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04-Jul-2017 07:53

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Kane had been a star of stage, recordings and films for Paramount and had risen to fame in the late 1920s as “The Boop-Oop-a-Doop Girl,” but by 1931 her career was flagging.As Kane’s career waned Paramount promoted the development of Betty Boop more vigorously. Fleischer stated in court that Betty Boop was purely a product of his imagination, and other evidence proved that Kane’s “look” was not as distinctive as she claimed.Betty, her floppy poodle ears morphing into hoop earrings and her black poodle nose becoming a tiny, turned-up button nose, was introduced as a Jazz Age flapper in the cartoon (1934), in which she became a redhead for her only color film.She started out as a supporting character in ten cartoons and was portrayed as a scatter-brained flapper with a heart of gold.In stand-alone cartoons, she was billed under other names, including “Nan Mc Grew,” taken from the 1930 Helen Kane film , and was often cast as a girlfriend to Bimbo, the prevailing studio star at the time.Bimbo was a purely fictional cartoon dog that appeared in Fleischer productions from 1930 through 1933. Bimbo was banished from Betty’s series by the Motion Picture Producers and Distributors of America (MPPDA) Production Code when it was eventually decided that a dog with a human girlfriend was improper and violated the censorship rules that had been formally adopted in 1930.The daily strip ended after less than a year and the Sunday strip lasted only until November 1937.Originally drawn as a humanlike French poodle caricature of singer Helen Kane, Fleischer’s character was changed to a completely human form in 1932.

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Apparently relatively few of these bags were made and even fewer remain after eighty-odd years.

She even voiced Popeye in a few cartoons, as well as Casper and Little Audrey.

Betty’s signature phrase, “Boop-Oop-a-Doop,” has no meaning out of context.

Both Kane and the Betty Boop character bore a close resemblance to Paramount star Clara Bow.

Even more crucial to the final verdict was the rejection of Kane’s claim regarding the uniqueness of her singing style.It was inspired by “scat,” a style of jazz singing that was popular during the 1920s and ‘30s.



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