series such as Cubby Bear and Rainbow Parades, and an earlier Tom and Jerry. This Tom and Jerry series starred two humans; it was unrelated to Barbera's later cat-and-mouse series, although both of these cartoons are adopted the name that created in 1821 book titled Life in London, written by Pierce Egan. When Van Beuren closed down in 1936, Barbera moved over to Paul Terry's Terrytoons studio. In 1935, Barbera created his first solo-effort storyboard about a character named Kiko the Kangaroo. The storyline was of Kiko in an airplane race with another character called Dirty Dog. Terry declined to produce the story. In his autobiography, Barbera said of his efforts ..."I was, quite honestly, not in the least disappointed. I had proven to myself that I could do a storyboard, and that I had gained the experience of presenting it. For now, that was enough."The original storyboard, which had been passed down through the Barbera family, went on sale at auction in November 2013. Film Lured by a substantial salary increase, Barbera left Terrytoons and New York for the new Metro-Goldwyn-Mayer cartoon studio in California in 1937. He found that Los Angeles was suffering just as much from the Great Depression as Brooklyn and almost returned to Brooklyn. Barbera's desk was opposite that of William Hanna. The two quickly realized they would make a good team. By 1939, they had solidified a partnership that would last over 60 years. Barbera and Hanna worked alongside animator Tex Avery, who had created Daffy Duck and co-created Bugs Bunny for Warner Bros. and directed Droopy cartoons at MGM. In 1940, Hanna and Barbera jointly directed Puss Gets the Boot, which was nominated for an Academy Award for Best (Cartoon) Short Subject. The studio wanted a diversified cartoon portfolio, so despite the success of Puss Gets the Boot, Barbera and Hanna's supervisor, Fred Quimby, did not want to produce more cat and mouse cartoons believing that there were already enough cartoons of those in existence. Surprised by the success of Puss Gets the Boot, Barbera and Hanna ignored Quimby's resistance and continued developing the cat-and-mouse theme. By this time, however, Hanna wanted to return to working for Rudolph Ising, to whom he felt very loyal. Barbera and Hanna met with Quimby, who discovered that although Ising had taken sole credit for producing Puss Gets the Boot, he never actually worked on it. Quimby,