1929: She auditioned at Walt Disney, and was optioned to be a replacement to Minnie Mouse, but was rejected because the producers feared the implications of an inter-species relationship.

1937-1941: Amy appeared twice as a squirrel extra in Snow White and Bambi. The job left Amy unfulfilled because she didn’t enjoy the drippy, oversaccharine cuteness of the part.

1945: Amy understudied with Tex Avery’s Red Hot Riding Hood. This was where she learned how to be sexy. She almost appeared in a short when WW II ended and the brutal censors descended once again on the film industry.

1953: Amy went to Warner Bros. studios and auditioned for several animated cartoons. She was narrowly turned down for one part that was later given to Daffy Duck. The result? Chuck Jones’ Duck Amuck (a true great).

1965: A bit of a backslide in Amy’s career, she played a number of bit-parts at Hanna-Barbera. She disliked the fact that she had lost nearly everything she strived to gain earlier in her life.

1974: Unemployed (but who WASN’T?)

1984: Work was very hard to find in American animated cartoons, so Amy trotted off to Japan. She was picked up an appeared in a few of the domestic animated fantasy films. She was impressed with the fact that many Japanese cartoons contained as much graphic sex and violence as American live-action films. Amy loved the Japanese films’ detail, artistry and perversity, but she hated the cheesy limited animation and the fact that all Japanese seemed to draw the same way.

1989-1990: She met up with cartoonist Eric Schwartz and also became enamoured with a computer that was also called Amy. Schwartz was the only person to draw Amy the way she wanted to be drawn. She could finally have all the characteristics she liked in her earlier careers.