One after another, actors appeared before the judge. This was no ordinary courtroom testimony—they were there to squeak Betty Boop’s signature “boop-boop--doop.” It was 1934, and Betty Boop was on trial. The cartoon vixen was an unlikely candidate for lawsuit—and for popularity. She “was never intended to be continuing character,” says animation historian Ray Pointer, author of The Art and Inventions of Max Fleischer . In fact, the original 1932 version of Betty Boop, by Fleischer Studios, wasn’t even human. Rather, she was talking, singing French poodle with , floppy ears. But soon, Betty’s ears became earrings and she was reinvented as human being. The new Betty Boop was vivacious flapper who drove car, did popular dances and showed plenty of skin. wide eyes and sexy looks were hit with audiences—as was the fact that she was clear parody of popular singer Kane. The squeaky-voiced jazz singer was for her sexy lyrics and baby-like singing, and Betty Boop spot-on imitation. Kane’s delivery—including her signature “boop-boop--doop”—was “ theatrical staple going back years,” says Pointer. Like the vaudeville performers that preceded her, Kane used her little-girl […]