This is the 6th book of the Illustrated Guides For the Politically Incorrect in the last four years. This one is different in it's a compilation of most of my Looney Tune rogues gallery characters since 2012.It's highly informative with a description within the 43,000 plus words of this 220 page book of 100 characters from politics, science, the media, entertainment and economics.There's a plug on the back from Dr. Steve Pieczenik recommending my last book. My last book is available here also and has a plug from the world famous Alex Newman of WND and The New American. I hope to recruit a plug for this book soon, stay tuned. This PDF is copyrighted in the public domain, so feel free to share the file with friends.Happy trails and may God protect you and your loved ones in the coming years.

Gerald tells of the very unusual animals he would add to the zoo, if he were in charge.

Tweety Bird was colored yellow because censors felt the original pink made the bird look nude. Betty Boop's dress was lengthened so that her garter didn't show. And in recent years, a segment of Mighty Mouse was dropped after protest groups claimed the mouse was actually sniffing cocaine, not flower petals. These changes and many others like them have been demanded by official censors or organized groups before the cartoons could be shown in theaters or on television. How the slightly risque gags in some silent cartoons were replaced by rigid standards in the sound film era is the first misadventure covered in this history of censorship in the animation industry. The perpetuation of racial stereotypes in many early cartoons is examined, as are the studios' efforts to stop producing such animation. This is followed by a look at many of the uncensored cartoons, such as Lenny Bruce's Thank You Mask Man and Ralph Bakshi's Fritz the Cat. The censorship of television cartoons is next covered, from the changes made in theatrical releases shown on television to the different standards that apply to small screen animation. The final chapter discusses the many animators who were blacklisted from the industry in the 1950s for alleged sympathies to the Communist Party.

The rantings and ravings of two enthusiastic young fans who, in an era before fanzines and web pages, wrote about the cartoons they loved in the spirit of their humor.

This extraordinary volume examines the life and animation philosophy of Maurice Noble, the noted American animation background artist and layout designer whose contributions to the industry span more than 60 years and include such cartoon classics as Duck Dodgers in the 24 ½th Century, What's Opera, Doc?, and The Road Runner Show. Revered throughout the animation world, his work serves as a foundation and reference point for the current generation of animators, story artists, and designers. Written by Noble's longtime friend and colleague Tod Polson and based on the draft manuscript Noble worked on in the years before his death, this illuminating book passes on his approach to animation design from concept to final frame, illustrated with sketches and stunning original artwork spanning the full breadth of his career.

An insider's account of the wild and wacky teams that created cartoon classics for Warner Bros. and MGM Animation

Whether you’re seeking movie gifts or something for the history buffs in your life, this comprehensive guide to animation and cartoons has it all. In this one-of-a-kind definitive history of American animated cartoons, renowned film critic and historian Leonard Maltin presents the most extensive filmography on cartoons ever compiled. In this revised and updated edition of Of Mice and Magic, Leonard Maltin not only recreates this whole glorious era from the silent days through the Hollywood golden age to Spielberg’s An American Tail, he traces the evolution of the art of animation and vividly portrays the key creative talents and their studios. This definitive history of American animated cartoons also brings Maltin’s many fans up to date on the work being done today at the Walt Disney and Warner Bros. studios, and other developments in the world of animation. Drawing on colorful interviews with many of the American cartoon industry’s principals, Maltin has come up with a gold mine of anecdotes and film history. Behind the scenes were genius animators and entrepreneurs such as Walt Disney, Chuck Jones, Tex Avery, Mel Blanc, and a legion of others. In all, Maltin has put together a glorious celebration of a universally loved segment of Americana.

Includes, beginning Sept. 15, 1954 (and on the 15th of each month, Sept.-May) a special section: School library journal, ISSN 0000-0035, (called Junior libraries, 1954-May 1961). Also issued separately.

A powerful rebuttal to the likes of Ann Coulter, Bill O'Reilly and Sean Hannity, this is essential reading in an era of right-wing bullying and political conformity.

Mystical, gentle, magical . . . as if. You’ve obviously neverseen a unicorn in his natural habitat—those guys are jerks. CartoonistC. W. Moss reveals the less-than-wonderful side of the world’s most wondrouscreature in his hilarious series of single panel comics, UnicornBeing A Jerk. Take a gander at what these fantastical creaturesare really like, in comics like “Unicorn Being a Stalker,” “UnicornTrying to Peek at Breast-feeding Woman’s Nipple,” “Unicorn Denying theHolocaust,” and more. Readers of Moss’s online strip will love thesignificantly expanded book, which features what Moss describes as “a wholebunch of new illustrations,” in a collection perfect for fans of The Book ofBunny Suicides, Cyanide & Happiness, Penny Arcade and TheTruth about Chuck Norris.