Updated links to include 1938 and 1939!

To increase visibility on the page for potential subscribers and non-users, the animator breakdown videos for "Donald Duck: The 1930s" are available for sale in three separate packages. (The 1938 and 1939 releases will appear later on the page.)

@teddy-butch.bsky.social Enjoy! Here's the Koko Blu-ray collection that Tommy Stathes, Steve Stanchfield (of Thunderbean) and I just labored over for months...

I forgot to answer this question: will I do another 365? Most likely not, though I may post something Looney Tunes-related or non-LT related every now and then; just not on a daily basis as I did this year.

While I was doing this, nearly eight HUNDRED classic LTs have found a home on Tubi, readily available for free. Not to mention, MeTV and MeTV Toons also keep the cartoons in circulation. It’s also great to see physical media releases of the films, with more to come next year.

I’m happy that folks have enjoyed “365 Days of Tunes.” I started doing this because, in the back of my mind, I had a feeling the current affairs of 2025 would be an absolute dumpster fire. So why not give people at least 6-7 minutes of joy on a daily basis?

I'm not sure if it was deliberate, but I've always felt the frog's serenading in this scene was a subtle nod to Joan Blondell in GOLD DIGGERS OF 1933.

365 Days of Tunes - 365/365: We end now with a true masterpiece released 70 years ago: ONE FROGGY EVENING (’55). In it, a mysterious frog emerges from a box found inside the cornerstone of a demolished building—he sings and dances, but only in the presence of the workman who discovered him.

365 Days of Tunes - 364/365: One last Tune left to go!! In MEXICAN BOARDERS (’62), directed by Friz Freleng and Hawley Pratt, Speedy’s cousin, Slowpoke Rodriguez, arrives to stay and keeps Speedy busy rescuing him from Sylvester’s grasp.

365 Days of Tunes - 363/365: LOUVRE COME BACK TO ME (’62), directed by Chuck Jones and Maurice Noble, was the last of Pepe le Pew’s cartoons—this time, he takes the chase into the Musée du Louvre, with a romantic rival in the mix.

I forgot to share this here... The next Blu-ray from my Cartoon Logic label will be a 1940s Famous Studios collection (distributed by ClassicFlix). All-new restorations/commentaries. Here's a teaser. More will be revealed soon (so no constant questions, please). www.youtube.com/watch?v=Ygx5...

365 Days of Tunes - 362/365: In Friz Freleng's HONEY’S MONEY (’62), a reworking of 1950’s HIS BITTER HALF, Sam marries a wealthy widow for a life of ease and plenty, but also inherits her oversized kid, Wentworth, in the bargain.

Coming soon to Patreon, Etsy, Ko-Fi, and Gumroad!

365 Days of Tunes - 361/365: In THE ABOMINABLE SNOW RABBIT (’61), directed by Chuck Jones and Maurice Noble, Bugs and Daffy inadvertently find themselves in the Himalayan mountains, where they encounter the Abominable Snowman.

365 Days of Tunes - 360/365: In Chuck Jones’ Oscar-nominated cartoon HIGH NOTE (’60), hundreds of living musical notes congregate to assemble the sheet music for Johann Strauss’s “Blue Danube” waltz, except for one who has gone out drinking.

365 Days of Tunes - 359/365: Merry Christmas, one and all! In Friz Freleng’s GIFT WRAPPED (’52), Santa brings Granny a Tweety bird for the holiday, and Sylvester—disappointed with being gifted a rubber mouse—wants to have the bird to himself. Opening narration by Daws Butler.

"Miss Piggy and Kermit finally fuck, and they have children somehow. It’s the Lady and the Tramp method where the girls are her and the boys are him. But you gotta have half-pig/half-frogs." (Steve) "Can I just interject and offer up: No, you don’t." -Muppet Christmas Carol

365 Days of Tunes - 358/365: Christmas Eve has come at last! In Chuck Jones’ BEDTIME FOR SNIFFLES (’40), a determined Sniffies the mouse tries hard to stay awake on Christmas Eve to see Santa Claus.

March 24!! I'm beyond excited.

365 Days of Tunes - 357/365: Bob McKimson’s WEASEL WHILE YOU WORK ('58) sets the Foghorn-Barnyard Dawg rivalry in the wintertime, with the voracious little weasel caught in the middle of it.

One of Mel Blanc's finest non-animated performances.

365 Days of Tunes - 356/365: DUCK! RABBIT, DUCK! (’53), Chuck Jones and Mike Maltese’s final installment of the Hunting Trilogy, features a sheer multitude of hunting seasons that go beyond extreme, with a gorgeous Maurice Noble snowscape.

Happy holidays to you all! As a special Yuletide gift, here’s a peek into my upcoming digital e-booklet, “Looney Tunes & Merrie Melodies: 1945”! A lot of wonderful folks have helped make this come alive. I promise you, it'll be worth it for you cartoon fans...

365 Days of Tunes - 355/365: In Friz Freleng’s A STREET CAT NAMED SYLVESTER (’53), a frozen Tweety seeks shelter in the home of Granny, Sylvester, and Hector the bulldog (ailing from a broken leg).

Lastly, to explain this wartime rationing joke, the “points” meant the number of red food rationing points to purchase meats, fish, and dairy. 48 points equaled 3/4 of a civilian's red points for a month (64 points were issued monthly).

These final moments have the work of all three animators: Ed Love handles Junior and the wolf at the start; Ray Abrams animates Junior’s parents waking up and rushing downstairs; Preston Blair wraps it up when Junior gives his mother a holiday gift right up to the iris-out.

Ray Abrams does most of the footage here, except for Junior heckling the audience, which is animated by Preston Blair. (The latter scene showcases Tex’s intentional means of testing an audience’s patience.)

More Ed Love animation, with some of Ray Abrams' work interspersed: Abrams does the knife reacting to Junior's gun, and the following scene where the Wolf gets struck by a vase. Fun fact: Ed cranked out footage so quickly that he kept at least 3 or 4 assistants busy at MGM!

Now, the animation is split between Preston Blair (Junior leaves and slides down banister; CU of Wolf outside; Wolf as Santa down chimney, whole exchange with Junior) and Ray Abrams (Junior calls to Santa and Wolf appears; Wolf dons Santa disguise). Ed Love's work is at the end ("SUCKER!").

Ed Love animated these opening scenes, with the help of his longtime assistant, “Stod” Herbert. Ed was one of the many artists who were laid off by Walt for participating in the big strike of 1941.

There is a caveat: this holiday cartoon has some dated material; its comedy hinges on radio characters of the era: the smart little pig is based on Red Skelton’s Mean Widdle Kid, and the Wolf on The Great Gildersleeve - both voiced by young mimic Kent Rogers.

Happy holidays, folks! Here’s an animator breakdown thread for Tex Avery’s ONE HAM’S FAMILY (’43) - its working title was “The Smart Little Pig.” During this period, only three animators were in Tex’s unit, as we’ll see here. The character models were by Berny Wolf.

365 Days of Tunes - 354/365: In Chuck Jones’ FRIGID HARE (’49), Bugs finds himself at the South Pole en route to a well-deserved vacation in Miami Beach, and protects a little penguin from an Inuit hunter.

Split second timing only possible in animation. Me Musical Nephews (1942) #popeye

365 Days of Tunes - 353/365: In Art Davis’ RIFF RAFFY DAFFY (’48), vagrant Daffy tries to find a place to sleep and winds up in a department store, much to the chagrin of police officer Porky.

365 Days of Tunes - 352/365: In Bob McKimson's A-LAD-IN HIS LAMP (’48), Bugs discovers Aladdin’s lamp buried underground and meets Smokey the Genie, voiced by Jim Backus.

365 Days of Tunes - 351/365: In Art Davis’ THE FOXY DUCKLING (’47), an insomniac fox tries every method to get a good night’s sleep, but finds that he needs fresh duck down for his pillow, so he goes out to look for the direct source.

365 Days of Tunes - 350/365: Traveling salesman Daffy peddles cookbooks to a pair of starving Yosemite Sam twins in Friz Freleng’s ALONG CAME DAFFY (’47).

365 Days of Tunes - 349/365: Friz Freleng’s HOLIDAY FOR SHOESTRINGS (’46), his take on “The Shoemaker and the Elves,” uses a medley of classical music in another brilliant example of Freleng’s razor-sharp timing in musical synchronization.

365 Days of Tunes - 348/365: In Chuck Jones’ TRAP HAPPY PORKY (’45), Porky employs a cat to get rid of the mice that keep him awake at night, but when the job’s finished, the cat brings in a bunch of his friends for a night of hard drinking (and serenading).

365 Days of Tunes - 347/365: In Bob Clampett’s BUCKAROO BUGS (’44), Bugs swipes carrots from the townsfolk’s victory garden, and it’s up to Red Hot Ryder—Brooklyn’s famous fighting cowboy—to bring him to justice.

365 Days of Tunes - 346/365: In Friz Freleng’s wartime short, THE FIFTH-COLUMN MOUSE (’43), a gullible mouse brokers a deal with the resident housecat: the mouse’s rodent brethren act as subordinates to the cat, so he can “protect” them.

365 Days of Tunes - 345/365: In Friz Freleng’s HISS AND MAKE UP (’43), an old spinster’s pets are at war with each other, and she gives them an ultimatum: the first one to start fighting gets booted out into the cold. HISS AND MAKE UP was the first Warner cartoon to feature Bea Benaderet.

365 Days of Tunes - 344/365: (Warning: racial imagery in finale) In Friz Freleng’s FRESH HARE (’42), Mountie Elmer Fudd chases Bugs through the snowy Canadian North Woods. It was early enough in Bugs’ career that he was portrayed as a wanted criminal on the lam.

365 Days of Tunes - 343/365: In THE DRAFT HORSE (’42) marked a turning point in Chuck Jones’ directorial career, where leisurely sentimental cartoons were cast aside in favor of pure, fast-paced comedy when a plough horse tries to enlist in the US Army.