney Productions had already scored with their Silly Symphonies. Since cartoon production usually began with a soundtrack, animating a piece of music made it easier to devise plot elements and even characters. The origins of the Merrie Melodies series begin with the failure of a live action series of musical shorts called Spooney Melodies, which featured popular songs of the day. These shorts included segments with a popular artist singing along with appropriate background sequences. Warner Bros. wanted to promote this music because they had recently acquired (in 1930) the ownership of Brunswick Records along with four music publishers for US $28 million. Because of the success of their Looney Tunes series, Warner Bros. decided to develop a new series of animated musical shorts called Merrie Melodies. Hugh Harman and Rudolf Ising led the development. It was meant to be a series of musical cartoons that featured hit songs of the day, especially those then owned by Warner Bros. and featured in their musical films. In 1931, many of the shorts featured the orchestra of Abe Lyman, one of the most famous band leaders of his day. The first cartoon of the new Merrie Melodies series was Lady, Play Your Mandolin!, released in 1931.[2] Ising attempted to introduce several characters in his Merrie Melodies films, such as Piggy, Foxy, and Goopy Geer. Eventually however, the series continued without any recurring characters.[8] The shorts proved to be enormously popular with the public. In 1932, a Merrie Melodies cartoon, entitled It's Got Me Again!, was nominated for the first Academy Award to be given for animation. When Harman and Ising left Warner Bros., in 1933, they took with them all rights to the characters they had created. Leon Schlesinger had to negotiate with them to keep the rights to the name Merrie Melodies, as well as for the right to use the slogan, So Long Folks, at the end of the cartoons. In 1934, Schlesinger produced his first color Merrie Melodies shorts, Honeymoon Hotel and Beauty and the Beast, which were produced in two-strip Cinecolor (Disney then had exclusive animation rights to the richer three-strip Technicolor process).[9] Their success convinced Schlesinger to produce all future Merrie Melodies shorts in color, using two-strip Technicolor. Looney Tunes continued in black and white until 1943. In 1936, the cartoons began to end with the slogan "That's all Folks!" which had previously only been used on the Looney Tunes series. The old slogan "So Long, Folks!" was completely abandoned at this time. The same year, Merrie Melodies began using the bulls-eye opening and closing title sequences (in 1942, Looney Tunes would use the same titles, usually in thicker rings). Also by 1936, Disney's exclusivity on the three-color Technicolor process was lifted, allowing Merrie Melodies a full color palette for the first time, hence the use of the blue concentric rings (as a technical test) for the rest of the 1935–36 season and the 1936–37 season. The Warner Bros. shield was later that year changed to cyan before definitely changing back to red in 1938. Contractually, Merrie Melodies cartoons were obligated to include at least one full chorus from a Warner Bros. song.[8] Warner Bros. requested that these songs be performed by name bands whenever possible, but this lasted only through the first few shorts. The policy annoyed the animators of Merrie Melodies, since the songs often interrupted the cartoons' momentum and pacing (the 1938 Merrie Melodie A Feud There Was, for example, sarcastically uses the obligatory musical number as a shift in the action, with the lead characters singing the number into a KFWB microphone and ceding the mike to an announcer who reads a commercial). By 1939, the animators had been released from this obligation, and the Merrie Melodies shorts came to resemble more closely the black-and-white Looney Tunes series. In addition, several new characters were created to (initially) appear exclusively in the Merrie Melodies series, such as Egghead (who became Elmer Fudd), Inki, Sniffles, and even Warner Bros.' most popular cartoon star, Bugs Bunny. In 1943, Schlesinger began producing Looney Tunes in color as well, and the two series became virtually indistinguishable except by their theme music and opening titles – in addition, characters once exclusive to one series began regularly appearing in the other as well. In 1944, the studio went to an all-color schedule; though for the first year of this, Bugs still appeared mainly in the Merrie Melodies series (not appearing in a Looney Tunes cartoon until the end of August), whereas Daffy Duck and Porky Pig (who each appeared in a few Merrie Melodies prior to mid-1942) appeared mainly in Looney Tunes that year. It was not until 1945 that the two series appeared completely indistinguishable, and that Bugs appeared in more Looney Tunes than Merrie Melodies. By 1937, the theme music for Looney Tunes was "The Merry-Go-Round Broke Down" by Cliff Friend and Dave Franklin, and the theme music for Merrie Melodies was an adaptation of "Merrily We Roll Along" by Charles Tobias, Murray Mencher and Eddie Cantor (the original theme was "Get Happy" by Harold Arlen, played at a faster tempo). This continued until 1964, when the WB cartoon logos were modernized, and "The Merry-Go-Round Broke Down" became the theme for the Merrie Melodies as well. When the studio went to full color, even the animators themselves did not make any creative distinction between the two series, as evidenced in an interview quote from director Friz Freleng, "I never knew if a film I was making would be Looney Tunes or Merrie Melodies, and what the hell difference would it make, anyway?". The last Merrie Melodies cartoon was Injun Trouble, released in 1969. The Merrie Melodies theatrical cartoons didn't start up again until 1987 with only two cartoons made, The Night of the Living Duck (1987) and (Blooper) Bunny (1991). The Night of the Living Duck got a theatrical release through the compilation film Daffy Duck's Quackbusters (1988), while (Blooper) Bunny was shelved from its intended 1991 release until it premiered on Cartoon Network on June 13, 1997. Blue Ribbon reissues Main article: List of Warner Bros. cartoons with Blue Ribbon reissues Beginning in late 1943, WB, in a cost-conserving effort, began to reissue its backlog of color cartoons under a new program that they called Merrie Melodies "Blue Ribbon" classics. For the reissue, the original front-and-end title sequences were altered. The revised main title card began with the "zooming" WB logo, followed by the title logo set against a background featuring a "blue ribbon" (hence the re-release program's title) and a Grand Shorts Award trophy, followed by the name of the cartoon. This revised title sequence eliminated the opening technical credits. The ending title card was also revised, replacing the original versions. Also, sometimes the title of the short was slightly altered for the rerelease; the "Blue Ribbon" version of the Bugs Bunny short A Wild Hare was retitled The Wild Hare for reissue, for example. Many of these "Blue Ribbon" prints were the versions used for television broadcasts for many years until Warner Bros. began a restoration program in the early 2000s as part of the Looney Tunes Golden Collection DVD releases. Filmography Main article: Looney Tunes and Merrie Melodies filmography Characters Main article: List of Looney Tunes and Merrie Melodies characters Accolades TVLine lists the theme song from the series among the best animated series themes of all time.[10] Inducted into the National Film Registry     What's Opera, Doc? (1957), inducted in the 1992 list.[6] "In this animation classic, Elmer Fudd's pursuit of Bugs Bunny is set to opera music and plays out on a Wagnerian scale. The film features such now-classic lines as "Kill the wabbit!" and is one of only three cartoons in which Elmer Fudd bests his rival Bugs. Directed by renowned animator Chuck Jones and his team at Warner Bros., this seven-minute short film is often considered to be Jones' cinematic masterpiece. It also holds the distinction of being the first cartoon selected for inclusion on the National Film Registry."[11]     Duck Amuck (1953), inducted in the 1999 list.[6] The description reads: "One of the defining examples of Chuck Jones' irreverent creativity, "Duck Amuck" (a Warner Bros. "Merrie Melodies" animation) stars Daffy Duck, as brought to life by master voice artist Mel Blanc. Jones' gives the audience a convincingly fleshed-out character with true personality, regardless of plot or setting. Daffy begins the film as a Musketeer before his animators get the best of him by forgetting to draw in his backgrounds or supply him his voice. Extraordinarily self-reflexive, "Duck Amuck" does more than pierce film's fourth wall, it demolishes it, full send Daffy on a series of surreal misadventures."[11]     One Froggy Evening (1955), inducted in the 2003 list.[6] The description reads: "A cartoon on every short list of the greatest animation, this classic Chuck Jones creation features crooning amphibian Michigan J. Frog, who drives his owner insane by singing only in private, but never in public."[11] Academy Awards for Best Short Subject (Cartoon)     Tweetie Pie (1947)[3]     Speedy Gonzales (1955)[4]     Birds Anonymous (1957)[5] Academy Award nominations     It's Got Me Again! (1932)     Detouring America (1939)     A Wild Hare (1940)[12]     Hiawatha's Rabbit Hunt (1941)[13]     Rhapsody in Rivets (1941)     Pigs in a Polka (1943)     Greetings Bait (1943)     Life with Feathers (1945)     Walky Talky Hawky (1946)     Canary Row (1950)     Beep Prepared (1961)     Nelly's Folly (1961)" (wikipedia.org) "Warner Bros. Cartoons, Inc. was the in-house animation division of Warner Bros. during the Golden Age of American animation. One of the most successful animation studios in American media history, it was primarily responsible for the Looney Tunes and Merrie Melodies theatrical cartoon short subjects. The characters featured in these cartoons, including Bugs Bunny, Daffy Duck, Porky Pig, Sylvester, and Tweety, are among the most famous and recognizable characters in the world. Many of the creative staff members at the studio, including directors and animators such as Chuck Jones, Friz Freleng, Robert McKimson, Tex Avery, Robert Clampett, Arthur Davis, and Frank Tashlin, are considered major figures in the art and history of traditional animation. Warner Bros. Cartoons was formed in 1933 as Leon Schlesinger Productions, an independent company which produced the popular Looney Tunes and Merrie Melodies animated short subjects for release by Warner Bros. Pictures. In 1944, Leon Schlesinger sold the studio to Warner Bros., who continued to operate it as Warner Bros. Cartoons, Inc. until 1963. Looney Tunes and Merrie Melodies were briefly subcontracted to Freleng's DePatie–Freleng Enterprises studio from 1964 until 1967. The Warner Bros. Cartoons studio briefly re-opened in 1967 before shutting its doors for good two years later, on October 10, 1969.... History 1930–1933: Harman-Ising Productions Main article: Harman and Ising Hugh Harman and Rudolf Ising originated the Looney Tunes and Merrie Melodies series of animated short subjects in 1930 and 1931, respectively. Both cartoon series were produced for Leon Schlesinger at the Harman-Ising Studio on Hollywood Boulevard in Hollywood, California, with Warner Bros. Pictures releasing the films to theaters. The first Looney Tunes character was the Harman-Ising creation Bosko, The Talk-ink Kid. Despite the fact that Bosko was popular among theater audiences, he could never match the popularity of Walt Disney's Mickey Mouse, or even Max Fleischer's Betty Boop. In 1933, Harman and Ising parted company with Schlesinger over financial disputes,[2] and took Bosko with them to Metro-Goldwyn-Mayer. As a result, Schlesinger set up his own studio on the Warner Bros. lot on Sunset Boulevard in Hollywood.[3] 1933–1944: Leon Schlesinger Productions Leon Schlesinger Productions studio, (also nicknamed Termite Terrace) part of the Old Warner Brothers Studio, 1351 North Van Ness Avenue, Los Angeles, CA Former Leon Schlesinger-Warner Bros. Cartoons studio, 2003 The Schlesinger studio got off to a slow start, continuing their one-shot Merrie Melodies and introducing a Bosko replacement named Buddy into the Looney Tunes. Disney animator Tom Palmer was the studio's first senior director, but after the three cartoons he made were deemed to be of unacceptable quality and rejected by the studio, former Harman-Ising animator/musical composer Isadore "Friz" Freleng was called in to replace Palmer and rework his cartoons where every cartoon Freleng directed from 1933 to 1963 was created/directed by Freleng's musical compositions and methods.[4] [5] The studio then formed the three-unit structure that it would retain throughout most of its history, with one of the units headed by Ben "Bugs" Hardaway, and the other by Earl Duvall, who was replaced by Jack King a year later. In 1935, Freleng helmed the Merrie Melodies cartoon I Haven't Got a Hat, which introduced the character Porky Pig.[6] Hardaway and King departed, and a new arrival at Schlesinger's, Fred "Tex" Avery, took Freleng's creation and ran with it. Avery directed a string of cartoons starring Porky Pig that established the character as the studio's first bona fide star.[6] Schlesinger also gradually moved the Merrie Melodies cartoons from black and white, to two-strip Technicolor in 1934, and finally to full three-strip Technicolor in 1935. The Looney Tunes series would be produced in black-and-white for much longer, until 1943.[7] Because of the limited spacing conditions in the Schlesinger building at 1351 N. Van Ness on the Warner Sunset lot, Avery and his unit – including animators Robert Clampett and Chuck Jones – were moved into a small building elsewhere on the Sunset lot, which Avery and his team affectionately dubbed "Termite Terrace."[8] Although the Avery unit moved out of the building after a year, "Termite Terrace" later became a metonym for the classic Warner Bros. animation department in general, even for years after the building was abandoned, condemned, and torn down. During this period, four cartoons were outsourced to the Ub Iwerks studio; however, Iwerks struggled to adapt his style to the type of humor that the Looney Tunes had developed by this time, and so Clampett took over as director (using Iwerks' staff) for the last two of these outsourced cartoons. Schlesinger was so impressed by Clampett's work on these shorts that he opened a fourth unit for Clampett to head, although for tax reasons this was technically a separate studio headed by Schlesinger's brother-in-law, Ray Katz. From 1936 until 1944, animation directors and animators such as Freleng, Avery, Clampett, Jones, Arthur Davis, Robert McKimson, and Frank Tashlin worked at the studio. During this period, these creators introduced several of the most popular cartoon characters to date, including Daffy Duck (1937, Porky's Duck Hunt by Avery), Elmer Fudd (1940, Elmer's Candid Camera by Jones), Bugs Bunny (1940, A Wild Hare by Avery), and Tweety (1942, A Tale of Two Kitties by Clampett). Avery left the studio in 1941 following a series of disputes with Schlesinger, who shortly after closed the studio for two weeks due to a minor strike similar to the better known one that occurred at Disney. A few months earlier he banished all unionized employees in what became known in retrospect as the "Looney Tune Lockout"; this time Schlesinger lost nearly all of his employees of the Avery unit. Clampett and several of his key animators took over Avery's former unit, while Clampett's own position as director of the Schlesinger-Katz studio was taken by Norm McCabe, a Clampett animator whose cartoons focused in war-related humor; McCabe, in turn, lasted barely a year before being drafted, and Frank Tashlin returned to the studio to replace him. By 1942, the Schlesinger studio had surpassed Walt Disney Productions as the most successful producer of animated shorts in the United States.[9] Between 1942 and 1945, the Schelsinger studio produced a number of films for the United States military in support of its efforts in World War II. Under the command of the US Air Force's First Motion Picture Unit, headed from 1942 to 1944 by Major Theodor Seuss Geisel (better known as Dr. Seuss), the studio produced the Private Snafu and (with Walter Lantz Productions) Mr. Hook cartoons for the servicemen's entertainment.[10] 1944–1963: Warner Bros. Cartoons File:No Buddy Atoll.ogvPlay media 'No Buddy Atoll', Private Snafu cartoon directed by Chuck Jones in 1945 In 1944, Schlesinger sold his studio to Warner Bros., which renamed the company Warner Bros. Cartoons, Inc., and Edward Selzer (who by Jones' and Freleng's accounts had no sense of humor or appreciation of cartoons), was appointed by Warner Bros. as the new head of the cartoon studio after Schlesinger retired. In September 1944 Frank Tashlin left, and in May 1945, Bob Clampett left. Tashlin's unit was initially taken over by Robert McKimson who later took over Clampett's unit. The remaining animators of the initial McKimson unit were assigned to Arthur Davis. Although inheriting most of their staff, these units have been the least known among the four, apart from having lower budgets than Jones and Freleng. In 1948, the studio moved to a larger building on the Sunset Boulevard lot. Davis' separate unit was dissolved in November 1947, and he became an animator for Freleng.[11] The Jones, Freleng, and McKimson units became noted by their respective styles, mostly influenced by their budgets: Jones' cartoons (who was assigned the largest budgets) featured a more visual and sophisticated style, Freleng (having budgets noticeably smaller than Jones) made extensive use of slapstick, and McKimson (who with Davis had much lower budgets) often relied more on jokes and dialogue in general. Among the Warner Bros. cartoon stars who were created after Schlesinger's departure include Pepé Le Pew (1945, Odor-able Kitty by Jones), Yosemite Sam (1945, Hare Trigger by Freleng), Sylvester (1945, Life with Feathers by Freleng), Foghorn Leghorn (1946, Walky Talky Hawky by McKimson), Wile E. Coyote and the Road Runner (1949, Fast and Furry-ous by Jones), and Speedy Gonzales (1953, Cat-Tails for Two by McKimson). In later years, even more minor Looney Tunes characters such as Freleng's Rocky and Mugsy, Jones' Marvin the Martian and McKimson's Tasmanian Devil have become significantly popular.[12] After the verdict of the United States v. Paramount Pictures, Inc. anti-trust case in 1948 ended the practice of "block booking", Warner Bros. could no longer force theaters into buying their features and shorts together as packages; shorts had to be sold separately. Theater owners were only willing to pay so much for cartoon shorts, and as a result, by the late-1950s the budgets at Warner Bros. Cartoons became tighter. Selzer forced a stringent five-week production schedule on each cartoon (at least one director, Chuck Jones, cheated the system by spending more time on special cartoons such as What's Opera, Doc?, less time on simpler productions such as Road Runner entries, and had his crew forge their time cards). With less money for full animation, the Warner Bros. story men — Michael Maltese, Tedd Pierce, and Warren Foster — began to focus more of their cartoons on dialogue. While story artists were assigned to directors at random during the 1930s and 1940s, by the 1950s each story man worked almost exclusively with one director: Maltese with Jones, Foster with Freleng, and Pierce with McKimson. With the advent of the 3-D film craze in 1953, Warner Bros. shut its cartoon studio down in June of that year, fearing that 3-D cartoon production would be too expensive (only one Warner Bros. cartoon was ever produced in 3-D, Jones' Lumber Jack-Rabbit starring Bugs Bunny). The creative staff dispersed (Jones, for example, went to work at Disney on Sleeping Beauty, Maltese went to Walter Lantz Productions, and Freleng went into commercial work). Warner Bros. Cartoons re-opened five months after its close, following the end of the 3-D craze. In 1955, the staff moved into a brand new facility on the main Warner Bros. lot in Burbank. KTLA television took over the old studio location on Van Ness; the old Warner Sunset Studios is today called Sunset Bronson Studios. Also on February 19, 1955, Warner Bros. sold its library of black and white Looney Tunes to Guild Films. The package consisted of 191 cartoons which began showing on television that year.[13] By 1958, Selzer had retired, and veteran Warner Cartoons production manager John Burton took his place.[14] Warner Bros. also lost its trio of staff storymen at this time. Foster and Maltese found work at Hanna-Barbera Productions, while Pierce worked on a freelance basis with writing partner Bill Danch. John Dunn and Dave Detiege, both former Disney men, were hired to replace them. During Burton's tenure, Warner Bros. Cartoons branched out into television. In the fall of 1960, ABC TV premiered The Bugs Bunny Show, which was a package program featuring three theatrical Warner Bros. cartoons, with newly produced wraparounds to introduce each short. The program remained on the air under various names and on all three major networks for four decades from 1960 to 2000. All versions of The Bugs Bunny Show featured Warner Bros. cartoons released after July 31, 1948, as all of the Technicolor cartoons released before that date were sold to Associated Artists Productions on June 11, 1956.[15] David H. DePatie became the last executive in charge of the original Warner Bros. cartoons studio in 1961. The same year, Chuck Jones moonlighted to write the script for a UPA-produced feature titled Gay Purr-ee. When that film was picked up by Warner Bros. for distribution in 1962, the studio learned that Jones had violated his exclusive contract with Warners and he was terminated in July. Most of Jones' former unit subsequently re-joined him at Sib Tower 12 Productions to work on a new series of Tom and Jerry cartoons for MGM.[16] In late 1962, at the height of television popularity and decline in moviegoing, DePatie was sent to a board meeting in New York, and he was informed that the cartoon studio was going to be shut down. DePatie completed the task by 1964. Although Chuck Jones was left in mid-1963, he helped DePatie's task by directing four more cartoons with his former unit. The cartoons were Hare-Breadth Hurry, Mad as a Mars Hare, Transylvania 6-5000 and To Beep or Not to Beep. The final project at the studio was making the animated sequences, directed by McKimson, for the 1964 Warner Bros. feature The Incredible Mr. Limpet.[16][17] With the studio closed, Hal Seeger Productions in New York had to be contracted to produce the opening and closing credits for The Porky Pig Show, which debuted on ABC on September 20, 1964.[18] This marked one of the first times that the Looney Tunes characters were animated outside of the Los Angeles area. 1964–1967: DePatie–Freleng Enterprises and Format Productions David H. DePatie and Friz Freleng started DePatie–Freleng Enterprises in 1963, and leased the old Warner Bros. Cartoons studio as their headquarters. In 1964, Warners contracted DePatie–Freleng to produce more Looney Tunes and Merrie Melodies, an arrangement that lasted until 1967. The vast majority of these paired off Daffy Duck against Speedy Gonzales, and after a few initial cartoons directed by Freleng, Robert McKimson was hired to direct most of the remaining DePatie–Freleng Looney Tunes. In addition to DePatie–Freleng's cartoons, a series of new shorts featuring The Road Runner and Wile E. Coyote was commissioned from an independent animation studio, Herbert Klynn's Format Productions. Veteran Warner animator Rudy Larriva, who had worked for years under Road Runner creator Chuck Jones, assumed directorial duties for these films, but even with the Jones connection, Larriva's Road Runner shorts are considered to be mediocre by critics. McKimson also directed an additional two Road Runner shorts with the main DePatie–Freleng team, which are more highly regarded than Larriva's efforts. After three years of outsourced cartoons, Warner Bros. decided to bring production back in-house. DePatie–Freleng had their contract terminated (they subsequently moved to new studios in the San Fernando Valley), and Format was commissioned to produce three "buffer" cartoons with Daffy and Speedy (again, directed by Rudy Larriva) to fill the gap until Warner Bros.'s own studio was up and running again. 1967–1969: Warner Bros.-Seven Arts Animation The new cartoon studio was to be headed by studio executive William L. Hendricks, and after an unsuccessful attempt at luring Bob Clampett out of retirement, former Walter Lantz Productions and Hanna-Barbera animator Alex Lovy was appointed director at the new studio. He brought his longtime collaborator, Laverne Harding to be the new studio's chief animator, and brought in Disney animator Volus Jones and Ed Solomon who also started at Disney as an assistant, which contributed to make cartoons from this era of the studio stylistically quite different from the studio's "Golden Age". Lovy also brought in animator Ted Bonnicksen and layout artist Bob Givens, both veterans of the original studio. Shortly after the studio opened, Warner Bros. was bought out by Seven Arts Associates, and the studio renamed Warner Bros.-Seven Arts. Initially, Lovy's new team produced more Daffy and Speedy cartoons, but soon moved to create new characters such as Cool Cat and Merlin the Magic Mouse, and even occasional experimental works such as Norman Normal (1968), the only cartoon not to be in either series. Lovy's cartoons were not well received, and many enthusiasts regard them (particularly his Daffy and Speedy efforts) as the worst cartoons ever produced by the studio. After a year, Alex Lovy left and returned to Hanna-Barbera, and Robert McKimson was brought back to the studio. He focused on using the characters that Lovy had created (and two of his own creation: Bunny and Claude). The studio's classic characters appeared only in advertisements (as for Plymouth Road Runner) and cartoon show bumpers. McKimson's films of the era have more adult-oriented humor than Lovy's. However, on October 10, 1969, Warner Bros. ceased production on all its short subjects and shut the studio down for good when Warner Bros.-Seven Arts was acquired by Kinney National Company. The back catalog of Looney Tunes and Merrie Melodies shorts would remain a popular broadcast and syndication package for Warner Bros. Television well into the 2000s, by which time it had reacquired the pre-August 1948[15] shorts it sold to a.a.p. on June 11, 1956. Warner Bros. Cartoons staff, 1933–1969 Studio heads     Leon Schlesinger (1933–1944)[19]     Eddie Selzer (1944–1958)     John Burton (1958–1961)     David H. DePatie (1961–1963)     William L. Hendricks (1967–1969) Directors     Tex Avery (1935–1942) (credited as Fred Avery)[20]     Ted Bonnicksen (1963)     Bernard B. Brown (1934)     Gerry Chiniquy (1964)     Bob Clampett (1937–1946) (credited as Robert Clampett)[21]     Cal Dalton (1938–1940)     Arthur Davis (1946–1949, 1962)     Earl Duvall (1933–1934)     Friz Freleng (1934–1938, 1940–1964) (credited (until late 1936) as Isadore Freleng and (until late 1955) as I. Freleng)     Ben Hardaway (1934–1935, 1938–1940)     Ken Harris (1959)     Cal Howard (1938)     Ub Iwerks (1937)     Chuck Jones (1938–1964) (credited (until late 1940) as Charles Jones and (until late 1955) as Charles M. Jones)[22]     Jack King (1934–1936)     Abe Levitow (1959–1962)     Alex Lovy (1967–1968)     Norman McCabe (1940–1943)     Robert McKimson (1946–1969)     Phil Monroe (1963–1964)     Maurice Noble (1961–1964)     Tom Palmer (1933)     Hawley Pratt (1961–1964)     Frank Tashlin (1936–1938, 1943–1946)[23]     Richard Thompson (1963)     Bill Tytla (1964) Storyboard artists/writers     Howard Baldwin     Nick Bennion     David Detiege     John Dunn     Warren Foster     Friz Freleng     Ben Hardaway     George Hill     Cal Howard     Rich Hogan     Chuck Jones     Bob Clampett     Lew Landsman     Lou Lilly     Sid Marcus     Michael Maltese     George Manuell     Robert McKimson     Melvin "Tubby" Millar     Jack Miller     Dave Monahan     Fred Neiman     Tedd Pierce     Bill Scott     Dr. Seuss     Lloyd Turner Layout/Background artists/designers     Pete Alvarado     Philip DeGuard     Gene Fleury     Nic Gibson     Robert Givens     Robert Gribbroek     Alex Ignatiev     John Didrik Johnsen     Willie Ito     Paul Julian     Earl Klein     John McGrew     Tom McKimson     Maurice Noble     Ernie Nordli     Tom O'Loughlin     Hawley Pratt     David Rose     Micheal Sasanoff     Don Smith     William Butler     Richard H. Thomas     Cornett Wood     Irv Wyner Animators     Fred Abranz     Art Babbitt     Warren Batchelder     Robert Bentley     Richard Bickenbach     Norm Blackburn     Ted Bonnicksen     Jack Bradbury     Bob Bransford     Pete Burness     George Cannata     Robert "Bobe" Cannon     John Carey     Jack Carr     Bob Carlson     Ken Champin     Gerry Chiniquy     Robert Clampett     Ben Clopton     Herman Cohen     Shamus Culhane     Cal Dalton     Keith Darling     Basil Davidovich     Arthur Davis     Jim Davis     Phil DeLara     Jaime Diaz     Joe D'Igalo     Russell Dyson     Robert Edmunds     I. Ellis     Paul Fennell[24]     Hugh Fraser     John Freeman     Ace "A.C." Gamer (Effects Animator)[25]     John Gibbs     George Grandpre     Manny Gould     Lee Halpern     Rollin Hamilton     Laverne Harding     Ken Harris     Emery Hawkins     Alex Ignatiev     Chuck Jones     Fred Jones     Volus Jones     Jack King     Anatolle Kirsanoff     Rudy Larriva     Art Leonardi     Abe Levitow     Harry Love (Effects Animator)     Bob Matz     Max Maxwell     Norman McCabe     John McGrew     Charles McKimson     Robert McKimson     Thomas McKimson     Bill Melendez     Phil Monroe     Al Pabian     Jim Pabian     Ray Patin     Manuel Perez     Tom Ray     Bob Richardson     Vive Risto     Phil Roman     Virgil Ross     Rod Scribner     Larry Silverman     Hank Smith     Paul Smith     Ed Solomon     Irven Spence     Robert Stokes     Sid Sutherland     Bob Taylor     Richard Thompson     Riley Thomson     Frank Tipper     Gil Turner     Lloyd Vaughan     Sandy Walker     Elmer Wait     Ben Washam     Volney White     Bob Wickersham     Don Williams Voices     Tex Avery     Dave Barry     Dick Beals     Bea Benaderet     Julie Bennett     Sara Berner     Mel Blanc     Billy Bletcher     Lucille Bliss     Billy Booth     Robert C. Bruce     Arthur Q. Bryan     Daws Butler     Pinto Colvig     Joe Dougherty     June Foray     Stan Freberg     Joan Gerber     Frank Graham     Bernice Hansen     Margaret Hill-Talbot     Trust Howard     Paul Julian     Abe Lyman     Tedd Pierce     Alan Reed     Marian Richman     Kent Rogers     Hal Smith     John T. Smith     Larry Storch     Bill Thompson     Danny Webb     Nancy Wible Music Musical Directors     Bernard B. Brown (1933–1936)     Norman Spencer (1933–1936)     Carl W. Stalling (1936–1958) (credited (until late 1946) as Carl W. Stalling)[26]     Eugene Poddany (1951)     Frank Perkins (1967)     Milt Franklyn (1954–1962)     John Seely (1958)     William Lava (1962–1969) (credited (until 1967) as Bill Lava)     Walter Greene (1966–1967) Orchestrations     Milt Franklyn (1936–1962) Film (Sound effects) editors     Treg Brown     Irvin Jay     Lee Gunther     Hal Geer" (wikipedia.org) "A figurine (a diminutive form of the word figure) or statuette is a small, three-dimensional sculpture that represents a human, deity or animal, or, in practice, a pair or small group of them. Figurines have been made in many media, with clay, metal, wood, glass, and today plastic or resin the most significant. Ceramic figurines not made of porcelain are called terracottas in historical contexts. Figures with movable parts, allowing limbs to be posed, are more likely to be called dolls, mannequins, or action figures; or robots or automata, if they can move on their own. Figurines and miniatures are sometimes used in board games, such as chess, and tabletop role playing games. The main difference between a figurine and a statue is size. There is no agreed limit, but typically objects are called "figurines" up to a height of perhaps two feet, though most types are less than a foot high. Contents     1 Prehistory     2 History     3 Modern era     4 Gallery     5 References Prehistory In China, there are extant Neolithic figurines.[1] European prehistoric figurines of women, some appearing pregnant, are called Venus figurines, because of their presumed connection to fertility. The two oldest known examples are made of stone, were found in Africa and Asia,[citation needed] and are several hundred thousand years old. Many made of fired clay have been found in Europe that date to 25-30,000 BC, and are the oldest ceramics known. Olmec figurines in semi-precious stones and pottery had a wide influence all over Mesoamerica about 1000-500 BC, and were apparently usually kept in houses. These early figurines are among the first signs of human culture. One cannot know in some cases how they were used. They probably had religious or ceremonial significance and may have been used in many types of rituals. Many are found in burials. Some may have been worn as jewelry or intended to amuse children." (wikkipedia.org) "An action figure is a poseable character model figure made most commonly of plastic, and often based upon characters from a film, comic book, military, video game or television program; fictional or historical. These figures are usually marketed toward boys and adult collectors. The term was coined by Hasbro in 1964 to market G.I. Joe to boys (while competitors called similar offerings boy's dolls). According to a 2005 study in Sweden, action figures which display traditional masculine traits primarily target boys.[1] While most commonly marketed as a child's toy, the action figure has gained widespread acceptance as collector item for adults. In such a case, the item may be produced and designed on the assumption it will be bought solely for display as a collectible and not played with like a child's toy. Contents     1 History         1.1 Precursors         1.2 1960s–1970s         1.3 1980s–1990s         1.4 2000s Onwards     2 Production         2.1 Raw materials         2.2 Designs     3 Characteristics and features         3.1 Scale         3.2 Articulation         3.3 Accessories         3.4 Types of packaging         3.5 Action features     4 See also     5 References History Precursors Articulated dolls go back to at least 200 BCE, with articulated clay and wooden dolls of ancient Greece and Rome. Many types of articulated figures date to the early modern period, including the artists’ mannequin[3] and the Japanese ichimatsu doll. The modern ball-jointed doll was first created in Western Europe in the late 19th century. From the late 19th century through the early 20th century French and German manufacturers made bisque dolls with strung bodies articulated with ball-joints made of composition: a mix of pulp, sawdust, glue and similar materials.[4] These dolls could measure between 15 and 100 cm (6 and 39.5 in) and are now collectible antiques. Besides the articulated doll, another important precursor to the action figure is the toy soldier. Military figures have been found in ancient Egyptian tombs, and have appeared in many cultures and eras. Tin soldiers were produced in Germany as early as the 1730s, by molding the metal between two pieces of slate. As industry and demand advanced, so did production methods, with hollow casting first being utilized in the 1890s[5] and polyethylene figures becoming common by the 1950s.[6] The toy soldier market, ubiquitous thanks to its history and mass-production methods, would therefore become a natural home for the military-themed action figure. 1960s–1970s The term "action figure" was first coined by Hasbro in 1964, to market their G.I. Joe figure to boys who refused to play with "dolls", a term primarily associated as a girl's toy. (A similar toy named Johnny Hero was introduced by Rosko Industries for Sears in 1965, but was known as a "Boy's Doll" since the term action figure had not gained widespread usage at that point.) G.I. Joe was initially a military-themed 11.5-inch figure proposed by marketing and toy idea-man Stan Weston. It featured changeable clothes with various uniforms to suit different purposes. In a move that would create global popularity for this type of toy, Hasbro also licensed the product to companies in other markets. These different licensees had a combination of uniforms and accessories that were usually identical to the ones manufactured for the US market by Hasbro, along with some sets that were unique to the local market. The Japanese had at least two examples where a Hasbro licensee also issued sublicenses for related products. For example, Palitoy (in the UK) issued a sublicense to Tsukuda, a company in Japan, to manufacture and sell Palitoy's Action Man accessories in the Japanese market. Takara also issued a sublicense to Medicom for the manufacture of action figures. Takara, still under license by Hasbro to make and sell G.I. Joe toys in Japan, also manufactured an action figure incorporating the licensed GI Joe torso for Henshin Cyborg-1, using transparent plastic revealing cyborg innards, and a chrome head and cyborg feet. During the oil supply crisis of the 1970s, like many other manufacturers of action figures, Takara was struggling with the costs associated with making the large 111⁄2-inch figures, So, a smaller version of the cyborg toy was developed, standing at 33⁄4 inches high, and was first sold in 1974 as Microman. The Microman line was also novel in its use of interchangeable parts. This laid the foundation for both the smaller action figure size and the transforming robot toy. Takara began producing characters in the Microman line with increasingly robotic features, including Robotman, a 12″ robot with room for a Microman pilot, and Mini-Robotman, a 33⁄4″ version of Robotman. These toys also featured interchangeable parts, with emphasis placed on the transformation and combination of the characters. In 1971, Mego began licensing and making American Marvel and DC comic book superhero figures, which had highly successful sales and are considered highly collectible by many adults today. They eventually brought the Microman toy line to the United States as the Micronauts, but Mego eventually lost control of the market after losing the license to produce Star Wars toys to Kenner in 1976.[7] The widespread success of Kenner's Star Wars 33⁄4″ toy line made the newer, smaller size figure with molded-on clothing the industry standard. Instead of a single character with outfits that changed for different applications, toy lines included teams of characters with special functions. Led by Star Wars-themed sales, collectible action figures quickly became a multimillion-dollar secondary business for movie studios. From 1972 to 1986 there was a famous line of Big Jim action figures produced by Mattel. 1980s–1990s The 1980s spawned all sorts of popular action figure lines, many based on cartoon series, which were one of the largest marketing tools for toy companies. Some of the most successful to come about were Masters of the Universe, G.I. Joe, Thundercats, The Real Ghostbusters and Super Powers Collection, to name just a few. Early in the decade, the burgeoning popularity of Japanese robot anime such as Gundam also encouraged Takara to reinvent the Microman line as the Micro Robots, moving from the cyborg action figure concept to the concept of the living robot. This led to the Micro Change line of toys: objects that could "transform" into robots. In 1984, Hasbro licensed Micro Change and another Takara line, the Diaclone transforming cars, and combined them in the US as the Transformers, spawning a still-continuing family of animated cartoons. As the '80s were ending, more and more collectors started to surface, buying up the toys to keep in their original packaging for display purposes and for future collectability. This led to flooding of the action figure toy market. One of the most popular action figure lines of the late '80s and early '90s, Teenage Mutant Ninja Turtles action figures were produced in such high quantities that the value for most figures would never be higher than a few dollars. In the mid-1990s, a new Star Wars figure line had surfaced and Spawn figures flooded the toy store shelves, proving action figures were not just for kids anymore. Beginning in 1997, ToyFare magazine would become a popular read for mature collectors in providing news and embracing nostalgia with a comedic twist. And with the gaining popularity of the Internet, websites such as Toy News International would soon offer information on upcoming collectible figures and merchandise. It was during this time that popular characters were increasingly getting specialized costume and variant figures. Batman quickly became most notorious for this (i.e. Arctic Batman, Piranha Blade Batman, Neon Armor Batman). Rather than individual characters, these variants would make up the bulk of many action figure lines and often make use of the old figure and accessory molds. Glow-in-the-dark figures and accessories also became popular in the early '90s with lines like Toxic Crusaders and Swamp Thing. A 1999 study found that "the figures have grown much more muscular over time, with many contemporary figures far exceeding the muscularity of even the largest human bodybuilders" and that the changing cultural expectations reflected by those changes may contribute to body image disorders in both sexes.[8] 2000s Onwards     This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2015) (Learn how and when to remove this template message) The adult collector market for action figures expanded with companies such as McFarlane Toys, Palisades, and NECA. These companies have given numerous movie characters, musicians, and athletes their very first highly detailed figures. The Cinema of Fear action figures were sold together with plush dolls, "screen grab" dioramas, and limited edition toys based on New Line Cinema's horror franchise. These kinds of action figure are mainly intended as statuesque display pieces rather than toys. Child-oriented lines such as the Masters of the Universe revival and Justice League Unlimited, however, still evoke adult collector followings as well. Comic book firms are also able to get figures of their characters produced, regardless of whether or not they appeared in movies or animated cartoons. Examples of companies that produce comic figures and merchandise almost exclusively include Toy Biz and DC Direct. Adult-oriented figure lines are often exclusive to specific chain stores rather than mass retail. Popular lines often have figures available exclusively through mail-in offers and comic conventions, which raises their value significantly. Ploys such as packaging "errors" and "short-packed" figures have also been used by toy companies to increase collector interest. Production Raw materials     This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2012) (Learn how and when to remove this template message) Modelling clay and various sculpting tools are used to create the prototype. The actual figure is molded from a harder plastic resin such as acrylonitrile butadiene styrene (ABS). Softer plastics and nylon may be used for costume components including body suits, capes, and face masks. Acrylic paints of various colors may be used to decorate the figure. More elaborate toys may contain miniature electronic components that provide light and sound effects. Designs Display case in Japan featuring typical anime/manga action figures and figurines Once the character has been selected, the actual design process begins with sketches of the proposed figure. The next step is the creation of a clay prototype, but other materials such as wax can also be used for the prototype. This model is made by bending aluminum wires to form the backbone of the figure, known as an armature. The wire form includes the outline of the arms and legs posed in the general stance that the figure will assume. The sculptor then adds clay to the armature to give the basic weight and shape that is desired. The clay may be baked slightly during the prototyping process to harden it. Then, the sculptor uses various tools, such as a wire loop, to carve the clay and shape details on the figure. After creating the basic form, the sculptor may choose to remove the arms and work on them separately for later attachment. This gives the sculptor more control and allows him to produce finer details on the prototype. Working with blunt tools, the sculptor shapes the body with as much detail as is desired. During this process, photo and sketch references are used to ensure the figure is as realistic as possible. Some sculptors may even use human models to guide their design work. After the general body shape is complete, the sculptor adds the finer details, paying close attention to the eyes, nose, and mouth that give the figure its lifelike expression. The designer may attach a rough lump of clay on the main figure as a temporary head while the real head is sculpted on a separate armature. This allows the sculptor to finish the figure's facial expressions independently of the body. At this point, the finished head can be attached to the main armature and joined to the body with additional clay. Once the head is attached, the neck and hair are sculpted to properly fit to the figure. Then, depending on the design of the figure, the costume may be sculpted directly onto the body. However, if a cloth costume or uniform will be added later, the prototype is sculpted without any costume details. During this process, parts of the clay may be covered with aluminum foil to keep it from prematurely drying out. Once everything is completed, the entire figure is baked to harden the clay. The sculpted prototype is then sent for approval to the manufacturer. Once all design details have been finalized, the prototype is used to make the molds that will form the plastic pieces for the mass-produced figure. The entire sculpting process may take about two weeks, depending on the skill and speed of the sculptor. This process may be repeated several times if revisions must be made to the figure. Several months are typically allowed for this design phase.[9][10] Characteristics and features Scale Action Figures come in fixed scales to allow compatibility within (and sometimes between) toy ranges. Ratio     Inches per foot     Size     Examples[11] 1:32     0.375" [9.5 mm]     2.125" [54 mm]     2.12-inch HASBRO Star Wars: Unleashed toy soldiers and Wm.Britain Ltd. plastic figures, farm animals and vehicles. 1:30     0.4" [10.16 mm]     2.36" [60 mm]     Used for detailed metal toy soldiers (King & Country, BlackHawk, Wm.Britain). 1:24     0.5" [12.7 mm]     2.5" [63.5 mm]     2.5-inch mini Action Figures (Hasbro's Playskool and Star Wars: Galactic Heroes). Also called 1/2-inch scale for children's dollhouses. 1:18     0.67" [16.93 mm]     3.75" [95.25 mm]     3.75-inch action figures (Kenner Star Wars, Hasbro G.I. Joe: A Real American Hero, Mattel Jurassic World). Also called 2/3-inch scale for children's dollhouses. 1:16     0.75" [19.05 mm]     4" [101.6 mm]     4-inch action figures. Also used for most plastic toy animal figures and Ertl's toy farm sets (animals, structures, and most vehicles). The Hasbro 3.75-inch G.I. Joe figures' vehicles are closer to this scale. 1:15     0.8" [20.32 mm]     5" [127 mm]     5-inch action figures (Kenner Jurassic Park, Bandai Power Rangers). 1:12     1" [25.40 mm]     6" [152.4 mm]     6-inch action figures (Toy Biz Marvel Legends, Hasbro Marvel Cinematic Universe, Playmates Teenage Mutant Ninja Turtles, and DC Direct Action Figures). Also used for "Classic scale" model horses and called 1-inch scale for dollhouses. 1:10     1.2" [30.48 mm]     7" [177.8 mm]     7-inch action figures (Mattel "classic scale" He Man and the Masters of the Universe, DC Universe and most NECA Figures). 1:9     1.33" [33.87 mm]     8" [203.2 mm]     8-inch action figures and dolls (Mego World's Greatest Super Heroes). Also used for "Traditional scale" model horses. 1:6     2" [50.80 mm]     12" [304.8 mm]     12-inch Articulated figures - Action Figures like Hasbro "classic scale" G.I. Joe, Dragon Models New Generation Life Action Figures, and Hot Toys Movie Masterpiece Series. Fashion dolls like Mattel's Barbie or Volks' Dollfie. Also used for static display figures (commonly of anime characters). 1:4     3" [76.20 mm]     18" [457 mm]     18-inch highly detailed larger action figures and fashion dolls. 1:3     4" [101.60 mm]     24" [609.6 mm]     24-inch highly articulated large ball-jointed fashion dolls (Volks Super Dollfie). Articulation A common feature among action figures is body articulation, often referred to as points of articulation (POA)[12] or joints. The most basic forms of articulation include one neck joint, two shoulder joints, and two hip joints. Beyond these, rotating wrists, bending knees, and a swiveling waist are also common. Various terms have come into practice such as a "cut" joint, frequently used to allow a basic head rotation at the neck or arm rotation at the shoulder. The "T" joint at a figure's hips commonly allows up to 180° of front-to-back leg rotation; although, this may vary. Ball joints often allow more liberal movement than a cut, such as the figure's head being able to tilt in addition to a cut's strict vertical rotation. Basic knee articulation often relies on what is considered a pin joint.[13][14][15] The amount and style of figure articulation used by toy designers have varied over the years. Two of the most popular figure lines of the 1980s, G.I. Joe: A Real American Hero and Masters of the Universe, contrasted one another greatly in articulation; the former included several points in their small, 33⁄4" scale while the bulkier latter remained minimal. Both, however, used methods involving rubber cords at the hips that are little used today. In the 2000s, Toy Biz's popular Marvel Legends line became known for its high rate of articulation, even boasting points at the abdomen, toes, and fingers.[16] Accessories While not all action figures include accessories, the additional items often prove essential to characters and their effectiveness as interactive toys. Typical 33⁄4" scale G.I. Joe figures include several intricately sculpted guns or hand weapons that can be fastened inside the figures' hands. Missile launchers are also commonplace in military and comic book figure lines and usually involve a spring-loaded mechanism. However, possibly due to safety concerns, this method saw a decline in the mid-1990s. Some figures, particularly of the Joker, have incorporated water-squirting weapons.[17] More recently, Marvel Legends has popularized the "build-a-figure" concept. Each figure of a particular series includes a body part to a larger-scaled figure. This encourages the consumer to purchase every figure of the given series, in order to complete the larger figure. The concept has spread into Mattel's DC Universe Classics. Figures intended to appeal to the collector market commonly include a display base[18] and/or pack-in comic book. In such cases accessories may be designed more for display than play. Types of packaging     This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2015) (Learn how and when to remove this template message) Manufacturers have packaged their action figures in a number of ways. Window Box packaging Window box packages consist of a sturdy, but somewhat thin cardboard box that allows for easy stacking. The box has colorful artwork to draw one's attention. The front of the box will have an area of the cardboard that is cut out and a thin piece of soft plastic then fills the cutout area. This ensures easy visibility of the action figure inside of the box. This type of packaging was used by companies such as Mego Corporation in the early 1970s until they switched to the Carded Bubble style of packaging in the mid to late 1970s. Window Box packaging is still used today, often for figures that measure 10" or taller in height. Carded Bubble packaging This type of packaging consists of a sturdy piece of thin cardboard backing known as a "Card." The card is decorated with colorful artwork to draw consumer attention. The action figure is placed on the card and a bubble of clear plastic is then laid over the top of the action figure and attached to the card. The figure is then clearly visible to consumers. Often the bubble will have several small, fitted compartments to hold the figure and its accessories in place. Kenner and Hasbro's packaging of Star Wars action figures since 1977 are an example. PVC packaging A more recent type of packaging that is common as of the 2000s decade is PVC packaging. With this type of packaging, the cardboard card is replaced by a clear PVC plastic backing. The front of the package is a different piece of PVC plastic that is molded to include a bubble that will house the action figure and all of its accessories. Any colorful artwork designed to help draw attention to the package will be printed on a thin piece of paper that is placed between these two pieces of PVC, or will be affixed in sticker form to the front piece of PVC. This type of packaging is popular today and can be seen being used by McFarlane Toys for their Movie Maniacs line of action figures beginning with Series V. Other companies that utilize this type of packaging are NECA/Reel Toys (National Entertainment Collectibles Association) with their Cult Classics and Pirates of the Caribbean line of figures, and Toy Biz with its Marvel Legends action figures, which included a comic book placed between the two PVC segments. Tube packaging Another recent type of PVC packaging is a tube-shaped piece of PVC plastic surrounding the action figure. The tube may be cylindrical or oval in shape. Artwork on the package is often in the form of a sticker affixed to the outside of the PVC tube. This type of packaging has been used by Hasbro for their Star Wars Galactic Heroes line of figures. Action features Figures of the original Masters of the Universe line included many unique "action features": Battle Armor He-Man and Skeletor had rotating chest plates to represent varying degrees of damage;[19] Leech featured suction cup limbs; Mantenna's eyes would pop out using a lever on his back; and Thunder Punch He-Man would thrust a punch and emit a loud bang from the ring cap in his backpack. Other features emphasized aesthetic rather than action, such as the flocked bodies of Grizzlor and Moss Man as well as the unique scents of the latter and Stinkor. The success of the many Transformers lines has relied heavily on their signature feature of shifting from vehicle to robot. The popularity of this carried into Teenage Mutant Ninja Turtles' Mutatin' series among others. In 1987, Mattel introduced figures for the television series Captain Power and the Soldiers of the Future. The line boasted an interactive game where children could shoot at the TV screen. However, while an ambitious concept, it was not a long-term success. Glow-in-the-dark paint and plastic have been utilized in various figure collections, particularly those of the early '90s including Ninja Turtles, Swamp Thing, and Toxic Crusaders. Similarly, a color-changing feature has been demonstrated on some figures throughout the years. This concept involves dipping the character's head into cold water and revealing a temperature-sensitive paint. Examples include Kenner's Sky Escape Joker[20] and Camouflage Swamp Thing, as well as Hasbro's Desert-Camo Sgt. Savage.[21] The majority of figures in Kenner's Super Powers Collection toted a punching action upon the squeezing together of their legs.[22] In a more technically advanced method, the Ninja Turtles' Wacky Action series involved a wind-up gear that caused the motorized performance of certain actions like swimming legs or a rotating wrist.[23] Two years prior also saw the release of Tyco's Dino-Riders, which featured battery powered, motorized dinosaurs." (wikipedia.org) "Model figure From Wikipedia, the free encyclopedia Jump to navigation Jump to search A model figure is a scale model representing a human, monster or other creature. Human figures may be either a generic figure of a type (such as "World War II Luftwaffe pilot"), a historical personage (such as "King Henry VIII"), or a fictional character (such as "Conan"). Model figures are sold both as kits for enthusiast to construct and paint and as pre-built, pre-painted collectable figurines. Model kits may be made in plastic (usually polystyrene), polyurethane resin, or metal (including white metal); collectables are usually made of plastic, porcelain, or (rarely) bronze. There are larger size (12-inch or 30 cm tall) that have been produced for recent movie characters (Princess Leia from Star Wars, for example). Large plastic military figures are made by some model soldier manufacturers as a sideline. Contents     1 Military models     2 Japanese figures     3 Garage kits     4 US history     5 Model figure collecting     6 See also     7 References Military models Enthusiasts may pursue figure modeling in its own right or as an adjunct to military modeling. There is also overlap with miniature figures (minis) used in wargames and role-playing games: minis are usually less than 54 mm scale, and do not necessarily represent any given personage. Back in the early '80s and '90s military modeling figures were largely produced in 1:72 and 1:35 scales with other scales such as 1:48 and 1:32 holding a smaller market share. Typically 1:48 scale was reserved for aircraft and aircraft support vehicles with figures being maintenance and flight crews while 1:32 scale miniatures were composed largely of vehicles such as tanks and their crews. 1:35 scale miniatures were produced by many companies such as Tamiya, Testor's, Revell, Monogram and others. Kits of soldiers, vehicles and combinations covered World War I through Vietnam with the largest portion centering on World War II. 1/72 scale miniatures covered a much wider and diverse range of time periods with Atlantic offering figures of Ancient Egyptians, Greeks, Romans, Cowboys, American Indians and many more. Other company's such as Airfix supplied not only high-quality figures in 1:72 scale but also fine planes and military vehicles and still do so today. One of the largest distinctions between 1:72 scale and 1:35 scale aside from the obvious size was the amount of ready-to-paint dioramas and sets available to small-scale modelers. Airfix, a leader in the small-scale model market offered several kits for modelers from pontoon bridges, the Atlantic wall, Waterloo, and many others. These kits came with everything a hobbyist would need to portray a given moment from buildings and trees to vehicles and men. None of these were available to the larger scale modeler. Tamiya, a higher-end supplier of military vehicle and soldier kits, has, in the past few years, taken 1:48 scale modeling a step further offering an interesting line of German and American World War II figures and vehicles making it possible to incorporate tanks, jeeps, and foot soldiers into dioramas with aircraft, something which was only possible in 1:72 scale for quite a long time. For the serious military modeler this opens a new realm of possibilities in diorama making. The same growth in availability is true for 1:32 scale as well. For quite a while 1:32 scale figures were more or less better versions of the army men children play with. Kits came as single-cast figures molded as a unit instead of the ready-to-assemble versions found at 1:48 and 1:35 scale where arms, helmets and gear must be cut from plastic sprues and glued together. 1:32 scale soldiers were often slightly lower quality than their 1:35 scale counterparts as they were molded from a softer plastic allowing things like rifle barrels to bend while the soldiers sat in the boxes. 1:32 scale kits were limited and this made extensive modeling difficult. Lately, 1:32 scale modeling has made a large push to expand as companies now sell these figures professionally pre-painted making them exceptional for large-scale military gaming of all sorts. In fact, the diorama industry has started supplying pre-painted diorama scenery as well making high-quality 1:32 scale diorama making much easier than ever before. Figure model kits can be as large as 1:16 scale. These kits include motorized vehicles and stand alone figures. Kits of this size take a great deal of effort and time to paint as lengths must be taken to get the details of the paint job precise whereas with smaller kits, while details is still essential, there is less to be done. Many model figures used for gaming are measured in millimeters ranging from 15 to 80 mm with miniature wargaming figures running on the smaller end especially where armored vehicles are used. Traditional modelers tend to stick to the more common 1:72-1:32 scales leaving the other sizes to the gamers. As with all things, quality and price vary from manufacturer to manufacturer and the end result of a model is often limited by its initial quality. Today many new model manufacturers take great lengths to make 1:72, 1:48, 1:35 and 1:32 scale models as highly detailed and realistic as possible. This, unfortunately, makes many of the older, still existing sets, less desirable for diorama making but still fun to build, especially as starter kits for a less experienced modeller. Many of these older kits can still be found online at a reasonable price and while they don't offer as many pieces or as highly detailed molding, they can still produce a respectable product after paint and proper weathering is administered. Model aircraft and vehicle kits in even smaller scales will also often include "model figures," or can be purchased as accessories. There are also kits of the drivers and servicers of cars, and the series of figurines that stand in the streets and platforms of model railroads. Japanese figures Display cases featuring typical Japanese anime and manga figurines Collecting of model figures based on icons like Hello Kitty, as well as characters appearing in anime, manga, kaiju (monster) serials, science fiction/fantasy films and video games is a major part of otaku fandom. Some hobbyists concentrate specifically on a certain type of figure, such as garage kits, gashapon (capsule toys), or PVC bishōjo (pretty girl) statues. Such figures prominently featured in work of modern artist Takashi Murakami. Through his company Kaikai Kiki, he has produced a number of limited designer toys to be sold in otaku oriented stores. Garage kits Garage kit figures are produced by both amateurs and professionals,[1] and usually cast out of polyurethane resin. In Japan they often portray anime characters and in the US they are often movie monsters. Garage kits are usually produced in limited numbers and are more expensive than typical injection molded plastic figures and kits. US history In the 50s and 60s plastic model kits such as cars, planes or space ships became common in the US. There were also cheap plastic models for the popular market of movie monsters, comic book heroes, and movie and television characters in 1:8 size (about 9 inches or 23 cm in height). These included monsters like Frankenstein, The Wolf Man, Dracula, and the Creature from the Black Lagoon. One of the largest producers of monster figures were the Aurora Plastics Corporation, who produced many thousands figures from each mould. This market disappeared and no firm since has produced anything to match their quantities. Instead smaller (3¾-inch or 10 cm) action figures of have taken over the popular market. In the 1970s, Aurora's figure molds for had been sold to Monogram and by the mid-to late 1970s, the models had been discontinued and were difficult to find in hobby stores. In the mid-1980s some who were kids in the 1950s and 60s resumed their interest in the old Aurora monster models. An underground market developed through which enthusiasts could acquire the original plastic model kits. While the prices in the 50s and 60s had been only a few dollars, now the kits were selling for as much as $125 for some of the rarer monster models. In the early to mid-1980s, hobbyists began creating their own garage kits of movie monsters, often without permission from copyright holders. They were usually produced in limited numbers and sold primarily by mail order and at toy and hobby conventions. In the mid- to late 1980s, two model kit companies moved the monster model kit hobby toward the mainstream. Horizon Models in California and Screamin' Models in New York began licensing vinyl model kits of movie monsters. Horizon focused primarily on classic horror film characters (like Bride of Frankenstein, Invisible Man, The Phantom of the Opera) and comic book characters (like Captain America and Iron Man). Screamin' focused primarily on characters from more contemporary slasher movies like A Nightmare on Elm Street, Hellraiser and franchises like Star Wars and Mars Attacks.[2] Hobby stores began to carry these products in limited supply. By the 1990s model kits were produced in the US, UK as well as Japan and distributed through hobby and comic stores. Large hobby companies like AMT-Ertl and Revell/Monogram (the same Monogram that bought the Aurora monster molds) began marketing vinyl model kits of movie monsters, the classic Star Trek characters, and characters from one of the Batman films. There was an unprecedented variety of licensed models figure kits. In the late 1990s model kit sales went down. Hobby and comic stores and their distributors began carrying fewer garage kits or closed down. Producers like Horizon and Screamin' shut their doors. As of 2009, there are two American garage kit magazines, Kitbuilders Magazine[3] and Amazing Figure Modeler,[4] and there are garage kit conventions held each year, like WonderFest USA in Louisville, Kentucky.[5] Model figure collecting Model figure collectors, like most hobby collectors, usually have a specific criterion for what they collect, such as Civil-War soldiers, or Warhammer gaming figures. Specifically with an eye to collectors, manufacturers of collectable model figures make chase figures. This is a model figure that is released in limited amounts relative to the rest of an assortment, often something like "one chase figure for every two cases of regular product" or similar. This is comparable to the chase cards in the collectible card game industry.[6][7] The name comes from the assumption that collectors, in their need to "collect them all" will put in more effort than usual to "chase" down these figures. Generally speaking, chase figures are rare in toy lines aimed at youth markets, although there are occasionally shortpacked figures (shipped in lower numbers than other figures in its release cycle). Chase figures are more common in collector-oriented lines like Marvel Legends and WWE Classics." (wikipedia.org) "Polyvinyl chloride (colloquial: polyvinyl, or simply vinyl;[6] abbreviated: PVC) is the world's third-most widely produced synthetic polymer of plastic (after polyethylene and polypropylene).[7] About 40 million tons of PVC are produced each year. PVC comes in two basic forms: rigid (sometimes abbreviated as RPVC) and flexible. The rigid form of PVC is used in construction for pipe and in profile applications such as doors and windows. It is also used in making plastic bottles, non-food packaging, food-covering sheets and plastic cards (such as bank or membership cards). It can be made softer and more flexible by the addition of plasticizers, the most widely used being phthalates. In this form, it is also used in plumbing, electrical cable insulation, imitation leather, flooring, signage, phonograph records,[8] inflatable products, and many applications where it replaces rubber.[9] With cotton or linen, it is used in the production of canvas. Pure polyvinyl chloride is a white, brittle solid. It is insoluble in alcohol but slightly soluble in tetrahydrofuran.... Applications PVC is used extensively in sewage pipes due to its low cost, chemical resistance and ease of jointing Pipes Roughly half of the world's PVC resin manufactured annually is used for producing pipes for municipal and industrial applications.[30] In the private homeowner market, it accounts for 66% of the household market in the US, and in household sanitary sewer pipe applications, it accounts for 75%.[31][32] Buried PVC pipes in both water and sanitary sewer applications that are 100 mm (4 in) in diameter and larger are typically joined by means of a gasket-sealed joint. The most common type of gasket utilized in North America is a metal reinforced elastomer, commonly referred to as a Rieber sealing system.[33] Its lightweight, low cost, and low maintenance make it attractive. However, it must be carefully installed and bedded to ensure longitudinal cracking and overbelling does not occur. Additionally, PVC pipes can be fused together using various solvent cements, or heat-fused (butt-fusion process, similar to joining high-density polyethylene (HDPE) pipe), creating permanent joints that are virtually impervious to leakage. PVC pipe is also often estimated to last 50 to 70 years. In February 2007 the California Building Standards Code was updated to approve the use of chlorinated polyvinyl chloride (CPVC) pipe for use in residential water supply piping systems. CPVC has been a nationally accepted material in the US since 1982; California, however, has permitted only limited use since 2001. The Department of Housing and Community Development prepared and certified an environmental impact statement resulting in a recommendation that the commission adopt and approve the use of CPVC. The commission's vote was unanimous, and CPVC has been placed in the 2007 California Plumbing Code. Electric cables PVC is commonly used as the insulation on electrical cables such as teck; PVC used for this purpose needs to be plasticized. Flexible PVC coated wire and cable for electrical use has traditionally been stabilised with lead, but these are being replaced with calcium-zinc based systems. In a fire, PVC-coated wires can form hydrogen chloride fumes; the chlorine serves to scavenge free radicals and is the source of the material's fire retardancy. While hydrogen chloride fumes can also pose a health hazard in their own right, it dissolves in moisture and breaks down onto surfaces, particularly in areas where the air is cool enough to breathe, and is not available for inhalation.[34] Frequently in applications where smoke is a major hazard (notably in tunnels and communal areas), PVC-free cable insulation is preferred, such as low smoke zero halogen (LSZH) insulation. Construction "A modern Tudorbethan" house with uPVC gutters and downspouts, fascia, decorative imitation "half-timbering", windows, and doors PVC is a common, strong but lightweight plastic used in construction. It is made softer and more flexible by the addition of plasticizers. If no plasticizers are added, it is known as uPVC (unplasticized polyvinyl chloride) or rigid PVC. uPVC is extensively used in the building industry as a low-maintenance material, particularly in Ireland, the United Kingdom, the United States, and Canada. In the US and Canada, it is known as vinyl or vinyl siding.[35] The material comes in a range of colors and finishes, including a photo-effect wood finish, and is used as a substitute for painted wood, mostly for window frames and sills when installing insulated glazing in new buildings; or to replace older single-glazed windows, as it does not decompose and is weather-resistant. Other uses include fascia, and siding or weatherboarding. This material has almost entirely replaced the use of cast iron for plumbing and drainage, being used for waste pipes, drainpipes, gutters and downspouts. uPVC is known as having strong resistance against chemicals, sunlight, and oxidation from water.[36] Double glazed units Signs Polyvinyl chloride is formed in flat sheets in a variety of thicknesses and colors. As flat sheets, PVC is often expanded to create voids in the interior of the material, providing additional thickness without additional weight and minimal extra cost (see closed-cell PVC foamboard). Sheets are cut using saws and rotary cutting equipment. Plasticized PVC is also used to produce thin, colored, or clear, adhesive-backed films referred to simply as vinyl. These films are typically cut on a computer-controlled plotter (see vinyl cutter) or printed in a wide-format printer. These sheets and films are used to produce a wide variety of commercial signage products, including car body stripes and stickers.[37] Clothing Black PVC trousers Main article: PVC clothing PVC fabric is water-resistant, used for its weather-resistant qualities in coats, skiing equipment, shoes, jackets, aprons, patches[38] and sports bags. PVC fabric has a niche role in speciality clothing, either to create an artificial leather material or at times simply for its effect. PVC clothing is common in Goth, Punk, clothing fetish and alternative fashions. PVC is less expensive than rubber, leather or latex, which it is used to simulate. Healthcare The two main application areas for single-use medically approved PVC compounds are flexible containers and tubing: containers used for blood and blood components, for urine collection or for ostomy products and tubing used for blood taking and blood giving sets, catheters, heart-lung bypass sets, hemodialysis sets etc. In Europe the consumption of PVC for medical devices is approximately 85,000 tons each year. Almost one third of plastic-based medical devices are made from PVC.[39] The reasons for using flexible PVC in these applications for over 50 years are numerous and based on cost effectiveness linked to transparency, light weight, softness, tear strength, kink resistance, suitability for sterilization and biocompatibility. Flooring See also: Sheet vinyl flooring and Vinyl composition tile Flexible PVC flooring is inexpensive and used in a variety of buildings, including homes, hospitals, offices, and schools. Complex and 3D designs are possible, which are then protected by a clear wear layer. A middle vinyl foam layer also gives a comfortable and safe feel. The smooth, tough surface of the upper wear layer prevents the buildup of dirt, which prevents microbes from breeding in areas that need to be kept sterile, such as hospitals and clinics. Wire rope PVC may be extruded under pressure to encase wire rope and aircraft cable used for general purpose applications. PVC coated wire rope is easier to handle, resists corrosion and abrasion, and may be color-coded for increased visibility. It is found in a variety of industries and environments both indoor and out.[40] Other uses A vinyl record PVC has been used for a host of consumer products. One of its earliest mass-market consumer applications was vinyl record production. More recent examples include wallcovering, greenhouses, home playgrounds, foam and other toys, custom truck toppers (tarpaulins), ceiling tiles and other kinds of interior cladding. PVC piping is cheaper than metals used in musical instrument making; it is therefore a common alternative when making instruments, often for leisure or for rarer instruments such as the contrabass flute. An instrument that is almost exclusively built from PVC tube is the slap organ, a percussive organ which is played by slapping the open tubes with a flip-flop or similar." (wikipedia.org) "The cowboy hat is a high-crowned, wide-brimmed hat best known as the defining piece of attire for the North American cowboy. Today it is worn by many people, and is particularly associated with ranch workers in the western and southern United States, western Canada and northern Mexico, with many country, regional Mexican and sertanejo music performers, and with participants in the North American rodeo circuit. It is recognized around the world as part of Old West apparel. The cowboy hat as known today has many antecedents to its design, including Mexican hats such as the sombrero, the various designs of wide-brimmed hat worn by farmers and stockmen in the eastern United States, as well as the designs used by the United States Cavalry. The first western model was the open-crowned "Boss of the Plains", and after that came the front-creased Carlsbad, destined to become "the" cowboy style.[1] The high-crowned, wide-brimmed, soft-felt western hats that followed are intimately associated with the cowboy image.... The concept of a broad-brimmed hat with a high crown worn by a rider on horseback can be seen as far back as the Mongolian horsemen of the 13th century.[3] The hat has a tall crown that provides insulation, and a wide brim that provides shade. Hot and sunny climates inspire designs with very wide brims such as the sombrero of Mexico. It is not clear when the cowboy hat received its name. However, European-Americans in the Western United States originally had no standard headwear. People moving West wore many styles of hat, including top hats, bowlers, remains of Civil War headgear, and sailor hats.[4][5] Contrary to popular belief, it was the bowler and not the cowboy hat that was the most popular in the American West, prompting Lucius Beebe to call it "the hat that won the West".[6] The working cowboy wore wide-brimmed and high-crowned hats. The hats were most likely adopted from the Mexican Vaqueros before the invention of the modern design.[7] John Batterson Stetson is credited for originating the modern day American Cowboy Hat.[8] A Boss of the Plains hat The original "Boss of the Plains", manufactured by Stetson in 1865, was flat-brimmed, had a straight sided crown, with rounded corners.[9] These light-weight, waterproof hats were natural in color, with four-inch crowns and brims.[10] A plain hatband was fitted to adjust head size.[11] The sweatband bore Stetson's name.[4] While only making one style of hat, they came in different qualities ranging from one-grade material at five dollars apiece to pure beaver felt hats for thirty dollars each.[12] J.B. Stetson was the first to market the "Boss of the Plains" to cowboys, and it has remained the universal image of the American West.[13] The charisma of the West was carried back East when adventurers returned in the expensive "Boss of the plains" style hat.[14] In the 19th century and first half of the 20th century, a hat was an indispensable item in every man's wardrobe. Stetson focused on expensive, high-quality hats that represented a real investment for the working cowboy and a statement of success for the city dweller. President Ronald Reagan demonstrated the popularity of the cowboy hat as a movie star, as a resident of the American west, and as a horseback rider. The durability and water-resistance of the original Stetson obtained additional publicity in 1912, when the battleship USS Maine was raised from Havana harbor, where it had sunk in 1898. A Stetson hat was found in the wreck, which had been submerged in seawater for 14 years. The hat had been exposed to ooze, mud, and plant growth. However, the hat was cleaned off, and appeared to be undamaged.[15] Design Stetson hat manufactured in the 1920s Modern cowboy hats are made of fur-based felt, straw or, less often, leather. They are sold with a tall, rounded crown and a wide flat brim. They have a simple sweat band on the inside to stabilize the fit of the head, and usually a small decorative hat band on the outside of the crown. Hats are customized by creasing the crown and rolling the brim. Often a more decorative hat band is added. In some places, "stampede strings" or "wind strings" are also attached.[16] Hats can be manufactured in virtually any color, but are most often seen in shades of beige, brown and black. Beginning in the 1940s, pastel colors were introduced, seen often on hats worn by movie cowboys and rodeo riders.[17] "Today's cowboy hat has remained basically unchanged in construction and design since the first one was created in 1865 by J.B. Stetson."[18] Modern designs Modern working cowboys wearing cowboy hats. While providing less protection from the sun, their turned-up brims prevent them from being as easily knocked off during lasso use. The modern cowboy hat has remained basically unchanged in construction and underlying design since the Stetson creation.[18] The cowboy hat quickly identified its wearer as someone associated with the West.[19] "Within a decade the name 'John B. Stetson' became synonymous with the word 'hat' in every corner and culture west of the Mississippi River."[20] The shape of the hat's crown and brim were often modified by the wearer for fashion and to protect against weather by being softened in hot steam, shaped, and allowed to dry and cool. Because of the ease of personalization, it was often possible to tell where a cowboy hat was from, right down to which ranch, simply by looking at the crease in the crown.[13] Silent film actor William S. Hart Later as the mystique of the Wild West was popularized by entertainers such as Buffalo Bill Cody and western movies starring actors such as Tom Mix, the Cowboy hat came to symbolize the American West.[21] John Wayne christened them "the hat that won the West".[2] The Boss of the Plains design influenced various wide-brimmed hats worn by farmers and ranchers all over the United States. Later designs were customized for law enforcement, military and motion pictures. The first American law-enforcement agency to adopt Stetson's western hat as part of their uniform was the Texas Rangers.[22] A Stetson-based design is also part of the ceremonial uniform of the Royal Canadian Mounted Police.[citation needed] Variations Ten-gallon hats Some cowboy hats have been called "ten-gallon" hats. The term came into use about 1925.[23] There are multiple theories for how the concept arose. One theory is that the term "ten-gallon" is a corruption of the Spanish modifier tan galán, which loosely translates as "really handsome"[24] or "so fine". For example, "un sombrero tan galán" translates as "such a fine hat". Another theory is that the term "ten-gallon" is a corruption of the Spanish term galón, which means "galloon", a type of narrow braided trim around the crown, possibly a style adapted by Spanish cowboys. When Texas cowboys misunderstood the word galón for "gallon", the popular, though incorrect, legend may have been born. According to Reynolds and Rand, "The term ten-gallon did not originally refer to the holding capacity of the hat, but to the width of a Mexican sombrero hatband, and is more closely related to this unit of measurement by the Spanish than to the water-holding capacity of a Stetson."[25] The Stetson hat company boasted that the tight weave of most Stetsons hats made them sufficiently waterproof to be used as a bucket. Early print advertising by Stetson showed a cowboy giving his horse a drink of water from a hat.[26] The Stetson company notes that a "ten-gallon" hat holds only 3 quarts, not even one gallon (about 3 L instead of 38 liters).[25][27] Calgary White Hat The Calgary White Hat is a white felt cowboy hat which is the symbol of both the Calgary Stampede annual rodeo and the city of Calgary. Created by Morris Shumiatcher, owner of Smithbilt Hat Company, it was worn for the first time at the 1946 Stampede. In the early 1950s, Mayor of Calgary Donald Hugh Mackay began presenting the white hat to visiting dignitaries, a tradition that the mayor's office continues to this day. Thousands of tourists and groups also participate in "white hatting ceremonies" conducted by Tourism Calgary and by volunteer greeters at the Calgary International Airport. In 1983, the Calgary White Hat was incorporated into the design of the flag of Calgary." (wikipedia.org) "A handkerchief (/ˈhæŋkərtʃɪf/; also called a hankie or, historically, a handkercher) is a form of a kerchief or bandanna, typically a hemmed square of thin fabric which can be carried in the pocket or handbag, and which is intended for personal hygiene purposes such as wiping one's hands or face, or blowing one's nose. A handkerchief is also sometimes used as a purely decorative accessory in a suit pocket; it is then called a pocket square. It is also an important accessory in many folk-dances in many regions like the Balkans and the Middle East; an example of a folk-dance using handkerchiefs is Kalamatianos. Contents     1 Modern usage     2 Origin     3 Pocket square     4 Rumāl     5 Chamba Rumal     6 See also     7 References     8 External links Modern usage The material of a handkerchief can be symbolic of the socio-economic class of the user, not only because some materials are more expensive, but because some materials are more absorbent and practical for those who use a handkerchief for more than style. Handkerchiefs can be made of cotton, cotton-synthetic blend, synthetic fabric, silk, or linen. Handkerchiefs are also used as an impromptu way to carry around small items when a bag or basket is unavailable. They could also serve as a substitute for a bandage over a small injury. In the United Kingdom, the habit of wearing a handkerchief with tied corners on one's head at the beach has become a seaside postcard stereotype. From the late 18th century white handkerchiefs were waved, generally by women (men usually waved their hats), to demonstrate approval at public events such as processions or political rallies.[1][2] Using handkerchiefs to accentuate hand movements while dancing is a feature of both West African and African-American traditional dance, in the latter case especially in wedding celebrations.[3] Handkerchiefs are also traditional accoutrements in certain kinds of English folk dance, such as the Morris dance. Besides their intended use, they could be used for cleaning equipment, polishing shoes, cleaning hands and face, signalling for attention, as a sweat band, neckerchief, as protection from dust inhalation, to repair footwear, cut out pieces to patch clothes, cut up as emergency firearms cleaning patches, Molotov cocktail wick (fire-bomb), hot cooking utensil holder, a makeshift bandage, tourniquet, or arm sling. Origin Before people used the word handkerchief, the word kerchief alone was common. This term came from two French words: couvrir, which means “to cover” and chef, which means “head”. In the times of ancient Greece and Rome, handkerchiefs were often used the way they are today.[citation needed] But in the Middle Ages,[4] kerchiefs were usually used to cover the head.[citation needed] Then in the 16th century, people in Europe began to carry kerchiefs in their pockets to wipe their foreheads or their noses. To distinguish this kind of kerchief from the one used to cover the head, the word "hand" was added to "kerchief".[citation needed] King Richard II of England, who reigned from 1377 to 1399, is widely believed to have invented the cloth handkerchief, as surviving documents written by his courtiers describe his use of square pieces of cloth to wipe his nose.[5] Certainly they were in existence by Shakespeare's time, and a handkerchief is an important plot device in his play Othello. Pocket square Suits with pocket handkerchief In addition to carrying for practical purposes, handkerchiefs have long been displayed in the chest pocket of men's jackets. Used in this way, they are referred to as a pocket handkerchief or pocket square. A traditional pocket square will have the hem rolled, contrary to handkerchiefs.[citation needed] The trend of pocket squares as a fashion accessory really started during the 1920s, and continued until the 1960s. During that period, actors such as Cary Grant, Fred Astaire and Gary Cooper wore them regularly. The pocket square subsequently fell into disuse until the late 2000s when it made a comeback thanks in part to popular television shows such as Mad Men. Pocket squares are usually made in fabrics such as silk, cotton, linen or wool. As a visible fashion item there are a wide variety of ways to fold a pocket square, ranging from the austere to the flamboyant:     The Presidential, or Flat Fold, perhaps the simplest, is folded at right angles to fit in the pocket.     The Winged Puff, a simple and elegant fold.     The Puff or the Cooper is simply shaped into a round puff.     The Reverse Puff, or The Crown Fold, is like the Puff, except with the puff inside and the points out, like petals.     The Westo Four Point fold, the quickest way to achieve a four-point fold effect.     The TV Fold looks similar but is folded diagonally with the point inside the pocket.     The One-point Fold is folded diagonally with the point showing.     The Two-point Fold is folded off-center so the two points do not completely overlap.     The Three-point Fold is first folded into a triangle, then the corners are folded up and across to make three points.     The Four-point Fold is an off-center version of the Three-point Fold.     The Cagney is basically a backwards version of the Four-point Fold.     The Astaire is a puff with a point on either side.     The Straight Shell is pleated and then folded over to give the appearance of nested shells.     The Diagonal Shell is pleated diagonally and then folded. Although it is very common practice for weddings, proms, etc., many style authorities do not recommend wearing a matching (i.e., identical) pocket square and tie, as it tends to look contrived, draws attention away from the wearer's face, and displays sartorial uncertainty. Instead, the two items should coordinate without matching; for example, by matching a secondary color in the necktie's pattern to a secondary color in the pocket square's pattern." (wikipedia.org) "A kerchief (from the Old French couvrechief, "cover head"), also known as a bandana or bandanna, is a triangular or square piece of cloth tied around the head, face or neck for protective or decorative purposes. The popularity of head kerchiefs may vary by culture or religion, and may vary among Orthodox Jewish and Orthodox Christian, Catholic, Amish, and Muslim people. The neckerchief and handkerchief are related items. Contents     1 Types         1.1 Bandana         1.2 Oramal         1.3 Headscarves     2 See also     3 References     4 External links Types Bandana A man wearing a red bandana A bandana or bandanna (from Sanskrit बन्धन or bandhana, "a bond")[1][2] is a type of large, usually colourful kerchief, originating from the Indian subcontinent, often worn on the head or around the neck of a person. It is considered to be a hat by some. Bandanas are frequently printed in a paisley pattern and are most often used to hold hair back, either as a fashionable head accessory, or for practical purposes. It is also used to tie around the neck to prevent sunburn, and around the mouth and nose to protect from dust inhalation or to hide the identity of its wearer. Bandanas originated in India as bright coloured handkerchiefs of silk and cotton with spots in white on coloured grounds, chiefly red and blue Bandhani. The silk styles were made of the finest quality yarns, and were popular. Bandana prints for clothing were first produced in Glasgow from cotton yarns, and are now made in many qualities. The term, at present, generally means a fabric in printed styles, whether silk, silk and cotton, or all cotton.[3] The word bandana stems from the Hindi words 'bāndhnū,' or "tie-dyeing," and 'bāndhnā,' "to tie." These stem from Sanskrit roots 'badhnāti,' "he ties," and Sanskrit 'bandhana' (बन्धन), "a bond."[4] In the 18th and 19th centuries bandanas were frequently known as bandannoes.[5]     A girl wearing a bandana on her head to support Portugal in football in the colors of that country's flag     Red and blue bandanas in traditional paisley patterns     Bandanas hanging out     Bandhani     A man wearing a kerchief around his neck Oramal Oramal The Oramal is a traditional kerchief used in Central Asia and the Caucasus (note how it is banded, the neck is usually not covered by it). In some countries like Uzbekistan, it was traditionally used only at home, while in public the paranja was more popular. In other countries, like Kazakhstan, it was commonly used in public. In Kyrgyzstan, the white color is an indication that the woman is married. As well it was widely used by men at horse riding at summertime instead of cap. Headscarves Kerchiefs are also worn as headdresses by Austronesian cultures in maritime Southeast Asia. Among Malay men it is known as tengkolok and is worn during traditional occasions, such as weddings (worn by the groom) and the pesilat." (wikipedia.org) "Origin Yosemite Sam made his debut in "Hare Trigger". He bears a resemblance to Red Ryder, a cowboy character in "Buckaroo Bugs", which could be seen as a prototype. Michael Maltese claims that he made Yosemite in the likeness of director Friz Freleng. When Elmer Fudd, Bugs Bunny's first enemy, proved to be too much of a softy for his target, Friz decided he needed a tougher opponent so Sam was created. Personality Yosemite Sam is one of Bugs' toughest antagonists. Yosemite Sam is a more violent character than Bugs' most famous antagonist Elmer Fudd, given that Sam has a tougher accent, a higher fierce voice, and a more violent spirit. He is also quicker to learn from his mistakes and never falls for the same ploy twice. Despite his aggressive and hot-tempered nature, he doesn't prove much brighter than Elmer in his encounters with Bugs. His noise contrasts to the calmly cocky rabbit. Sam's own cockiness gets the best of him, portraying him as a bumbling idiot, and Bugs can see he is incapable of turning down a challenge. A running gag is that sometimes Yosemite Sam tells Bugs "Open up this door open it up now!" and Bugs opens it when Yosemite Sam is in its way of opening and then closes it, leaving a raging Yosemite Sam flattened. Another gag involves Sam yelling 'Whoa!' at whatever mode of transportation he was using, only to whack it when it refuses to stop. In addition to his fiery temper and violent nature, Sam is also very abusive towards animals, as he often violently beats his animal minions such as horses (e.g. in "Wild and Woolly Hare"), camels (e.g. in "Sahara Hare"), elephants (e.g. in "Prince Violent"), dragons (e.g. in "Knighty Knight Bugs"), etc. every time when they refuse to stop in their tracks or when they annoy him in the slightest such as sneezing or roaring at him, or forcing them to attack Bugs for him. Unfortunately these proved to be his undoing most of the time, as the animals often either retaliate with violence or make the situation even worse for him. For example in "Prince Violent", the elephant betrays Sam and defects over to Bugs' side as revenge for all the abuse it endured from Sam. In some cartoons, such as "From Hare to Heir", "Honey's Money", and "Dumb Patrol", he has a rather foul mouth, as sometimes he cusses unintelligibly when angry, saying things like "rackin' frackin' varmint," either loudly or when mumbling to himself. Occupations Yosemite Sam has had several occupations in his appearances. Among them include: Prison Guard/Police Officer: In "Big House Bunny", Yosemite Sam is a prison guard working at a fierce prison. When Bugs Bunny enters the prison to escape hunters, Sam claiming to be named Sam Schultz, arrests Bugs, believing that the wabbit is a prisoner trying to escape. Sam sentences the subdued chained Bugs to fifty years in prison. However, Sam gets infuriated and changes his mind after Bugs annoys him. He eventually orders Bugs to leave and never return and celebrates ridding Bugs until he is arrested for helping a prisoner (Bugs) escape. Warrior: In "Sahara Hare", Yosemite Sam is an Arabian warrior named Riff-Raff Sam. One day, Sam sees footprints on his desert and follows them on the way abusing his camel. Sam eventually sees Bugs trespassing and chases the wabbit into an abandoned base. Sam tries several unsuccessful attempts to enter the base in the episode, which all fail. Pirate: In "Buccaneer Bunny", "Mutiny on the Bunny", and "Captain Hareblower", Yosemite Sam is a pirate and fights Bugs Bunny to try to capture the rabbit's ship. Indian Chief: In "Horse Hare", Sam is an Indian chief that leads an army of Indians to capture US Cavalry Sergeant Bugs' base. Cowboy: In "Wild and Woolly Hare", Yosemite Sam is a legendary gangster cowboy who takes over towns, through intimidation. One day Bugs Bunny challenges him to a gunfight. After Bugs wins the gunfight, Yosemite Sam decides to rob a train. Bugs, however, boards and hijacks the train to save it; Yosemite Sam as a running gag, orders Bugs to get off by the time he counts to a specific number but just when he reaches his final number, he always runs into something like a tunnel wall, telephone pole and falls off a bridge. Alien Agent: In "Lighter Than Hare", Yosemite Sam is sent by an alien potentate to fetch an Earth creature. After junking the robots Sam sends out and exploiting an Achilles' heel in Sam's "indestructible" tank, Bugs tricks Sam into bringing back a fake rabbit that contains a time bomb. (Among others) And while this is not an occupation, he is an Entitled Customer in "High Diving Hare"; when the act he wants to see was unavoidably delayed, he tries to make Bugs do the daring high dive instead, ignoring Bugs' acrophobia. Design Yosemite Sam is a small fellow with a big mouth. He has a temper as short as he is, often drawing his guns on anyone who dares to defy him. He is much like a character from a Western movie, wearing a cowboy hat, bandana and cowboy boots. His small size is lampooned in the short "Hare Trigger", where a train he tries to hold up passes right over him without him being harmed. He is reckless, very stubborn, and hates it when he is wrong; so much so, in fact, that he shoots bullets at random targets, but never hits anyone. He possesses a mean and somewhat vindictive streak. However, he has taken the roles of several other positions, such as a knight and mayor, but the miniature outlaw is best known for his Western cartoons, even though his non-Western "Knighty Knight Bugs" cartoon won an Academy Award. Sam usually has a full head of hair when he is not wearing a hat, except in "Southern Fried Rabbit" and in Looney Tunes Cartoons, where he is mostly bald with a few strands of hair and a liver spot. However, later shorts started depicting him with a full head of hair again. Rivalry Sam has, on several accounts, attempted to defeat his arch-nemesis, Bugs Bunny, but he has never succeeded, due to the brilliant cleverness and cunning of Bugs. No matter how many times he tries, Sam always seems to experience some form of pain or humiliation when he challenges Bugs. Bugs likes to call him Sam. Sam has appeared in forms of a pirate, a riff-raffer, a knight, a prospector, and many others in cartoons with Bugs. No matter which form Sam takes, Bugs always beats him in the end. Voice Actors Over the years, Sam has been voiced by the following people:     Mel Blanc: 1945 - 1989[6]     Joe Alaskey: Who Framed Roger Rabbit, Tiny Toon Adventures, Bugs & Friends Sing The Beatles, Bugs & Friends Sing Elvis, Looney Tunes Phonics     Jeff Bergman: 1990-1992, 2014, 2021     Charlie Adler: Tiny Toon Adventures (1 episode only)     Maurice LaMarche: 1992 - 2016     Greg Burson: 1991 - 1997     Jim Cummings: 1996 - 2000, 2014     Bill Farmer: Space Jam     Frank Gorshin: "From Hare to Eternity"     Jeff Bennett: Looney Tunes Back in Action, "Hare and Loathing in Las Vegas"     Fred Tatasciore: 2017 - present     Keith Scott: Looney Tunes Musical Revue     Eric Bauza: Looney Tunes World of Mayhem...Notes     Yosemite Sam has "died" in five cartoons: "Roman Legion-Hare", "Sahara Hare", "Shishkabugs", "Devil's Feud Cake", and "Dumb Patrol".     In the book The Looney Tunes Treasury, Yosemite Sam has a show called Yosemite Sam's Kiddie Corral, which is a parody of locally hosted children's shows.     In The Looney Tunes Show episode "Ridiculous Journey", Yosemite Sam's cousin is Blacque Jacque Shellacque.     In The Looney Tunes Show Sam's full name is Samuel Michelangelo Rosenbaum.     In New Looney Tunes, Yosemite Sam's full name is Aloysius Barthomelew Sam.     It is unknown why he has different names on both shows. Quotes     Ooooooohhhhh! I hate that rabbit!! ~"Southern Fried Rabbit"     Great horny toads! I must've dug clean through t' Chinee! ~"14 Carrot Rabbit"     I'm Yosemite Sam, the roughest, toughest, rip-roarin'-est, Edward Everett Horton-est hombre whatever packed a six-shooter! (fires a few shots) That's who I am! ~"Hare Trigger"     If there's ever givin' away any cigars, Yosemite Sam'll give 'em! -"Ballot Box Bunny"     Twenty years trying and ya missed me again! Ya shovel-nosed mackerel! No good bushwhacking barracuda. -"Rabbitson Crusoe"     AH, SHUDDUP! Here! You're a-swabbin' the deck! -"Mutiny on the Bunny"     Ya ornery fur-bearin' rebel! You'll pay for this! -"Bunker Hill Bunny"     Oooooh, ya long-eared fur-bearin' flatfooted varmint! Say yer prayers, ya critter! I'm a-blastin' ya to kingdom come at the count of ten! -"Hare Lift"     What?! Ooooh -- listen, rabbit! Yosemite Sam never makes a mistake! Now get that flea-bitten carcass off'n my real-estate! -"The Fair Haired Hare"     Let me outta here, let me outta here! Ooooooh! Get me a mouthpiece! I want a "habus corpeus!" -"Big House Bunny"     Open up that door! Ya notice I didn't say Richard? Come on, open up or I'll bust her down! -"High Diving Hare"     The first one that tries to get out of here to warn that rabbit, gets his hide blown off! And that goes for the rest of you! -"Rabbit Every Monday"     Now where'd that skunk of a rabbit go? (a lion roars in his face) Why, you mangy fang-toothed critter! (hits the lion over the head) Take that! Maybe that'll learn ya to keep yer big mouth shut! That fur-bearin' varmint's around here somewhere. (Bugs opens the cell gates. The lion roars in Sam again, forcing him to whack it on the head more times) HOW MANY TIMES DO I HAVE TO TELL YOU...to...shut...up? (runs away, chased by the lion) - "Roman Legion-Hare"     When I say "whoa" I mean "whoa!" - "Sahara Hare"     Ya double crossers! I'm a-comin' back and I ain't comin' back to play marbles! -"Prince Violent"     Cook, where's my lunch? Where's my dinner? Ooh, that gastronomic, epicure, culinary crepe suzette! I hate him! -"Shishkabugs"     If you're not here to gamble, you're not here! -"Hare and Loathing in Las Vegas"     We ain't a-goin' nowheres! ~Space Jam     Come back here, ya darn idiot galoots! ~Looney Tunes Back in Action     Dadburn slapstick cliche`! ~Looney Tunes Back in Action     You got us stuck on this stupid rock, you good-for-nothin' feline! You no good rassin-frassin kitty cat! Get back here and take the fur! Come here, boy! ~Tweety's High-Flying Adventure     Great horny toads! I'm being railroaded! ~Tweety's High-Flying Adventure     Ya wanna know what I think of Alex? Well IIIIIIIIII think he's PATHETIC! I mean, that's y'all's protagonist?! There's no art to that character! What obstacle did he overcome?! What was his emotional journey?! In fact, only thing that's more pathetic than Alex is this book club! NOW GET OUT! Get! Get! Don't forget your books! Yosemite Sam is back! YEE-HAW! ~ The Looney Tunes Show" (looneytunes.fandom.com) "Applause Inc. was a company that produced stuffed toys and collectible figurines. Its principal subsidiaries included Dakin Inc. and International Tropic-Cal Inc. The Applause brand survives as part of Kid Brands. History The company was founded as The Wallace Berrie Company in 1966 by Wallace Berrie. In 1979, the company acquired the Applause division from Knickerbocker Toys. In 1986, the company changed its name to Applause Inc. In 1992, Applause released the Magic Trolls Babies toy line. R. Dakin & Co. On April 1, 1955, Richard Dakin, a San Francisco entrepreneur, started a business importing shotguns from Europe.[1] In 1957, his son, Roger, joined and imported battery-operated trains, and the manufacturer also sent samples of small, sawdust-filled cotton-velveteen-covered toys.[1] Roger quickly booked an order for three hundred pieces from a nearby department store.[1] On 20 December 1966, Richard Dakin, Richard Dakin's wife, Roger Dakin, Roger Dakin's wife, and Roger Dakin's four children died in a plane crash. Dakin merger From 1991 to 1995, the company built a retail business by focusing on entertainment licensed brands with in-store merchandising displays. In late 1995, the company acquired Dakin Inc., a stuffed animals company. This acquisition strengthened Applause's generic stuffed animal business to balance out its entertainment license portfolio. Applause created a Strategic Alliances Group to oversee products for food-related and premium-based programs. In 1998, the company produced fast food toys for children's franchises." (wikipedia.org)
  • Condition: Used
  • Condition: In very good, pre-owned condition. Please see photos and description.
  • Animation Studio: Warner Bros. Animation
  • Character: Yosemite Sam
  • Material: PVC
  • Year Manufactured: 1988
  • Item Length: 2.6875 in
  • Franchise: Looney Tunes
  • Vintage: Yes
  • Brand: Applause
  • Type: Vinyl Figure
  • Original/Licensed Reproduction: Original
  • Item Height: 2.1875 in
  • Packaging: Without Packaging
  • Theme: Cartoon & TV Character
  • Features: Miniature, Retired, Vintage
  • Time Period Manufactured: 1980-1989
  • Genre: Western
  • Country/Region of Manufacture: China
  • Item Width: 1.1875 in

PicClick Insights - 1988 YOSEMITE SAM 2" FIGURINE guns pirate pistols Looney Tunes vinyl figure RARE PicClick Exclusive

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