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Popeye the Sailor (animated cartoons)

popeye the sailor (animated cartoons)
Popeye the Sailor is an American animated series of comedy short films based on the titular comic strip character created by E C Segar In 1933, Max and Dave Fleischer's Fleischer Studios adapted Segar's characters into a series of Popeye the Sailor theatrical cartoon shorts for Paramount Pictures The plotlines in the animated cartoons tended to be simpler than those presented in the comic strips, and the characters slightly different A villain, usually Bluto, makes a move on Popeye's "sweetie," Olive Oyl The villain clobbers Popeye until he eats spinach, giving him superhuman strength Thus empowered, the sailor makes short work of the villain

The Fleischer cartoons, based out of New York City, proved to be among the most popular of the 1930s, and would remain a staple of Paramount's release schedule for nearly 25 years Paramount would take control of the studio in 1941 and rename it Famous Studios, ousting the Fleischer brothers and continuing production The theatrical Popeye cartoons began airing on television in an altered form in 1956, at which point the Popeye theatrical series was discontinued in 1957 Popeye the Sailor in all produced 231 short subjects that were broadcast on television for numerous years, garnering enormous popularity with new generations

These cartoons are now owned by Turner Entertainment, a subsidiary of Time Warner, and distributed by sister company Warner Bros Entertainment After many years of negotiations, Warner Home Video reached an agreement with King Features Syndicate for an official DVD release of the series Restored and unedited Popeye cartoons through 1943 were released on DVD in the late 2000s The 1930s Popeye cartoons have been noted by historians for their urban feel, with the Fleischers pioneering an East Coast animation scene that differed highly from their counterparts In addition to becoming iconic within mainstream public consciousness, the majority of 231 Popeye short subjects are highly acclaimed by animation historians and fans

Contents

  • 1 Early history
  • 2 Voice cast
  • 3 Fleischer Studios
  • 4 Famous Studios
  • 5 Music and theme song
  • 6 Theatrical Popeye cartoons on television
  • 7 Home video
    • 71 Background
    • 72 DVD collections
    • 73 Future releases
  • 8 Filmography
  • 9 References
  • 10 External links

Early historyedit

Max Fleischer

Popeye the Sailor, created by EC Segar, debuted in his King Features-distributed comic strip, Thimble Theatre The character was growing in popularity by the 1930s and there was "hardly a newspaper reader of the Depression-era that did not know his name"1 It was obvious, however, that stars of a larger magnitude were being launched from animated cartoons, with the success of Mickey Mouse In November 1932, King Features signed an agreement with Fleischer Studios, run by producer Max Fleischer and his brother, director Dave Fleischer, to have Popeye and the other Thimble Theatre characters begin appearing in a series of animated cartoons The first cartoon in the series was released in 1933, and Popeye cartoons, released by Paramount Pictures, would remain a staple of Paramount's release schedule for nearly 25 years

One source of inspiration for the Fleischers were newspapers and comic strips, and they saw potential in Popeye as an animated star, thinking the humor would translate well onscreen1 When the Fleischers needed more characters, they turned to Segar's strip: Wimpy debuted in the first regular Popeye cartoon, Swee'Pea, Poopdeck Pappy, the Goons and Eugene the Jeep arrived onscreen by the late 1930s Popeye was also given more family exclusive to the shorts, specifically his look-alike nephews Pipeye, Peepeye, Pupeye, and Poopeye Spinach became a main component of the Popeye cartoons and were used for the energetic finale in each Eventually, the Fleischers paired Popeye and spinach together far more than Segar ever did In 1934, a statistic was released noting that spinach sales had increased 33% since the creation of the Popeye cartoons1 Segar received crates of spinach at his home because of the Popeye association The huge child following Popeye received eventually prompted Segar's boss, William Randolph Hearst, to order Segar to tone down the humor and violence Segar was not ready to compromise, believing there would be "nothing funny about a sissy sailor"1

Voice castedit

Many voice artists worked on the Popeye shorts over the two decades of production, this list is based on the most comprehensive artists

  • William "Billy" Costello, Jack Mercer as Popeye the Sailor substitutes: Harry Foster Welch, Mae Questel, Floyd Buckley, Jackson Beck Costello had a gruff, gravelly quality in voicing the character It is generally thought that Costello became difficult to work with after becoming overly confident from the success of the first few cartoons1 Jack Mercer was working in the in-between department of Fleischer Studios doing imitations of Costello, and, after practicing at home for a week, replaced Costello as the voice of Popeye beginning with King of the Mardi Gras 19352 Historians believe the character came into his own when Mercer became the voice artist, employing acting and emotion into the character Mercer voiced the character until his death in 1984 Harry Welch substituted in several wartime cartoons, when Mercer left to serve in World War II
  • Bonnie Poe, Mae Questel, Marilyn Schreffler, Margie Hines as Olive Oyl Questel was the voice of Betty Boop when she was brought in early on to play Olive Oyl, and she based the character voice on ZaSu Pitts1 Questel voiced Olive Oyl until 1938, when Fleischer operations shifted to Florida Hines, who was Mercer's wife, voiced the character until 1943 Paramount moved the studio back to New York the following year and Questel reassumed voice acting duties until the series' end in 1957
  • William Pennell, Gus Wickie and Jackson Beck as Bluto substitutes: Dave Barry, Jack Mercer, Tedd Pierce William Pennell was the first to voice the Bluto character from 1933 to 1935's The Hyp-Nut-Tist Gus Wickie is generally considered the most memorable voice actor by fans and historians1 Wickie voiced Bluto until Fleischer left New York in 1938, his last work being the voice of the "Chief" in Big Chief Ugh-A-Mug-Ugh Several other actors were employed to voice Bluto from then on including Mercer and Questel When Famous Studios took over production and moved back to New York City, Jackson Beck took over the role until 1962

Fleischer Studiosedit

Popeye made his film debut in Popeye the Sailor, a 1933 Betty Boop cartoon Although Betty Boop has a small cameo appearance, the cartoon mostly introduces the main characters: Popeye's coming to rescue Olive Oyl after being kidnapped by Bluto The triangle between Popeye, Olive and Bluto was set up from the beginning and soon became the template for most Popeye productions that would follow The cartoon opens with a newspaper headline announcing Popeye as a movie star, reflecting the transition into film1 I Yam What I Yam became the first entry in the regular Popeye the Sailor series

Thanks to the animated shorts, Popeye became even more of a sensation than he had been in comic strips As Betty Boop gradually declined in quality as a result of Hays Code enforcement in 1934, Popeye became the studio's star character by 1936 Popeye began to sell more tickets and became the most popular cartoon character in the country in the 1930s, beating Mickey Mouse Paramount added to Popeye's popularity by sponsoring the "Popeye Club" as part of their Saturday matinée program, in competition with Mickey Mouse Clubs Popeye cartoons, including a sing-along special entitled Let's Sing With Popeye, were a regular part of the weekly meetings For a 10-cent membership fee, club members were given a Popeye kazoo, a membership card, the chance to become elected as the Club's "Popeye" or "Olive Oyl," and the opportunity to win other gifts Polls taken by theater owners proved Popeye more popular than Mickey, and Popeye upheld his position for the rest of the decade34

Fleischer cartoons differed highly from their counterparts at Walt Disney Productions and Warner Bros Cartoons The Popeye series, like other cartoons produced by the Fleischers, was noted for its urban feel the Fleischers operated in New York, specifically on Broadway a few blocks from Times Square, its manageable variations on a simple theme Popeye loses Olive to bully Bluto and must eat his spinach and defeat him, and the characters' "under-the-breath" mutterings1 The voices for Fleischer cartoons produced during the early and mid-1930s were recorded after the animation was completed The actors, Mercer in particular, would therefore improvise lines that were not on the storyboards or prepared for the lip-sync generally word-play and clever puns1 Even after the Fleischers began pre-recording dialog for lip-sync shortly after moving to Miami, Mercer and the other voice actors would record ad-libbed lines while watching a finished copy of the cartoon5 Popeye lives in a dilapidated apartment building in A Dream Walking 1934, reflecting the urban feel and Depression-era hardships1

The Fleischers moved their studio to Miami, Florida in September 1938 in order to weaken union control and take advantage of tax breaks The Popeye series continued production, although a marked change was seen in the Florida-produced shorts: they were brighter and less detailed in their artwork, with attempts to bring the character animation closer to a Disney style Mae Questel, who started a family, refused to move to Florida, and Margie Hines, the wife of Jack Mercer, voiced Olive Oyl through the end of 1943 Several voice actors, among them Pinto Colvig better known as the voice of Disney's Goofy, succeeded Gus Wickie as the voice of Bluto between 1938 and 1943

Fleischer Studios produced 108 Popeye cartoons, 105 of them in black-and-white The remaining three were two-reel double-length Technicolor adaptations of stories from the Arabian Nights billed as "Popeye Color Features": Popeye the Sailor Meets Sindbad the Sailor 1936, Popeye the Sailor Meets Ali Baba's Forty Thieves 1937, and Aladdin and His Wonderful Lamp 1939

Famous Studiosedit

By the end of 1939, Max and Dave had stopped speaking to each other altogether, communicating solely by memo In 1940, they found themselves at odds with Paramount over the control of their animation studio1 The studio borrowed heavily from Paramount in order to move to Florida and expand into features, and Gulliver's Travels 1939 and Mister Bug Goes to Town 1941 were only moderate successes6 In May 1941, Paramount Pictures assumed ownership of Fleischer Studios7 Paramount fired the Fleischers and began reorganizing the studio, which they renamed Famous Studios With Famous Studios headed by Sam Buchwald, Seymour Kneitel, Isadore Sparber and Dan Gordon, production continued on the Popeye shorts

In 1941, with World War II becoming a greater concern in the United States, Popeye was enlisted into the US Navy, as depicted in the 1941 short The Mighty Navy His regular costume was changed from the dark blue shirt, red neckerchief and light blue jeans he wore in the original comics to an official white Navy sailor uniform, which he retained until the 1970s Popeye becomes an ordinary, downtrodden, Naval seaman in the wartime entries, usually getting the blame for mishaps Film historian Leonard Maltin notes that the studio did not intend to make light of the war, but instead make Popeye more relevant with the times and show him in action1 The early Famous-era shorts were often World War II-themed, featuring Popeye fighting Nazis and Japanese soldiers, most notably the 1942 short You're a Sap, Mr Jap As Popeye was popular in South America, Famous Studios set the 1944 cartoon We're on our Way to Rio in Brazil, as part of a "good neighbor" policy between the US government and the rest of the continent during the war

In late 1943, the Popeye series was moved to Technicolor production, beginning with Her Honor the Mare Though these cartoons were produced in full color, some films in the late-1940s period were released in less-expensive two-color usually processes like Cinecolor and Polacolor Paramount had begun moving the studio back to New York that January, and Mae Questel reassumed voice duties for Olive Oyl Jack Mercer was drafted into the Navy during World War II, and scripts were stockpiled for Mercer to record when on leave When Mercer was unavailable, Harry Welch stood in as the voice of Popeye and Shape Ahoy had Mae Questel doing Popeye's voice as well as Olive's New voice cast member Jackson Beck began voicing Bluto within a few years; he, Mercer, and Questel would continue to voice their respective characters into the 1960s Over time, the Technicolor Famous shorts began to adhere even closer to the standard Popeye formula, and softened, rounder character designs – including an Olive Oyl design which gave the character high heels and an updated hairstyle – were evident by late 1946

Many veteran Fleischer animators stayed with Famous Studios and produced these new Popeye cartoons, but the loss of the founders was evident1 Throughout the 1940s, the production values on Popeye remained relatively high Animation historian Jerry Beck notes that, however, the "gag sense and story sense fell into a bit of a rut" By the mid-1950s, budgets at the studio became tight and staff downsized, while still producing the same number of cartoons per year This was typical of most animation studios at this time period, as many considered shutting their doors entirely due to the competition from television1 Paramount renamed the studio Paramount Cartoon Studios in 1956 and continued the Popeye series for one more year, with Spooky Swabs, released in August 1957, being the last of the 125 Famous shorts in the series

Music and theme songedit

Popeye's signature theme song was composed by Sammy Lerner and premiered in the first Popeye cartoon in 1933 Cartoon music historian Daniel Goldmark notes that Popeye is one of few cartoon characters of the time to have a theme: Disney/Warner Bros composer Carl Stalling and MGM's Scott Bradley disliked themes and phased them out quickly1 For the first few cartoons, the opening-credits music consisted of an instrumental of "The Sailor's Hornpipe," followed by a vocal variation on "Strike Up the Band Here Comes a Sailor," substituting the words "for Popeye the Sailor" in the latter phrase "I Yam What I Yam" was used as the theme song for further cartoons Goldmark divides the Popeye theme into two parts: the sailor horn pipe and the lyrical portion The opening horn pipe can be dated back to the 1700s and further as a traditional sea shanty Winston Sharples and Sammy Timberg composed most of the music for Popeye shorts Timberg composed the themes to the Fleischers' Betty Boop and Superman cartoons, but asked Lerner to write Popeye's theme song because he had a date that night1

The music of Popeye is described as a mix of "sunny show tunes and music from the street"1 Being located on Broadway, the Fleischers were well placed for popular music developments in the 1930s Director Eric Goldberg notes a very urban feel to the music of Popeye, reflecting "the type of cartoons they were making" The Fleischers were big fans of jazz and would approach local jazz musicians to work on the cartoons, most of whom were more than happy to oblige1 The use of jazz and very contemporary popular music highlighted how audiences were fascinated by new music Tight on a budget, the producers took advantage of their free access to the Paramount music library, including hit songs that would be introduced in feature films1 Many cartoons, such as It's the Natural Thing to Do 1939, take their titles from popular songs of the time Staff songwriters would also write original songs for the shorts, such as in 1936's Brotherly Love and I Wanna Be a Lifeguard; the studio would hire outside songwriters to compose originals in addition With the onset of World War II, the music in Popeye became more lush, fully orchestrated and patriotic1

For generations, the iconic Popeye theme song became an instantly recognizable musical bookmark, further propelling the character's stardom1

Theatrical Popeye cartoons on televisionedit

The original 1932 agreement with the syndicate called for any films made within ten years and any elements of them to be destroyed in 1942 This would have destroyed all of the Fleischer Popeye shorts King was not sure what effect the cartoons would have on the strip; if the effect was very negative, King was very eager to erase any memory of the cartoons by destroying them Paramount knew that the Popeye cartoons were among their best-selling and most popular, and they held them separately for future distribution, seeing television as a rising outlet1

In 1955, Paramount put their cartoon and shorts library up for television sale UM & M TV Corporation acquired the majority of the shorts, however, King Features put a high asking price on the Popeye cartoons However, Interstate Television began negotiating with Paramount and King Features for the TV rights to the Popeye cartoons8 Interstate was the TV subsidiary of Allied Artists at the time

In June 1956,9 Paramount sold the black and white cartoons to television syndicator Associated Artists Productions aap, one of the biggest distributors of the time, for release to television stations, with the color cartoons being sold a year later1 aap created their own openings for the cartoons, as they did with the pre-August 1948 Warner Bros cartoons they were distributing The color cartoons featured a similar open to the Warner Bros cartoons, using a version of the Popeye theme song introduced in Olive Oyl For President in 1948 However, unlike the WB cartoons, aap was asked to remove the Paramount logos and "Paramount presents" title cards, yet Paramount's imprint was still noted in the aap prints, which referenced Fleischer and Famous Studios and left Paramount's credits and copyright tags intact Once they began airing these cartoons were enormously popular Jerry Beck likens Popeye's television success to a "new lease on life," noting that the character had not been as popular since the 1930s10 King Features realized the potential for success and began distributing Popeye-based merchandise, which in turn led to new Popeye TV productions These productions were farmed out to numerous studios and were of very low quality, employing limited animation, and many artists were unhappy with the quality of such cartoons1 Most cities of large size aired an "uncle show," in which a local weatherman or entertainer would host a children's show in the afternoon, and Popeye shorts became a huge component in the success of these1

By the 1970s, the original Fleischer and Famous Popeye cartoons were syndicated to various stations and channels across the globe In the intervening years, however, Popeye cartoons slowly disappeared from the airwaves in favor of newer television editions10 aap was sold to United Artists in 1958, which was absorbed into Metro-Goldwyn-Mayer to create MGM/UA in 1981 Ted Turner purchased MGM/UA in 1986, gaining control of all Popeye shorts Turner sold off the production end of MGM/UA shortly after, but retained the film catalog, giving it the rights to the theatrical Popeye library After acquisition, the black-and-white Popeye shorts were shipped to South Korea, where artists retraced them into color The process was intended to make the shorts more marketable in the modern television era, but prevented the viewers from seeing the original Fleischer pen-and-ink work, as well as the three-dimensional backgrounds created by Fleischer's "Stereoptical" process Every other frame was traced, changing the animation from being "on ones" 24 frame/s to being "on twos" 12 frame/s, and softening the pace of the films These colorized shorts began airing on Superstation WTBS in 1986 during their Tom & Jerry and Friends 90-minute weekday morning and hour-long weekday afternoon shows The retraced shorts were syndicated in 1987 on a barter basis, and remained available until the early 1990s When the Cartoon Network began in 1992, they mostly ran cartoons from the Turner library, which included Popeye10 Turner merged with Time Warner in 1996, and Warner Bros through its Turner subsidiary therefore currently controls the rights to the Popeye shorts

For many decades, viewers could only see a majority of the classic Popeye cartoons with altered opening and closing credits aap had, for the most part, replaced the original Paramount logos with their own In 2001, the Cartoon Network, under the supervision of animation historian Jerry Beck, created a new incarnation of The Popeye Show The show aired the Fleischer and Famous Studios Popeye shorts in versions approximating their original theatrical releases by editing copies of the original opening and closing credits taken or recreated from various sources onto the beginnings and ends of each cartoon, or in some cases, in their complete, uncut original theatrical versions direct from such prints that originally contained the front-and-end Paramount credits

The series, which aired 135 Popeye shorts over forty-five episodes, also featured segments offering trivia about the characters, voice actors, and animators The program aired without interruption until March 2004 The Popeye Show continued to air on Cartoon Network's spin-off network Boomerang The restored Popeye Show versions of the shorts are sometimes seen at revival film houses for occasional festival screenings The Popeye Show is currently airing on Cartoon Network in Pakistan as well as in India A daily half-hour block of Popeye has been able to be seen on the Boomerang network in the past However, the Fleischer Popeye shorts shown on this block are mostly the 1980s colorized versions, and most of the title cards thereof have been edited to the aap logo which replaces the original Paramount one In 2012, Popeye reruns ceased

Home videoedit

Backgroundedit

There were legal problems between King Features Syndicate and United Artists in the early 1980s regarding the availability of Popeye on home video United Artists had television rights, but King Features disputed whether that included home video distribution10 In 1983, MGM/UA Home Video attempted to release a collection of Popeye cartoons on Betamax and VHS tapes titled The Best of Popeye, Vol 1, but the release was canceled after MGM/UA received a cease and desist letter from King Features Syndicate, which claimed that they only had the legal rights to release the collection on video1112 While King Features owned the rights, material, comics, and merchandizing to Popeye's character, King Features did not have ownership to the cartoons themselves

Throughout the years, there have been many bootleg VHS cassettes and DVDs featuring public domain Popeye cartoons, where the copyright had lapsed10 While most of the Paramount Popeye catalog remained unavailable on VHS tape, a handful of shorts fell into the public domain and were found on numerous low-budget VHS tapes and DVDs Most used aap prints from the 1950s, which were in very poor shape, thus resulting in very poor image quality These cartoons were seven B&W 1930s and 1940s cartoons, twenty-four Famous Studios cartoons from the 1950s many of which fell to the public domain after the MGM/UA merger, and all three Popeye color specials although some copyrighted Popeye cartoons turned up on public domain VHS tapes and DVDs

After purchasing Turner in 1996, it would take many years for Warner Bros to make a deal to distribute Popeye on home video1013 In 1999, home video rights to the Turner film library were reassigned from MGM/UA Home Video to Warner Home Video It was reported in 2002 that Warner and King Features parent Hearst Corporation were working on a deal to release Popeye's cartoons on home video1112 Over 1,000 people signed an online petition asking Warner and King Features to release the theatrical Popeye cartoons on DVDs14

Popeye cartoons were never officially released in any form until the late 2000s10 In 2006, Warner Home Video and King Features Syndicate along with KFS' parent company Hearst Entertainment finally reached agreement allowing for the release of the theatrical Popeye cartoons on home video15 The original Paramount logos appear on these cartoons because Warner Bros and Paramount Pictures cross-licensed each other's logos in a deal which also involved Paramount-distributed John Wayne movies originally released by Warner Bros, and therefore preserving the artistic integrity of the original theatrical releases16 Three volumes were produced between 2007 and 2008, released in the order the cartoons were released to theaters The first of Warner's Popeye DVD sets, covering the cartoons released from 1933 until early 1938, was released on July 31, 2007 Popeye the Sailor: 1933–1938, Volume 1, a four-disc collector’s edition DVD, contains the first 60 Fleischer Popeye cartoons, including the color specials Popeye the Sailor Meets Sindbad the Sailor and Popeye the Sailor Meets Ali Baba’s Forty Thieves Volume One and Three of the series had the "Intended For Adult Collector And May Not Be Suitable For Children" advisory warning Historians supervised the release as consultants, assuring no colorized versions of unrestored prints were used10

Restoration timelines caused Warners to re-imagine the Popeye DVD sets as a series of two-disc sets Popeye the Sailor: 1938–1940, Volume 2 was released on June 17, 2008,17 and includes the final color Popeye special Aladdin and his Wonderful Lamp18 Popeye the Sailor: 1941–1943, Volume 3 was released on November 4, 2008,19 and includes Popeye's three seldom shown wartime cartoons: You're a Sap, Mister Jap 1942, Scrap the Japs 1942, and Seein' Red, White, and Blue 1943

The first volume was included, either erroneously or through somewhat fraud, in a batch of boxed sets sold in discount outlets for $3 or less in the summer of 200920

DVD collectionsedit

  • Popeye the Sailor: 1933–1938, Volume 1 released July 31, 2007 features cartoons released from 1933 to early 1938 and contains the color Popeye specials Popeye the Sailor Meets Sindbad the Sailor and Popeye the Sailor Meets Ali Baba's Forty Thieves
  • Popeye the Sailor: 1938–1940, Volume 2 released June 17, 2008 features cartoons released from late 1938 to 1940 and includes the last color Popeye special Aladdin and His Wonderful Lamp
  • Popeye the Sailor: 1941–1943, Volume 3 released November 4, 200821 features the remaining black-and-white Popeye cartoons released from 1941 to 1943 and covers the transition from Fleischer Studios to Famous Studios producing the cartoons
  • Popeye the Sailor: The 1960's Classics, Volume 1 released May 7, 201322 A limited edition DVD-R release consisting mostly of made for TV cartoons produced for King Features Television by Paramount Cartoon Studios

Future releasesedit

  • Popeye the Sailor: 1943–1950, Volume 4 Will release after the new CGI film2324 - This will include 55 Popeye shorts from 1943 to 1950, produced by Famous Studios in Cinecolor, Polacolor and Technicolor
  • Popeye the Sailor: 1951–1957, Volume 5 Will release after the new CGI film2526 - This will include 54 Popeye shorts from 1951 to 1957, produced by Famous Studios in Cinecolor, Polacolor and Technicolor
  • Popeye the Sailor: The 1960's Classics, Volume 2 TBD - Several of the early-1960s made for TV cartoons are being restored for DVD release by the Warner Archive Collection27

Filmographyedit

  • Popeye the Sailor filmography Fleischer Studios
  • Popeye the Sailor filmography Famous Studios

Referencesedit

  1. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z Tom Kenny, Jerry Beck, Frank Caruso, Glenn Mitchell et al 2007 Popeye the Sailor: 1933–1938, Volume 1 Special Features: I Yam What I Yam: The Story of Popeye the Sailor DVD Warner Home Video 
  2. ^ Hurwitz, Matt July 29, 2007 "Hey, Sailor! 'Popeye' Is Back in Port" The Washington Post 
  3. ^ "GAC Forums – Popeye's Popularity – Article from 1935" Forumsgoldenagecartoonscom Retrieved November 30, 2009 
  4. ^ "Popeye From Strip To Screen" Awncom Retrieved November 30, 2009 
  5. ^ Culhane, Shamus 1986 Talking Animals and Other People New York: St Martin's Press Pages 218–219
  6. ^ Barrier, Michael 1999 Hollywood Cartoons New York: Oxford University Press Pgs 303–305 ISBN 0-19-516729-5
  7. ^ Popeye Volume 3 DVD documentary, released by Warner Brothers in 2008
  8. ^ Billboard, January 14, 1956
  9. ^ Broadcasting, June 11, 1956
  10. ^ a b c d e f g h Josh Armstrong September 17, 2007 "Cartoons Then and Now: Jerry Beck talks Woody, Popeye and More!" AnimatedViewscom Retrieved June 5, 2012 
  11. ^ a b replaywebarchiveorg
  12. ^ a b "CARTOON RESEARCH COMMENTS" cartoonresearchcom 
  13. ^ "Fleischer Popeye Tribute" calmaprocom 
  14. ^ "Fleischer Popeye Tribute" calmaprocom 
  15. ^ "Popeye The Sailor DVD news: Warner to bring Popeye to DVD - TVShowsOnDVDcom" tvshowsondvdcom 
  16. ^ "Cartoons Then and Now: Jerry Beck talks Woody, Popeye and More! Animated Views" animated-viewscom 
  17. ^ Popeye DVD news: Popeye – Warner 'Retools' Popeye DVDs; Switches to 2-Disc Sets! | TVShowsOnDVDcom
  18. ^ "Popeye DVD news: Early Info About Vol's 2, 3 and 4 | TVShowsOnDVDcom" TVShowsOnDVDcom<! May 25, 2007 Retrieved November 30, 2009 
  19. ^ "Popeye DVD news: Announcement for Popeye the Sailor - Volume 3: 1941-1943 | TVShowsOnDVDcom" TVShowsOnDVDcom<! Retrieved November 30, 2009 
  20. ^ "Legal News & Entertainment Law - Hollywood, ESQ" The Hollywood Reporter 
  21. ^ "Amazoncom: Popeye the Sailor: 1941-1943: The Complete Third Volume: Various: Movies & TV" amazoncom 
  22. ^ "Popeye The Sailor - The 1960s Classics, Vol 1" tvshowsondvdcom 
  23. ^ "Popeye The Sailor - 1943-1957, Vol 4" monsterkidclassichorrorforumyukucom 
  24. ^ "Popeye The Sailor - 1943-1957, Vol 4" wwwdohtemcom MARCH 13th, 2015 BLOG 
  25. ^ "Popeye The Sailor - 1943-1957, Vol 4" monsterkidclassichorrorforumyukucom 
  26. ^ "Popeye The Sailor - 1943-1957, Vol 4" wwwdohtemcom MARCH 13th, 2015 BLOG 
  27. ^ "Warner Archive Revives Spirit of Saturday Morning Cartoons" homemediamagazinecom 

External linksedit

  • Media related to PD Cartoon - Popeye at Wikimedia Commons

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