First white singer to sing jazz and blues songs.

Marion Harris (April 4, 1896 — April 23, 1944) was an American popular singer, most successful in the 1920s. She was the first widely known white singer to sing jazz and blues songs.

Her biggest success, “I Ain’t Got Nobody”

The Man I Love


The Beatles: Yesterday

This is one of the most fame songs during the 1960’s till today.. Guys here you are The Beatles: Yesterday

1940 icon: Veronica Lake

Veronica Lake (November 14, 1922[1] – July 7, 1973) was an American film actress and pin-up model.

She received both popular and critical acclaim, most notably for her femme fatale roles in film noir with Alan Ladd during the 1940s, and was well-known for her peek-a-boo hairstyle. Her success did not last; she had a string of broken marriages and long struggles with mental illness and alcoholism until she died of hepatitis.

Her breakthrough film was I Wanted Wings in 1941, a major hit in which Lake played the second female lead and was said to have stolen scene after scene from the rest of the cast. This success was followed by Hold Back the Dawn later that year. She had starring roles in more popular movies, including Sullivan’s Travels, This Gun for Hire, I Married a Witch, The Glass Key, and So Proudly We Hail!. Looking back at her career years later, Lake remarked, “I never did cheesecake; I just used my hair.”

For a short time during the early 1940s Lake was considered one of the most reliable box office draws in Hollywood. She became known for onscreen pairings with actor Alan Ladd. At first, the couple was teamed together merely out of physical necessity: Ladd was just 5 feet 5 inches (1.65 m) tall and the only actress then on the Paramount lot short enough to pair with him was Lake, who stood just 4 feet 11½ inches (1.51 m). They made four films together.

A stray lock of her shoulder-length blonde hair during a publicity photo shoot led to her iconic “peekaboo” hairstyle, which was widely imitated. During World War II, she changed her trademark image to encourage women working in war industry factories to adopt more practical, safer hairstyles.

Although popular with the public, Lake had a complex personality and acquired a reputation for being difficult to work with. Eddie Bracken, her co-star in Star Spangled Rhythm was quoted as saying, “She was known as ‘The Bitch’ and she deserved the title.”[9] In that movie, Lake took part in a song lampooning her hair style, “A Sweater, A Sarong and a Peekaboo Bang”, performed with Paulette Goddard and Dorothy Lamour.[10] Joel McCrea, her co-star in Sullivan’s Travels, reputedly turned down the co-starring role in I Married a Witch, saying, “Life’s too short for two films with Veronica Lake.” [11]

Lake’s career stumbled with her unsympathetic role as Nazi spy Dora Bruckman in 1944’s The Hour Before the Dawn. During filming, she tripped on a lighting cable while pregnant and began hemorrhaging. She recovered, but her second child, William, was born prematurely on July 8, 1943, dying a week later from uremic poisoning.[12] By the end of 1943 her first marriage ended in divorce. Meanwhile, scathing reviews of The Hour Before Dawn included criticism of her unconvincing German accent.

Nonetheless, Lake was earning $4,500 per week under her contract with Paramount. She had begun drinking more heavily during this period and people began refusing to work with her. Paramount cast Lake in a string of mostly forgotten films. A notable exception was The Blue Dahlia (1946), in which she again co-starred with Ladd. During filming, screenplay writer Raymond Chandler referred to her as “Moronica Lake”.[13] Paramount decided not to renew her contract in 1948.

She married film director Andre De Toth in 1944 and had a son, Andre Anthony Michael De Toth, known as Michael De Toth (October 25, 1945 – February 24, 1991), and a daughter, Diana De Toth (born October 16, 1948). Lake was sued by her mother for support payments in 1948.

Lake earned her pilot’s license in 1946 and was able to fly solo between Los Angeles and New York.

World War II in color

Watch World War II video in color..

The God Father Music

The Last Interview of Marilyn Monroe

70’s & 80’s must listen songs

I knew these songs from my dad.. he told  me once that these songs are the best when he was young at the 70’s and 80’s time..

Bee Gees  How Deep Is Your Love

Lionel Richie Hello

Madonna La Isla Bonita

And my fav one for Abba Dancing Queen ” My sister got this song in her car and she know that I like it so she always repeat it more than once to me If I’m going with her to somewhere”

Rowan & Martin’s Laugh-In

Rowan & Martin’s Laugh-In is an American sketch comedy television program which ran for 140 episodes from January 22, 1968, to May 14, 1973.

 It was hosted by comedians Dan Rowan and Dick Martin and was broadcast over NBC. It originally aired as a one-time special on September 9, 1967 and was such a success that it was brought back as a series, replacing The Man from U.N.C.L.E. on Mondays at 8 pm (EST).

Watch here

Goldie Hown explaining the time

And can’t stop laughing

Silent Films

A silent film


 is a film with no synchronized recorded sound, especially spoken dialogue. In silent films for entertainment the dialogue is transmitted through muted gestures, pantomime and title cards. The idea of combining motion pictures with recorded sound is nearly as old as film itself, but because of the technical challenges involved, synchronized dialogue was only made practical in the late 1920s with the perfection of the audion amplifier tube and the introduction of the Vitaphone system. After The Jazz Singer in 1927, “talkies” became more and more commonplace and within a decade silent films had died out due to technology.

Watch this silent film in 1920’s for Colleen Moore

The first projected sequential proto-movie was made by Eadweard Muybridge some time between 1877 and 1880. The first narrative film was created by Louis Le Prince in 1888. It was a two-second film of people walking in Oakwood streets garden, entitled Roundhay Garden Scene. The art of motion pictures grew into full maturity in the “silent era” before silent films were replaced by “talking pictures” in the late 1920s. Many film scholars and buffs argue that the aesthetic quality of cinema decreased for several years until directors, actors, and production staff adapted to the new “talkies”.

Watch Sir Charlie Chaplin

The visual quality of silent movies—especially those produced in the 1920s—was often high. However, there is a widely held misconception that these films were primitive and barely watchable by modern standards. This misconception comes as a result of silent films being played back at wrong speed and their deteriorated condition. Many silent films exist only in second- or third-generation copies, often copied from already damaged and neglected film stock

Because silent films had no synchronized sound for dialogue, onscreen intertitles were used to narrate story points, present key dialogue and sometimes even comment on the action for the cinema audience. The title writer became a key professional in silent film and was often separate from the scenario writer who created the story. Intertitles (or titles as they were generally called at the time) often became graphic elements themselves, featuring illustrations or abstract decoration that commented on the action.

Title card

Showings of silent films almost always featured live music, starting with the pianist at the first public projection of movies by the Lumière Brothers on December 28, 1895 in Paris. From the beginning, music was recognized as essential, contributing to the atmosphere and giving the audience vital emotional cues. (Musicians sometimes played on film sets during shooting for similar reasons.) Small town and neighborhood movie theatres usually had a pianist.

Silent film actors emphasized body language and facial expression so that the audience could better understand what an actor was feeling and portraying on screen. Much silent film acting is apt to strike modern-day audiences as simplistic or campy. The melodramatic acting style was in some cases a habit actors transferred from their former stage experience. The pervading presence of stage actors in film was the cause of this outburst from director Marshall Neilan in 1917: “The sooner the stage people who have come into pictures get out, the better for the pictures.” In other cases, directors such as John Griffith Wray required their actors to deliver larger-than-life expressions for emphasis. As early as 1914, American viewers had begun to make known their preference for greater naturalness on screen.

In any case, the large image size and unprecedented intimacy the actor enjoyed with the audience began to affect acting style, making for more subtlety of expression. Actresses such as Mary Pickford in all her films, Eleonora Duse in the Italian film Cenere (1916), Janet Gaynor in Sunrise, Priscilla Dean in Outside the Law and The Dice Woman and Lillian Gish and Greta Garbo in most of their performances made restraint and easy naturalism in acting a virtue. Directors such as Albert Capellani (a French director who also did work in America directing Alla Nazimova films) and Maurice Tourneur insisted on naturalism in their films; Tourneur had been just such a minimalist in his prior stage productions. By the mid-1920s many American silent films had adopted a more naturalistic acting style, though not all actors and directors accepted naturalistic, low-key acting straight away; as late as 1927 films featuring expressionistic acting styles such as Metropolis were still being released. Some viewers liked the flamboyant acting for its escape value, and some countries were later than the United States in embracing naturalistic style in their films. In fact today the level of naturalism in acting varies from film to film and our favourites may not be the most naturalistic. Just as today, a film’s success depended upon the setting, the mood, the script, the skills of the director, and the overall talent of the cast.

Until the standardization of the projection speed of 24 frames per second (FPS) for sound films in 1926, silent films were shot at variable speeds (or “frame rates”), typically anywhere from 16 to 23 frames per second or faster, depending on the year and studio. Sixteen frames per second became the most commonly used speed in the earliest silent films, as a result of the Lumière brothers’ Cinematographé. Unless carefully shown at their original speeds they can appear unnaturally fast and jerky, which reinforces their alien appearance to modern viewers. Gus Van Sant mentions in director commentary (~52 minutes into Psycho: Collector’s Edition – 1998) that telecine conversion at grossly incorrect frame rates in the 1950s for broadcast television may have contributed to the alienation of younger audiences (his generation) — thereby accelerating the demise of rebroadcast of silent films as those viewers grew to adulthood. At the same time, some scenes were intentionally undercranked during shooting to accelerate the action, particularly in the case of slapstick comedies. The intended frame rate of a silent film can be ambiguous and since they were usually hand cranked there can even be variation within one film. Film speed is often a vexed issue among scholars and film buffs in the presentation of silents today, especially when it comes to DVD releases of “restored” films; the 2002 restoration of Metropolis (Germany, 1927) may be the most fiercely debated example.

Projectionists frequently ran silent films slightly faster than the number of frames per second they were shot at. Most films seem to have been shown at 18 frame/s or higher – some even faster than what became sound film speed (24 FPS, or 90 feet per minute). Even if shot at 16 FPS (often cited as “silent speed”), the projection of a cellulose nitrate base film at such a slow speed carried a considerable risk of fire. Often projectionists received general instructions from the distributors as to how fast particular reels or scenes should be projected on the musical director’s cue sheet. In rare instances, usually for larger productions, detailed cue sheets specifically for the projectionist provided a detailed guide to presenting the film. Theaters also—to maximize profit—sometimes varied projection speeds depending on the time of day or popularity of a film.

With the lack of natural color processing available, films of the silent era were frequently dipped in dyestuffs and dyed various shades and hues to signal a mood or represent a time of day. Blue represented night scenes, yellow or amber meant day. Red represented fire and green represented a mysterious mood. Similarly, toning of film (such as the common silent film generalization of sepia-toning) with special solutions replaced the silver particles in the film stock with salts or dyes of various colors. A combination of tinting and toning could be used as an effect that could be striking.

Top grossing silent films in the United States

  • The Birth of a Nation (1915)
  • The Big Parade (1925)
  • Ben-Hur (1925)
  • Way Down East (1920)
  • The Gold Rush (1925)
  • The Four Horsemen of the Apocalypse (1921)
  • The Circus (1928) – $3,800,000
  • The Covered Wagon (1923)
  • The Hunchback of Notre Dame (1923)
  • The Ten Commandments (1923)
  • Orphans of the Storm (1921)
  • For Heaven’s Sake (1926)
  • Seventh Heaven (1926)
  • Abie’s Irish Rose (1928)
  • Although attempts to create sync-sound motion pictures go back to the Edison lab in 1896, the technology became well-developed only in the early 1920s. The next few years saw a race to design, implement, and market several rival sound-on-disc and sound-on-film sound formats, such as Photokinema (1921), Phonofilm (1923), Vitaphone (1926), Fox Movietone (1927), and RCA Photophone (1928).

    Although the release of The Jazz Singer (1927) by Warner Brothers marked the first commercially successful sound film, silent films were the majority of features released in both 1927 and 1928, along with so-called goat-glanded films: silents with a section of sound film inserted. Thus the modern sound film era may be regarded as coming to dominance beginning in 1929.

    For a listing of notable silent era films, see list of years in film for the years between the beginning of film and 1928. The following list includes only films produced in the sound era with the specific artistic intention of being silent.

    • Un Chien Andalou, Salvador Dalí/Luis Buñuel, 1929
    • City Girl, F.W. Murnau, 1930
    • Borderline, Kenneth MacPherson, 1930
    • Earth, Aleksandr Dovzhenko, 1930
    • City Lights, Charlie Chaplin, 1931
    • Tabu, F. W. Murnau, Robert Flaherty, 1931
    • I Was Born, But…, Yasujiro Ozu, 1932
    • A Story of Floating Weeds, Yasujiro Ozu, 1934
    • The Goddess , Wu Yonggang, 1934
    • Modern Times, Charlie Chaplin, 1936

    Movie of the night

    Watch one of my fav movies ” JENTLEMEN PREFER BLONDES” for Jane Russell and Marilyn Monroe



    Smile, darn ya, smile
    You know this great world is a good world after all
    Smile, darn ya, smile
    And right away watch lady luck pay you a call
    Things are never black as they are painted
    Time for you and joy to get acquainted
    So make life worthwhile
    Come on and smile, darn ya, smile

    Man of 1000 voices

    Mel Blanc

    Mel Blanc (May 30, 1908 – July 10, 1989) was an American voice actor and comedian. Although he began his nearly six-decade-long career performing in radio commercials, Blanc is best remembered for his work with Warner Bros. during the “Golden Age of American animation” (and later for Hanna-Barbera television productions) as the voice of such well-known characters as Bugs Bunny, Daffy Duck, Porky Pig, Sylvester the Cat, Tweety Bird, Foghorn Leghorn, Yosemite Sam, Wile E. Coyote, Woody Woodpecker, Barney Rubble, Mr. Spacely, Speed Buggy, Captain Caveman, Heathcliff, Speedy Gonzales and hundreds of others. Having earned the nickname “The Man of a Thousand Voices,” Blanc is regarded as one of the most influential people in the voice-acting industry.

    At the time of his death, it was estimated that 20 million people heard his voice every day.

    Watch his interview

    Animation voice work during the Golden Age of Hollywood

    In 1936, Mel Blanc joined Leon Schlesinger Productions, which made animated cartoons distributed by Warner Bros. Blanc liked to tell the story about how he got turned down at the Schlesinger studio by music director Norman Spencer, who was in charge of cartoon voices, saying that they had all the voices they needed. Then Spencer died, and sound man Treg Brown took charge of cartoon voices, while Carl Stalling took over as music director. Brown introduced Blanc to animation directors Tex Avery, Bob Clampett, Friz Freleng, and Frank Tashlin, who loved his voices. The first cartoon Blanc worked on was Picador Porky as the voice of a drunken bull. He took over as Porky Pig’s voice in Porky’s Duck Hunt, which marked the debut of Daffy Duck, also voiced by Blanc.

    Blanc soon became noted for voicing a wide variety of cartoon characters, adding Bugs Bunny, Tweety Bird, Pepé Le Pew and many others. His natural voice was that of Sylvester the Cat, but without the lispy spray. (Blanc’s voice can be heard in an episode of The Beverly Hillbillies that also featured frequent Blanc vocal foil Bea Benaderet; in his small appearance, Blanc plays a vexed cab-driver.)

    In his later years, Blanc claimed that a handful of late 1930s and early 1940s Warner cartoons that each featured a rabbit clearly a precursor of Bugs Bunny all actually dealt with a single character named Happy Rabbit. No use of this name by other Termite Terrace personnel, then or later, has ever been documented, however. Happy Rabbit was noted for his laugh which became more famous as the laugh of Woody Woodpecker (of which Blanc was the original voice) until he won an exclusive contract with Warner Bros. which meant he couldn’t do Woody’s voice anymore as the Woody Woodpecker cartoons were produced by Walter Lantz Productions and distributed by Universal Pictures. Blanc later recorded “The Woody Woodpecker Song” for Capitol Records.

    Though his best-known character was a carrot-chomping rabbit, munching on the carrots interrupted the dialogue. Various substitutes, such as celery, were tried, but none of them sounded like a carrot. So for the sake of expedience, he would munch and then spit the carrot bits into a spittoon rather than swallowioht g2%mena Coc dnitnw eu hti ehtalogue. One oft-repeated story is that he was allergic to carrots and had to spit them out to minimize any allergic reaction; but his autobiography makes no such claim; in fact, in a 1984 interview with Tim Lawson, co-author of The Magic Behind The Voices: A Who’s Who of Cartoon Voice Actors (University Press of Mississippi, 2004), Blanc emphatically denied being allergic to carrots. In a Straight Dope column, a Blanc confidante confirmed that Blanc only spit out the carrots because of time constraints, and not because of allergies or general dislike.

    Blanc said his most challenging job was voicing Yosemite Sam; it was rough on the throat because of Sam’s sheer volume and raspiness. (Foghorn Leghorn’s voice was similarly raucous, but to a lesser degree.) Late in life, he reprised several of his classic voices for Who Framed Roger Rabbit, but deferred to Joe Alaskey to do Yosemite Sam’s and Foghorn Leghorn’s voices.

    Throughout his career, Blanc was well aware of his talents and protected the rights to them contractually and legally. He, and later his estate, did not hesitate to take civil action when those rights were violated. Voice actors usually got no screen credits at all, but Blanc was a notable exception; by 1944, his contract stipulated a credit reading “Voice characterization by Mel Blanc.” Blanc asked for and received this screen credit from studio boss Leon Schlesinger when Leon objected to giving Blanc a raise in pay. Other frequent Warner voice artists, such as Arthur Q. Bryan (Elmer Fudd), Stan Freberg (Pete Puma among many other characters), June Foray (Granny) and Bea Benaderet (many female voices), remained uncredited on-screen. However, Freberg did receive screen credit for Three Little Bops, a musical spoof of The Three Little Pigs, directed by Friz Freleng. Freberg is a frequent contributor to the various Golden Collection projects that showcase the Looney Tunes and Merrie Melodies. Blanc, himself, is often spoken of with reverence by younger voice specialists in those DVD collections.

    Blanc’s screen credit was noticed by radio show producers, who gave him more radio work as a result. It wouldn’t be until the early ’60s that the other voice actors and actresses became credited on Warner Brothers theatrical cartoons.

    To know more, watch this short video  

    Merrie Melodies

    Merrie Melodies is the name of a series of animated cartoons distributed by Warner Bros. Pictures between 1931 and 1969.

    Originally produced by Harman-Ising Pictures, Merrie Melodies were produced by 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. Merrie Melodies were outsourced to DePatie-Freleng Enterprises from 1964 to 1967, and Warner Bros. Cartoons re-assumed production for the series’ final two years.


    Producer Leon Schlesinger had already produced one cartoon in the Looney Tunes series, based on music, 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. 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 Spoone Melodies, which featured popular songs of the day. These shorts were basically an early type of music video that included segments with a popular artist singing along with appropriate background sequences. The 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. Rudy Ising and Hugh Harman 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. 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. The shorts proved to be enormously popular with the public. In 1932, a Merrie Melody, 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 Cinecolor (Disney had exclusive rights to the richer Technicolor process). Their success convinced Schlesinger to produce all future Merrie Melodies shorts in color as well. 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.

    Contractually, Merrie Melodies cartoons were obligated to include at least one full chorus from a Warner Bros. song. 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.

    In the late 1930s, the animators were 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 1942, 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 Tune 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 1946 that the two series completely appeared indistinguishable, and that Bugs appeared in more Looney Tunes than Merrie Melodies.

    By 1942, 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 & Eddie Cantor. 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?”

    Another reason Warners kept releasing cartoons under both series names was that if they had stopped using one of them, the trademark, after some time, would expire, and other companies could make money off of it. Thus, both series names would continue to be used as to prevent this.

    The last Merrie Melodies cartoon was also the last released by Warner Bros. Cartoons as part of the original series begun in the 1930s. It was Injun Trouble released in 1969.

    Blue Ribbon Merrie Melodies

    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 (see “Elements plastered over” below), 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 end title card was also revised (except on the very first reissues, such as A Wild Hare and I Love to Singa when Schlesinger was still producing the cartoons), replacing the original versions.

    The revised title sequences were edited right into the original negative, thus the original title sequences were cut away and possibly scrapped. Some of these same revised “blue ribbon” reissues can still be seen on television today. For example, the “Blue Ribbon” version of the Bugs Bunny short A Wild Hare was retitled The Wild Hare for reissue, along with some slight subtle edits (the original unaltered version has been released on both LaserDisc and DVD).

    Elements plastered over

    Color Looney Tunes originally released prior to June 1946 that were reissued in this program had the “Porky coming out of a drum” ending (which had him say “th-th-th-that’s all folks!”) replaced with the Merrie Melodies ending sequence (with “That’s All Folks!” being written) from the given reissue season and the 1941 ending version of “Merrily We Roll Along” playing (pre-1936 color Merrie Melodies would also have this ending). Reissues of color Looney Tunes originally released in September 1948 or later would have the 1946 ending version of “The Merry-Go-Round Broke Down” playing over the closing rings, & 1945 opening music playing over the opening (again those of the given reissue season), revealing the fact that the cartoon was originally a Looney Tune. However, if it was reissued 1955, or later the 1945 opening music, & 1946 closing music would be plastered over with the 1955 closing, & ending versions of The Merry-Go-Round Broke Down. At least three of these said Looney Tunes kept their original closing rings: The Goofy Gophers, What’s Brewin’, Bruin? and Hop, Look and Listen.

    On the other hand, post-1944 reissues of 1936–1941 Merrie Melodies usually retained their original closing music (but not always), but had the ending sequence of the reissue season plastered over the original ending sequence (as to hide any mentions of Leon Schlesinger). Sometimes, Merrie Melodies released in September 1944 or later retained their original ending rings (for example, Lost and Foundling opened with the 1947–48 rings, but closed with the late 1944 rings—with the legend “Produced by Warner Bros. Cartoons Inc.”); while other times, they had the closing rings of the reissue season. The 1952–53 season (which had no post-1944 Merrie Melodies re-issued) featured a special closing, shown at left; see The Bashful Buzzard for more info.

    The opening music was almost always the 1941 opening version of “Merrily We Roll Along”. However, a few had the 1945 opening version of that song—some cartoons had the standard length of the Blue Ribbon title sequence, with the audio from the original credits playing over the part where the cartoon’s title is shown (such as Farm Frolics, Old Glory, Wacky Wildlife, and Tick Tock Tuckered), while others had a shortened version of said sequence (edited to fit the length of the music; cartoons with this style opening included Lost and Foundling and Trap Happy Porky). If the reissued cartoon was a Merrie Melodie originally released between late 1941 and early 1945, then the opening music would have been the same from the original release (unless the reissue had the 1945 music), but in other cases, the opening music is different from the original.

    The one exception to the “original credits are cut” rule was The Mighty Hunters, which had the 1952–53 Blue Ribbon opening playing for the first 15 seconds, but then moved into the original title card and credits.

    Later years

    The original method of preparing Blue Ribbon reissues persisted through the 1955–56 season. Most of the cartoons that were reissued without the original title card and credits would end up in the pre-August 1948 package of cartoons sold to Associated Artists Productions (a.a.p.), thus only 5 cartoons in the post-July 1948package would be reissued in this manner: these were Daffy Dilly, The Foghorn Leghorn, Kit for Cat, Scaredy Cat, and You Were Never Duckier. Beginning in the 1956–57 season, “Blue Ribbon” reissues (of other cartoons in the post-July 1948 package) retained the original opening titles and technical credits (the aforementioned Mighty Hunters having been a precedent), with some of the cartoons indicating their original Looney Tunes issue if the opening and closing theme was “The Merry Go-Round Broke Down.” The rings continued to be replaced to correspond with the reissue season.

    I got this video for Daffy Dilly when I was a kid and I still keep it in my videos bag ..


    You can also watch Bugs Bunny & Daffy Duck The Iceman Ducket

    And watch smile darn ya smile 1931

    Enjoy it..

    Grauman’s Chinese Theatre

    Grauman’s Chinese Theatre

    Grauman’s Chinese Theatre is a movie theater located at 6925 Hollywood Boulevard in Hollywood. It is located along the historic Hollywood Walk of Fame. The Chinese Theatre was commissioned following the success of the nearby Grauman’s Egyptian Theatre which opened in 1922. Built over 18 months, beginning in January 1926 by a partnership headed by Sid Grauman, the theater opened May 18, 1927, with the premiere of Cecil B. DeMille’s film The King of Kings. It has since been home to many premieres, birthday parties, corporate junkets and three Academy Awards ceremonies. Among the theater’s most distinctive features are the concrete blocks set in the forecourt, which bear the signatures, footprints, and handprints of popular motion picture personalities from the 1920s to the present day.

    There are nearly 200 Hollywood celebrity handprints, footprints, and autographs in the concrete of the theater’s forecourt.

    Photos for old foot, hand prints..

    Jane Russel and Marliyn Monroe  1953 ” Watch the video when they arrived the theatre to make their prints”

    Jack Nicholson 1974

    and many others like the next names with the exactly date of their hand, foot prints..

  • Norma Talmadge (post dated for the opening day May 18, 1927)
  • Mary Pickford and Douglas Fairbanks (April 30, 1927)
  • Norma Shearer (August 1, 1927)
  • Harold Lloyd (November 21, 1927)
  • William S. Hart (November 28, 1927)
  • Tom Mix and Tony the Wonder Horse (December 12, 1927)
  • Colleen Moore (December 19, 1927)
  • Gloria Swanson (circa 1927)
  • Constance Talmadge (circa 1927)
  • Pola Negri (April 2, 1928)
  • Bebe Daniels (May 11, 1929)
  • Marion Davies (May 13, 1929)
  • Janet Gaynor (May 29, 1929)
  • Joan Crawford (September 14, 1929)
  • Ann Harding (August 30, 1930)
  • Raoul Walsh (November 14, 1930)
  • Wallace Beery and Marie Dressler (January 31, 1931)
  • Jackie Cooper (December 12, 1931)
  • Eddie Cantor (March 9, 1932)
  • Diana Wynyard (January 26, 1933)
  • The Marx Brothers (February 17, 1933)
  • Jean Harlow (September 25 and September 29, 1933)
  • Maurice Chevalier and Jeanette MacDonald (December 4, 1934)
  • Shirley Temple (March 14, 1935)
  • Joe E. Brown (March 5, 1936)
  • Al Jolson (March 12, 1936)
  • Freddie Bartholomew (April 4, 1936)
  • Bing Crosby (April 8, 1936)
  • Victor McLaglen (May 25, 1936)
  • William Powell and Myrna Loy (October 20, 1936)
  • Clark Gable and Woody Van Dyke (January 20, 1937)
  • Dick Powell and Joan Blondell (February 10, 1937)
  • Fredric March (April 21, 1937)
  • May Robson (April 22, 1937)
  • Tyrone Power and Loretta Young (May 31, 1937)
  • Sonja Henie (June 28, 1937)
  • The Ritz Brothers (September 22, 1937)
  • Eleanor Powell (December 23, 1937)
  • Don Ameche (January 27, 1938)
  • Fred Astaire (February 4, 1938)
  • Deanna Durbin (February 7, 1938)
  • Alice Faye and Tony Martin (March 20, 1938)
  • Edgar Bergen and Charlie McCarthy (July 20, 1938)
  • Jean Hersholt (October 11, 1938)
  • Mickey Rooney (October 18, 1938)
  • Nelson Eddy (December 28, 1938)
  • Ginger Rogers (September 5, 1939)
  • Judy Garland (October 10, 1939)
  • Jane Withers (November 6, 1939)

  • Linda Darnell (March 18, 1940)
  • Rosa Grauman and George Raft (March 25, 1940)
  • John Barrymore (September 5, 1940)
  • Jack Benny (January 13, 1941)
  • Carmen Miranda (March 24, 1941)
  • Barbara Stanwyck and Robert Taylor (June 11, 1941)
  • Rudy Vallee (July 21, 1941)
  • Cecil B. DeMille (August 7, 1941)
  • The Family of Judge James K. Hardy (August 15, 1941)
  • Abbott and Costello (December 8, 1941)
  • Edward Arnold (January 6, 1942)
  • Joan Fontaine (May 26, 1942)
  • Red Skelton (June 18, 1942)
  • Greer Garson (July 23, 1942)
  • Henry Fonda, Rita Hayworth, Charles Boyer, Edward G. Robinson, and Charles Laughton (July 24, 1942)
  • Bob Hope and Dorothy Lamour (February 5, 1943)
  • Betty Grable (February 15, 1943)
  • Monty Woolley (May 28, 1943)
  • Gary Cooper (August 13, 1943)
  • Esther Williams and Private Joe Brian (August 1, 1944)
  • Gene Tierney (January 24, 1945)
  • Jack Oakie (February 21, 1945)
  • Jimmy Durante (October 31, 1945)
  • Sid Grauman (January 24, 1946)
  • Irene Dunne and Rex Harrison (July 8, 1946)
  • Margaret O’Brien (August 15, 1946)
  • Humphrey Bogart (August 21, 1946)
  • Louella Parsons (September 30, 1946)
  • Ray Milland (April 17, 1947)
  • Lauritz Melchior (November 17, 1947)
  • James Stewart (February 13, 1948)
  • Van Johnson (March 25, 1948)
  • George Jessel (March 1, 1949)
  • Roy Rogers and Trigger (April 21, 1949)
  • Richard Widmark and Charles Nelson (April 24, 1949)
  • Jeanne Crain (October 17, 1949)
  • Jean Hersholt (October 20, 1949)
  • Anne Baxter and Gregory Peck (December 15, 1949)
  • Gene Autry and Champion (December 23, 1949)

  • John Wayne (January 25, 1950)
  • Lana Turner (May 24, 1950)
  • Bette Davis (November 6, 1950)
  • William Lundigan (December 29, 1950)
  • Cary Grant (July 16, 1951)
  • Susan Hayward (August 10, 1951)
  • Hildegard Knef (as Hildegarde Neff) (December 13, 1951)
  • Oskar Werner (December 13, 1951)
  • Jane Wyman (September 17, 1952)
  • Ava Gardner (October 21, 1952)
  • Clifton Webb (December 7, 1952)
  • Olivia de Havilland (December 9, 1952)
  • Adolph Zukor (January 5, 1953)
  • Ezio Pinza (January 26, 1953)
  • Donald O’Connor and mother Effie (February 25, 1953)
  • Marilyn Monroe and Jane Russell (June 26, 1953)
  • Jean Simmons (September 24, 1953)
  • Danny Thomas (January 26, 1954)
  • James Mason (March 30, 1954)
  • Alan Ladd (May 12, 1954)
  • Edmund Purdom (August 30, 1954)
  • Van Heflin (October 8, 1954)
  • George Murphy (November 8, 1954)
  • Yul Brynner and Deborah Kerr (March 22, 1956)
  • Elizabeth Taylor, Rock Hudson, and George Stevens (September 26, 1956)
  • Elmer C. Rhoden (September 16, 1958)
  • Rosalind Russell (February 19, 1959)
  • Cantinflas (December 28, 1960)
  • Doris Day (January 19, 1961)
  • Natalie Wood (December 5, 1961)
  • Charlton Heston (January 18, 1962)
  • Sophia Loren (July 26, 1962)
  • Kirk Douglas (November 1, 1962)
  • Paul Newman and Joanne Woodward (May 25, 1963)
  • Jack Lemmon and Shirley MacLaine (June 29, 1963)
  • Mervyn LeRoy (October 15, 1963)
  • Hayley Mills (February 22, 1964)
  • Dean Martin (March 21, 1964)
  • Peter Sellers (June 3, 1964)
  • Debbie Reynolds (January 14, 1965)
  • Marcello Mastroianni (February 8, 1965)
  • Frank Sinatra (July 20, 1965)
  • Julie Andrews (March 26, 1966)
  • Dick Van Dyke (June 25, 1966)
  • Steve McQueen (March 21, 1967)
  • Sidney Poitier (June 23, 1967)
  • Anthony Quinn (December 21, 1968)
  • Danny Kaye (October 19, 1969)
  • Gene Kelly (November 24, 1969)
  • Ali MacGraw (December 14, 1972)
  • Jack Nicholson (June 17, 1974)
  • Tom Bradley and Ted Mann (May 18, 1977)
  • Herbie the love bug (date unknown).
  • The Chinese Theatre’s 50th Anniversary (May 24, 1977)
  • C-3PO (Anthony Daniels), R2-D2, and Darth Vader (August 3, 1977)
  • George Burns (January 25, 1979)
  • John Travolta (June 2, 1980)
  • Burt Reynolds (September 24, 1981)
  • Rhonda Fleming (September 28, 1981)
  • Sylvester Stallone (June 29, 1983)
  • George Lucas and Steven Spielberg (May 16, 1984)
  • Donald Duck and Clarence Nash (May 21, 1984)
  • Clint Eastwood (August 21, 1984)
  • Mickey Rooney (February 18, 1986)
  • Eddie Murphy and Hollywood’s 100th Anniversary (May 14, 1987)
  • Gene Roddenberry, William Shatner, Leonard Nimoy, DeForest Kelley, Nichelle Nichols, James Doohan, George Takei, and Walter Koenig (December 5, 1991)
  • Harrison Ford (June 4, 1992)
  • Michael Keaton (June 15, 1992)
  • Tom Cruise (June 15, 1992)
  • Mel Gibson (August 23, 1993)
  • Arnold Schwarzenegger (July 14, 1994)
  • Meryl Streep (September 25, 1994)
  • Whoopi Goldberg (February 2, 1995)
  • Bruce Willis (May 18, 1995)
  • Steven Seagal (July 10, 1995)
  • Jim Carrey (November 1, 1995)
  • Johnny Grant (May 13, 1997)
  • Robert Zemeckis (July 8, 1997)
  • Michael Douglas (September 10, 1997)
  • Al Pacino (October 16, 1997)
  • Denzel Washington (January 15, 1998)
  • Walter Matthau (April 2, 1998)
  • Warren Beatty (May 21, 1998)
  • Danny Glover (July 7, 1998)
  • Tom Hanks (July 23, 1998)
  • Robin Williams (December 22, 1998)
  • Susan Sarandon (January 11, 1999)
  • William F. “Bill” Hertz (March 18, 1999)
  • Ron Howard (March 23, 1999)
  • Sean Connery (April 13, 1999)
  • Richard Gere (July 26, 1999)
  • Terry Semel and Bob Daly (September 30, 1999)
  • Well, Ofcourse there is more for now adays celebrities.. but I just mentioned the old celebrities..

    Loli fake conversation