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The Present Catches Up to the Future

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The future used to be fun.

Today the future, it seems, is a negative, hopeless place of doom. In fiction, even superheroes aren’t very heroic. “Poor me,” they wail, in filmed or drawn frames of dark greys and blacks.

But in the days of the Jetsons, the world looked forward to the future. The TV series was really a culmination and digestion of a variety of sources over the 1930s, ‘40s and ‘50s which peered happily into a buoyant Universe of Tomorrow, where life would be relaxing and perfect, thanks to science and technology.

Of course, nothing quite worked according to plan. After all, The Jetsons was a comedy show, so some mechanical slapstick came in handy. And I like the idea that somewhere in the future, there’s a dog named Tralfaz that is too adept at pronouncing the letter ‘r.’

You’ve likely read in this blog and elsewhere about how some of the things foreshadowed on the cartoon series (or something similar) have become reality. Hanna-Barbera found that to be a problem when the series was in production. Here’s Joe Barbera talking about it in the October 7, 1962 edition of the Arizona Daily Star out of Tucson.

Barbera’s comment about the series being talked about as early as 1960 perhaps means a future family was one of the ideas that came up when the studio was batting around concept that eventually became The Flintstones.


Hanna, Barbera Meet Space Age Problems
New Series Depicts Future Family Life

By HAL MARSHALL
Star TV Editor
HOLLYWOOD, Oct. 6—It's tough keeping 100 years ahead of the space age!
Sound incongruous? Not to Bill Hanna and Joe Barbera, producers of the new TV series, “The Jetsons,” which is carried Sunday by KGUN-TV (Channel 9).
The animated cartoon series battered the opposition in the ratings on its first outing. In addition, it is taxing the imagination of Hanna, Barbera & Co., creators of “Flintstones,” "Yogi Bear” et al.
“The Jetsons” depicts family life in the future—100 years or so hence. There's only one hitch, the present keeps catching up with the future. The idea men come up with a new design for space travel or an imaginative home appliance device for the 21st Century home. They get set to use it in the show and then discover there is something in the works—somewhere in the world—similar.
“Two years ago we started talking about this show,” Barbera explains, “and after six months of planning we found ourselves losing the space race in imagination. We had to scrap a lot of ideas. Speeds we planned on using were already being surpassed (in the 20th Century).”
Barbera went on to list other similarities such as designs at the Seattle World's Fair that approximate a few building designs in “The Jetsons.” A space capsule car showroom is similar to one General Motors has on the has on the drawing boards, Barbera learned recently.
All this has convinced Barbera that “everything we think of will be done.”
The Jetson family consists of a father, mother, teenage daughter and son, eight years old. In case you haven't seen the show, the 21st Century offers an unlimited opportunity for visual sight gags. On cookouts, the family goes to the moon. An afternoon field trip for a high school class might include a jaunt to Europe. The family can spend a week end at Las Venus at the Flamoongo Hotel where all the rooms have built-in dealers and slot machine robots that follow the guests.
The Jetsons have a seeing eye vacuum cleaner that seeks out dust and devours it. However, when Jane Jetson isn't looking the electronic cleaner is apt to sweep the dirt under the rug. The Foodarackacycle fixes meals instantly when fed a punch card designating the type of food desired. George Jetson has a mother-in-law-car with a separate capsule in the rear for his wife's mother. If she does too much back seat driving, he can eject her.
The show also spoofs present-day conditions. In “The Jetsons,” football is played by robots—an obvious take off on today's super athletes in the pro league. “Although we'll be loaded with gags, these are basically warm stories about a family,” Barbera added. But he's still amazed about how fast the present catches up with "The Jetsons” of the future.
"We have a story about the grandfather who retires at 110 and wants to keep busy. The other day, I picked up a newspaper and read where someone is predicting it won't be long before the retirement age is 100 years.”

Hey There

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Yogi Bear provides a great example of the power of press kits.

Movie studios sent (at least they did at one time) news releases, publicity photos and other paraphernalia to help get free newspaper ink for their latest feature. 1964’s Hey There, It’s Yogi Bear was no exception. A peek through number of archives shows an unbylined “story” about the cartoon film soon to arrive on screens. Paragraphs are identical, showing some papers simply took the Columbia handout and put it in type, while others did a bit of a re-write, perhaps to fit space.

This version was found in the Messenger-Inquirer of Owensboro, Kentucky on July 19, 1964.

'Hey There, It's Yogi Bear'
Is Cartoon Character's 1st Movie

Yogi Bear, that brashly unconventional cartoon character who is the delight of vistors to Jellystone National Park—when, that is, he isn't stealing baskets—makes his motion picture debut on Thursday at the Malco Theatre in the Hanna-Barbera production, "Hey There, It's Yogi Bear!" A Columbia Pictures release in color, the full-length cartoon feature also stars Yogi's Jellystone Park friends— Cindy, the demure little lady bear; Boo Boo and Ranger Smith.
Supplementing the comic romantic antics of television's favorite cartoon hero in his first full-length picture are six sparkling new songs written by Ray Gilbert and Doug Goodwin. They are the title song, "Ven-e, Ven-o Ven-a,""Like I Like You,""Wet Your Whistle,""St. Louie" and "Ash Can Parade." The music score is by Marty Paich.
Yogi's troubles begin with the advent of spring, when he decides to challenge Ranger Smith's "No Feeding the Bears" signs. Either the signs must go, or Yogi will go. Ranger Smith arranges to send him to the San Diego Zoo.
At the final hour, Yogi changes places with another bear and determines to remain incognito in Jellystone National Park. He will be "The Brown Phantom," raiding picnic areas forever, to the continuing consternation of Ranger Smith. Unfortunately, Cindy Bear doesn't know about Yogi's plans; she arranges to follow him out of the park. Lovesick, Yogi must now find Cindy; his sidekick Boo Boo helps. Ultimately, they do catch up to the lady bear, now with the Chizzling Brothers circus. Yogi's efforts to rescue her lead to his own capture.
"Hey There, It's Yogi Bear" reportedly gives Yogi the kind of role he likes. As he puts it, "It's a great part, with lots of heart. I play myself—brave, darling and smart!"
Joseph Barbera, Warren Foster and William Hanna penned screenplay for "Hey There, It's Yogi Bear!" Hanna and Barbera directed and produced the cartoon comedy. Daws Butler is the voice of Yogi Bear and Don Messick co-stars as the voices of Boo Boo and Ranger Smith.
Naturally, there were all kinds of tie-ins. Perhaps the nicest one was a 45 that Kellogg’s sent fans. Want to hear it? You can thank our friend Mark Christiansen, a fine artist and a fan of the old Hanna-Barbera cartoons.





In case you havent read it, Greg Ehrbar went into great detail about the Hey There soundtrack in this post on Cartoon Research some time ago.

Now you just knew that we’d have other old Yogi merchandise to show you. None of this is related to the movie, but comes from around the time Yogi got his own series.

Whitman made a punch-out book of the Huckleberry Hound show characters (Yowp included, I hasten to add). They did one for the Yogi Bear show, too. Hokey Wolf got included because, well, they had to put him somewhere. You can see the pre-“Hey There” design of Cindy was used.



During the ‘60s Transogram had a number of Yogi Bear toys and games it licensed from Hanna-Barbera. There was a ball toss, a ring toss, a Go Fly a Kite board game, and this Pencil-by-Number set.



There was a Yogi bubble pipe from Transogram in 1963.



Hey There, It’s Yogi Bear wasn’t a huge success when it came out in 1964 or in its re-release in 1986. But it seems to have attracted more than kids, according to this story in Variety, September 2, 1964:
Color Them Adult
Californians are different.
This became apparent to members of Columbia's home-office publicity people when they recently reviewed the entries submitted in a nation-wide cartoon coloring contest held in connection with "Hey There, It's Yogi Bear."
Approximately 5,000 entries were received and most, understandably, were from tots. However, among those sent in from California were more than a handful from people who, one might assume, should have other things on their minds. The winning entry was submitted by a gent of 77. Other contestants included a housewife, age 44; a man of 29, and another guy, age 19.
Latter included a statement on the back of his entry attesting to the fact that "I drew this picture myself."
This shows you that Hanna-Barbera cartoons (at least the early ones) are for everyone.

Yogi Bear Weekend Comics, May 1970

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Some nicely drawn expressions and some well-composed final panels highlight the Yogi Bear comics that appeared in Sunday papers this month in 1970.


Gene Hazelton’s designs are getting more stylised, just as they did in the Sunday Flintstones comics. Other than Yogi and Ranger Smith, everyone has big eyes. The spelling leaves a bit to be desired in the May 3rd comic. “Sandwhich”? The hat on butt is a nice touch in the final panel as Mrs. Chester beats the pic-a-nic out of him.


May 10th: Look! It’s spelling bees! (I wonder if that was intentional). A squirrel is being fed by Art in the opening panel.


The bear in the opening panel on May 17th is almost coy enough to be a Chuck Jones character. Yogi comes to his senses at the end. Women? Bah! Stick with cartoons and food. It would have been cool if he’d been watching a Hanna-Barbera cartoon. This is Boo Boo’s first appearance for the month.


How many kids does Ranger Smith have? The one in the May 24th comic looks different than the one earlier this month. Lots of detail in the final panel and in the first one on the second row. How can you give a bear a traffic ticket? One-Warning Watson is played by Hal Smith (just kidding).


More squirrels in the May 31st comic, note how one is looking in the game warden’s bag in the second row. I love the splashing fish; they’re reminiscent of the trout Yogi battled in Stout Trout (1958) which, quite possibly, were Dan Gordon designs. Boo Boo makes a return appearance and there’s a silhouette panel.

In case you didn’t notice, Yogi doesn’t rhyme once this month.

Click on any comic to make it bigger.

Catty Castle

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Huck and the rest of the main players on his show spend a day at the sea shore in a little series of vignettes before we’re requested to join them again next week. Yogi dives into the beach at low tide, Huck gets caught in a beach umbrella, while Pixie and Dixie fix Jinks, who has been destroying their sand castles.



Ghost drawings as Pixie and Dixie make a run for it.



Jinks falls for the meeces’ trickery.



Now the punch line. Jinks does a variation of his catchphrase. “You know, I despises them mizes,” he tells the viewers at home.



The Yogi animation with the circular mouth and head movements (not seen here) remind me of Ed Love but I can’t be certain who did this (never ask me to pick out La Verne Harding animation).

Arnold Stang on Top Cat

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Arnold Stang was busier outside the studio than in it in 1961.

Variety of July 19th of that year reported he was hitting the promo circuit for the animated feature film Alakazam the Great. Then it blurbed on September 29th that he’d be doing the same thing for Top Cat.

Stang was assisted on his tour by Arnie Carr’s press kit. The same phrases and quotes are found in various local newspaper interviews with Stang, such as the tale about “The Raven.”

The column below was published by the Akron Beacon Journal on December 17, 1961. Already, T.C. was in trouble in the Neilsens. The story talks of 28 episodes but a total of 30 appeared in prime time. His selection actually was a complex thing, but he doesn’t get into it in this particular interview. One of the syndication services revealed (this comes from the North Adams Transcript of October 21, 1961):

Arnold Stang was the last actor to have an audition for the voice of "Top Cat," the cartoon feline. Dozens of actors were tested and complete shows were made with other actors Michael O'Shea, Mickey Shaughnessy and Daws Butler. They had about settled on Butler when Stang was given a chance. After one reading, he was signed.
Fred Danzig of UPI reported on May 17, 1961 that Stang had replaced O’Shea. Evidently O’Shea didn’t have the role long. Variety reported on May 9th that O’Shea had the job (there was no mention of Butler but mentioned other actors previously cast).

Top Cat, to me, is one of those the-parts-are-greater-than-the-whole shows. The voice casting was very good and I love the cues Hoyt Curtin wrote for it, but the stories and characters don’t really connect with me. They did with others and T.C. still has a loyal band of fans. Stang does, too. Count me as part of that one.


Stang Is 'Top Cat's' Meow
Work's Steady But Nobody Sees Him
By RICHARD LAKE
After knocking around the comedy world for all but 10 of his 37 years, bespectacled little Arnold Stang finally has landed a steady job in a major role.
But now that he's on television regularly, nobody ever sees him.
Stang provides the voice of ABC's Top Cat in the animated cartoon series of the same name. It's seen here Wednesdays at 8:30 on WEWS. His selection for the role of "Top Cat" was "a complex thing," he quips.
"They called and asked if I'd like to do a show. I said, 'Does it pay? and 'I'll take it'."
Most of his jobs didn't come that easily. Like many other comedians, Stang, at the ripe old age of 10, thought his true calling was serious drama.
The skinny, squeaky-voiced boy stood before producers of a big-time New York radio show and recited Edgar Allan Poe's "The Raven." The producers doubled up with laughter.
"The Raven" isn't supposed to be funny. But Stang's audition fractured them.
"I was heartbroken when they laughed," says Stang. "But the wounds healed quickly when I was given a part on the show."
Somehow it's hard to picture Stang as a show biz VIP.
He's five-three and weighs 120 pounds with his horn-rimmed glasses on.
You could mistake him for a pin boy who has been out of work since automation hit the bowling alleys.
He also has popping eyeballs, a receding chin and a funny voice and could get laughs almost regardless of what he says.
Over the years, Stang has done about everything from acting in soap operas on radio to selling chocolate bars on television.
In radio days, he played Seymour in "The Goldbergs" and Gerald [sic] on the Henry Morgan show. In addition, he made guest appearances with comedians Bob Hope, Eddie Cantor, Milton Berle and the late Fred Allen.
When show business jobs were meager, he delivered telegrams and later packages for a New York ski shop.
For a while he pushed chocolate on a TV commercial. ("Whatta hunk-a-chocolate.")
In one of his first TV roles, Stang became Francis, the wise-cracking stagehand on "The Milton Berle Show."
Now working for Hanna-Barbera Productions, Stang has made 28 "Top Cat" shows and is still putting them out.
"We spend more money on writers alone than many of the big specials on TV," say Stang. "Each show costs about $67,000."
It took a staff of about 200 four and a half months to do 14,000 drawings and the scripts Top Cat has used so far. Dubbing in voices takes another eight hours for each show.
Stang stopped briefly in Cleveland recently to plug the show which apparently needs some sort of a boost. "Top Cat" is opposite the Joey Bishop Show and Checkmate and has the lowest rating of the three.
"I don't believe much in those ratings or that they are necessarily representative of the show's popularity," Stang snaps.
Stang agrees that the success of the "Flintstones" in 1960 brought the onslaught of the animated cartoons this season. However, he says, "The "Flintstones," (no pun intended) is much more "primitive" than "Top Cat."
Does he think there are too many cartoons? "Definitely not!"
"If there are two poorly produced shows on TV then there are two too many, Stang adds. "This goes for any type of show."
Stang feels "Top Cat" is a well-produced family show.
"The dialogue appeals to the adults and the pictures appeal to the children. I think it's a very happy marriage."
Stang uses a new personality for Top Cat to differentiate the cat from his "Arnold Stang type character.""I'm trying to develop new Arnold Stang catch phrases for Top Cat."
"Top Cat is someone the viewers can easily identify with someone else they know. Maybe it's the guy down the street or their boss or even their mother-in-law," he says.
"It's been proven that the shows that last and are popular must have a strong identification with the audience."
After signing for the "Top Cat" role, Stang moved his family from New Rochelle, N. Y., to Hollywood. It was a bad move for the Stangs.
They lost their home in the Bel-Air fire this Fall. "The only one at home was the maid," says Stang.
"That's the thing about these fallout shelters," he quips, "the only people that'll be saved are the maids."
He hopes to rebuild in the Spring.
Stang and his wife JoAnne have a son David, 11, and a daughter, Deborah, 10.
"We spend a lot of time reading, and often in the evening after we've read the paper we'll all sit down and discuss it," says Arnold.
TV is out for the kids on school nights except, of course, for "Top Cat."
What do they think of pop's show?
"They like it," says Stang, "but they let me know when there's something on the show they didn't like."
A confirmed do-it-yourself fan, Stang wired his California home for hi-fi by crawling through the attic "because I didn't want to cut holes in the wall."
He learned his lesson at his New York home. After knocking a hole in the wall, he found a wooden beam that wasn't supposed to be there.
So he called in a carpenter to tackle this job, and then the hole was so big he hired a plasterer to fill it.
In the meantime, Stang bought a large picture to cover the gaping hole.
Besides his work with "Top Cat" Stang is making occasional appearances on other TV shows such as Wagon Train and Ed Sullivan's.
And he's working on an MGM film, "The Brothers Grimm." He plays Rumpelstiltskin.

Piano Hands

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Yogi Bear is a concert pianist in one of those little cartoons between the cartoons on the Yogi Bear Show.

Ed Love has Yogi at the piano a good period of time, so he’s got to do something to make sure the scene isn’t static. Yogi moves his hands to suit the dialogue and we get some nice expressions. I like the jagged Yogi when Boo Boo walks in playing the trumpet off key.



We profiled Love in this post. And if you haven’t heard him talk about his career, Harvey Deneroff did a quick interview with him years ago which can be found on Jerry Beck’s Cartoon Research site.

Flintstones Weekend Comics, May 1970

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There’s a lot of Pebbles but nary a sight of Betty and Barney in the Flintstone newspaper comic run for this month 49 years ago. She’s at the centre of one comic and kind of provides the commentary for another.


I’ve never been all that crazy about Pebbles think-talking in the comics, though it’s perfectly understandable why she was written that way. In the May 3rd comic, she has trouble parsing sentences.


Fred’s fireplace is still burning a week later. There’s even a picture on the mantle two weeks in a row. What continuity! The look of self-congratulatory pride on Fred at the end of the May 10th comic is lovely.


Yes, the tree surgeon is Joe Stoner. Yes, when this comic was written “stoner” had the same meaning you think of today. Maybe that’s why he fell out of the tree. The artist only has solid colour for the background of the small panels but can get elaborate in the longer ones. It seems to me that baby talk by Pebbles is fairly rare in the comics. The May 17th comic is the only one with the title hanging down (from a tree?) on a sign.


The storyman didn’t bother coming up with a gag in the optional top row of the May 24th cartoon; it really is a throwaway. Nice to see Dino, even if he isn’t really doing anything. Note the separate beds.


Forget that Cactus Cooler stuff. They had coffee in the Stone Age. It probably came from Juan Valdeztone. I like the silhouette characters in the May 31st comic. Note the heart-shaped word balloon.

You can enlarge the comics by clicking on them.

The High Fallutin-est

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My favourite Hanna-Barbera cartoon series turns 60 years old this September 28th. Quick Draw McGraw debuted on that date in 1959 on KTTV Los Angeles and other stations (though it aired on other days of the week elsewhere, depending on what time Kellogg’s could purchase).

“There’s a western craze, so we created a western cartoon in Quick Draw,” Joe Barbera told the Los Angeles Times at the time. There was more to Quick Draw than that, though. Writer Mike Maltese loved Douglas Fairbanks swashbuckler epics from the silent era, so he added that to the mix and Quick Draw became El Kabong. Maltese found the concept of an amoral dog who went into ecstasy over dog biscuits funny, so he came up with Snuffles. And along the way he invented an orange mountain lion with a touch of Bert Lahr. So it was that the original Snagglepuss appeared on a few occasions on the Quick Draw series before eventually getting a make-over and his own segment with Yogi Bear.

The series aired a year after Huckleberry Hound’s debut. By this time, critics had become huge Hanna-Barbera fans, praising the Huck show for its gentle satire that was adult-friendly. Some were a little bit TV snobbish, so they appreciated the fact that someone was taking shots at the industry’s clichés (such as detective series and somewhat-incompetent father sitcoms).

Here’s a little summary from the Des Moines Register of November 22, 1959.

TV's '98th Western"
Kids the Other 97
(Exclusive Dispatch to The Iowa TV Magazine)
NEW YORK, N. Y.—Hanna and Barbera, the team that created "Huckleberry Hound" and "Ruff and Reddy," now have a third series on the home screens. It's titled "Quick Draw McGraw" and is a takeoff on westerns, whodunits and situation comedies. The humor appeals to adults. "Quick Draw" is the ninety-eighth western on television. Unlike its predecessors, it's guaranteed to be like all the others, except that it's not self-conscious.
To the despair of his sensible sidekick, Baba Looey, a Mexican burro with a Cuban accent. Quick Draw almost never gets his man.
Second part of the half-hour series features "Snooper and Blabber," a cat and a mouse who wear trench coats and gum soled shoes and run a detective agency.
Hero of the third part, a situation comedy, is Augie Doggie, a dear, cuddly little fellow who is always buttering up Doggie Daddy, an old vaudeville performer with a low boiling point.
Augie brings home such cute playmates as an old beat-up pony or a little Martian boy, and Daddy is so nice about it that Augie calls him "the Daddy of the year."
"Quick Draw" is now being seen on 150 stations. It's not network, and it's not syndication. It's what the sponsor calls "spot-work," and it involves a larger lineup of stations than most network shows.
(In the area served by the Iowa TV Magazine, "Quick Draw McGraw" is seen on eight stations. On Monday it is shown by WOC-TV and WOI-TV. Tuesdays: KMTV, KROC-TV, KVTV and WMT-TV. Wednesdays: KMMT and WGEM-TV. Times vary and are listed in the individual station logs elsewhere In the magazine.)
The Quick Draw McGraw Show came to Canada on January 4, 1960. CBC stations broadcast it at 5:30 p.m. on Mondays. Bob Blackburn of the Ottawa Citizen editorialised about the series on January 12th. He’s one of those guys who kind of approves of it, but wants “adult whimsy.” That sort of thing was tried on the Boing Boing Show on CBS that he lauds. The only problem is kids don’t want “adult whimsy.” They want to laugh.
Cartoons In The TV Age
TV has given the animated cartoon a new look, but it isn't new enough.
I give you as a sample, Quick Draw McGraw (CBOT, Mon. 5.30), who is a cousin of Huckleberry Hound (CBOT, Wed. 5.30).
McGraw just hit the air last week, and already, evidently, has staked a claim on local viewing habits.
McGraw is a horse, and his claim to fame, as I caught it on last night's show, is that he can draw a gun faster than anyone else in the west. Just give a pencil and paper and watch him go. Well, this is a gag that could wear thin after a while, but I'm sure they won't lean on it too long.
Thing is, the show is a hearty spoof of westerns, and it's a spoof that amuses even small kids, and I think this is a very healthy move. I was delighted that (a) the spoofing was going on, and (b) the kids were amused by it.
Better yet, this is not just a simple spoof of one type of show. It's a follow-up to Huckleberry Hound, which is still going, and it spoofs 'em all westerns, adventure, private eye, and the rest. It encourages the kids to develop a good sound derision for all the junk they see on TV.
The fact that Quick Draw McGraw is a simultaneous sequel to Huckleberry Hound indicates that this expensive technique is feasible for TV. Before these series, the animated stuff we had on TV was nothing but the aged movie-house fare that would no longer even serve to divert the youngsters at a holiday Saturday morning cartoon show. They used the hopelessly outdated Felix The Cat things, and only on a Disney-controlled show would you see more recent efforts.
There's a temptation here is reminisce about the movies a few years back, when people who are now grandparents would judge the merits of a movie-house bill considering whether it included a "Silly Symphony" or a "Mickey Mouse" (almost any cartoon was a "Mickey Mouse") before settling on the evening's schedule.
A New And Mobile Peanuts?
More interesting, I think, to note that there's a new era developing in the animated cartoon field, and the above-mentioned programs are the pioneers.
At first look, they're not too encouraging. They're picking up where the movies put childish things behind them and launched adult whimsy of the Gerald McBoing-boing, Mr. Magoo, and that there apartment-house janitor type. They start just below the Tom And Jerry level. The technique is the most modern . . . they produce cheaply but without eyestrain ... but the content regresses a little.
That's okay. They've learned to make the least animation look like the most. Instead of inventing story lines, they satirize the standard TV series, which beg for it. They don't create characters, but father imitations. Augie Doggie's pop sounds like Durante. McGraw's buddy is a natural for Desi Arnaz. Blabber Mouse (I think ... I'm getting all these mixed up) is George Gobel. Yogi Bear is . . . well, listen spot 'em for yourself.
All these are money-saving shortcuts that make original cartoons for TV possible, and they serve very well for the juvenile market that's aimed at right now.
But now that it's been proven feasible to present this type of art on TV, it shouldn't be too long until they start tailoring cartoons for adults (ideed [sic], Quick Draw McGraw and friends come out with some pretty sophisticated lines). Cartoons are the comic strips of TV, and any day now I hope that a Shulz [sic] or a Feiffer or a Kelly is going to emerge in this field, as they did in the comic-strip field and help us see the humor in our daily antics. The way has been paved.
My one regret about Quick Draw is the series never got a DVD release. A few cartoons from the show ended up on Hanna-Barbera compilation discs. The late Earl Kress was working on the project and found not only were some of the connecting materials on the half hours either missing or in poor shape, the music rights had reverted to the composers or their estates and clearance for some of the cues would have been cost-prohibitive. He also mentioned the Huckleberry Hound Show DVD didn’t sell as well as Warner Bros. hoped and that discouraged the company. I’m not holding out any hope we will see a release (though there are enough cartoons without music rights issues to fill a DVD with individual cartoons) but unexpected things can sometimes happen in the corporate headquarters of Show Biz Land.

Rolling Through Jellystone

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One thing kids couldn’t appreciate when they first saw The Huckleberry Hound Show in 1958 was the colours in the cartoons. The show was aired in black and white in its original run sponsored by Kellogg’s but Bill Hanna and Joe Barbera wisely had the artwork in colour. The NBC peacock had debuted a couple of years earlier, so Hanna and Barbera must have known colour would soon take over the small screen.

The use of colour is really good in these early cartoons. There wasn’t just one shade of green or brown or whatever in background paintings. There were a number of dues and its makes the artwork more attractive.

Here’s an example from Yogi Bear’s Big Break, the first Yogi cartoon to air. See how the insides of the fir trees are a different shade of green than the outer area. I like the nice shades of browns, reds and orange in this background, too. The trees and plateau in the foreground are on a cel overlay.



Hanna found ways to cut corners in the earliest cartoons. In-betweens were deemed unnecessary; characters jump from position to another. They don’t really move a great deal so it doesn’t look abrupt. Also in this cartoon, there are several times where cars are immobile on a cel. It stays put while the background moves slightly.

We all know how Pixie and Dixie run past the same light socket or lamp over and over and over. It happens in Yogi Bear’s Big Break. It takes 48 frames for the drawing with the cars on it to reach the end of the background and start over again in an endless loop.



You’ll notice to the right an inside joke from a piece of background art (by Frank Tipper). The exterminator in the Yellow Pages is named Montealegre. Fernando Montealegre was an assistant animator for Hanna and Barbera at MGM before he was moved to the background department. His name is on the credits of this cartoon, though the artwork reminds me more of Bob Gentle. Monty loved stylised art—you can see it in his cartoons for Mike Lah at Metro—but he toned it down at H-B.

Perhaps my favourite piece of his work on the Huck show is the establishing shot in the Pixie and Dixie cartoon Little Bird Mouse.



We posted a bit about him in this post and Kevin Langley’s site still has a nice collection of his H-B and MGM art if you click here.

Mark of the Carlo

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Limited animation at Hanna-Barbera didn’t necessarily mean an eye blink or a mouth changing shape while a character’s body remained rigid. Not when you had Carlo Vinci at work in the early days.

There’s a scene in the 1959 cartoon Mark of the Mouse where Mr. Jinks (played by Daws Butler) pretends to be afraid of Pixie (played by Daws Butler) who is disguised as the Zorro-like Mark of the Mouse (not played by Daws Butler).

Here are some frames as Jinks moves from pose to pose. Carlo did his own in-betweens and animated the whole cartoon (Mike Lah took on segments of some of the early H-B cartoons, but not this one). Jinks isn’t just inked on one cel with maybe an arm moving. Carlo has his whole body shifting. Complete drawings, just like in full animation.



Jinksie pauses to talk to the audience watching at home. “Am I overacting?” he asks. (He is). His right hand is at the left side of his mouth to make sure Pixie can’t see he’s talking to us.



“Gracious me! I must flee for my life!” exclaims the thespiating cat. Carlo limits his animation during the dialogue by only moving the head. Then Jinks turns and has a neat little half-eye-closed laugh toward the audience in a small cycle.



Jinks turns and then zips out of the scene. Again, these are full drawings. There are no short cuts, other than theatrical animation might be a bit more fluid (and slower as extra drawings take up screen time). See how Carlo moves Jinks’ right hand to the left side of the face and then over. I don’t know what other animator would have thought of doing that.



Carlo seems to have been let loose to do his thing in this cartoon. There are some unique cycles and I really like the shock drawings in the climax of the cartoon. You can see his work in this post
.

Yogi Bear Weekend Comics, June 1970

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Yogi Bear’s world is filled with good intentions but things don’t quite work out for him in the newspaper comics this month 49 years ago. He tries to help Ranger Smith wake up, he comes up with an idea to save a wedding and he finally protects other animals in Jellystone Park from a jerk.

You can click on the comics to enlarge them.


June 7, 1970. An owl is perched on the ‘Yogi’ sign in the opening panel and there are two silhouette panels. This is Mr. Ranger’s only appearance this month.


June 14, 1970. Me see-um stereotypes from reservation at Jellystone. Lonesome Coyote’s plan does have a certain type of logic to it.


June 21, 1970. Yogi is back to talking in rhyme. His attempt to be helpful isn’t appreciated. Hey, he did better than any of the humans did; why dump on him?



June 28, 1970. Talking squirrel last week, talking bird this week. Anyone hear Allen Melvin as the biker? A lot of detail in the long panel in the second row. I admire how the artist can draw cartoon-style animals and a realistic-looking motorcycle.

Boo Boo has the month off.

Was Boo Boo a Boo Boo?

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Did Yogi Bear really need Boo Boo on his show? Before we look at that, let’s look at Boo Boo in one of those little cartoons between the cartoons on the Yogi Bear Show. He looks like he’s in pain sliding down the pole. The oval eyes and heavy eyelids make me think Don Williams animated this.



By this time, Boo Boo was firmly entrenched in Yogi’s world, along with Ranger Smith and Jellystone Park. But that wasn’t always the case.

Yogi first appeared on the Huckleberry Hound Show in 1958 before getting his own spin-off series in early 1961. The first Yogi cartoon put into production was Pie-Pirates. Boo Boo tagged along as he and Yogi tried to steal a pie from a rural home. Boo Boo didn’t warn “Mr. Ranger won’t like it” because there was no Mr. Ranger. Not many of the cartoons that year took place in Jellystone Park and Ranger Smith had not been invented yet.

During the rest of the season, Yogi appeared in a number of different situations without a “bear-type buddy.” Several of the cartoons were in a spot gag format which suited Yogi pretty well. Charlie Shows provided dialogue in the 1958-59 season with former New York animator Dan Gordon coming up with storyboards for his old buddy Joe Barbera who was involved in the story process, too.

Boo Boo or not, Yogi proved to be an incredibly popular character. The opening animation to the Huck show was changed in 1959 where Yogi now joined Huck in carrying the sponsor’s banner into the first scene. There was a change in the writing department as well. Shows went to work for Larry Harmon and Warren Foster was brought in from John Sutherland Productions. Foster got a full “writer” credit and was given the responsibility for all the cartoons on the Huck show. A decision was made to make Boo Boo a permanent sidekick, that a ranger be created as an antagonist and to centre the plots in Jellystone Park. The format limited Yogi an awful lot—no more spot gags or adventures with woodland creatures—but it arguably gave Foster a base to work with and Yogi became so popular, he was spun off into his own show.

Boo Boo was a solid character. Don Messick found an ideal voice for him. But if you’ve been reading the Yogi Bear newspaper comics we’ve posted here, Gene Hazelton and his writers didn’t deem Boo Boo essential and Yogi was involved in situations involving other character.

Personally, I like some of the Boo Boo-less cartoons of the first season (note that Boo Boo and Yowp never appeared together) and the Yogi/spot gag format. But the little bear is etched in the minds of pretty well all Yogi Bear fans, so perhaps it’s best that he became a permanent member of the TV cast.

Hey, Boss, Lemme Watch Huck!

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Huckleberry Hound didn’t need a lot of hype to become a hit. People found the show upon its debut in 1958 (in some cases because of newspaper ads placed by local TV stations) and critics discovered it, too. They liked it. They were tired of old theatrical cartoons and perhaps the gentle humour of Huck and his friends elsewhere on the show fit the sedate suburban ‘50s.

We’ve reprinted a bunch of stories from critics-turned-Huck-fans from the show’s first season. Here’s one more from the Boston Globe of March 14, 1959. You likely won’t understand the local reference jokes. In case the reference to Fred Allen puzzles you, Daws Butler used his Allen voice as a narrator in the cartoon where Huck is quelled by mosquitoes. The Phil Silvers voice was heard in Little Red Riding Huck.

The critic goes on to say he likes Huck better than Tom and Jerry. The same opinion was made by no less a person than Bill Hanna, though we suspect Bill had a vested interest in promoting his new cartoon series. You can read about it in this post.


Adult Cartoons Now
Huckleberry Hound New TV Funny "Man"

By ROBERT P. ALLEN

DEAR BOSS—This may be a strange request, but what are the chances of sneaking out of the office a little earlier than usual on Thursday nights?
I gotta get home to a house that was never going to be ruled by television, scrub up and eat supper without bolting my food—all before 6:30.
That's "Huckleberry Hound" time, and I've gotta be ready. It's important.
If you haven't had a chance to catch hilarious Huck and his flip-talking pals on Tee-Vee, you're missing what's probably the funniest show ever—particularly if you're a push-over for "adult" cartoons.
This Huckleberry Hound bit—supposed to be the first all-animated, half-hour program ever produced specifically for television— should have you in stitches.
It does all of us at our house.
If Huckleberry himself won't get you roaring, the antics of Yogi Bear, Boo-Boo Bear, the mice Pixie and Dixie, the cat Mr. Jinks or some of his other furry and feathered friends will.
Should you find I'm wrong and you don't howl most of the 30 minutes except for the commercials, I'll promise to put in a full day on Thursday in the future and live, as I do now, real dangerously on that day.
In order to watch Huck and his pals—providing I can't sneak out earlier—I've got to:
1. Race that convertible 'round the corner right in front of the Quincy Police Station on two wheels without cutting my speed.
2. Leap the sometimes-open draw bridge at Fore River.
3. Ignore the oft-red traffic light in front of the Hingham Police Station.
4. Tear through Cohasset like I did something wrong.
5. Flop down at the supper table without scrubbing my hands—let alone taking off my overcoat and snowshoes.
6. Bolt that food, tote that barge, lift that bale.
And even with all this hustle, there's a chance I might miss the first few minutes of Huckleberry. You know as well as the next boss that things like that don't make for a happy, well-adjusted employee.
Of course, if you let me sneak out, you'll probably have to let some of the others sneak out, too.
I'm not the only Huckleberry Hound fan around.
If you've got a minute, let me tell you what little I know about the show.
It was first introduced last September, and now some 180 TV stations through the country carry it each week.
The characters'"voices," like the ones resembling Art Carney's, the late Fred Allen's and Phil Silvers', are tremendous.
But it's the dialogue that causes the fractures. The episodes are spiced with such ticklers as: "We gotta outwit that nitwit" and "How's that for size blue eyes?"
Huckleberry's cartoonists—William Hanna and Joseph Barbera—have faced each other daily over twin desks for 20 years.
When they began working together in motion pictures, Hanna was an idea-and-production man supervising photography and physical preparation, and Barbera was a sketch artist.
Cartooning was a sideline with them both. We should have such a sideline.
It developed into the Tom and Jerry cartoons. They turned more than 200 films detailing the adventures of the mischievous rodent, the bungling feline and, of course, the ferocious bulldog, Spike.
The creative routine which began with Tom and Jerry is now applied to Huckleberry Hound and his friends.
But there's one difference—Huck is twice as funny.
In the Hollywood offices of Hanna and Barbera's recently formed H-B Enterprises, there's only one set rule: "Always start the day with a laugh."
That's a pretty good rule.
Results of this rule are on Channel 7 Thursday at 6:30 p.m.
So can I sneak out early, huh?
Yrs.
HUCKY'S PAL.

We now have a late bonus, thanks to Jerry Beck. It’s, well, I’m not sure what exactly it is, but it must have been on toy store shelves close to when Huck was created, as you will note the presence of everyone’s favourite cartoon dog that speaks only one word.



A late note: reader Keith Semmell says it’s part of a toy put out by Knickerbocker in 1959.



Let’s finish our post with an endless loop from the first Huck cartoon that aired, Huckleberry Hound Meets Wee Willie (it was the fifth Huck put into production). There are loads of money-saving cheats in this cartoon, including a cel of a police car with the background by Sam Clayberger moved behind it. The car and Huck don’t move; you can see the wheels don’t even turn.

The Best To You...

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Kellogg’s bankrolled the first three half-hour Hanna-Barbera series in syndication. Not only did the shows plug Kellogg cereals in the commercial breaks, the sponsor was worked into the opening and closing animated credits.

Actually, for the first series, The Huckleberry Hound Show, there was a little more of a connection than that. The new Kellogg’s Corn Flakes mascot, Cornelius the rooster, appeared after the opening animation to knock on a door through which Huck would enter and begin the show.

Cornelius showed up in the opening as well, crowing, leading an elephant clarinet and then finally rising above the ground in a hot air balloon.



The sponsor’s name (with Art Gilmore doing the first-season voice over) opened the closing animation in a paper hoop that Huck, and then a jalopy driven by Cornelius, burst through, as the two picked up all the other Kellogg’s spokes-cartoon animals. When the cartoons were syndicated later by Screen Gems, the animation was re-done to substitute characters on the show.



The third series, The Yogi Bear Show, had a creative opening where Yogi drove the ranger’s jeep into a billboard and snatched the Kellogg’s lettering as he motored into the distance and then emerged from a second billboard, holding out the letters.



The closing saw Yogi in the ranger’s helicopter flying under the Kellogg’s letters, pulling a banner with the company’s slogan “The best to you each morning.” The banner disappeared in the next scene.



Naturally, my favourite is from the second series, The Quick Draw McGraw Show. Quick Draw is driving a stage. He cracks the whip to make his horses go faster (let’s not get into the horse vs horse debate) and it forms the Kellogg’s letters. His expression changes when the letters fall around his snout. He cracks the whip again and it gets wrapped around his head before re-forming the Kellogg’s letters. The eyes are great. My guess is Dick Lundy animated this.



The Kellogg’s name shows up again superimposed over the cloud of dust caused when Quick Draw skids the stage to a stop.

The sponsor returns in the closing as the bumpy road reveals the Kellogg’s slogan on boards at the back of the stage. The bouncing caused by the bumps then jars Baba Looey and a chest off the stage. Running behind, he and Quick Draw engage in a Senor Wences routine where Baba opens the chest, pops up and says “S’all-right!” before closing on himself. When I was a kid, I had never seen Senor Wences and when I finally saw him do his routine on Ed Sullivan’s show, I thought he had stolen it from Quick Draw.



The animation had to be deleted when Kellogg’s no longer sponsored the half-hour. I noticed the change as a young viewer and was very disappointed. Screen Gems began shopping around the cartoons in 1966, coincidentally about the time Hanna-Barbera was negotiating with Taft to buy it.

The way the sponsor was worked in was fairly creative and added to each of the series.

Flintstones Weekend Comics, June 1970

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Hurray! Baby Puss is back!

Yes, Baby Puss, the cat that put out Fred at the end of every Flintstones episode. The sabre tooth tiger didn’t appear often in the actual Flintstones cartoons and seldom in the comics but he makes an appearance this month 49 years ago.

Before we get to him, let’s look back at the era of love, peace and protests. Hmm. That does seem like the Stone Age now, doesn’t it?


Flower Power? Demonstration? Wilma gets caught in a 1970 pun in this comic from June 7th. Nice to see Betty make an appearance. Note the ashtray next to Fred’s chair. This comic features Dino’s only appearance this month.


Baby Puss appears on June 14th. The ashtray disappears. This cartoon and the one next week have the comic’s name on a hanging stone sign.


We get a Yabba Dabba-Doo and some fat shaming on June 21st. Betty’s back in this week’s cartoon.


In the early days of the Sunday comics, Harvey Eisenberg drew some pretty funny monsters. We can’t really see the one in this comic, dated June 28th. Pops and Barney make their only appearance of the month.

Click on the comic to enlarge it.

Jinks in Space

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Hanna-Barbera’s love of outer space wasn’t confined to The Jetsons’ debut in 1962. It started right at the beginning of the studio with the Muni-Mula serial which opened Ruff and Reddy on December 15, 1957.

Here’s an obscure example from The Huckleberry Hound Show. It’s from one of the cartoons after the main cartoons that urged us to tune in next week. Huck and his gang are in a rocket ship. Dixie pulls a lever which opens a hatch sending a sleeping Jinks into space. Fortunately, he’s got a parachute.

The animator gives Jinks a cross-eyed look in dialogue. You’ll notice the teeth fill the mouth in certain letter positions.



The meeces and then Yogi float past him upside down. You’ll notice how the noses and inner mouth are not back. They’re blue-ish to emphasize the fact the head is inside glass.



A sheepish Jinksie.



Silhouette Huck zooms past in the rocket.



Cut to Huck. His mouth doesn’t stay inside the space helmet in all the dialogue.



A Jetsons-like shot ends the mini-cartoon. The cameraman trucks into the background art and turns it so the shot isn’t static.



Another in-between cartoon involved a space ship. We talked about it a bit in this post.

Hanna-Barbera’s writers liked aliens, too. Pixie and Dixie met one in “The Ace of Space,” Huck tries to arrest one in “Cop and Saucer,” Augie Doggie had a little friend on the red planet in “Mars Little Precious,” and he and Doggie Daddy met up with an outer space rabbit-like thing in “Vacation Tripped.” Snooper and Blabber took on an “Outer Space Case,” while a fiendish alien plot involving a fake Yogi Bear was foiled in “Space Bear.”



There were space mission short cartoons as well, such as “Astro-Nut Huck” and “Price For Mice,” while “Space Cat” included a king mouse on some obscure planet that was tied into a spoof of space TV shows like Captain Video.

Considering all this, along with cartoons like “Ten Little Flintstones” and the unlamented series Space Kidettes, Hanna-Barbera got plenty of mileage (or perhaps “lightyear-age”) from using the cosmos as a setting in the studio’s first few years.

Hanna-Barbera is Ready (and Reddy)

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Hanna-Barbera might not have become a huge cartoon empire if Sam Singer had been competent.

Back in the ‘50s, unlike some of the other movie studios, Columbia Pictures wasn’t afraid of television grabbing its audience from theatres. It saw large dollar signs instead. Columbia revived its Screen Gems name and pasted it onto a TV distribution subsidiary.

In 1956, the studio had shows like Jungle Jim, The Patti Page Show and Celebrity Playhouse on the air, but no doubt the studio saw the huge windfall the AAP cartoon packages were netting in syndication, and wanted a piece of the animation action.

That’s where Singer comes in.

His Tempi-Toons Company came up with a cartoon series made especially for television called “Pow Wow the Indian Boy.” In January 1957, a deal was struck for Screen Gems to distribute them to stations in 11 western American states. The problem was, as Joe Barbera recalled, the Pow Wow cartoons “looked like hell.” Screen Gems wasn’t happy with it.

Columbia had a theatrical distribution deal with UPA. Why not distribute UPA TV cartoons, too? Screen Gems officials had a look in March at a pilot film for Danny Day of the Knights, which UPA proposed as a one-a-day cliff-hanger serial for television aired over 26 weeks. The company wasn’t happy with that, either.

In the meantime, MGM was about to close its cartoon department and some of Barbera’s staff were working on a concept called Ruff and Reddy with the idea of selling it to TV. Barbera and Bill Hanna set up H-B Enterprises in July and began shopping around the dog and cat adventure serial. Their partner, George Sidney, head of the Motion Pictures Directors Association, got them an appointment at Screen Gems. Despite some opposition from Columbia boss Harry Cohn (Barbera recalled he thought a pencil test was a finished cartoon), the two companies inked a deal and Ruff and Reddy debuted on NBC on Saturday morning, December 14, 1957.

From that humble beginning emerged the TV cartoon powerhouse of Hanna-Barbera.

Saturday morning TV, in 1957, was a dumping ground. It was filled with old theatrical cartoons and filmed live action reruns aimed at kids. It’s a wonder Ruff and Reddy got noticed. However, syndicated columnist Stephen Scheuer found the show and wrote about it not too many weeks after it debuted. We’ve found another column about the show from the Tampa Bay Times of January 5, 1958. There’s no mention of Hanna or Barbera, or Screen Gems, and no byline, so I presume the copy was messaged from an NBC news release.

Big Cheeses In Cartoonland
THEY used to say it was impossible to produce cartoons for TV. It was too expensive and it took too long. But TV has done the impossible again.
"Ruff and Reddy," a new cartoon program produced specifically for TV, has started on WFLA-TV (NBC) 10:30 a.m., Saturdays. The highlight of the half-hour snow is the "Ruff and Reddy" four-minute serial made in the cliff-hanger style. In the first 13 episodes (NBC will play two per program) the two heroes, cunning cat end a drowsy dog, are kidnapped by a flying saucer and taken to the planet of Muni-Mula (spell it backwards).
ONLY A HANDFUL of cartoon characters have ever created specially for TV. Ruff and Reddy follow the short trail of Crusader Rabbit, Tom Terrific, Pow Wow and Bert and Harry. The last pair, of course, was created for commercials rather than programs. And, as a matter of fact, the high cost of animation has mainly confined new TV cartoon production to commercials.
There are now almost 3,000 cartoons playing on TV stations, virtually all of them produced originally for theatres. About 900 of them were produced in the silent era and had music and sound effects added for TV airings.
There's a popular impression that the animated cartoon originated from the pen of Walt Disney back around 1930. The fact is that cartoons were already being shown in theatres when Walt was a kid. Animators such as Bray, Van Buren, Max Fleischer and Paul Terry were turning our [out] cartoons before 1920.
True, when Disney created Mickey, the mouse became the big cheese of cartoonland. During World War II, the cartoon's instructional genius was developed to the full for the armed forces training films.
After the War, new and streamlined animation systems were perfected by UPA and other cartoonists. It's these new techniques that make possible new cartoon production for TV.
LAST SPRING production plans were announced for about half a dozen new cartoon programs, but the only one to reach the light of the TV screen this season is "Ruff and Reddy," which is thus, if not rough, unquestionably ready, as well as being right up to the minute with its household pets taking off for outer space.
A year later, Hanna-Barbera was at it with a far more ambitious series, the half-hour Huckleberry Hound Show, which was boosted by loving critics and put the studio on a path to expansion.

Someone will mention it if I don’t, but Sam Singer went on to produce Sinbad, Jr. cartoons for American International Television. Something apparently went haywire, as Hanna-Barbera was hired to finish up the series (even the most untrained eye and ear should notice the different between each studio’s work).

Ruff and Reddy had two shots on the NBC schedule, ending in fall 1964, before the individual cartoons went into syndication (the network show included a human host and an old Columbia theatrical cartoon). We’ve found listings for R&R into 1973.

I’m afraid I’m not a fan of the series. Ruff and Reddy’s target audience was clearly pre-teen, with the cartoons written to wrap up the young viewer in the adventure. Hanna-Barbera’s syndicated series of the ’50s were out-and-out comedies and aimed at everyone. They strike me as more mature. Still, R&R has some good background art by Fernando Montealegre, the Capitol Hi-Q Library is used well, and you get to hear Don Messick and Daws Butler at work. And the Hanna-Barbera studio may never have gotten off the ground without it. With a little indirect help from Sam Singer.

Mugging and Smoking With Fred

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Daring Dino? Ferocious Fred? Neither of the adjectives in front of those cartoon characters’ names seems all that appropriate. But who can argue with paying 75 cents for a mug with their mug on it?

In a way, a mug is appropriate. The original Flintstones cartoons were sponsored, for a time, by Welch’s Grape Juice, through the Manoff Advertising Agency. That happened starting in the 1962-63 season.

The series had a bunch of new sponsors for its fourth season (1963-64). Green Giant (Leo Burnett) and Best Foods (Lennen and Newell) also picked up sponsorship that year. Broadcasting magazine estimated the cost of production at $55,000 an episode, the same as The Adventures of Ozzie and Harriet, The Donna Reed Show and Hazel. In 1964-65, the Jolly Green Giant took his ho-ho-ho elsewhere and was replaced by Motorola (also a Leo Burnett client).

The show began its life with the bills being paid by Miles Laboratories and R.J. Reynolds Tobacco. Miles was the maker of Flintstones vitamins, but that product wasn’t hawked in breaks on the cartoon show; it wasn’t invented until 1969 (the series ended in 1966).

These ceramic Flintstones ashtrays from the early ‘60s must have seemed appropriate for a show sponsored by a cigarette maker.



The fact that Winston cigarettes were pushed in between acts of The Flintstones is met with a combination of shock and disbelief today by people who weren’t around in the days when smoking was cool, not deadly. They can’t understand why cartoon characters were allowed to sell cigarettes. The reasons are simple.

a) The Flintstones was not a children’s show.
b) Cigarette advertising had a long history in magazines and on network radio.

Jack Benny sold cigarettes; his TV show had (for a while) a cute cartoon character named Happy Joe Lucky. Lucy and Desi sold them on TV, too. Arthur Godfrey sold them on radio. So did Abbott and Costello. Cigarette ads were ubiquitous. They were on all kinds of shows aimed at families. No one thought anything about it. I suspect something we do today will be looked upon as ghastly and unthinkable a few generations from now.


R.J. Reynolds bowed out after two seasons. ABC decided to sell participations in the show for year three, according to Sponsor of June 4, 1962. By September the network had signed contracts with five different advertisers, including Welch’s.

Interestingly, Miles Labs exercised its sponsor authority on the content of The Flintstones. Sponsor magazine of June 17, 1963 reported that “ABC network agrees it’s usual practice for Miles Lab to insist that The Flintstones contain no reference to ‘headache, upset stomach or the taking of remedies to relieve same.’” By this time, Winston’s had moved on to being advertised on TV for the first time in colour—by some animated matchbooks.

Yogi Bear Weekend Comics, July 1970

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We don’t generally see too many other bears in Jellystone Park. Boo Boo, yes. Maybe the occasional rival for Yogi. (My favourite is the hammy bears at the start of the animated “Be My Guest Pest” in the first season of the Huck show). But we get a couple of comics with bear extras in the month of July 1970.


I’m really believin’ Yogi gets even. Okay, Yogi doesn’t have one of those hokey rhymes in the July 5th comic, but Yogi gets his revenge on a practical joker. Cigars? Firecrackers? Great things to have in a national park, Chuck.


Yogi’s French is très magnifique in the July 12th comic, which has a nice punch-line. His French is better than when he caused an international incident of “fillet mignonnies” in “A Bear Pair,” Warren Foster’s light satire on diplomacy. Incidental character bears are chowing down on unidentified berries in this comic.


“Refrig”?! Who says “refrig”? Yogi does in the July 19th comic. Anyway, the Baydos only have themselves to blame for Yogi snipping out parts of the carpet. If they had told him where the diapers were, it wouldn’t have happened. I like the silhouette panel with the fox trotting along on all fours.


More bears chowing down on berries in the July 26th comic. Except Yogi, naturally, which is the punchline here. Excellent perspective on the final panel.

Click on any of the comics to make them bigger.

More Costly Than Dobie Gillis

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“Adult cartoon” was a sales pitch bandied about in 1960 as The Flintstones was about to debut. And it only made sense.

Animated cartoons were something found in kiddie matinees at theatres and on children’s shows on daytime TV. If you want to broaden your demographic, then you’d better say your cartoon series isn’t just for the youngsters.

Granted, The Flintstones featured a plot about having a baby and made gentle fun of suburban living. But it wasn’t over the heads of kid viewers, any more than old Warner cartoons about Bugs dressing as a woman to fool Elmer Fudd. They flocked to the show. And it’s the kids of the 1960s that still fondly remember the series today.
Reviews after the first show were mixed. You’ll recall the “inked disaster” quote from the New York Times and (legitimate) complaints about the superfluous sitcom laugh track. However, the Pittsburgh Press liked the show and looked past the debut to the second show, noting kids had already decided it was something they wanted to watch. This appeared in the edition of October 7, 1960.


CARTOON SERIES
'Flintstones': TV's Costliest Half Hour
$65,000 Per Week

By FRED REMINGTON
If any of the season's new TV shows can be called a sure-fire success on the basis of only one exposure, it would be "The Flintstones."
It made its first appearance last Friday night. It appears to have been widely viewed and favorably talked about by the people who make or break most TV offerings, the young. When a show wins acceptance among the youngsters, it's in.
We'll be getting our second look at this "adult cartoon series" tonight (Channels 4 and 10, 8:30) so here's a little background on it:
There is a general belief that a cartoon show is cheaper to produce than one with live actors. This is not so. "The Flintstones" is the most expensive regularly scheduled half hour show ever offered on television. The ABC network pays the Hanna Barbera Enterprises $65,000 for each "Flintstones" episode.
This is in contrast to the $36,000-$39,000 per half hour for films such as "Dobie Gillis,""Alcoa Presents," and "The Tom Ewell Show." Half-hours with big name stars like "General Electric Theater" and "My Three Sons" run around $50,000, where "Leave It To Beaver" comes in for $30,000.
"The Flintstones" is the latest cartoon series of Bill Hanna and Joe Barbera, whose "Huckleberry Hound" won an Emmy this year. They also created "Tom and Jerry,""Ruff and Ready" [sic] and "Quick Draw McGraw." They are veterans of 20 years at MGM, which tried unsuccessfully to match Walt Disney's success with animated motion pictures. MGM ultimately threw in the sponge, and Hanna and Barbera struck out on their own.
They presently employ 150 people, many of them former associates from the MGM animation studios.
"It is said we are doing for television what Disney did for pictures," Joe Barbera said one day recently. "Disney started a family of cartoon characters, like Mickey Mouse and Donald Duck, who became almost national institutions."
Hanna and Barbera plan to pull Yogi Bear out of the "Huckleberry Hound" cartoon and develop a series with him as its central character. They also have in the works a 75-minute animated feature for theaters starring Yogi.
They see "The Flintstones" as a more adult show than their previous creations.
"We feel the sight is for kids and the sound is for adults," Joe explained. "We were a year casting this show, only instead of interviewing live people, we interviewed drawings."
Joe is a lean man with curly dark hair and flashing white teeth. He is handsomer than most leading men and looks about 27. Then he knocks you off your chair by referring casually to his grandchildren.
"I married young," he explains.
Among the people providing voices for the Hanna-Barbera animations are Mel Blanc, who has been the voice of Woody Woodpecker, Porky Pig and Bugs Bunny, and Daws Butler. Daws' salary and bonuses from Hanna-Barbera last year totaled $80,000.
Hanna and Barbera have greatly streamlined the animation process brought to such brilliant perfection by Walt Disney. So painstaking is Disney that for his big hits like "Snow White" and "Cinderella" he has had live actors and actresses play the parts, then translated the films to animation.
A "Flintstones" episode represents around 8000 individual drawings for the half hour of film. A Disney half hour would use at least 17,000 drawings, to achieve the marvelously graceful movements of characters, or of leaves turning gently in the breeze that are the Disney trademarks.
This is why Disney cartoons have to go into theaters before they come to TV. No sponsor could handle their original cost.
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