As usual, Hanna-Barbera was always a major contributor to standard cartoon scenarios and settings, tried and true by studios for years, which would find regular reuse in their seemingly-endless stream of production of films for TV. Of course, bullfighting thus became a common fall-back for situation comedy. Previous comments and posts have already addressed Bullfighter Huck, and Yogi Bear’s Big Bad Bully. We thus pick up with the sadly-neglected third member of H-B’s original triumvirate of animal icons, Quick Draw McGraw, who provides two episodes of interest, then proceed ahead into other series with bullfight action overlooked by our readership.

El Kabong Strikes Again (Quick Draw McGraw, 12/21/59, Carlo Vinci, anim.) – Michael Maltese’s follow-up to his sub-franchise-creating classic that gave Quick Draw an alter ego which may have had longer longevity in viewers’ memories than his “real” persona. The continuing legend of the bumbling horse Western cowpoke who vanquishes evil by slipping into a mask and cape, swinging from a rope, and using his trusty “gee-tar” instead of a gun as his weapon of choice, smacking it over the heads of villains with the mighty shout of “KABONG!” (all in a clever lampoon of the long-popular Zorro franchise and then-current television series under production by Disney).

A narrator recites background for the story in rhyming couplets, setting the tale in the Mexican border town of El Pueblo. (There are two recordings of the narration – one for the cartoon track, and one re-recorded by Daws Butler as Quick Draw (with assistance from Baba Looey, his mock Spanish-accented anthropomorphic burro sidekick) for a storyteller Colpix LP otherwise using original dialog and sound-effects tracks from the film (but not the Capitol records needle-drops which provided the music). Some key differences in the record script will be noted below). The town’s hero is El Kabong, who is shown driving out the latest bandit to hold-up the town. But no sooner does one bad guy leave, then another arrives. Both narrations recite, “Then fickle fate inflicted a fiendish fiasco, in the form of the tyrant – the terrible Tabasco!” (The LP version adds a comment between Baba Looey and Quick Draw. Baba: “Was his last name, ‘Sauce’?” Quick Draw: “Who told ya’?” The LP continues with Quick Draw adding a couplet not in the film: “He was so mean, and he was so cruel, he threatened a beautiful Senorita O’Toole.” Baba sound incredulous about this remark. “Was that her name?” Quick Draw responds, “Search me. It rhymes with ‘cruel’, that’s all I know.”) Tabasco threatens the Senorita, “If tomorrow you do not have ten thousand pestardos, you will have to marry me.” Senorita: “You fiend. Haven’t you done enough harm to this town?” Tabasco: “Nooo…There must be something else I can steal.” The girl screams for El Kabong, and Quick Draw, off on the plains with Baba while singing a number in incredibly off-key fashion, hears the call. He shouts, “El Kabong strikes again! – Notice how neatly that works into the title of the picture?”

A quick costume change plays on an old gag from Bugs Bunny’s “Super Rabbit”, as Quick Draw appears mistakenly in a clown outfit instead of the proper cape and mask. Once wardrobe problems are resolved, Tabasco receives his first introduction to Kabong’s “Kabonger” – over the head. “He is dangerous”, Tabasco admits. Even making an escape in a stagecoach provides little protection, as the Kabonger is extended to the moving stagecoach’s window on a telephone extender to strike another blow. But the matter remains that the debt of ten thousand pestardos still needs to be paid, and all Kabong has in his pockets is $1.35 and half a Green Stamp (far insufficient, even with favorable Mexican exchange rates).

By a strange coincidence, Tabasco is also active in promoting bullfights, and a poster on the wall of the plaza offers Tabasco’s prize of ten thousand pestardos to anyone who fight El Gorito, the ferocious bull. “You are going to fight the bull for me?” asks the Senorita. “I am?”, responds Kabong in a tremulous question. “Ah, I knew you would”, sighs the Senorita. Before he knows it, Kabong is being pushed out into the bull ring by Baba before a cheering crowd, protesting that he’s not fighting any bull. “But the bull is bullfighting you”, says Baba, as the bull pen gate bursts open to reveal Kabong’s competitor. Baba wishes Kabong luck, and scatters. Kabong wishes the bull luck, and starts running too. The bull and Kabong perform about three laps around the arena, while Tabasco calls out from the stands, “What kind of bull fighting you call that?” “I’m gonna tire him out first – that’s what kind!” shouts Kabong. The bull pauses to remove one horn from his head, and insert its point in a “Sure Sharp” pencil sharpener mounted on the arena wall. Kabong continues his next lap around the ring, skidding to a stop as he realizes he’s caught up with the bull, who scores a “bull’s eye” on Kabong’s rear-end with the newly-sharpened horn. “Oooh – that’s pointy!” From the sidelines, Baba offers and suggests that “Queek Straw” use his trusty Kabonger. “Why didn’t I think of that”, says Kabong. But instead of smacking the bull over the head with it, Kabong has a different plan. He plays the guitar, singing a repeat performance of his awful song from earlier in the film: “I have not slept in twenty days. I should look an awful sight. But it doesn’t bother me at all – ‘cause I always sleep at night.” This is too much for any bull to handle. Holding his ears, the bull moans, “Oh, no, no, NO!!”, and runs away. But Tabasco makes a quick getaway with the chest full of pestardos. Finally, Kabong makes use of his guitar for its proper purpose, and bashes Tabasco over the head again. Tabasco scoots, leaving the chest behind. The Senorita thanks Kabong, but asks for him to unmask so that she can reward him with a kiss. Quick Draw obliges. One look at that “rugged” face, and the Senorita screams in panic. She runs from the ring, but not before grabbing the money chest and taking it with her, calling out, “Wait, Tabasco! Wait for me!” Baba has the final observation for the curtain line: “I thinn, maybe El Kabong strikes out again, yes, no?”

Bull-Leave Me (3/7/60) finds Quick Draw in a new setting – on the pampas in the Argentine. A prize bull, named El Screwballito, has escaped, and a gaucho is in pursuit to re-capture him. The bull features a delightful resonating basso chortle of a laugh, that is reminiscent of the laugh of Tex Avery in such films as “Hamateur Night” and “The Penguin Parade” – a bit of a surprise it doesn’t show up in more H-B films, in place of Don Messick’s ever-present snicker for dogs such as Muttley and Mumbly. A narrator asks the bull why he ran away, and, after a laugh, he responds, “Ees fun!” The gaucho throws a set of bolas at the bull, but the bull acquires from nowhere a baseball bat, and bats the bolas back to the gaucho, tying him firmly up. The gaucho points out how well the name “El Screwballito” thus fits the bull.

Ranchero Don Town (or as Baba puts it, maybe Uptown – what’s the difference?) can’t get any further volunteers from his gauchos to pursue the bull. Enter Quick Draw, anxious to fill the role of hero. In another instant costume change, Quick Draw assumes the garb of a gaucho, but Don Town does not believe his horse-face fills the bill. He gives Quick Draw a pop quiz on the basic terminology of the job. Q: “What’s a gaucho?” A: “One of the Marx Brothers.” Q: “What are the Andes?” A: “The other half of ‘Amos and’.” Q: “What are bolas?” A: “Where you keep a goldfish.” Don Town leans against Quick Draw, weeping, “Oh, no!” Quick Draw consoles him with the un-encouraging words, “Let’s face it. You’re stuck with me.”

A lengthy chase ensues between Quick Draw and El Screwballito over the pampas, most of which makes little direct reference to the sport of bullfighting. One notable gag has the bull appearing to patiently wait for Quick Draw, leaning against a rock and laughing. Quick Draw charges him at full speed toward the camera – then slams his face into what appears to be an invisible barrier, and collapses. The camera pulls back, to reveal a huge pane of invisible glass which the bull has put up between himself and Quick Draw. But ultimately, Quick Draw resorts to the red cape and calls of “Toro” in the traditional matador manner. His plot is a variation of Bugs Bunny’s “The Grey-Hounded Hare” and “Bully For Bugs” gag and similar gags which followed at other studios – having the bull charge, while the cape is held before a solid object, to cause the bull to conk himself on the head. Quick Draw chooses to hold the cape before a mammoth boulder. Unfortunately for him, he underestimates Screwballito’s strength – as the bull charges with such power, he knocks the boulder upwards high into the air – then down upon Quick Draw’s head. What else is there to say, but “Ouch Ouch, Ooch Ouch Ouch!!” The final sequence plays upon an old gag setup first seen in the context of bullfighting in the famous Three Stooges live-action short, “What’s the Matador?” (though the Stooges’ writers likely modified it from the ending of the Donald Duck cartoon, “Sea Scouts”, in which the head-to-head battle was performed between Donald and a shark). Quick Draw equips the hood of a jeep with a huge set of bull horns taken from a longhorn steer, planning to “fight horns with horns”. El Screwballito is caught by surprise, and mutters, “Uh oh”, as he finds himself on the retreat, ahead of the hood of the speeding jeep. The bull comes upon the gates of a pampas corral, which just happen to have a matching set of longhorn horns hanging over the gate. “Ah ha!”, snorts the bull, grabbing the larger horns and tying them onto his own head. Now evenly matched, the bull charges the jeep. The camera quickly swaps between alternating views of the speeding jeep and the speeding bull. – then finally shows us the dust clouds of the ultimate head-on collision. (One will recall similar staging for the ending of Woody Woodpecker’s “The Hollywood Matador”). When the dust clears, Quick Draw and jeep look visibly shaken, but temporarily whole. It doesn’t last long, and crack lines appear throughout the bodies of both Quick Draw and the jeep, as both crumble into powder. The bull engages in his laugh again at this outcome, but suddenly goes rigid, with a cry of “Huh?” Within a few seconds, he too has developed crack marks, and crumbled into powder. Baba as usual delivers the afterthought. “That’s Queek Straw for you. When the chips are down, he goes all to pieces – – but I like him.”

George Jetson in a bullfight? Well, of sorts, in Test Pilot (The Jetsons, 12/30/62). Spacely’s research division (consisting of one old timer who’s been at it for 58 years) has developed the indestructible suit, guaranteed to be impervious to all destructive forces, and to protect the wearer as well. Unfortunately, as Spacely stares out the window at the Cogswell Cogs building, relishing the thought that his competitor’s days are numbered with all the sales Spacely will make, an explosion matching the one in which Spacely’s inventor put the final touches on the suit is witnessed inside the Cogswell building. A peek through binoculars reveals that Cogswell’s researchers have produced a matching suit! The only way for Spacely to get the jump on sales is to call out the press, and stage a public demonstration of the suit’s wonders. But one problem quickly presents itself. No one is stupid enough to agree to test-hop the suit – not even the suit’s inventor. Cogswell finds himself in the same boat, and for the moment, the two moguls are stymied and stalemated in their race for success.

Meanwhile, George is reporting for a company physical, at the office of a doctor who just happens to collect ancient human artifacts, including a genuine Egyptian mummy. Via a space-age slingshot gun, George is made to swallow a computerized mini-probe shot down his throat. The probe (in the voice of Mel Blanc, not far removed from his voice for Marvin the Martian) communicates with the doctor on a monitor screen, as it travels through George’s body examining him from the inside. On the way to the brain, the probe overshoots a curve, pops out of George’s ear unnoticed (wouldn’t this at least leave a punctured ear drum?), and winds up inside the ear of the mummy resting on the opposite side of the room. As the probe gives an image of the brain, it displays a darkened maze of cobwebs. The probe states that this is the first time he’s ever been inside a haunted head, and when asked by the doctor for an opinion of the patient’s condition, the probe reveals a small bugle, upon which it blows “Taps”. George is told the end is imminent, and if he has anything he needs to do, do it in a hurry. Assuming his life is ending, George finds the gumption to do something he could never do if he had anything left to live for – tell Spacely off, and quit. After blowing smoke in Spacely’s face and dousing him with water, George seizes him by the collar, stopping him cold before he can utter, “You’re fired”, and making clear Spacely’s threats mean nothing to him anymore. The suit’s inventor sees this display of courage as the answer to their prayer – here is the man brave enough to test the suit. A bidding war for George’s services takes place between Spacely and Cogswell, with Spacely going all out and offering money from his private safe that hasn’t seen the light of day for so long, the picture of George Washington on the bills has to don a pair of sunglasses. With nothing to lose, George accepts Spaceley’s proposition.

The tests begin, with Spacely sparing no expense on publicity. George runs the gamut of hazards – spun underwater tied to a ship’s propeller blade, lying under a ten-ton boulder while it is smashed to pebbles in a compressor, placed in a room with closing walls on all sides, electrically fried with a mammoth dose of voltage, and defying a buzzsaw which is unable to saw him in two. George somehow survives all with no lasting damage. The final test finds George set to be raised to a height of three miles and dropped by parachute, with two anti-missile-missiles targeted to hit him simultaneously during his descent. Just before the lift-off, who should break through the crowd to speak to George but the doctor, with news that it was all a mistake, and that George should live to the ripe old age of 150. But it’s too late to stop the stunt. The missiles launch, and George finds himself in their crosshairs. Grabbing the parachute fabric (though no explanation is offered why George continues to fall slowly with no billowing silk), George waves the fabric with timid cries of “Ole”, to lure the missiles to charge him. The missiles pause in mid-air, and, accompanied by the music of a majestic trumpet as if from the bull ring, paw with their stabilizer fins as if a four-legged bull pawing the dirt before a charge. The first missile advances, and George performs a perfect matador’s pass. The other missile takes up the challenge. George continues his beckoning calls: “Ole – Ole – Oy, Vey!” as the second missile passes. Both missiles loop and turn around, returning simultaneously from both directions. George hastily writes a will, drops it to the ground, and closes with the words, “George Jeston, signing off.” BOOM!! But George descends to the ground, still all in one piece. The suit worked, and Spacely tells George his bonuses and vice-presidency are assured. George would have settled just for finding himself alive. But of course, all is not the bed of roses they planned. Before a banquet to announce George’s promotion, well-intentioned Jane puts the suit in the washer. It falls apart from not being dry-cleaned! Spacely announces he’ll be bankrupted, and George submits a quick resignation, racing to Cogswell Cogs to see if he can find a job. Even Spacely is forced to eat his pride, shouting after George, “Wait! I’ll go with you!”

Bully For Atom Ant (1/22/66) – Atom Ant takes a needed vacation South of the border, traveling incognito under a sombrero of human size. While sampling the local cuisine at a taco stand, he hears weeping at the shoreline. A skinny young man is about to toss a large boulder off a pier – with himself tied to it. “Adios, cruel world. I don’t theenk I stay on you anymore.” He and the rock plunge into the briny – but Atom Ant zooms in to pull the spluttering man back onto the shore. He wails that nothing goes right, unaware he has been saved, and thinking the ocean is as dry as the dry land. Atom explains that he has been rescued, but the man sees little point in it, as there is nothing to live for. His senorita has given him the air and will not marry him, because he will not fight El Tornado in the bull ring. Atom asks the man’s name, and he responds, “C. Enchilada” – the “C” standing for “Chicken”. (Perhaps if he’d had a brave brother, his first initial would have been B. for Beef.) But Atom has a plan. The man himself can hardly see Atom – even when he is standing on the man’s nose – so no one in the bull ring will see Atom either. Atom will thus do the real fighting, and all Enchilada has to do is wave a cape around for a sure victory.

Enchilada’s appearance in the ring fails of itself to provide any instant impression on the senorita, who remains haughty and unconvinced that anything has changed with Enchilada. El Tornado makes an impressive entrance, and revs up for his first charge. Atom hides behind the folds of Enchilada’s cape, and when the bull hits, he is knocked back so far by Atom’s fist, he has to creep up on the cape and look underneath it, to resolve his worries that Enchilada placed a solid rock behind it. Tornado charges again, after using the old pencil sharpener gag to sharpen his horns. Enchilada is bent over taking bows to the crowd, and seems an easy target – but Atom lifts Enchilada up by the seat of his pants into mid-air, in the nick of time, leaving Tornado to crash through a wooden barrier. Enchilada remains suspended in air, still waving his cape to entice Toro. Tornado resets his sights, placing a stepladder in the center of the ring, and charging up its steps to reach Enchilada. Atom pulls Enchilada away to one side, leaving the bull racing upwards into thin air past the last ladder rung, then falling to create a crater in the arena dirt. Enchilada, back on the ground, waves his cape to entice the bull again. But the bull dives deeper into the crater he has created, tunnels underground, and pops up with full force under Enchilada’s feet, driving him and Atom as passenger into the air and down, to create a matching crater in the dust of their own. Now the bull takes bows to the crowd. Enchilada asks Atom what they should do now? Atom asks Enchilada to wait just a minute. With speed in excess of the sound barrier, Atom takes a ten-second time out to fly through the air all the way back to his headquarters hole in the ground, do about six lifts of his barbell to build up his strength, and zip back again to Mexico, where he returns the bull’s trick, by tunneling underneath him, then delivering through the dirt the might of his “atomic punch”. The bull rises high in the sky, then his descending shadow looms over Atom. “And here comes the fallout”, remarks out hero, zipping out of the bull’s trajectory. The bull again winds up buried in the dirt, and raises from the dust a white flag hoisted upon his tail, as a sign of surrender. The film closes with Enchilada and the senorita as newlyweds, riding off into the sunset atop the now tame El Tornado, dragging clanking tin cans and a “Just Married” sign upon his tail. Atom closes to the audience with, “And so, they lived happily ever after, I theenk!”

• “Bully For Atom Ant” is on Dailymotion.

Unaccounted for are two possible (one likely) episodes from The Abbott and Costello Cartoon Show, with no plot synopsis available, but promising titles. The longshot is Bully Billy, which might as easily refer to some human bully. But Bully For Lou sounds like a sure bet. Anyone know what old retreaded gags they dredged up for either of these?

What a difference a decade and mother’s anti-violence groups can make. H-B’s new “The Tom and Jerry Show” was never something I heard Bill or Joe discuss in interviews, but, even if they spoke of it to the press at some point, one has to believe that deep within, there had to be some shame as to the visible shoddiness of production, poor timing, and entirely lackluster plots of virtually the entire show. It was certainly something they kept their own names off of as far as direction credits (though by this time, this was true of all their shows), and some of the TV shorts they would direct themselves in their final years (such as “Wind-Up Wolf” and others) certainly show they personally still had within them a sense of better timing and a glimmer of their old creative spark. Perhaps the biggest sin of this project was its managing to render two characters who had exuded so much personality on screen without need to utter a word entirely persona-less – cardboard cutouts with no more visible character traits than Buster Bear or Marty the Monk (if you don’t know ‘em, look ’em up). And gone was any semblance of the signature scenario of the series – the chase. Now, the two would fit better as members of the Get Along Gang. H-B’s re-licensing of their own creations, just to allow the entire reputation of the series to be dragged down to an all-time low (even Filmation’s later encounter with the characters, though miserably animated, could sometimes generate a small laugh, restored the characters to adversaries, and resumed the chasing), seemed clearly a simple “taking a dive” for the almighty dollar, and an absolute sell-out of the franchise which never should have seen the light of day. I still (I’m sure along with most fans of the characters) cringe whenever one of these items gets replayed, although I seem to be able to at least sit through everyone else’s attempts.

The Bull Fighters (12/6/75) finds Tom and Jerry, for no apparent reason, walking along a road in the Mexican countryside, apparently on their way to Tiajuana. A bull in a pasture works out with barbells for his morning exercise, then plants a sign near the road reading “Shortcut to Tiajuana” to lure Tom and Jerry into his pasture – thus providing the bull with a target for his morning “road work”. The bull charges, but T&J make a quick reversal of directions, and the bull keeps on sliding forward in his attempt to stop, sliding into the water of a pond. The bull flounders in the water, calling for help because he can’t swim. Tom notices a well with an attached wooden bucket, and tosses the bucket at the bull’s horns, spearing one horn into the bucket’s wood. Tom then reels in the line with the well handle, towing the bull to safety. Despite the good deed, Tom and Jerry aren’t going to stick around to see what mood the bull is in, and start running again. The bull hollers for them to come back, and tosses the well bucket so as to land atop them, stopping their retreat. The bull explains that they saved his life, and from now on, they’ll be friends forever. He introduces himself as Toro the Terrible, a fighter in the bull ring, and as a reward for saving his life, gives T&J two free tickets to see him perform at the arena this afternoon.

T&J needn’t have worried about the free passes to the ring, as circumstances have them destined to view the event from a different perspective. As they enter the town, several people, including the owner of the bull ring, flee in terror, as another bull, El Rotteno, has broken loose. T&J find themselves running away once again, as the hooves of El Rotteno come closer and closer. Tom gets tangled up in the clothing rack outside a dressmaker’s shop, and emerges carrying a frilly red dress. As he holds the garment out in front of him to observe it, the bull passes through, reacting to it as if a cape. Tom is unscratched, but the bull is unable to put on the brakes after the pass, slides up the ramp of a truck with a wooden stake bed, and gets his horns jammed in the wood of one of the cross-beams, holding him captive. The arena owner is amazed at Tom’s cape-work, and offers to make him a famous and wealthy matador. Tom shakes his head no at the offer, until he hears that the owner intends to match him in the ring with someone he knows – Toro the Terrible. Remembering the bull’s promise of eternal friendship, Tom accepts the owner’s offer with a friendly handshake. The owner takes T&J to a holding corral outside the arena, giving Tom a chance to study his bovine opponent. This allows Toro, after briefly putting on an act of ferocity for the boss, to reaffirm that the match will be “duck soup”, and giving Tom a set of signals – a twirl of his left horn means Toro will pass on the left, and the opposite if he twirls his right.

Jerry becomes practically a non-participant in this cartoon, appearing in the ring only as an assistant to carry Tom’s capes (we never see a sword, so one can only wonder how any match is supposed to end). Toro is released from the opposite door of the arena, and begins giving his horn-turning signals. Tom pulls a few of the standard cape maneuvers, including the old windowshade roll-up as Toro passes. Tom uses one new move, hanging the cape upon his tail for another pass. Toro looks back to observe that the crowd is loving it – but overshoots the parameters of the arena, sliding through the archway of the matadors’ entrance, and crashing into a wall inside. He is not only temporarily dazed, but comes up with a twisted ankle. The show must go on, declares the arena owner, making a call for a substitute – El Rotteno. The angry substitute quickly recognizes Tom as the wise guy with the red dress, and seeks to even the score. Tom, however, is none the wiser about the substitution, and calmly walks up to the bull, clasping the metal ring hooked in his nose, and raising and lowering it a couple of times as if using a door-knocker. El Rotteno charges, and two old Warner gags are quickly swiped by the writers. First, a pass transforms Tom’s cape into a string of paper dolls (straight out of Daffy Duck’s “Mexican Joyride”). Then, a second cape handed to Tom by Jerry is punctured with a bull-shaped silhouette (from “Bully for Bugs”). Tom smiles through it all, still thinking it’s part of the act (though no explanation is provided as to why Tom is not looking for the twirling horn signals expected from Toro). As for Toro himself, he suddenly appears above Jerry on the sidelines, watching the match from the spectator’s side of the fence. Toro thinks Tom is doing all right for himself – but explains to Jerry about his twisted ankle, and that Tom is really fighting El Rotteno. Jerry, maintaining his inability to speak, quickly scribbles a note of explanation to Tom, runs up Tom’s back, and displays the note before Tom’s eyes. El Rotteno makes another pass, catching the note on his horns, then slashing one horn against another to cut the paper into confetti. Tom runs for one of the picador barriers, climbing it. El Rotteno again slams his horns into wood, but this time exerts his strength, lifting the barrier out of the ground, and carrying Tom along on top of it with him. He then spots Jerry, and starts to chase him too. Atop the bull, Tom grabs the points of the bull’s horns protruding through the barrier, and steers them to the right to change the bull’s direction. El Rotteno is steered through the archway back to the bull enclosure, and the wooden barrier falls into place at the archway, very unconvincingly providing a supposed barrier to the bull’s re-entrance. (It’s not mounted to the wall by anything, so couldn’t El Rotteno merely knock it down?) The film abruptly ends without further development, in a traditional scene of T&J taking bows as sombreros are tossed into the ring. Ho Hum – and this was one of the better installments of the series!

How do you turn bullfighting into a competitive team sport, without an awful lot of bloodletting? That’s what “Scooby’s All-Star Laff-a-Lympics” attempted to do in the installment, Spain and the Himalayas (11/5/77), taking a leaf – as well as petals and stem – from Lotte Reiniger’s 1934 shadow-animation version of “Carmen” (discussed in chapter I of this article series), and reversing it. Instead of the bull taking a rose from the lips of Carmen, the objective is to retrieve a rose from the lips of the bull! I don’t particularly know of any professional toreadors who have tried this stunt, nor of any bull who was cooperative enough to keep his teeth clenched throughout the event. So let’s just chalk this up to animators’ poetic license – anything for a gag situation.

Mumbly open the competition for the Really Rottens – as usual, with a plan to cheat. He has with him a sleeping gas bomb, intending to make the bull go nighty-night while he grabs the rose. But the device doesn’t work as intended when tossed, merely bouncing off the bull’s nose without emitting its contents, and rebounds back to Mumbly’s feet where it finally bursts open. Mumbly yawns, falls into a sleepwalk, and walks himself out of the arena in a complete doze. Dynomutt steps out as the representative of the Scooby-Doobies. Hos gimmick: use his bionic leg extensions to obtain an overhead position on the bull, sneaking up from behind to pluck the rose from a position right between the bull’s eyes. The bull, however, spots him on the first attempt, and dodges forward into a run across the arena before Dynomutt can make the grab. With his feet still planted where they started from, Dynomutt attempts to keep up with the bull not by running, but by continuing to extend his telescoping lower limbs. He runs out of extension room, reaching his maximum limit, and is sprung backwards by his mechanical limbs, which land hard upon his feet, compressing him into a short squat stance back where he started. Dynomutt apologizes that he must have strained a transistor, and waddles slowly away. This leaves the surprise contestant chosen to represent the Yogi Yahooeys – Cindy Bear! Commentators Snagglepuss and Mildew Wolf can’t figure how she ever expects to get near enough to the bull to do anything – especially when, instead of a cape, Cindy produces a music stand and sheet music. But Cindy promises that music has charms to soothe the savage beast, and the tune she intends to perform will have the bull dropping the rose right at her feet. The bull begins a charge, and Mildew observes that he doesn’t look like he’s got any ear for music. But Cindy stands her ground, and must have been taking lessons from Quick Draw McGraw (making one wonder why Quick Draw wasn’t chosen as team representative to repeat his performance discussed above, since Quick Draw is also a regular member of the Yogi Yahooeys team), performing a run of high-piercing, off-key contraltos. Her singing has the same effect upon the bull as Quick Draw’s, with the bull stopping just short of impact to plug his ears with his hooves, his jaw dropping open in a “no” position, and the rose landing right at Cindy’s feet as promised. (Odd in retrospect, since Cindy sang quite competently in “Hey, There, It’s Yogi Bear”, and “Yogi’s First Christmas”.) Mildew loses a bet to Snagglepuss that Cindy couldn’t do it, and is required to eat his straw hat, complaining that it’ll spoil his din-din – but please, pass the ketchup.

• “Spain and the Himalayas” is on Dailymotion.

There’s plenty of bull in the double-length “All-New Popeye” installment, King of the Rodeo (circa 1979, air date unknown). While the setting is a Western event, traditional bullfighting capework shows up twice in this story, once in each reel. Unusual to a rodeo, the first event is expressly referred to by announcer/judge Wimpy as “bullfighting”. Popeye steps into the arena, producing a cape from under his Stetson hat, and expertly handling the bull’s first pass. As the bull shifts direction to advance upon Popeye again, Popeye wise-cracks, “Reversing the charges, eh?” Of course, Bluto is Popeye’s competition, sitting on the sidelines atop a corral gate. He decides to improve his odds for the competition, by getting at Popeye’s “threads” with the suction of a vacuum cleaner, which steals his cape away. Popeye avoids impact by jumping over the top of the approaching bull, leap-frogging over his oncoming horns. The bull’s momentum carries him forward, and he smashes horns-first into the corral gate Bluto is sitting on. Rearing back, the bull picks up both the gate and Bluto, carrying them back into the arena to pursue Popeye. The ride’s a little rocky, but as long as Bluto is in the event, he chooses to steer the bull by the horns toward Popeye. Popeye remarks, “A bull-cycle built for two”, and runs. But, as the three approach an arena exit with a low overhanging archway, Popeye yells out to Bluto that his mount has no power steering. The bull follows Popeye through the exit, but Bluto and the gate smash into the upper archway, pressing Bluto momentarily flat and dazed, while Popeye, somehow safe, peeps in to laugh with delight at his downfall.

One of the events in the second half of the film is bulldogging. Bluto fouls up Popeye’s attempt to grab the bull by the horns, by placing stretchy rubber tips at the top of each of the bull’s horns while in the corral. Popeye gets a false grip, and is dragged behind by the stretchy rubber. When he finally lands in front of the bull, the bull hogties him, takes his own bows to the crowd, then pulls on the rope to release Popeye like a spinning top. A quick head-butt, and Popeye is driven head-first through a wooden barrier, stuck. Bluto uses a pencil to draw circles upon the seat of Popeye’s pants, providing the bull with a perfect bull’s-eye. Olive tries to intervene, running out into the ring with a red cape of her own, and shouting “Andalay, Andalay.” The bull changes target, sending Olive for a spin of her own as he passes, and spearing her cape upon one of his horns. As the bull reverses direction, Olive and Popeye find themselves cornered on one side of the arena. Popeye meets the challenge, pawing the dirt with one foot and charging the bull, but suddenly transforms the confrontation into a social affair, with the inquiry to the bull, “May I have this dance?” He and the bull break into a round of square dancing, Olive joins in, and the bull even drags in Bluto from the sidelines. Bluto complains that dancing is for sissies, so the bull casually tosses him aside into a watering trough. Finally, however, Popeye decides to have the last laugh, grabbing one of the bull’s front hooves, spinning him around, and landing the bull upside-down on his back, allowing Popeye to rope his feet and win the event.

Brahma Bull riding is the last event. Bluto’s taking no chances on losing this one, having supplied his own mount, in the form of two dumb assistants who wear an old cowhide in impersonation of a bull. Bluto saunters out of the corral atop the two of them, in almost slow motion, but certainly having no trouble staying astride the beast. Wimpy awards him 10 points for a perfect, if somewhat boring, ride. Popeye, however, draws El Diablo, the toughest Brahma in the event. He holds firmly to the rope around the bull’s waist, failing to notice Bluto as he cuts it. Popeye thus finds himself in the ride of his life, fighting desperately to keep his seat. Olive uses a lariat to lasso the bull’s hump, but is merely towed along, her spurs digging a deep trench into the ground, within which Olive becomes stuck. The bull circles around, and now charges at the trapped Olive. Time for Popeye’s “pick-me-up”, this time opening the can by using one of the bull’s horn tips as a can opener. The spinach turns him into a human bulldozer, allowing him to dig Olive out of the ground and deposit her back in the stands to safety, then meet the bull’s charge head on, stopping him cold. The bull turns to an easier target, approaching the fake steed of Bluto, and the two flunkies within ditch their bull costume and run for the exit, revealing Bluto’s fraud. Bluto is disqualified, and Popeye receives the Rodeo crown and trophy. But Bluto never loses gracefully, and seeks revenge by releasing all the remaining bulls in the rodeo at once for a stampede. Popeye grabs up a tall pile of spare boards used for building the bleacher grandstands, and tosses them into the air, forming a corral pen around the cattle. Bluto tosses huge bales of hay at Popeye, but Popeye as quickly tosses them back, stating that once again he as to “bale” Bluto out. Bluto is buried under the hay bales – and who should come charging through them but Popeye’s Brahma bull. Bluto is chased out of the arena and down the road, only one step ahead of the beast’s horns. The final scenes of the film have Popeye and Olive parading before the crowd in victory. Olive observes that Bluto is back in the stands. “Even Bluto’s standing to watch us ride by”, she remarks. “That’s because he can’t sit down”, correctly guesses Popeye, as two large band-aids are observed upon Bluto’s soft and tender pants-seat.

Scooby’s Bull Fright (The Scooby and Scrappy Doo Show, 12/6/80) is a short one-reeler, with neither mystery to solve, nor the human players of the Scooby Gang in attendance besides Shaggy – although the Mystery Machine makes an appearance for transportation. Dawn breaks upon two familiar figures sleeping on blankets under large sombreros, with the Mystery Machine seen parked in the background. They are, of course, Scooby and Shaggy, who are awakened by a rooster, who crows, but adds the words, “Hey, Senor”. Shaggy thinks it’s still night – because his hat is pulled down far over his eyes. But a call for breakfast from Scrappy Doo opens both of their eyes, as he tosses them the local idea of breakfast fare – hot tamales. As steam pours out of Scooby’s and Shaggy’s ears, Shaggy manages to gasp an inquiry to Scrappy as to where he got this stuff. “Right up there”, says Scrappy, pointing upwards to a grandstand where a vendor sells them to the seated crowd. Scooby and Shaggy suddenly realize that, in the darkness, they mistakenly camped out in the middle of the bull arena.

Of course, the bull makes an appearance right on cue. Scrappy is in his usual fighting mood, and grabs up a small cape, yelling “Toro, Toro. Right this way, ya big bully.” Scooby runs interference, wearing a Keystone Kop hat, and holding up a traffic sign reading “Stop” in the bull’s face. (Never mind that the sign is red, which should make the bull even madder.) Scooby races off with Scrappy, depositing him in the Mystery Machine, as Shaggy tries to start the ignition. Of course, the engine won’t turn instantly over, providing Scrappy with enough time to emerge from the van’s rear, wearing boxing gloves and challenging the bull to put up his dukes. The bull answers the challenge, abandoning his traditional charge, and also appearing in fighter’s gloves. Before the two can mix it up, Shaggy rings a bell, and Scooby places a stool at one side of the arena, as the two convince the bull that round 1 has just ended, and take the bull over to one corner, pep-talking him with phrases such as “He never laid a glove on ya”. Scooby throws a pail of water in the bull’s face, as our heroes drag Scrappy back behind a picador’s barrier. But Scrappy emerges again, this time decked out in the mask of a hockey goalie, and with his own stick, puck, and net. He challenges the bull to try to score a goal on him. Once again, the bull answers the challenge, appearing with a hockey stick larger than Scrappy himself. But Shaggy and Scoob run interference again, blowing a penalty whistle, accusing the bull of crossing the blue line too soon, and giving him four minutes in a penalty box. The diversion again gives them time to drag Scrappy away.

With the Mystery Machine’s ignition still not cooperating, our heroes attempt to make a getaway, disguised in an old cow hide. As in any bullfight cartoon, the bull is smitten by the fake female, but a kiss from him is more than Scooby in the fake cow head can stand, who reveals himself to spit away the flavor and say “Yuck”. Scrappy somehow winds up inside the head, and still utters verbal challenges to the bull, charging him, and dragging Shaggy and Scooby along in the rear of the costume. Roles become reversed, as the bull picks up a cape, and plays toreador for a pass of the charging Scrappy. Scooby and Shaggy crash into a wall, while Scrappy breaks free of the head, and leaps on the bull’s back, seeking to ride him as if in a rodeo. The bull begins to buck, but Scrappy remains astride him. Shaggy and Scooby duck out of the galloping bull’s way, as Scrappy leans over the top of the bull’s head. “You still wanna play games, eh? Well try this one.” He leans over the bull’s brow, using both front paws to shut the bull’s eyes. “Guess who?”, he says. Unable to see, the bull charges through an arena archway, and a loud crash is heard within. Scooby and Shaggy presume the worst, but Scrappy emerges from the archway unharmed, leading the bull, who is bandaged and in traction. The boys find themselves strewn with roses tossed from the stands, and Scrappy still wants more. “We can’t quit while we’re ahead”, he declares. “That’s what you think”, answers Shaggy, as the Mystery Machine’s engine finally turns over, and the three speed off into the Mexican sunset.

• “Scooby’s Bull Fright” is on Dailymotion

NEXT WEEK: If you can stand it – A few more H-B items, and miscellany from other studios.