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Don Jurwich

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It’s sad to receive word about Hanna-Barbera veterans passing away, and we’ve heard from reader John Semper, Jr. that layout artist Don Jurwich died on July 13th in Westlake Village at age 87.

Jurwich attended George Washington High School in South Los Angeles in the early ‘50s, drawing cartoons for the student newspaper. He wasn’t one of the H-B originals in 1957 but he was around then. In an interview with the Animation Guild, he revealed he began his career in the mid-‘50s at Graphic Films, a small commercial studio in Los Angeles run by ex-Disney artist Les Novros. His co-workers included Ted Parmelee and Paul Julian, who had both recently been at UPA. (He had called Disney about work and he was told he wouldn’t make enough to support a family). Jurwich was painting backgrounds on films for the U.S. Air Force and one on smog being made by Julian.

He bounced around freelancing at other industrial studios in the city—Ray Patin, Film Fair, Quartet Films—mainly doing layouts and backgrounds on commercials, but also found employment with Jay Ward on the Rocky and His Friends series under George Singer. Unfortunately, the drinking water in Mexico City didn’t quite agree with him and he had to return to the U.S.

Don decided he wanted a regular job and heard Hanna-Barbera was hiring, so that’s where he ended up for a time. Among The Flintstones episodes he laid out were “Adobe Dick” (1964) and “Fred’s Flying Lesson” (1965). His experience at the time was “wonderful in some ways. It [the studio on Cahuenga] was a big bull-pen with just partitioned cubicles, and you could hear everybody. And so everyone was joking and carrying on and talking and yelling across.”

Iwao Takamoto was in charge of the layout/background department then. Don said “He was another brilliant guy...never disciplined the department ever. He would correct your work but he just let everyone run crazy. It was great fun.”


Don did some more bouncing: over to Format Films to write a couple of Roadrunner and Coyote cartoons released by Warner Bros.; back to Jay Ward for George of the Jungle (he said the artists were disappointed it lasted only one season and felt ABC was out to cancel the show); and finally back at Hanna-Barbera, where he enjoyed his work on Tom and Jerry Kids and Droopy: Master Detective. (Note: This is not a post about lists of cartoons; you can read and post lists on other sites).

Jurwich revealed he was surprised to find out his duties as a producer at Hanna-Barbera involved voice directing. “I came to the office one day and they said ‘Hey, you’ve got to do a Captain Caveman today’,” and found he had to direct Mel Blanc. Don decided to ask him during a break about working with Warner Bros. and Jack Benny. Surprisingly, Mel began ranting “They never gave me a nickel! They never gave me any credit!” Jurwich cut the conversation short and didn’t ask about Benny.

In later years, Jurwich corrected storyboards and worked closely with Joe Barbera. When it came to cartoon story, “It was his life. That’s what he loved to do,” Don remembered. “For all the limited animation that we did, I think a lot of it was character-driven, and I think that worked a lot. And Joe was good at that. He could develop characters.”

The studio was pretty busy, and once the cartoon was in the pipeline, it buzzed through. “There just wasn’t the time [to make big adjustments along the way],” Jurwich recalled. “Once you got a script that was okay, you put in the storyboarding, maybe...you’d punch up the storyboards a bit; you had some time there. Then it went into layout and animation.

To give you an idea about the workload, “When I was there one season on The Smurfs, I did 13 ninety-minute shows. And a Christmas special,” he revealed. “I would have to read a lot of scripts on the weekends, but I did it usually at home because I was a single parent at that time. And the Scoobys, we used to do not just 13 half-hours, we used to do 24 half-hours. And later when we were doing the Tom and Jerry Kids show and Droopys [in the early ‘90s], I think over four years we did over 200, seven-minute cartoons. That was another grind.”

And all this was after Jurwich had recovered from a heart attack caused, he believes, by stress dealing with network people, promising them one thing then finding Bill Hanna had countermanded him without telling him.

He stayed through the sale of the company and the move from the famous building on Cahuenga Drive to Sherman Oaks and developed some cartoons with Jerry Eisenberg. One was “Stinky Stegosaurus” and another was “Yoink! of the Yukon.”


Donald Lee Jurwich was born on New Year’s Day 1934. We send our condolences to his family. You can hear the complete interview referred to above at this site.

Flintstones Weekend Comics, January 1965

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You don’t think of dramatic artwork when you think of the Flintstones comic strips. But occasionally it shines through, such as in the colour comic that appeared in newspapers on January 3, 1965 (a day earlier in Canada).

The five comics below are, unfortunately, black and white scans, but look at the composition in the long panel in the second row below. It outshines the final panel, which is a lovely piece of work, too.



The long panel in the second row of the January 10th comic is a nice bit of drawing as well, with a bit of perspective as the animal cases curl around on the left.



Betty appears for the second time in three weekends on January 17th; a bit of a rarity. The ending is a pun. I wonder how this would work in foreign languages.



For some reason, Fred says “That’s an incinerator!” when it’s clearly marked as such. There’s really no need to label it if he’s going to say it. I’m not sure why the eggs equate to a small fortune as it’s not set up in the comic. This is from January 24th.



The month concludes on January 31st with no appearance of Dino. All five comics revolve around Fred, none around Pebbles As we’ve mentioned before, Mr. Slate was mainly a TV character. Fred had different bosses in the newspaper comics.



Click on any of the comics to make them larger.

Why Reinvent?

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Below is Yogi Bear.



Below is Mr. Jinks.



Below is Huckleberry Hound.



At least that’s who they are on this blog, and for those of you who watched the old Hanna-Barbera cartoons starting in 1958. Granted, in the earliest days, each artist drew the characters a little differently, but you knew who they were.

That isn’t what they’ll look like in a new series coming to American streaming service HBO Max.

Some readers seem to want my opinion of the new cartoons coming this week. I’m not sure why. My opinion doesn’t mean a whole lot.

I don’t have a television or subscribe to any streaming services, so I won’t be watching them.

From what I’ve seen, the character designs are not appealing to me, any more than similar design styles that are apparently popular these days. If you like them, fine. If you want to tune in these cartoons, it’s your money.

But here’s the thing I never understand when people try to bring back old characters.

I think in every instance, I hear about the love these newcomers have for the original cartoons. And in the same breath, they decide these characters they love so much have to be, as one web article put it, reinvented for a modern audience.

Why? Why do they need to be reinvented?

Why turn them into something else? Why not stick with what was appealing in the first place?

Is the “modern” viewing audience of young people really that much different today?

Huck was an “everyman,” getting into all kinds of situations. There was no end to potential plots. Now he’s married to a sitcom format where he’s a mayor and other H-B characters are given specific roles. It limits them.

No, my childhood will not be “ruined” by these streaming shorts, any more than they were by the misbegotten Yo Yogi! series. My childhood ended an awful long time ago. You can’t ruin something that doesn’t exist any more.

I’ve never bought the logic that “Oh, if young people see these cartoons, they’ll want to look at the old ones.” Why? They don’t even look like the old Ed Benedict designs. I can’t speak for specific stories and dialogue.

I am happy, though, that artists and writers found work through this new series and hope they enjoyed it. Voice actors will be waiting for those residual cheques. Good for them all. I like to see people employed.

And it could be worse, I suppose. Snagglepuss could be Tennessee Williams.

As for me, I am still quite content to watch the several hundred cartoons made in the ‘50s. They never talked down to me. Some missed the mark but there are enough good ones that I still get a smile after 60 years.

A Few Frames of Huck and the Gang

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One of the fun parts about the Hanna-Barbera shows for Kellogg’s was the little cartoons in between the cartoons. Various characters got to interact and promote the next cartoon. It was special back in the ‘60s; today there endless cross-overs, mash-ups and artificial “universes.”

Originally, it was cut-and-dried. The various shows had certain characters, though it appears The Yogi Bear Show was rushed into production and not all cartoons were ready when it debuted on January 30, 1961 (the same held true for Yogi’s replacement, Hokey Wolf, on The Huckleberry Hound Show; he finally appeared on the week of March 13, 1961, according to TV listings of the day).

Things started changing in the 1966-67 TV season. Mattel purchased licensing rights to the Huck show from Screen Gems and worked out a rather convoluted co-op ad agreement with Kellogg’s that meant Mattel ads on the Kellogg’s-sponsored Yogi Bear and Woody Woodpecker shows. It would appear, based on a story in Television Age of April 24, 1967, the individual cartoons were made available to stations as well.

But the half-hour Huck show carried on in one form or another into the 1970s and ‘80s. Reader Austin Kelly points out a 16mm reel of the show is being sold on eBay. The unusual thing is it does not contain a Huck cartoon. It has reruns of shorts starring Yogi Bear, Hokey Wolf and Yakky Doodle.

This mean the opening/closing animation had to change. The original from 1958 featured an assortment of Kellogg’s cereal mascots, eg. Tony the Tiger. It was reanimated to include Yakky and Hokey. It would appear the lettering card was re-used from the original closing.



Instead of Tony Junior getting his head bashed leaving the circus tent, Yakky gets the honour. Chuckle, chuckle, chuckle.

There’s not a lot I can remember about these re-worked Huck mini-cartoons. The Kellogg’s rooster still appeared, even if Huck’s door is not in a circus tent any more.



Unfortunately, these frame-grabs from the mini-cartoons are a little ho-hum. Hanna-Barbera and/or Screen Gems didn’t seem to care that Pixie and Dixie weren’t in this cartoon; I couldn’t tell you if they were in the re-worked series.



Oh, the character on the Hokey Wolf title card below isn’t Yowp. It’s 1961 and Hanna-Barbera is already borrowing from itself. In the actual cartoon, some of the dog’s poses look like they came from Snuffles. While the hunter is English like Yowp’s owner, Daws Butler gave him a little faster delivery.



How many of these mini-cartoons are in the Hanna-Barbera archives is, I imagine, anyone’s guess. And I still hold out no hope we’ll ever see future volumes of Huckleberry Hound Show DVDs, including the ones featuring Hokey Wolf and the frames you see above.

Before Chopper

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Voices! We need voices!

That was the cry at the newly-founded H-B Enterprises in 1957. Bill Hanna and Joe Barbera went out and found two men who could create just about any voice that was needed in their cartoons—Daws Butler and Don Messick. Eventually, the studio had a number of actors who could fill all kinds of roles; Hal Smith, Mel Blanc, Paul Frees and John Stephenson come to mind.

It’s odd, then, that the studio would hire a man who really only did one voice. We don’t mean Jimmy Weldon, as his Yakky Doodle was a specialty voice. We mean the man who played Yakky’s cohort, Vance Colvig, Jr.

With rare exception, the son of Pinto Colvig voiced the growly Chopper. Odder still was that Vance Colvig was capable of doing all kinds of voices. I don’t know why Joe Barbera didn’t bring him in more often. Perhaps he was just too busy. By 1961, when Yakky first appeared on TV, Vance was on KTLA daily as Bozo the Clown.

His worked on one cartoon at Hanna-Barbera before the Yakky series got underway. The Quick Draw McGraw Show was coming on the air in 1959 and Barbera was on the hunt for new voices. Colvig played Tombstone Jones and narrated “Bad Guys Disguise,” the second Quick Draw cartoon that aired.

Here’s a profile (and photo via ABC) of him from the May 18, 1947 issue of Radio Life, a truly wonderful publication which published feature stories on all kinds of people working in radio in Los Angeles. It gives you an idea of the talent he had, and Hanna-Barbera could have used.

What Makes a Gag Man
By Betty Hammer
THE first time we met Vance Colvig, he blew into a restaurant where we were lunching, grabbed a waitress, waltzed the her down narrow aisle between the tables, barked like a dog, told her he was burning with mad desire for her, sat down and ordered a cup of coffee. A friend introduced us. Vance leered like Dracula, grabbed our arm, twisted it around his neck and shouted, "Leave me alone, I tell you," and, turning to the other diners, "She's crazy about me—won't leave me alone!"
By the time his coffee arrived and the waitress had nimbly eluded his clutches, we learned that, naturally, Vance was a gag man and radio actor, that his father was Pinto Colvig, gag man and radio actor; and that he always entered restaurants that way. Then, taking a spoon, he dipped it in and out of his coffee, holding the handle with both hands in the manner of a man rowing a boat and bassoed, "Ai yoock neeyem, Ai yoock neeyem," in a pretty good rendition of the "Volga Boatman." He borrowed a cigarette from us with the words, "No, thank you—never touch 'em," pretended to pound it into his forehead, pulled it out of his ear, stuck it under his lower lip, struck a match and made as if to light his nose. "Been smoking all my life and they never hurt me a bit," he exclaimed as he banged his knee reflex, rose in the air about two feet and emitted a cloud of smoke and a wheeze that sounded like a ship tearing away from its moorings. We learned that he always relaxed with coffee and a cigarette that way.
Calmed Down?
Since that first meeting, we've gotten to know Vance rather well and he no longer goes through quite such an elaborate routine. Now he merely bites us on the neck, tells us we have "dan-n-n-ncing eyes" and begs us to fly with him to San Luis Obispo.
Is Vance Colvig like this because he is a gag writer—or is he a gag writer because he's like this? We're inclined to think the latter. Many a gag man is a pretty Gloomy Gus who saves his humor for a paying job. Vance throws away many a hilarious routine on a group of strangers waiting at a bus stop, merely because he feels like entertaining anyone and everyone—occasionally even when they don't want to be entertained, but that's one of the hazards of the profession.
Or maybe it's inherited. His pop, Pinto, is a well-known cartoonist, gag man and the voice behind many a weird radio and cartoon effect. When producers call Colvig senior for a part he is unable to take because of a previous commitment, he usually refers them to Colvig junior and keeps the work in the family. Recently, the two worked together on the Frank Morgan show as the voice of "Baldy" the sheep dog (Pinto) and 'Filbert" the gopher (Vance)—and in the Capitol record album, "Bozo and His Rocket Ship."
Vance has done the gags for Tom Breneman's "Breakfast in Hollywood" program for the past four years and has contributed laugh lines to the Jack Kirkwood show, Mel Blanc program, Kay Kyser's "College," and "Bride and Groom," in addition to his free-lance work. He has barked for Asta, the dog in the "Thin Man" pictures, done voices for George Pal Puppetoons, played a pig on "Gildersleeve," a dog on the Dinah Shore show, a rooster on the Sinatra show and Japanese villains on "Pacific Story," among many other strange roles.
"I got my first part when I was six months old," he told us when we asked about his career. "It was a movie for Herbert Hoover's relief mission to Belgium during the last war and it showed a poor little starving Belgian baby as contrasted with a laughing, fat, healthy American baby. I was the laughing, fat, healthy American baby." Kid roles in movies followed and Vance supplied juvenile laughs in "Mickey McGuire" and "Buster Brown" comedies.
Can't Tell How Come
How do you get to be a gag man? "I only wish I knew," is Vance's answer. Every time Breneman mentions Vance's name on the air, he receives letters from people who want to become gag men too. It makes him un- happy, because he'd like to be able to say the magic words that lead to radio, but he just doesn't know what they are.
If you who are reading this are incipient gag men, you'll say, "All right then, how did he get started?" And the not-very-glamorous answer is—working in the parking lot at NBC. He started button-holing passing comedians and selling them gags as the poor fellows rushed to rehearsals. It was Kay Kyser who finally decided that the little guy who kept the boys in the parking lot and the big time comedians laughing with his gags and antics might do the same for a nationwide audience. That's how one gag man latched on to radio and that's the only way Vance knows about.
Of course Los Angeles City College helped. Our hero took radio and dramatics courses and graced the casts of "Merry Wives of Windsor,""Romeo and Juliet" and Gilbert and Sullivan's "Gondoliers" ("I played the title role—along with eleven other guys"). He also appeared in a collegiate musical, "Zis Boom Bah!" which was so professional it was booked into the Orpheum Theater and did a bit of touring. Movie star Jeanne Crain was an obscure cast member. Glamorous threesome on the campus in those days was Vance, Donna Reed and Alexis Smith! Vance further informed us that prior to his college days, radio prof Jerry Blunt had turned out such radio talent as writer True Boardman, Elliott Lewis, and Mary Shipp, who is more widely known on the air as "Lady Esther"!
Gives Parties
Vance lives in a fascinating little house perched dangerously high up in the Hollywood hills. His front room contains shelves of books and records and a collection of original ceramics made by a prominent local artist. From the hillside he has gathered bamboo stalks and fashioned them into shades for his windows and porch. He enjoys doing his own cooking and he'll make you a wonderful cup of coffee by grinding the beans in an old- fashioned coffee grinder. He holds an almost permanent open house and is always happy to welcome a friend (or ten) to sit and trade gags for an evening. He has a party almost every Saturday night and the phone rings constantly with calls which usually say, "Vance, I'm coming up tonight but I'm with five other people, and ...""Swell! Bring 'em up," is the usual answer. Ill-assorted or congenial, he sets them all to playing "Indications," a particularly noisy game with intellectual overtones. Everyone becomes loud and friendly. Once Vance found Fred Beck in one of his Saturday night groups, but can't remember how he got there.
He likes screwball comedy the best and particularly enjoys writing for comedians of that type. His love of music and literature encompasses all types of the two expressions. He is a superb pantomimist and enjoys that particular talent in others. He has boundless enthusiasm and is tremendously encouraging to any expression of talent. His constant companion is a slightly insane red cocker spaniel called O'Malley in honor of the fairy godfather in the "Barnaby" comic strip. O'Malley, according to Vance, loves to chase and retrieve sticks, though he plays on a hillside abounding in rabbits. "If I throw a stick into the bush, O'Malley goes after it, out jumps a rabbit, and O'Malley happily reappears with his stick. Should I try throwing rabbits?" queries Colvig.


Colvig moved on after Hanna-Barbera to appear on camera in movies and TV shows. He played a number of characters at Knott’s Berry Farm in southern California. He died March 4, 1991, losing a battle with cancer (as did too many other cartoon actors). He rated a six-paragraph obituary on the Associated Press wire. It mentioned his father’s most famous cartoon character. It didn’t mention his.

Promoting Top Cat With Arnold Stang

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Top Cat had a top cast.

Marvin Kaplan (Meet Millie) and John Stephenson (The People’s Choice, Bold Venture) had both worked on television series. Leo DeLyon appeared in nightclubs. And since Top Cat was meant to invoke memories of Phil Silvers’ quick-talking Sgt. Bilko, who better to cast as the main sidekick than Maurice Gosfield, who performed the same function on Bilko as Pvt. Doberman.

Casting T.C. himself was a bit of a challenge. Film actor Michael O’Shea was tried out but couldn’t handle the dialogue. You can read more in this post. Daws Butler was tried out but he was already doing a Silvers-like voice as Hokey Wolf. Finally, Arnold Stang won the part.

By 1961, when Top Cat first aired, Stang had distinguished himself on radio, television and film (live action and cartoon). And like many stars, he was pushed out onto a publicity tour for his show. During a stop in his hometown of New York City, the Daily News talked to him about the series, his career, the Hanna-Barbera studio, and cats. It was published November 12, 1961.


Arnold Stang Likes Doing Voice of ‘Top Cat’ on TV
By BEN GROSS
Appearances are deceptive. There's Arnold Stang, for example. For years you've laughed at him; you've thought of him as such a funny, helpless, lovable dope, a pint-sized schlemiel. But you've been wrong. He's really a very smart fellow.
Arnold proved that emphatically, when as a pupil in our town's Townsend Harris High School he won a gold medal for the highest state-wide scholastic average. He also gave evidence of his capabilities through successful appearances on radio shows, among them those of Joe Penner, Henry Morgan and Orson Welles, plus many hilarious TV stints with Ed Sullivan, Perry Como and other stars.
The distraught, squeaky voiced, rabbit-like youth with horn-rimmed glasses seen on television bore no resemblance to the serious, sedate man who sat beside me in the Beverly Hills Trader Vic restaurant. There, amidst the Polynesian surroundings, he told me why after many years of appearing as Arnold Stang, he had consented to become a mere voice, that of the title role in the new cartoon series. "Top Cat" (ABC-TV, Wednesdays, 8:30 to 9 P.M.).
Accepts Challenge
Speaking in low, well-modulated tones, he said simply: "It's a challenge and I've accepted it."
"But aren't you doing what most actors hate to do—eliminating your personal identification?" I asked.
Arnold, a mere five-foot-three and weighing only 103 pounds, squinted his brown eyes and answered: "Although I've been starred and featured, I've never tried to have a show of my own. Doing a series before the TV cameras is the surest way of eliminating yourself.
"Just look at the list of comedians who used to be on the air week after week, years ago—Wally Cox, George Gobel, Henry Morgan and others. They were consumed by television. Jack Benny and Red Skelton are about the only survivors.
Real Characters
"As for 'Top Cat,' in my opinion, it's not only a highly amusing animated feature but it presents characters who are just as real as a show in which people appear before the cameras."
"But the fact is that the audience only hears your voice." I said. "They don't see Arnold Stang.""That's where the challenge comes in," he answered. "Just through my words I have to create a three-dimensional cat out of a one-dimensional picture.
Good Radio Actors
"And believe me, you've got to be a good actor to do that. But come to think of it, that's what performers and sound men had to do all the time in radio. Nothing on the air was ever as funny as some of those sound effects on the old Jack Benny and Fibber McGee and Molly shows."
"How does a fellow act the role of a cat in one of these cartoons ?" I wanted to know.
"It's quite a job." Arnold explained. "But the firm of Hanna and Barbera, who created ‘Top Cat,’ are geniuses when it comes to producing animated cartoons. You know what they did with ‘The Flintstones’ and ‘Huckleberry Hound.’ So they've worked out a good system for their live actors.
‘Story Board’
“First of all, there's a 'story board.’ It's a sheet of paper containing about 30 frames of pictures. These represent the key incidents of the action. While looking at this, we actors have a script of the dialogue; in this way we can visualize the scenes in which our lines are spoken.
"This takes place in a recording studio. We read the script and our words are taped. We convey character through our tones. For example, as Top Cat, I have a low, throaty voice, one that suggests a lovable con man."
"Now that you play a feline, are you fond of cats?" I asked.
"Oh, I like 'em; but I can take ‘em or leave ‘em," Arnold told me. "I've always owned dogs; but some of my best friends have cats."
Cats Aren't Villains
"Why is it that cats are so often portrayed as villains?"
"I don't think they are anymore," he said. "Today, most persons regard cats as very intelligent animals, strong-minded, determined and independent. Why, even such a virile fellow as the late Ernest Hemingway was fond of them.
"Incidentally, this is not the first time I've been associated with an animal. In one show I was the voice of a gorilla, and some years ago, I appeared in an NBC color special, ‘Jack and the Beanstalk,’ in which, believe it or not, I portrayed the giant. And that production had an animal ballet. And guess who played the hind half of a cow? None other than Jason Robards Jr!"
Audience Laughed
The son of an attorney, and the nephew of a man who at one time headed a New York City school district, Arnold was born in Chelsea, Mass. Sept. 28, 1923. Many years ago, he sent from there a postcard to the famous Children's Hour radio show asking for an audition. Getting an affirmative response, he appeared garbed in knickers and wearing glasses, to give a serious reading of Poe's poem, “The Raven.” But his voice was changing at the time. "No sooner had I read the opening line than the audience roared. From that time on, although a serious youngster, I was tabbed as a comedian," Arnold recalled.
Soon he was on radio as a regular with Bob Hope, Eddie Cantor, Fred Allen and Milton Berle. He created what is now known as the "Stang type" of characterization in "Duffy's Tavern" and the "Easy Aces" series. When TV came, Arnold made a hit as Francis, the stagehand, in the Berle shows.
A 'Serious' Actor
Arnold also appeared in many Broadway plays including "Sailor, Beware," and not long ago scored as a serious actor with his moving portrayal of Sparrow in the movie, "The Man With the Golden Arm." His success in that role was one of the highlights of Arnold's life. For despite the laughs he evokes, like most comedians, he has always wanted to be a "serious" actor.
"As a matter of fact, I'm a serious guy," he said. And always a student, he might have added. That's why, after his family had moved to New York, he was able to win that scholastic honor at Townsend Harris High.
Lives on Coast
Following years of shuttling between New York and Hollywood, Arnold, his wife, Jo Anne, and their two children, David, 10, and Deborah, 9, have finally moved to the Coast. There they bought a house in the Bel Air section of Los Angeles which, unfortunately, was destroyed by fire last week.
Stang, unlike some stars, has a special fondness for the press. He said: "My wife once worked for the Sunday section of The News and I met her the first time when she came to interview me for the now-gone Brooklyn Eagle."

Stang was one of a number of actors who fudged about their age, likely to get younger roles in radio in the ‘30s and ‘40s. He was five years older than he let on.

Screen Gems tried a different kind of publicity tour involving Stang before Top Cat aired. Here’s a description from Variety, Sept. 27, 1961.


A Screen Gems Primer On How to Promote A Cartoon ('Top Cat')
ABC-TV is preeming "Top Cat" tonight (Wed.), but there was a problem originally of how to promote the cartoon series via one of tv's traditional pre-preem road tours to warm up local audiences.
Screen Gems, the outfit that sold "Cat" to the web, solved the touring problem. SG flack chief Gene Plotknik, giving his show the edge over the three other cartoon series preeming this fall, got producer Hanna-Barabera [sic] to have Arnold Stang and Maurice Gosfield, the show's main voices, prerecord five-minutes of banter with local tv emcees. Gosfield and Stang ask the questions and spaces are left on the disk for answers, which any local performer can answer.
That accounts for the voice part of promo. As for "bodies," Plotnik got Eaves to turn out costume replicas of the cartoon characters involved, Top Cat and his pal Benny the Ball, which are being bicycled around to ABC affils in special containers. Costumes have been worn by office boys and flack gals at the local station level, who have gestured, mimed and danced to the words of Stang and Gosfield.
The "Cat" has played nine major markets since Aug. 15.
Main trouble? Plotnik says that there were no press interviews as on other promo tours. "With the press these days," he says, "you can't get down the answers in advance."

Despite the fine cast, which also included veteran Warner Bros. character actor Allen Jenkins, and an effective music library by Hoyt Curtin, the show didn’t survive. Daily Variety reported less than two months after Top Cat debuted that ABC was negotiating for a revival of The Rebel to replace the cartoon series in mid-season. That didn’t happen, but ABC announced reruns would appear on Saturday mornings the following year (Variety, March 14, 1962).

Fans will argue the show was just as popular as H-B’s other prime time animated half hours, and they might have a point. Reruns showed up on small screens season after season, first on regular TV then cable; a flash-animated movie was released in 2011; an “origin story” computer-animated film came out to major yawns several years later; and he’s one of the characters in the Jellystone! streaming series.

Arnold Stang is no longer with us (Leo De Lyon is apparently the only cast member who is) but you can always pull out home video with the 30 episodes and enjoy him one more time.

Let's Party With T.C.

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What were Bill Hanna and Joe Barbera doing the night Top Cat debuted 60 years ago?

Watching TV, what else?

And so were members of the Hanna-Barbera staff and sundry actors, as detailed in this story in the Pittsburgh Press of October 2, 1961. The series aired beginning September 27th.

The story focuses on the money the studio tied up in the series, hoping to reap profits in all kinds of merchandise. And there were potential BIG profits.

The New Steve Allen Show premiered immediately preceding T.C. I have not been able to discovered what the “animated insert” was that caught the attention of the H-B staff.


FROM HOLLYWOOD
Animated Cartoon ‘Top Cat’ Watched Intensely By 160

$800,000 Investment Spells Reason For Their Interest
By FRED REMINGTON, Press TV-Radio Editor
HOLLYWOOD, Oct. 2—There was something strange and ironic about 160 prosperous, well-dressed adults watching an animated comic strip with silent, fierce intensity.
They were members of the Hanna-Barbera organization, gathered to watch the television debut of their newest property, "Top Cat." For its first appearance they had taken over the Tahitian restaurant on Ventura Boulevard. It's a spectacular place, visible for miles up and down the San Fernando Valley by the great flaming torches which mark its entrance.
The intense preoccupation of these people with an animated cartoon becomes understandable, though, when you consider the finances involved.
“We have $800,000 in this thing before the public has ever set eyes on it,” said Bill Hanna, one of the partners in this fantastically successful firm of animators.
"We are irrevocably committed to making thirty of them at $68,000 a half hour," said his partner, Joe Barbera.
Hanna-Barbera merchandise—Yogi Bear dolls, Flintstone paint sets, etc—last year grossed 43 million dollars. The cartoons are seen in 38 countries by an estimated 300 million people.
This week the Hanna Barbera offices here received, a fan letter on "The Flint-stones"—now also a comic strip in The Press—which they cherish. It was from a viewer in Russia who watches 'The Flintstones" on a TV channel in Helsinki, Finland. The English was faltering, but the Russian got across the idea that like many other people he digs “The Flintstones.”
"I wonder if we've got 'em saying 'Yabba-dabba-doo' in Russian," mused Joe Barbera.
Present for the "Top Cat" kickoff were most of the actors who provide the voices: Arnold Stang who is the title character, a breezy Runyon-esque Manhattan alley cat; Maurice Gosfield who is another of the cats.
The "Top Cat" party had gotten underway at 6 p. m. and was swinging pretty well by air time at 8:30. There was one brief interval during the Steve Allen show, which preceded it, when stillness fell over the room.
This was when Allen introduced a brief cartoon segment on his show. This was a New York-done animation and the California animators of Hanna-Barbera rushed to the room's many TV sets to inspect it.
One kept his face not three inches from the screen during the brief cartoon insert on the Allen show.
"Brush work is kind of rough," he said to a colleague. "But the jokes are good." The other nodded in agreement.
But when "Top Cat" came on absolute hush fell over the room. The lights were lowered. It was like curtain time at a Broadway opening or the first pitch of a World Series.
When it was over there was wild applause. People shook hands with one another, "You got another winner, Joe," someone told Barbera.
"Thanks," he said gratefully. “I like it. You like it. Now if the public just likes it. . .”


Top Cat showed up along with a host of other prime-time animated series. Networks thought they’d have another Flintstones-like success on their hands. They didn’t. The prime-time animation fad died, though Hanna-Barbera convinced ABC to give it a go the following season with a show just like The Flintstones—except in reverse. It would be set in the future, not the past. It was cancelled before the TV year was up.

But Top Cat was only a failure in prime time. The same 30 episodes were run over and over again for years. It’s never been among my favourite H-B shows, but it has a great cast and wonderful background music by Hoyt Curtin and his session men.


The Huck Birthday Express

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Children loved it. Teenagers went nuts for it. Adults watched it. Even critics thought it was entertaining. And it began appearing on TV screens 63 years ago today.

The Huckleberry Hound Show was syndicated across North America by Kellogg’s ad agency Leo Burnett, buying half-hour early evening timeslots where available. That meant not all stations that picked up Huck were airing it on Monday, September 29, 1958. The station in Kellogg’s home office (aka Battle Creek, Michigan) was one that did. In Los Angeles, the show was on Tuesdays. In Chicago, it was on Wednesdays. In New York and many other cities, it was on Thursdays.

Sorry, Ruff and Reddy, but the Huck show was the one upon which Bill Hanna and Joe Barbera built their empire. They did it with four animators—Ken Muse, Lew Marshall, Carlo Vinci, with Mike Lah freelancing—though it appears Phil Duncan and Ed Love were brought in to do little cartoons between the cartoons. There were opening and closing pieces with all the main characters on the show interacting, with Huck finishing things by urging us to watch for the next Huckleberry Hound Show.

For the record, the first cartoons aired (not produced) were Huckleberry Hound Meets Wee Willie, Cousin Tex and Yogi Bear's Big Break (with Boo Boo).

Some time ago, Stu Shostak sent a dub of Huck show that was on 16mm and transferred to VHS. It was an episode in French. I’ll post a few frames. You’ll have to live with scratches on the print. I don't know which year this appeared.

Engineer Huck introduces the others riding the "Huckleberry Hound Express" train: Yogi Bear, guest conductors Dixie and Pixie, and Mr. Jinks (“bringing up the rear”) in the caboose.



Dixie decides to “pull the pin on that silly grin” and get rid of Jinksie.



“Hey! I'm loose in the caboose!” Some expressions and then “Wait for me!”



Ah, the old tunnel gag.



Never fret, kids. We’re invited back again for more cartoons with Huckleberry Houuuuuuund!



Huckleberry Hound had the same appeal as his direct predecessor—Tex Avery’s southern wolf in the MGM cartoon Billy Boy, where nothing ruffled him, no matter what happened. Yogi Bear wears Ed Norton’s get-up, the same as Bill Hanna and Joe Barbera’s Down Beat Bear at MGM. Pixie and Dixie are catalysts who got a few good lines from writer Charlie Shows in the first season. Mr. Jinks is the star of the segment, and his voice is borrowed from Stan Freberg’s parody of mumbling method actors in his Capitol record “Sh-Boom.”

Yogi became the biggest star of the lot, but I still like the casual Huck as he takes on all comers, including crooks, a TV set, a mosquito, potato and weinerschnitzel monsters and, of course, dogs that act like dogs.

You can read more about the 60th Huckiversary in this post.

On Location With Mike Maltese and Warren Foster

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One afternoon in the 1960s, little me was talking to my mother, and I decided to inject some Quick Draw McGraw vocabulary into the conversation. My mother scowled.

“It’s ‘sheep,’ not ‘sheeps’,” she chastised me.

Before I could say anything, my father responded, “He heard that in cartoons. He’s not serious. He knows better.”

My father evidently knew my sense of humour far better than my mother. (And, yes, I did know better).

If I had to analyse where I got my sense of humour, one of the influences would be Mike Maltese. He’s my favourite cartoon writer. He wrote loads of great cartoons at Warner Bros., and then jumped at the chance for more money at Hanna-Barbera in 1958. He was responsible for all 78 cartoons in the first season of The Quick Draw McGraw Show (1959-60) and wrote two cartoons for The Huckleberry Hound Show until Warren Foster arrived a few months later and took over. Maltese’s name was the one that stood out because I wanted to know who wrote the funny cartoons.

Any time I see an interview with him, or contemporary newspaper stories about him (he died in 1981) it’s always a treat. Columnist John Crosby interviewed him and you can read that post here. I’ve found another newspaper piece. The Oak Leaf, the paper of the U.S. Naval Hospital in Oakland, published a front page story about a visit by Mike. And Warren Foster. Better still, there’s a picture of them! I think the only other pictures I’ve seen of them are in animation history books or studio newsletters. There are several other people in the photo who cartoon fans should know.

Here’s the article from January 8, 1960. I wonder how many of these sojourns were made by Hanna-Barbera staffers.


Jeannie Wilson’s Hollywood Artists Here for Ninth Annual “Operation”
It was mid-December, and here and there throughout the compound people were grouped about artists and models, who appeared to be equally eager to make a success of their work. Other groups watched cartoonists turning out their favorite characters as fast as you could say “Quick Draw McGraw.”
It was Jeannie Wilson’s ninth annual visit to Oak Knoll, and this time her "Operation Art for the Armed Forces" included nine other artists of who happily gave two days of their valuable time and talent to cheer both patients and staff.
A special feature of this year’s visit was the showing of an hour-long cartoon—the popular TV feature, “Huckleberry Hound,” by Warren Foster and Mike Maltese. Mr. Foster is a writer, ideas man, and producer for “Huckleberry Hound” and “Yogi Bear,” and Mr. Maltese produces and directs “Quick Draw” and “Dixie and Pixie.” In addition to showing the film, the two TV cartoon men—sent by Bill Hanna of Hanna, Barbera Productions—explained how the cartoons are animated and distributed several hundred original “cells” used in filming their cartoon features. Each was in full color, attractively matted, and of course autographed by Yogi, Quick Draw McGraw, and others.
Returning artists who have been here enough times to know their way around the compound were Johnny Johnson [sic], MGM portrait artist and background man for MGM’s Tom and Jerry cartoons; Benjamin Duer, nationally-known artist, illustrator, and teacher; and Bill Mahood, portrait artist, who was here for the seventh time and still recalls how faint he became the first time he tried to paint the portrait of an admiral!
First-timers were Maurene McCulley (daughter of the creator of Zorro), whose brush technique won acclaim at a recent “one-man” show at the Hollywood Woman’s Club; Ben Shenkman, who has done portraits and caricatures for Disney and MGM and is now with UPA; Phil Duncan, formerly of Disney and MGM Studios, now owner of TV Cartoon Products and doing UPA cartoons; and Fred Crippen, Magoo artist.
Mrs. Wilson, who recruits the artists from her long list, started the art project 16 years ago and has boosted servicemen’s morale from coast to coast and in Korea.

Johnsen was Tex Avery’s background man at Warners and then MGM. Shenkman drew caricatures at Columbia and then Warners, later surfacing at Hanna-Barbera. Phil Duncan animated some of the mini-cartoons on the Huckleberry Hound Show on a freelance basis, while Crippen left UPA to operate Pantomime Pictures, which made some fine, stylish animated commercials.

The photos accompanied the article.


Since we’re talking about Mike Maltese, here’s a squib from the trade publication, The Ross Report, giving a capsule of information about the The Flintstones. Maltese co-wrote the first episode that aired, “The Flintstone Flyer” (it was not the first cartoon produced) but the bulk of the writing in the first year was done by Warren Foster.



There are several others things interesting here. Distributor Screen Gems doesn’t warrant a mention.

None of the secondary voices mentioned appeared on that first episode. Incidentally, Variety of May 31, 1960 mentioned that Daws Butler, Bill Thompson and Paul Frees had joined the four regular actors.

Hanna-Barbera was indeed in Hollywood, at the Kling studio at 1416 N. La Brea Avenue, but moved on August 1, 1960 to a window-less, cinder block building at 3501 Cahuenga while the Flintstones was in early production. Here's the building as it looks at the time of this post:



The Flintstones didn’t run on the full ABC network. I haven’t checked to see how many affiliates the company had but, by comparison, The Real McCoys began the 1960-61 season on 169 stations, My Three Sons was on 165, while The Adventures of Ozzie and Harriet was picked up by only 136 stations and Alcoa Presents could muster only 116 stations.

And, no, Winstons wasn’t the only sponsor and, yes, cigarette companies spent tons of money advertising on family shows, first on radio and then television (until the ads were banned). Everyone connected with The Flintstones constantly beat the drum that it was an “adult cartoon.”

Maltese left in 1963 to work for Chuck Jones at MGM on a revived Tom and Jerry, returned in a couple of years, and quit Hanna-Barbera again in 1971 because of network interference in his stories. He wrote comic book stories, teamed again with Jones (who apparently threw out his story for a Duck Dodgers sequel).

Layout artist Maurice Noble once wrote: “We were so fortunate to have Mike Maltese, who had a ‘pixie’ quality—by this I mean a twinkle in his eye, a wonderful sense of humor, and a zany slant on things. Full of ideas.”

Cartoon fans were fortunate, too.

Unmatched Pilgrim

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Grim Pilgrim is, in a way, a Thanksgiving cartoon, as Huckleberry Hound makes peace with an American Indian stereotype—and the turkey they both want to eat—as they all sit down to dinner at the end.

It’s Thanksgiving in Canada today. Canada doesn’t have any pilgrims but there are turkeys in grocery stores or ovens, so we’re marking the occasion with this brief post about the Huck cartoon. You can read a full review of it in this post.

The animator is Ken Muse, who turned out footage faster than anyone at Hanna-Barbera. I’m not an animator and I’m not quite sure how Muse worked, but I get the impression he didn’t make each extreme in consecutive order from start to finish. My uneducated guess is he drew long shots and then went back and did closer shots.

Sometimes, the positions of the characters don’t match when the director cuts from a close shot to a longer one. Here’s an example from Grim Pilgrim. The two frame grabs below are consecutive.



At times, this kind of thing can be really jarring. It’s not so bad here, perhaps because the Geordie Hormel stock music in the background binds the scenes together, or because there’s no change in animators.

You’ll notice the native’s head is a slightly different colour than the rest of his body. Muse animates the head, the rest of body is held on a cel.

I really like the background being panned at the start. The colours are a bit off on this clipped together version. The credits say Dick Thomas painted this. He had arrived at the studio after being laid off at Disney. Before that, he spent many years at Warner Bros., first with Bob Clampett and later settling in with Bob McKimson.



This was the first Huck cartoon put into production in the 1959-60 season. Mike Maltese wrote the first two cartoons of the Huckleberry Hound Show (the other was Yogi Bear’s Lullabye-Bye Bear) until Warren Foster was hired after his gig on Rhapsody of Steel with John Sutherland Productions.

It was also the first Hanna-Barbera cartoon voiced by Hal Smith; a newspaper story earlier in the year said that Joe Barbera was looking for additional voice talent. Smith said he was the first voice of Barney Rubble but when Bill Thompson had problems handling Fred Flintstone’s voice, the two parts were recast (Joe Barbera once said Mel Blanc wasn’t available at first). Despite that, Smith went on to a long career at Hanna-Barbera and turned up at other studios, too.

Anyway, I give Thanksgiving greetings to Canadians and to non-Canadians willing to accept them, and suggest you mark the day watching at least one Huckleberry Hound cartoon.

Jean Vander Pyl

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Jean Vander Pyl has a connection to Christmas.

She (her voice, to be specific) was one of the stars of the seasonal film “Santa and the Three Bears,” released independently to theatres in 1970. It was the brainchild of Hanna-Barbera writer Tony Benedict, who pitched it to Joe Barbera. If any company should have come up with an animated half-hour Christmas special that could run on TV every year, you’d think it would be Hanna-Barbera. But Mr. B. didn’t like the story and took a pass on it, so Tony went through some insane circumstances to get it into theatres.

This post, though, is about Jean Vander Pyl.

The four leading actors on “The Flintstones” all came out of radio, but Vander Pyl was the least prominent. Alan Reed co-starred on his own show in the early ‘30s and was a stooge on others. Bea Benaderet was one of the most sought-after secondary players on radio comedies on the West Coast and then appeared on television each week through the ‘50s with George Burns and Gracie Allen. I don’t have to tell you about Mel Blanc.

Vander Pyl appeared in a few top-level shows—surprisingly, one was “Amos ‘n’ Andy”—and was also one of countless anonymous commercial voices. Here’s a United Press article from November 9, 1949 that suggests she was pitching Arrid deodorant when she wasn’t taking up roles. (The Hollywood Reporter ad below is from 1947).

She Wants To Be More than "Half Safe"
By JACK METCALFE
HOLLYWOOD, Nov. 3 (U.P.)— Radio actress Jean VanderPyl, who swears that's the way to spell it, comes up with one of the most unusual complaints in Hollywood or anywhere else, for that matter. She's too successful.
Miss VanderP. is the lithe-tongued, dulcet-voiced lassie who beseeches her audience not to be "half safe."
That and 800 other chores for network moguls ranging from playing an ingenue to one of Macbeth's three witches have boosted her to a spot where her career interferes with her vocational ambitions.
"I just want to be in the movies," she says.
During the 12 long, yearning years she has been on the air, Jean says, she almost would have given her dulcet voice for a chance under the arcs.
It looked like waiting would pay off recently when producer George Mosko cast her in an important role in "Champagne for Caesar."
"I was ecstatic," she recalls. "I leaped at the chance, and leap is the right word. "I was so excited I jumped and fell all over director Dick Whorf."
Miss VanderPyl says she soon landed in gloom, however, because the "important role" turned out to be a "voice."
This young lady from Memphis plays a mysterious voice that takes part in a highly-charged scene with Ronald Colman in a soap tycoon's waiting room.
"I give him that double-syrup inflection which just oozes as it comes out," she says. "But unfortunately I won't see me."
So Jean, listed in the radio casting directory as "girl with sexy voice," faces the day when shell again bury her pretty self in a radio studio.
"I just wish," she comments plaintively, "I could show the world more of Jean VanderPyl than the vocal chords."


Perhaps Vander Pyl’s biggest radio role came as the mom on “Father Knows Best;” the Cincinnati Enquirer called her hiring “A change for the better.” She didn’t make the transition to television when the show appeared there and I don’t know why. This story in the Greenville News of October 18, 1951 talks about how she got it; the last sentence from a similar version in another paper.

Jean VanderPyl Natural In Part
Jean VanderPyl, lovely young actress who has just taken the leading feminine role of "Margaret Anderson", on WFBC's Father Knows Best." (9-9:30 p. m., Thursdays), is more than convinced that truth is indeed stranger than fiction.
When Dorothy Lovett, who has been portraying the mother of "Father's" lively brood on the Thursday evening comedy-drama, found that she had laryngitis and wouldn’t be able to appear on the show, she suggested Jean Vander Pyl as a replacement, because Jean's voice quality is similar to hers. It was a last-minute emergency, and when Director Murray Bolen of "Father Knows Best," got in touch with Jean, an hour before program time the evening of the show, she was busy putting her youngsters to bed. Jean managed to dress, get from the San Fernando Valley to NBC's Radio City in Hollywood and have the script in her hand by the middle of dress rehearsal. The result was that she went on the air in the key feminine role opposite star Robert Young without having even having read the script completely through.
However, Jean's spur-of-the-moment interpretations of Margaret Anderson so impressed the program’s sponsors that she has been signed to portray her on the show regularly. Jean VanderPyl's reaction is that Margaret really should be an easy role for her to portray. Margaret Anderson was supposedly married at 17 and had her first child at 18; Jean was married at 18, and had her first younger at 19. Margaret has three offspring, one of whom is named Kathleen; Jean has three, also, and one is Kathleen! And a recent Father Knows Best script which revolves around Mother’s birthday falls on the day before Miss VanderPyl’s own birthday.


We should pass along something about “The Flintstones.” This feature story is from the Tampa Tribune of May 18, 1986.

THE FLINTSTONES' 25TH ANNIVERSARY CELEBRATION
By WALT BELCHER

Tribune Staff Writer
Oh, those "Stones" they just keep rolling along.
When Fred and Wilma celebrate their 25th year in show business this week, it should be a memorable event. It could rank right up there with that day in 1969 when, upon reaching the moon, astronaut Neil Armstrong repeated Fred's immortal words, "Yabba dabba doo!"
With that simple phrase, Armstrong confirmed Frederick F. Flintstone's place in our hearts and minds. Armstrong didn't have to explain; we knew what he meant.
Fred and Wilma. They're as much a part of our culture as Mickey and Minnie or Dagwood and Blondie.
But for baby-boomers, it may come as a mild shock that 25 years have passed since "The Flintstones" debuted in prime time on network television.
From 1960 to 1966, Fred and Wilma Flintstone romped through 166 half-hour adventures and earned their place forever in our cultural history.
Set in the Stone Age town of Bedrock, "The Flintstones" was a parody of modern sub urban life.
Modeled after Jackie Gleason's "The Honeymooners," the show featured a loudmouthed caveman, Fred, and his long-suffering wife, Wilma. Their next-door neighbors were Barney and Betty Rubble, the Ed and Trixie Norton of cartoons.
Fred, who operated a dinosaur-powered crane at the Rock Head & Quarry Cave Construction Co., was a hopeless social climber, a poor slob who usually blundered his way into trouble.
In addition to the situations, the series included a lot of Stone Age sight gags, such as Wilma's Stoneway piano, a hi-fi on which Fred played his "rock" music (a long-beaked bird served as the needle), Wilma's vacuum cleaner (a baby elephant) and Fred's garbage disposal (a famished buzzard-type bird stashed under the sink). The Flintstones' car was a foot-powered steam roller that flattened out the rocky roads.
"The Flintstones" was one of the first made-for-adult TV cartoons; and it lasted longer than any other prime-time cartoon series.
The original episodes still are playing around the world.
(Locally, "The Flintstones" reruns air weekdays at 7:30 a.m. on WTOG, Channel 44.)
The originals played on NBC, but it is CBS that is paying tribute to this minor classic.
At 8 p.m. Tuesday, Tim Conway, Harvey Korman and Vanna White (from "The Wheel of Fortune") take us on a musical trip down memory lane.
In addition to a "Flintstones" music video, we'll hear from the series' creator, Joseph Barbera, and a few other animated characters, such as Huckleberry Hound, Yogi Bear and Quick Draw McGraw.
Also included is a film clip from Sting's movie "Bring on the Night" in which Sting's band performs the classic "Flintstones" theme song.
Animator Barbera will explain how he and his partner, William Hanna, built a cartoon empire on the success of Fred and Wilma. He also will give the little-known origin of "Yabba dabba doo!"
"I haven't seen it yet, but I had to do Wilma again," said actress Jean Vander Pyl, who has been the voice of Wilma Flintstone for 25 years.
In a recent telephone interview from her San Clemente, Calif., home, Vander Pyl talked about her long-running role.
"I've done other things, including a 20-year career in radio before 'The Flintstones,' and there was some acting on television, but nothing has been as durable or lasted as long as Wilma," Vander Pyl said.
"It was one of the few cartoons that dealt with adult situations. This was a family show with lots of gags that went over the kids' heads, but the adults loved it. These were characters adults could identify with," she said.
Vander Pyl recalled that "The Flintstones" was created for prime time after Hanna and Barbera discovered that 60 percent of adult viewing audience in the 1950s had been watching their afternoon cartoon series "Huckleberry Hound."
Barbera has said in previous interviews that Warren Foster and Mike Maltese, the original writers on "The Flintstones," were masters of satire. They enjoyed creating the Stone Age gags. There were puns on names, too. Over the years, Fred and Wilma entertained numerous guests including Ann-Margrock, Perry Masonary, Ed Sullystone, Cary Granite and Gina Lollobrickida.
"There was a lot of satire in 'Huckleberry Hound' that the writers put in to amuse themselves," Vander Pyl said. "They helped develop the adult audience for the later 'Flintstone' episodes."
She said the shows were situation comedies in animated form.
"And those of us who did the voices were actors, not just voices," she said. "The show used a formula that had been very successful with 'The Honeymooners,' and Fred was very much like Ralph Kramden," she added.
Vander Pyl, who played the original Margaret Anderson on the radio version of "Father Knows Best," said the cast was like a family and had fun with their roles.
The animation was not completed until the actors had read their parts. "People always asked which comes first—the voices or the pictures? The voices come first," she said.
Vander Pyl modeled her Wilma after the flat, nasal sound of Audrey Meadows' Alice Kramden.
The late Alan Reed was the original Fred Flintstone. He was succeeded by Henry Corden.
Veteran cartoon voice creator Mel Blanc played Barney Rubble and the family pet, Dino.
Another veteran of cartoons, Don Messick, provided numerous voices, including Arnold, the paperboy, and many of the Flintstones' prehistoric appliances.
"I also did the voice of the baby, Pebbles, that was added in the later seasons," Vander Pyl said. "My good friend, Bea Benaderet, who worked on 'Petticoat Junction,' was the voice of Betty Rubble. So, we were real friends off stage, too."
Betty also was played by Gerry Johnson and Gay Autterson.
Originally, the Flintstones had only a baby brontosaurus, Dino.
But, in 1962, they had a baby, Pebbles. Their neighbors, the Rubbles, soon adopted a son, Bamm-Bamm, the strongest baby in the world.
In 1967-68, Hanna and Barbera produced a feature-length cartoon film with a spy theme, "The Man Called Flintstone."
In 1971, Pebbles and Bamm-Bamm were seen as teen-agers in their own series on Saturday mornings. Sally Struthers and Jay North ("Dennis the Menace") supplied the voices.
More than a decade later, NBC ordered two hour-long specials, "A Flintstone Christmas" and "Flintstones' Little League."
NBC then ordered new half-hour episodes in 1979 with "The New Fred and Barney Show." Wilma and Betty also were featured in another series, "Captain Caveman."
This fall, yet another series of Flintstone cartoons will be added to the Saturday morning lineup. In "The Flintstone Kids" we'll see Fred and Wilma as toddlers. Vander Pyl won't be doing a baby Wilma voice, however.
"It does seem like every few years, I get called back into the role," she said. "There was talk of a 'Miami Vice' clone with Fred and Barney as policemen, and I've been doing Wilma in commercials."
"Part of the charm was that it wasn't too cartoony. Fred and Wilma seemed like real characters," she said.
"My favorite line is still from the opening show, where Fred comes out on the front lawn, and Arnold the news boy calls out, 'Here's your paper, Mr. Flintstone,' and he tosses out a stone slab that knocks Fred flat. And Fred says, 'I hate the Sunday paper.'
"I still crack up when I see it," she said. "I think other adults howled, too. They knew Sunday papers are like that, and they appreciated the humor, while the kids just laughed at Fred getting knocked down. Slapstick and satire—it was a good combination."


As you likely know, this blog is retired. We’ve been through all the early syndicated Hanna-Barbera that have interested me. However, this post was sitting around Santa Yowp’s bag for some time and has now been delivered.

If you’d like to read more about Jean Vander Pyl, you can check out this post, or go to her name in the TOPICS column and click there.

Flintstones Daily Strips, October 1961

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Over the years, the Yowp blog has posted the Sunday (Saturday in Canada) colour comics starring Yogi Bear and The Flintstones syndicated by McNaught. There were also daily cartoons in the papers as well, a single panel for Yogi and a strip for The Flintstones.

A few of the Yogis have been spotlighted on blogs over the years but I have found few that aren’t photocopies of microfilm, let alone original artwork. However I did find the start of The Flintstones run in scans of one paper which are quite readable.

As you know, this blog has been retired. It was created to identify Capitol music cues in the old syndicated Hanna-Barbera cartoons. That was done some time ago. Some readers like the Hanna-Barbera newspaper comics so I posted them. I’ve had a number of The Flintstones dailies sitting in a draft folder. There’s no point leaving them there, so I’m going to put them up.

The comics first appeared in papers on October 2, 1961. Mercifully, this is before the appearance of Pebbles. As having a child changes the lives of its parents, so, too, does the introduction of a toddler into a cartoon. I much preferred The Flintstones TV series as an adult contretemps, though the battle-of-the-sexes concept was shopworn by the time television arrived. Anyway, there will be no sign of Pebbles below.

The October 2nd comic is a basic introduction, while the 3rd is a twist on an old gag Jack Benny used on radio about rotund announcer Don Wilson and small cars. October 6th is a familiar gag from the TV show—a domesticated animal does household drudgery. This one is weaker that what you’d see on TV. The animal would be Stone Aged (this one is an ordinary pig) and writer Warren Foster would have it look at the camera and wisecrack something.

These are from October 2nd through 7th.


October 9’s comic has what was even an old punchline in 1961—women gossip a lot. October 10 is another variation on animals-doing-chores. October 12 revolves around Baby Puss, who found immortality in the TV’s closing animation but did very little else in the original series. (Oddly, the Jetsons’ cat was the same. It precipitated action over the end titles but was in a grand total of one of the actual half-hour cartoons). October 13 includes an appearance by Mr. Slate (at least that’s who I say it is) and the following day is another husbands-vs.-wives scenario.

These are from October 9 through 16.


Incidentally, the little drawing of Fred’s head and the club came from a different newspaper. I presume it existed in case it was needed to make up the difference in column width and the comic.

I have the rest of the month in a folder and I’ll see if I can find time to post it.

Flintstone Daily Strips, October 1961, Part 2

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Some standard situations make their appearance in the Flintstones daily comic strip in the final half of October 1961, which was the first month of publication.

Do people still complain about women drivers? It seems to me ineptness knows no gender these days. On Monday, October 16th, there’s a gag about women drivers. The following day, Fred writes off one of Barney’s inventions which, naturally, is hugely popular in our day and age. Another invention appears on the 20th, while on the 21st, mastodons perform household tasks like they did in the animated cartoons. The Thursday comic has Fred adjusting knobs on his TV, which really is a Stone Age idea (note the elk antlers as antenna on top of the set).

Below are comics for October 16 to 21.


Fred’s love of bowling was in the first Flintstones episode that aired (although it was the third one made) in 1960. Evidently Fred needs a makeshift alley for practice in the comic strip of October 23, 1961. That cartoon also involved Fred sneaking around behind Wilma, which drives the plot of the comic of the 26th. The following day, Wilma has another elephant appliance.

The comics below are from October 23-28.


The next two, October 30 and 31, round out the month, with the final one a variation on the huge-slab-newspaper gag in the Flintstones TV debut.



You can click on any of the comics to make them larger.

Leo De Lyon

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An anonymous note has been left on the blog asking why the death of Top Cat actor Leo De Lyon hasn’t been mentioned here.

It’s pretty simple. I have to know about it. I did not know Mr. De Lyon, nor am I connected with his performers union. He has been out of mind for many people for at least half a century. 50 years ago he was directing an 18-piece orchestra behind the vocal stylings of Sandler and Young. That’s not exactly national television exposure.

As a side note, I remind everyone this blog is, for all intents and purposes, finished. I’ve moved on. There are still some almost and half-finished draught posts in my folder than I may get around to putting up (the Tralfaz blog is on auto-pilot until the end of September, though I have banked a number of obits that can be posted).

Anyway, Mr. De Lyon’s union (SAG-AFTRA) reported he passed away last September 18th.

About the only thing most people know about him is he was on Top Cat. I doubt anyone reading here saw him as a regular panelist with Bob Haymes and Dorothy Loudon on “It’s a Business” on the DuMont network starting in March 1952. Or his appearance on Uncle Miltie’s show in 1949 (Dorothy Kilgallen quoted Mr. Berle as saying De Lyon was “a one-man Marx Brothers”). He seems to have spent the bulk of the 1950s in clubs, and made a few talk show appearances in the 1960s.

De Lyon was a case of “fastest rising young comedian.” We find him in June 1948 as part of Paul Whiteman’s stage show in Philadelphia. He was working nightclubs in New York City in less than a year after stops in Toronto, Baltimore and Miami (the last city was likely used to break in his New York act). One of the Philadelphia papers revealed when he was a sailor (submarine service) during the war—and he had to be in his teens then—he stopped in at the Embassy and Little Johnnie’s in Phillie and entertained customers with sketches, impressions and piano playing.

The best profile I’ve found about him is at the start of his career. The New York Daily News published this story on May 15, 1949:


Leo’s Lurid Noises At Last Appreciated
“My getting hooted out of all the basketball games at high school was the cause of it all,” recalls Leo De Lyon, zany young comedian currently featured in the Roxy stage revue. His hop from the Strand to the Roxy, with less than 21 days elapsing in between, chalked up a new mark for the Broadway history hooks. This 23 year old Brooklyn madcap has been tagged “the year’s comedy find” by such theatrical cognoscenti as Arthur Godfrey and Paul Whiteman.
Only six years ago, Leo was a student at Franklin K. Lane High in Dodger-town and was prohibited by the principal from attending any interscholastic basketball game. De Lyon used to hide himself in various shadowed corners of the balcony, wait for exciting portions of the game, and then imitate a referee’s blasting whistle so perfectly, the players on court would halt in their tracks to see who fouled whom. All this just for laughs, and they came in torrents, until Leo was discovered, escorted to the principal’s office and told to stay away front any future basketball contests. So Leo, who shined shoes and sold newspapers after school to increase his meagre allowance, decided he’d eventually try getting paid for his talent at rib-tickling.
Has Huge Range.
De Lyon has a vocal range of 86 notes, all in perfect pitch, which is just two less than the number of ivory-encased do-re-mis on your parlor Steinway, something no Metopera diva can equal. When he toured honky-tonk clubs and resorts in the borscht belt hinterlands late last year, before hitting Broadway, the band musician would tune up their instruments to his voice, tossing aside the accustomed method of using a piano.
The Catskill paths led Leo to his first major break. He was called upon to join Paul Whiteman’s “On Stage America” unit for one week in Philadelphia, although not for the job he thought.
Whiteman needed a substitute pianist and Leo had mastered the art of 88 back in his school days. During one performance, the maestro suddenly realized his show was running short and looked around for a fill-in. When one of his musicians mentioned pianist De Lyon was adept at zany comedy, thanks to Leo’s impromptu pranks back stage, Whiteman grabbed Leo away from the keyboard and told him to “get out there and do anything you want for about five minutes.”
The results were tremendous. Leo tore down the house with his spontaneous bits of trick voice and song, which encouraged the Brooklyn madcap to seek Broadway stage work.
His next stop was Arthur Godfrey’s “Talent Scouts” radio program. It was only a few months ago that Leo appeared on the Godfrey show and won hands down. His mother was so overjoyed she led a parade of some 50-odd De lyon rooters from Brownsville down Broadway with a “the treat’s on me” call. Was Leo’s victory toasted in the chi-chi confines of the Stork or El Morocco? Certainly not. His mother took the neighborhood fan club to a cafeteria on 50th St. and treated one and all to coffee and Danish.


In 1950, De Lyon was performing overseas. One show was at London’s venerable Palladium. In the middle of the decade, he toured Australia with Johnny Ray. At the end of the decade, he was performing at Danish Days in Cedar Falls, Iowa. In January 1961, he emceed at the Minneapolis Auto Show before moving across the U.S. from New York to Los Angeles to try to further his career. By early May, after an appearance at the National Orange Show, he had been cast in Top Cat (along with Michael O’Shea, who was un-cast as T.C. fairly quickly).

After Top Cat failed to catch on in prime time, Leo headed back onto the road for more fairground-type m.c. But Hanna-Barbera wasn’t through with him. Here he is from the soundtrack of the 1966 feature A Man Called Flintstone.



He also contributed incidental voices to The Smurfs.

With his versatile vocal chords (his club act once featured him singing as both Jeanette MacDonald and Nelson Eddy), he was a natural for novelty records, a huge industry in the ‘50s and ‘60s. This was the debut single for Musicor Records, according to writer Al Kooper. The backup band was the Aristocats, a group from Kooper’s home town. The song was copyright August 23, 1960.



In 2020, Leo and his wife moved into a home in Ventura, California. At age 95, the graduate of Julliard tickled the ivories and someone recorded a snippet of him. You can find it on Facebook.

Fans of Top Cat likely know he was interviewed for the DVD set dealing with the series. Over the years, people have posted parts of these great extras on YouTube only to have them taken down. With some trepidation, I link to Mr. De Lyon below and hope it’ll remain.



Someone reading here will wonder who is still around from the early Hanna-Barbera days. Working back from Top Cat, the voice of Yakky Doodle, Jimmy Weldon, will be 99 later this year. I have not been able to determine if the original voice of Blabber Mouse, former KFWB disc jockey Elliot Field, is still enjoying life in the Palm Desert area. He would be turning 95 this year.

Perhaps the most appropriate of the many gigs Mr. De Lyon played was in 1969. He headlined the programme at the all-county meeting of the Westchester Lighthouse at a church in White Plains, New York. The guest speaker at the event was a woman named Mrs. Dibble.

Flintstones Daily Strips, November 1961 Part 1

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We’re back with another month of daily newspaper comics starring Fred Flintstone. Pebbles hadn’t been invented yet, so the strips revolve around Fred and Barney or Fred and Wilma.

I’m afraid there’s no Dino and no Baby Puss this month.

Gene Hazelton came up with some great creatures. Check out the dinosaurs in the November 10th comic and the triceratops in the 15th. And on the 4th we get the familiar record-playing bird.

Shouldn’t Orville O. Orbit be in a Jetsons comic? (Yeah, I know. There was no Jetsons comic strip and no Jetsons in 1961).

Click on any of the strips to make them larger.

Wednesday, November 1
Thursday, November 2
Friday, November 3
Saturday, Nov. 4
Monday, November 6
Tuesday, November 7
Wednesday, November 8
Thursday, November 9
Friday, November 10
Saturday, November 11 Monday, November 13
Tuesday, November 14
Wednesday, November 15

Flintstones Daily Comics November 1961 Part 2

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Fred Flintstone gets to be a hypocrite AND a letch in the daily comics during the second half of 1961. It’s all pretty innocuous stuff, of course. And while some of the gags in the strips may seem familiar, they’re still funny (though the tired old pun about “ants” is a little much).

The comics are mostly about Fred and Wilma, though we see Barney in a few and Betty in one. Dino appears as well, looking whacked out listening to Wilma’s gossip.

You can click on them to make them bigger.

Thursday, November 16, 1961

Friday, November 17, 1961

Saturday, November 18, 1961

Monday, November 20, 1961

Tuesday, November 21, 1961

Wednesday, November 22, 1961

Thursday, November 23, 1961

Friday, November 24, 1961

Saturday, November 25, 1961

Monday, November 27, 1961

Tuesday, November 28, 1961

Wednesday, November 29, 1961

Thursday, November 30, 1961

Glowing Huck

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There’s an interesting effect Hanna-Barbera used in the Yogi Bear cartoon “Space Bear” (1959) that was also seen at the end of “Spud Dud” (1960), the first Huckleberry Hound cartoon of the third season.

This is the one with the megalomaniac potato that tries to take over the Earth. Huck traps him in a “spud-nik” that orbits the planet. Our hero advises us the potato is in a dangerous situation because the rocket could explode. Suddenly, a blast sound effect and black and white cards appear on the screen to simulate an explosion. This kind of thing was done in theatrical cartoons, too.



This is followed by a glowing effect, kind of like a glazing. There are several different versions of brightness; here are three of them.



As I’m not a cartoon director nor a cameraman, I don’t know if they opened up the aperture to allow more light in or used an airbrush to make this visual effect. I believe this was the final time the studio tried this.

The Swingin' Alligator

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These days, the internet seems full of people who are prepared to tell you who animated what in old cartoons. There are wonderfully helpful people like Mark Kausler and Mike Kazaleh, who knew and worked with some of the famous old names in the business and easily recognise animators’ styles.

The first season of the Huckleberry Hound Show is comparatively easy to determine who worked on each cartoon, besides looking at the credits. The Hanna-Barbera studio had only four animators. Each did some things uniquely. Carlo Vinci’s movement doesn’t look like Ken Muse’s.

It gets tougher when the studio brought in more and more people, especially on uncredited bits of animation like the openings and closings of Hanna-Barbera’s shows. Muse is distinctive enough that you can tell he animated the opening of Top Cat (T.C. has expressions Muse used for Tom at MGM). Others are a puzzle.

Anyone that wondered who animated the opening for Wally Gator no longer needs to guess, thanks to a note I received from cartoonist and animator Charles Brubaker. His Patreon is here, by the way. During one of his hunts on the internet, he came across the exposure sheet on this post. You’ll notice that the animator listed at the top is Fred Kopietz, a name you generally don’t associate with Hanna-Barbera.

Kopietz is probably best known for his work for Walt Disney, though he’d spent time with Ub Iwerks and Walter Lantz in the ‘30s. He ended up at Hanna-Barbera in 1960 and was originally working on commercials.

He also told historian Mike Barrier:

Bill Hanna had three openings made [for The Flintstones] that they'd intersperse for their shows, and I did two of them. Dick Lundy—I'd animated for him at Disney's, and I gave him the third one, that I couldn't get out on time.
The interview doesn’t mention Wally Gator, but it is worth your time reading it. You can find the transcript here.

Wally, as you probably know, was part of Hanna-Barbera’s first attempt to crack the syndication market without assistance of a sponsor or compiling a formal, half-hour show like Quick Draw. The cartoons were shorter than the ones making up the half-hours and TV stations could either combine them or drop them into kids programming. Touché Turtle and Lippy the Lion were the other two. Did Kopietz animate their openings? Perhaps we’ll find out some day.

Oh, by the way, I have no idea why Wally’s opening and theme song involve a swamp when the series was set in a zoo.

Is There a Plumber in the House?

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Fans of early Hanna-Barbera cartoons are the best.

Each of us has our favourite series and characters. The late cartoon writer Earl Kress and I found an instant kinship when I told him my favourite H-B series is The Quick Draw McGraw Show. Earl, as you may know, spent what ended up being fruitless time endeavouring to get the series released on home video by Warners, only to run into several roadblocks.

One of them was the location of bumpers—those little cartoons between the cartoons. Whoever was running things at what was left of the studio had no idea where the masters were, or even if they still existed, to Earl’s dismay. Of course, when the series first aired in 1959, 16-millimetre prints were sent to TV stations in the U.S. and elsewhere around the world. The same thing happened several years later when the half-hours were shorn of references to Kellogg’s and syndicated again (Quick Draw also aired on CBS on Saturday mornings in 1966-67).

An early Hanna-Barbera fan with the handle of Steven Hanson has somehow acquired dubs of some of the 16 mm. prints and is braving take-down notices by posting some of the Quick Draw mini-cartoons in his possession. Some are even in colour.

Here’s a shortie. Quick Draw and Baba Looey are fishing in a rowboat that is taking on water (which we can’t see to save some pencil mileage).



Quick Draw’s keen deduction tells him if he shoots a hole in the bottom, that’ll let the water out.



Not quite.



Never fear! Tex Avery is here! Okay, the writer borrows the water-plugging gag from Avery’s Lucky Ducky (1948). I’m pretty sure it predates that cartoon, but that’s the only one I can think of with it.



The Avery version.



Who is the animator of this cartoon? He worked on Lucky Ducky. These odd mouth shapes should give it away.



Mike Lah.

The frames look they came straight from the storyboard without embellishment, though in the first Huckleberry Hound Show cartoons (1958), Lah would change mouth shapes on a face with the rest of the body being held on a cel. In this little cartoon, the pinkish snout moves slightly as well (and the water spurt is on a cycle). It’s a shame he decided not to go for funny takes like he did with Mr. Jinks, but gave us Jack Benny-style stares instead. Lah worked freelance the whole time he was at Hanna-Barbera; an offer to be a partner in 1957 fell through.

Oh, the title of this post is Quick Draw’s last line before the fade-out.

If you like Quick Draw, you should be delighted Mr. Hanson has posted these. He also has put up a few Ruff and Reddy half-hours. I find the show a little childish and dull, but it has fans who will be happy to see it. Like the Quick Draw McGraw Show, I really, really doubt we will ever see it on home video due to music rights issues, so this will have to do for now.

Top Cat's Debut and What Arnold Stang Hated

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Top Cat debuted on the ABC-TV network on Wednesday, September 27, 1961 with the episode “The $1,000,000 Derby.” Like all the Hanna-Barbera cartoons, T.C. was shot in colour but broadcast in black and white.

It would appear some stations aired the series on a different night, as 16 mm. black-and-white prints exist of the show, complete with commercials. One of “Derby” is for sale on-line as of this writing.

The seller has these neat shots of the actual film. The first film strip below has the unmistakeable earmarks of being animated by Carlo Vinci. The mouth on Top Cat gives it away. He gave Fred Flintstone the same kind of angular expression. Variety’s review at the time claimed Ken Muse animated the episode. I haven’t seen the cartoon in eons, so I don’t know if he worked on it (he animated the series opening), but there is no way Muse did that first scene below.



We mentioned commercials. Here are some frames from a spot for Kellogg’s Special K I’ve never seen before. (Other ads for Bristol-Myers products are live-action). The characters sure don't look like the H-B house style, do they? The teenager looks a bit like Waldo from UPA’s Mr. Magoo shorts.



Below are some frames from the opening and closing. The ABC title card isn’t on the DVD version (the one with the credits all screwed up).



The series leaves me a little cold, despite Top Cat’s cue library by Hoyt Curtin being really enjoyable (especially his mock Gershwin) and a superb voice cast. I love Marvin Kaplan. I love Arnold Stang. What better, then, than to reprint an interview Stang did about the show, and his family. He also makes a startling revelation of one of his best-known on-camera roles up to that time. This appeared in the January 6, 1962 edition of the Charlotte News.


IT’S DISTRESSING
Arnold Stang: Cat's Meow

By VAL CAREW
SPECIAL TO THE NEWS

HOLLYWOOD — Arnold Stang, in his time, has played almost every kind of animal. Currently he is gainfully employed as Top Cat, the title puss on the cartoon show (ABC and WSOC-TV) of the same name.
Playing a cat is, he says, a challenge. Not because of the character's felinity, but because he is just serving as a voice for animation.
"Ordinarily," says Stang, "I act with my body, with my face and with my hands. But here I can only use my voice. It is a great challenge."
WHILE IT IS obvious that Stang likes his job — the hours are good and so is the pay — he is still a bit unhappy that he is not accorded the chances he'd like at heavier parts.
"It is distressing," he admits. "Everybody thinks of me automatically as the character on the Milton Berle show. And I hated that part more than anything I did.
"I quit several times, and the last time I quit I went right into 'The Man With the Golden Arm.' That was a fine picture and I had a fine part.
"I thought that was an important role. And, since then, I have had some other serious things to do on TV, in the movies, on the stage But, despite that, it’s still the Berle thing people remember. And I seldom get thought of in serious terms."
STANG AND HIS family moved to California for the Top Cat assignment. They are all adjusting nicely to the West Coast, although the house they bought burned down in the Bel Air fire.
Happily, they were all away at the time, but they lost everything they owned — including some souvenirs which are irreplaceable, such as a letter from Sir Winston Churchill.
The two Stang children — his 1-year-old son and 1year-old daughter — like the California climate, although they miss their friends back east.
ARNOLD'S SON at the moment wants to be an archaeologist, and "seems to be quite serious about it." The little girl is going through the ballerina stage.
"Up until a year ago," Arnold says, "if you asked her what she wanted to be, she'd say, 'A person.' I always thought that was a very good answer."
Stang has been kept quite busy with things other than Top Cat — he's made three movies and starred in several other TV shows. The Top Cat recording schedule is always arranged to suit him — it can be in the evening or on weekends, if he's otherwise occupied. And he sometimes does three a week, so he can go back to New York for a week or so.
AS FOR STANG'S intimacy with cats — he has none.
"I don't own a cat. I've never owned a cat and I doubt if I ever will own a cat," he says. "We have a dog, you see.
"Actually, I don't think that observing a cat would be of any help to me in this show. The fact that Top Cat is a cat is incidental; he thinks and acts like a human being."


Things looked good for T.C. for a bit. ABC ordered additional episodes but stopped at 30. The ratings weren’t good enough; during one week in San Antonio, the alley cat gang was beaten by a syndicated show. Top Cat was part of an anticipated prime-time animation boom caused by the success of The Flintstones the previous year. Instead, it fizzled and network soured on animation. T.C. was moved to Saturday mornings the following year. With no new episodes (and no residuals for actors), the series was now reasonably cheap and therefore attractive to companies that wanted to aim solely at kids (in other words, no more ads for Alberto VO-5 like in prime time).

The characters have popped up on occasion since the original series 60 years ago but it’s somehow not the same without Arnold Stang and Curtin’s Rhapsody in Blue-ish clarinet opening an episode.

My thanks to Austin Kelly for his tip that resulted in this post. The blog resumes its retirement.
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