‘Tao Po’ Features ‘Becoming Filipino’ Vlogger Kulas
ABS-CBN reporter Jacque Manabat will catch up with Kyle Jennermann, popularly known as Kulas in his vlog “Becoming Filipino,” in “Tao Po” this Sunday (October 22).
Jacque and Kulas will talk about the latter’s journey in becoming Filipino that materialized last September when Congress granted him naturalized Filipino citizenship. Kulas will also share the things that made him fall in love with the country he now calls home.
Bernadette Sembrano will highlight how the life of Michaela Palapar, who won P19,000 on “It’s Showtime’s Rampanalo,” changed for the better. Third-year student Michaela will share how the noontime show not only brings entertainment but is also an instrument for good that truly impacts the lives of the madlang pipol.
Meanwhile, Kabayan Noli De Castro will meet businessman Wilson Choi, who is a furdad to over 200 rare and imported dogs. He will visit Wilson’s 8-hectare farm where the latter cares for his giant but cuddly furbabies.
Catch these exciting stories this Sunday (October 22) on “Tao Po” at 6:15 p.m. on Kapamilya Channel, A2Z, Kapamilya Online Live, and ABS-CBN News Online.
Looney Tunes
cartoon series
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Looney Tunes characters
Looney Tunes characters
Looney Tunes, animated short films produced by the Warner Brothers studios beginning in 1930.
Spurred by the success of Walt Disney’s Mickey Mouse cartoons, Warner Brothers contracted with Leon Schlesinger to produce an animated short that incorporated music from the studio’s extensive recording library. Schlesinger subcontracted the work to animators Hugh Harman and Rudolf Ising, who were using the then novel innovation of synchronized sound to create animated talkies. Their first animated film for Schlesinger, Sinkin’ in the Bathtub (1930), featured Bosko, a wide-eyed character that bore an uncanny resemblance to Otto Messmer’s Felix the Cat. Sinkin’ in the Bathtub’s bawdy humour was a hit with moviegoers, and the cartoon concluded with Bosko addressing the audience with a phrase that would become a Looney Tunes trademark—“That’s all, folks!” Warner Brothers ordered more of the shorts, and the Harman-Ising studio added a second series of animated films under the banner of Merrie Melodies. Initially, Looney Tunes was more story-driven and Merrie Melodies remained a vehicle for Warner Brothers musical properties, but over time the two names became virtually interchangeable.
1970s style television set with static on the screen, on a small table with a doily underneath. (retro style)
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Blanc, Mel
Blanc, Mel
Harman and Ising left Warner Brothers in 1933, but they left behind a staff that included some of the foremost directors, animators, and story men of the day. Among the residents of the “Termite Terrace”—so nicknamed for the studio’s relatively low budget and for the insect residents of the bungalow that housed the animation division—were Tex Avery, Bob Clampett, Friz Freleng, Chuck Jones, and Robert McKimson. The addition of voice actor Mel Blanc and composer Carl Stalling to the Termite Terrace crew completed a lineup that would preside over the golden age of Warner Brothers animation. Throughout the 1930s and ’40s, a parade of enduring characters debuted under the Looney Tunes and Merrie Melodies marquees, including Porky Pig, who stuttered his first lines in the short I Haven’t Got a Hat (1935); Daffy Duck, a manic foil who debuted in Porky’s Duck Hunt (1937); and Bugs Bunny, a “wascally wabbit” whose true personality began to emerge in A Wild Hare (1940).
See the opening scene of the Warner Brothers cartoon “Porky’s Midnight Matinee”
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Chuck Jones
Chuck Jones
In the 1950s the Warner Brothers animation studio—most notably in films directed by Jones—returned to the original Looney Tunes/Merrie Melodies model of making music a fixture of the story line. Unlike the earlier shorts, however, Jones’s films were far more than promotional tools for the Warner music catalog. Rabbit of Seville (1950) reworked Gioachino Rossini’s comic opera, while One Froggy Evening (1955) explored genres ranging from opera to ragtime, eschewing spoken dialogue to tell a classic morality tale. What’s Opera, Doc? (1957) introduced generations of cartoon lovers to Richard Wagner’s Ring cycle—albeit in a greatly condensed fashion, punctuated with cries of “Kill the wabbit!”—in a masterpiece that was added to the Library of Congress’s National Film Registry in 1992.
See the end title of Warner Brothers cartoon “Porky’s Midnight Matinee”
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By the time the studio released the Academy Award-nominated High Note (1960), the era of the theatrical animated short was drawing to a close. Warner Brothers shuttered the Termite Terrace in 1963, but the Looney Tunes brand remained a profitable one. The original shorts were repackaged under a variety of names and became a staple in Saturday morning cartoon lineups, and the full-length theatrical releases The Great American Chase (1979) and The Looney, Looney, Looney Bugs Bunny Movie (1981) were compilations of classic Warner Brothers cartoons tied together with the loosest of plots.
Michael Ray
Road Runner
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Road Runner
cartoon character
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Road Runner, American cartoon character, a speedy, slender, blue and purple bird who continually frustrated the efforts of a coyote (Wile E. Coyote) to catch him.
In a series of animated short films, the fleet-footed Road Runner races along the highways of the American Southwest, his legs and feet moving so fast that they form a wheel-like blur, with Wile E. Coyote in hot pursuit. In each episode, the coyote sets an elaborate trap for the bird, usually with the aid of some product—such as a giant rubber band or a “portable outboard steamroller”—ordered from the fictitious Acme company. The scheme always backfires as a result of either the products’ chronic unreliability or Coyote’s own ineptitude. Road Runner, never captured or damaged, responds with a characteristic “Beep! Beep!” (his only communication) and runs off.
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Animator Chuck Jones introduced the comedic pair in the 1949 short film Fast and Furry-ous, produced by Warner Bros. for its Looney Tunes cartoon series. More than two dozen more episodes were produced in the 1950s and ’60s. The shorts enjoyed a long second life in several different television series in the 1960s, ’70s, and ’80s. In later decades the characters made occasional appearances on television and film.
As explained by Jones in his autobiography, the success of the Road Runner shorts was rooted in their adherence to a set of rules, among them that the audience should retain equal sympathy for both the hapless coyote and his speedy prey and that Road Runner would humiliate, but never harm, the coyote.
This article was most recently revised and updated by Kathleen Kuiper.
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Chuck Jones
American animator
Also known as: Charles Martin Jones
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Last Updated: Sep 17, 2023 • Article History
Chuck Jones
Chuck Jones
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Category: Arts & Culture
Byname Of: Charles Martin Jones
Born: September 21, 1912, Spokane, Washington, U.S.
Died: February 22, 2002, Corona del Mar, California (aged 89)
Awards And Honors: Academy Award (1996) Academy Award (1966)
Chuck Jones, byname of Charles Martin Jones, (born September 21, 1912, Spokane, Washington, U.S.—died February 22, 2002, Corona del Mar, California), American animation director of critically acclaimed cartoon shorts, primarily the Looney Tunes and Merrie Melodies film series at Warner Bros. studios.
As a youth, Jones often observed film comedians such as Charlie Chaplin and Buster Keaton performing before the cameras on the local streets of Los Angeles. Their timing and slapstick pantomimes strongly influenced Jones’s comic sensibilities. He studied at the Chouinard Art Institute in Los Angeles, and, after working briefly at the studio of former Walt Disney associate Ub Iwerks, Jones in 1933 signed on as an assistant animator with the Warner Bros. cartoon unit run by Leon Schlesinger. He directed his first short, The Night Watchman, in 1938; like most of Jones’s early efforts, it emulated Disney’s timing, pacing, and design. Jones’s own style emerged in the late 1940s and featured pared-down design, precision timing, and highly exaggerated poses and facial expressions, all of which served to explore the psychological depths of the characters. He refined the established personalities of Bugs Bunny, Daffy Duck, Elmer Fudd, and Porky Pig and created the Road Runner, Wile E. Coyote, Pepe LePew, and Marvin Martian.
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Many of Jones’s animated films are recognized as classics of the form, including Feed the Kitty (1952), about an unusual paternal relationship between a bulldog and a kitten; Duck Amuck (1953), a tour de force of personality animation starring Daffy Duck as the victim of the creative whims of an unseen animator; One Froggy Evening (1955), a parable of greed involving a singing frog; and What’s Opera, Doc? (1957), a brilliant compression of Richard Wagner’s 14-hour The Ring of the Nibelung into six minutes. Jones is also noted for such daring minimalist efforts as High Note (1960), featuring animated musical notes, and The Dot and the Line (1965), the tale of a love triangle between a dot, a straight line, and a squiggle. Jones also served as director, writer, or adviser for various studios on several animated feature films, including Disney’s Sleeping Beauty (1959), the Warner Brothers-United Productions of America (UPA) release Gay Purr-ee (1962), and Metro-Goldwyn-Mayer’s The Phantom Tollbooth (1969).
To the general public, Chuck Jones’s name is as synonymous with animation as that of Walt Disney. In a career spanning more than 60 years, Jones extended the perimeters of the indigenous American art form known as “character,” or “personality,” animation. He won numerous international awards, including four Academy Awards, one of which was for lifetime achievement, a Smithsonian 150th Anniversary Medal of Achievement, and the Edward MacDowell Medal, a national award given annually for outstanding contributions to the arts. His profusely illustrated autobiography, Chuck Amuck, appeared in 1990 and was a critically praised best-seller. In his late 80s he remained an active guest speaker at colleges and film festivals and a supervisor of television productions. More important, Jones still occasionally directed cartoons featuring the Looney Tunes gang, such as the Road Runner and Wile E. Coyote in Chariots of Fur (1994), Bugs Bunny in From Hare to Eternity (1996), and Daffy Duck in Superior Duck (1996). He also directed a sequel to his classic One Froggy Evening, the well-received Another Froggy Evening (1995).
This article was most recently revised and updated by Amy Tikkanen.
Friz Freleng
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Friz Freleng
American animator
Also known as: I. Freleng, Isadore Freleng
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Category: Arts & Culture
Byname Of: Isadore Freleng
Also Called: I. Freleng
Born: Aug. 21, 1906, Kansas City, Mo., U.S.
Died: May 26, 1995, Los Angeles, Calif. (aged 88)
Awards And Honors: Academy Award (1965)
Friz Freleng, byname of Isadore Freleng, also called I. Freleng, (born Aug. 21, 1906, Kansas City, Mo., U.S.—died May 26, 1995, Los Angeles, Calif.), American animator of more than 300 cartoons, primarily for the Looney Tunes and Merrie Melodies film series at Warner Bros.
See the opening scene of the Warner Brothers cartoon “Porky’s Midnight Matinee”
See the opening scene of the Warner Brothers cartoon “Porky’s Midnight Matinee”See all videos for this article
See the end title of Warner Brothers cartoon “Porky’s Midnight Matinee”
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Freleng joined Warner Bros. studios as head animator in 1930, after having worked for Walt Disney and the United Film Ad Service. He became a full-time director in 1933 and mastered the synchronization of movement with music for the Looney Tunes and Merrie Melodies cartoons. For these series, which were originally designed to market the studio’s music portfolio, he created or redesigned the characters known as Bugs Bunny, Porky Pig, Yosemite Sam, Sylvester the Cat, and Tweety Pie. He won four Academy Awards for his cartoons at Warner Bros. In 1963 he cofounded DePatie-Freleng Enterprises, for which he produced and directed television and theatrical cartoons and short films. He created the character of the Pink Panther for the animated titles to the film The Pink Panther (1963) and then used the character for a series of cartoons for DePatie-Freleng. He won his fifth Academy Award for the original of that series, The Pink Phink (1964), and he continued to produce Pink Panther cartoons until his retirement in 1981.