" Believe Me, If All Those Endearing Young Charms " is a popular song written by the Irish poet Thomas Moore , setting new lyrics to a traditional Irish air that can be traced back into the 18th century. He published it in 1808, naming the air as "My Lodging is on the Cold Ground" from lyrics of British origin with which it was widely associated at the time. The new lyrics were presented in an album of selected Irish melodies arranged by John Andrew Stevenson with “characteristic words” provided by Moore.
51-444: Those Endearing Young Charms may refer to: Believe Me, if All Those Endearing Young Charms , an Irish folk song Those Endearing Young Charms , a 1943 play by Jerome Chodorov Those Endearing Young Charms (film) , a 1945 American film based on Chodorov's play Those Endearing Young Charms (TV series) , a short-lived television series that aired in 1952 Topics referred to by
102-495: A few initial cartoons directed by Freleng, Robert McKimson was hired to direct most of the remaining DePatie–Freleng Looney Tunes. In addition to DePatie–Freleng's cartoons, a series of new shorts featuring The Road Runner and Wile E. Coyote was commissioned from an independent animation studio, Herbert Klynn 's Format Productions . Veteran Warner animator Rudy Larriva , who had worked for years under Road Runner creator Chuck Jones, assumed directorial duties for these films, and
153-671: A few other former associates of Jones ( Bob Bransford , Ernie Nordli ) came aboard. Even with the Jones connections, Larriva's Road Runner shorts were considered to be inferior and witless compared to Jones' by critics. McKimson also directed an additional two Road Runner shorts with the main DePatie–Freleng team, which are more highly regarded than Larriva's efforts. After three years of outsourced cartoons, Warner Bros. decided to bring production back in-house. DePatie–Freleng had their contract terminated (they subsequently moved to new studios in
204-669: A fourth unit for Clampett to head, although for tax reasons this was technically a separate studio headed by Schlesinger's brother-in-law, Ray Katz. From 1936 until 1944, animation directors and animators such as Freleng, Avery, Clampett, Jones, Arthur Davis , Robert McKimson , and Frank Tashlin worked at the studio. During this period, these creators introduced several of the most popular cartoon characters to date, including Daffy Duck (1937, Porky's Duck Hunt by Avery), Elmer Fudd (1940, Elmer's Candid Camera by Jones), Bugs Bunny (1940, A Wild Hare by Avery), and Tweety (1942, A Tale of Two Kitties by Clampett). Avery left
255-430: A freelance basis with writing partner Bill Danch. John Dunn and Dave Detiege, both former Disney men, were hired to replace them. During Burton's tenure, Warner Bros. Cartoons branched out into television. In the fall of 1960, ABC TV premiered The Bugs Bunny Show , which was a package program featuring three theatrical Warner Bros. cartoons, with newly produced wraparounds to introduce each short. The program remained on
306-400: A stanza of the song during a fundraiser for Steven's public television station and goes into labor as she sings the high F in the episode "Birth of a Keaton, Part 1" of Family Ties (1984). The first line appears in some versions of Dexys Midnight Runners ' " Come On Eileen " as an introduction played by a solo fiddle. A short version of the tune also appears at the end of some versions of
357-572: A staple of Warner Bros. cartoons , appearing first in the 1944 Private Snafu short Booby Traps . Subsequent uses included the 1951 Merrie Melodies short Ballot Box Bunny and 1957 Looney Tunes short Show Biz Bugs , both starring Bugs Bunny , the 1965 cartoon Rushing Roulette and 1994 short Chariots of Fur featuring Wile E. Coyote and the Road Runner , and in a 1993 episode of Animaniacs , "Slappy Goes Walnuts", which introduces Slappy Squirrel . In its cartoon appearances,
408-587: A stringent five-week production schedule on each cartoon (at least one director, Chuck Jones, cheated the system by spending more time on special cartoons such as What's Opera, Doc? , less time on simpler productions such as Road Runner entries, and had his crew forge their time cards). With less money for full animation, the Warner Bros. story men — Michael Maltese , Tedd Pierce , and Warren Foster — began to focus more of their cartoons on dialogue. While story artists were assigned to directors at random during
459-508: Is based on the tune William Vincent Wallace composed a fantasy for piano on the melody. Victor Herbert quotes the tune in his "Irish Rhapsody" Roger Quilter 's setting of the song was included in the Arnold Book of Old Songs , published in 1950. Joni James includes the song on her album Joni Sings Irish Favorites (1959) and Bing Crosby included it in a medley on his album 101 Gang Songs (1961). Variations were done in
510-524: Is different from Wikidata All article disambiguation pages All disambiguation pages Believe Me, if All Those Endearing Young Charms The preface to their joint production quotes a letter that Moore wrote to Stevenson about the need for it to set the record straight on the Irish origin of many melodies that had come to be associated with "our English neighbours". Toward that end, Moore devised lyrics to replace British ones such as "My Lodging
561-503: Is not while beauty and youth are thine own, And thy cheeks unprofan'd by a tear, That the fervour and faith of a soul can be known, To which time will but make thee more dear! Oh! the heart, that has truly lov'd, never forgets, But as truly loves on to the close; As the sun-flower turns on her god, when he sets, The same look which she turn'd when he rose! "Endearing Young Charms" became
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#1732801719366612-535: Is on the Cold Ground". The original version is attested in the play The Rivals by William Davenant , initially performed in 1662. It is sung by the character Celania in Act 5 to a melody that is not indicated. William Grattan Flood provides details about a composed setting of "My Lodging is on the Cold Ground", published by Matthew Locke in 1665. It has no Irish nexus and is melodically altogether different from
663-508: Is on the cold Ground I. Believe me, if all those endearing young charms, Which I gaze on so fondly to-day, Were to change by to-morrow, and fleet in my arms, Like fairy-gifts fading away,— Thou wouldst still be ador'd as this moment thou art, Let thy loveliness fade as it will; And, around the dear ruin each wish of my heart Would entwine itself verdantly still! II. It
714-536: The San Fernando Valley ), and Format was commissioned to produce three "buffer" cartoons with Daffy and Speedy (again, directed by Rudy Larriva) to fill the gap until Warner Bros.'s own studio was up and running again. The new cartoon studio was to be founded and headed by studio executive William L. Hendricks , and after an unsuccessful attempt at luring Bob Clampett out of retirement, former Walter Lantz Productions and Hanna-Barbera animator Alex Lovy
765-746: The 1930s and 1940s, by the 1950s each story man worked almost exclusively with one director: Maltese with Jones, Foster with Freleng, and Pierce with McKimson. With the advent of the 3-D film craze in 1953, Warner Bros. shut its cartoon studio down in June of that year, fearing that 3-D cartoon production would be too expensive (only one Warner Bros. cartoon was ever produced in 3-D, Jones' Lumber Jack-Rabbit starring Bugs Bunny). The creative staff dispersed (Jones, for example, went to work at Disney on Sleeping Beauty , Maltese went to Walter Lantz Productions , and Freleng went into commercial work). Warner Bros. Cartoons re-opened five months after its close, following
816-570: The 1963 Andy Griffith Show episode "Rafe Hollister Sings", and the 2010 South Park episode " Crippled Summer ". An instrumental version of the song plays around the midpoint of the 1963 Twilight Zone episode " Passage on the Lady Anne ". The song is performed at a Christmas party of the Adams Family at the beginning of "Chapter VIII: John Quincy Adams, Secretary of State" of The Adams Chronicles (1976). Meredith Baxter performs
867-561: The 50s, while trying to maintain a fully-animated style, and Davis' cartoons (having the smallest budget of the four units) prioritizes its animation and jokes over the stories, as Davis was said to had an insecurity with his story men. Among the Warner Bros. cartoon stars who were created after Schlesinger's departure include Pepé Le Pew (1945, Odor-able Kitty by Jones), Sylvester (1945, Life with Feathers by Freleng), Yosemite Sam (1945, Hare Trigger by Freleng), Foghorn Leghorn (1946, Walky Talky Hawky by McKimson), Marvin
918-523: The British lyrics set to it, beginning in 1773. The main focus of the Grattan Flood article is tracing the origins of yet another song set to the same melody in 1838 by Rev. Samuel Gilman in celebration of the 200th anniversary of the founding of Harvard University . It was titled " Fair Harvard " and adopted there for general festive use. The relatively brief interval between the publication of
969-561: The Martian (1948, Haredevil Hare by Jones), Wile E. Coyote and the Road Runner (1949, Fast and Furry-ous by Jones), Granny (1950, Canary Row by Freleng), Speedy Gonzales (1953, Cat-Tails for Two by McKimson) and The Tasmanian Devil (1954, Devil May Hare by McKimson). In later years, even more minor Looney Tunes characters such as Freleng's Rocky and Mugsy , Jones's Gossamer and Michigan J. Frog , and McKimson's Pete Puma have become significantly popular. After
1020-816: The Schlesinger studio produced a number of films for the United States military in support of its efforts in World War II . Under the command of the US Air Force 's First Motion Picture Unit , headed from 1942 to 1944 by Major Theodor Seuss Geisel (better known as Dr. Seuss ), the studio produced the Private Snafu and (with Walter Lantz Productions ) Mr. Hook cartoons for the servicemen's entertainment. On July 1, 1944, Schlesinger sold his studio to Warner Bros. for $ 700,000, which renamed
1071-473: The Schlesinger-Katz studio was taken by Norm McCabe , a Clampett animator whose cartoons focused in war-related humor; McCabe, in turn, lasted barely a year before being drafted, and Frank Tashlin returned to the studio to replace him. By 1942, the Schlesinger studio had surpassed Walt Disney Productions as the most successful producer of animated shorts in the United States. Between 1942 and 1945,
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#17328017193661122-472: The Warner Bros. lot on Sunset Boulevard in Hollywood. The Schlesinger studio got off to a slow start, continuing their one-shot Merrie Melodies and introducing a non canon Bosko replacement named Buddy to serve as the new star of Looney Tunes . The studio then formed the three-unit structure that it would retain throughout most of its history, with one of the units headed by Ben "Bugs" Hardaway , and
1173-590: The Warner Sunset lot, Avery and his unit – including animators Robert Clampett and Chuck Jones – were moved into a small building elsewhere on the Sunset lot, which Avery and his team affectionately dubbed "Termite Terrace". Although the Avery unit moved out of the building after a year, "Termite Terrace" later became a metonym for the classic Warner Bros. animation department in general, even for years after
1224-539: The air under various names and on all three major networks for four decades from 1960 to 2000. All versions of The Bugs Bunny Show featured Warner Bros. cartoons released after July 31, 1948, as all of the Technicolor cartoons released before that date were sold to Associated Artists Productions on June 11, 1956. David H. DePatie became the last executive in charge of the original Warner Bros. Cartoons studio in 1961. The same year, Chuck Jones moonlighted to write
1275-535: The art and history of traditional animation . Warner Bros. Cartoons was founded in 1933 by Leon Schlesinger as Leon Schlesinger Productions . Schlesinger sold the studio to Warner Bros. in 1944, after which the Warner Bros. Cartoons name was adopted. The studio closed in 1963, and Looney Tunes and Merrie Melodies were subsequently subcontracted to Freleng's DePatie–Freleng Enterprises studio from 1964 to 1967. Warner Bros. Cartoons re-opened that year, under Warner Bros.-Seven Arts , before closing again in 1969. It
1326-549: The building was abandoned, condemned, and torn down. During this period, four cartoons were outsourced to the Ub Iwerks studio; however, Iwerks struggled to adapt his style to the type of humor that the Looney Tunes had developed by this time, and so Clampett took over as director (using Iwerks' staff) for the last two of these outsourced cartoons. Schlesinger was so impressed by Clampett's work on these shorts that he opened
1377-479: The character as the studio's first bona fide star. Schlesinger also gradually moved the Merrie Melodies cartoons from black and white, to two-strip Technicolor in 1934, and finally to full three-strip Technicolor in 1935. The Looney Tunes series would be produced in black-and-white for much longer, until 1943. Because of the limited spacing conditions in the Schlesinger building at 1351 N. Van Ness on
1428-459: The company Warner Bros. Cartoons, Inc. , and Edward Selzer (who by Jones' and Freleng's accounts had no sense of humor or admiration of cartoons), was appointed by Warner Bros. as the new head of the cartoon studio after Schlesinger retired. In September 1944 Frank Tashlin left, and in May 1945, Bob Clampett left. Tashlin's unit was initially taken over by Robert McKimson . The remaining animators of
1479-760: The end of the 3-D craze. In 1955, the staff moved into a brand new facility on the main Warner Bros. lot in Burbank. KTLA television took over the old studio location on Van Ness; the old Warner Sunset Studios is today called Sunset Bronson Studios . Also on February 19, 1955, Warner Bros. sold its library of black and white Looney Tunes to Guild Films . The package consisted of 191 cartoons which began showing on television that year. By 1958, Selzer had retired, and veteran Warner Cartoons production manager John Burton took his place. Warner Bros. also lost its trio of staff storymen at this time. Foster and Maltese found work at Hanna-Barbera Productions , while Pierce worked on
1530-405: The era have more adult-oriented humor than Lovy's. However, on October 10, 1969, Warner Bros. ceased production on all its short subjects and shut the studio down for good when Warner Bros.-Seven Arts was acquired by Kinney National Company . The back catalog of Looney Tunes and Merrie Melodies shorts would remain a popular broadcast and syndication package for Warner Bros. Television well into
1581-476: The films to theaters. The first Looney Tunes character was the Harman-Ising creation Bosko, The Talk-ink Kid , who competed with Walt Disney 's Mickey Mouse and Max Fleischer 's Betty Boop . In 1933, Harman and Ising parted company with Schlesinger over financial disputes, and took Bosko with them to Metro-Goldwyn-Mayer . To maintain his contract with Warner Bros., Schlesinger set up his own studio on
Those Endearing Young Charms - Misplaced Pages Continue
1632-462: The first stanza in the 1953 film The Affairs of Dobie Gillis . Arrangements of the tune "Lodging Is On the Cold Ground" can be found in Mauro Giuliani 's Op 125 (6 Irish National Airs) no. 5, Carl Czerny 's Op 575 (Die Schule des Vortrags und der Verzierungen) Vol I no. 3, and Haydn 's Hob. XXXIa:262. Louis Drouet 's "Introduction and Variations on an English Theme for Flute and Harp"
1683-524: The height of television popularity and decline in moviegoing, DePatie was sent to a board meeting in New York, and he was informed that the cartoon studio was going to be shut down. DePatie completed the task by 1963. The final project at the studio was making the animated sequences, directed by McKimson, for the 1964 Warner Bros. feature The Incredible Mr. Limpet . With the studio closed, Hal Seeger Productions in New York had to be contracted to produce
1734-621: The initial Clampett's unit were assigned to Arthur Davis . Although inheriting most of their staff, these units have been the least known among the four, apart from having lower budgets than Jones and Freleng. In 1948, the studio moved to a larger building on the Sunset Boulevard lot. Davis' separate unit was dissolved in November 1947, and he became an animator for Freleng. The four units became noted by their respective styles, mostly influenced by their budgets: Jones' cartoons (having
1785-435: The largest budgets) featured a more visual and sophisticated art style, and focused more on unique story telling and characterization over traditional gags, Freleng's cartoons (having a smaller budget than Jones) developed a conservative directorial style which uses sharp timing, jokes and use of music for comedic effect McKimson's cartoons (also with a smaller budget) kept up the traditional screwball antics-based direction into
1836-699: The most successful animation studios in American media history, it was primarily responsible for the Looney Tunes and Merrie Melodies series of animated short films. The characters featured in these cartoons, including Bugs Bunny , Daffy Duck , and Porky Pig , are among the most famous and recognizable characters in the world. Many of the creative staff members at the studio, including directors and animators such as Chuck Jones , Friz Freleng , Robert McKimson , Tex Avery , Robert Clampett , Arthur Davis , and Frank Tashlin , are considered major figures in
1887-522: The one in the Stevenson/Moore compilation. The Rivals remained in the active theatre repertoire until at least 1668 and Locke's melody is an obvious candidate for having been the one sung during its performance. Flood cautions against confusing it with the traditional melody used by Moore, which he claims (without substantiation) had been known under various names to Irish harpers from about 1745. However, he extensively cites verifiable sources with
1938-723: The opening and closing credits for The Porky Pig Show , which debuted on ABC on September 20, 1964. This marked one of the first times that the Looney Tunes characters were animated outside of the Los Angeles area. David H. DePatie and Friz Freleng started DePatie–Freleng Enterprises in 1963, and leased the old Warner Bros. Cartoons studio as their headquarters. In 1964, Warner Bros. contracted DePatie–Freleng to produce more Looney Tunes and Merrie Melodies , an arrangement that lasted until 1967. The vast majority of these paired off Daffy Duck against Speedy Gonzales, and after
1989-616: The original studio. Shortly after the studio opened, Warner Bros. was bought out by Seven Arts Associates , and the studio renamed Warner Bros.-Seven Arts . Initially, Lovy's new team produced more Daffy and Speedy cartoons, but soon moved to create new characters such as Cool Cat and Merlin the Magic Mouse , and even occasional experimental works such as Norman Normal (1968), the only cartoon not to be in either series. Lovy's cartoons were not well received, and many enthusiasts regard them (particularly his Daffy and Speedy efforts) as
2040-449: The other by Earl Duvall , who was replaced by Jack King a year later. In 1935, after Buddy proved not to be a successful character, Freleng helmed the Merrie Melodies cartoon I Haven't Got a Hat , which introduced the character Porky Pig . Hardaway and King departed, and a new arrival at Schlesinger's, Fred "Tex" Avery , took Freleng's creation and ran with it. Avery directed a string of cartoons starring Porky Pig that established
2091-452: The same term [REDACTED] This disambiguation page lists articles associated with the title Those Endearing Young Charms . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Those_Endearing_Young_Charms&oldid=734975196 " Category : Disambiguation pages Hidden categories: Short description
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2142-464: The script for a UPA -produced feature titled Gay Purr-ee . When that film was picked up by Warner Bros. for distribution in 1962, the studio learned that Jones had violated his exclusive contract with Warners and he was terminated in July. Most of Jones' former unit subsequently re-joined him at Sib Tower 12 Productions to work on a new series of Tom and Jerry cartoons for MGM . In late 1962, at
2193-454: The song is often the cue for a classic "bomb gag" where the playing of the first line of the song sets off a rigged explosion on the final note. However, the target often misses, forcing the perpetrator to play it himself and fall for his own trap. Simone Mantia , a pioneer of American euphonium music, composed a theme and variations on the melody, which remains a staple of the solo euphonium literature. Little Virgie ( Shirley Temple ) sings
2244-471: The song to her father ( John Boles ) in the 1935 film The Littlest Rebel . It is used in the film The Informer by John Ford . The first verse was sung by the character Alfalfa in a 1936 episode of MGM's The Little Rascals titled Bored of Education . Walter Huston plays the melody on the harmonica in the film The Treasure of the Sierra Madre . Debbie Reynolds and Barbara Ruick sing
2295-486: The song. Leonard Bernstein uses the melody to demonstrate concepts in his lecture series " The Unanswered Question ". Vagabond Opera used the melody as the basis for their song "Manayunk" (released 2006). Warner Bros. Cartoons Warner Bros. Cartoons, Inc. was an American animation studio, serving as the in-house animation division of Warner Bros. during the Golden Age of American animation . One of
2346-512: The studio in 1941 following a series of disputes with Schlesinger, who shortly after closed the studio for two weeks due to a minor strike similar to the better known one that occurred at Disney. A few months earlier he banished all unionized employees in what became known in retrospect as the "Looney Tune Lockout"; this time Schlesinger lost nearly all of his employees of the Avery unit. Clampett and several of his key animators took over Avery's former unit, while Clampett's own position as director of
2397-506: The two sets of lyrics can be seen as an indication of the popular attention that Moore had called to the shared melody. Moore's lyrics express a reassurance that love endures through time and misfortune. It has, therefore, anecdotally been suggested that the underlying sentiments were directed toward his wife, who is said to have been stricken with smallpox. From Stevenson and Moore, A Selection of Irish Melodies , 1808: BELIEVE ME IF ALL THOSE ENDEARING YOUNG CHARMS Air—My Lodging
2448-500: The verdict of the United States v. Paramount Pictures, Inc. anti-trust case in 1948 ended the practice of " block booking ", Warner Bros. could no longer force theaters into buying their features and shorts together as packages; shorts had to be sold separately. Theater owners were only willing to pay so much for cartoon shorts, and as a result, by the late-1950s the budgets at Warner Bros. Cartoons became tighter. Selzer forced
2499-411: The worst cartoons ever produced by the studio. After a year, Alex Lovy left and returned to Hanna-Barbera, and Robert McKimson was brought back to the studio. He focused on using the characters that Lovy had created (and two of his own creation: Bunny and Claude ). The studio's classic characters appeared only in advertisements (as for Plymouth Road Runner ) and cartoon show bumpers. McKimson's films of
2550-508: Was appointed director at the new studio. He brought his longtime collaborator, Laverne Harding to be the new studio's chief animator, and brought in Disney animator Volus Jones and Ed Solomon who also started at Disney as an assistant, which contributed to make cartoons from this era of the studio stylistically quite different from the studio's "Golden Age". Lovy also brought in animator Ted Bonnicksen and layout artist Bob Givens, both veterans of
2601-530: Was succeeded by Warner Bros. Animation , which was established in 1980. Hugh Harman and Rudolf Ising originated the Looney Tunes and Merrie Melodies series of animated short subjects in 1930 and 1931, respectively. Both cartoon series were produced for Leon Schlesinger at the Harman-Ising Studio on Hollywood Boulevard in Hollywood, California , with Warner Bros. Pictures releasing
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