#but here in texas he's like a fish out of water and tex is charming and very sociable

[felixcosm]

Tex and Outlaw being attached at the hip is so cute tbh.

Either they're really so uncomfortable of being apart that they go everywhere together no matter what is happening OR Tex decided to help Outlaw socialize in Texas by inviting him along so he can make friends too

[ducktracy]

happy birthday, tex avery!

today’s an important day for every cartoon fan. 112 years ago today, tex avery was born! probably one of the biggest contributors to animation, the man responsible for bugs bunny, elmer fudd, daffy duck, droopy, screwy squirrel, chilly willy, wild animation... there’s much to celebrate.

born in texas (hence the nickname, real name frederick), tex arrived in los angeles on january 1st, 1928 to start a new career. nothing much, just menial jobs: working in a warehouse, loading fruits and vegetables at the docks, painting cars, and finally painting animation cels for the oswald cartoons. moving from the short lived winkler studio to the universal studio, he became an animator in 1930.

(courtesy of tom klein.)

perhaps his work at universal spawned the most important event in tex's career. in 1933, he and a couple of his animation buddies were horse-playing. the game: shooting a spitball with a rubber band at the backs of peoples heads, yelling “bulls eye!” if shot successfully. the game evolved from spitballs to paperclips. animator charles hastings was armed with a paperclip and had his sights set on tex. someone yelled “look out, tex!”, and tex’s initial reaction was to turn around. vision in his left eye was gone in an instant. some people attribute the lack of depth perception to tex’s unconventional, warped point of view inserted in his cartoons.

universal was proving to be a lousy job for tex. he himself admitted that he wasn’t much of an animator. “i was never too great an artist. i realized there at lantz’s that most of those fellows could draw rings around me... i thought, brother! why fight it? i’ll never make it! go the other route. and i’m glad i did. my goodness, i’ve enjoyed that a lot more than i would have enjoyed just animating scenes all my life.” he was let go in april 1935 after the quality of his work declined thanks to a lack in interest. two days later, he and his girlfriend (an inker at the studio) got hitched and honeymooned in oregon. they arrived back in hollywood in may, where tex approached leon schlesinger.

to say warner bros was short staffed in terms of directors was an understatement. ben hardaway had just left, and friz freleng and jack king were the only directors there. tex flubbed his way in, citing his experience "'hey, i’m a director'. hell! i was no more a director than nothing, but with my loud mouth, i talked him into it."

(the termite terrace crew in 1935. from left to right: virgil ross, sid sutherland, tex avery, chuck jones, and bob clampett.)

though there were few directors when tex arrived, the staff was beginning to outgrow the studio. tex and his unit (virgil ross, sid sutherland, chuck jones, and bob clampett) moved into a rickety building they unceremoniously dubbed termite terrace as a result of the termite population within the bungalow.

tex’s first directed cartoon was gold diggers of ‘49, where he borrowed friz freleng’s characters of beans, kitty, and porky from the cartoon i haven’t got a hat. while beans was beginning to have his own small series of cartoons, this marks the second ever appearance of porky and is thusly an important occurrence. if tex didn’t use him, who knows what porky’s fate would be? gold diggers beans and porky are in the heart of the gold rush. beans strikes it big (tex’s love of gag shining brilliantly already as beans pulls a slot machine lodged into the side of a mountain) and invites all of his friends to dig for more gold. porky’s bag of gold is taken away from a villain, and he bargains that if beans can get the bag back, he’s allowed to marry his daughter (kitty). beans eagerly accepts and follows the villain. what ensues is an exhilarating gunfight turned car chase, tex’s knack for speed drastically picking up the pace of the cartoon. it’s exhilarating, rushing, and brought a much needed energy to warner bros at the time. perhaps even more amusing than the chase is the payoff itself: porky gets the bag back, which isn’t gold at all, but instead a hearty sandwich.

almost right away, tex rose to the top at the studio. some of his earliest merrie melodies (which had been exclusively reserved for friz freleng prior) include page miss glory and the classic i love to singa, both beautiful cartoons in their own ways. tex now served as the model. his gags were funny, his pace was quick, his cartoons GOOD, friz freleng and eventually frank tashlin adopting the change in pace. jack king, unfortunately, wasn’t faring well with the change, and his slower, duller cartoons stuck out like a sore thumb. he returned to disney in april of 1936.

porky’s duck hunt serves as an especially important cartoon directed by tex, marking a number of firsts. it’s the cartoon debut of daffy (who is unnamed, though model sheets label him as that crazy darn fool duck), and he first time mel blanc voiced porky. porky is also considerably slimmed down. the cartoon is exactly as it sounds: porky embarks on a duck hunt, but a screwy duck prevents him from getting anything accomplished.

the cartoon itself, in comparison to tex’s others, isn’t really that special. a bunch of drunken fish hilariously singing a rendition of “moonlight bay” serves as the highlight. it’s not a bad cartoon at all, i love it a lot and it’s one of my favorites, but it IS rather repetitive, and daffy is pretty stark in personality. 75% of his dialogue is reduced to quacks. but what DOES have personality, which would shape his entire character, is a particular exit animated by bob clampett.

porky fires his gun and strikes daffy, who flops into the water. ecstatic, porky sends his dog after him. all we see is a black blob in the water, and daffy haughtily tosses the unconscious dog on the shore instead of the other way around. flummoxed, porky pulls out some paper, flipping through it and protesting “hey, that wasn’t in the script!” daffy laughs it off. “don’t let it worry ya, skipper. i’m just a crazy, darn fool duck!” with that, he gives his signature hoo-hoo laugh as he literally flips into the horizon, twirling and hopping, clicking his heels, hoo-hooing all the way along. great animation by bob clampett and definitely entertaining, and a scene that would serve as the basis for his trademark laugh and his truly daffy personality (that would begin to die down as early as 1938).

tex made a number of other good cartoons, experimenting with daffy some more and playing with porky a little more until exclusively dedicating his time to merrie melodies in friz freleng’s absence (who was at MGM). the one that truly changed looney tunes was released on july 27th, 1940, titled a wild hare.

bugs bunny had existed before tex touched him, but didn’t at the same time. he was conceived by ben “bugs” hardaway in 1938 with porky’s hare hunt. very similar to porky’s duck hunt, the screwy rabbit taunts porky and prevents him from getting a good shot. the only thing bugs has in common with his prototype self is his species and name. (he wasn’t formally called bugs then, and thanks to a false story by mel blanc where blanc referred to the prototype as “happy rabbit” fans have assumed that was his prototype name. in reality, model sheets and illustrations from picture books around 1938-1939 name him as bugs’ bunny, possessive after ben “bugs” hardaway.) bugs is portrayed as a white rabbit with a hayseed voice and woody woodpecker laugh in hare hunt, not at all the cool new yorker we know and love him as. he reappeared in a few other cartoons, still his hayseed self in hare-um scare-um and a more collected take by chuck jones in cartoons such as elmer’s candid camera and elmer’s pet rabbit. hare-um scare-um turned the previously white rabbit into a gray and white rabbit with yellow gloves.

nevertheless, tex borrowed this strange rabbit and paired him with another character of his by the name of elmer fudd. elmer’s hunting wabbits, but bugs predictably taunts him the entire time and makes his life a living nightmare. the cartoon isn’t much different than the other hunting cartoons: prey drives hunter crazy, and prey ends up winning. it’s really just a glorified porky’s hare hunt. but at the same time, it has a certain charm. this previously unappealing, obnoxious rabbit is now cool, calm, and collected. an era of cartoons dominated by screwballs like daffy is now interrupted by the opposite, a smooth talking rabbit who always wins. bugs was rather temperamental in his early 40s cartoons, much more thin skinned, abrasive, and often a downright bully, but there was still something so different about him that audiences resonated with him regardless. so, while tex isn’t the true father of bugs, he absolutely is at the same time.

many fans believe that tex left warner bros after a dispute with schlesinger pertaining to his cartoon the heckling hare. in the cartoon, bugs (as the title suggests) heckles a dimwitted dog repeatedly. at the end, the two of them end up falling off of a cliff. both bugs and the dog cling to each other, screaming all the way. the scene is LENGTHY, nearing a minute of nonstop screaming. which, of course, is the joke. to see how long the audience can stand it. however, the cartoon cuts to an end rather abruptly. evidently, bugs and the dog were going to stop, with bugs remarking “hold onto your hats, folks, here we go again!” and thusly launching into a second fall. however, the “hold onto your hats, folks!” was a rather crude joke at the time, and thusly that’s assumed how the cut came to be.

story goes that avery left the studio as a result of the censorship, which seems plausible. however, that’s not the case. tex was itching to do a series of live-action shorts, with real, live-action animals talking and cracking jokes with animated mouths. tex wanted to do it, schlesinger didn’t. tex lived out his dream at paramount for a short amount of time, and thankfully for the rest of us got some sense and moved to MGM in september 1941 to make cartoons once more.

i’ve gone on way longer than i intended, and there’s still so much to be said about tex! all of tex’s best cartoons were at MGM, no doubt. he invented droopy, red, the wolf... red hot riding hood is considered one of the greatest cartoons of all time and spawned a number of sequels starring red and the wolf. all of the great qualities of tex’s cartoons from warner bros exploded at MGM. the fourth wall breaking, the gags, the speed... he also made the iconic “tex avery take”. limbs flying off characters and super big eye bulges... they’re absolutely fantastic. there’s so much to say about tex that can’t be articulated! he’s one of my favorite directors for sure and such an important figure in animation. he deserves all the praise and respect he gets and more.

happy birthday, tex!