Articles on this Page
- 12/15/18--07:02: _Jean Vander Pyl Loo...
- 12/19/18--12:04: _Flintstones Comics,...
- 12/22/18--07:12: _Santa and the Stone...
- 12/25/18--06:00: _How Hoyt Curtin Mad...
- 12/29/18--07:07: _Boss Cat
- 12/31/18--03:34: _Don Lusk
- 01/02/19--07:01: _Yogi Bear Weekend C...
- 01/05/19--07:24: _Facts and Figures A...
- 01/09/19--07:01: _Snagglepuss by Geor...
- 01/12/19--07:15: _Huck the Canuck
- 01/16/19--07:18: _Flintstones Weekend...
- 01/19/19--06:52: _Rhymes of Bear Are ...
- 01/23/19--06:52: _Home Sweet Bear-Typ...
- 01/26/19--07:21: _Joys and Vexations ...
- 01/30/19--07:39: _Snuffles
- 02/02/19--07:22: _Better Than Gobel
- 02/06/19--12:24: _Yogi Bear Weekend C...
- 02/09/19--07:18: _The Life of Daws
- 02/13/19--07:00: _Running Ranger
- 02/16/19--07:06: _The Prowler
- 12/15/18--07:02: Jean Vander Pyl Looks Back
- 12/19/18--12:04: Flintstones Comics, December 1970
- 12/22/18--07:12: Santa and the Stone Age
- 12/25/18--06:00: How Hoyt Curtin Made Music
- 12/29/18--07:07: Boss Cat
- 12/31/18--03:34: Don Lusk
- 01/02/19--07:01: Yogi Bear Weekend Comics, January 1970
- 01/05/19--07:24: Facts and Figures About Hanna-Barbera, 1966
- 01/09/19--07:01: Snagglepuss by George Nicholas
- 01/12/19--07:15: Huck the Canuck
- 01/16/19--07:18: Flintstones Weekend Comics, January 1970
- 01/19/19--06:52: Rhymes of Bear Are Everywhere
- 01/23/19--06:52: Home Sweet Bear-Type Cave
- 01/26/19--07:21: Joys and Vexations of the Future
- 01/30/19--07:39: Snuffles
- 02/02/19--07:22: Better Than Gobel
- 02/06/19--12:24: Yogi Bear Weekend Comics, February 1970
- 02/09/19--07:18: The Life of Daws
- 02/13/19--07:00: Running Ranger
- 02/16/19--07:06: The Prowler
For the first two years of its life, the Hanna-Barbera cartoon studio relied almost entirely on Daws Butler and Don Messick to provide voices for all its characters. The exceptions were rare. By 1959 the studio was looking to expand its talent roster, and also to hire a woman to handle the female roles instead of using Messick in falsetto.
That’s when Jean Vander Pyl was hired.
Vander Pyl came from radio. She wasn’t in the top echelon of female supporting players like Bea Benaderet or Shirley Mitchell, but she had a steady enough career. Because of that, she didn’t get a lot of attention. That changed years later, when Hanna-Barbera cartoons became nostalgic and Vander Pyl was still around to voice her old characters.
From what I’ve heard she was a friendly, down-to-earth and level-headed person, and a good friend, so it’s nice to see her getting some publicity.
This story appeared in the Asbury Park Press of May 29, 1994. Other than misremembering which character was her first—Hanna Barbera had a bunch who were inspired by the Addams Family, so that’s understandable—she gives an interesting take on her career, including her most famous role.
Vander Pyl died on April 10, 1999 at the age of 79.
By MARK VOGER
PRESS STAFF WRITER
"I was never very bold about telling actors off or telling directors what I wanted," says a familiar voice over the phone from California. "You just didn't do that in those days. But there were two times in my life that I did."
Jean Vander Pyl is reminiscing about her audition for "The Flintstones" in 1960. Present were Bea Benaderet, an old friend from her radio days, and animator Joseph Barbara, who would decide which of these two women should play Wilma Flintstone and which should play Betty Rubble.
Vander Pyl lets out a laugh. "It was so informal in those days, so much more relaxed. Today, they would never do such a thing!
"So I said, 'Oh, I want to be Wilma!' I felt a real closeness to that character. Bea said, 'That's fine with me.' So that's actually the way it was cast."
The only other time in her long career that Vander Pyl "mouthed off" would come three years later.
When we heard there was going to be a baby on the show, she says, "we were excited. The minute I heard that, I thought, 'Oh, I want to do that baby!' Sure enough, the first time it was in the script — the birth of Pebbles — (Barbera) said, 'Now, who's going to do the baby here?'
"The minute those words were out of his mouth, I said, 'I want to do the baby! She's Wilma's baby and she should sound like Wilma!'"
If you're only going to speak up for yourself twice in your career, Vander Pyl apparently picked the two right moments.
As the creator of the voices of the voices of Wilma (which she still performs to this day) and baby Pebbles, Vander Pyl has been heard for 34 years in 86 countries. She is the only surviving member from the original cast of the 1960-66 animated series The Flintstones, on which is based the feature starring John Goodman which opened Friday.
Before doing voice characterizations for television, Vander Pyl worked in radio for 20 years, "in the early, early days, when radio was like television now. "For radio people," the actress says, "if you couldn't do more than one character in a show, you didn't work. So, cartoons were a natural for radio people."
Vander Pyl first worked for William Hanna and Barbera — the animators who created "The Flintstones"— in the late '50s, just when the need for original cartoons produced specifically for the medium of television was becoming more and more apparent.
"It was the big change, and television demanded it," Vander Pyl recalls.
"At that time, they were using the old 'Betty Boops,' the old 'Popeyes'— all the stuff that had already been done. Then (Hanna and Barbera) came up with this new method of producing cartoons quickly.
"They were credited with being the first people to be able to make cartoons fast enough for television, because television ate them up so hard."
"She looked very much like the mother in "The Addams Family,'" Vander Pyl recalls. " So I thought, 'What can I do?' I fiddled with it and came up with — in my own way of thinking, as actors do — half-Katharine Hepburn and half-Talullah Bankhead, if you can imagine."
By 1960, buoyed by the success of such cartoons as "Ruff and Ready," [sic] "Yogi Bear" and "Huckleberry Hound," Hanna-Barbera set about producing what would become the first-ever prime time animated series in television history. As such, the series had to appeal to adults as well as children — which is why a certain live-action sitcom was used as a prototype.
"They showed us the cartoon, and then Mr. Barbera explained to us what it was like," Vander Pyl recalls. "He said, 'It's sort of like "The Honeymooners."' And that was the tipoff to what type of voices they wanted. So, all four of us had a pattern that we were lead into.
"I did sort of an impression of Audrey Meadows, who played the wife on 'The Honeymooners,' which was that New York, nasal kind of thing."
Vander Pyl slips into a perfect Meadows impression. "'Oh, Ralph! How many times do I have to tell you!' All up in the nose.
"So when we all first started, we all ended up doing almost-impressions of those four. But then, after we got the parts and the show was on, I remember Joe saying to me, 'Jean, that's a little too nasal. Let's cut down on the nasal.' But I would slip into it, because we had done several shows that way. So it became half me and half the original Wilma."
Vander Pyl says that the chemistry among the first Fred, Wilma, Barney and Betty was no accident.
"Bea was one of my best friends before we ever even started. I used to take my little girl over to visit her. We used to sit in the sun around her pool back in the early days. I'm talking about the '40s, when our kids were little. These same children are now 52.
"I loved Alan. Al was one of my favorite people. He was kind of like Fred. He was a very warm, big, gentle man when you saw him, but bombastic, too. Like Fred."
Following the cancellation of "The Flintstones" in 1966, Vander Pyl continued to do voices for Hanna-Barbera: Rosie on "The Jetsons" ("she's so much fun to do"), Winnie Witch, Ogee on "Magilla Gorilla," Ma Bear on "The Hillbilly Bears" and Blutessa (Bluto's sister) on "Popeye." But Wilma never strayed too far from Vander Pyl's repertoire. She continues to speak for Wilma through all of the various "Flintstones" spinoffs, such as "Pebbles and Bamm- Bamm" (1971-76), "The Flintstones Kids" (1986-89), "The New Fred and Barney Show" (1989) and many others. And Vander Pyl plays Mrs. Feldspar, Fred's third-grade teacher, in Amblin Entertainment's new "Flintstones" feature.
But Vander Pyl found the two most recent animated "Flintstones" spinoffs — last year's TV movies "I Yabba Dabba Doo!" and "Hollyrock-a-Bye-Baby" (in which Pebbles gets married and has a baby, respectively) — particularly satisfying.
"It was the most gratifying thing to do those two movies," Vander Pyl says. "It has been wonderful for me, and I'll tell you why. When I was young, I wanted to be a famous, dramatic actress, right? Katharine Cornell. Helen Hayes, the first lady of the theater. My only disappointment — though I'd worked through the years and had a wonderful career — was that I was anonymous. I wasn't recognized on the street.
"And the most charming and touching thing is that so many of the baby boomers were latch-key kids, and I've had people say, 'You were my mommy and daddy. I came home every afternoon after school and watched you.'
"I've had people thank me for all the years of pleasure and fun. I've never thought of myself as having that kind of effect. It's so gratifying to me now. I think, 'Gee whiz — maybe I did do something after all.'
"So it has been very gratifying, but mostly it made me feel good that maybe we made a portion of the children of this last century feel good about something and enjoy something. "And laugh."
It’s remarkable! Infants in the Stone Age know future U.S. Vice President Spiro Agnew! And they know there are such things as Spiro Agnew watches (my fuzzy memory seems to recall there was such a thing before Agnew’s political demise).
At least, such is the case in the Stone Age of the Flintstones.
Here’s what Gene Hazelton and his crew put together in the Sunday comics on this month in 1970. Pops appears on December 6th, Barney and Dino on the 13th, and Fred takes the Christmas comic of December 20th off. He returns on December 27th with a new-fangled remote control (at least our TV sets in the ‘60s never had one).
Click on each comic to enlarge it. The colour comic comes from the collection of Richard Holliss.
December 6, 1970
December 13, 1970
December 20, 1970
December 27, 1970
If you’re going to buy the fact that people in the Stone Age celebrate Christmas, you might as well jump in and buy the fact that the Sphinx, the Eiffel Tower and the Leaning Tower of Pisa date from the Stone Age, too. Because we see all that in “Christmas Flintstone.”
The show aired as a regular episode of The Flintstones on Christmas Day 1964 (the first time the show aired on a Friday night after swapping spots with Jonny Quest). It was repeated on Christmas Eve 1965, so we can only presume ABC and Screen Gems intended this to be an annual thing. Of course, 1965-66 was the final network season for the show.
It’s evident that Hanna-Barbera pumped more money into this episode than usual. There are a couple of original songs by John McCarthy. There are a few imaginative overhead layouts, something Hanna-Barbera rarely engaged in. And despite the anachronisms, a few plot holes, inconsistencies in the names of Santa’s elves, and the non-presence of Bea Benaderet, the episode has its charms. Alan Reed gives a fine performance (his off-key singing suits Fred’s character, to be honest), the background artwork is top-notch and the songs are kind of cute. And Barney’s mantra of “good will to your fellow man” is appropriate but not strident.
Warren Foster’s plot involves Fred Flintstone, fill-in department store Santa, filling in for the real Santa Claus who can’t make his Christmas Eve delivery because of a bad cold. Fred jumps in Santa’s sleigh and pours toys out of a huge bag that are swallowed up by chimneys. No need to animate Fred going in and out of houses; some cycle animation of falling parcels and toys does the trick. The cartoon makes good use of silhouettes as Fred drops presents upon various places in the world. The presents include Pebbles dolls. Ideal Toys needs their product placement!
The Flintstones was starting to run on fumes by season five, but this episode is a pleasant half-hour that is worth watching at Yuletide time.
Hoyt Curtin may have made as big an impact on Hanna-Barbera cartoons in the early 1960s as anyone else at the studio.
Curtin began writing libraries of underscore music for various series in 1960 but had composed theme songs for the company since its first show, Ruff and Reddy, debuted in 1957. All the great music for Jonny Quest, Top Cat, The Jetsons and The Flintstones was all the product of Curtin and his arranger. Later, things changed as the workload got bigger, and Curtin contracted others to compose for him.
Film Score Monthly profiled Curtin’s work at Hanna-Barbera in its February 2001 issue; he had been dead for only two months. A portion of what’s a very long article is transcribed below.
It seems to be a Christmas tradition here on the Yowp blog to include music in our posts of the 25th of December. I’ve posted a number of Curtin cues that aren’t available elsewhere. I don’t have many good ones left but you’ll find them sprinkled in between paragraphs. I haven’t tried to embed a music player; simply click on the title and it should come up in your computer’s player.
Working with Hoyt Curtin at Hanna-Barbera
By Jeff Bond
When Hoyt Curtin died in December of last year, the world lost a cultural icon. But the composer of such instantly recognizable TV show themes as Jonny Quest, The Flintstones, The Jetsons and Magilla Gorilla was largely unknown to audiences. The fact that he was often listed as a music supervisor on the various Hanna-Barbera cartoon series he worked on — making it unclear whether or not he had actually composed music on the shows — didn't help matters. Curtin did, in fact, Curtin did, in fact, compose most of the themes and a great deal of the music for Hanna-Barbera cartoons at the end of the 1950s and throughout the 1960s. Over the years he also pulled into his orbit other composers, musical directors, producers and a veteran group of musicians to assist him in supplying music for Hanna-Barbera's massive factory of animation.
Curtin's training for the world of cartoon theme songs couldn't have been more effective: He came from the world of commercial jingles, eventually becoming perhaps the most successful West Coast producer of catchy advertising songs.
Trained to boil down the appeal of a product in 30 seconds, Curtin applied his knack for simple yet indelible melodies to his first cartoon for for Hanna-Barbera, 1957's Ruff and Reddy. He went on to provide themes and music for cartoons like The Huckleberry Hound Show (1958), Top Cat (1961), Wally Gator (1962), Magilla Gorilla (1964), Peter Potamus (1964), Yogi Bear (1964), Frankenstein Jr. and the Impossibles (1966), The Banana Splits Adventure Hour (1968), Wacky Races (1968), The Cattanooga Cats (1969), Perils of Penelope Pitstop (1969) and Hong Kong Phooey (1974).
After a period of semi-retirement, Curtin did music supervision and themes for The Smurfs (1981) and other Hanna-Barbera series. During that period, Curtin worked with such composers as Ron Jones (Star Trek: The Next Generation, Family Guy), John Debney (Spy Kids, Heartbreakers), Mark Wolfram (Piercing the Celluloid Veil: An Orchestral Odyssey), Steve Taylor (Tiny Toon Adventures), John Massari (Killer Klowns From Outer Space, The Ray Bradbury Theatre) and Tom Worrall (The Tom and Jerry Kids Show, The Wild Women of Chastity Gulch) among others. For some of these composers, working with Hoyt Curtin was their first major gig. And while they generally did not receive screen credit for their work, the job turned out to be an invaluable training ground for future composing [employment].
Some of the composers knew Curtin's reputation and pursued him for the job, while others just knew they might be able to get a job writing cartoon music. "I was familiar with the shows, but I didn't make the connection between Hoyt and the shows," Ron Jones admits. "I was new to the business, but when you watch all that you don't really pick up all the names. You pick up all the bigger names and Hoyt's kind of goes right by you."
A Tireless Creator
John Debney was one who was familiar with Curtin's work. "Hoyt was like a Mike Post," Debney says, relating Curtin to the man who has written countless familiar TV themes and acted as a music supervisor and brand name for their background scores. "You know who he is and you know what he's done — and I worked for Mike Post, too.
Hoyt had been around a long long time by the early 1980s, and by that time he had really retired. I certainly knew who he was." Ron Jones became one of the mainstays for Curtin in the early 1980s. "I worked on more than a hundred different series with Hoyt," Jones says. "I worked on The Smurfs, Scooby Doo, The Trolkins, Richie Rich, Pound Puppies— the list goes on and on. My resume is so ridiculous with all the listings that people have told me to actually delete stuff — it's like two single-spaced pages of Hanna-Barbera credit. And they're all network shows. The first season I worked for Hoyt, I got a break and went home and was watching TV on a Saturday morning, and I had shows on ABC, CBS and NBC simultaneously."
Jones was attending a professional arranging school and doing copying to make ends meet when he saw the opportunity to get into animation. "The copyist copied all of Hanna-Barbera's stuff, and I looked at it and thought, I could do that," Jones says. "So I asked if I could deliver it. I cornered Hoyt Curtin and he gave me a shot." At the time Curtin was working with producer Paul DeKorte at Group Four Studios. "At Group Four he'd be on a break and I asked if I could hang out and I'd be asking him little questions. And over a period of sitting there watching I told him I'd been taking film scoring and orchestration and that I understood all this," Jones recalls. "I didn't know that everything was scored with storyboards and cassette-slugged dialogue. He told me to come back next Tuesday, and I came back next Tuesday... and he said to come back next Thursday, and I came back next Thursday... and he told me to come back next Tuesday. The third time, he said, 'Let me go out to my office.' And his office was his Lincoln Continental in the parking lot. He handed me some storyboards and a tape and said, 'Here you go.'"
Scoring by Numbers
Jones quickly discovered that scoring Hanna-Barbera animation involved more work on the composer's part than he'd anticipated. "I got home, and the storyboards from Hanna-Barbera are very cryptic," he notes. "You don't really understand what's going on. I was used to film footage but this was ridiculous. The storyboard would say six feet of somebody swishing by, and then it would go to the next panel and it would say the dialogue, and there was no continuous accounting for that time. So I realized I had to take a stopwatch and time that and add up the footage and make this huge map. It took me about four days to figure out how to do that."
Mark Wolfram found the key to entering the world of Hanna-Barbera literally at his feet. "I sent Paul DeKorte a letter at one point and on my demonstration tape I put an example of a commercial I had done for a sneaker called Snorks, which just happened to be a Hanna-Barbera character at the time," Wolfram remembers. "It sat on a shelf for a year and eventually Hoyt heard it and called me up. Hoyt said we should meet, and we had a nice breakfast at Smokey Joe's on Riverside and Coldwater. He filled me in on his career about his early days as one of the biggest jingle guys on the West Coast, and he asked if I wanted to go to work for Hanna-Barbera. At the time Curtin and his crew were working on an updated version of Jonny Quest, the classic adventure series that had aired in prime time in the '60s.
"The first thing I did was three or four episodes of Jonny Quest," Wolfram says. "It was kind of adventure music. There were more modern effects around the edges than in the '60s version, some synth drums just for some touches. Obviously at that point we were using EVI or EWI [a woodwind synthesizer] rather than three or four woodwind players, but that was really the only concession to contemporary."
Wolfram was faced with the same working approach Jones and the other composers met. "We basically had to be our own music editors and make our own cue sheets and from that you try and hit as best you could," he explains. "But you didn't want to get too specific because everything would be used for the library, so you tried to serve the episode as best you could but still keep it broad enough to have multiple uses."
Cartoons Are a Funny Business
John Debney likewise fell into the working routine quickly, sharing scoring duties on individual cartoon episodes with the other composers. "There could be anywhere from three to four of us," he says. "Someone would get four minutes and I'd get three or Ron Jones would get three, and once you had done it for him a number of times and knew what his vocabulary was and knew the kind of endings you had to do, it was very specific the way Hanna-Barbera did it. They were librarying this music and they would use it on other shows, so every few bars you'd have to put a hole in the music because they could take that and cut to another piece of music. It was very formulaic, but it was really fascinating and I learned a lot by doing it."
The sheer volume of music that needed to be produced made a major impact on most of the composers. "I would try to do a minimum of 20 pages a day and during the summer I'd end up working six or seven days a week, so it would be 130 pages of finished score every week," Jones recalls. "Mostly you'd get an act to work on, the whole act or sometimes a whole show. Or sometimes it would just be generic themes, like 'Can you write a bunch of chases? Can you write a bunch of dialogue cues?' because once they had a few shows scored they'd track it. That came in handy when I did Duck Tales because when I got there, they said, 'How can you score nine shows and track a hundred of them?' and I said, 'Watch.' They'd say, 'Why did you do that Arabian cue?' and 'Why did you do that other and I'd say, 'Look, trust me, you're gonna need that.' All that training really allowed me to envision what needed to be done."
Jones developed his own system for keeping track of exactly what show he was working on at any given time. "You keep a notebook or a manila folder and put the themes in there," he recalls. "They'd be right there next to the piano, and I'd say 'What show are we doing?' and then any shows I'd make up themes [for] I'd put them there too so there'd be a folder with dialogue themes, one with Hoyt's themes, one with my themes and so on."
Though Curtin was only writing bits and pieces and providing show themes by the 1980s, Debney notes that Curtin's work during his first decade or so with Hanna-Barbera was far more extensive and involved a long-standing collaboration William Hanna, a founding partner of the animation factory with Joseph Barbera.
Debney notes the Curtin's background in jazz was invaluable both to his jingle work and his fashioning of some of television's snappiest theme songs. "Hoyt was a jazzer," Debney says. "He was a keyboard player for one of the big bands and he was in the service. That's why his music sounds the way it does, he always loved those jazz chords, and they're fabulous."
Even in the '80s when Curtin wasn't writing most of the music, he conducted all the scoring sessions with a group of veteran players with whom he had long-standing relationships. "Hoyt conducted everything and Paul DeKorte was in the booth," Jones says. "Before MIDI stuff came in, he and Paul DeKorte budgeted things so they could have a pretty good-sized band, but we did The Smurfs with six violins and a little band, and it was all take-downs of Berlioz and Rachmaninoff and Beethoven. The Smurfs gig was about how many classical themes can you use, because the Smurfs were these little characters they did in Europe and they tracked it all with classical music." Paul DeKorte was also a talented singer who sang on and contracted vocals for all of Curtin's sessions. "As far as musicians, I recall Gene Cipriano on woodwinds, Frank Capp and Steve Schaeffer on drums, Jerry Hey, Chuck Findley, Rick Baptist and Charlie King on trumpets. Lloyd Ulleate on trombone, Tommy Johnson on tuba and bass trombone, Vince DeRosa on horn, Clark Gassman on keyboards and Chet Record on percussion," Jones says. "The concert master on violin was Sid Sharp."
The Boys in the Band
Jones says he learned a great deal of his craft just by talking to Curtin's team members. "We had the best players on earth and that's how I'd learn," the composer says. "I'd write for them, and then I'd talk to Tommy Johnson and say, 'What did you think of my tuba part?' And he'd say he liked this part and maybe I could do this other part better. Or I'd go sit with Chet Record who was the percussionist, who had to play like a million instruments, and I'd say, 'How do you get from the timpani over to the xylophone in time?' and he'd say 'I draw these arrows.' It was like a master orchestration class. I'd work with Lalo Schifrin on these French orchestration books, and then I'd go practice what I learned in terms of transparency and amplitude and intensity with all that writing each week. It was really a school unlike anything I've ever seen. The players were all great sight readers. They all loved the work. He made it fun and musically interesting."
According to the composers, Curtain made the job interesting in other ways as well. "Hoyt used to do certain things," Debney laughs. "I'd finish my allotment for the week, maybe 10 minutes of music, and he'd always call me on a Sunday night as I was getting ready to sit down for dinner and say "Hey, Big John!" You think you could squeeze out another two or three minutes of Pound Puppies? I always knew he'd call, too, because Hoyt always intended to do some writing himself at that time, but somehow he never got around to it.
Curtin also reportedly had his own idiosyncratic ideas about Los Angeles geography. "He'd always say, 'John, can you come out and meet me halfway?' I lived in Burbank and he lived in Westwood, and 'halfway' would somehow always mean about three minutes from his house," Debney recalls. "But he knew it, he was just a character."
Ron Jones points out that Curtin had to try to keep his home life and professional life separate. "His wife thought that music was dirty," Jones says. "That somehow it was the red light district. Hoyt wasn't allowed to keep any musical instruments in the house. He kept a beat-up upright piano, where every third note didn't work, in his hall closet. But he had perfect pitch so he wrote everything from perfect pitch. We'd be at Denny's or Jack's Deli, and he would take the napkin, flip it over, write out the clef and say, 'Here's the bad guy theme' or 'Here's the Smurf lick,' then you'd take the boards and that's what you had to go by."
Debney found himself dealing with Curtin's legacy years later when he wrote the score to the feature-length animated version of The Jetsons. "When I did Jetsons: The Movie, I was in a room with a bunch of suits, and I had gotten the job to score the movie, and it wasn't a great movie but it was a movie," Debney recalls. "They were in this meeting and they went, 'Now what are we gonna do for the main title?' And they all look at me. And I said, 'I think we should do the Jetsons" theme.' And they were like, 'I don't know if we really want to do that. I mean, we do have Tiffany.' They were actually proud of that! I said, 'I really think we should do the theme. I mean I'll use a bigger orchestra and fill it out a bit more, but I think we should stay true to it because when people are in a darkened theater, when this thing comes on, they're going to cheer.' I said, 'If you really want that cheer, you're going to have to play the theme.' They were really fighting me on it. And when I went to the screening and they played the theme, people clapped."
The Undying Spirit of Adventure
Debney says he's even seen Curtin's effect on live-action directors who grew up listening to the composer's themes. "When I got called in to work on Spy Kids I was sitting with Robert Rodriguez and talking, and Rodriguez said, 'Maybe we could have kind of a Jonny Quest theme,' and my eyes lit up and so did his. He went over to his computer and he had the Jonny Quest theme on it. He said he used to listen to that while he was writing Spy Kids."
Debney still carries a flame for Curtin's themes. "For my money I think that Hoyt was completely under-appreciated for what he's done," the composer says. "The Jetsons, The Flintstones, Jonny Quest. . .plus there are ones that you don't talk about but you'd remember if you heard them, like Magilla Gorilla, Wally Gator, and all that stuff we grew up on. It's so great and so catchy.
"Hoyt was a great communicator," says Ron Jones. "His themes are like perestroika—where one word means an entire paragraph. In English we don't have a word for it so I would say in music it's the musical equivalent of direct communication. He would always tell me to keep it simple and that there's a main thing and another thing and that's it—there's nothing else. I never heard anyone else say that except Lalo Schifrin. He would emphasize a lot of melody and then say, 'What else is left?' I try to be in that mold."
For Mark Wolfram, Curtin's joy in his work made the most lasting impact. "This is a guy who really loved what he did. There were problems on sessions. Things didn't always go the way he wanted to, and he'd have to make some changes. But most of the time this was a guy who was just having a great time. All the musicians felt the same way."
And for a man who could write music that sent chills down the spine (like Jonny Quest) or simply make the viewer bust out into laughter. Curtin's personal sensibility couldn't have been more appropriate. "He truly was loved, and he was just hilariously funny," John Debney says. "The beauty of Hoyt was that he took the music seriously but he had a great time doing it. He kept it light, and the musicians loved him."
Since it is Christmas Day, let me extend my thanks to you for reading this blog over the years and wish you a peaceful and healthy 2019. Here’s a great Dick Bickenbach festive season sketch of the Hanna-Barbera stars of 1958 from the collection of Bill Wray.
Is it true that Top Cat was really known as Boss Cat when it first aired in England? The answer: yes.
This begs the question about how the Auntie aired the cartoon. Was the voice track altered with “Top Cat” removed and a voice edited in saying “Boss Cat?” What about the theme song and the opening and closing titles?
As ridiculous as it sounds, the soundtrack was left intact. Kid audiences were apparently supposed to deal with the confusion by bearing the old British stiff upper lip. The credits were dealt with by having a title card jarringly edited into Ken Muse’s animation. You can see for yourself below.
One English critic was not going to put up with the BBC’s foolishness. Here’s a portion of the television column from The Spectator of December 21, 1962 dealing with, in part, the Hanna-Barbera prime time shows.
Child’s-PlayIncidentally, Top Cat had unexpected competition on ITV Border Television, which served the area along the England-Scotland boundary. John Holmstrom wrote in the British publication New Statesman in its issue of April 3, 1964, referring to children’s television:
By CLIFFORD HANLEY
‘TOP CAT’ has returned, an even which clearly has more importance for television’s largest audience than any of the high-toned experiments in drama or education on either channel. Non-human heroes continue to have the edge over mere people among the youngest viewers, and I regularly confirm this old discovery by sitting with my back to the screen and watching my sample audience during the children’s programmes.
‘Top Cat’ interests me strangely too. (The BBC retitles the show Boss Cat, for reasons which I have not discovered.) It seems we aren’t going to have any more Bilko, but the immortal sergeant lives on in this two-dimensional moggie, which doesn’t only speak with Bilko’s voice but has the Bilko character precisely duplicated, including the cunning, the idiot lechery, the gambling fever and the loyal suckers gathered round him.
Is it possible that this represents a Trend? Even the best human series wears out in time...But you never have any trouble, personal-releations-wise, with line drawing....
The case of the Flintstones is not really so different. Barney and his mates are, if I may use the phrase very loosely, original creations. But take away the prehistoric gimmick and all you’ve got left is a perfectly ordinary old-fashioned domestic situation comedy, a Lucy-Joan-Jeannie amalgam. Thus form of entertainment, with human beings, died of inanition over five years ago, but the cartoon reincarnation isn’t only durable, it has capture an intellectual audience which would never have wasted a moment on live Lucy.
As an old cheap gag-writer I find the Flintstones wearisome, and I feel I ought to disapprove of them in principle, as I disapprove of ‘Top Cat.’ All the same, I find myself watching both programmes with a puzzled interest if they catch my eye. I too am a sucker.
The most entertaining things just now – and it’s a sad reflection on our native talent – are the American animal cartoons. Boss Cat (BBC) is great fun, but A-R’s 5.25 Friday session is richer, featuring Quick Draw McGraw (Eccles-voiced horse sheriff), Snooper and Blabber (imperturbable cat-and-mouse sleuthing partnership) and Auggie Doggie (sneaky pip with moralising Pa). The scripts are splendidly outrageous parodies of favourite Hollywood styles. It’s superb for adults, and kids, missing some of the side-swipes, rightly relish the puns and slapstick.The BBC put out Boss Cat in August 1967; the show was the network’s third-ranked children’s programme at the time with an audience of 2.4 million (number one, incidentally, was Dr. Who). The series returned, as Boss Cat, to the beeb four years later. In the meantime, the series began airing in November 1969 on R.T.E. in Ireland as Top Cat; certainly the Irish weren’t about to let some Englishmen tell them how to air a TV show. The BBC seems to have continued using Boss Cat as late as 1989, according to listings in The Guardian. However, from what I gather from reader Andrew Morrice, the term fell into disuse some time ago.
One other Top Cat-related note: animation historian Jerry Beck recently told webtv host Stu Shostak that Warner Home Video is putting out Jonny Quest on Blu-ray with the correct closing titles. He says depending on sales, Warner may release “single-season, Hanna-Barbera prime-time series” on Blu-ray as well. Does this mean “Where’s Huddles?” No. Does this mean “Wait ‘Til Your Father Gets Home”? No. That doesn’t leave an awful lot, except for The Jetsons and, yes, Top Cat. Could they be next? Jerry’s not hinting but, and I have absolutely no clue, but as Mr. Kitzel used to say on the Al Pearce radio show, “Hmmmm, could be.....”
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The last surviving animator on The Jetsons’ debut cartoon in 1962 has passed away. Don Lusk was 105.
We know he worked on the “Rosey the Robot” episode because his name is preserved in the cartoon’s review in Daily Variety (whether the frame to the right is Lusk’s, I don’t know). Expert Howard Fein says he also animated on one of my favourite Jetsons, “Elroy’s TV Show.”
Lusk was born in California on October 28, 1913, the second son of Percy Knox and Louise Opie (Ross) Lusk. His father was from Brooklyn and his mother from Canada. His father died when he was young, his mother remarried and was left a widow again. Don was supporting his mother and grandmother while at Disney in 1940, pulling down $3,900 a year. One of his assistants at Disney was Gene Hazelton, who later ran the comic strip department at Hanna-Barbera.
He left Disney to work on shorts at the Walter Lantz studio in the early ‘60s before his stop at Hanna-Barbera. Without getting into an endless list of credits, we’ll simply say he animated on both H-B features of the mid-‘60s—Hey There, It’s Yogi Bear and A Man Called Flintstone.
There are so few veterans of the early days at Hanna-Barbera still around; background artist Sam Clayberger, who worked on some of the first Huckleberry Hound cartoons, died earlier this year.
Our sympathies go to the Lusk family.
Dennis the Menace a Hanna-Barbera character? Well, young Allen does have some distinct similarities in the Yogi Bear newspaper comics from January 1970. Boo Boo has the month off, but we see Mrs. Ranger Smith twice. We also get some silhouette drawings, multiple Yogi heads in one panel and the idea that Cindy Bear’s dad wants to get her out of the house.
The colour comics come from Richard Holliss’ collection.
January 4, 1970.
January 11, 1970.
January 18, 1970.
January 25, 1970.
Click on any of the comics to blow them up.
Note: We’re unable to do the comics from 50 years ago this month as I don’t have access to decent copies of them.
One of the people responsible for many of the posts on this blog never lifted a pencil or a paint brush at Hanna-Barbera. He was Arnie Carr, the man responsible for getting the studio free publicity in the media (that’s him to the right with Fred Flintstone).
Carr was with Ziv Television in 1955 when he joined Irving Fein’s staff at CBS radio before migrating to KABC-TV, Screen Gems and then directly for Hanna-Barbera in March 1960. In September 1962, he opened his own PR agency (originally at 3487 Cahuenga Blvd.) but kept the cartoon studio as a client. Perhaps Arnie’s big claim to fame (or was it a publicity stunt) was signing the breakaway African country of Biafra as a client in 1968.
Arnie retired from the movie/television press agent game and opened an art and jewellery gallery in Santa Monica in 1991. We lose track of him after that.
He and his staff would have, among other things, churned out press releases about the H-B shows and studio, some of them written like newspaper stories that papers could use as much as they wanted to fill column space. They wouldn’t have been bylined, although there would likely be a contact name and number at the bottom. However, we’ve found one flack job that has Arnie’s name on it. He garnered a full page in the May 1966 edition of Studio magazine (“for and about people in the industry”) with two stock photos. It’s really a big ad, but we presume Hanna-Barbera didn’t pay ad rates for it.
A bear by the Tail!
OVER 300 MILLION VIEWERS WATCH ANIMATED TELEVISION
By Arnold Carr
When you grasp the fact that more than one-third of the total population of Europe, North and South America and Japan each week voluntarily glues itself to the animated television antics produced by Hanna-Barbera Productions, you know you’ve got a bear by the tail!
It’s true. More than 300 million men, women and children watch one or more of 15 H-B concoctions on television in some 47 lands.
Now consider this:
The soaring success of the Hanna-Barbera combo actually dates back just seven years to the day they were relieved of their duties at MGM Studios — although the partnership first flowered 25 years ago when they created the seven-times Oscar winning cartoon short, “Tom & Jerry,” at the same studio.
Today, Hanna-Barbera Productions, Inc., owns and fills a Contemporary 3-story, $1,250,000 building on a 2 1/2 acre plot in North Hollywood, California; and employs some 350 artists, technicians, writers and directors in the largest animation studio operation in the world.
Additionally, H-B is engaged in the production of commercials and industrial films, both animated and live-action, for many of the nation’s leading corporations. In fact, total H-B production budget for 1966 will hit approximately 20 million.
Moreover, Hanna-Barbera is currently producing two live-action pilot films for the 1967 season. It is also entering into the production of live action, full-length feature films.
The Hanna-Barbera record label, established in 1964, is already one of the fastest growing Companies in the business. It adds up to an impressive achievement which started in the spring of 1957, when out of work and out of necessity, Hanna and Barbera began thinking in terms of cartoon shows for television.
H-B’s first television offering was “Ruff and Reddy.”
In rapid succession the nation took to its heart the likes of “Huckleberry Hound” (the first half-hour animated series on TV), “Quick Draw McGraw” (the slowest horse in the West) and “The Flintstones,” “Yogi Bear,” “Top Cat” and “The Jetsons” “Touche Turtle,” “Lippy the Lion” and “Wally Gator.” “Magilla Gorilla,” “Peter Potamus,” “Atom Ant,” “Secret Squirrel,” and “Johnny Quest” [sic] bringing the total of 15 TV series from Hanna-Barbera on the world’s airwaves concurrently.
It is a notable sidelight to this smashing success in visual imagery that neither Hanna nor Barbera began his career as a cartoonist or artist.
Joe Barbera was born in New York City and attended the American Institute of Banking. An inveterate doodler and dreamer, Barbera started submitting gag drawings to leading magazines and managed to sell one to Collier’s. This led Barbera to a brief huddle with himself (about seven seven minutes) during which he determined to seek a career in cartooning as opposed to the world of finance.
In 1937, Bill Hanna was hired by MGM as a director and story man in the cartoon division, and Joe Barbera simultaneously was employed as an animator and writer at the same studio.
During their 20-year tenure at MGM, the team turned out more than 125 segments of the aforementioned and highly acclaimed “Tom and Jerry” theatrical cartoon. Their annual animation production of approximately 45 minutes per year at MGM compares dramatically with an output at Hanna-Barbera Productions of that much material each week.
Operating a multi-million dollar entertainment empire without inter-office memos and with a consistent open-door policy is considered unorthodox even by Hollywood Standards.
But the warm comraderie of the H-B operations has produced artistic and economic success as impressive to Hollywood as to the business world and the 300 million weekly viewers of all their shows.
El Kabong is funny. The orange, bad-guy Snagglepuss is funny. Put them together and you have a funny cartoon. And the cartoon is even funnier if the animator is George Nicholas.
They all appear together in El Kabong meets El Kazing (1960). It’s one of my favourite Quick Draw McGraw cartoons as Snagglepuss abuses the dopey lawman through the whole cartoon until Baba Looey, as El Kapowee, swings in on a rope with his own kabongger.
Nicholas was hired at Hanna-Barbera after production ended on Sleeping Beauty and Walt Disney laid off a bunch of animators. Here’s an example of why I like Nicholas’ animation. He tries to do something with limited animation. This scene shows Snagglepuss entering the cartoon from his cave. Look at the curves he gives Snagglepuss’ arm and tail.
You know how the studio would have done it a few years later. Snagglepuss would likely peek out behind the cave overlay then enter on one drawing with dry bush speed lines toward the cave.
As in any good Quick Draw McGraw cartoon written by Mike Maltese, the off-screen narrator and the characters have a little conversation. Here’s what Nicholas does when the narrator catches Snagglepuss’ attention. The mountain lion’s head turns in five positions. Other animators would probably do three. Nicholas loved beady eyes; you can see it all through this cartoon and many others he worked on.
“You don’t look much like a nemesis to me,” opines the narrator. Snagglepuss gets indignant. Again, another fine expression by Nicholas. He tilts Snagglepuss’ head ever so slightly in six drawings.
Timing is generally up to the director, but in this scene Nicholas has some unique timing. Normally, you’d find drawings shot on twos, occasionally on ones or threes. Nicholas varies the timing here; Ed Love used to have his own timing at Hanna-Barbera as well. The second drawing is on fours, the third and fourth drawings are on threes, the fifth drawing is on twos, the sixth is shot twice before Snagglepuss starts his dialogue; only his head is animated for part of the scene, then Snagglepuss gestures with his right arm.
You can go back about six years on the blog and read a review HERE.
The layouts in this cartoon are by Walt Clinton. He would have designed the incidental characters, like the ones in the opening shot (there is a quick right pan from one pair of characters to the other). I love the bull and sheep.
By the way, I apologise for some inept masking here. One of the things that sucked valuable time making posts on this blog for years is that unless these cartoons were released on DVD, they are dubs from American cable TV. They have a station ID bug plastered on them. I’ve tried to cover the bugs with varying degrees of success. I wish I had bug-less copies of them (especially the first two seasons of the Quick Draw show) but since I don’t, you’re getting the best I can do with the time and limited skills I have.
Huckleberry Hound, Pixie and Dixie and Yogi Bear didn’t come to Canada until 1959, but their new series got some praise in the Canadian media the year before. The Vancouver Sun lauded the cartoon series in its TV column of November 27, 1958, less than two months after the Huckleberry Hound Show debuted in the U.S.
The reason is simple. Vancouver is not too far from the U.S. border and kids could tune in Huck on Channel 5 in Seattle. Kids (and others) in the Vancouver and Victoria areas were actually pretty lucky. Not only could they watch Huck on Thursdays on KING-TV, they could tune him in on CBUT and CHEK-TV on Wednesdays starting January 7, 1959. By 1961, KVOS-TV in Bellingham, about 20 miles across the border in Washington State, aired Huck as well, meaning you could see Huck three times every week!
(As a side note, Quick Draw McGraw got the three-times-a-week treatment as well, and the prime-time Bugs Bunny Show aired twice a week, once on the CBC, once on ABC. Add to that the various morning/afternoon cartoon shows on local TV. We didn’t need a “Cartoon Network” back then).
Anyway, here’s Jim Gilmore’s column. It appears no one told him about Daws Butler. The publicity shot of Huck the paper ran isn’t available.
You can have your Pogos, your Charlie Browns and your Mr. Magoos. I'll take Huckleberry Hound every time. And just who is Huckleberry Hound, you ask? Man, If you haven't heehawed at Huck, you're working too hard.About the closest Huck came to being a Canadian was when he played a Mountie in Tricky Trapper (1958) with his North Carolina accent intact. HERE is our review of the cartoon from almost ten years ago. Below is the great opening background that’s panned left to right. Click on it to see a bigger version. It’s the work of veteran Bob Gentle.
Huckleberry H. just happens to be television's first adult cartoon, and the first half hour program to be entirely animated. Never touched by human hands, so to speak.
Huckleberry, as you can see by his picture, is a hound dog. He comes from the deep south, and you will recognize his cornpone voice as soon as you hear it. It's sort of hard to describe here.
One of Huck's henchmen is a big, bumbling bear, name of Yogi. Yogi Bear. Now, his voice is a real corker. Sounds exactly like Art Carney's "Helloo there Ralphy, boy!" Ed Norton characterization from The Honeymooners.
There are other little people, er animals, too, including Pixie and Dixie, a couple of "meece."
Huckleberry Hound is the inspired creation of two men William Hanna and Joseph Barbera. You've probably laughed at another of their cartoons—Tom and Jerry.
* * *
Hanna and Barbara, who also do most of the voice characterizations for Huckleberry, have turned out over 200 films detailing the adventures of Jerry, the mischievous rodent, Tom, the bungling feline, and, of course, Spike, the ferocious bulldog. Since Huckleberry Hound befriended Channel 5 last month, he has cultivated an extremely loyal, and ever-growing following.
Huck returns tonight at 6, with three more adventures "Two Corny Crows,""Baffled Bears," and "Ghost with the Most." Watch for him.
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A variety of stories fill the Flintstones’ Sunday comics on this month in 1970 (we can’t do 50 years ago this month as the comics aren’t available in readable form). Betty returns for one comic, Pops is in another. No Dino. I’ve given up hope of seeing Baby Puss again.
Blow up any of the comics by clicking on them.
January 4, 1970. Barney was pretty easy-going in the cartoon series; I can’t picture a snowman likeness bothering him unless maybe Fred had an insulting sign attached to it. I like the first panel’s composition. A snowman in the background is covered by the title in the mid-ground which is partly covered by Pebbles in the foreground.
January 11, 1970. Some newspapers would only publish the bottom two rows of a three-row comic. If they did in this case, readers would only miss an unrelated gag. You’d figure everything back in the Stone Age would taste like wild game.
January 18, 1970. Betty’s head doesn’t move.
January 25, 1970. Fred’s back working day shift. His boss is not Mr. Slate in the comics for whatever reason. Observe the boss is smoking a cigar. I imagine the writer grew up close to the era where tycoons smoked cigars and wore suits with vests and pocket watches. I don’t remember many people outside of George Burns puffing on a cigar by 1970. Richard Holliss supplied the colour cartoon from his collection.
Charlie Shows wrote the dialogue for the first season Yogi Bear was on the air (1958-59) and drove me nuts. He’d come up with rhyming couplets at the ends of Yogi’s sentences, things like “Looks like I’ve got you over a barrel, Darrell!” These struck me, even as a kid, as being really forced because in the aforementioned example, the character being referred to wasn’t named Darrell. Yogi was rhyming for the sake of rhyming.
(A side note: Paul Simon recorded a song in 1975 called “Fifty Ways to Leave Your Lover” which did the same thing. I’ve never liked the song, either).
However, I must have been in the minority. Teenagers at one high school in the U.S. seem to think the dialogue was great.
The high school section of the Asbury Park Press published a piece on April Fools Day 1959 interviewing students in one local town about the Huck show. They all made out with rhyming dialogue like you’d hear on the show, Moe.
The “word-type-word” (ie. “show type show”) lines aren’t something I’ve heard a lot of, but Yogi used the phrase “tourist type tourists” in one cartoon (Brainy Bear).
Huck and Yogi TV FavoritesWhen Warren Foster replaced Shows in 1959, he kept the idea of rhymes but there was bit of rhythm to them instead of the contrived twosomes, eg. “There’s someone new in cabin two” (heard in Bewitched Bear).
By SONNY HALL '60
TOMS RIVER - "It's too cool, Boo Boo!" exclaimed Dwight West, sophomore at Tom's River High School, when asked to comment on Huckleberry Hound. A large number of Toms River students faithfully watch this show every Thursday night. Without fail they are seated in front of their TV sets by 6:29 1/2 p.m.
This adult cartoon show is starting to plague Toms River High. The six characters of the show, Huckleberry Hound, Yogi Bear, Boo-Boo (a confused little bear), Pixie and Dixie (the meeces, and Mr. Jinks (the cat who hates them meeces to pieces), are a part of almost everyone's conversation. When class is over one doesn't say "let's go" anymore one says "let's skidoo, Boo-Boo." or, instead of speaking of the gymnasium, everyone calls it a "gym type gym."
When asked to comment about the show, some of the replies received were as follows:
"Those meeces are way out!" said Pennie Hotaling, junior.
"I think so too, Boo-Boo," said Pat Trenery, junior.
"I love them meeces to pieces," said Dona Wheeler, junior.
"It's a show type show," said Al Lehrer, freshman.
"It's better than the average show!" said Susan Polsky, junior.
"I wouldn't miss a Yogi Bear cartoon for the moon. See you soon!" said Barbara Hall, sophomore.
"Huckleberry Hound is the coolest cartoon show yet. You bet," said Bill Norcross, junior.
"It's the best show in a long time. I'd bet you a dime," said Saul Whynman, junior.
The one Shows rhyme I really like—at least I’ll give him the credit for it—is Mr. Jinks’ catchphrase “I hate meeces to pieces!” It’s a statement that makes perfect sense, and you wouldn’t expect someone like the egotistical Jinksie to know the correct term is “mice.” So, no, I’m not bashing Mr. Shows all the time. I’m not too snarly, Charlie.
Yogi Bear’s homes were many and varied during his early days on The Huckleberry Hound Show. The studio saw no need to insist on using the same background drawings in each cartoon, so a new cave was designed for Yogi whenever he needed one (in The Baffled Bear, he lives inside a tree).
We’ve found six cartoons in Yogi’s first season in 1958-59 where he lives in a cave. Incidentally, he lived alone; Boo Boo moving in didn’t happen until Warren Foster took over writing the cartoons in the second season.
Montealegre was born in Costa Rica. I presume he’s the Fernando Miguel Montealegre who was born June 23, 1926 and died in Long Beach, California on April 29, 1991. Layout man Jerry Eisenberg told me Monty was into photography as well as art. His last animation work was apparently on a 1983 TV special called The Great Bear Scare. Alas I know nothing else about him.
Let’s look at his cave entrances.
Slumber Party Smarty
Big Brave Bear
Prize Fight Fright
Hide and Go Peek
In the second season of The Huckleberry Hound Show, Yogi has a cave that isn’t consistent within a cartoon. It’s in Lullabye-Bye Bear (1959). The trees in the background are different in winter than they are in spring. These backgrounds, from what I can tell, are by Joe Montell, who painted backgrounds for Tex Avery at MGM. He left Hanna-Barbera to go to Mexico and work for Jay Ward.
Montell was big on dots that you see in the background above; they’re visible in his work at MGM and John Sutherland Productions.
This should give you a pretty good idea of some of the early background art at Hanna-Barbera and the fact the studio didn’t get worked up about Yogi’s home being consistent from cartoon to cartoon. Artists laid out and painted what was needed to make an individual cartoon attractive and fit the plot.
Remember the days when everyone looked forward to the future?
Today it seems everyone is negative about what lies ahead for the world. There was a time where people were hopeful that the wonders of technology would make our lives better. Today some are worried about technology enslaving lives.
But let us go back to the future, to coin a phrase. The Jetsons was kind of the culmination of all those magazine stories and industrial short films of the 1950s about the marvels and wonders of tomorrow. Push button food! Flying cars! Minimal work weeks! Tex Avery used the concept to make animated spot films. Bill Hanna and Joe Barbera used it to make an animated sitcom.
Hanna and Barbera were great borrowers. For The Jetsons, they borrowed from themselves. They took the concept of The Flintstones (putting modern suburbia in the Stone Age) and inverted it (putting modern suburbia in the World of Tomorrow). Newspapers across the U.S. published previews of the series. Some of the bigger papers did feature stories, no doubt assisted by Arnie Carr’s publicity department at Hanna-Barbera.
This is from the San Francisco Examiner of December 9, 1962. Joe Barbera has some interesting money quotes. Jimmy Weldon recently revealed on Stu’s Show that Daws Butler made $350,000 in residuals in 1963 alone. There’s a great publicity drawing with the story that I’m sorry I can’t reproduce.
They Vacation on the Moon
By Dwight Newton
BILL HANNA and Joe Barbera are a couple of kooks—never conventional, always far out or far in.
Two seasons ago they ventured far inside Paleolithic times to bring forth a Stone Age cartoon series, "The Flintstones."
This season they have gone far out, 100 years or so hence, to create and unreel a giddy cartoon frolic called "The Jetsons," (Sundays, 7:30 p.m., channels 7-11-13-47).
As "Flintstones" was a prehistoric "Honeymooners," the new "Jetsons" is a space age "Father Knows Nothing."
George and Jane Jetson have two young'ns, teen-age Judy and small fry Elroy. The Jetsons' joys and vexations are the same as any of today's tract dwelling families with commuting fathers, but the settings and solutions spring from the wildest dreams of Hanna-Barbera science fiction comedy writers.
"And they've got to be real wild," said Barbera when I dropped by his bustling cartoon factory. "Things are moving ahead so fast these days that anything you think of, it is here."
Save for George Jetson's boss, C. D. Spacely, president of Spacely Sprockets ("Easy on the Pockets"), nearly everyone is slim because, said Bill Hanna. "There are not going to be any fat people 100 years from now."
Plump Mr. Spacely is voiced by Mel Blanc who also does squat Barney Rubble on "The Flintstones." Jane Jetson is voiced by Penny Singleton, the former Blondie of the movies, and daughter Judy is Janet Waldo, the Corliss Archer of yesteryear's radio.
George is George O'Hanlon, a noted off-camera vocalizer, and little Elroy is Daws Butler whose previous voicing credits include a hound named Huckleberry, a bear named Yogi and a horse named Quick Draw McGraw.
"Huckleberry Hound," Yogi Bear" and "Quick Draw McGraw" were also Hanna Barbara creations as was "Ruff and Ready," [sic] their first independent effort. Before that, for 20 years they labored at Culver City, where in 1937 they invented "Tom and Jerry" for Metro-Goldwyn-Mayer. How times have changed!
"Daws Butler was with us there and in a good month we made $250," recalled Barbera. "Last year we paid him $80,000 and he got a lot more from residuals."
At MGM, Hanna and Barbera produced eight short cartoons a year at a cost of about $60,000 for six minutes. They can knock out a half-hour "Jetsons" or Flintstones" for around $65,000. They do it by eliminating intricate details—falling leaves, rippling water, cobwebs, etc.—and by using an efficient assembly line production system that has revolutionized the animated cartoon business.
When they evolved the system for TV they tried to sell it to MGM but the brass there figured they could never meet a weekly TV deadline.
"MGM turned down this whole project, fortunately," said Barbera. "That was our lucky break. We were turned down by nearly every other outfit in Hollywood and then we made a deal with Screen Gems in 14 minutes."
Five years ago they launched "Ruff and Ready" with a staff of five people. Now, they employ 250 people, half of them artists working at home. Next month they move into their own new $1 million building.
You financed it by watching a hound, a bear, a horse, a Stone Age foursome and a Space age family.
Quick Draw McGraw cartoons are fun for a bunch of reasons, including the concept that a dog gets so ecstatic over dog biscuits, he sproings into the air and floats down in satisfaction.
Snuffles appeared in seven Quick Draw cartoons, three in the first season, two in the second and three in the third. His appearances all featured the same routine where Snuffles hugged himself before leaping up.
For fun, let’s look at the frames of the version used in both second season cartoons, drawn by Dick Lundy to the best of my knowledge. There are ten frames as he turns to his right. The drawings are shot twice. You’ll notice his movements get smaller as he gets to the end of his hug.
Now the turn the other way. It was decided not to simply turn around drawings. Lundy comes up with new ones. These are shot on twos as well.
Besides kids who watched Quick Draw, someone else liked Snuffles. Joe Barbera told TV columnist Charles Witbeck in 1960: “Well, the sponsors like Snuffles. He’ll decorate their packages and help sell their product. So we have to write three new Snuffles stories. Our character actors have become leading men.”
were posted years ago but Snuffles wasn’t. However, you can find the darndest things on the internet, and someone has posted the Snuffles song on a video site.
I must warn you the voice of Quick Draw McGraw on this record is not Daws Butler. Daws was signed to a contract with Colpix Records, the music recording arm of Columbia Pictures (which helped produce Quick Draw through its sister company, Screen Gems). Colpix was based on New York, so it got New York voice people to imitate the Hanna-Barbera characters, mainly Gil Mack and Frank Milano. Both were accomplished actors on radio. Both were, unfortunately, not great at replicating the sounds of Daws Butler’s characters. I believe Milano is Quick Draw here. You will not go into Snuffles-like ecstasy over his performance. In case at some future time the video link goes dead, an audio link has been posted as well.
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TV critics in Florida didn’t waste any time lavishing good opinions upon the brand-new Huckleberry Hound Show. It first appeared on TV on September 29, 1958, though in a number of cities, October 2nd was the show’s start date, including Miami and Tampa.
Two columnists in Florida noticed Huck right away. The first story is from the Miami News of October 8th.
Huckleberry Sharp HoundThe Tampa Times also dropped some print plaudits in its October 18th edition. The story is unbylined. It also mentions the other Kellogg’s-sponsored programmes that ran in the same time slot in the other days of the week.
By ARTHUR GRACE
Television Writer of the Miami News
As improbable as it sounds, "Huckleberry Hound" is one of the most entertaining new series of the fall television season. This cartoon program, listed as strictly for children, is vastly more entertaining and immeasureably funnier than Jackie Gleason and George Gobel.
It is much more than just another children's program. It is loaded with mild satire, witty dialogue and sharp animation. Children love it, as well they might, and adults will find it a pleasant relief from the massive drivel of new programs that generally are worse than the shows they replaced.
"Huckleberry Hound" is all the things to all men and all children; I can't think of a program capable of appealing to wider, more diversified audience.
If you think I'm kidding tune in Channel 7 tomorrow night at 7 o'clock and take a look fit Jinx, a beatnik cat, and Huckleberry himself, patterned after Andy Griffith.
If this one loses, you get my next program choice free.
Huckleberry Hound Delightful CartoonThe cartoon the Times is referring to is “Sheriff Huckleberry.” It’s much in the vein of the southern wolf cartoons Tex Avery made at MGM as Huck talks to himself a lot and occasionally turns to talk to the audience, too, which makes him appealing.
Designed to delight the youngsters, the 6 to 6:30 P.M. spot, Mondays through Fridays on channel 8, will undoubtedly find lots of grownups looking in. The varied program brings everything from a beguiling little cartoon of a hound ... to the great gift of the imagination Superman.
Most of the shows are time-tested favorites of the young-in-heart TV watcher, but the cartoon doggie, Huckleberry Hound, is new and the most enchanting cartoon character to come along since Mickey Mouse.
Huckleberry Hound, complete with a 10-gallon hat and a side arm worn about his fat little middle, is the delightful creation of Bill Hanna and Joe Barbera, who produced and directed the Tom and Jerry cartoons.
Satire in the sketches may go over the heads of the tots in front of the TV . . . but the grownups will love it. And the youngsters will find enough enjoyment in the characters which include Yogi Bear, his patient little friend, Boo Boo Bear; a cantankerous cat, Mr. Jinx and two mice, Dixie and Pixie.
Huck and his friends are appearing every Thursday in the 6 to 6:30 series.
Monday's segment of the show [Kellogg’s time slot] takes viewers to Sherwood Forest, where Robin Hood defends the honor of ladies fair and strives to keep England free. On Tuesdays Woody Woodpecker is the star performer. Superman and Wild Bill Hickok share in Wednesday slot, and come Fridays . . . It's Roy Rogers.
Outlaw Dinky Dalton turns the barrel of Huck’s gun on our hero, who shoots his ten-gallon hat in half.
“You know somethin’? I gotta give Dinky his due,” he tells us. “He’s a smart outlaw.”
Next, Huck strolls to a phone booth to call Dinky.
“You know what? This feller’s got a right nice voice on the telephone,” Huck remarks to the viewers.
Dinky sticks his fist and gun through the phone.
“It’s Dinky alrighty,” Huck assesses to us.
When Dinky shoots Huck through the hat (and head), he says to us “Just call me drafty.”
In the best gag of the cartoon, Huck shows up in armored, only to be bashed into a wind-up toy car.
“You know what?” Huck says to us. “That Dinky’s got a right good sense of humour.” Cut to the car rolling off a cliff.
Now comes the climax, a shoot-out between Huckleberry and Dinky. Huck’s been getting the worst of it, but not now. Dinky tells him there’s a bullet with his name on it. Huck cleverly hangs a “Huckleberry Hound” sign on Dinky, and that’s where the bullet goes. It’s a switch on an old cartoon gag, but it still works.
The final scene has Huck walking left to right (walking into the sunset would mean expensive perspective animation) whistling “My Darling Clementine.” The cartoon’s narrator bids farewell to Huck. Huck stops, turns to presumably where the narrator is and waves “Adios, a-my-goes!” before resuming his walk to end the cartoon.
The difference between Huck and the Avery wolf character is that Huck may have been kicked around, but in many of his cartoons, he came out on top in the end. Avery’s wolf, to me, seems more detached, and never really trumped over an eat-everything-goat, or Droopy-and-his-kids, or the blackboard jumble (albeit directed by Mike Lah). Can George Gobel say the same thing?
Chuckling Mrs. Ranger Smith? Chuckling Boo Boo? We find them in the Yogi Bear Sunday comics from this month in 1970 (1969 is not available for reprinting).
Mrs. Smith has a new hairstyle in the February 2nd comic. Apparently she’s growing bullrushes in her living room. Mr. Ranger is called “Bill” (as in “Hanna”) this time around. This toned comic was supplied by Richard Holliss from his collection.
Ranger Smith is a friend of little birdies in panel 2 in the February 9th comic. The smarter-than-the-average dentist has figured out an inventive way to pull a tooth.
The February 16th column not only includes Yogi rhymes but backgrounds that must have taken some time to draw and ink.
I still don’t understand why a park has a general, but the general has a dog in the February 22nd comic. For the second time this month, Yogi is making money (though in this comic, I suspect he ends up losing).
Click on any of these comics to make them larger.
It sure is nice—right powerful nice, as Huckleberry Hound might say—to see that Daws Butler got a little bit of recognition in the days when Hanna-Barbera and Kellogg’s teamed up to put some enjoyable half-hour cartoons shows on the air in the late 1950s.
Daws worked steadily when he arrived in Hollywood, but he wasn’t a star. He wasn’t even in the same echelon as Mel Blanc who, besides being the voice of Bugs Bunny, was known for his work as supporting actor in some of the top comedy/variety radio shows produced in California, including Jack Benny’s (Blanc was not in the opening credits, but in the 1950s Benny mentioned his name almost in each each show).
This story comes from the Louisville Courier-Journal of February 15, 1959. Huckleberry Hound had been on the air for about five months and Quick Draw McGraw was still in development. It gives a nice little summary of Daws’ career to that point.
The story claims he “became an animator of TV cartoons.” I don’t know if that’s true, but his panel cartoons did appear regularly in a radio magazine in the late 1940s.
There’s no byline to this story so I couldn’t tell you its origin.
Many Voices Keep Butler In Business
Special to The Courier-Journal
HOLLYWOOD, Feb. 14.—The text voice you hear may very well be the voice of Daws Butler—one of his “thousand voices,” that is.
Butler is heard on a myriad of cartoon commercials on television, and provides several voices, on the popular TV cartoon shows “Huckleberry Hound” and “Ruff and Ready.” [sic]
He has been imitating voices since 1935, and has been fooling the sharpest ears in America.
Uncomfortably shy when in high school in Oak Park, Ill., Butler forced himself into an amateur contest as a kind of self-imposed therapy. He did imitations of Franklin D. Roosevelt and Rudy Vallee, both of whom were imitated by more people than any other subjects at that time.
“It worked,” Butler says. “I found it easier to appear before people in a ‘life-of-the-party’ bit if I was appearing as someone other than myself.”
Butler teamed up with two other kids who did imitations, and they formed an act that played around Chicago. The trio wound up with a date at the famous old Blackhawk Restaurant, and Butler found himself in show business.
“I forgot my ambition to be a cartoonist and commercial artist,” he recalls. “I decided I already was a professional entertainer, so I stayed with it.”
During the heyday of radio. Butler studied voices and played the parts of many men in dramatic productions. He likes to recall a solo performance when he played every voice in a radio play which had a dozen characters.
World War II took Butler out of show business for four years. When he returned, he joined with Stan Freberg in 1948 and the two of them did the first television puppet show, a local series on the West Coast.
“We worked the puppets,” says Daws, “did all the voices, and ad libbed like crazy because we had no scripts, and no time to memorize them if we had had them.
“We drove directors and cameramen crazy, because when they looked at the scripts and listened to the show, they couldn't find their places in the play.”
The show was successful and made a name for Freberg. The two then collaborated on Freberg's first successful recording, which sold over 1,000,000 copies. Remember “St. George and the Dragnet”?
After this, Butler got back to his first love, cartooning, and became an animator of TV cartoons. He writes and does the voices for over 200 commercial cartoons seen on TV today.
On the N.B.C. show “Ruff and Ready,” Butler is not only the voice of Reddy, but also speaks for Harry Safari, Killer Diller and Pinkie the Elephant. On the companion show, “Huckleberry Hound,” he plays Huck, Yogi Bear, Mr. Jinks and Dixie. Both programs are made by Hanna and Barbera Productions especially for television.
Here’s Carlo Vinci at work in the 1960 Yogi Bear cartoon Gleesome Threesome. Ranger Smith spots Yogi jumping off a diving board and heading straight toward him. Low crotch, high step as the ranger turns.
Carlo doesn’t draw every run cycle in every cartoon the same way. In this scene, he comes up with a high-leg run cycle of four drawings. See how Carlo draws the mouth differently in each drawing and bends a wrist in one of them just to get some variation.
Running in place can look static, even if the cycle lasts for a few seconds. What Bill Hanna or story director Alex Lovy did here was move the cels with the ranger slightly to the right starting at the third frame so it looked like Smith was backing up and not in one place.
Yogi lands on Mr. Ranger in three drawings. Again, this isn’t a case of sliding a cel of Yogi to save animation. If you look at Yogi’s tie in the second drawing, you can see that Carlo made a completely new drawing.
A little later, Carlo gives Yogi one of his head tilts, down, then turns in two drawings, then turns back again. Again, the drawings are not shot the same. Some are a single frame, some of two frames, some on three. It looks less mechanical that way.
Carlo’s drawings were a little cruder and a little more fun two seasons earlier when the Yogi cartoons were brand new. But he is still a big reason why I enjoy the early Hanna-Barbera series.
The Prowler was the third Flintstones cartoon put into production. Can you guess who the animator was on it?
Fred’s mouth in the frame above is kind of like Carlo Vinci’s work, but not as angular. (Note the thick ink lines on Fred).
This frame should give it away. Only one animator gave Fred a huge open mouth and floppy tongue. That was the great George Nicholas, one of my favourite Hanna-Barbera animators. He did really funny work on the Quick Draw McGraw vs. Snagglepuss cartoons when he came over from Disney, and infused Mr. Jinks with some nice personality poses in Lend-Lease Meece.
More big mouths.
Only Nicholas would do scare animation like this.
Nicholas liked wavy mouths and beady eyes. My favourite wavy mouth/beady eye take is in Dino Goes Hollyrock when Dino learns they’re going to slice off part of his tail to make him more telegenic.
Here’s something I’ve never noticed Nicholas do before. He closes one eye of a character and holds the drawing.
Something else Nicholas did in a couple of Flintstones episodes was dialogue with the eyes closed and an open almost-grin, tilting the head back slightly.
Nicholas doesn’t animate the whole episode. There’s some Ken Muse footage as well. It’s very prosaic next to Nicholas’. Perhaps the studio had to add scenes to lengthen the cartoon. My wild guess is Walt Clinton handled most, if not all, the layouts in this episode.
Nicholas had come to Hanna-Barbera after production of Sleeping Beauty ended at Disney. You can read a short bio from Nicholas’ obituary in this post.
Another great cartoon with Nicholas animation is the....oh, the phone. Pardon me.....Hello, Yowp Request Line, if you want to swoon, we’ve got the tune....What?.....You want to hear that Far East music of Hoyt Curtin’s from The Prowler?.....You got it....And, by the way, what’s your favourite At-Work Cartoon Blog with the Phrase That Pays?.....Oh.....Yeah, I guess that one’s all right. Thanks for calling.
Okay, by request, here are some cues. I think the first three were used in the cartoon. I don’t know about the others. “Jiu Jitsu” and “Chinese Jitsu” are the actual names of the tracks; the other ones weren’t labelled.
I’ve given up embedding media players; you’ll have to click on a title and hope your own player calls it up.
FIRST LESSON ALTERNATE ENDING
CHINESE JITSU No 2
CHINESE JITSU No 3
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