THE AMERICAN PIT BULL TERRIER BEGINNINGS IN THE CINEMA. By Mar Bartolome.
I would like to express with some words which has meant for me the accomplishment of this “Work”. And I put work in inverted commas because it has not been so, because it has supposed a great satisfaction in my knowledge on the breed. With Panda, my American Pit Bull Terrier always under my feet, I have enjoyed to the maximum in its accomplishment. I have felt sensations that cannot be expressed with words. It has been long time of study of the owners of these incredible animals actors who leave in this investigation work and I have put myself in his skin to be able to understand what they felt by its dear mascots. I feel totally identified with them, because they loved his dogs, not by the simple cause that were wonderful animals actors, but because they were one more of his own family.
I want to give to a special mention to Roscoe Arbuckle and his dog Luke, because I got to see in the glance of Arbuckle things that only one person whom he sincerely loves his dog can express. It moved to me especially his person and in many occasions I even spilled some tear when putting me in his skin and his time. The American Pit Bull Terrier is those that have given me the force to realise this study and I am want to be thankful of all heart to this breed, because once again they have taught to me ........ to feel.
I hope that you enjoy so much with it like I have enjoyed with it.
International American Pit Bull Terrier Federation (FIAPBT)
The birth of the American Pit Bull Terrier like stars in the cinematographic world obligatorily takes to us to know a little history the birth of the cinema, since both go of hand one next to the other. I do not try to extend in this field, but it is necessary to know a few data on this event that changed our lives completely.
Until 1890, the scientists
were more interested in the world of the photography that in the
cinematography. This changed when the old inventor and then already White
industrialist Thomas Edison constructed to the Black Maria, a laboratory near
These apparatuses had in its interior an endless roll of film, and they only could visualize it a person per time. This disadvantage caused that it was continued studying on the cinema projectors.
The experiments on the
projection of visible images in movement for more of a spectator were developed
At the beginning of 1900, the breed dog American Pit Bull Terrier was an icon very appreciated by the American town. It was sight like a familiar dog, and of confidence around the children. Brave and protective of all the family, he was considered like a symbol for the American town, because it is a strong, powerful, balance and extremely intelligent animal, and never like a threat for the society.
I must clarify simply that some of the American Pit Bull Terrier that leave in this investigation work have the tail amputee, due by whim of its owners.
MANNIE (the pioneer)
Many of the actors who then existed in that time did not doubt in putting themselves next to one of these dogs to roll their scenes. Some actors of the time did not even doubt in recording scenes with their own dogs like it is the case of the star of the vodevil Laura Comstock and her wonderful American Pit Bull Terrier “Mannie” in Laura Comstock's Bag-Punching Dog, of 1901. In this film it is possible to be seen “Mannie” jumping to take a boxing coat. Its jumps were impressive and fast. It reaches and finally breaks it. The director of cinema and husband of Laura Comstock, Norman H. Mosher, was his trainer and Mannie learned all type of tricks because its intelligence was outside the normal thing. In those times it was difficult to train a dog for such aim and was amazing the amount of time and patience necessary to teach such tricks.
Bag-Punching Dog (1901)
Mannie became famous in the circuit of vodevil and it became the first cinematographic dog star, appearing in films like Foot, Tramp & the Bulldog (1901), Dog Factory (1904) and Terrible The Kids (1906).
In 1904 the producer Edwin Porter made an adaptation in Kinetoscopio, based on cómic of Richard Felton Outcault of 1902, “Buster Brown and Tige”. Norman H. Moshes was friend of Porter and it suggested the paper to him of Tige was interpreted by “Mannie”. At first they did not have glided that was a series, rather was a vehicle to present “Mannie”, but it was as much successful that followed more with several chapters.
Buster Brown was a boy of city, the allowed boy of a rich family who next to their dog “Tige” made all type of misdeeds and jokes, of which soon never regreted. The paper of Buster Brown was interpreted by Grandville Hamilton Fisher. In cómic of Outcault, Tige had the particularitity of being able to speak, but because in the cinema the sound could not be still reproduced, that characteristic was annulled for the production of the series.
The mother of Buster tries to buy a globe for her son, but but Buster gets upset, he pushes the salesman and he orders to Tige that bites the trousers of him. The seller loosen all the globes and Tige and three Pit Bull more explode globes.
Buster, their mother and Tige go to a store. Very much women occupies all the counter fighting by the clothes. Buster orders to Tige that jumps and takes the averages that are hung in the ceiling of the store. Tige to please to its owner, begins to jump, barking and giving somersaults. This scares the women, who go away and leave to the mother of Buster the free space, while Tige bites a wood chair.
In this short Buster, Tige, his mother and a friend are in front of a showcase, when a man with a small dog approaches. The mother of Buster puts itself to speak with the man. Buster demands her attention and when she ignores him, it causes that Tige bites the necklace of the dog of the man. The man be scared and he puts himself to shout. The mother of Buster throws the hat of the man to the ground and both dogs turn aside the attention towards the hat and begin to bite it.
March 9, 1904-Buster’s Revenge on the Tramp
Buster wants a cake box that is not to its reach. Then a vagabond by the window enters and aid to take it to him. But the vagabond begins to eat and he does not let to Buster prove mouthful. Then flame to Tige so that it bites the vagabond and throws to him of the house. Her mother realizes, and awards to Buster with cakes.
March 9, 1904-Buster’s Dog to the Rescue
In this occasion the servant of Buster keeps a box from cakes at the top of a closet so that it does not take Buster to it and she goes away of the room. Buster takes stairs and tries to take the box when he is surprised by his mother, who gives a beating him and she ties to him to the table so that he does not move. Buster calls to his faithful Tige friend so that it is this one the one that rises the stairs to take cakes. Obedient Tige rises it takes, them and it occurs them to Buster. Both end up eating cakes.
As much it was the success that had “Tige” with Buster Brown who soon the majority of American children asked to shouts to have a Pit Bull like “Tige” to his side.
When the series of “Buster Brown and Tige” finished, the first short that produced Foster was Dog Factory in 1904. Mannie leaves at the end of the film and is the dog that bites in the trousers a man. Between all the dogs that leave in this films, Mannie was the dog that had the paper protagonist. In the film also her owner Laura Comstock takes part, who during the running maintained the control of the dogs.
Dog Factory (1904)
Between 1909 and 1912 all the aspects of the rising cinematographic industry were under the control of trust (Monopoly) American, MPPC (Motion Pictures Patents Company), formed by the main producers. This group limited the duration of the films one or two coils and rejected the request of the actors to appear in the credit titles. Trust was disassembled successfully in 1912 by the Law Anti Trust of the government, who allowed the independent producers to form his own companies of distribution and exhibition, reason why could arrive until the American public European works from quality, like Quo vadis (1912, of Enrico Guazzoni), of Italy, or queen Isabel (1912), of France, carried out by the actress Sarah Bernhardt.
The example, mainly of Italy, that in 1912 with 717 productions was the most powerful cinema of the world, took to the American producers to the action, seeing itself forced to make films longer, in which the directors also had a greater artistic freedom, and the actors would appear in the credit titles, which did unfailingly that some of these became the favorites of the public. Like result, he followed a period of economic and artistic expansion in the cinema of this country.
Soon the necessity that arose music had expressive aims and therefore to create a music that accompanied concrete images.
In order to disguise the noise that made the machines of projection and to brighten up to the hearing, some proprietors contracted musicians who touched the piano, organ or the pianola. Also they took small groups that improvised according to the scenes that appeared then in the screen. Fast rates for the serious persecutions, sounds for the mysterious moments and romantic melodies for the love scenes were used. Often they were limited to realise variations on one or two subjects, and improvised on the march, because in the majority of the cases they had not seen previously the film.
Between 1915 and 1920 the great rooms of cinema proliferated by all the territory of the United States, while the industry moved of the environs from New York to Hollywood, small Californian locality next to Los Angeles where the independent producers, like Thomas Harper Ince, Cecil B. Of Mille and Mack Sennett, constructed their own studies.
LUKE (The spectacular American Pit Bull Terrier)
One of the more popular humorous
actors of his time was Roscoe “Fatty” Arbuckle (
Buster Keaton in his autobiography described to Arbuckle like a joking man of nature, and creator, next to the own Keaton, of elaborated gags and humorous schemes that put to the service of figures of the comedy of the sonorous cinema.
In January of 1914 Minta Durfee made a film for the producer Mack Sennett in the Keystone studies. Sennett said to Durfee that will go to the director Wilfred Lucas house, for an advantage that thought she had won to roll a particularly difficult scene when hung being in a bridge. The advantage was not an extra money as they thought, if not that it was a beatiful American Pit Bull Terrier puppy of six weeks of age, borned in December of 1913.
Arbuckle and his wife Minta welcomed in the puppy with an enormous smile and they called it “Luke” in honor the director, who was the breeder of the litter. Luke grew with them and got to be a member very wanted by both. Luke was a American Pit Bull Terrier exceptional and Roscoe “Fatty” Arbuckle introduced to it in the cinematographic industry rolling with it many of his films. With the time, Durfee commented that it had been the best advantage than had obtained in the course of her cinematographic work like actress.
Luke was so dear in the family, who
when Arbuckle and Durfee separated the
Luke passed away in 1926 and during its thirteen years of life, it realised many films done by Arbuckle and his friends, with such agility, skill, and intelligence that many people felt that Luke robbed protagonism to the stars of the films. Luke was officially in the list of Keystone in 150 dollars for each week and had a reputation of being brave at the time of carrying out any work.
It was so the existing mutual understanding between Arbuckle and Luke, that have been one of the best existing dog actors at all the times of the history of the cinema. It obeyed all the orders and it even did unthinkable works for that time in a dog.
Incredibly brave, Luke realised a variety of tricks to the Roscoe service, including raising stairs, persecuting to the villains by the tile roofs, jumping of building in building. Also it jumped from high altitude. Once, with the synchronization of a fraction of second, it was filmed jumping of a car at full speed to another one. It always was by hand when Arbuckle was working, and it accompanied all the runnings to him, although it would not act in some films.
1914-The Knockout (Extract where appears Luke)
1915- Wash Day (Extract)
1915- Fatty’s Plucky Pup (complete film)
1916- Fatty and Mabel Adrift
1917- The Butcher Boy (Extract)
1918- The cook (Extract)
1919- The Garage (Extract)
1919- The Hayseed (Extract)
1920- The Scarecrow (Extract)
Another one of the most famous actors of those time was the popular Charles Chaplin (April 16/1889 - December 25/1977). He was a humorous actor, composer, producer, director and British writer. He acquired popularity thanks to his personage “Charlot” in multiple films of the dumb period. From then, a symbol of the humorous and the dumb cinema is considered. For the end of World War I, he was one of the more recognized men of the world-wide cinematography.
At the end of 1913, the activities of Chaplin had been seen by Mack Sennett, Mabel Normand, Minta Durfee and Roscoe “Fatty” Arbuckle. Sennett, that was shortage in a theater of New York in a drunkard paper contracted him for his Keystone studies.
Chaplin quickly became a success and was the most popular star of Keystone.
Normand directed sometimes to Chaplin and also he wrote the scripts of some of his first films. To Chaplin he did not please to him to be directed by a woman, and in many occasions them had discords. Nevertheless, they became friends, although shortly after Chaplin left Keystone.
The personage of the vagabond, also known like Charlot, was presented during the time of the dumb cinema in a comedy of titled Keystone suffocating Races (released the 7 of February of 1914). Charlot is a vagabond with ways refinings, clothes and the dignity of a horseman. Chester Conklin contributed with small frac and Ford Sterling with the shoes. The unique thing that belonged to Chaplin was the cane, since the bowler also was of Roscoe Arbuckle.
In 1915, Chaplin signed a new contract with Essanay by a year and with this company he filmed 14 films in which he developed his cinematographic abilities much more, in considered productions more ambitious. Frequently, they shared poster with Chaplin actors like Edna Purviance. In 1916, the Mutual Film Corporation paid to Chaplin 670,000 dollars to produce a dozen of comedies of two rolls with exceptional conditions. Twelve films took place during a period of 18 months, per which he received 150. 000 dollars. Edna Purviance continued being the feminine protagonist.
Chaplin assumed the direction of his films since 1918. Nevertheless, a year before, when his contract with the Mutual had finalized, refused to continue working with this one and signed a new contract with the First National to produce eight films by 1. 075. 000 dollars. For the First National he realised in 1918 To Dog's Life (Life of dogs).
MUTT (The nice American Pit Bull Terrier mixed)
To Dog's Life was the first short that realised with the First National. It is simultaneously the Chaplin longest production at that time and first about which he thought seriously about the construction of a humorous argument.
Chaplin said to the mass media that he had been considering the possibilities of working with a dog more of one year ago before making this film, and decided that it was the perfect moment to realise this film. Only he had to find the dog perfect. For it thought about a dog sausage, pomerania, poodle, a Boston Terrier or an English bulldog before that he understand that really he needed was a mixed dog since the own Chaplin interpreted a vagabond paper.
Chaplin gathered 21 dogs of the
The plot of the film was very simple. Mutt interpreted the paper of “Scraps”, a vagabond dog that is attacked by other dogs. Chaplin, in his vagabond paper, saves to it of that attack and that is the beginning of a perfect friendship; two left people without home, vagabonds to his luck. Together they fight to stay in spite of unemployment and the hunger both alive. Chaplin falls in love with a singer, paper interpreted by Edna Purviance and “Scraps” plays the most important role in the film for both can enjoy a life together and happy.
The film was a great success in the Chaplin cinematographic. Mutt even enjoyed that great success, since thanks to the affectionate character and the enormous intelligence that it owned, it was adopted by Charles Chaplin and it passed the rest of its life like a member of the studies personnel of the star aside from being like a member more of the Chaplin family.
1918 - A Dog’s Life (Extract)
Aside from Mutt, in it films acted several racially mixed dogs and other two pure breed American Pit Bull Terrier. One of them, had a paper a little more outstanding than the rest, since it is the one that bites the trousers to Chaplin and it remains with a piece of trousers in its mouth and it goes away with the fabric piece.
By the amount of dogs that acted in this film it posed some problems in the production and in some occasion the dogs had some confrontation in the running Seth. Along with receipts of the dog meat, receipts of 65 cents of ammoniac were included in the orders that were used to stop the confrontations that took place among it.
The later years to the I World war, the cinematographic industry became one of the main sectors of the American industry, generating million dollars of benefits to the producers that were successful. The films of this country internationalized and dominated the world-wide market. In the Twenties the American films began to have a sophistication and a smoothness of style that it synthesized what it had been learned of the experience.
The humorous films knew a time sea bream in the Twenties. To Chaplin other two comedians were united, Harold Lloyd and Buster Keaton, at the top of the sort, both continuators of the tradition of the humorous films of a single coil.
In 1926 the producer Warner Brothers introduced the first effective sonorous system, known like Vitaphone, consisting of the recording of the musical sound tracks and texts spoken in great discs that were synchronized with the action of the screen.
Towards 1931 the Vitaphone system had been surpassed by the Movietone, that
directly recorded the sound in the film, in a sideband. This process, invented
by Lee de
The transition of the dumb cinema to the sonorous one was so fast that many films distributed between 1928 and 1929, that had begun their process of production like dumb, were voiced later to adapt themselves to a urgent demand. The owners of the rooms also hurried to turn them into rooms apt for sonorous, while films were rolled in which the sonorous one was exhibited like newness, being adapted literary works and introducing strange sound effects to the first opportunity. The public soon got tired of the monotonous dialogues and the static situations of these films, in which a group of actors was placed near a fixed microphone.
Such problems were solved in the beginnings of the decade of 1930, when in several countries a group of cinema directors had the imagination necessary to use the new one of more creative form half, releasing the microphone of their statism to restore a flowed sense of the cinema and to discover the advantages of the postsynchronization (the dubbing, the effects room and the sound equipment generally that follows the assembly), that allowed the manipulation of the sound and music once rolled and mounted the film.
One of the series more known the history of the cinema was Our Gang. The Series was created by the producer Hal Roach and it began to realise in his studies in 1922 like a series of short dumb. It was famous to show young acting in natural way. From his first director, Robert F. McGowan, characterized itself for being first in filming of a realistic way the behavior of the children. Another characteristic that made famous to the series was the one to present an egalitarian group made up of boys and girls, targets and black, formula that later would become a common fact of the cinema.
According to Roach, the idea of the series was happened to him in 1921, when a girl to hearing went to appear in one of his films. The girl was, in his opinion, too much tried composing. To Roach her action did not seem to him natural. He was shown to the window and he watched towards a wood warehouse in the street, where he saw a group of children who yes had an argument. The children had taken all the woods of the wood warehouse to play, but the smallest boy had taken the wood greatest, and the other were trying to force him to give the wood to the greatest boy. After realizing of which there was been observing the discussion of the children during 15 minutes, Roach thought that a series of shorts on the children, being they themselves, could be a success.
The first actors of the
series young were recommended to Roach mainly by the employees of the study,
including the daughter of the photographer, and the children of his friends,
but soon they made national castings where thousands of children (many taken to
drays almost by his parents), appeared to hearing for the papers available.
Mickey Rooney, Judy Garland and
The majority of the first short ones was rollings outdoors and also animal counted on a collection of origin comic strip personages since his idea also was that the series was tanden “boy-mascot”. In the beginnings animal of diverse nature like “Dinah were even used the Mule” or a goat.
Altogether short ones were made 220 and one film (General Spanky) and in their distribution participated a total of 41 young actors, who when growing, left the series and were replaced by younger children.
The series Our Gang was a success from the beginning, by the children naturalism, the funny scenes with animal actors, and the direction of McGowan doing a successful combination. The children, some too small ones to know how to read, as soon as they saw the scripts, being into the hands of the director to explain the scenes to them to film just before doing it, directing to the children using a megaphone and animating to them to improvise.
Roach changed of distributor several times, working with companies like Pathé or Metro-Goldwyn-Mayer (MGM). The series began to take control of sound as of 1929 and was sold to the MGM in 1938, company that continued with the series until 1944. At about the middle of the years 50, the eighty short ones that became in the Roach Studies were sold to the television under the title The Little Rascals, since the MGM maintained the rights of the name Our Gang.
In the 1927 the children of Our Gang acquired a American Pit Bull Terrier with a ring around their eye, originally called " Pansy", but soon one knew like “Pete the doggie”, the most famous series mascot and the most faithful friend of the children.
PAL THE WONDER DOG (The great children friend)
It was the first American Pit Bull Terrier that used the children in the series Our Gang in the paper of “Pete the doggie”.
It was born in 1925 and he was son of Tudor's “Black Jack”, property of Earl Tudor. Its owner and trainer were the Lieutenant Harry Lucenay.
Pal the Wonder Dog FIAPBT Pedigree Online: http://www.fiapbtpedigree.com/imprimir_ficha.php?idm=en&criterio=326891
Pal era en gran medida la mascota de la familia Lucenay. Era conocido como “Petey el perrito” con el anillo alrededor de su ojo, ya que tenía una anillo natural casi por completo alrededor de su ojo. Esta curiosidad hizo que se acreditara como una rareza en Ripley’s Believe It or Not, franquicia estadounidense que trata de acontecimientos extraños o curiosos sucedidos en el mundo.
Como curiosidad, para terminar el círculo alrededor del ojo, fue maquillado con colorante artificial por el maquillador más demandado de Hollywood, Max Factor.
With only six months of age, Pal the Wonder Dog, began its race like actor doing a short paper in the film “The Freshman” in 1925 with Harold Lloyd.
Pal was an excellent actor and was demanded by directors Scott Pembroke and Joe Rock for the films “Somewhere in Wrong” (1925) and “Dr. Pyckle and Mr. Pryde” (1925), both with Stan Laurel, having had a paper protagonist in both films.
1925 - Somewhere in Wrong (Extract)
1925- Dr. Pyckle and Mr. Pryde (Extract)
Pal also was chosen to interpret the paper of “Tige” in the reedición of the series “Buster Brown and Tige”.
The series was directed, obvious, to a very young public and offered very little for the adults, nevertheless the young people entertained thoroughly with Buster Brown and his dog “Tige”. Pal was trained and demonstrated very well its magnificent abilities in the series of Buster Brown.
In 1927 Hal Roach introduced to Pal in the famous series “Our Gang”, interpreting the paper that nowadays has been the most famous dog of the history of the cinema, “Pete”. Besides intelligent, Pal player was, affectionate and very careful with the children and arrived to be considered more as a nursemaid instead of how a dog distribution companion. Soon all the American children wanted to have a American Pit Bull Terrier like friend and companion of games in their lives, and the parents saw to the American Pit Bull Terrier like an authentic caretaker and protector of their children.
Pal was contracted by the Roach studies by three years receiving a pay of 125 dollars per week, with a weekly increase of 25 dollars to make it exclusive of the Roach Studies. Pal became the second actor better paid of the series, only surpassed by the actor whom interpreted to Farina, Allen Hoskins.
The last film that made Pal went “To Tough Winter” (1930) since, unfortunately, Pal was poisoned by a unknown person, probably by some adjustment accounts or some resentment against Harry Lucenay and died just by 5 years of age.
Pal the Wonder Dog with Our Gan (Extract)
When finding out the death of Pal, the children of the series Our Gang were heartbroken, they considered it like one more of his band and his better friend, but at those moments Pal had a litter, and Harry Lucenay used one of its sons to continue in the series. That puppy that used was Lucenay's “Pete”.
LUCENAY’S “PETE” (All a Legend)
Lucenay's “Pete” was born the September 6, 1929 and its breeder was A.A. Keller. Was registered like American Pit Bull Terrier in the United Kennel Club (UKC) under the name of “Purple Ribbon Peter” with number 22558. Also was registered this American Pit Bull Terrier in the American Kennel Club (AKC), but in June 9, 1936 the AKC changed the name of the breed American Pit Bull Terrier by the Staffordshire Terrier (In 1972 to change again the name of the breed by which we know at the moment like American Staffordshire Terrier - AST-). From here comes the confusion from which many followers of the series Our Gang thought that Pete was a Staffordshire Terrier.
Lucenay’s Pete FIAPBT Pedigree Online: http://www.fiapbtpedigree.com/imprimir_ficha.php?idm=en&criterio=67627
Lucenay's Pete had the characteristic of its father of the almost complete ring around its eye, only that in the opposed side to where it had Pal. The legs also had a different color slightly.
Although later other dogs used to interpret the paper of Pete, Lucenay's “Pete” was the more known of all.
The capacity of Pete to respond humorously at the right moment and its strong relation with the children of Our Gang was applauded by the public during generations. All this was the effort and the great work that Harry Lucenay with a dog pertaining to a breed dog with an intelligence outside the common thing.
Lucenay’s Pete with its trainer Harry Lucenay
Following the children to the school, helping them to escape, as well as taking care of the children, a thing was evident: its incredible loyalty and affection. In the book, “The Little Rascals: The Life and Times of Our Gang”, the infantile actors delighted with being with Petey. Jack Cooper wrote in his autobiography, "I liked so much this dog"; and he said that one of the great events of his childhood was when he was allowed to take him to house to Petey with him during the weekend. "Being a weekend with Pete… was my idea of the glory and the paradise together".
Pete was the perfect example of the relation between a boy and his dear dog and that were a formula very used for the series, and that was one of the keys of the great successful that it was.
Lucenay's Pete began its race like actor since very small. Only it was days old when its first film with the boys of Our Gang in 1930 be rolled in, “Pups is Pups”, one of the closeest episodes, where Wheezer has a litter of puppies Pit Bull that come running towards him when listening to sound a bell. The affection that Wheezer gives to his puppies is comforting for its. When Wheezer loses his bell, he also loses his puppies, that follow all the bells that hear. Wheezer looks for his loved puppies throughout but it is in vain. Wheezer finally finishes in the steps of the church, lowered, crying by his lost puppies. Next, the bells of the church sound and the puppies come running towards Wheezer, having history a happy end.
Pups is Pups (1930) (Complete film)
School’s Out (1930) (Extract)
Love Business (1931) (Extract)
Shiver my Timbers (1931) (Complete film)
Dogs Is Dogs(1931) (Extract)
Readin’ And Writen (1932) (Extract)
Choo Choo (1932) (Extract)
The Pooch (1932) (Complete film)
The last film that made Lucenay's Pete with Our Gang, was “The Pooch” in 1932, since Harry Lucenay was dismissed of the Roach studies.
Studies Hal Roachs in 1931: Photography with some members of the Studies. Laurel and Hardy also are in the photography.
After leaving Roach, Lucenay's Pete went to New York, and appeared in short of Fatty Arbuckle " Buzzin ' Around" and in the reporter of the Paramount " Broadway Highlights", in that it is seen it drinking a jar of beer like his initiation in The Lambs Club.
But Pete never stopped working. In 1936, it was united again to Our Gang, but only for a tour of personal presentation, since it was the best dog than it represented the paper of Pete in the series Our Gang.
But Lucenay's Pete was not only one source of money or one celebrity for the Lucenay family, but it was a familiar dog and he was considered like one more of the Lucenay family.
Lucenay's' Pete died the
The son of Harry Lucenay, Ted, had 18 years of age when Pete died, reason
why he servant with him together. He was a young boy who grew in
When Ted, he asked themselves to him about Pete after his death, said, "It
was an amiable, warm dog and friendly. … He slept on the feet of my bed. It was
the dog of the family. I really miss it". “It always has been wellknow" , " He loved
everybody it.” In order to foment the nice doggie, Harry Lucenay,
took to Pete to Steel Pier, in
At present still continues
remembering this great dog actor, although have spent 66 years of his death,
and as its legend continues, people wonder themselves
what happened with the rest of the dog of
But, Lucenay said, “no of the rumors are certain. Pete died as older, not poisoned”. According to the woman of Ted, Helen, the place of final rest of the famous doggie is a secret that took Lucenay when it passed away.
VIDEO TRIBUTE TO STARS OF CANINE CINEMA
FAMOUS ACTORS OWNERS OF AMERICAN PIT BULL TERRIER
Fred Astaire (Actor)
Linda Blair (Actress)
Rosie Pérez (Actress)
Jon Stewart (Actor)
Amy Jo Johnson (Actress)
Bradt Pitt (Actor)
Michael J. Fox (Actor)
Vin Diesel (Actor)
Frankie Muniz (Actor)
Jessie James (Actor and presenter)
Alicia Silverstone (Actress)
Hilary Swank (Actress)
Jon Stewart (Actor)
Jennifer López (catres and singer)
Work carried out by:
International American Pit Bull Terrier Federation (FIAPBT)