The cat manages to avoid responsibility for any messes he’s made, laying the blame on Pudgy. Taking the Blame (2/15/35) – Betty decides to buy Pudgy a playmate – a big black cat. Billy Eckstine included it on the Mercury album “Imagination”, Also in the score are :London Bridge” and a few other nursery rhymes. Mel Torme performed it live on an album, “Mel Torme at the Red Hill”. Frank Sinatra would include it as an album cut on Reprise’s “Sinatra and Swingin’ Brass”. Barney Kessel performed it with a jazz group on Contemporary. A Wingy Manone group, billed as the “Harlem Hot Shots”, released a version on Melotone, Perfect et al. Recorded by Bing for Decca in a lively arrangement (below). Also included is “Love Is Just Around the Corner” another Crosby original from “Here is My Heart”. An original song is sung by Boop, probably tited “Once There Was a Little Boy (Just Like You)”. Seemingly half the cartoon is run backwards to undo what the kid has already done (with none of the comic feeling/timing of Tex Avery’s later The Village Smithy). Betty appears in a dream sequence as a good fairy, wearing a star spangled and quite long garment. “Stars and Stripes Forever” also appears.īaby Be Good (1/14/35) – Betty is baby-sitting, and baby is not living up to the title of the cartoon, but displaying his own special brand of mischief. People were still dreaming of sudden wealth in the wake of the depression Fleischer also surprisingly sprung for music rights from other studio’s publishers, including in the score “The Golddigger’s Song (We’re in the Money)”, and MGM’s “Happy Days are Here Again”, both of which have been covered in posts on Warner cartoons on this site. Features an original title song (not the ballad of the same title from Eddie Cantor’s Kid Millions), which may actually be properly titled, “My Ship Came In”. She receives a ticker tape parade in her honor. Betty dreams of what she’ll do with the winnings, which is to throw it around like a sailor. When My Ship Comes In (12/4/34) – Betty has the winning ticket in a sweepstakes. In later years, versions would appear by the Ink Spots on Decca, a hit multitracked version by Patti Page on Mercury, Pay Boone on Dot, and Dean Martin on Capitol. ![]() Jack Payne recorded it across the pond on Rex, as well as Lew Stone on English Decca with vocal by Al Bowlly. Songs include an original title song for Betty, and “With My Eyes Wide Open, I’m Dreaming” (from the Paramount feature Shoot the Works), recorded by Leo Reisman for Brunswick, Isham Jones on Victor, and a vocal version by Ruth Etting on Brunswick (below). Suddenly, every man, woman, child, horse, or other species has to have a set, and Betty is a trend-setter in the public eye. She then exhibits her latest fashion style trend – a sort of veiled doily affixed to each ankle. Betty shows off futuristic automobiles (anticipating such titles for a later decade as Avery’s Car of Tomorrow). Keep In Style (11/16/34) – Betty is emceeing “The Betty Boop Exposition”, with a sign depicting one of the last of Fleischer’s “non-sequitur” gags in the series, as the event is billed for “One Week Only – May 31 to July 31″. We’ll run across some of these in future posts. ![]() And “hotcha” numbers gave way to sometimes preachy songs about tolerance and other life lessons. Long dresses, which wouldn’t have looked bad on Olive Oyl, were the order of the day. Betty’s flapper personality had become quite passe, and those cartoons in which she was a performer were the closesr things left to harkening back to the pre-code Betty. By the beginning of the calendar year 1935, the Betty Boop cartoons had become consistent with the newly-enforced Production Code.
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