Here are some Betty Boop images for Boopers. I excluded KO-KO the Clown because he represents rape culture. Sorry KO-KO… But Bimbo? No he’s Betty’s equal. This is the more toned down Betty Boop.
According to Paramount, Betty Boop was the Clara Bow of the animated cartoons.
The Hays Code kicked in around this time and forced the Fleischer Studios to stop sexualizing Betty Boop in the cartoons. The Fleischers obviously ignored and secretly pushed their agenda.
This version of Bimbo is said to be Betty’s pet dog instead of her friend or lover.
I won’t give names or endorse anyone because doing so could encourage sabotage.
However, anybody who knows anyone, knows exactly where to find these well-known bootlegged merchandise. These Black Betty Boop knock-offs look really detailed and buyable.
However, the “Black Betty Boop” concept has been taken by several Black individuals, and it seems that they are profiting greatly from it. What do they sell? T-shirts, earrings, shoes, backpacks, stickers, the list goes on.
It’s wonderful to see a company that openly appropriates Black culture benefit the Black community. One of the outfit designs gained so much recognition that it was recently worn in a new music video.
Consequently, the official Black version was canceled after an argument. The Fleischers were also the target of several racial accusations which I won’t delve into.
Canning their version I think was for the best. Many Black people have frequently been the victims of theft by Fleischer Studios. Why shouldn’t the Black community profit from a bootlegged Betty?
So for anyone that doesn’t know or is not aware. Betty Boop in the “Boop!” musical is not Black. She’s portrayed by a Black woman but the Fleischers said in an interview that their Betty is not Black.
That is why Betty is colorless and “white” on the “Boop!” merchandise. Now you know.
If anyone feels conned or cheated, well you went with that narrative. This blog here always knew the character in the Broadway musical was interchangeable. But being portrayed by a Black person does indicate that that Betty is obviously a Black woman. You’d have to be color blind to not notice that.
But according to the Fleischers their cartoon Betty or “their Betty” is just a white Jew.
Take the advice of this blog if you are Black “do not” go into a contract with the Fleischers as it will end in tears. You can’t do what you want to, you must do as you are told.
So it is ten times more easier to just sell a fake Betty Boop. The “Boop-Boop-Be-Doop” blog thinks that everyone should sell a knock-off Betty Boop. Technically it is not Betty Boop?
But use your brain and don’t use the copyrighted name. Make her look a little different to the original!? Rename it Baby Esther, Baby Jones or something unique that says, “BLACK BETTY BOOP.”
It is quite funny how many Betty Boop bootlegs are currently being sold under the name Esther Jones.
You can’t infringe if they don’t know and that is why this blog will not link the brand new merchandise.
According to the Fleischers interview Betty is not Black, so therefore a Black Betty Boop can exist. If the Fleischers ever do come after you. Just say, “Umm… It’s Helen Kane or I based mine on Grim Natwick’s Betty.”
You know Grim Natwick the originator of the character?
Not that that helped “Kiki” but that’s another story… Actually don’t take this blog’s bad advice. I will end up getting you sued… But I will keep the new knock-off merchandise… Hush, hush.
If the Fleischers did not want this version of Betty. Then that means that Black Betty Boop is now 100% owned by the Black community as a whole. So technically Black Betty Boop is not a Fleischer-exclusive.
Those who are not self-haters please continue to support Black-owned businesses.
Other than that this blog is currently working on a homage tribute post for August. Look out for the possible final “Boop-Boop-Be-Doop” blog update.
The model who went viral in those cosplay photos is a famous model in Russia and Ukraine. She doesn’t care about her Betty Boop photos and does not associate herself with them.
Certain parts of Oyla’s body had been enhanced by Photoshop editing including her face and hair. Her real body does not look like that. She kind of did a Kim Kardashian, and so her body had been edited, especially her chest area.
Now you know why the body in these photos look so fake. If you look carefully at the dress and some parts of the photos you can see the Photoshop edits.
Oyla fits the “Boop-Boop-Be-Doop” profile as in real life, she has black hair and blue eyes like Boop.
Did you know that blue-eyed rivals Mae Questel and Little Ann Little who were two of the original voices of Betty Boop were also of Russian descent!? Questel was Russian-Polish and American, and Little was Russian-American, and they both were redheads.
Little’s hair was more orange but Questel’s hair color however was a more reddish-brown. Keep in mind that all the women who voiced Betty often dyed their hair too.
A majority of them became blondes. Redhead Little also dyed her hair black at one point. Questel obviously dyed her hair more than once but later in life she let it go gray.
Yes, the original Betty Boop was redheaded. Grim Natwick created his original dog-Betty with red hair. The Fleischers eventually embraced Betty’s red hair in “Poor Cinderella”.
But it didn’t stay long because they later got rid of it. Everyone knows that Betty looks better with black hair.
And so the original Betty Boop girls who voiced Betty in the cartoons had Russian roots. A lot of Russians love Betty Boop and are fans of the character.
Oyla fabricates her age so she pretends to be younger than she really is which is what most models and actresses do. She has knocked 10 years off of her age.
She claims to be 20+ but is really 30+ in age. She was allegedly 16, 17, 18 or 19 in her Betty Boop photos taken in 2008. If you do a bit of calculation you can calculate that she would be in her mid to late 30s now.
By looking at her face you can tell she’s older. But she is very small and petite in real life, so that is probably how she has been getting away with pretending to be younger than she really is.
She’s been in the modeling business since she was a child. She is also very ill and suffers from severe illness. One thing you should know is as Betty is that she’s wearing the official Betty Boop garter.
A lot of people mistakenly thought she was a Black woman, or was Baby Esther or Helen Kane and still do.
But she is more or less a model who has a really great resume. So her photos are merely cosplay. She has worked for many famous well-known brands in her homeland. She doesn’t really confirm where she’s from but seems to be very active in Russia.
She is either Ukrainian or Russian. She has not really specified where she’s from as she seems to be quite mysterious.
For those wondering, though suffering from illness, Oyla is alive and she’s doing very well.
Leslie Cabarga stated in his 1974 piece “Fleischer Bros. Inc.” in Stan Lee’s Comix Book series that Grim Natwick used a picture of “Boop-Boop-a-Doop” girl Helen Kane as inspiration for creating Betty Boop.
Which comic book series was it? In theory, it is Marvel, and the series was sold from 1975 to 1976. Thus, Cabarga exposed the Fleischers while simultaneously covering their tale. But it is more or less an underground comic series.
Of course Stan Lee is dead and buried now. He’d be rolling in his grave if he saw what Disney did to Marvel. My bad, he was a sell-out wasn’t he!?
What’s an underground comic book? They are not like conventional comics in that they feature explicit drug use, sexuality, and violence content that the “Comics Code Authority” forbids mainstream magazines to publish.
Remember Cabarga’s 1972 comic strip “Betty Boop in The Redheaded Girl“? Well it is similar to that only more tame in comparison. That was Cabarga’s introduction to his Betty Boop.
That was prior to him officially drawing Betty Boop for King Features Syndicate. Grim Natwick used to draw for Hearst which is linked to King Features.
Only she’s a redhead originally as Grim Natwick had created her. Of course we all know Betty for her jet-black hair. We know she’s an obvious Clara Bow copy-cat when it comes to being a sex symbol. Paramount later used Bow’s persona to promote Betty Boop. You can see the comparison in “Hollywood on Parade”.
Singer Helen Kane filed a $250,000 infringement lawsuit against the Fleischers in 1934, claiming they had stolen her singing style and diminished her fame. She was only partially used to create the introduction. The other half were teenage flapper girls. A lot of girls looked like Kane.
Many female stars were used to develop Betty including Mae West, Greta Garbo and Marlene Dietrich. Anyone who knows development of fictional characters knows that you use multiple sources. You don’t just use one source. It is like Disney and how many sources they have used to create their popular female characters.
Also scat-singing and the “Boop-Boop-Be-Doop” were popular back then. There were a lot of girls “Boop-Boop-Be-Dooping” as of 1928, 1929, 1930 up until it fizzled out in 1931. By the time Betty had became a hit sensation “Boop” was not longer in vogue. It worked for Betty because she is a cartoon character.
If you are someone like Kane, you’re plump, overweight and aging. You can’t compete with what they the Fleischers considered to be a sexy character. You just can’t win. While Kane was having problems with obesity, Betty is a drawing, who doesn’t exist. So how can you compete with something that is not real?
That being said Clara Bow was the original jazz-baby. Kane was a Bow copy-cat. So she complained about Betty Boop copying her but Kane herself hijacked Bow’s persona. Only Kane could never reach the same status as Bow. So Kane looked more sillier. And she admitted to this too. She also admitted that she herself was fat, and that is why Betty is extremely overweight in her first two 1930 cartoons.
The more fatter and uglier version Betty is obviously a caricature and or parody of Helen Kane. The Fleischers and Grim Natwick fixed that and made Betty more prettier.
Keep in mind that Kane, Bow and most girls and women of the 1920s and early 1930s all looked akin to one another.
Everyone was doing the “Boop” routine and it was a fad just like the “Hot-Cha-Cha” and other silly sounds. “Vo-Do-Do-Deo,” “Vo-Dee-O-Dodo,” Vo-Do-Do-De-O,” and “Oh-Vo-De-Oh-Do” are a few more examples.
There was a 1930 story where Kane admitted that she stole the “Vo-Do-Do-Deo” and adapted it to “Poo-Poo-Pah-Doo”. But in court she claimed that she created this scat sound all by herself. She said that she invented it.
Kane stated, “It’s a form of rhythm I created. There’s a bar in the music, and at the end there is a stop.” However interpolating “hot licks” or meaningless “scat sounds” into songs had already been established by other performers long before Kane had started doing it.
Where she failed was she didn’t explain it well in court. So the Fleischers and Paramount sent scouts were sent to African-American cabarets in Harlem for data to find the origin.
Also the main fact that Kane wasn’t originally the “Boop” girl she was the “Poop” and “Poo” girl. She was also originally the “But-Dut-De-Dut” girl and also the “Vo-Do-De-O” Girl.
In earlier songs Kane sang “But-Dut-De-Dut” and “But-Dut-Da-Dut” and a lot of people don’t know this. She altered her “Poop” to a “Boop” because news reporters mistook her statement for a “Boop”.
By 1930 she established herself as “Boop” officially and her nickname was “Boop”. She also had a cat called Boopy, so Betty Boop has a dog called Pudgy and Kane had a cat called Boopy.
If the Fleischers were not wary that she had a cat I bet Pudgy would have been called Boopy.
It later came out that “Boop” had already been established by African-American jazz singers Clarence Williams and Louis Armstrong long before Kane. Also numerous African-American women used to scat prior to the Kane era.
Armstrong would scat a “Boop-a-Doo, Boop-a-Doo, Boop-a-Doo” arpeggio and claimed to have been the original scatter in the business. He also taught Cab Calloway how to scat-sing too.
Gertrude Saunders? She commented on the lawsuit. She told the Afro-American that she did the “Boop” years earlier, well her own version of the “Boop” routine which was a “Tweet”.
Very complicated. If anyone wants true origins check out the musical “Shuffle Along” and you’ll learn something. In other words it was an African-American thing that originated in all-Black clubs in Harlem.
The West African custom of giving definite syllables to percussion rhythms is where scat-singing got its start. Louis Armstrong made it popular.
Black women pioneered it years earlier but are never credited. Reason? Historians like to demean Black women.
Max Fleischer was shown by Cabarga as Pinocchio, and it is implied that the Fleischer Studios lied during the legal proceedings. So they kind of lied and they kind of didn’t.
Those that are unaware, well Kane she allowed permission for imitation or impersonation. Therefore the girls who voiced Betty and Betty Boop were not infringing. They were allowed to be “Boopers” too. Kane wasn’t the sole “Booper” in the business. There were many girls who did that.
By the time Betty had been established in 1932, Betty Boop was more or less based on Mae Questel. A legit review said that Questel was like Helen Kane’s twin sister as they were very similar.
Also Kane did not patent her routine so how could she protect her rights? The original Fleischer Studios who were Jews had really great lawyers. Kane’s defender!? He was a complete idiot.
Kane also had to admit that she wasn’t the first person to sing in a baby voice. And that she wasn’t the only or original baby-doll. But she wouldn’t tell the whole truth.
Regarding Peggy Bernier, who was discovered years before Kane by Paul Ash, it appears that Kane provided evasive responses to questions that she was asked about Bernier. Paul Ash discovered both of them. For those who don’t know, Bernier had a similar gimmick to Kane and she used to sing in a baby voice many years earlier.
Paul Ash tried to do the same with Ginger Rogers and have her copy Helen Kane. Kane didn’t mind because she really liked Ginger Rogers. Everyone is imitating everyone, like that African-American scholar once said, an imitation of an imitation.
According to late 1920s reviews Kane was a better singer than her. Therefore Bernier’s raspy baby voice was unable to match Kane’s. A legit review. They thought Bernier came after, she actually came before.
Also Bernier was in the same Chicago revue as Esther Jones during the 1920s. I will get to Esther Jones later. Yes, believe it or not Baby Esther Jones is in this comic strip.
In 1933, she started working as a “Betty Boop Impersonator” for the Fleischers. Cabarga received false information from Little about her Betty Boop position. Here Little describes in this scene how her “Bo-Vodeo-Do,” “Wa-Da-Dee-Da,” “Poo-Poo-Pah-Doop,” and “Ba-Da-Daten-Doop” routines predated the “Boop”.
When she said “Poo-Poo-Pah-Doop” then Little literally would have been caught in a lie had Kane not lied herself and claimed to have been originator of the “Boop”.
Known for her baby voice, Little was a child star and baby-talk singer in the 1920s. However, her official “Boop-Boop-a-Doop” debut was not until 1930. Which can be read in the New York City news archives.
When she claimed to be the “original” Betty Boop in court, she was informed that the Betty Boop cartoons had first appeared in 1930. In response, Little Ann Little stated that she was unaware of the cartoons’ initial release date.
Margie Hines, an actress and singer from Freeport, New York, on Long Island’s South Shore, was actually Betty Boop’s original voice. She is never credited and gets no credit in history due to confusion.
For those that do not understand, Little’s argument was that she already had been a “baby voiced” star as a child since the 1920s, and that she used to scat sing in her act.
This is Leslie Cabarga’s first portrayal of Esther Jones. At first, nobody could recognize Jones and didn’t know who she was. It wasn’t until the late 2010s that the “Boop-Boop-Be-Doop” blog discovered that Jones was a child performer.
. The Fleischer Studios website, took or stole the information shared by the “Boop-Boop-Be-Doop” blog and shared Jones’ real identity worldwide. In addition to finding rare images of Jones, the “Boop-Boop-Be-Doop” blog also uncovered rare photos of Jones and her chronology by using archives.
For example there were historians who knew who Jones was but they had no idea what she looked like.
The reason as to why they did not look into the story was because some of them were trying to protect the Fleischer Studios’ brand. They only uncovered her real identity after the “Boop-Boop-Be-Doop” blog shared the real story as they wanted the full credit for something they didn’t do. They did not care about this Black girl. Though in actuality they were trying to hide the truth. But they were unable to stop me.
In addition, by threatening to file fictitious cases in order to silence critics. That is a misuse of authority. But PBS was their main target. PBS did in fact stir up up the drama. But it was the Fleischers and King Features who posted the faux-information in the first place. So!? Who really was to blame?
Personally I think the Fleischer Studios love the drama and division between Black and Caucasian people. They love to see all this feuding and fighting over Betty Boop being Black.
Allegedly the Fleischer Studios know or knew how to locate Jones’ 1928 Movietone film. But they want to keep it hidden because it will unravel many hidden secrets.
Thankfully we have transcripts of what was in the film. So we don’t really need it. If anyone wants to know more about this lawsuit you can on the “Kane v. Fleischer et al., 248 A.D. 554” page.
Esther Jones is kind of like Florence Mills the person she impersonated. There is no existing footage or songs from either of them. Keep in mind that Jones did radio appearances in New York and Europe. Sadly she too does not exist. But I located old photos of her and was able to make the story go viral.
Esther Jones story was pushed by the “Boop-Boop-Be-Doop” blog. But she was not Betty Boop. No matter what the Fleischers or others do, she will always be remembered for being associated with Betty Boop.
That being said there was a “Black Betty Boop” project that ended in tears. They argued about “Baby Esther Jones” during their argument. Many severe accusations and allegations made against Mark Fleischer and the Fleischer Studios at and after that meeting. Extra! Extra! Read all about it!
Made of Pen & Ink: Fleischer Studios, The New York Years:
There’s a really detailed book called “Made of Pen & Ink: Fleischer Studios” by G. Mike Dobbs. For the benefit of those who are unaware, he was known as “The Original Biographer of Max Fleischer” and received permission from the Fleischers to write a biography when he first visited the Fleischer Studios.
He’s also finished book two, “Made of Pen & Ink: Fleischer Studios, The Florida Years,” as of 2024.
He sells his books at a reasonable price since he wanted to make them as accessible as possible. This is different to most historians as they don’t normally do that.
First and foremost he’s a writer and in western Massachusetts, he served as managing editor for Reminder Publications, he oversaw four weekly newspapers that were read by roughly 120,000-130,000 people each week. There is no connection between his blogs and his employers.
For those that don’t know he worked on Animato! and Escape! and he covered many cartoons. Also he is a fan of “Cuphead” so he is not out of touch with the times like most elderly people. He and other ex-artist for Disney, Fleischer and so on would contribute to celebrate animation.
He addressed every animation topic, and Betty Boop occasionally made an appearance. For these, Waldman even drew the artwork. Having someone who contributed to the original cartoons would be an honor.
After exchanging letters, he was able to get the approval of both Richard and Ruth Fleischer, visit and speak with former Fleischer employees, and tell them of his intention to publish a book.
But he was beaten to the punch by other historians. His book is detailed enough, in my opinion, to be on par with a Jerry Beck. those who devote a great deal of time and energy to their work.
He knew Grim Natwick, which is the nicest thing about him. Now, Natwick came up with the first idea for Betty Boop. Fleischer Studios did not, in my opinion, steal her. But they kind of did? Because Natwick was employed under contract, they were able to take advantage of him. Sad story.
Historian Dobbs asserts that, contrary to Richard Fleischer’s assertions that Natwick merely “drew” Betty Boop, American animator Stephen Worth of the ASIFA-Hollywood Animation Archive “owned” the original concept artworks created by Natwick, demonstrating that Natwick was the one who created Betty Boop.
Years later, Natwick was furious that his assistants had botched up his lip-sync animation sequence for Betty Boop’s premiere back in 1930 when he went to the “LA County Museum of Art” to watch “Dizzy Dishes” with Dobbs.
Natwick told Dobbs uncommon tales about his early years and his time spent working at Fleischer Studios. Dobbs was requested to go over Natwick’s stored artwork after his death.
Unacknowledged for his subsequent contributions, Natwick assisted with the animation of Musical Mountaineers, one of the last cartoons with Betty. Dobbs claimed that Natwick informed him that Max had promised to give him the “Betty Boop” character as a gift after the cartoon’s completion.
Natwick learned many years later that Max had granted a third party a license to use Betty, and that he was not the original owner of the character. Richard Fleischer arrived and informed Natwick that his father Max was ill and not to be disturbed when he called.
The Fleischers hung up on Natwick after telling him to “never call again” when he questioned them about the licensing of the “Betty Boop” character. Natwick hired a lawyer and filed a lawsuit against Fleischer Studios because he believed the company had mistreated him. Because Natwick lacked documentation proving he was the owner of the “Betty Boop” character, he lost.
Natwick did not earn any royalties from the 1980s relaunch of Betty Boop; instead, King Features Syndicate and Fleischer Studios split the royalties.
Natwick is given the recognition he genuinely deserves by Dobbs. Naturally, the Fleischers have persisted in doing foolish things over the years to damage their reputation. One where they feigned concern for individuals of different races, but in reality, they don’t care.
People must realize that Mark Fleischer, his kids, and whatever else runs the Fleischer Studios now are not the original Fleischer brothers. All that matters to them is generating revenue. Which is only right as they own the copyright. They can do whatever they want to with it.
The only disheartening aspect of Fleischers producing fake ethnicity-based products or spin-offs is that people will inevitably fall victim to history’s tendency to repeat itself.
Please do not fall for any upcoming faux-race baiting Fleischer spin-offs.
For example an individual has been somewhat plagiarizing the Fleischer Studios. She’s made a lot of money creating her own versions of Betty Boop, Bimbo, Mickey, Minnie, you name it.
At least she stayed true to the original character concept unlike the Fleischer Studios.
Over the years, Dobbs had faced criticism for delaying the release of his book. When he was writing his book in the 1970s and 1980s, no publishers showed interest in it. But now that internet libraries are available, he may learn, conduct research, and self-publish more readily.
In this book, he explores the background to the breakthrough cartoons produced by the Fleischer Studios. After seeing the Fleischer Studios cartoons event revived in 1975, he had the idea. Although he started working on the project in 1976, it wasn’t finished until 2022.
Myron Waldman informed him that although Dave Fleischer was listed as the “director,” this confused all the studio employees. According to Dobbs, Dave was more of a line producer.
You can find out everything about this author on his blog in his own words. But from what I read and saw he is the real deal. His posts go way back to 2005.
You should purchase this book if you’re looking for a reliable historical resource. Just by looking you can tell he’s honest as he has retired from covering the Fleischers after completing his lifelong goal.
He has now moved to write other books. So he’s not using it as a ploy to con people and he really wanted to write biographies and he is a fan of the old cartoons and wanted to share his knowledge.
Though some of the Fleischer toons are extremely offensive he’s a fan because he grew up watching “Popeye” and “Betty Boop” on TV. But it wasn’t until he went to a Fleischer cartoon event that he found out how inspirational Dave and Max were.
The best thing about Dobbs is that he filled in the blanks about the Fleischers allegedly stealing Grim Natwick’s creation Betty Boop. Natwick also agreed with this prior to his death.
The Price Of Fandom:
I have done over 50000+ edits as of 2024 and there are only 2000+ fan pages. But with fan pages and fandoms there are problems with layout, errors in grammar, and information that usually needs fixing.
True animation historians are Mike Dobbs, Jerry Beck and of course Leslie Cabarga. There’s no one else on their level of expertise when it comes to old cartoons. It kind of depends on what others are researching and if they are being honest. There are some people who work for the Cartoon Brew who are really talented too. I can’t really name everyone. Some people just steal from others. I can’t really name names.
Other people? They more or less copy and paste. Like fandoms do only they spread misinformation to confuse people. In my own fandom I like to be honest so I only post things that I think are accurate.
Of course when people quote things they often get angry when I repost what they quoted. This is because they have been exposed or backtracked. But it is their own words. It is not my fault a majority of individuals have tried to take back what they say or do. It is not done deliberately.
But if someone does or says something racist, sexist or hateful, what do you expect?
“Boop-Boop-Be-Doop” blog also thrives at creativity and is very inspiration to many haters. This blog will pioneer something and inspire others to copy or emulate. Well known fact.
Other than that I like to gossip, consult, write, blog and be creative. Running my own beauty business and cute aesthetic store that are separate from my blogs was the best thing I ever did.
Anyone I don’t know I have no association with.
But if I see talent or creativity I will gladly promote it. I do not interact with or promote haters. Haters will never be acknowledged by name unless they are well-known Z-listers. Also most people who are creepy will be ignored.
That’s about it.
Thanks For The Support:
Anyone who is pure at heart you are going to receive your flowers. But haters will get the opposite, you will be the flowers that get stomped on and ignored.
Miss Boop was born April 1, 1915. Betty calls it her Boopday, however Miss Boop is immortal and is eternally 16. She was given many gifts on April 1st 1933.
According to Betty Boop’s diary she was given one pound hops by Kasper Kangaroo, a garter belt by Bimbo, an egg by Dora Duck, a peppermint lollypop by her baby brother Billy Boop, a sun-kissed herring by Oscar Octopus, a dark beer by President Roosevelt, a perfumed bottle of ink by Max Fleischer, and a note for future service by Stella Stork.
The gifts she was given in the cartoon were different. People who are unaware of her birthday usually celebrate her birthday on August the 8th which was Betty’s debut in the cartoon “Dizzy Dishes” in 1930. So that is more or less her anniversary.
Individuals don’t actually celebrate Betty’s birthday on her actual birthday in April. But because the “Boop-Boop-Be-Doop” blog knows Betty in great detail this blog will celebrate her birthday and anniversary on both the 1st and 8th. But her debut is not that important so this blog won’t always post on it.
Here’s Betty Boop fictionally introducing her “Betty Boop Cameo Doll” line. The funny story about Miss Boop is that she was created by men to be this sort of risqué pin-up.
And yes they removed Betty’s garter belt from the actual doll. Why!? Because it is inappropriate and obviously it represents prostitution. Especially if you’re not a Cancan dancer or not getting married. Who else would think of wearing a garter? You’d have to be a THOT.
However, Betty is more girly and her target audience is therefore mostly women and girls.
Men, boys or males in general who like Betty Boop merchandise or “girly” Betty Boop things are likely homosexuals. Betty Boop is not very male-oriented on merchandise as she is in the cartoons.
Men who are attracted to Betty because of her risqué cartoon appearances are probably the same as the sexual predators depicted in her old cartoons. Never forget that in most of those old-fashioned cartoons, Betty Boop is a minor. What does it signify, then, if men are lusting?
Betty is more than just a sex-icon she’s a jazz singer and dancer. She should not just purely be reduced to being sexualized. But sadly that part of Betty’s history can never be hidden.
Is Betty America’s sweetheart? She’s not just that but was America’s animated sex-symbol. However, if people were truly intent on judging Betty alone. All they would need to do is research Minnie Mouse’s beginnings as a Walt Disney character. Minnie was sexualized in her early cartoons, just like Betty.
You may want to consider who currently purchases Minnie Mouse products. Moms and dads for their infants and young children. Therefore, many individuals are unaware of these characters’ dubious pasts.
Everyone with sense knows how dangerous of a company Disney can be or has been. Having saying that, a majority of businesses have a set agenda. The taboo is so evident in most entertainment and merchandise.
I wouldn’t say that Betty is a good role model for kids. But vintage toys, clothing and dolls prove that she was very successful and at one point was just as popular as Mickey Mouse by Walt Disney.
Here is a doll-sized Betty Boop introducing herself to a young girl. Girls, not boys, were the intended audience for dolls. So therefore Betty wouldn’t be introducing herself to someone male.
Betty Boop says, “Hello my little friend I am so happy to meet you. I’ve always wanted to come to your house. A little birdie told me about the fine play room you have.”
“I’m so glad to share your happiness. Maybe you would like to know more about me. Would you? Listen carefully… I was born in an artist’s studio. Max Fleischer, the nice man who draws the funny pictures of Bimbo and his animal friends found me.”
This story is pretty honest. So Betty says that Max Fleischer found her. The real originator of Betty Boop, as everyone knows, was Grim Natwick, who created the character in 1930. The Fleischer Studios and Paramount developed Betty Boop and made billions of dollars.
Frequently, Paramount created a false impression that Betty Boop was the animated version of Clara Bow in order to capitalize on her notoriety. The Fleischers and Paramount were notorious for plagiarizing.
For instance, ZaSu Pitts was not pleased to learn that the Fleischer Studios was copying her gestures for the Olive Oyl character. She disregarded it since she didn’t want to get upset by saying she hated to be aped.
“He taught me to sing, to dance, to swim and to play tennis. How to play the piano and to cook too.”
This is amazingly accurate. The originally Betty Boop used to do so much and she used to play the piano. If you’ve seen the early Betty Boop cartoons and some of the later ones she can be seen playing the piano.
“And I liked them too! Especially you and your little friends. Not so long ago I met the man who owns Doll Land. He called me in his office the other day.”
Here Betty is talking about Joseph Kallus of The Cameo Doll Company. Of course this eventually led to a three-way lawsuit with Ralph A. Freundlich, Inc., the Fleischer Studios.
Freundlich was obviously innocent as “Mary Pickford” was the true inspiration behind his doll’s creation. However, Freudlich provided no evidence to support his assertions during the litigation, instead using Helen Kane as an excuse.
However, it was established in a court of law that Kane was NOT ORIGINAL. By doing that, he disproved the notion that Pickford and the 1931 “Kiki” movie served as the real inspiration and by using Kane as source the Fleischers could demonstrate that Betty Boop was the original source.
And again the Fleischers were victorious.
“‘Betty,’ he said ‘the children like you so well. I’m sending you to visit them.’ So I started out and within a very short time reached your town. And here we are together! I hope, dear friend, you like me very, very much. I like you and want to be with you all the time. I know we’ll be so happy.”
“Everything a good little girl should do. Then he put me in the movies ad leading lady with Bimbo. Everybody liked me as soon as they saw me. That’s why I’m a movie star.”
Max Fleischer presents Betty Boop a brand new kind of movie star. Betty Boop the hit of every show. Loved wherever she goes. And goes the world over. Betty Boop a Paramount star.
She is a fictional Jewish female cartoon character best known for her “Boop-Oop-a-Doop” and the more famous “Boop-Boop-Be-Doop” catchphrases. The “Doop” is usually followed by a “Bop”, something she frequently incorporates into her routine, which is a high-pitched squeak.
Betty was elevated to stardom as the result of public demand.
Betty is notable for her spit curls, baby-talk and scat singing. Betty is also known as Baby Boop or Bitsy Boop and on the day of the celebration of Halloween, Betty goes by the name Betty Boo and Betty “Boo” Boop. In online fandom, fan art and fiction there is also alternatively a Black Betty Boop. Black Betty Boop became official as of 2023.
Betty Boop is a light-hearted flapper reminding the audience of the carefree times of the Jazz Age. She was the first character on the animation screen to represent a sexual woman. All other cartoon girls of that time did not differ much from animated male characters, with only eyelashes, voice and outfit alterations to show their femininity.
In Betty’s earlier cartoons, male characters liked to put moves on Betty, and generally she provoked that. Besides, there was a certain girlishness in her personality, which was emphasized by her style of singing, sentimentality, and overall flapper-like behavior.
The flappers of the 1920s, most notably Clara Bow, were the inspiration for Betty Boop’s appearance. Clara and Betty were frequently contrasted, most notably in Hollywood on Parade No. A-8.
After the series rolled on, Betty Boop’s mannerisms and traits were later based on Mae Questel, who often did the voice on a regular basis, starting from 1931. One of Betty Boop’s traits taken from Questel was impersonation which was Questel’s speciality.
Betty’s original persona was created by Questel, she later became the most famous, and official of the character. She finalized jazz baby Betty’s cadence, conscientiousness and peppy personality.
Questel also served as model for Betty Boop. Animators rotoscoped her as they drew Betty Boop’s animated sequences for the animated cartoons. Another known model for Betty Boop was Little Ann Little. Like Questel, Little also posed as Betty Boop while animators drew Betty. Other women who voiced Betty also modeled as Betty Boop, and served as inspiration behind the character’s persona using their vampy baby doll image.
Betty Boop first appeared in the 1930 Talkartoon titled Dizzy Dishes, which was released in 1930. Betty made her debut as a plump anthropomorphic French poodle, with Betty’s voice having been created by Margie Hines. Hines created the voice using her “baby doll” vocalization. The character was retired in 1939, but was later rediscovered during the 1970s.
The cult of Betty Boop fans started building in North America and Europe during the 70s. In 1975, Avon published a collection of Betty Boop comics. Betty didn’t quite make an impact until the 1980s. Betty’s revival gained momentum in 1985, in which she became an iconic figure of the 1930s.
Since the 1980s, King Features Syndicate has marketed Betty Boop using Marilyn Monroe’s image, although they do not credit Monroe as the creator or inspiration behind the character. This is due to Betty being the first sex symbol, predating Monroe in that category, and having Clara Bow’s allure. Betty Boop is still very popular today, and has millions of fans all around the world.
Because of her big eyes, and kewpie-doll appearance, she’s very popular in Japan.
According to Max Fleischer, Betty Boop is made of pen and ink, and she lives inside the inkwell. When Betty is drawn, like her predecessor Koko the Clown, she is instantly brought to life. Most of the cartoons Betty Boop appears in are in the public domain.
You can keep updated with the fictional character Betty Boop on the official website.
When Betty reached stardom in motion pictures, it later came to the attention of Max Fleischer that other producers of animated cartoons were attempting to imitate his character. He herby served notice that the character was fully protected by copyright registration, and he intended to protect his interests to the fullest extent of the law against anyone attempting to use or imitate his character.
The Fleischer Studios successfully sued doll manufacturer Ralph Freundlich in 1932 over his “Kiki” dolls having a likeness to Betty Boop. However the truth is that Freundlich’s dolls were launched in 1931, and were based on Mary Pickford.
The “Betty Boop” dolls were also launched as early as of 1931, it would seem that the Fleischers did not like the competition as the “Kiki” dolls were quite popular. Betty had not long turned from a canine to a human girl, so her likeness could not fully be established, as she had not long just made her debut in human form.
The Kiki doll-line was released August 1931, and the “Betty Boop Cameo Doll” line did not arrive on the scene until November 1931. The Betty Boop cameo dolls were then sold at all major outlets in 1932, indicating that Ralph Freundlich’s company was innocent.
He tried to argue that “Helen Kane” was the original “Betty Boop” but she had also lost her lawsuit, when she could not prove this to be true. In court the Judge didn’t think that Freudlich was telling the truth so he ruled against him.
The Circuit Court of Appeals upheld the New York State Supreme Court’s ruling that copyright for Betty Boop owned by the Fleischer Studios, Fleischer Art Service, and Joseph I. Kallus had been violated.
Freundlich was ordered to pay damages of $5,440 and costs of $15,000 in the suit. Ralph Freundlich was later found guilty of perjury in 1937. When it was later discovered that he had manufactured 1,108 dolls, he claimed that he had only made 676. He received a three-month prison term and a $4,000 fine in 1938.
On the 19th of October, 2017 Betty Boop was given a brand new design, in which also changed the shape of her head. The design first appeared in Elle magazine in early April, 2017. Since the new design made its debut, several manufacturers began rolling out products based on it.
The new Betty Boop merchandise is titled Betty Boop Now, and had been in development for the past 18 months by King Features and the Fleischer Studios and the leading design partners. King Features creative team spent the past year and a half researching, refreshing and reimagining Betty. According to Carla Silva, King Features VP and GM, Global Head of Licensing; “As we continue to showcase Betty Boop Now, out licensees tell us they are excited to see that the new look resonates with today’s young woman.
With realistic proportions and apparel choice that show her sassy attitude and style, Betty Boop Now is more expressive. She has a wide range of facial expressions and a more animated mouth through which she can voice her opinion and make her thoughts heard. Young women can really respond to that portrayal of individuality.”
The franchise was first branded by a Boston-based company called Bare Tree Media who launched its Betty Boop Now iMessage sticker packs in July as a part of its promotional celebration for World Emoji Day. Tilibra created a set of collection of notebooks featuring Betty. This fall Zazzle began debuting the Betty Boop Now Collection of their website. And Acco/Mead have plans to use Betty Boop Now artwork for their 2019 calendar.
Betty debuted as a anthropomorphic dog woman in Dizzy Dishes and again as the fair maiden in Barnacle Bill. In The Bum Bandit she is shown raising a family of 17 children with Bimbo and in Mysterious Mose is shown living alone in a haunted house. But in Minding The Baby, Betty is depicted as being younger. She is a French poodle in a majority of her earlier appearances.
The age range of Betty Boop varies. In several cartoons, she seems younger, while in others, older. Max Fleischer could not determine her age. Betty is officially 16, as opposed to this, she is 13 going on 14 in Betty Boop’s Big Boss.
The Betty Boop Zombie Love franchise that debuted in 2013 makes fun of Betty’s age, only with that franchise Betty is undead. Films featuring zombies have been a part of cinema since the 1930s, with White Zombie directed by Victor Halperin in 1932, being one of the earliest examples.
According to an early Fleischer Studios promo featuring Betty, she is 16 and will always stay 16. Betty Boop actually “officially” died in 1938, and since Betty Boop was born in the early 1910s, like most people born in 1915 she would actually be deceased today.
Betty Boop’s official birthday set by Max Fleischer in 1933 was the 1st of April. No year was given, but it is presumed that Betty would have been born somewhere during the 1910s.
A quick age calculation by the “Boop-Boop-Be-Doop” blog calculates Betty’s date of birth as April 1, 1915. The date calculates that she would have officially turned “16-years-old” on the 1st of April in 1932.
1932 is the same year that Betty made her debut in the “Betty Boop” series timeline in which Betty made her first appearance in Stopping the Show. The episode Stopping the Show did not debut until the 12th of August, indicating that Betty had already turned 16.
Max Fleischer also stated in a 1932 interview that Betty was officially 16 and alternatively younger or older in other episodes and adaptions. Betty is said to be Max’s daughter at times and sometimes is referred to as his niece.
Betty’s birthday today is usually celebrated on August 9, 1930. August is actually her debut in Dizzy Dishes. Betty usually refers to her birthday, as her Boopday.
Here is a 1930-1931 depiction of an early “Betty Boop” artwork by Grim Natwick. Betty has vivid red hair, blue eyes and wears a pink dress. She’s known merely as Bimbo’s girlfriend.
This artwork that was drawn and painted by Grim was made prior to Betty’s development. In this artwork Betty still has her hairstyle from Barnacle Bill but without the spit curls and she is more slender in size to how she appeared in the cartoon, as Betty was more plump in the actual Fleischer Studios animated cartoons Barnacle Bill and Dizzy Dishes.
Though Natwick created the initial base for Betty Boop; Max Fleischer, Dave Fleischer, Shamus Culhane, Seymour Kneitel, Myron Waldman, Doc Crandall, Ted Sears, Willard Bowsky, and Al Eugster all contributed to the character development.
Paramount Pictures urged the Fleischer Studios to work on the evolution of the character, as they had a feeling that the character was going to be a hit with the general public.
Betty has an affinity for the colors black and red, she wears a short dress, and a garter belt on her left leg.
Her breasts are highlighted with a low, contoured neckline that shows off her cleavage. In color Betty wears a red dress and red high heels with gold hoop earrings and gold bangles on each arm.
Betty’s underwear is not visible unless there is a gag sequence. Like Minnie Mouse, Betty wears bloomers.
The original Betty Boop, her high heels were accessorized with bows. The bows on her high heels vanished because the animators would have found it hard to continuously animate them.
Though the bows were removed from the later cartoons, they are still supposed to be there. They can be seen in the earliest cartoons Mask-A-Raid and Kitty from Kansas City and Paramount Pictures posters from 1932 featuring Koko the Clown, Billy Boop and Bimbo.
These type of shoes would later become an iconic part of Walt Disney’s design for Snow White, a character also animated by Natwick.
Betty’s fluttery outfit, which first debuted in the 1931 cartoon Silly Scandals, was reportedly inspired by or modeled in the 1929 ensembles of Louise Brooks and Clara Bow.
Bow, the top star of Paramount Pictures, served as a major source of inspiration for the Fleischers when developing Betty Boop, since they had drawn inspiration from a number of women.
Betty received red hair as a tribute to Bow. The original “It-Girl” Clara Bow was the 1920s and early 1930s equivalent of Marilyn Monroe. Monroe even gave Bow a tribute since Bow was so iconic. Clara Bow was dubbed “La Bow” by Paramount, Betty was given a similar title to Bow, “La Boop” a few years later.
Long before Tex Avery’s Red Hot Riding Hood and Disney’s Jessica Rabbit, Betty was the original redhead. Both Red and Jessica were based on Boop’s success. To date, sales of Betty Boop merchandise have exceeded $1,000,000,000.
Betty’s dress is red, her high heels are colored black and her bangles and earrings are colored gold. Her eyes are colored a dark blue. Blue is Betty’s original eye color palette in the original series.
Betty has an infatuation with men and males, she’s mostly attracted masculine men. In her comic series, she’s dated a handful of men, and she often likes to flirt with them. In Betty Boop’s Birthday Party, while powdering her nose she can be seen and heard quoting: “Oh my dear, I hope it’s a man,” when her doorbell rings. Betty also explains her love life in more detail in the 1933 article The Love Life of Betty Boop.
Betty Boop was one of the first and most well-known sex symbols on the animated screen. Betty Boop is now regarded as a feminist icon, a re-write of her backstory today is kind of complicated. However, the original Betty Boop of the 1930s was not a feminist and did not advocate for radical feminism, as is now alleged.
As of 2020, rewrites of Betty Boop’s feminism origins in media is historical revisionism. Though Betty Boop’s image helped shape feminism, she was essentially America’s first sex icon. As her initial creator Grim Natwick stated on numerous occasions, Betty was created by men for the benefit of men. He also stated that, though Betty was never vulgar or obscene, Betty was a suggestion you could spell in three letters: S-E-X. Betty is used by feminists today as an example of how sexism objectifies women.
Today there are contemporary photographs showing Betty saying, “we can do it” and or “you can do it” used to promote Betty today as a feminist. These new images depict Betty in comparison to a 1940s American World War II poster that was often used during the 1980s and 1990s and today by feminists to promote feminism. Betty however was long retired in 1939, and lost most of her appeal by the 1940s and was later forgotten in history up until the 1970s.
In her cartoons, the original Betty Boop was sexualized. Betty did, however, speak up for her rights in certain cartoons, such as the 1932 cartoon Boop-Oop-a-Doop and the 1933 cartoon Betty Boop’s Big Boss. However, by the end of Betty Boop’s Big Boss, Betty had succumbed to her boss’s sexual advances. The majority of the Betty cartoons included a mix of sexulization and objectification at Betty’s expense. Betty did not stop the male characters who would frequently do unpleasant things to her in most of the early cartoons.
Ted Hannah, the King Features Syndicate director who oversaw the public relations effort that reintroduced Betty Boop to the globe, declared in 1985 that Betty Boop was not a feminist. “Although Betty Boop is not a feminist, she could be useful to the movement because she is non-threatening and demonstrates good qualities.”
Betty’s look in the initial cartoons was eventually cleaned up and modified to be more modest in comparison to her former iteration by the late 1930s. In the majority of the early cartoons, Betty was an independent girl who was often harassed by fictional male characters. However many decades later in Hurray For Betty Boop, which debuted in 1980, some of the original cartoons were rewritten with Betty embracing feminism. In the original 1932 cartoon, Betty’s father Mr. Boop forces Betty to eat her meal, this however makes Betty sad and she starts to cry and compliment suicide in song by stating that she will eat some worms and die, Betty runs away from home only to later return scared by the ghost of Minnie the Moocher. Whereas in this 1980 re-write, Betty still gets upset, but this time she calls her father a “chauvinist pig” and leaves home for good.
Betty’s feminist status was mostly emphasised for the documentary Betty Boop Forever, which contends that Betty is a feminist. Betty did not struggle for women’s rights in the original cartoons. Dr. Martens x Betty Boop also promoted Betty’s new image.
Betty Boop was reimagined by King Features and Fleischer Studios because it was discovered that she was “too out of touch” with modern audiences.
The question was how a nostalgic character like Betty might appeal to a broad audience today without prejudice. Producers remarked that they are torn between updating Betty Boop and embracing her feminism or by keeping her archaic qualities. A few of Betty’s old outdated characteristics featured in earlier Fleischer Studios cartoons include discrimination against homosexuals, racism against people of color, sexism against women and also the sexualization of women. Each of which are not acceptable in society today.
Betty Boop is a singer, but does not consider herself to be very good. In her official theme song, she says that people can say her voice is awful, but is more concerned about someone taking her “Boop-Boop-Be-Doop” away. At times, she is also able to dance, and even once opened up “Betty Boop’s Dancing School” in The Dancing Fool.
The original Betty Boop in the cartoons was a skilled impersonator, who could impersonate anyone. Celebrities she often impersonated included Fanny Brice and Maurice Chevalier. She also had the ability to morph into caricatures of Herbert Hoover and Al Smith.
In Stopping the Show, a caricature of Helen Kane originally appeared, and she asked Betty to sing “That’s My Weakness Now” and imitate her. Making Kane one of the many original impersonations in Betty’s act. However due to a lawsuit, the Fleischer Studios deleted the scene from all prints, so instead Betty comes on as herself singing the song.
Aside from her talent for imitation, which she inherited from Mae Questel, Betty Boop is a talented pianist who also plays the organ. Betty Boop frequently plays the piano in the original Betty Boop cartoons.
Modern day Betty Boop, dubbed new-age Betty, has lost these unique traits. However as the series rolled on, in the original series Betty stopped doing impersonations of other celebrities. However in Pudgy Takes a Bow-Wow, Betty does two stereotypical impersonations, one of a Chinese man who works at a laundry shop and the other an Italian man who works as a grinder.
The original Betty Boop in the original Fleischer Studios cartoons had a bigger oval button shaped nose. Betty’s original nose matches more with her Jewish origin. However when Betty Boop was given a new design by King Features Syndicate, they changed a lot of her features including her nose. Betty as it were in the “Toon World” as she is fictional has had rhinoplasty, which is cosmetic plastic surgery for the nose.
Betty is known to have blue eyes but can sometimes be seen with green eyes in official artworks. Whereas classic Betty Boop has black eyes with no color. Art featuring Betty Boop is printed in black and white the dotted lines indicating her eye irises do not appear. Betty’s eyes are made up of only a black pupil and white eyeball.
When printed in color Betty’s irises print PMS 351 leaving the triangular highlights in the white pupils. The black dotted lines indicating Betty’s irises never print. In special instances, the iris may be defined by a solid black line but only with permission of the Licensing Art Director. Betty Boop’s eyes were altered in the Lancome Paris Star Eyes commercial, and she can also be seen sporting eye shadow.
The official Betty Boop FAQ once claimed before deleting the entry, that Betty’s current official eye color is a light green. Thanks to an archive, the FAQ in question has been restored.
Earlier Fleischer Studios cartoons indicate that Betty’s original official eye color was blue. The official Betty Boop today is completely different to her 1930s counterpart. King Features have full control over Betty Boop, and they have changed a lot of Betty’s image, backstory and origins to market the character to the new generation. So most information put out on the official Betty Boop or Fleischer Studios websites, may not be 100% accurate, and may not reflect Betty Boop’s original backstory.
Classic Betty Boop has a black eye color when in black and white. She has blue eyes when she’s in color. She has the option of bright or dark blue eyes. Betty’s eyes are a dark green tint as well. Modern Betty by King Features Syndicate has light green eyes. Betty also has bright blue eyes, as shown in her Lancôme Paris Star Eyes commercial.
A majority of fans claim that Betty’s black hair complements her look. But when colorized during the 1930s, Betty’s original hair color was red. Individuals who lack access to the original Fleischer or Paramount transcripts, or are not fans of the original Betty, lack knowledge of the character’s origin. And those individuals who know very little of Betty Boop are usually unaware of Betty’s red hair origin.
This is not false information and it is ignorant to ignore this so it has been brought to light. People who are not real fans of the series are unaware of this.
It has been confirmed by cartoon historian and artist Leslie Cabarga who was told this by ex-Fleischer animators and staff. Grim Natwick and Little Ann Little also confirmed this to be true. However Little claimed in her story that Betty had red hair because she herself had red hair.
The Fleischer Studios family lineage have not confirmed this as they may have used falsified material to debunk Natwick’s statements. So they more or less focus more on the process of how Poor Cinderella was colorized, rather than the true origin of Betty “already” having being created with vivid red hair by Natwick.
Also the family may be unaware that Betty even had red hair to begin with as they do not acknowledge Betty as a redhead, and neither do King Features. Since her reappearance in the 1930s, Betty’s only known hair color has been jet-black, akin to that of Helen Kane.
Black hair and hazel green eyes were two of Kane’s best-known features. Betty’s new hue, with her pale green eyes and black hair, makes her look even more like Kane. Betty would have been considerably different from Kane if she hadn’t been a redhead with blue eyes.
Redhead Clara Bow, whom Paramount acknowledged in Hollywood on Parade that Betty resembled, served as the model for Betty’s red hair. As stated, most of Bow’s persona was molded into Betty Boop’s character.
The Fleischers later stopped making Betty have red hair and it was lastly used in Poor Cindrella in 1934 and Fleischer’s Animated News. Red later became her second alternative hair color.
Since Betty lives in the inkwell, in a majority of her cartoons, most of the time her hair is black like ink. There have been a lot of antique items from the 1930s, such as promos, clocks, masks, coloring books, porcelain, toys, dolls, all featuring Betty with red hair. In 2023, Betty was given a new modernized orange-red hairstyle for some official brand-new Betty Boop goods.
Betty has 16 spit curls in total. Her curls are angled to one side. Her head is covered with four curls on the left side and four on the right. There are four additional curls on the left side of the head and four more on the right.
Throughout the series, Betty Boop’s hairstyle has evolved.
In 1930, Betty made her debut with a curly “kiss-curl” styled hairstyle, which was based on flapper girls of the 1920s. For some of the cartoons in 1930, the Fleischers completely removed all of Betty’s curls, giving off more of a “Louise Brooks” or “Josephine Baker” style. In Accordion Joe, Betty has no curls, and long hair tied in ponytails.
In some cartoons Betty has long hair. For example as a mermaid, and in a parody of Alice in Wonderland her hair grows to match Alice’s. By 1936, the “part” in the middle of Betty’s forehead was completely removed, this was either to change Betty’s hairstyle a little to make her look different, or to make it easier to draw and or animate Betty.
The Fleischers were actually at one point advised to “modernize” Betty’s hairstyle with the times as the iconic flapper hairstyle that Betty had, was out of touch with the times by the late 1930s. However the Fleischers only ended up changing Betty’s hairstyle once in the 1938 cartoon Honest Love and True, and then reverted it back to the flapper hairstyle.
Betty was re-designed in 1938 to look taller and her head size and body portions were made smaller, this came about when the Fleischers saw the success of Disney’s film Snow White and the Seven Dwarfs. With this new change, Betty’s hair was drawn a little longer than usual. By 1938, women began to embrace new trends and styles. High hair, stylish short-snipped hair, pin-curls and longer hair were becoming more fashionable and trendy.
Betty Boop is Caucasian and is Jewish but unlike her parents Mr. Boop and Mrs. Boop, Betty does not follow strict Jewish sects. Betty’s mother in the original cartoon is unable to speak English and only speaks Yiddish. Betty’s parents are Jewish Polish immigrants.
Betty’s family are Jewish-Polish, Betty and her brothers are Polish-Americans. Grampy her grandfather, Mr. Boop her father, Mrs. Boop her mother, Bubby Boop her other brother. Aunt Tillie her aunt, Uncle Mischa her uncle, her cousins Irving and Buzzy Boop.
Junior her nephew, Quintet Kiddies her adopted children, 17 Kids which were Bimbo and Betty’s kids in The Bum Bandit. Wicked Queen who is Betty’s wicked-stepmother in Snow White. Grandma who is Betty’s grandmother in Dizzy Red Riding Hood.
Some of Betty’s family members can fall into the category of non-canon. In the 1930s Betty Boop comic series, in one strip Betty’s whole family gather at her home. But in the comic it doesn’t mention their relation to Betty. Tillie, Bubby and Billy later stopped appearing in the series. The series then followed Betty alone on her career.
It is assumed that the boy who makes a cameo appearance in the “family mob scene” is either Bubby or Billy, most likely being Bubby due to the hairstyle. Betty’s other family members include Aunt Minnie, Little Bucky and Uncle Biff.
Betty’s family were excluded out of the Broadway reboot. This is probably due to their inconsistency, and how badly Betty’s parents treat her. However in some cartoons and spin-off comic strips, Betty says that she has a great relationship with both her strict Jewish parents.
In the 1930 cartoon Accordion Joe, Betty is Native-American. Native-American Indian progenitors were Indigenous people who were the “First Americans” to settle in America.
In Betty Boop’s Bamboo Isle, Popeye the Sailor and Betty Boop’s Rise to Fame, Betty has dark skin and is Samoan. The Samoan people are a Polynesian ethnic group of the Samoan Islands.
Misconception and misinformation spread is that Betty Boop is often mistaken for African-American. Betty has dark skin in that cartoon, but is Samoan not African-American. Betty is not in Blackface in the cartoon excluding Betty Boop’s Rise to Fame, she is depicted to be a native Pacific Islander.
Betty for these sequences was actually rotoscoped directly from The Royal Samoans. The Samoan hula dancer known as “Mari,” “Meri,” and mainly Lotamuru, was the reference and or model for Betty Boop in this cartoon.
The character was originally created as an plump anthropomorphic French poodle, which was originally a take on Helen Kane, a popular “Poo-Poo-Pah-Doop” Paramount Pictures screen star and recording artist, who’s career had ended with Paramount in 1931.
Grim Natwick who created Betty’s initial concept stated that he used a photograph of Helen Kane, in his words, “a highly talented, very popular nightclub singer of that time,” and used her photograph from a song sheet by merging her head with a poodle.
Natwick also stated that the “spit curls” were popular to the teenage girls of that era, and that is also what inspired him to create Betty Boop. In Betty’s debut she is a nameless character. Grim initially referred to Betty as the “Pretty Girl” and she was only given the name “Nancy Lee” in the second animated feature Barnacle Bill.
The nameless character in Dizzy Dishes who later became “Betty Boop” was only meant to have made a one-shot appearance, but the public loved the character so Paramount & the Fleischer Studios continued to develop the character.
After the release of the 1930 short Barnacle Bill, Betty had became slimmer and her design was tweaked. Betty’s skin tone was also shaded darker in two 1930 shorts that followed Barnacle Bill, the cartoons were Mysterious Mose and The Bum Bandit. According to Grim Natwick, Betty is just shaded for artistic appeal. Shading art helps make the shadows more three dimensional as opposed to being flat.
In the Betty Boop cartoon series Betty is seen living in a different home in each and every episode. In Bimbo’s Express Betty is shown moving home, which indicates that she might do that on a regular basis, Where as in Minnie the Moocher Betty is shown to live with her parents. Following the later series Betty lives alone and sometimes with Pudgy.
Margie Hines won three baby-talk contests and then went on to create the cute voice for Betty Boop. The first 1930 cartoons to feature the Betty Boop prototype character, Dizzy Dishes, Accordion Joe, Mysterious Mose and Barnacle Bill feature only the vocals of Hines.
The other original voices of Betty Boop were, Margie Hines, Little Ann Little, Mae Questel, Bonnie Poe, Brooklyn girl June Albrezzi (June White) and radio voice by Kate Wright, another “Betty Boop” radio voice that was featured on The Sun Shine Hour radio show was Shirley Reid.
Reid also did her “Betty Boop” impersonation in-person at a restaurant in Los Angeles in 1934. Reid’s “Betty Boop impersonation” kickstarted her a career in the voice-over world, she went on to work for Walter Lantz and Walt Disney. Cookie Bowers was the voice of Betty Boop on his European tour.
Victoria D’Orazi voiced Betty Boop in the 1980 film short Hurray for Betty Boop, however the 1980s official voices of Betty Boop were Desirée Goyette and Mary Healey.
Before voicing Betty Boop in The Romance of Betty Boop, Goyette appeared as Betty Boop in person at the 1984 Macy’s Thanksgiving Day Parade courtesy of King Features. Goyette choreographed a dance sequence and sang “I Wanna Be Loved By You” to a live audience.
Mae Questel, the original voice of Betty Boop told June Foray that Goyette was “not so bad” as the voice of Betty and gave Goyette her blessing as the new voice of Betty Boop, but after the 1980s Goyette no longer officially voiced Betty, but instead a one-shot parody Googi Goop in The Girl with the Googily Goop.
Melissa Fahn as of 1989 were the voices of Betty Boop, with Fahn being the official voice, but during the late 2000s Fahn retired from the role. Laurette Willis did Betty’s voice on The Betty Boop Show and radio, she also appeared on TV with Mae Questel. After Fahn retired Betty Boop’s voice was officially provided by Cindy Robinson.
In 2014, Heather Halley and Camilla Bard provided the voice for Betty in the official Betty Boop video game release Betty Boop Dance Card. Broadway star Lauren “Coco” Cohn, who playfully looks like Betty Boop, is also one of the many voices of Betty.
Robinson claimed that her voice for Betty is sultry and sexy, and claimed that other modern day voices of Betty Boop are just “cute” in comparison.
Robinson talked about her portrayal of Betty Boop in a 2017 interview. In response to a question about whether or not she had voiced Olive Oyl, Robinson stated that no, even though Olive has a similar voice to Betty.
She went on to say that she naturally sounds like Mae Questel, but that she is not Questel’s voice-match, and that it is natural. Robinson added that, despite her ability to mimic Betty Boop’s voice, she dislikes voice-matching and that Mae Questel had portrayed Betty “beautifully” in the original cartoons. She stated that Betty has already been cast and her voice has been originated.
Additionally, she believes that she cannot make a name out of the role in voice-matching. She went on to say, the people who currently voice Betty and the general public who are fans of Betty Boop, they don’t know what Betty sounds like originally. Robinson made the implication that the individuals in question are unaware of Betty’s voice and have not watched the original cartoon series.
Some new voices of Betty have refuted this claim, claiming to have given Betty’s voice a fresh or unique interpretation. However Robinson is correct. Questel’s version of Betty Boop was one of a kind.
Robinson’s imitation of the “Betty Boop voice” sounds a little deeper in comparison to the previous voices, and sounds more in comparison to DC Comics character Harley Quinn. Robinson provided the voice of Betty in a majority of the video games and commercials.
One of the main company she voiced Betty for was Bally Gaming, however during the early 2000s, originally Lani Minella was the voice of Betty Boop for Bally. Robinson was noted as making a statement that King Features always hires “more than one voice-over” artist to voice Betty Boop, just in case the other talented voice-over talents are unavailable.
In person Betty is often portrayed by a Betty Boop impersonators. A portion of the latter have voiced Betty Boop in animated ads over the years.
The original Betty Boop character impersonators for Universal Studios Hollywood were Suzy LaRusch and Dena Drotar in 1991. However both actresses were better known for their roles as Marilyn Monroe and Lucille Ball’s character Lucy Ricardo.
Sandy Fox also took on the role in 1991 and portrayed Betty Boop in person for many years as a character impersonator. She decided to enter the world of voice-over. She later was asked to voice Betty for the “Betty Boop Store” at the Universal Studios theme park in Orlando as she had worked for the company for years.
Eventually Fox won a contract to voice Betty Boop in 2012 to voice Betty for Lancôme. Though Fox claims to be the only official voice of Betty Boop this is untrue. Several or more actresses are always hired to take on the role.
Prior to Lancôme it would seem that Fox had never been used for any project. The only people used prior to 2012 were Cindy Robinson and Melissa Fahn.
Debbi Fuhrman, originally was the official branded Betty Boop impersonator for King Features, Fuhrman was also part of The Betty Boopers girl group. Betty Boop impersonators for theme parks throughout the years have been frequently advertised, theme parks are always actively seeking a new Betty Boop.
A list of the worst and best Betty Boop character impersonators.
Little Ann Little was the original “Betty Boop” impersonator, though Ann was “not” the original voice of the character, she was known as the “original model” of Betty because her contract officially stated that she was the “Original Betty Boop” for the Fleischer Studios. She also later went on to voice Betty in 1933.
Little portrayed Betty from the mid-1930s up until the early-1940s. In history, Little was known to over-exaggerate her role. Mae Questel, Bonnie Poe, Margie Hines had also appeared as Betty Boop on stage and in person for Max Fleischer, Paramount and Fleischer Studios publicity events during the 1930s.
Betty Boop has appeared in person in two official live-action shorts by Paramount Pictures.
Betty is portrayed by Mae Questel in Musical Justice. Mae Questel performs “Don’t Take My Boop-Boop-Be-Doop Away” in a live-action sequence. Betty is portrayed by Bonnie Poe in Hollywood on Parade No. A-8, alongside Bela Lugosi.
Poe sings “My Silent Love” in a live-action sequence. Poe is often mistaken for Mae Questel and Helen Kane during her role as Betty Boop in Hollywood on Parade No. A-8. Helen Kane made a small cameo appearance a year before Betty’s live-action appearance in Hollywood on Parade No. A-2, and two years prior Kane was featured in Paramount on Parade in her own skit performing a “Poo-Poo-Pah-Doop” number.
A year after this was made, Poe made a cameo in Rambling ‘Round Radio Row as a Betty Boop singer, there she sang “Puddin’ Head Jones” to a mailman.
In May 1932, Helen Kane filed a $250,000 infringement lawsuit against Max Fleischer and Paramount Publix Corporation for the “deliberate caricature” that produced “unfair competition”, exploiting her personality and image. While Kane had risen to fame in the late 1920s as “The Poo-Poo-Pah-Doop Girl,” a star of stage, recordings, and films for Paramount, her career was nearing its end by 1931.
Paramount promoted the development of Betty Boop following Kane’s decline. The case was brought in New York in 1934. Although Kane’s claims seemed to be valid on the surface, it was proven that her appearance was not unique. Both Kane and the Betty Boop character bore resemblance to Paramount top-star Clara Bow.
The most significant evidence against Kane’s case was her claim as to the uniqueness of her scat singing style in which she had adapted from an African-American child performer from Chicago who went by the name of Baby Esther, but was better known as Little Esther.
Testimony revealed that Kane had witnessed the seven-year-old “Florence Mills” impersonator Little Esther Lee Jones, using a similar scat singing style in her act at the Everglades Nite Club. An early test sound film was also discovered which featured Esther Jones performing in this style disproving Kane’s claims that she was the first to “Boop-Boop-a-Doop” in song.
Helen Kane never provided the voice the animated character Betty Boop, but is often mistaken for the voice of Betty Boop. Helen later went on to use Betty Boop for her posters, two years later in 1935 for her Fox Brooklyn shows.
The show even featured a Betty Boop cartoon. Max Fleischer was told by one of the newspapers at the time to sue Kane, but he didn’t and let her use Betty Boop without permission, even though Kane initially had wanted Betty Boop stopped by an injunction.
In 1934 Betty Boop’s comic strip was launched. The strip was re-released in 2015 by Titan Comics and it also featured The Original Boop-Boop-a-Doop Girl by Helen Kane. In 2015, Dynamite Comics announced a new deal with Fleischer Studios and King Features to publish a new Betty Boop comic.
Betty made appearances on the front cover of the Fleischer’s Animated News, where she appeared in some of her own skits with Grampy, her nephew Junior, Popeye and Olive Oyl.
It was announced in 1938 that after introducing a new Fleischer character “Sally Swing” that Betty would have passed away. Twelve “Sally Swing Cartoons” were lined up, and she was going to take over Betty’s place as a more “modern” and “stream-lined” character.
Paramount Pictures and the Fleischer Studios announced that Betty Boop had since died. Lou Diamond told the press that Betty Boop is dead and that Sally Swing is the new successor.
“With a sense of deep regret, that they record the passing of Miss Betty Boop, the amiable, pulchritudinous, neckless young lady who had served Paramount so loyally for many years. Betty had passed on suddenly, but not before she was able to name her successor.”
After introducing Sally in the episode Sally Swing, Betty was supposed to have passed away.
The Fleischers held a “Sally Swing Contest” to find Sally Swing. They found Rose Marie, a former child “Boop-Boop-a-Doop” girl. Marie was known by her stage name “Baby Rose Marie” and she took on the role of Sally Swing at the age of 15.
Much like Betty, Sally is 16 years of age, and at the time of her creation was thought to be the epitome of modern youth, and was full of life, pep, and that magic something that sustained the young people of the late 1930s.
Betty had the appearance of an out-of-date flapper girl, Sally at the time was more of a modern bobby-soxer. Sally is devoted to swing, is lithe and lissom, and, in parlance of Hollywood’s scriptures, the ideal jitterbug.
The “Sally Swing” episode debut did badly at the box-office, so Paramount and the Fleischers decided to cancel the entire series. Because Sally made no impact, instead Betty Boop retired rather than died.
The bad PR stunt by Paramount and the Fleischers announcing Betty’s death to make way for Sally was somewhat a blunder. Betty Boop was later revived during the 1980s, Sally Swing was not seen again until the mid-2010s. Since then Betty’s short-lived death has been a secret.
Loved by her neighbors, Betty Boop is a diligent worker. She works throughout the day as a shoe salesperson at a store and performs at Club Bubbles at night. Desirée Goyette was picked to voice Betty out of 55 actresses.
Goyette stated, “Betty Boop was modeled after Clara Bow, so if you want to know more about who Betty Boop was, you need to know a lot more about who Clara Bow was. And so as the voice of Betty Boop I did my best Clara Bow imitation.”
Throughout the movie, Betty Boop dons different outfits many times and keeps a parrot named Polly as a pet instead of her usual dog, Pudgy. Even though the Hays Code laws had long since been abandoned and Betty’s garter is one of her primary characteristics, she doesn’t wear it for the whole of the movie.
Betty does, however, reappear in the sequel. Who Framed Roger Rabbit, a film that was produced three years after The Romance of Betty Boop, features Betty. The way that Grim Natwick drew Betty in the 1970s and 1980s is similar to how Betty is drawn in the movie.
This is the first time Betty has ever performed the hit song “I Wanna Be Loved By You” a song originally by Helen Kane. As per the provided details, the individuals working on the movie had Marilyn Monroe and her role in “Some Like It Hot” in mind when they incorporated the musical interlude into the movie.
In a diner, Betty Boop serves customers as a waitress with her pals Bimbo and Koko the Clown. The voice of Betty Boop is provided by Melissa Fahn, who later took over the role after Mae Questel, Mary Healey and Desirée Goyette.
Along with her buddies Koko and Bimbo, Betty Boop works as a waitress in Los Angeles. This is Bimbo’s first appearance since 1933, when he initially appears in blue instead of black.
The short was produced a year following Betty’s appearance in the Disney animated picture Who Framed Roger Rabbit from 1988. Betty’s garter has returned, and her customary red gown has been replaced with a purple one, and her jewelry has switched from gold to silver.
The Betty Boop Movie Mystery, in contrast to The Romance of Betty Boop, aims to maintain Max Fleischer’s original surrealistic flair from the original Betty Boop cartoons.
In 1993, Richard Fleischer who was the son of Max Fleischer of the Fleischer Studios wanted to make a feature out of his father’s star character “Betty Boop” but those plans were later scrapped.
Jazz was a major part of most of the old Betty Boop cartoon shorts. In the storyboard in the link above Betty Boop performs a song called “Where Are You?” with her estranged father Benny Boop. Sue Raney substitutes for Betty and Jimmy Rowles stands in for Betty’s father Benny Boop.
According to Mary Kay Bergman she had auditioned for the role and had been given the part, until it was abandoned. Bergman stated that she perfected Betty’s voice. Character impersonator Sandy Fox who was touring as a Betty Boop “character impersonator” also auditioned for this role, and lost out to Bergman. The music was written by Benny Wallace and lyrics by Cheryl Ernst Wells.
Bergman was a famous multi-voice and at one point was “The Official Voice of Snow White,” she is best known in history for her voices on the hit TV show “South Park”. Bergman later used her Betty Boop vocal imitation for ‘Weird Al’ Yankovic’s Jewish parody “Pretty Fly for a Rabbi“. Originally Yankovic wanted her to do most of the track, but her agent forbid her from using her “South Park” Sheila Broflovski character voice due to a possible lawsuit.
Yankovic was not satisfied with Bergman’s squeaky Betty Boop imitation so he got Tress MacNeille to do her Fran Drescher vocal imitation, and Bergman’s alternative recordings were removed from the track. Bergman can still be vaguely heard saying the line, “For a Rabbi.” Which makes sense, because Betty Boop is Jewish.
In 1996 Richard Fleischer was shopping around for a Betty Boop TV series where Betty would be a intergalactic flight attendant, but plans for this were later scrapped.
In the 1996 Warner Bros. series Animaniacs episode The Girl with the Googily Goop, a parody of Betty Boop called Googi Goop makes an appearance. In the original concept Googi is a human girl and looks more like Betty.
To avoid a possible copyright infringement lawsuit by King Features Syndicate and or the Fleischer Studios, Warner changed Googi’s design to resemble that of the Warner brothers Yakko, Wakko and sister Dot characters. Googi was voiced by Desirée Goyette, the 1980s voice of Betty Boop.
Betty Boop appeared in animated sequences by DMA Animation for Bally Gaming: Betty Boop by Bally Gaming. Bally asked King Features Syndicate for permission to use Betty Boop’s image for this game, King Features accepted, but expected high standards. The game featured voice actress Lani Minella in the starring role as Betty Boop, Minella would also voice Olive Oyl for Bally.
Betty Boop made a small cameo appearance in “Garnier Lumia Hair Color” commercial, she was voiced by Michelle Goguen an actress and professional voice over artist from New York City. In Betty’s promotion, she is stuck in black and white but as soon as she uses the hair dye she is colorized.
Following the announcement of Betty being animated for a Bally game, Betty’s Mainframe was announced. The concept for the CGI series started between 2000 and 2001.
The new Betty Boop TV series was going to be created in CGI by the Fleischer Studios and King Features with help from Mainframe Entertainment Inc., but plans for the feature were later scrapped. The concept would have had Betty as a leader of her own band, traveling from gig to gig.
Variety told Jennifer Lopez, Christina Aguilera, Britney Spears, Jessica Simpson and Madonna Ciccone who were popular singers at their peak in the 2000s to watch out.
In 2003 Betty Boop appeared in an early 3D rendered slot machine game by SEGA Sammy Holdings. Betty was voiced and promoted by 1980s Japanese pop idol Akina Nakamori. In 2002, a year before this release, the company released a 2D game titled Betty Boop S. Both casino games have animated scenes, but Betty is compared to Marilyn Monroe in them.
In 2003 a pilot for the upcoming Drawn Together series in Adobe Flash was pitched to several networks, including Adult Swim. The series was set as a parody of Big Brother and or The Real World, game shows in which contestants, referred to as housemates who live in isolation from the outside world.
Jordon Young who previously worked on The Simpsons as a layout artist, Matt Silverstein and Dave Jeser created a pilot episode and pitched it to Comedy Central.
The series debuted in 2004 and featured a parody of Betty Boop called Toot Braunstein.
Braunstein being a typical Jewish name indicates that Toot is Jewish but she does not follow the Jewish religion and eats pork. Toot is the opposite of Betty Boop, she is deemed a repulsive outdated sex symbol, who is only seen as “sexy” in her 1920s cartoons.
Toot’s background in her 1920s cartoons is never quite explained in the series, though they say she is partially based on Amy Crews from Big Brother 3. Drawn Together also in the 2000s made fun of Betty’s Boop’s “Hooters” mascot campaign by making Toot the “Tooters” girl.
For the series final Toot reveals that she is nothing like Betty Boop, and admits that Betty Boop wouldn’t do the stuff that she does which is taboo. Toot was voiced by Tara Strong.
Instead of a “Boop-Oop-a-Doop” routine, Toot does more of a “Tooty–Toot-Tooty-Toot” with a “Toot” or often uses strong language. Toot is the only Betty Boop parody to obtain a huge fanbase of her own. Toot made her last appearance in a 2010 DVD movie special, after the series was axed in 2007 for vulgar and offensive content.
Patricia Heaton also made a complaint against the series for being offensive when she and her daughter went out and came across a Drawn Together billboard promoting a same-sex kiss between a Disney Princess, known as Princess Clara who also was voiced by Strong.
In the pilot episode Toot wore a black dress with straps in comparison to Betty’s strapless dress. Toot’s official outfit is based on Betty’s dress from Sally Swing, only sleeveless.
Betty appeared in a 1987 “25th Anniversary Special” on TV. She made cameo appearances in television commercials and the 1988 feature film Who Framed Roger Rabbit, which was followed up by a cameo voiced by Mary Healey in One of the All-Time Greats in 1989.
While television revivals were conceived, nothing has materialized from the plans. In 1993 there were plans for an animated feature film of Betty Boop but those plans were later canceled. The musical storyboard scene of the proposed film can be seen online.
From 2007-2008, Betty appeared in the Nintendo DS Game Betty Boop’s Double Shift. In 2009 she appeared in a mobile game by Namco called Betty Boop Movie Mix Up. A Betty Boop Musical was in development for Broadway with music by David Foster.
The first ever playable Betty Boop game was released in early 2007-2008 by DSI Games titled Betty Boop’s Double Shift. In a review Nintendodojo gave the game very poor ratings, it was also criticized for the unresponsive touch controls.
Betty Boop has appeared in several slot machine games with Bally Technologies starting with Betty Boop’s Love Meter which was then followed by Betty Boop’s Fortune Teller, Betty Boop’s Firehouse and Betty Boop’s 5th Avenue.
Two of which were ported to the ipad and iphone for itunes. The game features Cindy Robinson who is the official voice of Betty for the Bally game releases. Robinson has provided the voice-over for Bally for five years running. The slot machines are often feature CGI openings and Betty speaks directly to the player.
Bally has a vast history with the cartoon character Betty Boop, during the 90s Bally hired a Betty Boop impersonator known simply as Angelia Mitchell, who worked as a MGM Betty Boop impersonator. She started out as Betty in 1993 and later went on to portray Betty in person for Bally where she was a integral part of promoting the slot machines for casino managers and none other than the Fleischer family, including Max Fleischer’s son Richard Fleischer.
Character impersonator Mitchell worked with Bally starting in the 1990s, she later retired from portraying Betty in 2003. For the opening of Betty Boop’s Love Meter, Betty can be heard saying, “Bally and Betty back together again.” The Bally slot machines featured at casinos are known to be quite popular with guests.
In 2014 Betty Boop was featured in Betty Boop Dance Card by game designer Mickey Blumental of Fowl Moon Studios, in an IOS rhythm action card game on the iPhone and the iPad. The game was quickly followed by Betty Boop Bop and Betty Boop Beat. Initially it was set for a PlayStation Vita release, which somehow never came to fruition. The game opening sequence features Heather Halley as Betty Boop and David Babich as Bimbo. In the game Betty’s voice and singing vocals are provided by Camilla Bard.
In 2014, it was announced by Simon Cowell that he would be producing the Betty Boop the Movie partnering with Animal Logic. Leaked emails suggest that the role of Betty was originally to have been played by Lady Gaga and suggested that the film will be a live action hybrid along the lines of Who Framed Roger Rabbit.
It had been suggested that the Syco Entertainment and Animal Logic “Betty Boop” film feature had been canned. Instead Betty was set to make a brand new TV appearance in 2018, which also did not happen.
Syco & Animal Logic did not comment. Initially the “immediate release” for the film was featured on the Animal Logic website. It was indicated that the project was secretly in the works but according to Sony who were originally working on the film, they stated it was “weirdly sexualized” yet childlike, and they felt that they shouldn’t go through with it. Sony went on to say that it was just weird and they didn’t want to chase it.
It is a known fact that Betty Boop is a fictional sex symbol from the 1930s, and without her risqué nature, she has no appeal. Betty’s sex appeal is what made the original cartoons a hit.
In the original series when “The Hays Code” kicked in and Betty was toned down, Betty’s original series started to flop leading to Betty being retired in 1939. Sony claimed they didn’t know who to market the film towards and they also wondered what audience the film would appeal to.
Betty Boop was originally set to return in a new series by Normaal Animation in 2018 by Normaal Studios. Betty Boop would have taken center stage in a new animated series being developed by Normaal Animation, marking the first time the iconic character would star in her own show in three decades.
In 2014 David Foster posted an update on the Broadway show and said that they were in their first reading for the musical. According to information the Broadway musical was originally set for fall 2018, however this version was later scrapped and all the original cast were fired.
Betty Boop’s Cabaret is a 2022 interactive pull-tab game. Boop was portrayed beautifully in this adaption and also has a brand new voice actress.
The “Betty Boop” Pre-Broadway musical Boop! will run in Chicago in late Fall of 2023. In 2022, Jessica Vosk stated at her Carnegie Hall concert that she was going to portray Betty Boop for the musical. For the 2023 Betty’s Day Off workshop session Kim Exum appeared as Betty Boop.
According to Exum she was randomly fired from the role.
Eventually Jasmine Amy Rogers won the role of Betty Boop, as producers felt that she had a lot of moxie and she was just what they were seeking for the “new” Betty Boop. This new version of Betty has been reinvented and reimagined, and is a woman of the 21st century.
Make-up artists created Rogers’ look by drawing inspiration from female stars from the 1910s to 2000s. Inspirations for Rogers’ image as Betty Boop includes Theda Bara, Dorothy Dandridge, Janet Jackson, Devon Aoki, Josephine Baker, and cartoon flapper girls.
On the 30th of September Rogers went to the official Meet & Greet to meet all the cast and crew, and she was also praised by the Fleischer Studios and given great publicity in the news. The finalized Broadway musical Boop! will run in New York in Spring of 2025.
Through a collaboration with the Fleischer Studios, an official “Black Betty Boop” boutique known as the “Black Betty Boop Shop” opened and sold Betty Boop merchandise.
The “Black Betty Boop” character already existed prior, but has been brought to life.
The Fleischers stated that they were reaching out to identify communities in an effort to make Betty’s universal principles as diverse and inclusive as possible. As of 2024, the “Black Betty Boop” collaboration is now defunct due to conflict and contract disputes.
The Life and Times of Betty Boop a book that chronicles the wildly dynamic love and familial life of Miss Boop was released on January 15, 2024. Betty Boop is a rare NTF in the 2024 “Betty Boop Dance” series.
In 1933, she appeared in the Tokio Shunkodo manga. Several Betty Boop projects have been in the works some for many years now, but have either been canceled or pushed back for a later release date.
Betty still continues to appear on merchandise, and in the last few years or so, the Betty Boop franchise has collaborated with a number of famous collaborators. As of August 26, 2022, Betty Boop appears officially as a non-fungible token.
A balloon featuring Betty Boop made an appearance at the 91st Hollywood Christmas Parade on November 26, 2023. Family Film Awards funded the balloon. The Hollywood Stunt Kids Association wrangled it.
This 2022 Betty Boop game is an interactive slot machine game. Remember “Betty Boop’s Love Meter” well this is very similar to that. Only this game is slightly more 2D than 3D and has a better concept.
On this, Rachel Kline and her Betty Boop crew put in a lot of effort. As everyone knows, Fleischer Studios collaborates with brands to produce their work but the Fleischers take no action. So if you collaborate with the Fleischer Studios you will have to ensure that you know what you are doing.
Kline stuck to the original Betty Boop concept. She did not include any strange or unsettling content in the game.
I adore the instrumental for “I Wanna Be Loved By You”. When her official soundtrack is absent, Betty just isn’t Betty. Marilyn Monroe and Betty Boop are most commonly linked to the song.
Betty has a brand new voice in this game. It is assumed that Coco Cohn is the voice for Betty Boop for this. Cohn announced in the same year that she was the voice of Betty Boop. Betty’s voice sounds very different to the people who are currently providing her voice. It is great to see new people being hired.
The current voices are not bad. Especially Cindy Robinson she is amazing but Betty could do with a revamp. If I owned Betty Boop I would probably hire someone new. I’d probably even hire Jasmine Rogers. That would sync all the “Boop” franchise as a whole and modernize it for a new younger demographic.
However, I don’t believe the Fleischers have much business acumen. They delegate some of the job to others; they don’t do it all alone. For instance, King Features handled the job for the Fleischers for decades.
That being said King Features did try to steal Betty Boop at one point by pretending they owned the copyright.
The Fleischer Studios and King Features made billions off of Grim Natwick’s creation. The poor man who created Betty Boop in 1930 didn’t get a dime.
Betty Boop looks really refined and they did good and this is rare today a lot of people do not use source materials. So people often change Betty Boop.
This here is an earlier game by the same company but by a different team.
It appears that unusual Spanish Betty Boop rag dolls were introduced in Spain in the 1930s. The dolls in question are extremely unique and bear a striking resemblance to Betty Boop.
They wear fluffy shoes, have two garter belts, doggie noses, and no dog ears, just hoops for earrings. They have a beauty mark on their cheeks, as opposed to the prototype artwork.
Betty in this form resembles Betty in “Dizzy Dishes,” “Mysterious Mose” or “Barnacle Bill” in terms of appearance. Is it comparable to a combined version, though? Is she a dog then? The doll does, however, also have Betty’s official 1932 design. Bimbo the Dog would love this French poodle version of Betty.
Betty Boop is popular in Spain because Spanish people think that she looks like them. Though Betty Boop is a Polish-American character who is Jewish. Betty resembles a lot of people worldwide.
Many often comment that someone they know resembles Betty Boop. This is due to the fact that any girl or woman can look akin to Betty Boop. Curly hair? Born female? Jet-black hair or redheaded? You can be a Betty Boop.
If you have that Clara Bow look you are definitely going to emulate La Bow and La Boop. Because Betty Boop was somewhat based on the “It” girl Bow.
Sometime between 1932 and 1933, these dolls were released. The “Boop-Boop-Be-Doop” blog would guess probably 1932? In 1933, at a beauty contest, one of the rag dolls is shown.
To say that they were released in 1930 would be absurd because Betty Boop was unknown at the time. Betty Boop was unknown prior to 1931. A 1932 release date would likely be more appropriate given the hoop earrings. Apart than that, I’ll simply state the 1930s.
The older cartoons of the dog woman Betty Boop in unison were aired in Spain, which is why Betty has the appearance she does. Therefore, in Spain Betty was essentially a French poodle with anthropomorphic features when these rag dolls were made.
It is very interesting to see how many different variations were released.
A toy collector and maker by the name of Mel Birnkrant owns some of these dolls. He had a story once that he shared of the Fleischer Studios and King Features stealing his “Baby Boop” creation. Very interesting story. So to see the rag dolls in more detail visit his official website. Though the rag dolls look unique this blog here would never buy one.
Boop-Boop-Be-Doop ♥ 