Wednesday, 13 February 2013

Ads and Alfy

Time to empty some of the mailbox and see what readers have sent. And we’ll have an extra treat at the end.

Billie Towzer has made another journey around the internet and passes on some ads for Hanna-Barbera’s best shows. Kellogg’s bought 5:30-6:00 p.m. on a station in Springfield, Missouri. H-B must have had all kinds of art available for advertising use based on its cartoons. Huck appeared in desert garb in “Legion Bound Hound” while Quick Draw took on a (white) bull in “Bull-Leave Me.”



These ads are from TV Guide for the 1966 Alice special. There were a bunch of things I didn’t like about it at the time (and I haven’t seen it in its entirety since its original airing) which I’ve mentioned here before, but Janet Waldo, Howie Morris, Harvey Korman and some of the other voice actors do a nice job.



Mike Clark has what, no doubt, is a satisfying little avocation. He runs a historical website about WTVT, Channel 13, in Tampa, Florida and has sent me a photo and some background.

Sometime around '61 or '62 (you'd probably know the date better than I would) Channel 13 bought the H-B package of programs. As a promotional gimmick Screen Gems sent H-B character costumes to Tampa (I don't know if the people inside were from Hollywood or if WTVT hired locals) and they were photographed "arriving" at Tampa Airport. Meeting them was WTVT's general manager, Gene Dodson (the man on the right). The other fellow in the shot strongly resembles the station's promotion director at the time, Ned Jay, but I can't absolutely confirm that. He is shaking Mr. Dodson's hand which suggests he may be from outside the employment of WTVT....perhaps he is from Screen Gems. This is my 'best guess.'

The children in the photo are probably those of WTVT staffers. You'll note that some of them are barefoot, which in the south was farely common (as a youngster I used to be barefoot at the store, believe it or not). In fact, Mr. Dodson is rather casually dressed as well.

WTVT also produced a special telecast that aired twice. The program was videotaped with their mobile unit and showed the H-B characters walking along the streets of Tampa in search of WTVT. No video or stills exist of this program....but I remember seeing it at the time.
The photo is courtesy of BIG13.com. Mike would like you to know you can see stories about the local kids show hosts where the HB cartoons were shown at the BIG13 web site. Looking at old photos from TV’s past is always worthwhile.



Brent Pearson saw the posting about Jerry Hathcock and passed on a shot of a drawing that Jerry did for him of Dino. Jerry had worked at Disney and arrived at H-B to work on “The Flintstones.” He also animated on “Jonny Quest.”



Occasionally, I get notes from people asking how much cartoon art is worth or where to sell it. I’m a cartoon dog, not an appraiser, so I honestly don’t know how much anything is worth. There are several places that sell animation art; an on-line search will net a few names. Of course, people also sell through on-line sites.

Tim Hollis sent me this sad clipping and attached a note:

I found this Associated Press photo in a May 2, 1962 newspaper. It certainly shows that H-B toys could be good for more than just being future collectibles and museum pieces! This certainly has to be one of their grimmest media appearances, though. Sort of makes one wonder whatever became of that little girl, who would be 61 years old now.
By the way, Tim passes on word he’s working on the records chapter of TOONS IN TOYLAND and about to plunge into the Hanna-Barbera Records story. When isn’t he writing a book?

Finally, someone asked me about Alfy Gator, who appeared in four “Yakky Doodle” cartoons. Fibber Fox is my favourite Yakky character and Alfy’s second. Tony Benedict gets the story credit on the Alfy cartoons so I asked him how the character was invented.


Alphy Gator was mine from the start. I was a big time Hitchcock fan. His characters often got away with serious crimes in the body of the show. Only after the last commercial in the epilogue Hitch would inform the audience that the bad guy was eventually caught and sent to jail. That little twist always amused me.
Tony sent me a great drawing of the H-B characters combined with old and new pictures of him and layout artist Jerry Eisenberg (and Joe and Bill from their early MGM days) at an internet cafe. If he wants me to take it down, I will, but the characters look so good in this, I thought I’d pass it on. The drawings even have shadows. Tony is working on a project involving his time in animation, including Hanna-Barbera, and I hope it comes about soon.



Thanks to everyone who has helped with this post.

Saturday, 9 February 2013

Snooper and Blabber — Hop To It

Produced and Directed by Joe Barbera and Bill Hanna.
Credits: Animation – Ken Muse, Layout – Walt Clinton, Backgrounds – Art Lozzi, Story – Mike Maltese, Story Director – Alex Lovy, Titles – Art Goble, Production Supervision – Howard Hanson.
Voice Cast: Snooper, Blabber – Daws Butler; Hazel – Jean Vander Pyl; Slippery Sydney, Matilda – Don Messick.
Music: Jack Shaindlin, Phil Green, Spencer Moore.
First Aired: 1960.
Episode: Quick Draw McGraw Show M-027, Production J-82.
Plot: Snooper tries to recover the Cumbersome Diamond from Slippery Sydney and his getaway kangaroo.

Don Messick could do many voices. He could handle straight roles, like Benton Quest. He could create waving -tongue sounding creatures on The Herculoids. And he was the man behind the Hanna-Barbera studio’s most popular dog. Yes, I’m talking about me, Yowp. But one thing Don M. couldn’t do was an Australian accent. And this cartoon is proof of it.

He wasn’t alone. At one time, TV was populated with Americans doing impressions of Australians who sounded like they just stepped out of London’s East End. Then Paul Hogan came along and the would-be impressionists simply added the words “shrimp” and “barbie” to their repertoire in a bid to sound more convincing. But this cartoon is long before Mr. Hogan so we have to listen to Mr. Messick do a pseudo-Cockney accent. Mind you, Joe Barbera could have brought in Rolf Harris and it wouldn’t have helped this cartoon.

Ken Muse had a reputation at MGM, then at Hanna-Barbera, of churning out footage. He couldn’t cheat at Metro and some of his Tom and Jerry animation is very funny and expressive. At Hanna-Barbera, he could cheat. And he did. This cartoon has cycle animation of Matilda the kangaroo hopping and stomping which enabled Muse to turn out the cartoon faster. In fact, there are two scenes where Muse has a drawing of the kangaroo on a cel that’s moved up and down. And there are a couple of other cycles as well, like when Snooper is jumping around after being crushed into his deer stalker cap—six drawings on ones, except a couple of the drawings are reversed after each cycle to make Snoop look like he’s hopping in different directions. Planned animation (as Bill Hanna called it) indeed!



Art Lozzi does even less in this cartoon. His drawing of a city street is seen throughout most of it. His other backgrounds are: a close-up of Snoop’s car dashboard, part of a tree and a park with trees and a wrought-iron bench. That’s it. Something I’ve spotted in several Lozzi cityscapes in the 1960-61 season is scaffolding and a thin street lamp with a lantern on top. Both are in this cartoon, too.

As the layout artist, Walt Clinton was responsible for designing incidental characters and props. Clinton seems to have liked a specific, P.A. system style of microphone in the Snooper and Blabber cartoons. It’s in this one, too. And the villain has the collar-length ear that Clinton gave to many of his incidental human characters.



The cartoon’s a little different than other Snooper and Blabbers, although it follows the usual template. Snooper accepts a caper during which Blab gives a one-line aside to the audience. Snoop then butchers the English language like Archie on Duffy’s Tavern (the origin of his character’s voice) and makes with a couple of catchphrases. But in this one, Snooper’s client is referred to and never seen. Our heroes don’t go searching for the bad guy, he just shows up. Snooper wins in the end. And the cartoon relies on the injuries and damage caused by the jumps of the kangaroo ordered by the bad guy to provide a large chunk of laugh material.

It opens with a long scene, almost a minute and a half, of dialogue involving Snoop on the car radio with his secretary Hazel. It’s not great. You know you’re in trouble when Blabber has to explain the main dialogue gag about involving jumping and a kangaroo. “Unhand me the phone,” we get from Snooper, as well as “Holy MacCarol, I mean ‘mackerel’.”

Suddenly, the shot cuts to Matilda the kangaroo and Slippery Sydney (in her pouch) hopping down the street. I shouldn’t have to explain the significance of the kangaroo’s name. As for Sydney, I don’t know if that’s the way his name appears on the model sheet, but since there’s a Sydney in Australia, I will guess that’s how it’s spelled. Sydney’s carrying the Cumbersome Diamond (stolen from Lord Cumbersome). Maltese seems to have had a thing for diamonds; the first season of Snooper and Blabber featured thefts of a diamond and a diamond ring, then diamonds were stolen in two cartoons in the second season (this was one of them). Snooper immediately blurts out a catchphrase: “Stop in the name of Private Eye Institute Glee Club.” Matilda stomps on him. “I’m none the wear for the worse, Blab.”

Next, Snoop and Blab are in their car (a red two-door with tail fins). Matilda stomps on that. “Feet were made before cars,” Snooper rightly estimates, and they chase after the crook. “Your erstwhile number is up. We have you surrounded in the rear,” Snoop yells at Sydney. Matilda stomps on Snoop hiding under an open manhole. Maltese can’t resist an obvious groaner here. Snooper is elevated above the manhole on Matilda’s huge foot. “Snoop, what are you doin’ up here?” asks Blab. The response: “Can’t you see there’s somethin’ a foot?” “I’m sorry, Snoop,” answers Blab. Perhaps he’s channelling Maltese apologising for the pun. Blab then clamps the manhole cover on top of the crook and the kangaroo. Snooper reacts with: “You’ll get a gold star for your underground work.” But Maltese runs out of gas. The kangaroo comes out of another manhole and crushes Snooper into his hat. “ The dialogue to end the scene: “Help, Blab. Get me out of here. Help!” “Comin’, Snoop, comin’.”



The next scene has Snooper and Blabber with bedsprings on their feet. Catchphrase time: “Elementary, my dear Blab. Folly that kangaroo, that’s what.” That’s what they do. And now Maltese gives us a plot twist. Matilda thinks the hopping Blab is her son. She tosses Sydney out of her pouch and snuggles up to Blabber. Meanwhile, Sydney pounds two hooks into the pavement (which don’t move into the pavement, either in a medium or a close-up shot, to save animation and help Muse’s footage quota). Snooper’s springs catch in them and he flies up, grabbing onto a tree branch. The cartoon has now left the street and moved into a park. The branch snaps and Snooper lands on Sydney, thus capturing the crook and the diamond. The 40,000 pounds of money is his (Snooper is thinking weight instead of £). The final scene has Matilda carrying Blab in her pouch in more cycle animation. “What in carnation…” exclaims Snooper which, as far as I know, was one of Archie’s malaprops on Duffy’s Tavern. The furrow-browed kangaroo jumps on Snooper again, this time because he demands Blab come out of the pouch. The cartoon ends with the jumping cycle animation as it’s “once around the park.”



The sound cutter gives Matilda’s hopping scenes their own music. It’s Spencer Moore’s “Animation Movement” from Capitol Hi-Q L-23. It wasn’t used in any other Hanna-Barbera cartoon that I know of. It’s rare that Moore would be used in the Snooper series to begin with. The rest of the music is familiar (though I still don’t have a name for one of the cues) and the cutter limits them either to a scene or a shot.


0:00 - Snooper and Blabber Main Title theme (Curtin, Hanna, Barbera).
0:25 - GR-90 THE CHEEKY CHAPPIE (Green) – Car scene, Blab points.
1:49 - L-1149 ANIMATION MOVEMENT (Moore) – Matilda hops down street.
1:54 - GR-348 EARLY MORNING (Green) – Close ups of Sydney and Matilda.
2:10 - L-1149 ANIMATION MOVEMENT (Moore) – Matilda hops down street, Snooper with hand up.
2:17 - CAPERS (Shaindlin) – Sydney and Matilda on street, Matilda stomps on Snoop, Snoop on pavement talks to Blab.
2:40 - GR-77 CUSTARD PIE CAPERS (Green) – Snoop and Blab zip off camera, Matilda stomps on car and hops out of scene.
3:01 - GR-454 THE ARTFUL DODGER SHORT BRIDGE No 1 (Green) – Snooper and Blabber pop out of door, zip out of scene.
3:14 - GR-77 CUSTARD PIE CAPERS (Green) – Snooper and Blabber run down street, manhole scene, Snooper in cap.
4:30 - GR-457 DR QUACK BRIDGE No 1 (Green) – Snoop and Blab talk, Snoop points.
4:41 - LFU-117-1 MAD RUSH No 1 (Shaindlin) – Snoop and Blab hop on bedsprings.
5:08 - PG-160G LIGHT MOVEMENT (Green) – Matilda holds Blab.
5:21 - rising scale vaudeville music (Shaindlin) – Snoop can’t stop, grabs branch, lands on Sydney.
5:59 - PG-161G LIGHT COMEDY MOVEMENT (Green) – “Holy mackerel” line.
6:06 - GR-455 THE ARTFUL DODGER BRIDGE No 2 (Green) – Snoop with diamond.
6:16 - L-1149 ANIMATION MOVEMENT (Moore) – Kangaroo hops with Blab, Matilda hops out of scene.
6:36 - SIX DAY BICYCLE RACE (Shaindlin) – Matilda jumps on Blabber, hops with Blab.
7:10 - Snooper and Blabber End Title theme (Curtin).

Thursday, 7 February 2013

Yogi Bear Weekend Comics, February 1963

Gene Hazelton must have had kids on the brain 50 years ago this month. He was busy working on Pebbles Flintstone, who was about to born (both as a designer on TV and a story editor in the newspaper comics). And he has kids in a couple of his Yogi Bear comics, too. Oh, and he tosses in another appearance of those American Indians who seem to live on, or near, Jellystone Park.

Yogi this month is somewhat reminiscent of the Yogi you’d find in some of the cartoons before shackled to the Ranger Smith format. He became a fatherly type who tried to help little boys stay out of trouble. He’s a kiddie helpmate here. As for Ranger Smith, he gets the month off from the weekend comics in February but returns (with the park superintendent and pic-a-nic baskets) in March.



Great shock expression on Yogi in the bottom middle row of the February 3rd cartoon. Harvey Eisenberg at work here? Cute kid, cute teacher. I wonder if Monte is named for Fernando Montealegre, who was still doing background work at the studio at the time. The top row wasn’t printed by many papers and it’s a shame because the first panel is sometimes the nicest. Note how Boo Boo and Yogi are walking but have their feet in different positions; they’re not walking the same. And there’s a line curved around Yogi’s rear, emphasizing his walk is different than Boo Boo’s.



The last row of the February 10th comic is the best of the month. Look at the detail in that last panel. Just terrific. Papers that skipped the first row would leave their readers wondering where Boo Boo got all the feathers. I guess that’s a bed behind Yogi in the opening panel.



Huckleberry Hound makes a cameo appearance on February 17th. There’s no snow on the mountains for a change. Yogi has a low mouth in some of the panels. And, again, the opening panel has Yogi and Boo Boo engaged in some kind of action as opposed to a static pose.



It would seem storyman Hazelton named the bad guy character in the February 24th comic for himself. Who “Kevin” was named after is your guess. I don’t know the names of Gene’s children, and the only Kevin at Hanna-Barbera was Dan Gordon’s son, who died in an accident in 1964. Unlike three weeks ago, the kids have eye-whites in this one. I like the composition of the lower left panel. Kids in the background, with Yogi in the foreground pointing to them but still making eye contact with the smug Eugene. I can hear Dick Beals voice the bully.

As usual, I can’t find good versions of these on-line, despite going through about ten newspapers. You can click on each to blow them up.

Monday, 4 February 2013

At Home With Janet Waldo

If you want an indication of how celebrity gossip has changed over the years, I present as Exhibit ‘A’ this slice of life with Janet Waldo from the Radio-TV Mirror of June 1952.

This, of course, was before her role as the typical teenager of the future on The Jetsons. She was still known for her role on radio as the typical teenager of the present on Corliss Archer.

Today, show biz gossip consists of “news” items about celebrity train wrecks and pictures of stars wearing next to nothing. The 1950s were a gentler era. In between ads for shampoo, lipstick and home permanents, fans could read happy, fluffy stories about radio stars (Garry Moore, Jan Miner, Marie Wilson and so on) and, oddly, fiction “written” by characters on radio soap operas as if they were real people. You got to know what the Second Mrs. Burton really thought, not just what you heard on the air. It was all so innocent. Confidential and its ilk changed all that.

In honour of Janet’s birthday today, I’m posting the full article. Click on each page to enlarge it. Don’t expect dirt, viciousness or earth-shattering revelations. Unlike some fan magazine stories, there’s no reason to question the veracity of anything in this one. Janet and Bob Lee had a happy relationship that ended with his death in 1994. She comes across—on and off the air—as a kind, friendly and outgoing person. And she sounds the same as when Del Sharbutt was introducing her on radio more than 65 years ago. May she enjoy good health and be with us for many more years.




Corliss Archer—Wonderful Whack
By Elizabeth Downs

The telephone rang with its long, impatient-sounding buzz and Janet Waldo, with her usual bounding energy, rushed to answer it before it could ring again.
A man's voice sounded over the telephone. He identified himself as the representative of a Hollywood motion picture film company. "May I speak to your mother, please," he said, soothingly. "My mother!" exclaimed Janet. "Why, my mother doesn't live with me."
"What," came the surprised voice, the horrified voice. "You're only sixteen years old and you live alone?"
Janet mumbled something that sounded like "I'm really old enough to take care of myself," and hung up the telephone.
The pretty, pert star of ABC's "Corliss Archer" tilted her head to one side and said softly, "It was ever thus. For eight years I've been playing a sixteen-year-old girl and people just won't believe I'll ever grow up—that I am grown up—that, as a matter of fact, I'm grown up enough to be married and about to be a mother. But most people are like the film executive. They just won't believe me and I haven't the heart to tell them, very often.
"I had a terrible time on the radio show because I didn't want to disappoint the many fans of my Corliss Archer counterpart. Corliss is a part of me, somebody I love and understand, and I want people to still think of me as Corliss despite the fact that in real life I wanted to be my husband's wife and now a mother! I couldn't let the fans know until the last minute that I was going to have a baby. I just couldn't."
Odds are that Janet will still be acceptable as Corliss long after she becomes a mother because she still looks like Corliss, talks like Corliss, is Corliss in real-life. Her petite figure is just perfect for skirts and sweaters. Her long bob looks adorable in a teenager's dream of sophistication—the horse's tail coiffure. She has a peaches and cream complexion, twinkling brown eyes and a pert face that looks as naive as a high school sophomore's. If her looks are deceiving, the bubbling Waldo personality clinches the illusion. Janet is as effervescent, fresh and unspoiled as the teenagers she portrays so well. And it was this very freshness and charm which attracted Robert E. Lee, brilliant young writer of the Railroad Hour, four years ago when he asked Janet to be his wife.
"Oh, and he is," sighs Janet, "so wonderful! He's so beautifully patiently impatient with me."
Translated, that means Bob takes cute Janet and her many "household incidents" in his stride. Reserved, quiet, easy-going, Bob is a good balance for his bouncy, carefree wife.
Bob, as most husbands would, likes their attractive Sherman Oaks, California, house to appear shiny and spotless. He encourages Janet to see that it is in good order at all times. But Janet, who is as personally immaculate as they come, admits she'd rather visit her many friends than stay home and straighten out a room.
Janet's attempts at cooking are always good for a laugh to her friends. "I have people I've been trying to coax to dinner for years and they won't come. The cowards! They've been frightened by the propaganda they've heard." It's propaganda, however, which has been jointly spread by Mr. and Mrs. Lee over the four years of trial and error Janet has had in the kitchen.
Cooking, it seems, is not an art Janet has mastered, although she claims she's improved since that first terrible evening when Bob had invited some very important persons to dinner. Janet had insisted, as any good conscientious bride should, on cooking it herself. "It will flatter them," she explained to her dubious husband.
Came the eventful day, and for once Janet was detained until 5:30 P.M. at the studio rehearsing. The guests were expected at 6:30.
Undaunted, Janet popped her roast into the oven, along with the potatoes. "I learned later that the roast wasn't too good a cut of meat." Then, hurriedly, Janet began to put a tomato aspic together.
"You know," Janet says with just a trace of the mystified expression she wore that evening, "the aspic didn't freeze and in desperation I tried to serve it covered with hard-boiled eggs and chopped walnuts. It looked all right in the mold but when people started dishing it up, it looked like tomato soup. But that wasn't all. I had only purchased six rolls since there were just four of us and they caught on fire in the oven. Periodically, as I worked desperately over the hot stove, Bob would stomp into the kitchen. 'Isn't it done yet,' he'd whisper. 'I smell something that smells done!'
"At last, at 9:30, I served dinner. The guests were terribly polite—and so hungry that I guess they couldn't speak. The roast was positively rare—and tough. And the potatoes—well, you'd put your fork into them and they'd just scoot off the plate. It was a miserable dinner and, to this day, Bob doesn't speak of it but turns slightly pale whenever I bring up the subject."
So Janet and Bob don't take chances on important people any more. "We have my mother help or Bob has the dinner catered. We had important guests right after Bob hit upon this catering even though I told Bob I'd do much better. But he wouldn't listen to me. He just had the dinner brought in, before the guests arrived, and everything seemed perfect.
"Excepting," giggled Janet, "it was composed of the most wonderfully delicious little sauces over equally exotic solid food. We hadn't the vaguest idea what any of it was. Our guests were completely amazed at my having cooked this gourmet's delight. Bob had promised to kill me if I told them our dinner was catered so I graciously accepted their compliments. When the women began asking for the recipes, I was more embarrassed than I'd been when dinner didn't turn out at all. Then I had an idea.
" 'Oh, you must ask Bob,' I said in my most casual manner, not looking at him. 'They're his favorite recipes!' Poor Bob. He knows less about cooking than I do. He hemmed and hawed over each dish. Any resemblance to the ingredients he finally concocted and the beautiful dishes on the table was more than accidental—it was amazing!"
Janet and Bob used to eat many meals out. But this was before Bob gave Janet a deep freeze for a birthday present, thinking that perhaps this would help her learn to cook. The freezer came stocked with food—steaks, hamburger, ice cream. Janet learned how to defrost and broil steaks in no time and they lived like royalty on steaks and ice cream. But now Janet is worried—"The only thing that's left is hamburger, and how do you fix forty pounds of hamburger so that's it's edible for forty meals?"
'T'heir favorite meal is Sunday dinner—which Janet's mother always cooks. "We never miss that. Although Bob loves to fly his own plane on Sunday, his only free time, he always makes it back to Mom's house for dinner. Once we'd had a quarrel and the only way I could think to punish Bob was by depriving him of my mother's dinner for a month. He was really heartbroken and made up immediately."
Bob and Janet have such fun together that there's little' time left for quarreling. "Just like any newlyweds, we used to squabble, but we've mellowed. Bob has such a wonderful sense of humor he has me laughing—at myself—in no time. But, then, we never got really mad. For example, I never thought of going home to Mother. Now, I wouldn't dare because Bob would be there, waiting for dinner."
Life today has never seemed fuller or richer to the Lees, who are eagerly awaiting their baby's arrival, due early in June, Janet thinks. They don't really care what their first-born is, boy or girl—"just so it's a little baby," sighs Janet. Janet is busy turning her spare bedroom into a nursery with a dream of a baby bed and oodles of baby clothes which she loves to show off.
The Lees' friends used to kid them about the baby by insisting "it" would play second fiddle to their dog, Lady Ophelia. As a lady, "Ophie," a pedigreed Welsh terrier, gets the run of the house.
"We love Ophie as much as people," defended Janet, "and when she had two little puppies we named the first one People. The second we call Perkimore, after its vitamins. You bet Ophie, Pepe and Perky have a very special place in our hearts. But really nothing will compare to the love we'll have for our baby. We think we'll try for a family of two or three, just like Ophie."
Having been in the entertainment business for many years, Janet is wisely aware of the pitfalls it offers a woman combining career with marriage. "And I don't intend it's happening to me," she said.
"I've turned down many opportunities, and even the chance of playing Corliss on TV, just to keep my life uncluttered and my time free for my husband. He's tried to keep free time for me by beginning his writing hours at 5 A.M. This doesn't affect me, as I usually don't arise until 9. He doesn't even take time from his work to come in and wake me, instead he calls on his phone from the next room."
That isn't as confusing as it sounds. The Lees have their own telephones, and for good reason, too. Janet has telephonitis.
"Bob used to die because I tied up the line for hours just chattering—a habit I love and wouldn't break. As he worked at home he couldn't get important calls, so he made a bargain with me. If I'd answer the phone, 'Lawrence and Lee Productions' —which is his and business partner Jerry Lawrence's title—like a secretary in his office, then he said I could have a line of my own. We tried it and it works just beautifully. Now he doesn't dare use my phone without asking."
While this solved one problem, it didn't solve another. Even though Janet can't tie up his line, Bob finds she is still oblivious to everything while chattering on her own phone. Therefore, he has to write her notes concerning pertinent business, such as the eggs she's left cooking on the stove, or the fact they've guests coming in twenty minutes.
"And he can be so stuffy," she wailed, "when he says in his most authorish tone, 'We'll be finished in five minutes, won't we?' We, meaning me. That's the way he talks to me when he's annoyed about something. 'My, we're burning a lot of things, aren't we?' But I love him, he's so wonderful!"
Janet's idea of sheer heaven would be to work with her husband on a radio or TV show. "Then we'd be together every minute!"
As it is, the Lees share more hours together than the average couple. They bought their attractive redwood bungalow, on a charming street in Sherman Oaks, fifteen minutes after they'd first seen it! They noticed the compact valley house and fell in love with it. The real estate agent was right there and in no time at all they were home owners. Janet claims the house still isn't furnished properly.
But the only real complaint she has, if she has any, is her lack of offers to portray dramatic roles. Roles as adult and sophisticated as she'd actually like to be—and sometimes imagines that she is.
"Oh, well," smiled Janet with her most grown-up look, "I'll have you know a talent scout asked me recently if I thought I could play a young lady. Isn't that peachy? I've really never been so flattered!"

Saturday, 2 February 2013

Huckleberry Hound — Legion Bound Hound

Produced and Directed by Joe Barbera and Bill Hanna.
Credits: Animation – Ken Muse; Layout – Dick Bickenbach; Backgrounds – Dick Thomas; Story – Warren Foster; Story Director – Alex Lovy; Titles – Art Goble; Production Supervision – Howard Hanson.
Voices: Narrator, Singer on Record, Bottle Throwing Legionnaire, Legionnaire noise, Fort Commander – Don Messick; Huckleberry Hound, Powerful Pierre, Captain on Phone, Legionnaire noise – Daws Butler.
Music: Bill Loose/John Seely, Phil Green, Geordie Hormel, Spencer Moore, Jack Shaindlin, unknown.
First aired: week of October 31, 1960 (rerun, week of April 17, 1960).
Episode: Huckleberry Hound Show K-041, Production E-110.
Plot: Foreign Legionnaire Huck sets out to capture Powerful Pierre, the scourge of the desert.

Friz Freleng made a really funny cartoon at Warner Bros. called “Sahara Hare” (1955) that featured a desert, a camel and a bad guy trying—and failing every time—to get at the hero of the cartoon inside an abandoned stone fort. It was written by Warren Foster.

Well, guess what?

Okay, this cartoon isn’t quite the same. But you can’t miss the similarities. And the thought crossed my mind that you could probably have built a pretty good theatrical series featuring a low-key Huck (much like his wolfy predecessor in the Avery cartoons at MGM) fluidly assisting a hot-headed Powerful Pierre to beat himself up. In full animation and fully scored, of course. A shame the Hanna-Barbera studio’s lone theatrical shorts were of the limited animation variety with a B-list star.

“Legion Bound Hound” is one of those Foster efforts where the plot suddenly veers off in a different direction halfway through. In the first half, Huck is ridiculed. In the second half, Pierre shows up and he becomes laughed at, while Huck becomes the hero by default. Huck doesn’t get inside the fort until the middle of the cartoon, the same as Bugs Bunny in “Sahara Hare.”

No one would mistake the first half for a Bugs cartoon. Huck casually talks to the audience, and gets abused by his underlings (unseen to save animation) but there are enough funny situations that make the cartoon enjoyable. The cartoon pans over one of Dick Thomas’ background drawings of “trackless wastes of the Sahara” to a fort belonging to the Foreign Legion. “Some join to seek excitement. And others seek to forget or be forgotten,” intones Don Messick as the camera pans across a drawing of snoozing soldiers. So far, we’ve had 21 seconds of cartoon with no animation.



Then we’re told it takes a “tough, tough, TOUGH leader” to keep the “tough, tough men” of Company B in line. That’s Huck’s cue to saunter out and have his friendly request for “drillin’ and marchin’ this morning” laughed at (a bottle is thrown through the door at Huck). Of course, Huck’s oblivious to their ridicule. He explains to us the men “come here to forget. Just like me. I come here to forget my fian-cee.” Cut to shot of Huck’s girl-friend who, like most girl-friends in cartoons, is drawn like a male character in drag. “Uh, what’s her name. Hey! I finally forgot her. I cain’t even remember her name. This calls for a celebration!” Huck turns on a portable record player and we hear Messick singing “My Darling Clementine,” accompanies by the usual electric organ in the cartoon. Turns out that’s Huck’s girl-friend’s name. So now, he hasn’t forgotten any more.



The phone rings. Company B has been asked to bring in Powerful Pierre. “Go jump in the lake” is the first response. Soldiers will always respond to a bugle call, Huck tells us. They do. They shove the bugle in his mouth. So Huck heads across the desert on his camel in search of Powerful Pierre. He’s crushed between the camel’s humps, accompanied by horn honk sound effects. The camel collapses merely for the purpose of a dialogue gag (“They call the critter like this the ‘Ship of the Desert.’ Must be because every once in a while, they sink.”) Huck unfolds a rather long road map and walks on top of it to find Pierre at the end of it. Pierre’s had a design change since we last saw him in “Ten Pin Alley” the previous season. He’s lost some weight, his chin is pointier and he’s brown (must be the desert heat). Pierre bashes Huck around a little, includes sending him skidding across sand dunes, the top of each one burning Huck’s butt (I can’t remember which cartoon used the same gag), to the wall of an abandoned fort.




So now comes Huckleberry Hound’s version of “Sahara Hare” as Yosemite Sam Pierre tries to get Huck out of the fort.

● Pierre presses a button in the wall that’s supposed to reveal a secret entrance. It reveals a cannon instead. We all know what’s going to happen. We saw it in “Sahara Hare.” It takes 11 seconds for it to happen because the cartoon has to pad for time.
● Pierre tries to catapult himself into the fort on a palm tree he’s tied down. End result is like the pole vault gag in “Sahara Hare.” Pierre flies into a stone battlement. “Missed,” notes Huck to end the scene.
● Pierre runs at the fort’s door with a palm tree as a battering ram. “Sahara Hare” didn’t use the gag but lots of other cartoons have. Huck opens the door. Pierre keeps running right through and bashes into the wall on the other side of the fort (which we don’t see. Saves money animating it). Pierre’s passed out in a pile of rubble.



Huck is granted a reward for capturing Pierre. He’s decided he wants to go to town to see his fianc-ee. “Permission granted to see what’s her name” says the Commander. “That’s the one! How’d you know?” answers Huck. Cut to a boat. Huck didn’t tell the Commander his fianc-ee lives in Cucamonga, so ends the cartoon sailing to the U.S.A. singing “Oh, my darlin’, Clem-what’s-her-name.”



This was Foster’s last tangle with Pierre, but it wasn’t the final Pierre cartoon. That came the following season when Tony Benedict wrote “Huck’ dé Paree” and the character was redesigned again by Tony Rivera.

With a few exceptions in the first season, Hanna-Barbara cartoons didn’t end with the sound engineer fading out the stock music. No matter what library was used, just about all the cues all had definite loud ends, either with a stab or a cymbal crash. Sometimes, the cutter would back-time a cue so it would be joined in progress during the cartoon and end exactly when the cartoon ended. In a couple of cartoons, the cutter simply uses only the stab at the end of the music. That’s what happens in this cartoon. To give the soundtrack a flourishing finish, the last three notes of Jack Shaindlin’s “Rodeo Day” are heard. However’s not listed in the studio’s cue sheet. The sheet is perplexing, because it is not in order, has different alpha-numerics than are usual for some of the cues and lists some where the lengths don’t match what’s on the cartoon. There are some guesses below.

The cutter picked out a bugle call, the same one that was used (sped up) in the Augie Doggie cartoon “In the Picnic of Time” the previous season. The fanfarish trumpet and brass counterpoint cue that’s heard when Huck is first seen riding his camel is also in “Missile Bound Cat” as the entrance music for Space Cat. There’s one brief spot where the cutter decides against any music and it’s really effective. It’s when Pierre smashes into the castle. Huck looks at him and says “Missed.” Having silence makes the word stand out and the gag a little funnier.


0:00 - Huckleberry Hound Sub Main Title Theme (Curtin).
0:14 - EM-147 DOCUMENTARY MAIN TITLE (Green) – Opening narration.
0:37 - ZR-127 PERIOD CHASE (Hormel) – Violence at Company B, narration, Huck walks to door.
0:54 - TC-204A WISTFUL COMEDY (Loose-Seely) – Huck asks about marching, talks to audience, puts on record.
1:34 - Clementine (Trad., sung by Don Messick) – Record plays, Huck turns off record player.
1:42 - TC-204A WISTFUL COMEDY (Loose-Seely) – “Her name is Clementine,” phone rings, “Mon Cappy-tann.”
1:57 - LAF-27-6 UNTITLED TUNE (Shaindlin) – “That’s French,” Captain yells on phone, Huck at door.
2:37 - bugle call – Huck plays bugle, bugle shoved in mouth.
2:43 - L-78 COMEDY UNDERSCORE (Moore) – Huck blinks, pulls out bugle, talks to audience.
2:48 - LAF-20-1 triumphant trumpet cue (Shaindlin) – Huck rides camel, camel falls to ground.
3:14 - TC-432 HOLLY DAY (Loose-Seely) – Huck on camel on ground, road map, Pierre with rifle scene.
4:12 - LAF-72-2 (or LAF-2-9) RODEO DAY (Shaindlin) – Huck lifted by by rifle barrel, crashes into wall, cannon fires, Pierre smoulders.
5:12 - L-1154 ANIMATION COMEDY (Moore) – “There is someone home…”, Pierre flung from palm tree.
5:20 - LAF-2-12 ON THE RUN (Shaindlin) – Pierre flies through air into wall.
5:28 - no music – “Missed.”
5:30 - ZR-48 FAST MOVEMENT (Hormel) – Battering ram scene.
6:08 - L-75 La MARSEILLAISE (Moore) – Huck/Commander scene.
6:32 - LAF-65-7 seagoing medley (Shaindlin) – Huck on boat, “in the good old,”
6:40 - Clementine (Trad.) – “U.S. of A.”, Huck sings.
6:56 - LAF-7-12 FUN ON ICE (Shaindlin) – Two notes and cymbal at end of cartoon.
6:58 - Huckleberry Hound Sub End Title theme (Curtin).

Thursday, 31 January 2013

The Art of Art

One of the mysteries of the credits on the early Hanna-Barbera cartoons appears to have been solved.

About a year ago, we cobbled together some information about Art Goble, the former M-G-M ink and paint supervisor who is credited with “titles” at Hanna-Barbera under his real name, Lawrence. A few ex-Hanna-Barbera employees have said that Bick Bickenbach drew the title card art, leaving us to guess that maybe Art handled the calligraphy. But reader Wayne Bryan has found an indication of at least one job Art had at the studio. He sent this layout Flintstones layout drawing with a notation for Art on it.



Here’s another one.



It would appear Art Goble was assigned the task of putting the stone-engraved style lettering on background objects in The Flintstones cartoons, at least in the early seasons.

The second layout drawing is from the second-season cartoon “Fred Strikes Out.” I can’t tell you much about the cartoon, other than you can spot some of George Nicholas’ animation at the beginning. The first layout drawing is from “The Girls’ Night Out” from the first season. Some of, if not all, the layouts are by Walt Clinton. Here are some other scenes from that cartoon with Art’s lettering. I won’t venture a guess about who did the backgrounds. Simple but with a little style.



Wayne also sent a link to a copy of Hanna-Barbera’s Exposure Sheet newsletter from (I think) March 1968.

Something about “The Girls’ Night Out” and other cartoons like it bothered me as a kid. It was all too obvious, even as a child, that Alan Reed wasn’t the singing voice of Fred Flintstone in it (as far as I know, it’s Duke Mitchell). I could handle Fred being able to sing, but it was a bit of a stretch to accept that the singing Fred didn’t sound anything like the talking Fred. You wouldn’t suddenly have Fred talking like, say, Hal Smith, for part of the cartoon, so why would he be singing like someone else?