document_title: Mickey Mouse

question_text: what is the original voice of mickey mouse

question_tokens: what is the original voice of mickey mouse

text: Mickey Mouse

text: Origin

text: "I only hope that we never lose sight of one thing – that it was all started by a mouse."

text: Mickey Mouse was created as a replacement for Oswald the Lucky Rabbit, an earlier cartoon character created by the Disney studio for Charles Mintz, a film producer who distributed product through Universal Studios.[4] In the spring of 1928, with the series going strong, Disney asked Mintz for an increase in the budget. But Mintz instead demanded that Walt take a 20 percent budget cut, and as leverage, he reminded Disney that Universal owned the character, and revealed that he had already signed most of Disney's current employees to his new contract. Angrily, Disney refused the deal and returned to produce the final Oswald cartoons he contractually owed Mintz. Disney was dismayed at the betrayal by his staff but determined to restart from scratch. The new Disney Studio initially consisted of animator Ub Iwerks and a loyal apprentice artist, Les Clark, who together with Wilfred Jackson were among the few who remained loyal to Walt. One lesson Disney learned from the experience was to thereafter always make sure that he owned all rights to the characters produced by his company.

text: In the spring of 1928, Disney asked Ub Iwerks to start drawing up new character ideas. Iwerks tried sketches of various animals, such as dogs and cats, but none of these appealed to Disney. A female cow and male horse were also rejected. They would later turn up as Clarabelle Cow and Horace Horsecollar. A male frog was also rejected. It would later show up in Iwerks' own Flip the Frog series.[5] Walt Disney got the inspiration for Mickey Mouse from a tame mouse at his desk at Laugh-O-Gram Studio in Kansas City, Missouri.[6] In 1925, Hugh Harman drew some sketches of mice around a photograph of Walt Disney. These inspired Ub Iwerks to create a new mouse character for Disney.[5] "Mortimer Mouse" had been Disney's original name for the character before his wife, Lillian, convinced him to change it, and ultimately Mickey Mouse came to be.[7][8] The actor Mickey Rooney claimed that, during his Mickey McGuire days, he met cartoonist Walt Disney at the Warner Brothers studio, and that Disney was inspired to name Mickey Mouse after him.[9] This claim, however, has been debunked by Disney historian Jim Korkis, since at the time of Mickey Mouse's development, Disney Studios had been located on Hyperion Avenue for several years, and Walt Disney never kept an office or other working space at Warner Brothers, having no professional relationship with Warner Brothers, as the Alice Comedies and Oswald cartoons were distributed by Universal.[10][11]

text: Design

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text: Throughout the earlier years, Mickey's design bore heavy resemblance to Oswald, save for the ears, nose, and tail.[12][13][14] Ub Iwerks designed Mickey's body out of circles in order to make the character simple to animate. Disney employees John Hench and Marc Davis believed that this design was part of Mickey's success as it made him more dynamic and appealing to audiences.

text: Mickey's circular design is most noticeable in his ears. In animation in the 1940s, Mickey's ears were animated in a more realistic perspective. Later, they were drawn to always appear circular no matter which way Mickey was facing. This made Mickey easily recognizable to audiences and made his ears an unofficial personal trademark. The circular rule later created a dilemma for toy creators who had to recreate a three-dimensional Mickey.

text: In 1938, animator Fred Moore redesigned Mickey's body away from its circular design to a pear-shaped design. Colleague Ward Kimball praised Moore for being the first animator to break from Mickey's "rubber hose, round circle" design. Although Moore himself was nervous at first about changing Mickey, Walt Disney liked the new design and told Moore "that's the way I want Mickey to be drawn from now on."

text: Each of Mickey's hands has only three fingers and a thumb. Disney said that this was both an artistic and financial decision, explaining "Artistically five digits are too many for a mouse. His hand would look like a bunch of bananas. Financially, not having an extra finger in each of 45,000 drawings that make up a six and one-half minute short has saved the Studio millions." In the film The Opry House (1929), Mickey was first given white gloves as a way of contrasting his naturally black hands against his black body. The use of white gloves would prove to be an influential design for cartoon characters, particularly with later Disney characters, but also with non-Disney characters such as Bugs Bunny, Woody Woodpecker, Mighty Mouse, and Mario.

text: Mickey's eyes, as drawn in Plane Crazy and The Gallopin' Gaucho, were large and white with black outlines. In Steamboat Willie, the bottom portion of the black outlines was removed, although the upper edges still contrasted with his head. Mickey's eyes were later re-imagined as only consisting of the small black dots which were originally his pupils, while what were the upper edges of his eyes became a hairline. This is evident only when Mickey blinks. Fred Moore later redesigned the eyes to be small white eyes with pupils and gave his face a Caucasian skin tone instead of plain white. This new Mickey first appeared in 1938 on the cover of a party program, and in animation the following year with the release of The Pointer.[15] Mickey is sometimes given eyebrows as seen in The Simple Things (1953) and in the comic strip, although he does not have eyebrows in his most recent appearances.

text: Some of Mickey's early appearance, particularly the gloves, and facial characteristics, evolved from blackface caricatures used in minstrel shows.[16][17][18][19][20]

text: Besides Mickey's gloves and shoes, he typically wears only a pair of shorts with two large buttons in the front. Before Mickey was seen regularly in color animation, Mickey's shorts were either red or a dull blue-green. With the advent of Mickey's color films, the shorts were always red. When Mickey is not wearing his red shorts, he is often still wearing red clothing such as a red bandmaster coat (The Band Concert, The Mickey Mouse Club), red overalls (Clock Cleaners, Boat Builders), a red cloak (Fantasia, Fun and Fancy Free), a red coat (Squatter's Rights, Mickey's Christmas Carol), or a red shirt (Mickey Down Under, The Simple Things).

text: Animation history

text: Debut (1928)

text: Disney had Ub Iwerks secretly begin animating a new cartoon while still under contract with Universal. The cartoon was co-directed by Walt Disney and Ub Iwerks. Iwerks was the main animator for the short and reportedly spent six weeks working on it. In fact, Iwerks was the main animator for every Disney short released in 1928 and 1929. Hugh Harman and Rudolf Ising also assisted Disney during those years. They had already signed their contracts with Charles Mintz, but he was still in the process of forming his new studio and so for the time being they were still employed by Disney. This short would be the last they animated under this somewhat awkward situation.[21]

text: Mickey was first seen in a test screening of the cartoon short Plane Crazy, on May 15, 1928, but it failed to impress the audience and to add insult to injury, Walt could not find a distributor. Though understandably disappointed, Walt went on to produce a second Mickey short, The Gallopin' Gaucho, which was also not released for lack of a distributor.[22]

text: Steamboat Willie was first released on November 18, 1928, in New York. It was co-directed by Walt Disney and Ub Iwerks. Iwerks again served as the head animator, assisted by Johnny Cannon, Les Clark, Wilfred Jackson and Dick Lundy. This short was intended as a parody of Buster Keaton's Steamboat Bill, Jr., first released on May 12 of the same year. Although it was the third Mickey cartoon produced, it was the first to find a distributor, and thus is considered by The Disney Company as Mickey's debut. Willie featured changes to Mickey's appearance (in particular, simplifying his eyes to large dots) that established his look for later cartoons and in numerous Walt Disney films.[23][24]

text: The cartoon was not the first cartoon to feature a soundtrack connected to the action. Fleischer Studios, headed by brothers Dave and Max Fleischer, had already released a number of sound cartoons using the DeForest system in the mid-1920s. However, these cartoons did not keep the sound synchronized throughout the film. For Willie, Disney had the sound recorded with a click track that kept the musicians on the beat. This precise timing is apparent during the "Turkey in the Straw" sequence when Mickey's actions exactly match the accompanying instruments. Animation historians have long debated who had served as the composer for the film's original music. This role has been variously attributed to Wilfred Jackson, Carl Stalling and Bert Lewis, but identification remains uncertain. Walt Disney himself was voice actor for both Mickey and Minnie and would remain the source of Mickey's voice through 1946 for theatrical cartoons. Jimmy MacDonald took over the role in 1946, but Walt provided Mickey's voice again from 1955 to 1959 for The Mickey Mouse Club television series on ABC.

text: Audiences at the time of Steamboat Willie's release were reportedly impressed by the use of sound for comedic purposes. Sound films or "talkies" were still considered innovative. The first feature-length movie with dialogue sequences, The Jazz Singer starring Al Jolson, was released on October 6, 1927. Within a year of its success, most United States movie theaters had installed sound film equipment. Walt Disney apparently intended to take advantage of this new trend and, arguably, managed to succeed. Most other cartoon studios were still producing silent products and so were unable to effectively act as competition to Disney. As a result, Mickey would soon become the most prominent animated character of the time. Walt Disney soon worked on adding sound to both Plane Crazy and The Gallopin' Gaucho (which had originally been silent releases) and their new release added to Mickey's success and popularity. A fourth Mickey short, The Barn Dance, was also put into production; however, Mickey does not actually speak until The Karnival Kid in 1929 when his first spoken words were "Hot dogs, Hot dogs!" After Steamboat Willie was released, Mickey became a close competitor to Felix the Cat, and his popularity would grow as he was continuously featured in sound cartoons. By 1929, Felix would lose popularity among theater audiences, and Pat Sullivan decided to produce all future Felix cartoons in sound as a result.[25] Unfortunately, audiences did not respond well to Felix's transition to sound and by 1930, Felix had faded from the screen.[26]

text: Black and white films (1929–1935)

text: In Mickey's early films he was often characterized not as a hero, but as an ineffective young suitor to Minnie Mouse. The Barn Dance (March 14, 1929) is the first time in which Mickey is turned down by Minnie in favor of Pete.

text: The Opry House (March 28, 1929) was the first time in which Mickey wore his white gloves. Mickey wears them in almost all of his subsequent appearances and many other characters followed suit. The three lines on the back of Mickey's gloves represent darts in the gloves' fabric extending from between the digits of the hand, typical of glove design of the era.

text: When the Cat's Away (April 18, 1929), essentially a remake of the Alice Comedy, "Alice Rattled by Rats", was an unusual appearance for Mickey. Although Mickey and Minnie still maintained their anthropomorphic characteristics, they were depicted as the size of regular mice and living with a community many other mice as pests in a home. Mickey and Minnie would later appear the size of regular humans in their own setting. In appearances with real humans, Mickey has been shown to be about two to three feet high.[27] The next Mickey short was also unusual. The Barnyard Battle (April 25, 1929) was the only film to depict Mickey as a soldier and also the first to place him in combat. The Karnival Kid (1929) was the first time Mickey spoke. Before this he had only whistled, laughed, and grunted. His first words were "Hot dogs! Hot dogs!" said while trying to sell hot dogs at a carnival. Mickey's Follies (1929) introduced the song "Minnie's Yoo-Hoo" which would become the theme song for Mickey Mouse films for the next several years. The "Minnie's Yoo-Hoo" song sequence was also later reused with different background animation as its own special short shown only at the commencement of 1930s theater-based Mickey Mouse Clubs.[28][29] Mickey's dog Pluto first appeared as Mickey's pet in The Moose Hunt (1931) after previously appearing as Minnie's dog "Rover" in The Picnic (1930).

text: The Cactus Kid (April 11, 1930) was the last film to be animated by Ub Iwerks at Disney. Shortly before the release of the film, Iwerks left to start his own studio, bankrolled by Disney's then-distributor Pat Powers. Powers and Disney had a falling out over money due Disney from the distribution deal. It was in response to losing the right to distribute Disney's cartoons that Powers made the deal with Iwerks, who had long harbored a desire to head his own studio. The departure is considered a turning point in Mickey's career, as well as that of Walt Disney. Walt lost the man who served as his closest colleague and confidant since 1919. Mickey lost the man responsible for his original design and for the direction or animation of several of the shorts released till this point. Advertising for the early Mickey Mouse cartoons credited them as "A Walt Disney Comic, drawn by Ub Iwerks". Later Disney Company reissues of the early cartoons tend to credit Walt Disney alone.

text: Disney and his remaining staff continued the production of the Mickey series, and he was able to eventually find a number of animators to replace Iwerks. As the Great Depression progressed and Felix the Cat faded from the movie screen, Mickey's popularity would rise, and by 1932 The Mickey Mouse Club would have one million members.[30] At the 5th Academy Awards in 1932, Mickey received his first Academy Award nomination, received for Mickey's Orphans (1931). Walt Disney also received an honorary Academy Award for the creation of Mickey Mouse. Despite being eclipsed by the Silly Symphonies short the Three Little Pigs in 1933, Mickey still maintained great popularity among theater audiences too, until 1935, when polls showed that Popeye was more popular than Mickey.[31][32][33] By 1934, Mickey merchandise had earned $600,000.00 a year.[34] In 1935, Disney began to phase out the Mickey Mouse Clubs, due to administration problems.[35]

text: About this time, story artists at Disney were finding it increasingly difficult to write material for Mickey. As he had developed into a role model for children, they were limited in the types of gags they could make. This led to Mickey taking more of a secondary role in some of his next films allowing for more emphasis on other characters. In Orphan's Benefit (August 11, 1934) Mickey first appeared with Donald Duck who had been introduced earlier that year in the Silly Symphonies series. The tempestuous duck would provide Disney with seemingly endless story ideas and would remain a recurring character in Mickey's cartoons.

text: Color films (1935–1953)

text: Mickey first appeared animated in color in Parade of the Award Nominees in 1932, however, the film strip was created for the 5th Academy Awards ceremony and was not released to the public. Mickey's official first color film came in 1935 with The Band Concert. The Technicolor film process was used in the film production. Here Mickey conducted the William Tell Overture, but the band is swept up by a tornado. It is said that conductor Arturo Toscanini so loved this short that, upon first seeing it, he asked the projectionist to run it again. In 1994, The Band Concert was voted the third-greatest cartoon of all time in a poll of animation professionals. By colorizing and partially redesigning Mickey, Walt would put Mickey back on top once again, and Mickey would reach popularity he never reached before as audiences now gave him more appeal.[36] Also in 1935, Walt would receive a special award from the League of Nations for creating Mickey.

text: However, by 1938, the more manic Donald Duck would surpass the passive Mickey, resulting in a redesign of the mouse between 1938 and 1940 that put Mickey at the peak of his popularity.[36] The second half of the 1930s saw the character Goofy reintroduced as a series regular. Together, Mickey, Donald Duck, and Goofy would go on several adventures together. Several of the films by the comic trio are some of Mickey's most critically acclaimed films, including Mickey's Fire Brigade (1935), Moose Hunters (1937), Clock Cleaners (1937), Lonesome Ghosts (1937), Boat Builders (1938), and Mickey's Trailer (1938). Also during this era, Mickey would star in Brave Little Tailor (1938), an adaptation of The Valiant Little Tailor, which was nominated for an Academy Award.

text: Mickey was redesigned by animator Fred Moore which was first seen in The Pointer (1939). Instead of having solid black eyes, Mickey was given white eyes with pupils, a Caucasian skin colored face, and a pear-shaped body. In the 40's, he changed once more in The Little Whirlwind, where he used his trademark pants for the last time in decades, lost his tail, got more realistic ears that changed with perspective and a different body anatomy. But this change would only last for a short period of time before returning to the one in "The Pointer", with the exception of his pants. In his final theatrical cartoons in the 1950s, he was given eyebrows, which were removed in the more recent cartoons.

text: In 1940 Mickey appeared in his first feature-length film, Fantasia. His screen role as The Sorcerer's Apprentice, set to the symphonic poem of the same name by Paul Dukas, is perhaps the most famous segment of the film and one of Mickey's most iconic roles. The segment features no dialogue at all, only the music. The apprentice (Mickey), not willing to do his chores, puts on the sorcerer's magic hat after the sorcerer goes to bed and casts a spell on a broom, which causes the broom to come to life and perform the most tiring chore—filling up a deep well using two buckets of water. When the well eventually overflows, Mickey finds himself unable to control the broom, leading to a near-flood. After the segment ends, Mickey is seen in silhouette shaking hands with Leopold Stokowski, who conducts all the music heard in Fantasia. Mickey has often been pictured in the red robe and blue sorcerer's hat in merchandising. It was also featured into the climax of Fantasmic!, an attraction at the Disney theme parks.

text: After 1940, Mickey's popularity would decline until his 1955 re-emergence as a daily children's television personality.[37] Despite this, the character continued to appear regularly in animated shorts until 1943 (winning his only competitive Academy Award—with canine companion Pluto—for a short subject, Lend a Paw) and again from 1946 to 1952.

text: The last regular installment of the Mickey Mouse film series came in 1953 with The Simple Things in which Mickey and Pluto go fishing and are pestered by a flock of seagulls.

text: Television and later films

text: In the 1950s, Mickey became more known for his appearances on television, particularly with The Mickey Mouse Club. Many of his theatrical cartoon shorts were rereleased on television series such as Ink & Paint Club, various forms of the Walt Disney anthology television series, and on home video. Mickey returned to theatrical animation in 1983 with Mickey's Christmas Carol, an adaptation of Charles Dickens' A Christmas Carol in which Mickey played Bob Cratchit. This was followed up in 1990 with The Prince and the Pauper.

text: Throughout the decades, Mickey Mouse competed with Warner Bros.' Bugs Bunny for animated popularity. But in 1988, the two rivals finally shared screen time in the Robert Zemeckis Disney/Amblin film Who Framed Roger Rabbit. Disney and Warner signed an agreement stating that each character had the same amount of screen time in the scene.

text: Similar to his animated inclusion into a live-action film on Roger Rabbit, Mickey made a featured cameo appearance in the 1990 television special The Muppets at Walt Disney World where he met Kermit the Frog. The two are established in the story as having been old friends. The Muppets have otherwise spoofed and referenced Mickey over a dozen times since the 1970s. Eventually, The Muppets were purchased by the Walt Disney Company in 2004.

text: His most recent theatrical cartoon short was 2013's Get a Horse! which was preceded by 1995's Runaway Brain, while from 1999 to 2004, he appeared in direct-to-video features like Mickey's Once Upon a Christmas, Mickey, Donald, Goofy: The Three Musketeers and the computer-animated Mickey's Twice Upon a Christmas.

text: Many television series have centered on Mickey, such as the ABC shows Mickey Mouse Works (1999–2000), Disney's House of Mouse (2001–2003), Disney Channel's Mickey Mouse Clubhouse (2006–2016), and Mickey and the Roadster Racers (2017–). Prior to all these, Mickey was also featured as an unseen character in the Bonkers episode "You Oughta Be In Toons".

text: Mickey has recently been announced to star in two films. One is being based on the Magic Kingdom theme park at the Walt Disney World Resort, while the other is a film idea pitched by Walt Disney Animation Studios veteran Burny Mattinson centering on Mickey, Donald, and Goofy.[38]

text: Since June 28, 2013, Disney Channel has been airing new 3-minute Mickey Mouse shorts, with animator Paul Rudish at the helm, incorporating elements of Mickey's late twenties-early thirties look with a contemporary twist.[39]

text: Voice actors

text: A large part of Mickey's screen persona is his famously shy, falsetto voice. From 1928 onward, Mickey was voiced by Walt Disney himself, a task in which Disney took great personal pride. However, by 1946, Disney was becoming too busy with running the studio to do regular voice work which meant he could not do Mickey's voice anymore. It is also speculated that his cigarette habit had damaged his voice over the years. After recording the Mickey and the Beanstalk section of Fun and Fancy Free, Mickey's voice was handed over to veteran Disney musician and actor Jimmy MacDonald. MacDonald voiced Mickey in the remainder of the theatrical shorts, and for various television and publicity projects up until his retirement in the mid-1970s, although Walt voiced Mickey again for the introductions to the original 1955–1959 run of The Mickey Mouse Club TV series, the "Fourth Anniversary Show" episode of the Disneyland TV series that aired on September 11, 1958, and the Disneyland USA at Radio City Music Hall show from 1962.[40] Composer Carl W. Stalling was the very first person to provide lines for Mickey in the 1929 short The Karnival Kid. Clarence Nash voiced Mickey in the 1934 Disney short, The Dognapper; around the time when it was filmed, Walt was traveling in Europe and was unavailable to record his lines for Mickey for the short. Along with Disney, J. Donald Wilson, Joe Twerp, and John Hiestand provided the voice in 1938 broadcasts of The Mickey Mouse Theater of the Air.[41] Stan Freberg voiced Mickey in the Freberg-produced record Mickey Mouse's Birthday Party. Alan Young voiced Mickey in the Disneyland record album An Adaptation of Dickens' Christmas Carol, Performed by The Walt Disney Players in 1974, which it would be the first and only time that Alan Young voices him.[42][43]

text: The 1983 short film Mickey's Christmas Carol marked the theatrical debut of Wayne Allwine as Mickey Mouse, who was the official voice of Mickey from 1977 until his death in 2009.[44] Allwine once recounted something MacDonald had told him about voicing Mickey: "The main piece of advice that Jim gave me about Mickey helped me keep things in perspective. He said, 'Just remember kid, you're only filling in for the boss.' And that's the way he treated doing Mickey for years and years. From Walt, and now from Jimmy."[45] Allwine would eventually marry Russi Taylor, the voice of Minnie Mouse since 1986. Les Perkins did the voice of Mickey in two TV specials, "Down and Out with Donald Duck" and "DTV Valentine" in the mid-1980s. Peter Renaday voiced Mickey in the 1980s Disney albums Yankee Doodle Mickey and Mickey Mouse Splashdance.[46][47] He also provided his voice for The Talking Mickey Mouse toy in 1986.[48][49] Quinton Flynn briefly filled in for Allwine as the voice of Mickey in a few episodes of the first season of Mickey Mouse Works whenever Allwine was unavailable to record.[50]

text: Bret Iwan, a former Hallmark greeting card artist, is the current voice of Mickey. Iwan was originally cast as an understudy for Allwine due to the latter’s declining health; however, Allwine died before Iwan could meet him, and Iwan became the new official voice for Mickey. Iwan’s early recordings in 2009 included work for the Disney Cruise Line, Mickey toys, theme parks, and also the Disney on Ice: Celebrations! ice show.[51] He directly replaced Allwine as Mickey for the Kingdom Hearts video game series and the series Mickey Mouse Clubhouse. His first video game voice-over of Mickey Mouse can be found on Kingdom Hearts: Birth by Sleep, a video game for PlayStation Portable. Iwan also became the first voice actor to portray Mickey during Disney’s rebranding of the character, providing the vocal effects of Mickey in the games Epic Mickey as well as his voice in Epic Mickey 2: The Power of Two and the remake of Castle of Illusion. Despite Iwan being Mickey's primary voice actor, the character's voice is provided by Chris Diamantopoulos in the 2013 animated series,[52] as the producers were looking for a voice closer to Walt Disney’s portrayal of the character in order to match the vintage look of the series.[53]

text: Mickey in comics

text: Mickey first appeared in comics after he had appeared in 15 commercially successful animated shorts and was easily recognized by the public. Walt Disney was approached by King Features Syndicate with the offer to license Mickey and his supporting characters for use in a comic strip. Disney accepted and Mickey made his first comic strip appearance on January 13, 1930. The comical plot was credited to Disney himself, art to Ub Iwerks and inking to Win Smith. The first week or so of the strip featured a loose adaptation of "Plane Crazy". Minnie soon became the first addition to the cast. The strips first released between January 13, 1930, and March 31, 1930, has been occasionally reprinted in comic book form under the collective title "Lost on a Desert Island". Animation historian Jim Korkis notes "After the eighteenth strip, Iwerks left and his inker, Win Smith, continued drawing the gag-a-day format..."[54]

text: In early 1930, after Iwerks' departure, Disney was at first content to continue scripting the Mickey Mouse comic strip, assigning the art to Win Smith. However, Disney's focus had always been in animation and Smith was soon assigned with the scripting as well. Smith was apparently discontent at the prospect of having to script, draw, and ink a series by himself as evidenced by his sudden resignation.

text: Disney then searched for a replacement among the remaining staff of the Studio. He selected Floyd Gottfredson, a recently hired employee. At the time Gottfredson was reportedly eager to work in animation and somewhat reluctant to accept his new assignment. Disney had to assure him the assignment was only temporary and that he would eventually return to animation. Gottfredson accepted and ended up holding this "temporary" assignment from May 5, 1930, to November 15, 1975.

text: Walt Disney's last script for the strip appeared May 17, 1930.[54] Gottfredson's first task was to finish the storyline Disney had started on April 1, 1930. The storyline was completed on September 20, 1930, and later reprinted in comic book form as Mickey Mouse in Death Valley. This early adventure expanded the cast of the strip which to this point only included Mickey and Minnie. Among the characters who had their first comic strip appearances in this story were Clarabelle Cow, Horace Horsecollar, and Black Pete as well as the debuts of corrupted lawyer Sylvester Shyster and Minnie's uncle Mortimer Mouse. The Death Valley narrative was followed by Mr. Slicker and the Egg Robbers, first printed between September 22 and December 26, 1930, which introduced Marcus Mouse and his wife as Minnie's parents.

text: Starting with these two early comic strip stories, Mickey's versions in animation and comics are considered to have diverged from each other. While Disney and his cartoon shorts would continue to focus on comedy, the comic strip effectively combined comedy and adventure. This adventurous version of Mickey would continue to appear in comic strips and later comic books throughout the 20th and into the 21st century.

text: Floyd Gottfredson left his mark with stories such as Mickey Mouse Joins the Foreign Legion (1936) and The Gleam (1942). He also created the Phantom Blot, Eega Beeva, Morty and Ferdie, Captain Churchmouse, and Butch. Besides Gottfredson artists for the strip over the years included Roman Arambula, Rick Hoover, Manuel Gonzales, Carson Van Osten, Jim Engel, Bill Wright, Ted Thwailes and Daan Jippes; writers included Ted Osborne, Merrill De Maris, Bill Walsh, Dick Shaw, Roy Williams, Del Connell, and Floyd Norman.

text: The next artist to leave his mark on the character was Paul Murry in Dell Comics. His first Mickey tale appeared in 1950 but Mickey did not become a specialty until Murry's first serial for Walt Disney's Comics and Stories in 1953 ("The Last Resort"). In the same period, Romano Scarpa in Italy for the magazine Topolino began to revitalize Mickey in stories that brought back the Phantom Blot and Eega Beeva along with new creations such as the Atomo Bleep-Bleep. While the stories at Western Publishing during the Silver Age emphasized Mickey as a detective in the style of Sherlock Holmes, in the modern era several editors and creators have consciously undertaken to depict a more vigorous Mickey in the mold of the classic Gottfredson adventures. This renaissance has been spearheaded by Byron Erickson, David Gerstein, Noel Van Horn, Michael T. Gilbert and César Ferioli.

text: In Europe, Mickey Mouse became the main attraction of a number of comics magazines, the most famous being Topolino in Italy from 1932 on, Le Journal de Mickey in France from 1934 on, Don Miki in Spain and the Greek Miky Maous.

text: Mickey was the main character for the series MM Mickey Mouse Mystery Magazine, published in Italy from 1999 to 2001.

text: In 2006, he appeared in the Italian fantasy comic saga Wizards of Mickey.

text: In 1958, Mickey Mouse was introduced to the Arab world through another comic book called “Sameer”. He became very popular in Egypt and got a comic book with his name. Mickey’s comics in Egypt are licensed by Disney and were published since 1959 by “Dar Al-Hilal” and they were success, however Dar Al-Hilal stopped the publication in 2003 because of problems with Disney. The comics were re-released by "Nahdat Masr" in 2004 and the first issues were sold out in less than 8 hours.[55]

text: Merchandising

text: Since his early years, Mickey Mouse has been licensed by Disney to appear on many different kinds of merchandise. Mickey was produced as plush toys and figurines, and Mickey's image has graced almost everything from T-shirts to lunchboxes. Largely responsible for Disney merchandising in the 1930s was Kay Kamen (d. 1949) who was called a "stickler for quality." Kamen was recognized by The Walt Disney Company as having a significant part in Mickey's rise to stardom and was named a Disney Legend in 1998.[56] At the time of his 80th-anniversary celebration in 2008, Time declared Mickey Mouse one of the world's most recognized characters, even when compared against Santa Claus.[57] Disney officials have stated that 98% of children aged 3–11 around the world are at least aware of the character.[57]

text: Mickey was most famously featured on wrist watches and alarm clocks, typically utilizing his hands as the actual hands on the face of the clock. The first Mickey Mouse watches were manufactured in 1933 by the Ingersoll Watch Company. The seconds were indicated by a turning disk below Mickey. The first Mickey watch was sold at the Century of Progress in Chicago, 1933 for $3.75. Mickey Mouse watches have been sold by other companies and designers throughout the years, including Timex, Elgin, Helbros, Bradley, Lorus, and Gérald Genta[58] The fictional character Robert Langdon from Dan Brown's novels was said to wear a Mickey Mouse watch as a reminder "to stay young at heart."[59]

text: In 1989, Milton Bradley released the electronic talking game titled Mickey Says, with three modes featuring Mickey Mouse as its host. Mickey also appeared in other toys and games, including the Worlds of Wonder released The Talking Mickey Mouse.

text: Fisher-Price has recently produced a line of talking animatronic Mickey dolls including "Dance Star Mickey" (2010)[60] and "Rock Star Mickey" (2011).[61]

text: In total, approximately 40% of Disney's revenues for consumer products are derived from Mickey Mouse merchandise, with revenues peaking in 1997.[57]

text: Mickey at the Disney parks

text: As the official Walt Disney mascot, Mickey has played a central role in the Disney parks since the opening of Disneyland in 1955. As with other characters, Mickey is often portrayed by a non-speaking costumed actor. In this form, he has participated in ceremonies and countless parades. A popular activity with guests is getting to meet and pose for photographs with the mouse. As of the presidency of Barack Obama (who jokingly referred to him as "a world leader who has bigger ears than me")[62] Mickey has met every U.S. President since Harry Truman, with the exception of Lyndon B. Johnson.[14]

text: Mickey also features in several specific attractions at the Disney parks. Mickey's Toontown (Disneyland and Tokyo Disneyland) is a themed land which is a recreation of Mickey's neighborhood. Buildings are built in a cartoon style and guests can visit Mickey or Minnie's houses, Donald Duck's boat, or Goofy's garage. This is a common place to meet the characters.[63]

text: Mickey's PhilharMagic (Magic Kingdom, Tokyo Disneyland, Hong Kong Disneyland) is a 4D film which features Mickey in the familiar role of symphony conductor. At Main Street Cinema several of Mickey's short films are shown on a rotating basis; the sixth film is always Steamboat Willie. Mickey plays a central role in Fantasmic! (Disneyland Resort, Disney's Hollywood Studios) a live nighttime show which famously features Mickey in his role as the Sorcerer's Apprentice. Mickey was also a central character in the now-defunct Mickey Mouse Revue (Magic Kingdom, Tokyo Disneyland) which was an indoor show featuring animatronic characters. Mickey's face currently graces the Mickey's Fun Wheel at Disney California Adventure Park, where a figure of him also stands on top of Silly Symphony Swings.

text: In addition to Mickey's overt presence in the parks, numerous images of him are also subtly included in sometimes unexpected places. This phenomenon is known as "Hidden Mickey", involving hidden images in Disney films, theme parks, and merchandise.

text: Mickey in video games

text: Like many popular characters, Mickey has starred in many video games, including Mickey Mousecapade on the Nintendo Entertainment System, Mickey Mania: The Timeless Adventures of Mickey Mouse, Mickey's Ultimate Challenge, and Disney's Magical Quest on the Super Nintendo Entertainment System, Castle of Illusion Starring Mickey Mouse on the Mega Drive/Genesis, Mickey Mouse: Magic Wands! on the Game Boy, and many others. In the 2000s, the Disney's Magical Quest series were ported to the Game Boy Advance, while Mickey made his sixth generation era debut in Disney's Magical Mirror Starring Mickey Mouse, a Nintendo GameCube title aimed at younger audiences. Mickey plays a major role in the Kingdom Hearts series, as the king of Disney Castle and aide to the protagonist, Sora. King Mickey wields the Keyblade, a weapon in the form of a key that has the power to open any lock and combat darkness. Epic Mickey, featuring a darker version of the Disney universe, was released in 2010 for the Wii. The game is part of an effort by The Walt Disney Company to re-brand the Mickey Mouse character by moving away from his current squeaky clean image and reintroducing the mischievous side of his personality.[3]

text: Awards and honors

text: Mickey Mouse has received ten nominations for the Academy Award for Best Animated Short Film. These are Mickey's Orphans (1931), Building a Building (1933), Brave Little Tailor (1938), The Pointer (1939), Lend a Paw (1941), Squatter's Rights (1946), Mickey and the Seal (1948), Mickey's Christmas Carol (1983), Runaway Brain (1995), and Get a Horse! (2013). Among these, Lend a Paw was the only film to actually win the award. Additionally, in 1932 Walt Disney received an honorary Academy Award in recognition of Mickey's creation and popularity.

text: In 1994, four of Mickey's cartoons were included in the book The 50 Greatest Cartoons which listed the greatest cartoons of all time as voted by members of the animation field. The films were The Band Concert (#3), Steamboat Willie (#13), Brave Little Tailor (#26), and Clock Cleaners (#27).

text: On November 18, 1978, in honor of his 50th anniversary, Mickey became the first cartoon character to have a star on the Hollywood Walk of Fame. The star is located on 6925 Hollywood Blvd.

text: Melbourne (Australia) runs the annual Moomba festival street procession and appointed Mickey Mouse as their King of Moomba (1977).[64]:17–22 Although immensely popular with children, there was controversy with the appointment: some Melburnians wanted a 'home-grown' choice, e.g. Blinky Bill; when it was revealed that Patricia O'Carroll (from Disneyland's Disney on Parade show) was performing the mouse, Australian newspapers reported "Mickey Mouse is really a girl!"[64]:19–20

text: Mickey was the Grand Marshal of the Tournament of Roses Parade on New Year's Day 2005. He was the first cartoon character to receive the honor and only the second fictional character after Kermit the Frog in 1996.

text: Social impact

text: Use in politics

text: In the United States, protest votes are often made in order to indicate dissatisfaction with the slate of candidates presented on a particular ballot or to highlight the inadequacies of a particular voting procedure. Since most states' electoral systems do not provide for blank balloting or a choice of "None of the Above", most protest votes take the form of a clearly non-serious candidate's name entered as a write-in vote. Mickey Mouse is often selected for this purpose.[65][66] As an election supervisor in Georgia observed, "If [Mickey Mouse] doesn’t get votes in our election, it’s a bad election."[67] The earliest known mention of Mickey Mouse as a write-in candidate dates back to the 1932 New York City mayoral elections.[68]

text: Mickey Mouse's name has also been known to appear fraudulently on voter registration lists, such as in the 2008 U.S. Presidential Election.[69][70]

text: Pejorative use of Mickey's name

text: "Mickey Mouse" is a slang expression meaning small-time, amateurish or trivial. In the United Kingdom and Ireland, it also means poor quality or counterfeit. However, in parts of Australia it can mean excellent or very good (rhyming slang for "grouse").[71] Examples of the former two of the three usages include the following:

text:
During World War II, the Motor Minesweepers used by the British Royal Naval Patrol Service were unofficially known as "Mickey Mouses."[citation needed]
In The Godfather Part II, Fredo's justification of betraying Michael is that his orders in the family usually were "Send Fredo off to do this, send Fredo off to do that! Let Fredo take care of some Mickey Mouse nightclub somewhere!" as opposed to more meaningful tasks.
In an early episode of the 1978–82 sitcom Mork & Mindy, Mork stated that Pluto was "a Mickey Mouse planet", referring to the future dwarf planet having the same name as Mickey's pet dog Pluto. Actually, the planet was named shortly before the dog was.
In 1984, just after an ice hockey game in which Wayne Gretzky's Edmonton Oilers beat the New Jersey Devils 13–4, Gretzky was quoted as saying to a reporter, "Well, it's time they got their act together, they're ruining the whole league. They had better stop running a Mickey Mouse organization and put somebody on the ice". Reacting to Gretzky's comment, Devils fans wore Mickey Mouse apparel when the Oilers returned to New Jersey.[72]
In the 1993 Warner Bros. film Demolition Man, as Sylvester Stallone's character is fighting the malfunctioning AI of his out-of-control police car, he shouts for the system to "Brake! Brake! Brake now, you Mickey Mouse piece of shit!"[73]
In the 1996 Warner Bros. film Space Jam, Bugs Bunny derogatorily comments on Daffy Duck's idea for the name of their basketball team, asking: "What kind of Mickey Mouse organization would name a team 'The Ducks?'" (This also referenced the Mighty Ducks of Anaheim, an NHL team that was then owned by Disney, as well as the Disney-made "The Mighty Ducks" movie franchise. This was referencing the Disney/Warner Brothers rivalry.)
In the United States armed forces, actions that look good but have little or no practical use (such as the specific manner of making beds in basic training or the polishing of brass fittings on board ship) are commonly referred to as "Mickey Mouse work."[citation needed]
In schools a "Mickey Mouse course", "Mickey Mouse major", or "Mickey Mouse degree" is a class, college major, or degree where very little effort is necessary in order to attain a good grade (especially an A) or one where the subject matter of such a class is not of any importance in the labor market.[74]
Musicians often refer to a film score that directly follows each action on screen as Mickey Mousing (also mickey-mousing and mickeymousing).[75]
Software company Microsoft has been derogatorily called "Mickeysoft".[76]
In the beginning of the 1980s, then-British Prime Minister Margaret Thatcher once called the European Parliament a "Mickey Mouse parliament", meaning a discussion club without influence.[77]
In the British sitcom Red Dwarf, in the episode "Quarantine", after the team's substandard equipment nearly cost them their lives, Lister pointed out, "We're a real Mickey Mouse operation, aren't we?" The Cat replied, "Mickey Mouse? We ain't even Betty Boop!"
The combined road course at the Indianapolis Motor Speedway used for the F1 U.S. Grand Prix has been described by Jacques Villeneuve and other competitors as "Mickey Mouse"[78] due to its slow uninteresting corners, and lack of challenging corners.

text: Parodies and criticism

text: Mickey Mouse's global fame has made him both a symbol of The Walt Disney Company and of the United States itself. For this reason, Mickey has been used frequently in anti-American satire, such as the infamous underground cartoon "Mickey Mouse in Vietnam" (1969). There have been numerous parodies of Mickey Mouse, such as the 2-page parody "Mickey Rodent" by Will Elder (published in Mad #19, 1955) in which the mouse walks around unshaven and jails Donald Duck out of jealousy over the duck's larger popularity.[79] The grotesque Rat Fink character was created by Ed "Big Daddy" Roth over his hatred of Mickey Mouse. In The Simpsons Movie, Bart Simpson puts a black bra on his head to mimic Mickey Mouse and says: "I'm the mascot of an evil corporation!"[80] On the Comedy Central series South Park, Mickey is depicted as the sadistic, greedy, foul-mouthed boss of The Walt Disney Company, only interested in money. He also appears briefly with Donald Duck in the comic Squeak the Mouse by the Italian cartoonist Massimo Mattioli.

text: In an episode of "Full Frontal Nerdity," by Aaron Williams, Mickey is shown as desperately trying to unload Miramax.[81]

text: In Bored of the Rings, Mickey Mouse is satirized as Dickey Dragon.

text: Legal issues

text: Like all major Disney characters, Mickey Mouse is not only copyrighted but also trademarked, which lasts in perpetuity as long as it continues to be used commercially by its owner. So, whether or not a particular Disney cartoon goes into the public domain, the characters themselves may not be used as trademarks without authorization.

text: Because of the Copyright Term Extension Act of the United States (sometimes called the 'Mickey Mouse Protection Act' because of extensive lobbying by the Disney corporation) and similar legislation within the European Union and other jurisdictions where copyright terms have been extended, works such as the early Mickey Mouse cartoons will remain under copyright until at least 2023. However, some copyright scholars argue that Disney's copyright on the earliest version of the character may be invalid due to ambiguity in the copyright notice for Steamboat Willie.[82]

text: The Walt Disney Company has become well known for protecting its trademark on the Mickey Mouse character—whose likeness is closely associated with the company—with particular zeal. In 1989, Disney threatened legal action against three daycare centers in Florida for having Mickey Mouse and other Disney characters painted on their walls. The characters were removed, and rival Universal Studios replaced them with Universal cartoon characters.[83]

text: Walt Disney Productions v. Air Pirates

text: In 1971, a group of underground cartoonists calling themselves the Air Pirates, after a group of villains from early Mickey Mouse films, produced a comic called Air Pirates Funnies. In the first issue, cartoonist Dan O'Neill depicted Mickey and Minnie Mouse engaging in explicit sexual behavior and consuming drugs. As O'Neill explained, "The air pirates were…some sort of bizarre concept to steal the air, pirate the air, steal the media….Since we were cartoonists, the logical thing was Disney."[84] Rather than change the appearance or name of the character, which O'Neill felt would dilute the parody, the mouse depicted in Air Pirates Funnies looks like and is named "Mickey Mouse". Disney sued for copyright infringement, and after a series of appeals, O'Neill eventually lost and was ordered to pay Disney $1.9 million. The outcome of the case remains controversial among free-speech advocates. New York Law School professor Edward Samuels said, "[The Air Pirates] set parody back twenty years."[85][better source needed]

text: Censorship

text: In 1930, The German Board of Film Censors prohibited any presentations of the Mickey Mouse cartoon The Barnyard Battle (1929). The animated short, which features the mouse as a kepi-wearing soldier fighting cat enemies in German-style helmets, was viewed by censors as a negative portrayal of Germany.[86] It was claimed by the board that the film would "reawaken the latest anti-German feeling existing abroad since the War".[87] The Barnyard Battle incident did not incite wider anti-Mickey sentiment in Germany in 1930; however, after Adolf Hitler came to power several years later, the Nazi regime unambiguously propagandized against Disney. A mid-1930s German newspaper article read:

text: "Mickey Mouse is the most miserable ideal ever revealed...Healthy emotions tell every independent young man and every honorable youth that the dirty and filth-covered vermin, the greatest bacteria carrier in the animal kingdom, cannot be the ideal type of animal...Away with Jewish brutalization of the people! Down with Mickey Mouse! Wear the Swastika Cross!"[88][89][90]

text: American cartoonist and writer Art Spiegelman would later use this quote on the opening page of the second volume of his graphic novel Maus.

text: In 1935 Romanian authorities also banned Mickey Mouse films from cinemas, purportedly fearing that children would be "scared to see a ten-foot mouse in the movie theatre".[91] In 1938, based on the Ministry of Popular Culture's recommendation that a reform was necessary "to raise children in the firm and imperialist spirit of the Fascist revolution," the Italian Government banned foreign children's literature[92] except Mickey; Disney characters were exempted from the decree for the "acknowledged artistic merit" of Disney's work.[93] Actually, Mussolini's children were fond of Mickey Mouse, so they managed to delay his ban as long as possible.[94] In 1942, after Italy declared war on the United States, fascism immediately forced Italian publishers to stop printing any Disney stories. Mickey's stories were replaced by the adventures of Tuffolino, a new human character created by Federico Pedrocchi (script) and Pier Lorenzo De Vita (art). After the downfall of Italy's fascist government in 1945, the ban was removed.

text: Filmography

text: Mickey has been announced to star in two films. One is a live-action/CGI hybrid film based on the Magic Kingdom theme park at the Walt Disney World Resort,[95] while the other is a film idea pitched by Walt Disney Animation Studios veteran Burny Mattinson centering on Mickey, Donald, and Goofy.[38]

text: Selected short films

text:
Steamboat Willie (1928)
Plane Crazy (1929)
The Karnival Kid (1929)
Mickey's Orphans (1931)
Building a Building (1933)
The Mad Doctor (1933)
The Band Concert (1935)

Thru the Mirror (1936)
Moving Day (1936)
Clock Cleaners (1937)
Lonesome Ghosts (1937)
Brave Little Tailor (1938)
The Pointer (1939)
The Nifty Nineties (1941)
Lend a Paw (1941)

Symphony Hour (1942)
Squatter's Rights (1946)
Mickey and the Seal (1948)
The Simple Things (1953)
Mickey's Christmas Carol (1983)
Runaway Brain (1995)
Get a Horse! (2013)

text: Full-length films

text:
Hollywood Party (cameo, 1934)
Fantasia (1940)
Fun and Fancy Free (1947)
Who Framed Roger Rabbit (cameo, 1988)
A Goofy Movie (cameo, 1995)
Mickey's Once Upon a Christmas (1999)
Fantasia 2000 (1999)
Mickey's House of Villains (2002)
Mickey, Donald, Goofy: The Three Musketeers (2004)
Mickey's Twice Upon a Christmas (2004)

text: Television series

text:
The Mickey Mouse Club (1955–1959; 1977–1979; 1989–1994)
Mickey Mouse Works (1999–2000)
Disney's House of Mouse (2001–2003)
Mickey Mouse Clubhouse (2006–2016)
Mickey Mouse (2013–present)
Mickey and the Roadster Racers (2017–present)[96]


document_title: Little Red Riding Hood

question_text: when was little red riding hood first published

root

text: Little Red Riding Hood

text: Tale[edit]

text: The story revolves around a girl called Little Red Riding Hood. In Grimms' and Perrault's versions of the tale, she is named after her magical red hooded cape/cloak that she wears. The girl walks through the woods to deliver food to her sickly grandmother (wine and cake depending on the translation). In the Grimms' version, her mother had ordered her to stay strictly on the path.

tag: p

text: A Big Bad Wolf wants to eat the girl and the food in the basket. He secretly stalks her behind trees, bushes, shrubs, and patches of little and tall grass. He approaches Little Red Riding Hood, and she naïvely tells him where she is going. He suggests that the girl pick some flowers, which she does. In the meantime, he goes to the grandmother's house and gains entry by pretending to be the girl. He swallows the grandmother whole (in some stories, he locks her in the closet) and waits for the girl, disguised as the grandma.

text: When the girl arrives, she notices that her grandmother looks very strange. Little Red then says, "What a deep voice you have!" ("The better to greet you with", responds the wolf), "Goodness, what big eyes you have!" ("The better to see you with", responds the wolf), "And what big hands you have!" ("The better to hug/grab you with", responds the wolf), and lastly, "What a big mouth you have" ("The better to eat you with!", responds the wolf), at which point the wolf jumps out of bed and eats her up too. Then he falls asleep. In Charles Perrault's version of the story (the first version to be published), the tale ends here. However, in later versions the story continues generally as follows:

text: A woodcutter in the French version, but a hunter in the Brothers Grimm and traditional German versions, comes to the rescue and with his ax cuts open the sleeping wolf. Little Red Riding Hood and her grandmother emerge unharmed. They then fill the wolf's body with heavy stones. The wolf awakens and tries to flee, but the stones cause him to collapse and die. Sanitized versions of the story have the grandmother locked in the closet instead of eaten and some have Little Red Riding Hood saved by the lumberjack as the wolf advances on her rather than after she is eaten where the woodcutter kills the wolf with his ax.[4]

text: The tale makes the clearest contrast between the safe world of the village and the dangers of the forest, conventional antitheses that are essentially medieval, though no written versions are as old as that.[citation needed] It also warns about the dangers of not obeying one's mother (at least in the Grimms' version).[citation needed]

text: Relationship to other tales[edit]

text: A very similar story also belongs to the North African tradition, namely in Kabylia, where a number of versions are attested.[6] The theme of the little girl who visits her (grand-)dad in his cabin and is recognized by the sound of her bracelets constitutes the refrain of a well-known song by the modern singer Idir, A Vava Inouva:

text:
‘I beseech you, open the door for me, father.
Jingle your bracelets, oh my daughter Ghriba.
I’m afraid of the monster in the forest, father.
I, too, am afraid, oh my daughter Ghriba.’[7]

tag: table

text: The theme of the ravening wolf and of the creature released unharmed from its belly is also reflected in the Russian tale Peter and the Wolf[citation needed] and another Grimm tale The Wolf and the Seven Young Kids,[citation needed] but its general theme of restoration is at least as old as the biblical story, Jonah and the Whale.[citation needed] The theme also appears in the story of the life of Saint Margaret, wherein the saint emerges unharmed from the belly of a dragon,[citation needed] and in the epic "The Red Path" by Jim C. Hines.[citation needed]

text: The story displays many similarities to stories from classical Greece and Rome. Scholar Graham Anderson has compared the story to a local legend recounted by Pausanias in which, each year, a virgin girl was offered to a malevolent spirit dressed in the skin of a wolf, who raped the girl. Then, one year, the boxer Euthymos came along, slew the spirit, and married the girl who had been offered up as a sacrifice.[8] There are also a number of different stories recounted by Greek authors involving a woman named Pyrrha (literally "Fire") and a man with some name meaning "wolf".[9] The Roman poet Horace alludes to a tale in which a male child is rescued alive from the belly of Lamia, a female ogress in classical mythology.[10]

text: The dialogue between the Big Bad Wolf and Little Red Riding Hood has its analogies to the Norse Þrymskviða from the Elder Edda; the giant Þrymr had stolen Mjölner, Thor's hammer, and demanded Freyja as his bride for its return. Instead, the gods dressed Thor as a bride and sent him. When the giants note Thor's unladylike eyes, eating, and drinking, Loki explains them as Freyja's not having slept, or eaten, or drunk, out of longing for the wedding.[11]

text: Tale's history[edit]

text: Earliest versions[edit]

text: The origins of the Little Red Riding Hood story can be traced to versions from various European countries and more than likely preceding the 17th century, of which several exist, some significantly different from the currently known, Grimms-inspired version. It was told by French peasants in the 10th century[1] and recorded by the cathedral schoolmaster Egbert of Liege.[12] In Italy, the Little Red Riding Hood was told by peasants in the fourteenth century, where a number of versions exist, including La finta nonna (The False Grandmother), written among others by Italo Calvino in the Italian Folktales collection.[13] It has also been called "The Story of Grandmother". It is also possible that this early tale has roots in very similar East Asian tales (e.g. "Grandaunt Tiger").[14]

text: These early variations of the tale differ from the currently known version in several ways. The antagonist is not always a wolf, but sometimes an ogre, vampire[15], or a 'bzou' (werewolf), making these tales relevant to the werewolf-trials (similar to witch trials) of the time (e.g. the trial of Peter Stumpp).[16] The wolf usually leaves the grandmother's blood and meat for the girl to eat, who then unwittingly cannibalizes her own grandmother. Furthermore, the wolf was also known to ask her to remove her clothing and toss it into the fire.[17] In some versions, the wolf eats the girl after she gets into bed with him, and the story ends there.[18] In others, she sees through his disguise and tries to escape, complaining to her "grandmother" that she needs to defecate and would not wish to do so in the bed. The wolf reluctantly lets her go, tied to a piece of string so she does not get away. However, the girl slips the string over something else and runs off. In these stories she escapes with no help from any male or older female figure, instead using her own cunning, or in some versions the help of a younger boy who she happens to run into.[19] Sometimes, though more rarely, the red hood is even non-existent.[18]

text: In other tellings of the story, the wolf chases after Little Red Riding Hood. She escapes with the help of some laundresses, who spread a sheet taut over a river so she may escape. When the wolf follows Red over the bridge of cloth, the sheet is released and the wolf drowns in the river.[20] And in another version the wolf is pushed into the fire, while he is preparing the meat of the grandmother to be eaten by the girl.[18]

text: In 2013, it was revealed from scientific research that the tale originated in the 1st century in Europe and not, as previously assumed, in China. The scientists analysed the storylines and characters from 58 versions of the tale from different areas. By means of a computer model they then determined how the different versions of Little Red Riding Hood are related.[21]

text: Charles Perrault[edit]

text: The earliest known printed version[22] was known as Le Petit Chaperon Rouge and may have had its origins in 17th-century French folklore. It was included in the collection Tales and Stories of the Past with Morals. Tales of Mother Goose (Histoires et contes du temps passé, avec des moralités. Contes de ma mère l'Oye), in 1697, by Charles Perrault. As the title implies, this version[23] is both more sinister and more overtly moralized than the later ones. The redness of the hood, which has been given symbolic significance in many interpretations of the tale, was a detail introduced by Perrault.[24]

text: The story had as its subject an "attractive, well-bred young lady", a village girl of the country being deceived into giving a wolf she encountered the information he needed to find her grandmother's house successfully and eat the old woman while at the same time avoiding being noticed by woodcutters working in the nearby forest. Then he proceeded to lay a trap for the Red Riding Hood. Little Red Riding Hood ends up being asked to climb into the bed before being eaten by the wolf, where the story ends. The wolf emerges the victor of the encounter and there is no happy ending.

text: Charles Perrault explained the 'moral' at the end of the tale:[25] so that no doubt is left to his intended meaning:

text: From this story one learns that children, especially young lasses, pretty, courteous and well-bred, do very wrong to listen to strangers, And it is not an unheard thing if the Wolf is thereby provided with his dinner. I say Wolf, for all wolves are not of the same sort; there is one kind with an amenable disposition – neither noisy, nor hateful, nor angry, but tame, obliging and gentle, following the young maids in the streets, even into their homes. Alas! Who does not know that these gentle wolves are of all such creatures the most dangerous!

text: This, the presumed original, version of the tale was written for late seventeenth-century French court of King Louis XIV. This audience, whom the King entertained with extravagant parties, presumably would take from the story the intended meaning.

text: Grimm Brothers[edit]

text: In the 19th century two separate German versions were retold to Jacob Grimm and his younger brother Wilhelm Grimm, known as the Brothers Grimm, the first by Jeanette Hassenpflug (1791–1860) and the second by Marie Hassenpflug (1788–1856). The brothers turned the first version to the main body of the story and the second into a sequel of it. The story as Rotkäppchen was included in the first edition of their collection Kinder- und Hausmärchen (Children's and Household Tales (1812)).[26]

text: The earlier parts of the tale agree so closely with Perrault's variant that it is almost certainly the source of the tale.[27] However, they modified the ending; this version had the little girl and her grandmother saved by a huntsman who was after the wolf's skin; this ending is identical to that in the tale The Wolf and the Seven Young Kids, which appears to be the source.[28] The second part featured the girl and her grandmother trapping and killing another wolf, this time anticipating his moves based on their experience with the previous one. The girl did not leave the path when the wolf spoke to her, her grandmother locked the door to keep it out, and when the wolf lurked, the grandmother had Little Red Riding Hood put a trough under the chimney and fill it with water that sausages had been cooked in; the smell lured the wolf down, and it drowned.[29]

text: The Brothers further revised the story in later editions and it reached the above-mentioned final and better-known version in the 1857 edition of their work.[30] It is notably tamer than the older stories which contained darker themes.

text: After the Grimms[edit]

text: Numerous authors have rewritten or adapted this tale.

text: Andrew Lang included a variant called "The True History of Little Goldenhood"[31] in The Red Fairy Book (1890). He derived it from the works of Charles Marelles,[32] in Contes of Charles Marelles. This version explicitly states that the story had been mistold earlier. The girl is saved, but not by the huntsman; when the wolf tries to eat her, its mouth is burned by the golden hood she wears, which is enchanted.

text: James N. Barker wrote a variation of Little Red Riding Hood in 1827 as an approximately 1000-word story. It was later reprinted in 1858 in a book of collected stories edited by William E Burton, called the Cyclopedia of Wit and Humor. The reprint also features a wood engraving of a clothed wolf on bended knee holding Little Red Riding Hood's hand.

text: In the 20th century, the popularity of the tale appeared to snowball, with many new versions being written and produced, especially in the wake of Freudian analysis, deconstruction and feminist critical theory. (See "Modern uses and adaptations" below.) This trend has also led to a number of academic texts being written that focus on Little Red Riding Hood, including works by Alan Dundes and Jack Zipes.

text: Interpretations[edit]

text: Besides the overt warning about talking to strangers, there are many interpretations of the classic fairy tale, many of them sexual.[33] Some are listed below.

text: Natural cycles[edit]

text: Folklorists and cultural anthropologists, such as P. Saintyves and Edward Burnett Tylor, saw "Little Red Riding Hood" in terms of solar myths and other naturally occurring cycles. Her red hood could represent the bright sun which is ultimately swallowed by the terrible night (the wolf), and the variations in which she is cut out of the wolf's belly represent the dawn.[34] In this interpretation, there is a connection between the wolf of this tale and Sköll, the wolf in Norse mythology that will swallow the personified Sun at Ragnarök, or Fenrir.[35] Alternatively, the tale could be about the season of spring or the month of May, escaping the winter.[36]

text: Rite[edit]

text: The tale has been interpreted as a puberty rite, stemming from a prehistoric origin (sometimes an origin stemming from a previous matriarchal era).[37] The girl, leaving home, enters a liminal state and by going through the acts of the tale, is transformed into an adult woman by the act of coming out of the wolf's belly.[38]

text: Rebirth[edit]

text: Bruno Bettelheim, in The Uses of Enchantment: The Meaning and Importance of Fairy Tales (1976), recast the Little Red Riding Hood motif in terms of classic Freudian analysis, that shows how fairy tales educate, support, and liberate children's emotions. The motif of the huntsman cutting open the wolf he interpreted as a "rebirth"; the girl who foolishly listened to the wolf has been reborn as a new person.[39]

text: Norse myth[edit]

text: The poem "Þrymskviða" from the Poetic Edda mirrors some elements of Red Riding Hood. Loki's explanations for the strange behavior of "Freyja" (actually Thor disguised as Freyja) mirror the wolf's explanations for his strange appearance. The red hood has often been given great importance in many interpretations, with a significance from the dawn to blood.[40]

text: Modern uses and adaptations[edit]

text: Erotic, romantic, or rape connotations[edit]

text: A sexual analysis of the tale may also include negative connotations in terms of rape or abduction. In Against Our Will, Susan Brownmiller describes the fairy tale as a description of rape.[41] However, many revisionist retellings choose to focus on empowerment, and depict Little Red Riding Hood or the grandmother successfully defending herself against the wolf.[42]

text: Such tellings bear some similarity to the "animal bridegroom" tales, such as Beauty and the Beast or The Frog Prince, but where the heroines of those tales transform the hero into a prince, these tellings of Little Red Riding Hood reveal to the heroine that she has a wild nature like the hero's.[43] These interpretations refuse to characterize Little Red Riding Hood as a victim; these are tales of female empowerment.

text: Animations, films, and TV shows[edit]

text:
In Tex Avery's short animated cartoon, Red Hot Riding Hood (1943), the story is recast in an adult-oriented urban setting, with the suave, sharp-dressed Wolf howling after the nightclub singer Red. Avery used the same cast and themes in a subsequent series of cartoons.[44]
Neil Jordan's film version of The Company of Wolves (1984) is about the journey of a young girl into womanhood, which can be interpreted as her menstruating for the first time (at the start of the tale, she is in bed with a stomachache, according to her sister), but also of sexual awakening (in it, she wears red lipstick in bed). The wolf in this version of the tale is in fact a werewolf, which comes to the newly menstruating Red Riding Hood in the forest, in the form of a charming hunter. He turns into a wolf and eats her grandmother, and is about to devour Red Riding Hood as well, but she is equally seductive and ends up lying with the wolf man.[45]

tag: ul

text: Lipstick[edit]

text: Allusions to the tale can be more or less overtly sexual, as when the color of a lipstick is advertised as "Riding Hood Red".[46]

text: Literature[edit]

text:
Charles Perrault's "Le Petit Chaperon rouge" ("Little Red Riding Hood") is centered on an erotic metaphor.[47]
Little Red Riding Hood appears in Angela Carter's short story "The Company of Wolves", published in The Bloody Chamber (1979), her collection of "dark, feminist fables" filled with "bestial and ferocious" heroines.[48] In her revision of the classic, Carter examines female lust, which according to author Catherine Orenstein is "healthy, but also challenging and sometimes disturbing, unbridled and feral lust that delivers up contradictions." [49] As Orenstein points out, Carter does this by unravelling the original tale's "underlying sexual currents" and by impregnating the new Little Red Riding Hood (Rosaleen played by Sarah Patterson) with "animal instincts" that lead to her transformation.[49]
In Michelle Augello-Page's story "Wolf Moon",[50] Little Red is an adult who has been irrevocably changed by the events in her childhood, and it is the hunter who saves her "once upon a time, and again" in this tale of sexual awakening, bdsm, relationships, female rites and rebirth.

text: Music[edit]

text:
A.P. Randolph's "How Could Red Riding Hood (Have Been So Very Good)?" (1925) was the first song known to be banned from radio because of its sexual suggestiveness.[citation needed]
Sam the Sham & the Pharaohs's hit song, "Li'l Red Riding Hood" (1966), takes the Wolf's point of view, implying that he wants love rather than blood.

text: Other adaptations[edit]

text: Animations and films[edit]

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Soyuzmultfilm (1937) is a classic Soviet, black-and-white, animated film by the sisters Brumberg, "grandmothers of the Russian animation". Its plot differs slightly from the original fairy tale. It was issued on videotapes in various collections in the 1980s, via the SECAM system, and in the 1990s, via the PAL system, in collections of animated films of a videostudio "Soyuz" (since 1994).
The Big Bad Wolf is an animated short released on 13 April 1934 by United Artists, produced by Walt Disney and directed by Burt Gillett as part of the Silly Symphony series. Acting as an adaptation of the fairy-tale Little Red Riding Hood, with the Big Bad Wolf from 1933's Three Little Pigs acting as the adversary to Little Red Riding Hood and her grandmother.
In the USSR-based animated film Petya and Little Red Riding Hood (1958), directed by Boris Stepantsev and Evgeny Raykovsky, the main character (a boy named Petya Ivanov) see the Grey Wolf deceived a trusting girl and risks his life to rescue her and her grandmother. Now, the animated movie is considered a cult film, many phrases have become part of popular culture, and in 1959 and 1960, the film received awards[which?] at festivals in Kiev, Ukraine and Ansi, Estonia.[citation needed] In Russia, it is repeatedly republished on DVD in collections of animated films.[citation needed]
Hoodwinked! (2005) is a retelling of "Little Red Riding Hood" as a police investigation.
The film Red Riding Hood (2006) is a musical movie based upon this tale.
The film Red Riding Hood (2011) is loosely based upon this tale.[51]
The wolf appears in the Shrek franchise of films. He is wearing the grandmother's clothing as in the fairytale, though the films imply he merely prefers wearing the gown and is not dangerous.[52]
Red Riding Hood briefly appears in the film Shrek 2 (2004), wherein she is frightened by Shrek and Fiona and runs off.
Ruby Rose, the main protagonist of Rooster Teeth's animated web series RWBY, alludes to Little Red Riding Hood.
Red Riding Hood is one of the main characters in the film adaptation of the musical "Into the Woods" (2014) portrayed by Lilla Crawford.

text: Games[edit]

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In the Shrek 2 (2004) video game, she is playable and appears as a friend of Shrek's. She joins him, Fiona, and Donkey on their journey to Far Far Away, despite not knowing Shrek or his friends in the film.
In Dark Parables 4 (computer game) The Red Riding Hood Sisters (2013) computer game, the original red riding hood was orphaned when a wolf killed her grandma. A hunter killed the wolf before it could kill her. He took her in as his own out of pity. The red riding hood of this story convinced the hunter to teach her how to fight. They protected the forest together until the hunter was killed during a wolf attack. The red riding hood continued on protecting the forest and took in other orphaned girls and taught them to fight too. They take up wearing a red riding hood and cape to honor their teacher. Even after the death of the original red riding hood the girls continue doing what she did in life.
In the fighting game Darkstalkers 3 (1997), the character Baby Bonnie Hood is a parody of Little Red Riding Hood, complete with childish look, red hood and picnic basket. But instead of food, her basket is full of guns and grenades. Her personality is somewhat psychotic, guerrilla-crazy. During the fights, a small dog named Harry watches the action from the sidelines and reacts to her taking damage in battle. Two rifle-wielding huntsmen named John and Arthur briefly appear alongside her in a special power-up move titled "Beautiful Hunting" that inflicts extra damage on opponents.

text: Literature[edit]

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Jerry Pinkney adapted the story for a children's picture book of the same name (2007)
Anne Sexton wrote an adaptation as a poem called "Red Riding Hood" in her collection Transformations (1971), a book in which she re-envisions 16 of the Grimm's Fairy tales.[53]

text: Music[edit]

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"Little Red Riding Hood" is a raw hardstyle song by Da Tweekaz[54]
Sunny's concept photo for Girls' Generation's third studio album The Boys was inspired by "Little Red Riding Hood".

text: Musicals[edit]

text: Little Red Riding Hood is one of the central characters in the Broadway musical Into the Woods (1987) by Stephen Sondheim and James Lapine. In the song, "I Know Things Now", she speaks of how the wolf made her feel "excited, well, excited and scared", in a reference to the sexual undertones of their relationship. Red Riding Hood's cape is also one of the musical's four quest items that are emblematic of fairy tales.[55]

text: Television[edit]

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The pilot episode of NBC's TV series Grimm reveals that the Red Riding Hood stories were inspired by fabled blutbaden attacks, werewolf-like beings who have a deeply ingrained bloodlust and a weakness for victims wearing red.
Red Riding Hood is a character in ABC's Once Upon a Time (2011) TV series. In this version of the tale, Red (portrayed by Meghan Ory) is a werewolf, and her cape is the only thing that can prevent her from turning during a full moon. Her Storybrooke persona is Ruby.[56]