A joy buzzer is a practical joke device that consists of a coiled spring inside a disc worn in the palm of the hand. When the wearer shakes hands with another person, a button on the disc releases the spring, which unwinds creating a vibration that feels somewhat like an electric shock to someone not expecting it; the joy buzzer was invented in 1928 by Soren Sorensen Adams of the S. S. Adams Co, it was modeled after another product, The Zapper, similar to the joy buzzer, but did not have a effective buzz and contained a button that had a blunt point which would hurt the person whose hand was shaken. Adams brought a rather large prototype of his newly designed buzzer to Dresden, where a machinist created the tools that would make the parts for a new palm size Joy Buzzer. In 1932, the item received U. S. Patent 1,845,735 from the U. S. Patent Office; the instant success of the new item allowed Adams to move to a new building and increase the size of his company. Adams continued to send royalty payments to the tool and die maker until 1934, when the payments were returned.
In 1987, Sam Adams' son, Joseph "Bud" Adams, redesigned the mechanism for great durability and a louder buzz, marketed it as the Super Joy Buzzer. A common misconception—primarily due to false advertising by the makers and sellers of the device—is that the joy buzzer delivers an electric shock, many stylized villains in fiction employ "lethally powerful" joy buzzers as weapons. An example is in Walt Disney's Mickey Mouse cartoon Mickey's Rival wherein Mickey Mouse's hands are shocked by Mortimer Mouse's trousers. Another example is in the SpongeBob SquarePants episode "Pranks a Lot" wherein Patrick Star's hand is shocked by a joy buzzer, in The Simpsons episode "Homer the Clown", where Homer Simpson is shocked with it multiple times by Krusty the Clown to the point where he is tortured by it. However, a shocking pen does generate a mild electric shock. Chinese finger trap Whoopee cushion Snake nut can Chewing gum bug Fake vomit Shock Gum List of practical joke topics
Technicolor is a series of color motion picture processes, the first version dating to 1916, followed by improved versions over several decades. It was the second major color process, after Britain's Kinemacolor, the most used color process in Hollywood from 1922 to 1952. Technicolor became known and celebrated for its saturated color, was most used for filming musicals such as The Wizard of Oz and Down Argentine Way, costume pictures such as The Adventures of Robin Hood and Gone with the Wind, animated films such as Snow White and the Seven Dwarfs, Gulliver's Travels, Fantasia; as the technology matured it was used for less spectacular dramas and comedies. A film noir—such as Leave Her to Heaven or Niagara —was filmed in Technicolor. "Technicolor" is the trademark for a series of color motion picture processes pioneered by Technicolor Motion Picture Corporation, now a division of the French company Technicolor SA. The Technicolor Motion Picture Corporation was founded in Boston in 1914 by Herbert Kalmus, Daniel Frost Comstock, W. Burton Wescott.
The "Tech" in the company's name was inspired by the Massachusetts Institute of Technology, where both Kalmus and Comstock received their undergraduate degrees and were instructors. Technicolor, Inc. was chartered in Delaware in 1921. Most of Technicolor's early patents were taken out by Comstock and Wescott, while Kalmus served as the company's president and chief executive officer; the term "Technicolor" has been used to describe at least five concepts: Technicolor: an umbrella company encompassing all of the below as well as other ancillary services. Technicolor labs: a collection of film laboratories across the world owned and run by Technicolor for post-production services including developing and transferring films in all major color film processes, as well as Technicolor's proprietary ones. Technicolor process or format: several custom image origination systems used in film production, culminating in the "three-strip" process in 1932. Technicolor IB printing: a process for making color motion picture prints that allows the use of dyes which are more stable and permanent than those formed in ordinary chromogenic color printing.
Used for printing from color separation negatives photographed on black-and-white film in a special Technicolor camera. Prints or Color by Technicolor: used from 1954 on, when Eastmancolor supplanted the three-film-strip camera negative method, while the Technicolor IB printing process continued to be used as one method of making the prints; this meaning of the name applies to nearly all Wikipedia articles about films made from 1954 onward in which Technicolor is named in the credits. Technicolor existed in a two-color system. In Process 1, a prism beam-splitter behind the camera lens exposed two consecutive frames of a single strip of black-and-white negative film one behind a red filter, the other behind a green filter; because two frames were being exposed at the same time, the film had to be photographed and projected at twice the normal speed. Exhibition required a special projector with two apertures, two lenses, an adjustable prism that aligned the two images on the screen; the results were first demonstrated to members of the American Institute of Mining Engineers in New York on February 21, 1917.
Technicolor itself produced the only movie made in Process 1, The Gulf Between, which had a limited tour of Eastern cities, beginning with Boston and New York on September 13, 1917 to interest motion picture producers and exhibitors in color. The near-constant need for a technician to adjust the projection alignment doomed this additive color process. Only a few frames of The Gulf Between, showing star Grace Darmond, are known to exist today. Convinced that there was no future in additive color processes, Comstock and Kalmus focused their attention on subtractive color processes; this culminated in what would be known as Process 2. As before, the special Technicolor camera used a beam-splitter that exposed two consecutive frames of a single strip of black-and-white film, one behind a green filter and one behind a red filter; the difference was that the two-component negative was now used to produce a subtractive color print. Because the colors were physically present in the print, no special projection equipment was required and the correct registration of the two images did not depend on the skill of the projectionist.
The frames exposed behind the green filter were printed on one strip of black-and-white film, the frames exposed behind the red filter were printed on another strip. After development, each print was toned to a color nearly complementary to that of the filter: orange-red for the green-filtered images, cyan-green for the red-filtered ones. Unlike tinting, which adds a uniform veil of color to the entire image, toning chemically replaces the black-and-white silver image with transparent coloring matter, so that the highlights remain clear, dark areas are colored, intermediate tones are colored proportionally; the two prints, made on film stock half the thickness of regular film, we
Melvin Jerome Blanc was an American voice actor and radio personality. After beginning his over-60-year career performing in radio, he became known for his work in animation as the voices of Bugs Bunny, Daffy Duck, Porky Pig, Tweety Bird, Sylvester the Cat, Yosemite Sam, Foghorn Leghorn, Marvin the Martian, Pepé Le Pew, Speedy Gonzales, Wile E. Coyote, Road Runner, the Tasmanian Devil, many of the other characters from the Looney Tunes and Merrie Melodies theatrical cartoons during the golden age of American animation, he voiced all of the major male Warner Bros. cartoon characters except for Elmer Fudd, whose voice was provided by fellow radio personality Arthur Q. Bryan, although Blanc voiced Fudd, as well, after Bryan's death, he voiced characters for Hanna-Barbera's television cartoons, including Barney Rubble on The Flintstones and Mr. Spacely on The Jetsons. Blanc was the original voice of Woody Woodpecker for Universal Pictures and provided vocal effects for the Tom and Jerry cartoons directed by Chuck Jones for Metro-Goldwyn-Mayer, replacing William Hanna.
During the golden age of radio, Blanc frequently performed on the programs of famous comedians from the era, including Jack Benny and Costello, Burns and Allen and Judy Canova. Having earned the nickname The Man of a Thousand Voices, Blanc is regarded as one of the most influential people in the voice acting industry. Blanc was born in San Francisco, California, to Russian-Jewish parents Frederick and Eva Blank, the younger of two children, he grew up in the Western Addition neighborhood in San Francisco, in Portland, where he attended Lincoln High School. Growing up, he had a fondness for voices and dialect, which he began voicing at the age of 10, he claimed that he changed the spelling of his name when he was 16, from "Blank" to "Blanc", because a teacher told him that he would amount to nothing and be like his name, a "blank". Blanc joined the Order of DeMolay as a young man, was inducted into its Hall of Fame. After graduating from high school in 1927, he split his time between leading an orchestra, becoming the youngest conductor in the country at the age of 19, performing shtick in vaudeville shows around Washington and northern California.
Blanc began his radio career at the age of 19 in 1927, when he made his acting debut on the KGW program The Hoot Owls, where his ability to provide voices for multiple characters first attracted attention. He moved to Los Angeles in 1932, where he met Estelle Rosenbaum, whom he married a year before returning to Portland, he moved to KEX in 1933 to produce and co-host his Cobweb and Nuts show with his wife Estelle, which debuted on June 15. The program played Monday through Saturday from 11:00 pm to midnight, by the time the show ended two years it appeared from 10:30 pm to 11:00 pm. With his wife's encouragement, Blanc returned to Los Angeles and joined Warner Bros.–owned KFWB in Hollywood in 1935. He joined The Johnny Murray Show, but the following year switched to CBS Radio and The Joe Penner Show. Blanc was a regular on the NBC Red Network show The Jack Benny Program in various roles, including voicing Benny's Maxwell automobile, violin teacher Professor LeBlanc, Polly the Parrot, Benny's pet polar bear Carmichael, the train announcer.
The first role came from a mishap when the recording of the automobile's sounds failed to play on cue, prompting Blanc to take the microphone and improvise the sounds himself. The audience reacted so positively that Benny decided to dispense with the recording altogether and have Blanc continue in that role. One of Blanc's most memorable characters from Benny's radio programs was "Sy, the Little Mexican", who spoke one word at a time; the famous "Sí... Sy... Sue... sew" routine was so effective that no matter how many times it was performed, the laughter was always there, thanks to the comedic timing of Blanc and Benny. Blanc continued to work with him on radio until the series ended in 1955 and followed the program into television from Benny's 1950 debut episode through guest spots on NBC specials in the 1970s, they last appeared together on a Johnny Carson Tonight Show in January 1974. A few months Blanc spoke of Benny on a Tom Snyder Tomorrow show special aired the night of the comedian's death.
By 1946, Blanc appeared on over 15 radio programs in supporting roles. His success on The Jack Benny Program led to his own radio show on the CBS Radio Network, The Mel Blanc Show, which ran from September 3, 1946, to June 24, 1947. Blanc played himself as the hapless owner of a fix-it shop, as well as his young cousin Zookie. Blanc appeared on such other national radio programs as The Abbott and Costello Show, the Happy Postman on Burns and Allen, as August Moon on Point Sublime. During World War II, he appeared as Private Sad Sack on various radio shows, including G. I. Journal. Blanc recorded a song titled "Big Bear Lake". In December 1936, Mel Blanc joined Leon Schlesinger Productions, producing theatrical cartoon shorts for Warner Bros. After sound man Treg Brown was put in charge of cartoon voices, Carl Stalling became music director, Brown introduced Blanc to animation directors Tex Avery, Bob Clampett, Friz Freleng, Frank Tashlin, who loved his voices; the first cartoon Blanc worked on was Picador Porky as the voice of a drunken bull.
He soon after received his first starring role when he replaced Joe Dougherty as Porky Pig's voice in Porky's Duck Hunt, which marked the debut of Daffy Duck voiced by Blanc. Following this, Blanc became a prominent vocal artist for Warner Bros. voicing a wide variety of the "Looney Tunes" characters. Bugs Bunny, whom Blanc made his debut as in A Wild Hare, was
Elmer's Candid Camera
Elmer's Candid Camera is a 1940 Merrie Melodies cartoon short directed by Chuck Jones, first released on March 2, 1940, by Warner Bros. It marks the first appearance of a redesigned Elmer Fudd, the fourth starring appearance of the anthropomorphic rabbit character that would evolve into Bugs Bunny. Elmer is reading a book on, he whistles at the same time when holding the camera. He wants to take a picture of him; as he tries to photograph the Rabbit, he finds himself a convenient victim to harass. Elmer points to where the rabbit tells him that he wants to take a picture of him; this tormenting drives Elmer insane, causing him to jump into a lake and nearly drown. The rabbit saves him, ensures that Elmer is all right - and promptly kicks him straight back into the lake; the rabbit throws Elmer's "How To Photograph Wildlife" book on his head, thus ending the cartoon as the screen irises-out. VHS- Cartoon Moviestars: Elmer! VHS- Looney Tunes Collectors Edition: Wabbit Tales Laserdisc- Bugs! and Elmer!
Laserdisc- Golden Age of Looney Tunes Vol 2 DVD- Looney Tunes Golden Collection: Volume 1 DVD- Looney Tunes Spotlight Collection: Volume 1 DVD- The Essential Bugs Bunny Blu-ray- Looney Tunes Platinum Collection: Volume 2 Elmer's Candid Camera on IMDb Elmer's Candid Camera on the Internet Archive
Prest-O Change-O is a 1939 Merrie Melodies cartoon directed by Chuck Jones, first released on March 25, 1939 by Warner Bros. It is the second and final appearance of the manic white hare from Porky's Hare Hunt, the character's only appearance in a color film; the Two Curious Puppies, one big and one little, are being pursued by a dog catcher until they hide in an abandoned house. They soon discover the house is owned by Sham-Fu, a magician, unseen over the course of the short; as a result, each puppy encounters all manner including Sham-Fu's pet hare. The bigger puppy is left to defend himself against the hare, itself a more than competent illusionist capable of all sorts of acts of cartoon physics, while the little one is engaged in a reckless battle with a Hindu rope and a magic wand, the latter of which he ends up accidentally swallowing, giving him bizarre hiccups throughout the rest of the movie; the puppies and the hare all end up crashing into each other, at which point both puppies attempt to pack everything back into Sham-Fu's trunk.
Inexplicably, the little dog hiccups out a balloon containing the mischievous hare. However, this time, when the hare attempts another disappearing act, the bigger puppy is able to stop it in its tracks and punches the hare as hard as possible; the scene irises out on the hare, whose eye is blackened and covered with a lampshade and sitting in a goldfish bowl with his feet sticking out. Prest-O Change-O on IMDb
A spinning wheel is a device for spinning thread or yarn from natural or synthetic fibres. Spinning wheels were first used in India, between 500 and 1000 A. D. Spinning machinery, such as the spinning jenny and spinning frame, displaced the spinning wheel during the Industrial Revolution; the spinning wheel was invented in India, between 500 and 1000 A. D; the earliest clear illustrations of the spinning wheel come from Baghdad and Europe, there is evidence that spinning wheels had come into use in both China and the Islamic world during the eleventh century. In France the spindle and distaff were not displaced until the mid 18th century; the spinning wheel replaced the earlier method of hand spinning with a spindle. The first stage in mechanizing the process was mounting the spindle horizontally so it could be rotated by a cord encircling a large, hand-driven wheel; the great wheel is an example of this type, where the fibre is held in the left hand and the wheel turned with the right. Holding the fibre at a slight angle to the spindle produced the necessary twist.
The spun yarn was wound onto the spindle by moving it so as to form a right angle with the spindle. This type of wheel, while known in Europe by the 14th century, was not in general use until later; the construction of the Great Wheel made it good at creating long drawn soft fuzzy wools, but difficult to create the strong smooth yarns needed to create warp for weaving. Spinning wheels did not develop the capability to spin a variety of yarns until the beginning of the 19th century and the mechanization of spinning. In general, the spinning technology was known for a long time before being adopted by the majority of people, thus making it hard to fix dates of the improvements. In 1533, a citizen of Brunswick is said to have added a treadle, by which the spinner could rotate her spindle with one foot and have both hands free to spin. Leonardo da Vinci drew a picture of the flyer, which twists the yarn before winding it onto the spindle. During the 16th century a treadle wheel with flyer was in common use, gained such names as the Saxony wheel and the flax wheel.
It sped up production. On the eve of the Industrial revolution it took at least five spinners to supply one weaver. Lewis Paul and John Wyatt first worked on the problem in 1738, patenting the Roller Spinning machine and the flyer-and-bobbin system, for drawing wool to a more thickness. Using two sets of rollers that travelled at different speeds, yarn could be twisted and spun and efficiently. However, they did not have much financial success. In 1771, Richard Arkwright used waterwheels to power looms for the production of cotton cloth, his invention becoming known as the water frame. More modern spinning machines use a mechanical means to rotate the spindle, as well as an automatic method to draw out fibres, devices to work many spindles together at speeds unattainable. Newer technologies that offer faster yarn production include friction spinning, an open-end system, air jets. Numerous types of spinning wheels exist, including the great wheel known as walking wheel or wool wheel for rapid long draw spinning of woolen-spun yarns.
Until the acceptance of rotor spinning wheel, all yarns were produced by aligning fibres through drawing techniques and twisting the fiber together. With rotor spinning, the fibers in the roving are separated, thus opened, wrapped and twisted as the yarn is drawn out of the rotor cup; the tabletop or floor charkha is one of the oldest known forms of the spinning wheel. The charkha works to the great wheel, with a drive wheel being turned by hand, while the yarn is spun off the tip of the spindle; the floor charkha and the great wheel resemble each other. With both, the spinning must stop; the word charkha, which has links with Persian چرخ: charKh, wheel, is related to the Sanskrit word for "circle". The charkha was both a symbol of the Indian independence movement; the charkha, a small, hand-cranked wheel, is ideal for spinning cotton and other fine, short-staple fibres, though it can be used to spin other fibers as well. The size varies, to a floor charkha. Mahatma Gandhi brought the charkha into wider use with his teachings.
He hoped the charkha would assist the people of India achieve self-sufficiency and independence, therefore used the charkha as a symbol of the Indian independence movement and included it on earlier versions of the Flag of India. The great wheel was one of the earlier types of spinning wheel; the fiber is held in the left hand and the wheel turned with the right. This wheel is thus good for using the long-draw spinning technique, which requires only one active hand most of the time, thus freeing a hand to turn the wheel; the great wheel is used to spin short-staple fibers, can only be used with fibre preparations that are suited to long-draw spinning.b The great wheel is over 5 feet in height. The large drive wheel turns the much smaller spindle assembly, with the spindle revolving many times for each turn of the drive wheel; the yarn is spun at an angle off the tip of the spindle, is stored on the spindle. To begin spinning on a great wheel, first a leader is tied onto the base of the spindle and spiraled up to the tip.
The spinner overlaps a