Tag: Max Fleischer

Kiki vs. Betty

~ Berry Melon 🍉

Betty Boop Dolls vs. Kiki Dolls:

Much like that Helen Kane lawsuit Kane v. Fleischer et al., 248 A.D. 554, there was another three-way lawsuit with Ralph A. Freundlich, Inc., the Fleischer Studios and Joseph Kallus of The Cameo Doll Company. However this time the lawsuit was filed by the Fleischers and Kallus.

Helen Kane Did Not Sue Over Dolls:

Uninformed individuals believe that “Helen Kane” sued over dolls in this case. However, it was unrelated to Helen Kane. Although Kane did once have her own doll brand, but it was not successful enough to file a lawsuit. And after losing her own lawsuit, what kind of chance could she have had? When she was “unable to prove” in a court of law that she was the model for Betty Boop? Kane was allegedly the inspiration for Betty Boop, according to the maker of the “Kiki” dolls. However, he was also refuted in court.

Ralph A. Freundlich worked for the Jeanette Doll Company from 1923 until 1929. In addition, he established the Silver Doll & Toy Manufacturing Company, which from 1923 to 1924 made Mama dolls.

Ralph Freundlich and his brother Sol J. Freundlich released the “Kiki” dolls in August of 1931.

The Betty Boop dolls were announced and given an early release on November 14, 1931. Several children actually won them as prizes. And it was announced in the newspapers that the dolls would debut officially in the stores soon.

The issue with this, though, is that Betty Boop was a dog girl back then. Furthermore, she hadn’t been formally promoted as a human girl. She was a dog before she made an appearance as a girl one or two times.

Betty had appearances in two human animated films: Mask-A-Raid, which was released on November 7, 1931, and Kitty From Kansas City, which was released on October 31, 1931.

Also if Betty is a human in Dizzy Red Riding Hood, that was released on the December 12, 1931. That cartoon is often debated, because Betty’s ears are hidden by a hood. Though in one scene her nose does transform from a button into a snout.

But officially audiences didn’t know Betty as a human girl until her debut in Stopping the Show released in 1932. The Cameo Company and the Fleischer Studios probably saw Freundlich as tough competition.

And what do people often do with tough competition?

You eliminate them. But only if you have no morals of course.

It is hard to identify Freundlich’s “Kiki” dolls as he never marked them. However, they might be similar to the “Goo-Goo” dolls that the business kept producing. Freundlich made so many dolls, including African-American versions, male and female dolls. Sailor boys, you name it, and they all had that cute kewpie-doll look.

The Cameo Company dressed Betty up for some of the dolls, making her look like a little girl. I can understand why they filed this lawsuit. Since the dolls were obviously intended for girls, Betty had to be altered in order for people to purchase the dolls, after all, business is business.

The name “Kiki” was given to the dolls in homage to Mary Pickford’s 1931 release of Kiki, the most well-known movie at the time. Pickford likened to Shirley Temple and was known as America’s sweetheart, but it seems by 1931 Pickford had taken on a more mature or sophisticated persona.

Naturally, as has been stated numerous times, Walt Disney drew inspiration for his Snow White character from both Betty Boop and Mary Pickford. So it is only natural that Pickford would have a sort of “Betty Boop” appeal. Nonetheless, I believe Pickford was more innocent than Betty.

To stop Freundlich’s company from making dolls that they claimed allegedly mimicked Max Fleischer’s animated character Betty Boop. The Fleischer Studios, Inc., Fleischer Art Service, Inc., and the Cameo Doll Company filed a copyright lawsuit against Freundlich’s company in 1932.

Freundlich contended throughout the legal dispute that Helen Kane was the “originator” of the character, thereby negating the validity of the “Fleischer copyright”.

But around the same time, Kane was also suing the Fleischers in a $250,000 infringement battle. Kane later lost this lawsuit because she was unable to establish that she was the creator of the “Boop-Boop-a-Doop” singing style, model, or the concept for Betty Boop.

Judge Woolsey said in his verdict:

“The character which was depicted combined in appearance the childish with the sophisticated, a round baby face with big eyes and a nose like a button framed in a somewhat careful coiffure with a body of which perhaps the most notable characteristics is most self-confident little bust imaginable.”

And so brothers Ralph A. and Sol J. Freundlich lost the infringement lawsuit brought by the Fleischer Studios in 1934.

The Circuit Court of Appeals sustained the New York State Supreme Court’s decision that the Fleischer Studios, Fleischer Art Service, and Joseph I. Kallus had infringed upon Betty Boop’s copyright. Freundlich was mandated to pay “$15,000” in expenses and “$5,440” in damages as part of the lawsuit.

Even though the dolls by Freundlich were stopped by injunction they apparently were still being sold at stores. I assume he changed the name from “Kiki” to “Googly” or “Goo-Goo”.

I think the “Kiki” dolls allegedly got reproduced into a new line called Topsy and Eva!? They are characters from Uncle Tom’s Cabin. The “Kiki” dolls have a very similar design or concept. Big eyes, curly hair, rosebud lips and a baby face shape.

Topsy and Eva are older, they are not babies.

Tospy and Eva were still important in the 1920s and 1930s and were very well-liked fictional characters in the 1800s and 1900s. The Duncan Sisters, who wore a “baby-doll” style of clothing and sang in the “baby-talk” singing style long before vocalist Helen Kane, are well-known for portraying them.

Tospy and Eva are indirectly connected to the Betty Boop story, when it comes to the origination of the baby-doll style. Merely because of the Duncan Sisters and how they portrayed these characters way back in 1923. They starred in a silent film adaption in 1927. In the musical adaptions of this franchise the Duncan Sisters sing in baby voices, similar to Betty Boop, and they scat-sing too.

In 1937, Ralph Freundlich was convicted of perjury. He insisted that he had only made 676 dolls, but it was later found that he had actually built 1,108.

In 1938, he was sentenced to three months in prison and a $4,000 fine.

By 1932 the “Betty Boop Cameo Dolls” were sold everywhere and were extremely popular. Cameo sold many varieties of dolls from wooden to porcelain.

Story:

“Hello, my little friend. I am so happy to meet you. I’ve always wanted to come to your house and show you Happiness! Everybody likes me, so that’s why I’m a movie star. And, of course, I like everybody, especially you and all your little friends.” 

The alternative dialogue was, “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 and I’m so glad to share your happiness. Maybe you would like to know more about me.”

“Would you? All right. 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. He taught me to dance – sing. To swim and to play tennis. How to play the piano and to cook too.”

“Everything a good little girl should do. Then he put me in the movies as leading lady with Bimbo. Everybody liked me as soon as they saw me. That’s why I’m a movie star. And I liked them too; ~ especially you and all your little friends.”

“Not so long ago I met the man who owns Doll Land. He called me in his office the other day. ‘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 happy.”

Eddie Valiant in Who Framed Roger Rabbit has a passing affection for Betty Boop.

The reason for this is that his late brother Theodore J. Valiant was somewhat of a fan.

Betty Boop makes an appearance in the film as voiced by Mae Questel, and there’s also a “Betty Boop Cameo Doll” on Theodore’s desk that makes a small “cameo” appearance.

From the Danbury Mint Collection, this popular 1930s Betty Boop doll was recreated in porcelain in 2005.

R.I.P. Kiki:

In my opinion, Freundlich did not violate any copyright. That the Fleischers had to go to such lengths to ruin someone is regrettable. But for such things, there’s always karma.

(In loving memory of Kiki. 1931 – 1936.)

Max Fleischer’s Betty Boop Was The Inspiration Behind Walt Disney’s Snow White

~ Berry Melon 🍉

🖤 Walt Disney’s Snow White is apparently a more pure version of Max Fleischer’s Betty Boop. 🖤

Betty Boop Inspired Snow White

According to Walt Disney. He was correct however the horrible things he allegedly did in real life to children, for example Bobby Driscoll (this has been backed up by Jane Wyman and others) and also all the sexist, hateful and racist references he put into his cartoons, suggests that Walt Disney was a hypocrite. A book written about Disney titled “Walt Disney: The Triumph of the American Imagination” written by Neal Gabler who got permission from Walt Disney’s family paints Walt as an uncaring husband, bullying boss and rabid anti-communist witch-hunter.

Here’s a a legit quote from Walt Disney:

“Girls bored me – they still do. I love Mickey Mouse more than any woman I’ve ever known.”

Sorry learning that Walt Disney was a “elihpodep” kind or irks me.

Anyway…

Walt Disney asked Grim Natwick the initial creator of Betty Boop to draw the concept art for Snow White and animate the character for his film. In early concept artworks, Snow White looked identical to Betty and was more sexier in comparison, this apparently enraged Walt Disney according to his former staff members, who are obviously now all deceased. Actually everyone who worked for both studios – all dead.

Adriana Caselotti later admitted that the speaking voice that she used for Snow White was inspired by Betty Boop, Caselotti just imitated Betty Boop but without the Brooklyn accent.

$250,000 Infringement Lawsuit

~ Berry Melon 🍉

Kane v. Fleischer et al., 248 A.D. 554 (New York Supreme Court, Appellate Division New York State Library, Albany. 130.)

In May 1932, Helen Kane filed a $250,000 infringement lawsuit[1] against Max Fleischer and Paramount Publix Corporation for the deliberate caricature[2] that produced unfair competition.[3] While Kane had risen to fame in the late 1920s as “The Boop-Oop-A-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[4] following Kane’s decline.[5] The case was brought in New York in 1934.[6] Although Kane’s claims seemed to be valid on the surface,[7] it was proven that her appearance was not unique.[8] Both Kane and the Betty Boop character bore resemblance to Paramount top-star Clara Bow On April 19, Fleischer testified that Betty Boop purely was a product of the imaginations of himself and detailed by members of his staff. Little Ann Little, Mae Questel, Margie Hines and Bonnie Poe were all summoned to testify.

Plaintiff/Defendants:

Judge:
Plaintiff:
  • Helen Kane
  • Samuel Robert Weltz (Attorney for Helen Kane)
Defendants:

Testimonies:

Appeal:

Judge:

Fleischer vs. Kane

Helen Kane claimed that her reason for suing was not about money and that she felt that they had stolen her identity. She was cited as saying: “While imitation is the sincerest form of flattery, this type of imitation is the opposite. It isn’t about money. Fleischer Studios and Paramount Pictures have stolen the idea I put across, and I am not going to stand for it! Betty Boop is nothing more or less than a caricature of me and not so much of a caricature at that.”

Helen Kane on the left and Betty Boop on the right.

The action was commenced by the service of the summons and complaint on the defendants on or about April 30, 1932. Issue was joined by the service of the defendants’ answers on or about June 14, 1932. The action was brought to trial before Hon. Edward J. McGoldrick without a jury on April 17. 1934, and continued until May 4, 1934. The decision containing findings of fact and conclusions of law is dated June 8, 1934. The judgement in favor of defendants and against plaintiff is dated June 8, 1934, and filed on June 23, 1934. 

“The plaintiff seeks to prevent the defendants from using and exploiting pictorial representations and portrayals of her and to prevent the defendants from using and exploiting her professional, theatrical name, in violation of Sections 50 and 51 of the Civil Rights Law; and the plaintiff seeks to prevent the defendants from deceiving the public into the belief that the performances of the cartoon character Betty Boop are the performances of the plaintiff, and from deceiving the public into the belief that the plaintiff actually supplied the singing and talking synchronized with the actions of the said cartoon character in the Betty Boop cartoons. Plaintiff originates and still uses a method of singing songs consisting of the interpolation at frequent intervals of the sounds[12] Boop-Boop-a-Doop, or Boop-Boopa-Doop or Boop-Boop-Pa-Do or Boopa-Doop or simply Boop[13] alone.”[14] Your honor,” said Miss Kane’s lawyer to Justice Edward J. McGoldrick, “we contend this character has Miss Kane’s personality her mannerisms her plumpness, her curls, her eyes, and that she sings the songs Miss Kane made famous.” The attorney for Max Fleischer, whom Miss Kane was suing contended that almost 60 songs were used in the cartoons and that only a few of them had been sung in pictures by Miss Kane. “You Honor.” said Miss Kane’s attorney, “we next will offer in evidence a picture called Pointed Heels in which Miss Kane was starred.” A five-reel picture, made in 1929, was started. In this production, Helen Kane as a vaudeville dancer known as “Dot” almost drives a composer of symphonic music insane. Several times during the performance. Miss Kane and her husband Max Hoffman. Jr., and nearly everyone else in the movie-courtroom laughed but not Justice McGoldrick. “We will hear the phonograph records next,” he said. A phonograph began playing: “That’s My Weakness Now“. Helen Kane “Booped” for the enlightenment of Justice McGoldrick and “Boop-Boop-a-Dooped” the court into giggles and herself into tears. Visibly agitated, Helen pursed her lips and trickled a few “Boop-Boop-a-Doops”. Counsel insisted on more “Doops”. In exasperation over the delays Kane bowled; “Of course I’m the original Boop girl!” I began Booping about 1928. My Boops earned me as much as $25,000 a week. Here’s how I Boop!” The most significant evidence against Kane’s case was her claim as to the uniqueness of her singing style.

Baby Esther Jones, also known as Little Esther Jones and Lil’ Esther Jones.

Testimony revealed that Kane had witnessed seven-year-old African-American Florence Mills impersonator Baby Esther Lee Jones,[15] scat singing[16] at an obscure nightclub called the Everglades Night Club some years earlier.[17] Esther was a child wonder, who used to sing and dance in her acts. She would later go on to tour several countries in a revue becoming a hit in Paris in 1929, and creating a sensation wherever she appeared. Also to note, Jones and Kane had the same booking agent (Tony Shayne). In 1928, Baby Esther was dubbed the miniature Florence Mills and had based her singing and dancing style on Mills, who died in 1927. Mills had become famous by replacing Bessie Smith’s rival Gertrude Saunders in the musical Shuffle Along. You can find out more about Baby Esther in the article titled What Ever Happened to Baby Esther?.

Florence Mills who toured at the London Pavilion, in Paris, France, and other European cities long before Josephine Baker and Baby Esther Jones, was known to incorporate a “Tooty-Tooty-Too” into her song “Baby and Me” in a higher pitch obbligato, kind of like a flute. Jones being a Florence Mills impersonator sums up her interpolations. Only difference is that Jones used completely different scat rhythm to Mills. Which Kane was inspired by when she saw Esther perform at the Everglades.

Baby Esther is said to have inspired Helen Kane’s “Boop-Boop-a-Doop” and Betty Boop’s “Boop-Oop-a-Doop” was inspired by Kane’s. Both link back to Esther Jones’ “Wha-Da-Da” and “Roop-Woop-a-Woop” routines.

According to information, Helen hadn’t actually debuted her “Boop-Boop-a-Doop” until the hit Arthur Hammerstein musical show Goodboy. Esther’s ex-manager Lou Bolton, stated that Kane had debuted her “Boop-Boop-a-Doop” in Summer 1928, whereas Esther had delivered many “Boops” months before her in April, 1928 and had been scat singing on stage to live audiences since 1925. Kane was introduced to Bolton in 1928, and saw Esther’s performance on stage. Bolton also claimed that Helen had a ringside seat at the Everglades Club on Broadway one night when Baby Esther was actively scat singing on the stage. Which then inspired Kane to want to scat sing in her songs.

An early test sound film[18] was later discovered featured Baby Esther originally billed “Lil’ Esther” performing in this style, disproving Kane’s claims. In the footage Baby Esther performed “Wa-Da-Da” and two Helen Kane songs which were “Don’t Be Like That” and “Is There Anything Wrong In That?“. Songs that had not only been performed by Helen Kane, but a galaxy of performers, as back in the 1920s, artists used to cover the same songs. Supreme Court Judge “Edward J. McGoldrick” ruled: “The plaintiff has failed to sustain either cause of action by proof of sufficient probative force.” In his opinion, the baby technique of singing did not originate with Kane.

During the trial Helen Kane’s attorney Samuel Weltz claimed that the footage of Baby Esther singing was irrelevant, incompetent and immaterial and stated that Esther Jones was a Helen Kane impersonator. He was denied by the court. 

According to Leslie Cabarga (who had met Mae Questel in person), Helen Kane went to Max Fleischer and said if you use me in the cartoons instead of Mae Questel, I’ll drop the suit. Max who knew Mae Questel said that he wouldn’t use anyone other than Mae to voice Betty Boop, and also the main fact that Helen Kane who had been in debt would have probably asked for a larger salary, when in reality Fleischer could hire an impersonator to do the role for less. Had Paramount and the Fleischers wanted Kane to have done the role, they would have went to her from the start. Instead, they asked Margie Hines, who had won several Helen Kane impersonation contests to do the role because she did the singing for less money, as did Mae Questel and the other girls. Not only did the women who voiced the characters in Fleischers cartoons play Betty, they also had to play numerous other characters, from mothers to babies, to boys, including inanimate objects. Mae Questel was perfect for the role because she could play multiple characters. Even when Mae Questel wasn’t doing the voices in the Betty Boop cartoons, the other women who did voice-over for the Fleischers were also expected to play more than one character role[19], something Kane would have had trouble doing, as she was not experienced in character voice-over and impersonation, Kane was a singer who could only do one voice and that was the baby-talk one. Mae however was able to do more than one voice, which is why she had such a successful career on radio and on the stage and also later in life.

Gertrude Saunders was conceded to have been the original “Boop-Boop-a-Doop” girl by the Afro-American newspaper.

When African-American singer, actress, dancer and comedian Gertrude Saunders[20] (who is not to be mistaken for Baby Esther Jones) caught wind of the trial, she later came out as the one true originator of “Boop-Boop-a-Doop”. She stated that she had “Boop-Boop-a-Dooped”[21] in 1921, long before Betty Boop and Helen Kane and long before Baby Esther, and she herself originated the style of singing when she used to appear in a popular “African-American” Broadway show during the early 1920s called Shuffle Along in which during her number “Daddy Won’t You Please Come Home,” she would end the entire scat chorus in baby-talk.[22] From 1934-1950, Saunders was tributed as the originator[23] of the “Boop” scat singing style.[24] According to vast research, African-Americans originated the scat singing style and it was adapted by others. Scat singing in general is most associated with jazz, a genre of music that also originated in African-American communities in the United States.

Boop-a-Doop defense cites old song, Ba-Da-Daten-Doop. What-Da-Das and Vo-Deo-Do are also recalled by witnesses. Testimony in the “Boop-Boop-a-Doop” trial of Helen Kane grew more complicated today. Whereas there have been many “Boop-Boop-a-Doops” and “What-Da-Das,” today the court stenographer had two new ones to worry about, namely “Bo-Vo-Deo-Do” and “Ba-Da-Daten-Doop.” These sounds uttered during the testimony of defense witnesses who sought to convince the Supreme Court Justice Edward J. McGoldrick that Helen Kane had not originated the “Boop-a-Doop” method of singing. Helen Kane seeks $250,000 damages from Max Fleischer and the Paramount-Publix corporation for allegedly imitating her in the Betty Boop film cartoons. Alfred Evans, an employee of Rudy Vallée, said he heard Edith Griffith[25] sing “baby” songs in an Omaha theater in 1927, with the interpolations, “Boop-Boop-a-Doop” and “Poop-Poop-a-Doop.” Mrs. Miriam Luber, dancer testified that she heard similar noises made by “Baby Esther Jones” at an Atlantic City night club in 1928.

Max Fleischer told of seeing Helen Kane at an entertainment given by the Paramount Company in 1928. Al-though a number of other actors appeared. Mr. Fleischer was unable to recall their names.”Aren’t you influenced by the people you meet in life when you create a cartoon character?” demanded Mr. Weltz. “Not exactly,” said the witness. “Is the hairdress of Betty Boop one of the figments of your imagination” Mr. Fleischer replied in the affirmative, adding that in the production of the entire character he was assisted by members of his staff. Mr. Weltz, had previously called attention to the fact that both Betty Boop and Helen Kane parted their black hair in the center and that long split-curls adorn their fore-heads.

Court stenographers who have struggled to record in shorthand the “Boop-Oop-a-Doops” of Helen Kane were on the verge of hysterics tonight.Supreme Court Judge Edward J. McGoldrick ordered them to act down “Do-Do-De-Do-Ho-Wa-De-Da.” The “Boop-Oop-a-Doop” trial, in which Helen Kane seeks $250,000 damages from the animated cartoon creators of Betty Boop became thus complicated when Lou Bolton testified for the defense. Bolton testified that nine years ago in Chicago he taught Baby Esther,[29] a negro child under his management to interpolate “Do-Do-De-Do-Ho-De-Wa-Da-De-Da” between the bars of music in popular songs. “Will you spell that?” asked a court stenographer. “I can’t,” replied the witness. “Put it down as it sounds,” ordered Judge McGoldrick.

Mae Questel on the left and Helen Kane on the right. In 1930 Kane made a formal complaint against Questel out of jealousy. Questel was cited as having “outdone” the original. Kane didn’t like the sound of that as she saw Questel as tough competition.

Mae Questel who was the official voice[30] of Betty Boop at the time was grilled[31] by Helen Kane’s defense. Hines the original voice of Betty Boop & Poe were also questioned.[32] Questel was asked what song she had performed at the Helen Kane contest. Questel stated she had sung “He’s So Unusual” and had won first place. She was asked if she used to mimic Helen Kane and she admitted that she did at the Fordham Theatre along many other girls. She was asked if she was advertised after winning the show and she said yes and went on to perform “He’s So Unusual” at the Riverside Theatre. She was asked if she knew Bonnie Poe and asked why Poe had her hair combed like Miss Kane. Questel stated that they always wore curls in their hair.[33] She was then asked if she knew that Helen Kane was the Boop-Boop-a-Doop girl. When asked about singing “That’s My Weakness Now” in the 1932 cartoon titled Stopping the Show.

Questel stated she did not mimic Helen Kane but had been to about 4-5 shows at theatres, where she watched Kane perform publicly. According to Questel she was touring at the time of the lawsuit as “Mae Betty Boop Questel” singing Betty Boop songs from the cartoon series, but did not associate her Betty Boop singing voice with Kane through each and every question answered.

Margie Hines who was known as The Original Betty Boop admitted in court to knowing what “hot licks” in music were and that she used them. There is an archived recording of Hines doing a “Wa-Da-De-De-De-De” proving that she did interpolate alternative “hot licks” into songs. Hines indicated that her “Boop” routine was actually “hot licks” and she also claimed that even though she had impersonated Helen Kane, it was not Helen Kane’s “baby-voice” but her own that was used in the Betty Boop cartoons. Helen Kane tried to lay claim to a voice that she did not own. If the Fleischers and Paramount had used Helen Kane’s actual voice, it would have been a complete different story.

According to Helen Kane her original scat lyrics were not “Boop-Boop-a-Doop”, they were originally “Poop Poop Padoop“. Helen Kane claimed that her linguistic invention had been misquoted and that it was really “Poop Poop Padoop” rather than “Boop Boop a Doop”. Although the exact difference between a Boop and a Poop was never made entirely clear. It has been indicated that Helen’s scat sounds were influenced by other performers and that she had adapted the scat sounds she had heard and made them her own.

According to a 1931 news article, before Helen launched her suit against Paramount and the Fleischer Studios, Broadway performer Chic Kennedy claimed she originated “Poop-Poop-a-Doop” and it was stolen from her by Helen Kane, when she was taken ill.

Edith Griffith was also used as evidence as “Booping” in a early recording alongside Baby Esther. Edith is said to have used “Boop-Boop-a-Doop” and “Poop-Poop-a-Doop” a year before Kane in 1927. Other scat sounds she made were “Do-Do-Da-Da,” “Da-Da-Do-Do.” “Da-Da-Da-Da,” “Roo-Too-Too-Too,” “Da-Da-Da-Ba-Ba-Ba,” on stage and she also used the baby-talk style of singing.

Several other baby singers were also used against Kane. Nan Halperin, Irene Franklin, Peggy Bernier, Duncan Sisters, Hannah Williams. To find out more about the baby-talk singing style read the article titled The Origin of the Baby-Talk Singing Style.

French singer and entertainer Felix Mayol was also used as evidence as “Booping” in the 1913 song titled “Bou-Dou-Ba-Da-Boum,” Helen responded to this by saying she had never heard of the song.

Clarence Williams an African-American music publisher and composer who testified at the $250,000 lawsuit of Helen (Boop-a-Doop) Kane, told the Supreme Court Justice McGoldrick in Manhattan that back in 1915 he invented “hot licks” which went mostly “What-Da-De-Da” with an occasional “Boop” thrown in by accident. The witness said he had invented the “hot licks” when he ran out of words and music. He was married to Eva Taylor, who appeared in the musical Shuffle Along the same musical in which “Boop-Boop-a-Doop” was said to have originated, and she was also great friends with Florence Mills,[34] who had died in 1927. One of Williams’ hit songs was “Papa De-Da-Da“. When Margie Hines[35] was summoned to testify in court she also called the “Boop” sounds she had made “licks”.

Clarence Williams, colored of New Orleans was a defense witness today in Helen Kane’s $250,000 suit. Miss Kane’s suit is against Paramount Publix and Max Fleischer, creator of animated cartoon girl Betty Boop claiming infringement. Williams is what is known as a “hot licks” man. Now, said the attorney for the defense, don’t sing but illustrate to his honor some “hot licks”, Williams tapped his foot, “Wha-Da-De-Da”, he testified, “Boo-Boo-Pa-Doo.” His honor held up a hand. Williams feet tapped faster. Boop! the attorney for the defense changed the line of inquiry. Lack of further musical ideas said Williams, caused him to invent “hot licks” in 1913 – long before Miss Kane thought up her Boops.

The trial centered on who had coined the “Boop-Oop-a-Doop” phrase. Dave Fleischer later recalled, “In the courtroom… we were all talking ‘Boops’ and ‘Boop-Boop-Ba-Doops’ and ‘Boopety Boop-Boops’, and we’d say, ‘It’s not a ‘Boop’, it’s a ‘Boopety-Boop’.”

Mae Questel, Betty’s voice was not the only one who looked like Betty Boop. The popular singer Helen Kane looked like her too. But then so did the movie star Clara Bow, the “It” girl. And so did thousands of other women. The boyish bob and split curls, round face, wide mascaraed eyes was very popular in the late 1920s and the 1930s.  

According to Helen Kane, the problem was not that she looked like Betty Boop but that Betty Boop looked like her and sang like her and most important, used the phrase “Boop-Oop-a-Doop”, which Kane claimed to have invented. Although Kane’s accusations strangely mirrored the cartoon, Max Fleischer remained undaunted by her claims that they had taken her “Boop-Oop-a-Doop” catchphrase.

In 1923, a plump, impudent artfully infantile young woman named Helen Kane began to appear in vaudeville. In her songs she usually replaced the lyrics with extraordinary noises. Presently her favorite noise, “Boop-Boop-a-Doop,” became a recognized word in Vaudeville’s nonsense language. By 1928, Helen Kane had innumerable imitators. In 1931, there appeared in animated cinema cartoons a character called Betty Boop. Helen Kane grew fatter. Her infantilism grew less appropriate and profitable. Betty Boop remained babyish, alert, and so prosperous that her name became almost as familiar in Manhattan courtrooms as that of Ella Wendel. Producer Max Fleischer whose firm made the Betty Boop cartoons, distributed them through Paramount, successfully sued a doll manufacturer for imitating Betty Boop. It was Producer Fleischer and Paramount Publix Corp. who were sued by Helen Kane for $250,000 for copying her voice and mannerisms. Justice Edward J. McGoldrick ruled against a jury. Counsel ordered Helen Kane to remove her coat, arrange her hair like Betty Boop. Defendant Fleischer produced three baby faced young women who do the singing for Betty Boop cartoons. The court was darkened and three Betty Boop cartoons and one reel of a Helen Kane picture were projected on the wall. After this, Justice McGoldrick ruled that he had, had enough, demanded records and music sung by Helen Kane and Betty Boop before he made a decision. Grown fatter but still talking with the voice of an indignant doll.

The trial itself, although deadly serious for the principals, involved seems to have had been a sort of comic opera. The newspapers had a ball with it. Even the staid New York Times carried the headline that had read: “Court Solemn as Helen Kane Boops out Grief.” At one point in the trial, the Times reported, Kane’s lawyer directed her to remove her hat and coat, so the court might see if her face and figure resembled that of Betty Boop’s. To make the resemblance more striking she arranged locks of her hair across her temples and cheeks. Young women in the audience immediately began practicing the coiffure. The same article also contained ecstatic descriptions of her, were introduced. Justice McGoldrick remarked. “Of course, I shall consider only the pictures, but I suppose counsel will have no objection if I try the music on the piano, He said he would have no difficulty considering the pictures alone, because they were obviously the prettiest parts of the sheets. “Thank you,” piped Miss Kane.

According to animator Grim Natwick, it was he who created and designed the character while working on the Talkartoons. “One morning they put on my desk a copy of the ‘Boop-Oop-a-Doop’ song sung by Helen Kane,” he told John Canemaker. “At that time there were no designers and no story men. We virtually wrote our own stories and designed our own characters, then animated them, and so it was with Betty. I’m not even sure she was okayed before I animated her.” Helen Kane was then working for Paramount at its studio in Astoria. Paramount had already sent the Fleischers another of its stars, Rudy Vallée (a service it would continue in the future), so the interest in Kane is not surprising. What is unusual is that Fleischer proceeded to copy Kane’s distinctive look and sound without bothering to get her permission first. Despite the obvious connections and Natwick’s later admission, Helen Kane lost her lawsuit when it was revealed that she was not the first “Boop-Oop-a-Doop” singer in the business. In final irony fans now associate this performance style with Mae Questel, who voiced most of the Betty Boop cartoons.

According to a historian, the early sound test of Baby Esther did not break at the point of the Boop sequence, but a reference to Helen Kane was removed from the 1932 cartoon Stopping the Show, before being shown to the Judge and no longer appears in the episode. The film of Baby Esther was a double system sound technique like Vitaphone. The film did not break at the point of the “Boop-Oop-a-Doop” part, they did not show this in court. What happened was the print has been spliced in several places due to breakage and went out of sync at the crucial point due to the lost frames. Lou and Kitty Pfister, head Film Cutter stayed up all night locating spots to insert black film slugs to replace the lost frames to put the crucial spot back in sync. A new married print with optical sound was produced, the Paramount News Lab being kept open all night waiting for this to present as evidence the next morning. The remark about Justice McGoldrick being bribed is a conclusion not based on fact. There was enough remaining evidence to prove Miss Kane’s case. However since there is a film trade ad that places a picture of Helen Kane next to an early version of Betty Boop. Further evidence can be found in the tampering with the original negative to Stopping the Show, which was built around Mae Questel‘s stage act impressions, which prompted Max Fleischer in hiring her. This is the first official Betty Boop cartoon which consists of a series of contemporary celebrities. Each is introduced by a photograph of that celebrity with animated lips and the voice of that celebrity coming from the picture. Only the voice of Maurice Chevalier is authentic. The voice of Fanny Brice is an imitation by Mae Questel. Oddly, the sequence begins with Betty going right into “That’s My Weakness Now“, a song made popular by Helen Kane. This song is not set up by the celebrity picture on the easel as the others are. You hear an audio splice from the audience applause going to the song.  At two points there is a long shot, one of which pans from the stage to the audience. In the background is an image on a easel that looks like the image of Helen Kane. Why else would it be there? This direct reference to Helen Kane was deliberately removed from the negative so that a new print could be shown in court that would not indicate an edit. But it clearly was removed from the negative. Paramount took advantage of the ignorance of film technology on the part of court, which accepted what they saw not knowing what had been done to alter the evidence.

According to Leslie Cabarga who had researched the Fleischer Studios, Judge McGoldrick was bribed and was payed off by Paramount. Leslie Cabarga: “I started to research and met Grim Natwick who is credited having created Betty Boop. I called him in California and he told me his story, which was that he had been given a sheet music of Helen Kane and they told him, hey, do a take off of her. What happened was err… Helen’s lawyer kept bringing up these facts and he kept being overruled by a Judge that was brought by Paramount. So he, the “Judge” was in Paramount’s pocket, he was in money’s pocket. Which never happens to this day it never happens. So it was an anomaly then and unheard of now. The fairness of honesty and justice wins out all the time as we know in the American way but not back then. So every time Helen’s lawyer would try to bring up an objection, state a fact he would be overruled. It became where he recognized how ridiculous this was and was almost kind of mocking it, saying I don’t have a chance here. Apparently, Helen Kane had gone directly to Max Fleischer and said if you use me in the cartoons, I’ll drop suit, but Max said I won’t use anyone but my Mae Questel.”

Helen Kane explained; “I have become a ghost… Recently in Hollywood when some children ran to open the door of my car they greeted me as Betty Boop. Betty is just one stroke removed from Mickey Mouse.”

Verdict:

Judge McGoldrick found that Helen Kane’s singing style was most common to a number of Boop-a-Doopers even before Helen had claimed she had invented the idea and mannerisms.[39] And the lawsuit ended with her losing against the Fleischer Studios and the Paramount-Publix Corporation, a company Helen herself used to be linked to earlier on in her career.

The complaint made by Helen Kane was dismissed on the ground that the plaintiff had failed to make out a cause of action for unfair competition and again, on the entire case of the defendant Paramount Publix Corporation moved to dismiss the complaint upon the ground that the plaintiff had failed to make out a cause of action for unfair competition, in that the plaintiff has failed to prove any property right in any of the things and songs which she claims a property right in; she has failed to prove any deception between herself and the cartoons of which she complains; and upon the further ground that there is not a scintilla of evidence in the record that there is any competition whatever between the plaintiff and the cartoon known as as Betty Boop; and on the further ground that it affirmatively appears that all of the matters as to which plaintiff claims any right are publici juris; upon the ground that it affirmatively appears from all of the evidence that there was no deception and no intent to deceive anybody, and the fact that the girls Margie Hines, Bonnie Poe and Mae Questel and Little Ann Little were known as the girls whose off-screen voice was recorded for use in the Betty Boop cartoons.[40]

The court ruled at the beginning of the trial that, under a liberal construction, the complaint embraced two causes of action: (1) a violation of Sections 50 and 51 of the Civil Rights Law; (2) unfair competition. During the course of the trial the complaint was dismissed as to the individual defendant Max Fleischer.

After winning the lawsuit Max Fleischer and the voices of Betty Boop Mae Questel, Margie Hines, Bonnie Poe, Little Ann Little (including radio singer Catherine “Kate” Wright) appeared in a Victory Newsreel called Betty Wins by a Boop. They tell Helen Kane that she can say their voices are awful but she won’t take their “Boop-Boop-Be-Doop” away.

After losing the trial against the Fleischer Studios Helen Kane denounced civilization incognito and then denounced civilization in the flesh. Miss Kane in fact didn’t think the human race was being kind to her. She gave a small interview in the papers where she let out her frustration on the Judge. “I want him to know that I’m not all Boop-Boop-a-Doop!” while appealing the case. She told her husband at the time that she never wanted to see another lawyer, newspaperman, Judge or courtroom in all her life. “I am MAD! MAD! MAD! I am so mad,” she said, “I am going to spend a lot of money appealing this case. They have stolen my idea! I don’t need money. I sued these Betty Boop people for $250,000, I don’t want a cent of it. All I want is vindication. It has broken my heart.” Helen Kane later decided to fight back with a cartoon caricature of herself dubbed “The Original Boop-Boop-a-Doop Girl”, after hearing that Betty Boop would appear in a comic strip series. Helen contacted King Features in advance and asked for a comic of her very own which was short lived and was soon replaced by the Betty Boop comic strip. Around that time period Helen also opened a show titled Trial of the People vs. Helen Kane which was based on the events that had taken place in court. 

Helen Kane tried everything to get the Fleischers attention. She even did this out of spite, hoping they would take her back to court. But the Fleischer Studios ignored the attention seeking Kane.

In 1935, a year after the trial had taken place, Helen Kane went on tour in Brooklyn. Her appearances featured Betty Boop as used in the posters and a Betty Boop cartoon. Max Fleischer was advised by the newspapers to sue her, but he did not pursue Kane. After Helen had lost the suit, lawyers agreed that Helen had made the mistake of charging plagiarism when she should have claimed restraint of trade. Restraint of trade is an action that interferes with free competition in a market, a clause in a contract that restricts a person’s right to carry on their trade or profession. Helen appealed her case[41] but it was dismissed by the Appellate Division of the N.Y. Supreme court, which prohibited her from further appeal. Helen based her action on the grounds that Fleischer and Paramount used her voice and originality in the cartoons by Fleischer in his animated shorts, without her permission. She also sought an injunction, Judge Carew held no one could copyright a voice and Miss Kane did not hold the copyright on the actions of the Fleischer character.

The Appellate Division of the N.Y. Supreme court on Friday (1) unanimously sustained the ruling of Justice, Edward J. McGoldrick in dismissing the $250,000 action brought two years ago by Helen (Boop-a-Doop) Kane against Max Fleischer and Paramount-Publix. This decision prohibits Miss Kane from further appeal. Miss Kane based her action on the grounds that Fleischer and Paramount used her voice and originality in the cartoons by Fleischer in his “Out of the Inkwell” shorts, without her permission. She also sought an injunction, Judge Carew held no one could copyright a voice and Miss Kane did not hold the copyright on the actions of the Fleischer character. Fleischer Studios, Inc and the Cameo Doll Co, Y.S Federal Judge John M. Woolsey in N.Y, yesterday (Tuesday), branded the defendant, Ralph A. Freundlich, president of the Ralph A. Freundlich, Inc, doll makers, a commercial parasite and recommended that the U.S attorney investigate to see if Freundlich could be prosecuted on criminal charges. The suit brought against Freundlich charged he and his company with infringement upon the copyrighted cartoon characters of ‘Betty Boop‘ which Max Fleischer originated in the making of dolls. The defendants claimed the Fleischer copyright was invalid in that Helen Kane was the originator of the character. Freundlich at the trial impressed me as belonging to the common type of commercial parasite, said the judge in his opinion, who endeavors slyly to benefit from the work done and the good will achieved by others. Besides the award granted the plaintiffs, the court directed the defendants to pay $15,000 fees to the plaintiff’s counsel.

After the trial, Helen Kane opened a show based on the trial called Trial of the People vs. Helen Kane also known as Action of the People vs. Helen Kane. The show opened several times, including at Tony Shayne‘s Sky Rendezvous on the Hotel Walton Roof.[42] Kane also acted out a bit of the trial on Rudy Vallée‘s radio show The Fleischmann’s Yeast Hour in 1934 in which she explained that she wanted a pound of Max Fleischer.

Betty Boop was retired in 1939 and no longer appeared on screen. Helen Kane made a comeback in the 1950s and did TV appearances where she performed live and released several songs. One with MGM in 1954 titled “The Boop Boop a Doop Girl”. Helen also used to sign pictures of Betty Boop and hand them out, she was mistaken as the voice of Betty Boop. She died several years later in 1966 as she had battled breast cancer for more than a decade which later killed her. After Kane had died she was mistaken for the voice of Betty Boop in several newspapers and was later forgotten. Betty Boop was later rediscovered during the 1970s but didn’t quite make an impact until the 1980s, in which she became an iconic figure of the past.

Official Betty Boop trivia from 2011.

On Betty Boop’s old official website the Helen Kane vs. Fleischer Studios lawsuit was referenced and later removed. In 2011 on Betty Boop’s official Facebook the lawsuit was referenced in a quiz which asked people “Who sued Fleischer Studios in 1934 in a lawsuit that made the headlines? What was the lawsuit about? Who won?” The quiz was left open and answered by fans.

Trivia:

  • In 1933 Helen Kane discontinued her “Boop-Boop-a-Doop” trademark.[43]
  • Helen Kane requested for a jury of “12 men” from “all walks of life” to decide in the dispute whether or not Betty Boop was a caricature of her, but she was denied. [44]
  • Helen Kane told the court that Max Fleischer had seen her perform on stage at one of her shows.
  • A skit of the trial was played on The Fleischmann’s Yeast Hour in 1934. 
  • Dizzy Dishes and The Bum Bandit prove that Betty Boop was a caricature of Kane, although the Judge didn’t think so.
  • Helen Kane had played a Betty in the 1931 film Heads Up!, the same exact year Betty Boop was given the name Betty. But according to the Fleischer Studios the animated character’s name was inspired by the classic hit song “Betty Co-Ed“.
  • Helen wanted Betty Boop stopped by injunction.
  • The lawsuit started in 1932 and ended in 1934. Helen continued to pursue the Fleischers after the Fleischers won, but after being rejected more than once, she later gave up.
  • Mae Questel had won a Helen Kane look and sound-alike contest when she was 17 years old, and was given a autograph by Kane which was used as evidence in court. Mae began her career impersonating stars from the 30s such as Marlene Dietrich, Fanny Brice, but was best known for her Kane impersonation.
  • Margie Hines the original voice of Betty Boop had also had won several of Helen Kane’s “Boop-a-Doop” contests that were held in Brooklyn at the age of 17, and not too long after went on to provide Betty’s voice.
  • Bonnie Poe and Mae Questel were hired as Helen Kane look and sound-alikes. Look-alikes as in playing Betty Boop in person in live-action Paramount film shorts. 
  • Grim Natwick stated that he had used Kane’s hair for the base of Betty Boop, whereas in the court case Max Fleischer and his artist claimed that Betty’s hair was styled after the “It” Girl Clara Bow & flappers of the 1920s.
  • In the 1934 cartoon Poor Cinderella, Betty Boop’s hair was turned red which resembled Clara Bow’s, although Little Ann Little[45] who was one of the several original voices of Betty Boop had red hair and “claimed” that Max Fleischer made Betty Boop’s hair red because she had red hair.
  • The newspapers followed the trial for days upon end which gave the voices of Betty Boop, Bonnie Poe and Margie Hines publicity which then allowed Hines the original voice of Betty to snag a role alongside Harry Warren in 1933, and Bonnie Poe starred in Rambling Round Radio Row in 1934.
  • Ann Little insisted that the reason Helen Kane lost her suit was because of the evidence she had given against her in court.
  • Sometimes it is claimed on official Betty Boop merchandise that Betty Boop’s body was designed after Mae West and that her singing voice was taken from Helen Kane, or sometimes with a body like Marilyn Monroe and a singing voice like Helen Kane. 
  • Child performer Baby Esther, who was better known as Li’l Esther was presumed to have died by internet speculation and or fabrication by a Helen Kane fan club. The real lawsuit documents state that her ex-manager Lou Bolton, stated that he thought she was still in Paris. Esther did not comment on the lawsuit, but she was advised by the Afro-American newsaper to sue Kane. Esther however did not pursue Kane. 
  • During the lawsuit Kane claimed that she didn’t know what “hot licks” were and lied under oath that she never heard of the term “scat singing” and claimed to not know what “scatting” in songs was. Had she not known what “scat rhythm” was, she would have never been able to interject “Boop-Boop-a-Doop” into her songs.
  • Baby Esther’s fake death was created as a hoax by a Helen Kane fan club. It was spread by a wannabe and or has-been and D-list “Betty Boop and Helen Kane” impersonator who used to work for Universal Studios by the name of Ginger Pauley. This hate train also included another Helen Kane impersonator, who went by the name May F, who was furious about Baby Esther’s story. Keep in mind that May is “severely Autistic” and suffers from anger outbursts and is a well known compulsive liar, one part of that disorder is lying, that is what they do. They claimed that “Sandy Fox the official voice of Betty Boop” also took part, weirdly Fox’s actions seem to sync with the hatred that the group attempted to push. Fox was a member of that Facebook group, as she got very offended around the same time about “people of color,” particularly Black girls. But thankfully, every Blacktober, Betty will be Black. So that is what she and the others who think that way will see every October.

$250,000 Infringement Lawsuit: Max Fleischer

~ Berry Melon 🍉

Max Fleischer

Out of more than sixty songs sung by the cartoon character Betty Boop , only four of these were previously sung by the plaintiff Helen Kane, such songs had been sung by other actresses. 

As of May, 30, and up to date hereof the Fleischer Studios produced, released and exhibited in access of (50) separate, talking animated cartoon called “Betty Boop Cartoons,” which said cartoons have different plots, songs continuity and script, and in which Betty Boop is a character.

1. There is no personal liability on the part of the defendant Max Fleischer.

2. That the cartoon character Betty Boop at the time was, nor is it now, the portrait of picture of the plaintiff of a caricature of her.

3. That the defendants did not use the name, portrait, picture of caricature of the plaintiff. 

4. The plaintiff has no property right in the tones of voice, motions, actions and gestures used by her nor does she have any property right in the words “Boop-Boop-a-Doop” and its variants, nor does she have the exclusive right to the rendition of the songs containing such vocables. 

5. Beginning of the year 1919, and for many years prior thereto, and defendant Helen Kane was advertised as the “Boop Girl” and/or “Boop-a-Doop Girl” and/or “Boop-Boop-a-Doop Girl” and/or “Boop” and/or “Boop-a-Doop” and/or “Boop-Boop-a-Doop.”

6. That the persons so procured by the defendants as aforesaid were winners of a city-wide contest held in the City of New York for the best imitation of the plaintiff’s aforesaid unique style of singing and acting, and which said contest was called the “Helen Kane Boop-a-Doop” contest and which said contest had taken place in or about November, 1929, and several months prior to the production of the talking, animated moving picture cartoons known as the “Betty Boop Cartoons.”

Miss Kane, did you ever give your written consent to Max Fleischer to use your picture or likeness or representation in any form whatsoever? 

Helen Kane: “I did not.”

Did you ever give him any oral consent to that effect?

Helen Kane: “No, sir.” 

Did you ever give such consent either in writing or orally to the defendant Paramount Publix Corporation?

Helen Kane: “No, sir.” 

Let us come down to the Betty Boop particularly. Is there a character in this animated cartoon or cartoons whom you describe and advertise as Betty Boop?

Max Fleischer: “Yes, sir.” 

In 1931 and in the early part of 1932, who were the individuals who supplied the synchronizated voice that purported to do the talking and singing for the Betty Boop in the Betty Boop animated talking cartoons?

Max Fleischer: “Miss Margie Hines.”

Tell me, please, when she was first employed either by you or anyone else to do the singing for the Betty Boop character?

Max Fleischer: “When the first picture was completed.”

Would your records assist you in giving us the actual dates or do you recall them without referring to your records?

Max Fleischer: “I can only give you an approximate date.”

Tell me the approximate date when Margie Hines was hired to do the talking and/or singing for Betty Boop. What is the date?

Max Fleischer: “May 1st, about May 1st, 1930.”

Who employed her originally on behalf of your corporation?

Max Fleischer: “Paramount.”

Who of and in the Paramount employed her first? I mean, the individual as distinguished from the corporation Paramount?

Max Fleischer: “You mean the name of the man who engaged her?”

Correct, sir?

Max Fleischer: “I believe it was Lou Diamond.”

Did Lou Diamond discuss with you the hiring of this girl Margie Hines?

Max Fleischer: Yes, sir.

And in pursuance of the discussion you agreed with Paramount to employ this girl Margie Hines’ voice to purport to be the talking and singing voice of the character Betty Boop in these cartoons, is that correct?

Max Flesicher: “The question is too long.”

Mr. Phillips: “I object to the form of the question.”

Mr. Weltz: “Question withdrawn.”

Mr Fleischer, do you understand when I say that the voice of Margie Hines purporting to be the voice of Betty Boop, that I mean by that Margie Hines did the singing with the voice of the character Betty Boop?

Max Fleischer: “I understand that.”

Putting it that way, that is simple to understand.

Max Fleischer: “Yes.”

Was it in pursuance of this discussion with Mr. Diamond that you first employed Margie Hines to do the singing for the Betty Boop for the Betty Boop in cartoons or the singing of Betty Boop in the cartoons?

Max Fleischer: “No.”

Was the first picture in which Margie Hines spoke or sang to the accompaniment of the lip movement in the character Betty Boop, in your Betty Boop character?

Max Fleischer: “The first picture Dizzy Dishes.”

Mt. Fleischer, what was the name of that song Margie Hines sang synchronizedly with the voice of the character of Betty Boop in Dizzy Dishes? 

Max Fleischer: “The name of the song was ‘I Have to Have You’.”

You know, don’t you that “I Have to Have You” was a song that was sung in the picture “Pointed Heels”?

Max Fleischer: “No.”

You don’t know that now?

Max Fleischer: “I know it now.”

Mr. Welling: “I object to counsel cross-examining his own witness.”

Mr. Weltz: “I am not cross-examining my witness.”

The Court: “Have no discussion with your adversary.”

Mr. Welling: “The witness answered that he did not know that was the song that the plaintiff apparently claims was sung, and the counsel is bound by the witness’ answer.”

Mr. Weltz: “That is so absurd.”

The Court: “You are violating the rule of the Court.”

I ask you do you know the song which Betty Boop appeared to sing in Dizzy Dishes to-witch, “I Have to Have You,” was a song that was sung by Helen Kane in the moving picture Pointed Heels?

Max Fleischer: “I know it now.”

Do you know that the talking moving picture Pointed Heels is a picture that was produced by the Paramount?

Max Fleischer: “So it says on the title.”

Don’t you know that is the fact?

Max Fleischer: “No, sir.”

How long did Margie Hines continue to sing synchronizedly with the lip and mouth movements of Betty Boop in these cartoons?

Mr. Phillips: “I object to the form of the question. The singer did not sing synchronizedly.”

Mr. Weltz objected. The Court decided to make no further directions that there must be no discussion and no comment of counsel during the progress of the trial.

Max Fleischer: “By how long, do you mean how many pictures she worked in?”

How long a period of time, or, you may give us the picture, if that will help you?”

Max Fleischer: “She was engaged as we required her for pictures, and I will give you the picture that she sang in.”

Tell me then the names of the pictures wherein she sang for Betty Boop.

Max Fleischer: The next picture she sang, that is, Miss Margie Hines sang in, was Barnacle Bill.

May I suggest that as you go along you give us the date when these pictures were made available to Paramount for distribution and publication?

Max Fleischer: “You mean the delivery date?”

Mr. Fleischer, with your records before you can you tell us, please, the names of these Betty Boop cartoon pictures, so-called, wherein Margie Hines sang and spoke for the character Betty Boop.

Max Fleischer: “The first picture is Dizzy Dishes, delivery date May 26, 1930. The next picture is Barnacle Bill, delivery date June 13, 1930. 

The next picture?

Max Fleischer: Accordion Joe, delivered October 17, 1930. The next picture is Mysterious Mose, delivery date November 8, 1930. 

The next picture?

Max Fleischer: “The next picture is Bimbo’s Initiation, delivery date June 12, 1931, and the next picture is Minding the Baby, delivered June 8, 1931.

The next picture?

Max Fleischer: “The next picture is In the Shade of the Old Apple Sauce, delivery date July 17, 1931.

The next picture?

Max Fleischer: “The next picture is Mask-A-Raid, delivered, date August 4, 1931; all sung by Margie Hines. And the next one is Any Rags?, delivered September 1, 1931. 

What is the name of the other girl who sang?

Max Fleischer: “Mae Questel.”

When you say that two girls sang, do you mean for us to understand that two girls did the singing for one character Betty Boop? 

Max Fleischer: “Yes.”

In other words, one girl sang her part of the Betty Boop song and then the other girl sang and spoke the other part of the Betty Boop song?

Max Fleischer: “May I make that a little clearer? In some of the pictures we record twice before we start once, and sometimes after we finish. In one case I believe Miss Margie Hines sang before we started the cartoon, and Miss Questel finished after the cartoon.”

What is the next picture? 

Max Fleischer: Minnie the Moocher, in which two girls sang, Margie Hines and Mae Questel, delivered on October 29, 1931. And the next one is Swim or Sink delivered November 13, 1931.

Who sang in that one?

Max Fleischer: “Margie Hines.”

The next one?

Max Fleischer: The Dancing Fool, delivered December 16, 1931. And the next one is A Hunting We Will Go, delivered March 21, 1932. December 29, 1931, and the next one is Jack and the Beanstalk, delivered June 29, 1931,
and the next one is Dizzy Red Riding Hood, delivered September 9, 1931, and the next one is
Wait Till the Sun Shines Nellie, delivered January 27, 1932, and the next one is Betty Boop’s
Bizzy Bee, delivered April 27, 1932 and the next one is I’ll Be Glad When You’re Dead, delivery date
August 11, 1932. That is all she sang in the series.”

Tell me, please, who hired Mae Questel first, was it also Paramount?

Max Fleischer: “Yes.”

The same gentleman, Mr. Diamond. How do you spell his name?

Max Fleischer: “D-i-a-m-o-n-d.”

What is the first name?

Max Fleischer: “Louis.”

Is he still with Paramount?

Max Fleischer: “Yes, sir.”

Did you discuss this girl, Mae Questel? before she was used
in connection with the Betty Boop pictures?

Max Fleischer: “Not by name.”

You merely discussed her as a personage?

Max Fleischer: I asked him to give me a voice.”

And the voice was procured?

Max Fleischer: “Yes.”

And you utilized her in your production of pictures that you have mentioned?

Max Fleischer: “Mae Questel, yes.”

Please let us have the names of the two girls who sang in the one picture?

Max Fleischer: “Bonnie Poe and Mae Questel, ‘The Old Man of the Mountain’.”

You mean by what you have said that two girls sang two different parts of the voice of Betty
Boop, or what appeared to be the voice of Betty Boop in cartoons?

Max Fleischer: “Yes, delivered March 21, 1933.”

Go on.

Max Fleischer: “The same two girls in I Heard, May 26, 1933. 

Did the two girls sing the same, or did each sing a part for Betty Boop?

Max Fleischer: “Each sang a part.”

What was the first picture wherein Bonnie Poe sang? 

Max Fleischer: “Betty Boop in Mother Goose Land. 

Is that the first picture wherein Bonnie Poe sang? What is the date of
the delivery of that?

Max Fleischer: “February 21, 1933.”

Was she also employed under the same circumstances as the other two girls who 
sang for the Betty Boop character?

Max Fleischer: “Yes.”

I think that in your statement of the names of the girls
who sang you inadvertently omitted the name of the girl who 
sang in the cartoon picture of The Bum Bandit, will you check
that, please?

Max Fleischer: “I did not omit the picture. This was sung by an entirely different girl.”

What was the name of the girl?

Max Fleischer: “Harriet Lee.”

Have you given us now the names of all of the pictures wherein any 
of those three girls sang?

Max Fleischer: “Up to and including ‘I Heard’, delivery date May 26, 1933. 

Mr. Fleischer, is it also a fact that in these Betty Boop cartoons, the words “Boop-Boop-a-Doop”
were sung by male voices as well as being sung by female voices?

Max Fleischer: “Yes, sir.”

And that happened quite often during these pictures?

Max Fleischer: “Occasionally.”

Isn’t it a fact that in this pictureThe Bum Bandit, and Dangerous Nan McGrew
the song was sung by the character of Betty Boop?

Max Fleischer: Yes.”

Do you know now, sir the that the song ‘Dangerous Nan McGrew’ was sung in a picture
wherein plaintiff played a stellar role, which was known as ‘Dangerous Nan McGrew’?”

Max Fleischer: “Yes, but it is not the same song.”

I didn’t ask you that.

Mr. Weltz: “I ask to have the latter part of the answer stricken out.”

The Court: “Granted.”

I ask you do you now know that this song ‘Pass the Sugar’ was
written expressly for Helen Kane?

Max Fleischer: “I do not know that.”

It is a fact, sir, that you drew any number of these pictures that
were ultimately made a part of the Betty Boop cartoons?

Mr. Welling: Objected to as incompetent, irrelevant and immaterial, and has
nothing to do with the issue of unfair competition in this case. We
are going back to the cartoons now.

Max Fleischer: “I don’t know what you mean.”

In making these cartoons you have first a picture of the character, isn’t that
so a drawing of the character?

Max Fleischer: “What do you mean by first?”

Before you have the final cartoon you must first have a drawing of the
character that will be part of the cartoon.

Max Fleischer: “Yes.”

Are you the gentleman who prepared these drawings of the cartoon
Betty Boop?

Max Fleischer: “I prepared drawings…”

The Court: “The witness has stated that he did make up
all of these cartoons in collaboration with others in the employ
of the Fleischer company.”

Mr. Weltz. “All right.”

When was the surname “Boop” given to this character Betty Boop?

Max Fleischer: “It was used for the first time in the picture called Bimbo’s Express.”

Mr. Fleischer, you answered in direct ex-animation, that there
was employed for these songs, Mae Questel, Bonnie Poe and Margie Hines. You
also stated the name of the pictures in each of which these girls voices
were used. You omitted Betty Boop’s May Party. Will you tell
me what voice was used for that picture?

Max Fleischer: “The name of the girl is Little Ann Little.”

Did Little Ann Little appear in any other so-called Betty Boop cartoons?

Max Fleischer: Yes.”

Was Little Ann Little’s voice used for the recording of the songs sung
by Betty Boop in Betty Boop’s Birthday Party.

Max Fleischer: “Yes.”

Was her voice used in the so-called Betty Boop cartoons called
Betty Boop’s Big Boss?

Max Fleischer: “Yes.”

Was she the girl whose voice was used for Popeye the Sailor?

Max Fleischer: “No.”

Whose voice was used there?

Max Fleischer: “Bonnie Poe.”

The song Dangerous Nan McGrew that you referred to, was 
that used in one of the Betty Boop cartoons, was that the same song that
was used in the motion picture in which Helen Kane appeared called Dangerous Nan McGrew and the song that she sang there?

Max Fleischer: “It is a complete different song.”

Who was the writer of the song used in your picture?

Max Fleischer: “Charlotte Miller.”

Do you know, Mr. Fleischer, who the writer of the song
was that was used in the Helen Kane picture?

Max Fleischer: “I do not.”

It was not Charlotte Miller?

Max Fleischer: “No, sir.”

Did you ever see the moving picture Dangerous Nan McGrew, yes or no?

Max Fleischer: “Yes.”

When?

Max Fleischer: “After this action.”

Max Fleischer is then asked if had seen the picture. He admits
he saw it. Betty Boop and Helen’s cowgirl costumes are compared,
Fleischer denies all claims of copying Helen Kane from that film and
can’t remember any of the songs in the original film which featured
Helen Kane. Helen Kane is then questioned about people who had preceded her.

Miss Kane, prior to the that time, and at the same time that you were singing these songs in a baby’s voice, you know, don’t you, that there were many performers that were singing songs in a baby’s voice?

Helen Kane: “Not in my particular style.”

I didn’t ask you that.

Helen Kane: “I did not know that.” 

Have you ever heard of the name Nan Halperin?

Helen Kane: “Yes, many years ago.”

Did not she sing in a baby voice?

Helen Kane: “I don’t remember yes, I do. I remember
hearing her sing.”

That was before you did?

Helen Kane: “No, I sang the same bill.”

At the same bill?

Helen Kane: “Yes.”

Do you remember Irene Franklin?

Helen Kane: “I know I remember the name, but
that is a little before my time.”

I know that too. 

Helen Kane: “Thank you.”

She sang baby songs in a baby voice?

Helen Kane: “I don’t know. I mean, I saw Irene Franklin
later on in years, but I do not even remember
her singing baby songs.”

Do you remember the song “Red, Red, Ginger”?

Helen Kane: Yes.

You know that was a song that was sung in a baby
voice?

Helen Kane: “I don’t know that.”

Do you remember Frances White?

Helen Kane: “Very well.”

She preceded you, did she not?

Helen Kane: “Yes.”

As a well known stage performer?

Helen Kane: “Yes.”

And come out in a baby’s costume at times?

Helen Kane: “Yes.”

And sometimes would appear singing in a baby
voice with grown up costumes of a woman?

Helen Kane: “Yes.”

Do you know Peggy Bernier?”

Helen Kane: “Yes.”

Did she sing in a baby voice?

Helen Kane: “I never heard Miss Bernier sing.”

You never heard her?

Helen Kane: “Never.”

Do you know her well?

Helen Kane: “No.”

Did you ever see her perform at all?

Helen Kane: “No.”

Do you know from what you have heard
that she did sing in a baby voice?

Helen Kane: “I don’t know. She followed
me in the Paramount, and I don’t remember.”

You have heard of the Duncan Sisters?

Helen Kane: “Yes.”

And the Duncan Sisters sang in a baby
voice, didn’t they?

Helen Kane: “Yes.”

And they preceded you?

Helen Kane: “Yes.”

On the stage?

Helen Kane: “No, I sang at the 
same time with the Duncan Sisters.”

You will admit that they were very
prominent before you?

Helen Kane: “Yes.”

Theatrically?

Helen Kane: “Yes.”

And so were the others, with the
exceptions that I have mentioned?

Helen Kane: Except Peggy Bernier.

All the other names that I have mentioned
were theatrically prominent before you?

Helen Kane: “Yes.”

Hannah Williams, do you know her?

Helen Kane: Yes.”

Did she sing in a baby voice?

Helen Kane: “No.”

Miss Kane, for how many years did you
sing these songs with the interpolation
“Boop-Boop-a-Doop” or similar sounds? 

Helen Kane: “From my first appearance at the Paramount Theatre in 1928.”

Up to when?

Helen Kane: “Up to present day.”

Helen Kane then explains that she was in a show called Shady Lady
in which she had appeared as the leading performer. 

Did you sing and “Boop-Boop-a-Doop” songs in that?

Helen Kane: “Oh, yes I did.”

What song is that?

Helen Kane: “‘Where, Where Can I Find Love,'” and
also as the curtain came down, and Betty Boop opens
the curtains, the last song I sang was ‘Boop-Boop-a-Doop’.”

Was that the only song?

Helen Kane: “No, ‘Swinging Little Thing’.”

Helen Kane had told the newspapers that she felt like
a miniature Mae West when she was interviewed. However
in court she claimed that she did not. It is reported
in several of her newspaper interviews. Which was once
archived on the Betty Boop Wikia. 

In that show didn’t you want to portray the role of a 
Miss Mae West?

Helen Kane: “That is ridiculous.”

Didn’t you tell the reporters who interviewed you
when you opened the show that you thought that you could do the same sort
of thing that Mae West was doing?

Helen Kane: “I did not.”

If a reporter so stated that you stated that, then it is not the fact?

Helen Kane: “It is not the fact.”

Around this part, Helen Kane claims that everyone was imitating her. Which was true, but
she clearly got her own inspiration from somewhere. As stated she wasn’t the original
baby singer of songs. And she even admitted to this.

Miss Kane, when you were singing these songs ‘Boop-Boop-a-Doop’ or songs with those words
interpolated in them, there were other people in the theatrical profession that were singing those
songs, were there not?

Helen Kane: “They were imitating me.”

A few paragraphs after Helen Kane is asked about Tony Shayne. African-American
chid performer Baby Esther Jones in 1928 was actively working for the William Morris office under
Tony Shayne. Helen Kane admits that Tony Shayne was her manager at one point.

Helen Kane: “I had another man by the name of Tony Shayne.”

Let me understand you, I want to get the order in which these men acted as your booking agent or
manager?

Helen Kane: Yes, oh. William Morris’ office.”

Helen Kane then states that she was managed by Lew Irwin Harry Vestry and Tony Shayne.

As early of 1931, you knew that Mae Questel was one of the girls employed by Fleischer Studios 
to record the voice to be used in conjunction with the Betty Boop cartoons.

Helen Kane: “I don’t know, but I know that she was employed.”

You learned that in 1931 over the air?

Helen Kane: “I don’t know when it was, but that is when I learned it.”

How did you know that it was Mae Questel?

Helen Kane: “I made it my business to find out who was singing like me.”

I show you this photograph and ask you if what is written on there is in your handwriting.

Helen Kane: “Yes.”

The picture is your picture?

Helen Kane: “Yes.”

You gave the picture to Miss Margie Hines, didn’t you?

Helen Kane: “Yes.”

On the occasion of her successful participation in your Helen Kane contest,
is that right?

Helen Kane: “That is right, but I did not expect her to bring it back in court.”

I show you this disc, and this roll of films, and ask you whether you got this from Metro Goldwyn-Mayer.

Max Fleischer: “Yes.”

Were they synchronized?

Max Fleischer: “They were not very well synchronized.”

Just what do you mean by synchronization?

Max Fleischer: “A strict coordination of time between the two elements, one the picture and the other the sound.”

Is the recording of sound for motion picture purposes on discs used today?

Max Fleischer: “It is obsolete.”

It is explained how the older discs were used in the early days of sound but it was usual to experience a lack of synchronization between the disc and the reel.

The reel that the Fleischers and Paramount had shown was of Baby Esther Jones. The footage had to be re-synchronized to the early disc footage by the Fleischers as they had trouble playing it in sync.

Betty Boop

~ Berry Melon 🍉

Name:

Betty Boop
Pretty Girl
Nancy Lee
Dolly Prance
Dangerous Nan McGrew
The Boop-Oop-a-Doop Girl
The Queen of Cartoons

Betty Boop is the main character of the series. 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 originally known as “Bootleg 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.

Other vintage film stars that the Fleischers used to develop Betty’s allure included Louise Brooks, Mae West, Greta Garbo and Marlene Dietrich.

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 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.

Quotes:

  • Betty Boop: “I made my first movie eight years ago when I was sixteen.“

  • Betty Boop: “I am still sixteen and will always stay sixteen! Ain’t that something!“

  • Betty Boop: “A Paramount and a Betty Boop cartoon mixed for a well perfect program.“

  • Betty Boop: “I’ve made the acquaintance of ‘150 Million’ people in my ‘8’ years on the screen!“

  • Betty Boop: “It would take one man alone, three years to make a one reel cartoon of me!“

  • Betty Boop: “By the way Uncle Max! Did you set aside a trust fund for me?“

  • Betty Boop: “I’m the tops with the kids!“

  • Betty Boop: “I know the trick to get people to your box-office!“

  • Betty Boop: “I’m the sweetheart of your box-office!“

  • Betty Boop: “I’m every inch a star!“

  • Betty Boop: “I’m the spice of the program.“

  • Betty Boop: “They say that I can fill Greta Garbo’s shoes!“

  • Betty Boop: “I can balance your programme!“

  • Betty Boop: “If you have a sick box-office, let me put it on it’s feet again!“

  • Betty Boop: “Don’t worry! When your box-office is in my hands. It’s safe!“

  • Betty Boop: “I can make your box-office grow!“

  • Betty Boop: “I may only be a little girl. But I can do a man-sized job supporting a box-office!“

  • Betty Boop: “Stick around boys! I’m always cooking up something!“

  • Betty Boop: “Let me know if your box-office needs jacking up!“

  • Betty Boop: “I’ve built up many a box-office!“

  • Betty Boop: “I’m there in any language!“

  • Betty Boop: “Don’t worry about your box-office, once I step inside!“

  • Betty Boop: “With me, every week is Paramount week!“

Official Birthday:

Betty Boop’s official birthday by Max Fleischer was the 1st of April.

Betty Boop’s official birthday set by Max Fleischer in 1933 was the 1st of April.

Betty’s birthdate is April 1, 1915.

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.

Official Age:

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 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.

In the 1933 cartoon Betty Boop’s Birthday Party, Betty is 13 turning 14. She is the same age as her counterpart Disney’s Snow White. Both characters were developed by Grim Natwick.

The reason for Betty’s age drastically changing is because Max Fleischer couldn’t decide an age range for her. Betty is young because her cartoons (though they have an adult nature to them) were made for children.

The children of the 1930s who used to watch the cartoons, did not get the adult puns. The puns were made for adults, as Betty Boop cartoons would sometimes be an opening attraction when theaters were debuting feature films.

For example when Helen Kane starred in Dangerous Nan McGrew in 1930 and it was shown in the theater, Betty Boop’s debut cartoon Dizzy Dishes was shown to the audience prior the film.

Betty Boop’s official age is 16. 

Grim Natwick’s Betty Boop:

Grim Natwick’s 1931 Betty Boop as a red head concept for the Fleischer Studios. Betty also has red hair in Poor Cinderella.

Here is a 1931 depiction of an early “Betty Boop” artwork by Grim Natwick.

Betty has red hair and blue eyes. 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.

Which would you rather have as your girlfriend? – Grim Natwick

One day, Dave Fleischer handed Grim a photograph of singer, Helen Kane and asked him to design a caricature. Fleischer had found sound-alike Margie Hines, and planned to use her in the upcoming Talkartoon, Dizzy Dishes.

Grim exaggerated Kane’s wide eyes and rosebud mouth, creating a slightly coarse, but strikingly original design. A few weeks later, Dave asked Grim to design a girlfriend for Bimbo to star as the “fair young maiden” in a cartoon adaptation of the popular song, “Barnacle Bill the Sailor”.

Grim streamlined and refined his caricature of Kane for the part. But Dave Fleischer objected, insisting that since Bimbo was a dog, his girlfriend should also be a dog.

Grim quickly sketched Betty Boop’s head on a four legged canine body. He held up the drawing next to the pretty girl design, and asked, “Which would you rather have as your girlfriend? A girl? Or a dog?” Dave laughed and agreed that the “pretty girl” was the right choice.

Betty Boop’s Dress!?

The Fleischer Studios often debunk “Helen Kane” being the model but 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.

Kane was a known Clara Bow copy-cat.

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, who in 1930 had no name.

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. After that Betty was developed into a more slimmer character, and was inspired by stars such as Clara Bow and Louise Brooks.

Betty Boop’s 1931 model sheet and character design for Silly Scandals.

In 1931, Betty’s snout had became a button nose, her official design was similar to that of her human form only she was still an anthropomorphic French poodle.

In 1932, Betty can be seen without her ears in various Talkartoon releases in 1931, but it wasn’t official until 1932. Her floppy long poodle ears became hoop earrings and the character was later changed into a human.

In 1932, Betty started appearing in her own series as the main protagonist. The original canine Betty Boop with the snout was classed as ugly by her creators, due to the fact that she pulled some really ugly faces in her first appearance. This prompted them to update her character design and make her appeal to the audience. The Fleischer Studios continued to develop the character when Natwick left the Fleischer Studios. .

Character Design:

Betty’s original color palette can be seen in the Paramount Pictures Corporation annual releases 1937 to 1938. 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 affinity for the colors black and red, she wears a short dress, and a garter 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. 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.

Betty Boop Comic Strip:

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. 

Fleischer’s Animated News:

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.

The Romance of Betty Boop:

Betty Boop is a girl adored by her neighbors and a hard worker. She sells shoes in a shoe store along the day, and sings at the Club Bubbles at night. Desirée Goyette was picked to voice Betty out of 55 actresses. Betty Boop changes her outfit several times and has a pet parrot called Polly instead of her regular pet pooch Pudgy the dog. Betty doesn’t wear her garter belt throughout whole film even though the hays code rules are long gone and the garter is one of Betty’s main trademarks, Betty’s garter re-appears in the next film Betty appears in Who Framed Roger Rabbit, which was made 3 years after The Romance of Betty Boop. Betty’s design in the film resembles Grim Natwick’s drawings that he drew of Betty in the 70s & 80s. This is the first time Betty has sung Helen Kane’s signature song “I Wanna Be Loved By You” and made it her own. According to information given, the people who worked on the film were thinking of Marilyn Monroe and her appearance in Some Like It Hot, when they added the musical sequence to the film.

The Betty Boop Movie Mystery:

Betty Boop works as a waitress in a diner with her friends Bimbo and Koko the Clown. Melissa Fahn provided the voice for Betty Boop and has replaced Mae Questel and Desirée Goyette. In Los Angeles, Betty Boop works as a waitress along with her friends Koko and Bimbo. This is the first appearance of Bimbo since 1933, who appears the color blue instead of black. The movie was made a year after Betty’s cameo in the 1988 animated Disney film Who Framed Roger Rabbit. Betty’s outfit has been changed to purple instead of the usual red and her jewelry is silver instead of gold, with her garter being visible. Unlike The Romance of Betty Boop, The Betty Boop Movie Mystery attempts to follow Max Fleischer’s original surreal style of the original Betty Boop cartoons.

Betty Boop Scrapped Film:

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 & Jimmy Rowles stands in for Betty’s father Benny Boop. Bernadette Peters was to have voiced Betty in the actual movie which would make the storyboard a pilot but before the recording sessions started the film was abandoned. According to Mary Kay Bergman she had auditioned for the role and had been given the part, until it was abandoned. The music was written by Benny Wallace and lyrics by Cheryl Ernst Wells.

Betty Boop TV Series (1996)

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.

Betty Boop’s Misguided Tours:

In 1998, Betty Boop’s Misguided Tours was a TV show about Betty Boop as a tour guide on a bus that travelled to various places around the world. The show was supposed to have been hip and edgy. The show was pitched to MTV and HBO. The project was scrapped.

Betty Boop CGI:

In 2000 to 2001, a new Betty Boop TV series was going to be created in CGI by the Fleischer Studios, 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 who were popular singers at their peak in the 2000s to watch out. 

Trivia:

  • Betty Boop’s most famous scene was in Who Framed Roger Rabbit which featured Mae Questel.

  • A “Betty Boop Broadway Musical” has been in the works for several years.

  • In 2013, according to Mark Fleischer there were no plans for any new Betty Boop cartoons.

  • 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. 

Links: