Saturday, October 10, 2015

Making Kids Safe From Frying Pans

Did kids really hit each other with frying pans after watching cartoons? Some do-gooder group probably thought so. And it’s tough to argue against them when Joe Barbera made the same claim.

In early 1961, Veteran UPI entertainment writer Vernon Scott interviewed Barbera and Bill Hanna in the wake of the success of the Flintstones about the series. The two of them made some statements that, frankly, are either misguided salesmanship or pure bunk on their part. Popeye “didn’t last long in theatres”?? Sorry, Mr. H., but he had a lengthier cinematic life than your own Tom and Jerry at that point. And the public likes limited animation more than full animation? I don’t think so, Mr. B. I suppose it depends how either is used. And by 1961, the action in Hanna-Barbera cartoons had become more lacklustre. You wouldn’t find Yogi Bear as expressive as in the George Nicholas drawing to the right from 1959.

This article was published in papers starting on February 17, 1961.

Animals Make Good Cartoons

United Press International
Hollywood — People aren't funny—at least not in animated cartoons.
Through the years Walt Disney and other cartoon producers have employed rabbits, mice, dogs, cats and ducks to evoke laughs.
Then along came Bill Hanna and Joe Barbera, originators of "Tom and Jerry," "Huckleberry Hound," "Yogi Bear" and "Quick Draw McGraw." They believed televiewers would get a kick out of modern Mr. and Mrs. Suburb dealing with today's problems.
They were dead wrong.
For months they experimented with characters in modern clothes in a typical community — but nothing. Friends yawned, fellow workers fell asleep, nobody laughed.
Then the quiet spoken pair took the same characters, placed them in the stone age, named them "The Flintstones" and found a runaway hit on their hands.
Cavemen are funny. Modern types are a drag, they learned.
"The only other cartoon character in human form that proved successful was Popeye, but he didn't last very long in theaters," said Hanna, a graying, soft-spoken man.
"I'm not even sure Popeye was human," Barbera grinned.
"Disney did well with human characters, but only in dramas, not comedy," Hanna said. "We're delighted that Freddie Flintstone and his friends have made such a hit. The comedy is not the old cartoon slapstick. Most of it is situation stuff and dialogue."
"In the 'Tom and Jerry' days we concentrated on action and violence," Barbera filled in. "Now we have to worry about casting the right voices and coming up with bright dialogue. Kids like it.
"It's good for the kids, too. Instead of imitating the old cartoons and hitting one another with frying pans, they are picking up the humor involved in our stories."
While Hanna and Barbera were working in the MGM cartoon department turning out "Tom and Jerry" they produced 48 minutes of completed cartoons a year. Now, with four half-hour shows a week on TV, the boys are turning out 48 minutes of filmed laughs every seven days.
From an investment of $20,000 the cartoonists have built a million-dollar business and employ 140 technicians.
"Simplification and planning are responsible for our increased output," Barbera said. "We've eliminated several departments found in other animated cartoon studios." "We work in vertical and horizontal planes," Hanna put in. "We avoid depth characteristics as much as possible. This reduces the number of pictures in a five minute segment from 12,000 to 1,200. And the public likes the technique better.
"Cartoons ran into trouble when they became too much like real life images. We had arrived at the point where we actually showed the subject breathing. Cartoons had become poor imitations of the real thing."
"Right," said Barbera. "Now we're back to caricature with emphasis on the story and the character of the people—not action.
"Cartoons became popular originally because there was plenty of movement. But the public is accustomed to movement now and couldn't care less."
What matters more is that the American Broadcasting Co. cares very much indeed about The Flintstones ratings. Fortunately, they are high, and the team of Hanna and Barbera have made history with the first adult cartoon in video annals.

It’s interesting to read the concept of “characters in modern clothes” didn’t work in development, considering one of the influences on the Flintstones was a show starring characters in modern clothes—The Honeymooners. Many of the basic plots in the Flintstones’ first season, like “The Swimming Pool” or “The Golf Champion” could fit just as well in a modern setting. But setting them in a different time period allowed the writers to do transposition gags that enlivened the series (a long-beaked bird as a record player needle, for example) and made it funny.

Oh, and Mr. Barbera, about not using a frying pan weapon in the Flintstones . . .

Wednesday, October 7, 2015

Yogi Bear Weekend Comics, October 1965

Did you know there was an Indian reservation on or near Jellystone Park? There wasn’t in the TV cartoons but, time and time again, native stereotypes from a reserve make appearances in the Yogi Bear Sunday comics. It happened twice out of the five comics from 50 years ago this month. Two other comics feature bees and the fifth has a worm that’s smarter than the smarter than the average bear.

Yogi was still syndicated on TV but I’ve found more and more newspapers dropped his comic strip (for example, when these strips were published, people in parts of Southern California could watch Yogi on Tuesdays on KTLA 3, KCOP 13 on Thursdays and Fridays on KOGO 10). However, by sheer accident, I’ve discovered the Ogdensburg Journal in New York had a two-page Sunday comic section starting at the end of January 1965. One page was the full Yogi Bear and Flintstones colour comics. Better still, it appears the copies of the newspapers on-line are not some photocopies of old scratchy microfilms; they look like the papers were put through a scanner. So hurray for the New York State Historic Newspapers Site.

Boo Boo is sure getting a kick out of the plumber gag that ends the October 3rd comic. Note the embarrassment lines around Yogi’s head in the final panel. Ranger Smith makes a cameo appearance. It seems odd that the hammy Yogi would suddenly bolt from having his picture taken, but the writer had to get to the plot. You think a comic would be able to get away with “redskin” today?

A worm jumping in a hole to escape isn’t terribly creative, but that’s what we get in the October 10th comic. I like how the worm thinks an exclamation mark to himself. Yogi has conjoint eyes when he wakes up. Boo Boo makes a cameo appearance. Yogi reads in italics in the opening panel; was this common in comics? I’ve always liked how the words emitted by characters and things form designs; Yogi’s “Zzzzz” and the clock’s “Rrrrring” are good examples.

The less said about the rebus groaner than ends the October 17th comic, the better. Dig the goofy horse in the top row with the masked eyes and a transistor radio accompanied by a fox tail. The double Yogi in the third row is effective. Final panel note: yes, kids did steal road signs years ago (today, they steal 420 mileposts). The final panel also shows the princess has an almost Boo Boo doll and is a fan of some singer with a Beatles haircut.

Bees play only an incidental role in the October 23rd comic and really have nothing to do with the plot. Many papers chopped off the top row of the three-row versions of comics so it has to be written to be dispensable. Ranger Smith should have known the punch line in the final panel might happen; he already points out that Yogi is clumsy. Considering the way the apple tree bends at a 90 degree angle, it’s more like a rubber tree.

The artist in the October 31st comic draws Yogi in a variety of positions. I like how bees are swirling around the hive-head in the final panel. Do beehives really get that big? Boo Boo has an uncharacteristic sneaky smirk. This comic has another thin silhouette panel in the top row; four of the five comics this month feature one.

As usual, you would be smart to go to Mark Kausler’s site to see the comics above in full colour along with his expert insights.

We’re on a month-to-month basis with these comic reprints (and with the blog, for that matter) but we can guarantee another edition of Yogi Bear comics in four weeks. The highlight is a special appearance by Huckleberry Hound, Quick Draw McGraw and Baba Looey.

Saturday, October 3, 2015

Yakky Doodle in Nobody Home Duck

At Hanna-Barbera, circa 1960, the relationship between talking animals and humans varies depending on the types of characters we’re dealing with. Huckleberry Hound assumes the personality of a human adult, so he interacts with humans. Yogi Bear is kind of a hybrid. He acts like an adult, but he’s still a woodland creature. Because of his location and various plot devices, he has to interact with humans on their level.

Mr. Jinks is different. He’s a cat who lives in a house. It appears to be a world where cats own houses and get mail and phone calls. Therefore, he interacts with other talking animals. The only humans (with the exception of one cartoon, where he has an owner) he deals with are authority figures—Irish-accented police officers, mailmen, and so on.

The Yakky Doodle world is the same thing. Chopper has a dog house, which would make it evident he’s someone’s pet, but he and Yakky deal only with other talking animals, except for policemen, dog catchers and the occasional witch.

Oh, and an odd exception can be found in the cartoon “Nobody Home Duck.” Chopper’s owner shows up in this one and while he’s there to advance the story, he really does seem out of place. He even has little solid eyes (no whites) which looks odd. (To be honest, he looks to be modeled a bit on sketch artist Dan Gordon).

This cartoon shows why I dislike Yakky Doodle. First, there are no comic villains. No Fibber Fox, no Alfie Gator, no menacing stray cat. That means all the bad stuff ends up falling on Chopper, who doesn’t deserve any of it. Well, maybe he does for being dumb, considering he’s rooked in by yet another edition of Yakky’s pathetic “I’m going to die if you don’t let me live with you” routine. Hey, dog, it’s an act! It’s fake! The duck’s using you! Even the other characters in the cartoon see through it. Chopper’s owner doesn’t want Yakky, a chicken evicts him from a coop, a rabbit kicks him out of a hole and, finally, a gorilla won’t adopt him, choosing a dog instead.

Bob Bentley’s the animator in this one. We’re into 1961 Hanna-Barbera animation now where there’s not a lot of oomph to it; there’s just enough to get the point across. The great exaggeration drawings of Mike Lah in 1958 and George Nicholas in 1959 were but memories. Here are a couple of drawings of “what happens to a homeless duck in the wintertime,” as Yakky puts it, while Hoyt Curtin’s violins play in the background.

By the way, if winter-time is approaching, why does everything look so green in this cartoon? Shouldn’t it be fall? Look at Monty’s background drawing.

Even writer Mike Maltese seems like he’s padding in this one. For example, Chopper tries to pawn off Yakky on a rabbit, who boots the duck out of her hole. “I can see you’re not the mama type,” Chopper growls. Cut to a scene of a bunch of hopping rabbits exclaiming “Coming, mother.” The old breeding-rabbit joke is the punch line, but Maltese keeps on going having Chopper apologising. There’s nothing funny in it. All it does it eat up 12 seconds of screen time.

And Maltese drags out another old cartoon routine, the skunks-are-stinky bit, even when there’s no odour coming from their tail. It would have been nice to have the skunk come back with a witty remark after Chopper grabs Yakky away from her but, instead, the scene fades out with Chopper running away. I get the impression Maltese wasn’t inspired by Yakky a lot of the time; this was just another cartoon on the production schedule he had to turn out, so he churned it out.

To recap the plot: winter’s on its way (Vance Colvig as Chopper sings a little winter song overtop of a piano cue with a different melody but it works). Yakky enacts his death scene twice, Chopper demonstrates it once, Chopper’s owner suggests Yakky fly South for the winter. Yakky’s so pathetic he can only fly as far South as a sandbox two blocks away. Chopper decides to find him a home. That takes up a little more than the first half.

In the second half, Chopper puts Yakky in an egg and shoves it under a chicken. The chicken kicks him out (and a rooster with Daws’ Tilly Schimmelstone voice punches Chopper). There’s a neat piano cue at the start of the scene with a boogie woogie right hand. Then a skunk offers to take in the duck; Chopper scoops him away. A mama rabbit kicks him out.

Finally, Chopper tries to drop him off at the zoo with Mombo Mama, a gorilla who’s snivelling because her youngster was shipped to the St. Louis Zoo. But the animal wants Chopper as her new child instead of the duck, and the cartoon ends with Yakky living in Chopper’s dog house while Chopper’s dressed up as a baby being cradled by the gorilla (note the non-matched consecutive shots from scene to scene). Curtin plays “Rock-a-by Baby” to end the cartoon.

Tony Rivera is the layout artist, Lew Marshall is the story editor, Jimmy Weldon and Colvig play their regular roles while Daws Butler does the remaining miscellaneous voices (though I suspect he’s assisted by the others during the parade of the kid rabbits).

Wednesday, September 30, 2015

Happy 55th Fred, Wilma, Barney and Betty

Fred Flintstone is a good guy underneath, despite his bluster, pig-headedness and other faults. Barney Rubble is a good-natured, loyal friend. Both of those things remained constant through various incarnations of the Flintstones. That’s why the Bedrockers have survived for so long and are still popular today.

The internet is one big calendar. It loves birthdays, anniversaries, death-iversaries. Today marks 55 years since the Flintstones made history in becoming the first prime-time, made-for-TV cartoon series. (No, that’s not Ubba Ubba from Ruff and Reddy making a guest appearance in the ad you see. It’s Fred, Jr. who was dropped from the show in development around the time the name “Flagstones” was changed to “Flintstones.” Someone evidently didn’t tell whoever supplied newspaper ads for ABC affiliates because this appeared in a number of papers).

The Flintstones initially suffered from its advance hype. It was pushed and pushed in interviews as an “adult” show. Critics expected something more sophisticated than what it saw, they anticipated a cartoon full of pointed satire on modern day life. That wasn’t what they got. The reviewers weren’t generally happy. Besides the storyline of the debut cartoon, “The Flintstone Flyer,” the laugh track and the animation also came in for criticism (reviewers may have thought prime-time would bring about higher budgets to pay for rendering closer to what Uncle Walt was showing off on his Sunday evening show. You can read the “inked disaster” review from the New York Times and other printed lashings HERE). In fact, this blog has been around so long, we’ve “anniversaried” the show plenty. Read some thoughts about the Flintstones HERE. The critic for the Yonkers Herald Statesman wasn’t altogether negative, but didn’t appear to have a high opinion of TV sitcoms themselves:

It’s a bit too much like an animated “Honeymooners,” but your previewer will guarantee you at least five solid laughs and that’s way above average. You’ll love the bowling scene, the way the paper is delivered, and the neighbor’s flying machine.
Daily Variety generally reviewed all the major new TV shows every fall. In fact, it had reviewed the Huckleberry Hound and Quick Draw McGraw shows favourably days after their debuts in the late ’50s. So here’s what the Show Biz Bible had to say about the Flintstones debut. The original closing animation with credits was removed when the show went into syndication in 1966, but Variety of October 3, 1960 has preserved some of the names that were originally on the screen.
(Fri., 8:30-9 p.m., ABC-TV)
Filmed by Hanna & Barbera for Miles Labs. Producers-directors, Joe Barbera, Bill Hanna; written by Joe Barbera, Mike Maltese, Dan Gordon; animator, Carlo Vinci; camera, Frank Paiker, Roy Wade; layout, Walt Clinton; editor, Joseph Ruby; Music, Hoyt Curtin; production Supervisor, Howard Hanson.
Voices: Alan Reed, Jean Vander Pyl, Bea Benadaret, Mel Blanc.
Animated animals are more fun than animated people. At least that’s the way it is with the assorted animals and people that pop out of television’s most creative and productive cartoonery, Hanna & Barbera. “The Flintstones,” a “people” program and first of the company’s series aimed specifically at the adult audience, proved a disappointment in its ABC bow.
Paradoxically, “The Flintstones” seems less adult than “Huckleberry Hound” and “Quick Draw McGraw,” H&B’s two remarkably clever and consistently enjoyable programs supposedly ticketed for children but equally, if not more, appealing to young adults. “Flintstones,” in keeping with the overworked current vogue, is a family comedy about two couples living in the Stone Age. There is irascible Fred Flintstone and his wife, Wilma, and easygoing Barney Rubble and spouse, Betty. The relationship of the couples, notably the men, is reminiscent of “The Honeymooners,” notably Gleason and Carney. In essence, it is a satire on modern suburban life, but in the opener it didn’t come across.
There is a laugh track, a negative factor not present in “Huck Hound” and “Quick Draw.” Apparently adults need to be advised when to chuckle, whereas children are bright enough to draw their own conclusions. Character voices are neatly conveyed by Alan Reed, Jean Vander Pyl, Bea Benadaret and Mel Blanc. Joe Barbera and Bill Hanna share the producer-director shots. Tube.
Weekly Variety went into further detail in its review of the show in its edition of October 10, 1960:
With Alan Reed, Jean Vander Pyl, Bea Bendaret [sic], Mel Blanc, others
Producers - Directors: Joe Barbera, Bill Hanna
Writers: Barbera, Mike Maltese, Dan Gordon
30 Mins., Fri., 8:30 p.m.
ABC-TV (film)
(Wade, Wm. Esty)
Out of the Hanna-Barbera cartoon shop, which has turned out such tv winners as "Huckleberry Hound" and "Quick Draw McGraw," comes the first animated series for "adult" tv with a regular cast of characters and running story line.
On paper and perhaps on the drawing board as well, "The Flintstones" looked like a shoo-in for ABC, particularly in view of the H-B track record for satire and sophistication in their cartoon fare. But a shoo-in it’s not—it will draw sizeable audiences for a start because of its novelty value and because there’s a reasonable quota of laughs in the-show, but on the basis of the first episode it doesn’t seem to have the qualities that make for staying power.
"Flintstones" is billed as a satire on suburban living, and it has the trimmings. Set in the cave-man era, its characters nonetheless live like modern suburbanites with all the latest conveniences, except that the settings and props are made out of prehistoric materials. The idea is good—it sharpens the eye for the more absurd aspects of "modern conveniences," and it enables the viewer to look at modern life from a fresh viewpoint. Unfortunately, though. Hanna & Barbera failed to take advantage of this. There were some fine sight gags, to be sure, but no satire at all, nothing to point up anything silly in modern life.
But that’s a minor matter. The main trouble with "The Flintstones" is the Flintstones, the title characters. The key to success in any situation comedy — and any cartoon series, for that matter—is that the leading characters must be likable. The Flintstones aren’t. Fred Flintstone (voice by Alan Reed) is a noisy, boastful bore, with nary a good quality to be seen. His wife (Jean Vander Pyl) is altogether a colorless character. The other regulars are their next-door-neighbors, voices by Mel Blanc and Bea Benadaret. But he’s portrayed as a stupid dolt of whom Flintstone is always taking advantage, and she’s rather dull.
As a consequence, there isn’t much for the viewer here in terms of regular tune-in except the occasional novelty of cartoon comedy, but one-dimensional comedy in the script sense at that. Fred Flintstone isn’t going to garner the kind of popularity that H-B’s Huck Hound or Yogi Bear have occasioned, since he’s not a particularly likable kind of guy. Nor is Barney Rubble, the neighbor, though he’s got a better chance.
Opening storyline was a routine sort of affair, with the men feigning injuries to get out of going to the opera so they could sneak off to bowl instead, then getting back home ahead of the wives, The stanza had its funny moments, and some of the animated props were amusing, but the entire script was pretty rudimentary, and as for the satire, it just wasn’t in evidence.
"Flintstones" is not only disappointing in itself, but because it’s a pioneer effort that could have opened the door to more animated comedy and perhaps more satire with it (a cartoon is so impersonal that it can use satire where ordinary comedy would hesitate). Someday, perhaps an adult cartoon series will make its way onto the networks, out "Flintstones," based on the preem offering, doesn’t qualify. Chan.
The critics did have some points, but audiences didn’t care. They quickly embraced the characters and the situations and the show was in the Nielsen Top 20 by November. It even spawned a 45 on the singles chart, but the studio itself had nothing to with it. More on that in a moment.

As for Hanna-Barbera itself, the studio seemingly could do no wrong. Weekly Variety, December 7, 1960:

Hanna-Barbera’s Billings Mounting
That Hanna-Barbera, Screen Gems marriage continues on its prosperous course. Kellogg’s, via Leo Burnett, has inked for another season of “Huckleberry Hound” and “Quick Draw McGraw.” Season of ‘61-‘62 Will find three Hanna-Barbera shows in national spot, with Kellogg’s picking up the tab. The third is “Yogi Bear,” which makes its debut next month as separate series.
SG also is looking for a renewal of Hanna-Barbera’s “Flintstones” next season on ABC-TV. Show, doing fine in the rating meter for the current season, has picked up another six episodes via exercising of options, with the web and sponsors now committed to 32 episodes for the season, instead of 26.
“Yogi Bear” national spot series prior to its January debut also had the number of episodes committed increased from 26 to 32.
The trades had predicted before The Flintstones debuted that if it became a hit, copycats would follow. It did and they did. Of course, you know ABC picked up Top Cat for the following fall. Weekly Variety, in one of a number of articles focusing on TV cartoons, revealed in its March 15, 1961 issue that CBS had picked up Alvin and the Chipmunks and Sy Gomberg’s The Shrimp, Don Quinn had come out of retirement to work with Bob Clampett on an animated The Edgar Bergen Show, Calvin and the Colonel had been added to the ABC schedule, while Bill Cooper Associates with shopping around Simpson and Delaney, a Jay Ward show, while California National Productions was looking for buyers for Sir Wellington Bones and a Bob and Ray show lending their voices for spoof narrations of old movies. Interestingly, there was no mention of the Bullwinkle Show, which also appeared in fall 1962. Two weeks earlier, the paper reported Disney turned down the idea of an animated sitcom for NBC.

The craze over cartoons ended quickly. Weekly Variety reported on October 18, 1962 the new shows (Calvin, Alvin, Top Cat) were taking a beating in the ratings but the networks had committed 26 episodes of each because of high production costs and then one set of reruns to try to recoup their investment. However, the Flintstones sailed onward, with critics now in the Bedrock family’s corner.

Perhaps the most interesting story of the Flintstones first season involved a union dispute. From Variety, April 5, 1961:

IATSE, NABET In Jurisdictional Tussle Over Screen Gems Robot
Chicago, April 4. — What’s the union for robots? That's what WBKB here has to find out before it can use one for "personal appearances" this week.
Station is confronted with a new jurisdictional dispute between NABET and IATSE over who's to operate the remote controls, an engineer or a stagehand. The robot in question is one developed by Screen Gems to promote ABC-TV’s “Flintstones.” It's a 300-pound mechanical replica of the character, Fred Flintstone.
“Real Life” cartoon will tour the ABC-TV affils after making its debut on the Chi station.
Fred Flintstone was entertaining off-camera as well, but Hanna-Barbera saved the idea of a robot for another series.

Ah, we mentioned a 45 on the charts. In January 1961, Capitol Records released “Goodnight Mrs. Flintstone” by the Piltdown Men. Behind the song were Ed Cobb and Lincoln Mayorga of the Four Preps. The band was a seven-piece studio group featuring a couple of saxes (alto and baritone?), piano, electric guitar, electric bass and drums. It was an under two-minute instrumental that owes a lot to “Red River Valley” and “Good Night Ladies.” No, the song never appeared on the TV show. It’s actually pretty tame but Billboard reported on March 27 it was No 13 on the British charts. Listen to it below.

Saturday, September 26, 2015

King-Size Surprise Storyboard

Stories, gags and even voices from old MGM cartoons popped up at Hanna-Barbera in the early days. A good example is the Pixie and Dixie cartoon King-Size Surprise (1958-59 season) which owed a lot to the Tom and Jerry short The Bodyguard (1944). We reviewed the cartoon way back in this post. Now, through the courtesy of Mark Kausler, friend to all friends of cartoons, we present the storyboard for this cartoon.

Dan Gordon drew this board and his version of Jinks is a lot of fun. The expressions are really good, and they gave layout artist Walt Clinton and animator Lew Marshall a lot to work with. To be honest, I like some of his sketches more than what Marshall put on the screen.

A reader asked me about the red vs. black drawings on these storyboards. Mark kindly answered:

These are all drawn in pencil, not ink. The red is Colerase colored pencil, used to rough in drawings by animators, then the graphite lines are put down over the colored ones when the drawings are tightened up. Sometimes Dan Gordon would leave just the red roughs on the page, (like the Masking For Trouble board) maybe he felt that the red lines were strong enough in those cases. He even HAND-DREW the panel borders! No pre-printed storyboard sheets at H-B! These are all done on 12 field animation paper, if you notice the punch at the top.
Let’s check out the board. Below are Marshall’s finished drawings of panels 6 and 7. Gordon’s Jinks has rounder eyes and I like the slight open-mouth giggle better.

Charlie Shows is responsible for the dialogue. Whether he provided the dialogue here or for the finished cartoon or both, I couldn’t tell you. But it’s not the same here as in the cartoon. This is what’s in the cartoon from panels 6 to 10:

Dixie: Yeah. He’s always pickin’ on us.
Jinks chuckles
Pixie: But the worm has turned. No more runnin’ from old Jinks. We gotta fight back.
Dixie: Yeah, Pixie. Two against one. We oughta clobber that cat.
Jinks: Eh, like, uh, boo to you two!
Pixie and Dixie: It’s Jinks! Scram!
Was the extra dialogue put in to pad for time? Could be.

By the way, in panel 17, Jinks uses the word “mices.” In the cartoon, he calls them “mousies.” He didn’t use the word “meeces” consistently in the first season.

Shows was seemingly unable to resist any opportunity for rhymes, no matter who the character is. Panel 33 in the actual cartoon goes “Operation Dog Tag in the bag.” After Shows left and Warren Foster arrived in 1959, the rhymes were restricted to Yogi Bear.

When panel 49 hit the screen, Clinton (or whoever) changed the shot to leave out the mice and the little swirling bubbles around Jinks’ head. The dialogue: “Wow, now! Shee! Tuh, I’ve never been in a earthquake before.” Dixie’s line Panel 50 is lifted from Cass Daley’s radio catchphrase “I did it and I’m glad.” But the cartoon ends us with the line “We did it and I’m glad we did it.”

See the teeth in panel 56? Marshall keeps them when he animates the scene around panel 60. The dog’s first appears in three frames before impact. Panel 65 has a better line in the cartoon. Observed Jinks: “So that’s the scoop-arooni, eh?” I believe Scoop-arooni is the San Francisco Ice Cream Treat.

Marshall’s rendering of 77 and 78. See how close he is to Gordon’s work.

Bob Gentle is the background artist. Compare Gordon’s panels 86 and 90 to Gentle’s work in the cartoon.

The cartoon ends with Jinks saying, “Uh, like King-Size says, ‘You hollerin’ and I’ll keep a-comin’!” then chortling instead of what’s in the panels (the scene fades instead of irising out).

The meece run cycle that ends things is six drawings on twos. We’ve slowed down the cycle a little bit from what’s in the cartoon.