Rushing Reddy

How’s this for an in-between?



I’ve mentioned before I’m not a big Ruff and Reddy fan, but some of you reading this are, so here are some frames from Surprise in the Skies, the tenth cartoon from their first adventure.

Professor Gizmo tells Reddy their spaceship needs a push to get off the planet Muni Mula. Reddy dashes away to go outside. These are the basic drawings, although Gizmo’s left arm on the lever is on a separate cel than the rest of him. The arm moves. The rest doesn’t.



The Ruff and Reddy cartoons didn’t cut corners altogether. You’ll notice in the shots that show the three characters inside the space ship control room that the same background art isn’t used. Bill Hanna and Joe Barbera could have saved some money by using the same background, but didn’t.



On the other hand, there are run cycles taking up footage. One doesn't even show Reddy's feet. Reddy simply bobs up and down in four drawings for eight seconds. When narrator Messick says Reddy thinks his pals "are a couple of skunks," skunk tails simple pop onto the back of the characters, who are immobile through the scene.



Whether they came from Dan Gordon's story sketches or from the layout artist (likely Bick Bickenbach), I don't know, but silhouette drawings make things visually interesting in the first Ruff and Reddy cartoons. The animation is limited in this scene; only Gizmo's moustache moves in four drawings. No need to animate a mouth!



Hanna and Barbera also use overlays in this cartoon. The Muni Mulas are behind whatever the ragged purple thing is.



Even though the cartoons originally aired in black and white, the background man goes for different shades of purple, as well as outlines in both white and black. You can see green vines that are sponged onto the painting and wispy white clouds. This is exactly the same as you’d find in an MGM theatrical, which would have had a larger budget.

In this scene, the clouds are on an overlaid cel.



The battered S.S. Gizmo II shooting through the stratosphere after bashing through the metal planet, Muni Mula. The rocket is on one cel, the smoke coming out of back is on a three-cel cycle, and some of the clouds are on an overlay.



The team at H-B Enterprises tries to make up for the lack of animation by making this science fiction adventure visually interesting. I like the interiors in this one. This one of inside the space ship can't look much more 1950s in design.



Here's an example of simulating animation. The Muni Mula army is on a cel, moved up from behind the front of the space ship, which is on an overlay. Director Bill Hanna doesn't maintain the same shot. He cuts in closer to the same cell-under-overlay movement.



The Muni Mulans have Don Messick's tongue waving voice that you heard on The Herculoids.

This cartoon aired with The Creepy Creature on January 5, 1958. I can’t find any TV listings mentioning the Columbia theatrical short also seen on the show.

Greg Watson or Warner Leighton or whoever the sound cutter was only uses two piece of Bill Loose/John Seely music from the Capitol Hi-Q "D" series on this cartoon.

0:00 – no music – spinning title card
0:06 – TC-217A CHASE MEDIUM (Loose-Seely) – Ruff, Reddy, Gizmo run into spaceship; need a push.
1:31 – no music – “A push?”; Reddy zips out.
1:33 – TC-219A CHASE MEDIUM (Loose-Seely) – Ruff pushes to end of cartoon.

Julie Bennett is a Scream

Bill Hanna and Joe Barbera apparently weren’t altogether content with having Daws Butler or Don Messick do all the female voices in falsetto on the first season of the Huckleberry Hound Show. They put up the cash to hire women for two different cartoons.

Judging by the production numbers, the first was June Foray in Bear on a Picnic (Production E-28) and the other was radio actress Margie Liszt in Robin Hood Yogi (Production E-55).

Hanna-Barbera expanded their schedule in 1959 when the Quick Draw McGraw Show was sold into syndication. Barbera was quoted in the papers as saying he wanted new voices for his shows, but it was difficult finding actors who weren’t overexposed.

Among H-B Enterprises’ hirings that year were two women. The first was Jean Vander Pyl, whose first cartoon was the Snooper and Blabber creepy tale Big Diaper Caper, Production J-8, and the other was Julie Bennett, who played Sagebrush Sal opposite Quick Draw McGraw in Masking For Trouble, Production J-10.

I don’t need to tell you Bennett is best known at Hanna-Barbera for the role of Cindy Bear. Bill and Joe had worked with her before they started their own studio. Keith Scott’s researches found she plays the female roles in the Tom and Jerry cartoon Busy Buddies, released by MGM in 1956. The Hollywood Reporter on Nov. 22, 1955 mentioned Hanna and Barbera had hired her and Daws Butler to voice Mr. and Mrs. Q in Tom’s Photo Finish. She was in four Metro cartoons before the cartoon division was closed in 1957. (One columnist on the East Coast in Feb. 1955 called her Tom and Jerry work a “waste of a pretty puss”).

Keith has also discovered Julie lent a voice to one of the cartoons on the Boing-Boing Show on CBS. “Nero Fiddles” included Bill Scott, John T. Smith and the voice of Charlie the Tuna, Herschel Bernardi.

Very little seems to have been written about her cartoon work, but it’s included in an NBC Feature news release dated December 4, 1964 which promoted two network shows.

THAT SCREAM YOU HEARD ON 'TONIGHT' CAME FROM JULIE BENNETT
Redhaired Julie Bennett has played everything on television from Charlie the Tuna's girlfriend to a talking box of detergent, neither of which allowed the viewing audience to catch a glimpse of her spectacular redhaired good looks. On NBC-TV's "The Famous Adventures of Mr. Magoo" she has played the voice behind Maid Marian (when Magoo played Robin Hood) the voice of Snow White, Sagebrush Sal and the sultry voice of Pepe LePew's girlfriend. It took the "Tonight Show Starring Johnny Carson" to summon Julie back on camera with her own face showing. She was a guest on the Thursday, Dec. 3 show (NBC color-cast, 11:15 p.m.-1 a.m. EST) and proved conclusively that when it comes to selling, Julie is a topnotch saleswoman of her own attractive personality.
Actually, Julie Bennett's television career harks back to the days when, as a teenager, she appeared on numerous live TV productions done by Albert McCleery, Fred Coe and the other "greats" of early TV. (Her first "Philco Playhouse" starring role was done when she was 15.) Fiercely ambitious as a youngster, and extremely busy in television, radio and in various short-lived Broadway plays, Julie went to the West Coast for a brief vacation and made the discovery that "there is more to life than just working." She never returned to the radio serial drama on which she had a running role. ("The fellow who played my husband could have killed me, because they had to write him out once they killed me off.")
Julie continued to work in television, now in the filmed variety, appearing on such programs as "Dragnet," the Donna Reed and Bob Cummings shows, and various other series. She played everything from neurotic wives to femmes fatales. At one point, her voice was dubbed in for James Stewart’s "four-year-old grandson" in "The FBI Story." The use of her voice alone opened a new career to the versatile actress and she entered the field of commercial television. This led her to such jobs as providing the voice of Cindy Bear in the "Yogi Bear" films and to essaying the aforementioned talking detergent box.
As she told Johnny Carson on "Tonight," the speaking voices of many sultry appearing brunettes in cosmetic commercials are often high, squeaky and afflicted with Brooklyn accents. So while the films show an alluring girl, her equally alluring voice is courtesy of the redhaired Julie.
Mister Magoo’s "Snow White" chalked up a first on "Tonight" when she responded to a request to demonstrate the kind of scream with which she won roles in "Dragnet." She raised Carson, Ed McMahon, guest Bill Cosby and half of television-watching America a foot off their chairs with her blood-curdling rendition. Remarkable girl, that Julie.

Julie did some other work for UPA, notably in a supporting role in Gay Purr-ee. By then, she managed to create a place in the world of cartoon voice acting, appearing in a number of Warner Bros. shorts in the early 1960s, mainly for Bob McKimson. You can find lists of her cartoons on other sites, though we note Mark Evanier once mentioned that she voiced three cartoons in a session for Jay Ward when June Foray had a conflict and was working with Stan Freberg.

She was still appearing on camera, too. In August 1960, Miss Bennett had completed several 4-Way Cold Tablet spots and was about to record TV commercials for Burlington Mills. It sounds as if that was more satisfying than being Cindy Bear, judging by this story in Sidney Fields’ “Only Human” column in the New York Daily News of July 25, 1964. For the record, she did appear in one Pepe LePew cartoon, Louvre Come Back to Me (1962) as a female cat.

Gal Behind the Voice
For some time now Julie Bennett's wail has been: "I started out straight, but I'm winding up as a cartoon."
Julie is most often unseen but frequently heard on TV in a variety of voices. Among them Cindy Bear, Yogi's girl friend; Minnie on Mr. Magoo; Sagebrush Sal for Quick Draw McGraw; and the skunk with the French accent on Bugs Bunny.
"When they do see my face it's behind a commercial," Julie says with a pained pout. "Oh, well, I do enjoy the dough very much."
And she adds without any false modesty, that between voices and commercials she manages to make from $50,000 to $100,000 a year. "It's closer to $100,000," she says.
Part of the take comes from her dramatic efforts as the voices in movies, too. Her latest is the full-length film, "Hey There, It's Yogi Bear," which descends on us next Wednesday.
She's been everything from hens to women in movies. When Judy Garland played a cat in "Gay Paree," Julie was her mistress. She was the voice of Brigitte Bardot in "La Parisienne," and of Jimmy Stewart's grandson in "The FBI Story."
No Movie Residuals
"They had an adorable kid playing the part," Julie explains, "but when the picture was finished no one understood a word he said. So I did over everything he said."
What's the difference between doing a voice for TV and for the movies?
"No residuals from a movie. I do about 100 commercials a year and some can go on for two or three years paying lush residuals."
Julie is a bachelor girl and always has been one, but still hopeful, now that she concedes she's no longer a starry-eyed ingenue exclusively determined to be the big actress.
"Men are sometimes scared off by a career girl," she says. ''Success doesn't always work for you."
Radio Dialectician
Julie records Hollywood as her birthplace, claims she mastered 26 different dialects before she was out of her teens, got her first job when she was 12 in radio and hasn't stopped driving since. In her radio days she was a regular fixture on the weekly "Sherlock Holmes" show with a standard British accent, and on another radio opus played Mongolian twins.
"It was a crazy script," she recalls. "I talked to myself for six pages. It got simpler when one of the twins killed the other. For what? For a man. What else?"
About the only thing she seems to have missed is what she says she wants most—to be seen as an actress. Not that she didn't try.
She was in a play called "Balloon," which got punctured before it reached Broadway, and at one time worked on most of TV's comedy and dramatic shows.
Wrong Studio, Right Script
"I'm being sidetracked from what I want to do," says Julie. "It's the story of my life. I stumbled into the wrong studio one day and was handed a script to read with a dozen other girls. I was picked. It was a cigaret commercial. My first one."
At her fees, her inner conflict can't be too painful.
She keeps an apartment in Hollywood, just settled in a second one in New York three weeks ago, already has done three commercials and may soon be working in a new cartoon series as the voice of a penguin. "Who knows what a penguin sounds like?" Julie asks. "But I'll find out."
While here she is also studying singing because the figures in her business a girl can never know too much. She's still studying dancing, too.
"The more you know the more jobs you get," Tulle says. "And who knows? Maybe one day I'll get the right one."

Bennett had a Walt Disney connection as well. She appeared on the Feb. 1, 1956 episode of Disneyland entitled “A Day in the Life of Donald Duck.” One role she turned down that year was on NBC’s Playwrights ‘56 when she was asked to play a stripper.

It would seem she never found that right role. She disappeared from acting and created a new career as a personal manager under the name of Marianne Daniels. She was 88 when she died during the Covid epidemic in 2020.

The Creepy Creature

There’s a lot of running in this episode of Ruff and Reddy’s Muni-Mula adventure, and you know what that means—less footage for Ken Muse and more money saved by Bill Hanna.

From a story standpoint, this episode is unnecessary filler. The Creepy Creature shows up, menaces Ruff, then goes away and that’s the end of him. He doesn’t even show up in the episode until we see a background drawing for more than 100 frames over nothing but Bill Loose and John Seely’s pounding music.

The Creepy Creature is in a run cycle (four drawings on twos) behind the same metal-arch background painting that is used throughout the cartoon.



There's a cycle of Reddy running away. You can hear Daws Butler on the soundtrack but Reddy's mouth doesn't move. The Creature captures Ruff off camera (we hear a snap sound). Reddy goes to the rescue. With no feet.



Reddy is on a cel that slides into the shot of Ruff and the Creature. He uses a water pistol to spray the Creature, who drops Ruff. The cat lays on the screen for about 60 frames, blinking his eyes before the Creature runs away in a cycle in front of the same background art.



Then the Creature comes back in the same cycle (except he’s missing one arm). “Ruff takes off like a herd of birds,” says narrator Don Messick, as writer Charlie Shows tries to milk humour from a mixed metaphor. Reddy tries the water pistol again, but it’s out of water. Where'd he get the water pistol anyway, Charlie?



Someone didn't read the exposure sheet properly for a few frames. (Interestingly, there is the same kind of mouth error on Mr. Jinks a year later in a cartoon animated by Muse).



A stretch and dry brush.



There’s another chase cycle that ends when the Creature slows to a stop. The water has rusted him. There are shots of Ruff and Reddy where the only thing that moves is their mouths.



Now the whole Muni Mula army shows up. As the robots don't have legs, there's no need to animate them. They also roll along in front of the same background art. Or behind, as there are overlays.



“Well, it’s out of the frying pan and into the fire,” says the narrator. We now have to wait for the next episode to see if there’s a frying pan or a fire.

0:00 – No music.
0:06 – ZR-91C WEIRD EERIE (G. Hormel) – Recap of episode, Reddy destroys brain, all run in terror.
0:38 – TC-221A HEAVY AGITATO (Loose-Seely) – Creature appears, captures Ruff, shot with water pistol, runs away.
1:40 – no music. Ruff with water pistol, Gizmo looks at audience.
1:48 – L-657 EERIE DRAMATIC (S. Moore) – Creepy creature returns, water pistol empty, creature rusts, “Our troubles are over!”
3:10 – no music. Reddy points.
3:14 – TC-221A CHASE-MEDIUM (Loose-Seely) – Muni-Mula army, end of cartoon.

Quick Draw on TV?

It would appear fans of Quick Draw McGraw will be able to see the series on TV once again. Eventually.

An announcement on this web site says:

Tubi has confirmed a list of 100 different series from Warner Bros. Animation and Cartoon Network that are joining the free service. The ones in bold join on March 1st. The rest presumably will rollout afterwards.

The Quick Draw McGraw Show is not in bold, so it's anyone's guess when it may appear. It's also your guess whether they will be old TV prints of the cartoons, or if they'll be newly restored, or if they'll be the full half-hours with the interactive bits between Quick Draw and the stars of the other parts of show.

I have no direct knowledge but the appearance may be dependent on Warner's efforts to remaster the cartoons. I thin'.

The list, by the way, also includes Top Cat and The Yogi Bear Show but nothing else before 1961. Still, the announcement will give viewers more cartoons than they can possibly watch.

On the Road With Huck and Yogi

Thanks to the folks at the Leo Burnett ad agency, fans of Huckleberry Hound and Yogi Bear got to see them in the...

Well, we can’t say “in the flesh” because the flesh was buried under furry suits designed like the cartoon characters.

For a number of years, Huck, Yogi and others toured across North America, appearing at fairs with a special show.

One of the stops was Tampa, Florida. (Somehow, I expect, if anyone could come up with a rhyme for “Florida orange” it would be Yogi).

Columnists in the late ‘50s and early ‘60s loved the early syndicated Hanna-Barbera characters. Charles Robins of the Tribune was one. He didn’t cover the stage show, but got out his pad and pencil when the characters did a walk-through of the newspaper’s offices as they plugged the debut of Yogi’s show on local TV.

Rare Bear Wins Admiration of Tampa’s ‘Kidaults’
Yogi Proves He Is Better Than the Average Bear As He Captures the Fancy of Fans Young and Old
By CHARLES ROBINS
Tribune Entertainment Editor
Now that it's all over, I'm beginning to wonder if Tampa fell to Jose Gaspar or Yogi Bear last week.
That better-than-average bear, who normally resides in Jellystone National Park, visited the Cigar City for the Gasparilla festivities and turned out to be one of the big attractions of the parade.
Youngsters lining the parade route rushed out to shake his paw and the successful ones probably won't wash their hands for years.
Pretty girls gathered around him.
An enthusiastic crowd turned out at Lowry Park the following day to see the furry hero.
And, to top this moment of glory, WFLA-TV announced that Yogi Bear will be seen as star of his own program on that station beginning Wednesday, March 1.
OF COURSE, Yogi is really a cartoon character from the popular Huckleberry Hound series. Wearing the shaggy costume, and doing an excellent job impersonating Yogi's magnificent bear-i-tone voice was Bill Peck, a local performer.
But trying to tell a youngster that Yogi isn't real is about as difficult as trying to convince Virginia that there isn't a Santa Claus.
Fame, of course, is not new to this admirable bear or his popular companions, Huck Hound and Quick Draw McGraw, the slowest horse in the west.
Fred Wilson, a representative of the advertising agency which handles the Huckleberry Hound show, said Huck and his friends were greeted by 10,000 enthusiastic fans on their arrival in Hawaii last year. This crowd, Wilson contends, was larger than that which greeted such non-cartoon personalities as Eisenhower and Jack Benny.
* * *
IN TOLEDO last summer, some 45,000 youngsters turned out to see the troupe at the Toledo Zoo.
"Huckleberry Hound" was chosen as the theme of Ohio State University's homecoming in 1959.
And, also according to Wilson, Yellowstone National Park officials are considering setting aside an area to be known as Jellystone Park, a mythical national park inhabited by Yogi in his TV shows.
In fact, Wilson said, the crew of the U.S.S. Glacier named an uncharted ice island in the Antarctic Huckleberry Hound Island.
For anyone not familiar with the popular cartoon series, Huckleberry Hound is a dog with a drawl somewhat like that of Andy Griffith. The character created by the talent team of Bill Hanna and Joe Barbera, went on the air in 1958 and was an almost immediate success with the youngsters and quite a few adults.
* * *
QUICK DRAW McGRAW was added in 1959 and Yogi, last year, became the real star of the series. As the remarkable bear's fan mail mounted, Hanna and Barbera decided to give him his own show.
Daws Buster [sic] does the voice of all three characters.
The program, which is carried in some 200 television markets throughout the nation, is aimed at a "kidault" audience, Wilson said.
In fact, it became so popular with the adults that a TV editor in Seattle, Wash., organized the first adult Huck Hound fan club three years ago and more have since popped up throughout the country.
When the characters came up to The Tribune newsroom last week, the more aggressive Yogi immediately made himself at home. He pounded on a desk and screamed "copyboy" in a manner better than the average editor.
* * *
HE CARRIED on his arm a picnic basket, an item which is somewhat of a Yogi Bear trademark. (On the show, he is forever dreaming up new ways of stealing picnic baskets from visitors at Jellystone Park.)
As a Yogi Bear fan myself, I was too wise to this creature not to suspect he was up to something no good.
I suddenly got a horrible thought:
"Had Yogi stolen our city editor's lunch?"
Cautiously I peeked into the basket and immediately felt ashamed of myself.
Inside were several Valentines which had been given to Yogi by some of the young believers who turned out to see him at Lowry Park.
He's more popular than the average bear.

The 1961-62 TV season was the last with new Huck and Yogi cartoons. Hanna-Barbera worked out a new touring stage show. Campbell Titchener’s column in the Rockford Morning Star on Aug. 18, 1963 talked about it, and the reaction kids had when they saw Huckleberry Hound and Yogi Bear “in person.”

When historians get around to chalking up the important events of the mid-20th century, one of the items for the record must be the advent of the television cartoon show. Not the one where old movie shorts are thrown together for the kiddies, but the one where a talented, high-priced group of artists create a product for an all-age audience. A man who has been involved in much of this is Edwin Alberian, a personable, dark-haired easterner who spent much of Saturday at the Winnebago County Fair under an explorer's helmet with his current companion, Fred Flintstone. Alberian's job is traveling across the country, and farther, with cartoon characters and presenting shows at fairs, rodeos, and other places where kids gather. At our county fair Ed put on a pair of shows Saturday [17] and was on hand at the grandstand Saturday night, where he'll also be tonight.
Ed started out to be a doctor. He got as far as a master's degree in chemistry before deciding that there were enough physicians in his family. He had sung and acted in high school and college, and found himself auditioning for, and winning, roles in Broadway musicals. His flair for song, dance and mime got him an audition for the "Howdy Doody" TV show, and for ten years he was Clarabelle the Clown on the series. So it seemed natural, when the then new production company of Hanna-Barbara found a gold mine in the TV cartoon business, that Ed Alberian should join the gang.
For the past four years Ed has toured with several shows. One is the Huckleberry Hound and Yogi Bear Show, another the Quick Draw McGraw and Baba Looey Show, and now he's got the Fred Flintstone Show. Fred is currently the most popular of the cartoon characters, Ed says. What he does is to use prerecorded dialogue and his own comments during a show. The Hollywood actors who are the voices of the cartoon characters to this recording. Then, controlling the timing of the recordings, Ed "talks" to his audience and the cartoons, which are people wearing Huck, Yogi, Quick Draw or Fred costumes. Its [sic] a gimmick that has proven highly successful. Recently Ed and Fred flew New York to Honolulu and back for a one-day show. This July Ed and Quick Draw appeared at the Calgary Stampede in Canada and drew 40,000 people to the stadium.
Ed says the secret to success in this kind of venture is "keeping the kids in the act. Make the audience part of the entertainment." He says at first the children think they're just seeing someone dressed in a Fred Flintstone costume, but as the show progresses they become convinced they're actually seeing Fred. Ed explains that the people who wear the costumes, usually dancers, are highly trained for their parts in the show.
"Kids are always trying to help," Ed says. "They want to help Fred and Huck up and down off the stage, but the funniest thing is they keep bringing Yogi Bear food. Mainly bananas, for some reason." I asked if the food was declined with thanks. "Oh, no," Ed says. "Huck has an insatiable appetite. But that's how we know the kids think he's real."
After 14 years in the children's entertainment business, Ed is convinced he's found a home. "And when I take my two-year-old boy to the cartoon studios," he says, "he really goes wild."

Considering we now have the entire Huckleberry Hound Show restored on Blu-Ray, perhaps it’s time again to dig out the costumes, and get the blue Southerner and the pic-a-bic basket purloiner out on the promotional trail again.

Creepy Creature Feature

Ruff and Reddy may have had a low budget but there were attempts at making them visually interesting. Unlike later series where every cartoon was laid out like it was taking place on a stage, Ruff and Reddy had angle shots and characters in silhouette.

In “Creepy Creature Feature,” a shot was tried that I don’t recall in any other Hanna-Barbera cartoon. Professor Gismo is asleep at the controls of his rocket ship. When he suddenly wakes up, not only does the camera move in on the artwork, it changes angles clockwise.



Whether this came from Dan Gordon’s storyboard, the layout artist (I presume it’s Dick Bickenbach), or director Bill Hanna, is your guess.

The cartoon starts with the usual 30-second recap with re-used animation. While Daws Butler repeats the final line from the previous episode, it is not the same recording; the inflections are different.

The episode revolves around the little man who emerges from The Big Thinker’s metallic head. In flashback, we learn he is an inventor atop Mount Cucamonga who has built an interplanetary rocket ship. However, the ship is pulled into a strange planet (in animation re-used from earlier episodes), where it crashes.



I’d love to paste together the pan shot of the crashed S.S. (“Space ship” not “Steam ship”) Gismo, but the on-line copies out there are 25-year-old recordings from a cable TV feed and the colour is too poor. Here are the start and end of the pan. Look at the number of different colours.



Silhouette shot as the professor explains.



The professor is locked inside a metal monster, which turns out not to be The Big Thinker at all. It would appear to be a robot TBK uses to communicate. The professor points to the actual Big Thinker on a throne. Again, we can’t paste together the right-to-left pan shot, but the background artist (likely Fernando Montrelegre) uses lots of metal arches you can see in the drawings below.



It turns out the real Big Thinker is asleep (maybe that’s how Gismo could escape; it’s never explained). Headstrong Reddy, even after a warning, destroys The Big Thinker with a little hammer that, somehow, he happened to be carrying.

Reddy does this even after Prof. Gismo warns him The Big Thinker is guarded by the Creepy Creature. And here he comes now! Reddy’s conjoined eyes look like something Mike Lah would draw, but this episode is handled by Ken Muse.



We’ll have to wait to see what the creature looks like.

The professor’s name is usually spelled “Gizmo.” It’s not in this episode.

Three Geordie Hormel cues make up the background music.

0:00 – No music.
0:06 – ZR-91B WEIRD EERIE (Hormel) – Start of cartoon, Gismo explains his space trip.
1:55 – No music – Planet swallows S.S. Gismo, camera shakes.
2:09 – ZR-91C WEIRD EERIE (Hormel) – Pan over rocket, “But what.”
2:35 – No music – Pan shot.
2:37 – ZR-53 COMEDY MYSTERIOSO (Hormel) – Big Thinker on throne, end of cartoon.