From the Desk of Scrappy

Posted by Harry McCracken on August 28, 2012

For many of us cartoon fans, the late Jud Hurd was a revered elder statesman — the editor and publisher of the wonderful magazine Cartoonist PROfiles. As a young man, though, he was a Charles Mintz Studio artist, working for $16 a week — not a bad salary for an inexperienced artist during the Great Depression.

But he only did it for six months. Then he decided to leave, and secured this letter of recommendation.

Mintz letter

That’s the only piece of Mintz letterhead I’ve seen. (I do, however, have a form letter written on Columbia’s Scrappy Franchise Department stationery.)

Hurd’s book Cartoon Success Stories is available for reading over at Google Books; it includes the tale of his Mintz tenure, a photo of him outside the studio, and all sorts of other entertaining anecdotes. Revisiting it makes me wish that Jud, and Cartoonist PROfiles, were still with us.

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Time for Another Scrappy Cartoon

Posted by Harry McCracken on August 27, 2012

This one’s Sunday Clothes, and it’s the third Scrappy film, released on September 15th, 1931. Like the first two, it’s a stream-of-consciousness assemblage of gags about a given topic, and simply ends rather than reaching any sort of crescendo. But some of the drawings are funny: Scrappy gamboling along in his fancy duds remains amusing in exactly the way it must have been eighty-one years ago.

Here’s Uncle John’s perceptive writeup of the short.

I’m blessed to own a nice animation drawing from this cartoon. Actually, it’s the only Scrappy animation drawing I’ve ever seen. (But oh, how I hope that there’s a large supply of them safely stashed somewhere.) Here’s mine…

Scrappy Sunday clothes

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Wrapmaster Scrappy

Posted by Harry McCracken on August 20, 2012

Scrappy candy wrapper

Dan Goodsell blogged about these Scrappy candy-bar wrappers back in 2007. They’re from Runkel Bros. — the company which apparently sponsored the 1935 Scrappy magazine which contains multiple references to Runkel products. Each wrapper included a bit of Scrappy art and a “jingle” — there were at least 113 of them, and I’m sorry to say that I don’t own any of them myself just yet.

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Spoonin’ Scrappy

Posted by Harry McCracken on August 19, 2012

Scrappy ad

Here’s yet another inexplicable early Scrappy ad, from an August 1931 issue of The Film Daily. As you’ve no doubt already noticed, Scrappy is ladling delight moviegoers out of a bowl, whereupon they turn into coins. The idea is to depict the money-making power of Scrappy shorts, and once again, it seems almost certain that nobody at the Mintz studio was involved in this oddity. If nothing else, it presents a rare opportunity to see Scrappy wearing long pants.

The ad claims that Scrappy is the only human character now in cartoon movies. I don’t think that was true: Farmer Alfalfa was still a working cartoon character at the time, and Bosko had been around for a couple of years. And Van Beuren’s human Tom and Jerry were getting going at nearly the same time that Scrappy was. But Betty Boop was still a dog in 1931, and Popeye hadn’t yet shown up in animated form. Scrappy probably did stick out in an era that was utterly dominated by Mickey Mouse’s anthropomorphic influence — even though he had a Mickey-like black-button nose at first.

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Dick Huemer on Scrappy: The Lost Interview

Posted by Harry McCracken on August 12, 2012

The Mintz Brain Trust
Dick Huemer circa 1931 with his Mintz colleagues. From left: Joe De Nat, Art Davis, Charles Mintz, Sid Marcus, and Dick. Courtesy Richard Huemer
Don’t hold me to this, but the first time I heard of Scrappy may have been in late 1976 or thereabouts, when I bought a copy of Mike Barrier’s Funnyworld #16, which had been published a bit before that. He was mentioned — briefly — in the magazine’s version of an interview of Dick Huemer which Joe Adamson had conducted in 1968 and 1969 for UCLA’s Oral History Project.

The excerpts of the interview published in Funnyworld focused on Huemer’s work for the Fleischers, which was a logical editing decision at the time. But UCLA’s website has the complete transcript, and it turns out that Mintz and Scrappy were discussed at considerably greater length. Here are a few Scrappy-centric tidbits (the whole thing is well worth your time):

You could loosely say that Scrappy was a little boy. He didn’t smoke, he didn’t drink, or go out with dames. That’s about the only characterization. The gags could be interchangeable with a dog or a gorilla.

I felt that a little boy would be a good character. They needed a rounded character which would be appealing. Then we could do things with him. Like once when he was washing he put a towel in his ear on one side then pulled it out all black on the other side. You know, kids get dirty. The very fact that no one else was doing a little boy seemed an advantage.

They weren’t worked out story-wise as well as Disney’s. No matter what you say, it comes down to this: ‘The play’s the thing.’ Walt worked out his stories down to the last blink of the eye. On the outside we might do little pre-sketches, but there was no time for real analysis. That’s what Walt was able to do, give time to these things, because he had the money coming in on his licensee projects already. We worked on a pretty short budget; we had to have one of these every two weeks. We’d come back at night sometimes just to talk about the stories and save animation time. They tried that till we rebelled. Nobody wanted to do it. I don’t know how other studios operated; I guess they were more or less alike. Nobody could put the meticulous care that Walt put into the stories, the perfectionism. The inventiveness that he supplied wasn’t coming out of anybody else. He was there to do it. He was one of the greatest story minds ever. And you can see that not having him on a series like Scrappy would make all the difference in the world. I, as one of the story men on Scrappy, certainly can’t compare myself to Walt. Scrappy still exists on film somewhere. My son teased me with one.

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Roll Your Own Scrappy

Posted by Harry McCracken on August 12, 2012

Scrappy ad

Another early Scrappy ad from The Film Daily — this one’s from the issue of August 2, 1931. Yes, that’s Yippy using a meat grinder-like machine to convert dozens of “real” boys into Scrappy. Who has four fingers and a thumb on each hand, and appears to be wearing a dress.

As with the first ad, I doubt that the Mintz operation had anything to do with this.

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Scrappy and Me

Posted by Harry McCracken on August 12, 2012

Scrappy and Me

Back in 2008, when I resigned as editor of PC World, my colleagues presented me with a number of gifts. One of them was this piece of art — by the wonderful John Cuneo — showing me, my Mazda 3 and Scrappy. At the time, I was notorious for wearing my phone around my neck; I’m not sure what Scrappy is brandishing.

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Scrappy and Pokie

Posted by Harry McCracken on August 12, 2012

One of the many wonders to be found at the Internet Archive is a run of the Film Daily, a now-defunct, Variety-like publication for the movie trade. It did a remarkably good job of documenting the world of Scrappy, and I'm going to share a lot of stuff from it. (Variety itself, however, rarely mentioned the guy.)

The ad above is from the Film Daily for July 27, 1931, right when the Scrappy series was getting going. The art, I feel certain, is by someone in Columbia's promotion department rather than a Mintz artist. And even for Scrappy, the scene depicted — a black-eyed Scrappy cheerfully assaulting three other boys at once — is strange.

Also strange: The ad refers to Scrappy's dog as “Pokie,” a moniker I've never heard before. Even in the first short, Yelp Wanted, the pooch was named Yippy (or, if The Film Daily was right, Yippi. Then again, Mintz had a casual attitude towards names: Oopy was sometimes Oopie or Vontzy, and Margy was occasionally Margie. It's a wonder that Scrappy himself was never called anything else…as far as I know.

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Cash-Carrying Scrappy

Posted by Harry McCracken on August 11, 2012

Scrappy wallet

A reader recently sent some photos of a fine-looking Scrappy item which I not only don’t have but hadn’t seen before: a wallet emblazoned with a tiny metal portrait of him and Yippy.

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