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By November 1930, Clark was producing three to four hundred dolls a week to be sold at two large Los Angeles area department stores, May Company and Bullock’s for five dollars each. The department stores only paid two dollars and fifty cents per doll so made an amazing profit. Clark had to employ six full time seamstresses to meet this goal.

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At the time, people were talking about Carmen Jones, a black version of the famous Carmen opera and that might also have inspired Clampett.Drawstring  zipper  Backpack

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When ITT needed to find a studio to produce the Raggedy Ann and Andy feature, they did a search all over New York by tapping on lots of different studio doors. Several studios spent some time trying to budget the film for ITT, and several produced demo animation to try and convince the company to send the work entirely their way. Shamus Culhane was hired and paid to complete a production outline, including a budget, sometime in mid 1974, with a production solution that involved studios in New York, California and overseas to complete the film by March 1976, for release in the summer. Culhane had made many suggestions on sources to use that had various production capabilities- with many of those suggestions being awarded the final work.

This teaser reveals two things previously unknown: one, the release window (after multiple delays, Netflix expects to get this out in the fall of 2021) and two, the welcome news that original series composer Yoko Kanno is back to provide the tracks for the new series. As any fan will tell you, the soundtrack is one of the best things about Cowboy Bebop. There will be some re-renders of classic tunes as well as some new material.

From those sketches, Clark made the first stuffed Mickey Mouse doll. Clampett’s father advised her to get Walt Disney’s permission before she started making and selling them.

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Come Take a Trip In My Airship (4/26/30) – Gags about cats moving a piano to an upper-story apartment (“Song of the Volga Boatmen” accompanies this effort), followed by some aerial exhibition on the final chorus, with two cats being swallowed by the man in the moon. Also included in the score is “True Blue Lou” (from the feature “The Dance of Life” – best known recordings by Ethel Waters on Columbia, Johnny Marvin on Victor, and a dance version by Ben Pollack on Victor). We’ve covered sources of the title song from the silent version, earlier in these articles.

The big TV pairup finally occurs. Atilla, however, is nonplussed even at the new look of his adversary. “You may look all muscley-wuscley, but underneath you’re still a pipsqueak, you know what I’m sayin’?” Atilla pokes Pink’s chest – and the new muscles deflate as fast as they appeared, leaving Pink to sigh, “Oh, pooh.” The events include a rope swing (in which Atilla cheats by handing Pink an electric live-wire to swing on), a run through a gamut of firing cannons (which Pink survives by knocking the cannonballs away with baseball bat and hockey stick), and a final event of jousting on a tightrope while balanced on unicycles, above the dreaded pit of ferocious poodles. “Who dreams up these games?”, wonders Panther. The coach helps Panther catch up to Atilla by coiling Panther’s tail under him, and launching him up to the tightrope. Panther mounts his unicycle, takes hold of boxing-glove tipped lance, and charges at the advancing Atilla. But suddenly, before impact, Panther seems to have disappeared. “Yo, Atilla”, his voice calls. Panther, still astride his unicycle, is now upside down under the rope – keeping himself attached to it by holding himself up with the wound tip of his tail. Without the aid of such a rear appendage, Atilla pivots himself upside down to meet Panther face to face, and asks, ‘Hey, how do you do that?” “You don’t have time to hear about it. It’s a long ‘tail’”, responds Panther. Atilla falls to the poodles, while Pink rights himself and claims the championship. He gives all his credit to the coach, but the coach refuses the plaudits, stating that Panther used his wits when he used his tail, so brains beat brawn after all. Atilla passes the camera with poodles nipping at his rear end, and Pink takes the curtain line with a wave of “Hasta la vista, Atilla”, delivered in Schwarzenegger voice.

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