Monthly Archives: December 2006

This article by George Packer is difficult to summarize. It's about a gentleman named David Kilcullen who has an intriguing view of how the Iraq War could and perhaps should be handled.

Tributes to Joe Barbera continue to pop up everywhere. I've done a batch of press interviews this evening, including one for BBC Radio. Jerry Beck and Amid Amidi have some wonderful memories up on their fine blog, Cartoon Brew.

But so far, the best one I've heard of was just related to me in an e-mail from Tim Powers. Over at the Television Academy building in North Hollywood, there's a wall sculpture of Hanna and Barbera. I reported on the unveiling ceremony here. And Tim informs me that people have been going there and leaving candles in front of it…a very nice thought indeed.

Just watched the first episode of Identity, the new NBC game show hosted by Penn Jillette. It's a cute idea — match ten strangers to ten occupations — but not one I can see myself or America sticking with for very long. I'm also getting weary of the repetitive theatrics of these shows…similar sets, similar music, pointless "suspense" pauses before revealing each answer, etc. Penn made his reputation turning the clichés of magic on their derrieres and bringing a modern, sometimes daring approach to a performing art that was getting stale…and here he is, hosting a program that stays firmly on safe, well-trodden ground. Yeah, I know he's just a hired hand — but his presence there only accentuates the problem. Even Penn couldn't bring a fresh approach to this kind of show.

Four more shows air this week, one per night. A teaser during tonight's telecast showed a quick shot of Stan Lee, who is apparently one of the guessable strangers on one episode, his "identity" being "Creator of Spider-Man." Sunday night/Monday morning, GSN reran an episode of To Tell the Truth from 1970 in which much of the panel failed to guess which of three men was Stan Lee. I've known Stan since around that time and it still took me until my third guess.

Well, I'd hoped to get a few more days in our Joe Barbera Tribute before the man left us. But given the reports of his condition the last week or three, it's not surprising and of course, it's better that these things end sooner than later, for the family if not for the deceased.

There will be obits galore (like this one) with the details of his amazing life. I thought I might be able to offer a few personal glimpses and observations. The first time I met Joe Barbera, I had been hired by his studio to write a live-action situation comedy pilot that had nothing to do with animation or cartoons or anything you think of when you hear the name, "Hanna-Barbera." Mr. B. walked into the room looking beleaguered and weary, flopped into a chair and announced, "God, I have so many things to do today. My wife wants me to stop on the way home and look at new carpeting, I think I may need some dental work, my secretary is out sick, we just bought Marineland, I lost one of my credit cards…"

I'm sure I looked startled. "Just bought Marineland?" But that's what the man said. The corporation that then owned H-B had purchased the famed amusement park and was counting on the entertainment wizardry of Joe Barbera to turn a failing operation into a going concern. That almost made sense. What amazed me was how he just lumped it in with picking out carpet samples and other things that were on his mind.

And then, before we could get to the project at hand, he launched into a ten minute explanation of why Marineland was losing money. It had to do with crowds only coming on the weekends…but the place had to be kept open and fully-staffed seven days a week, 365 days a year. Apparently, if you want the seals to do six shows on Saturday, the seals need to do six shows every day. So on a rainy Christmas with no one in the place, someone had to go out and put the seals through six shows to an empty house, and that meant security guards had to be there and electricians and there were other costs that ate up the weekend profits.

The problems as he described them seemed insurmountable — and indeed, "Hanna-Barbera's Marineland" would be a disaster — but that day, I was dazzled by the discussion. He seemed so "on top" of the dilemma and yet, it was in a very human, humble way. Overall, he was so sharp and so engaging and (dare I say it?) so animated that you could instantly see why this man had his name on the outside of the building.

Finally in that first meeting, Mr. B. turned his attention to our show…and I should explain about that nickname. Joe always wanted everyone to call him Joe, just as his longtime partner Bill Hanna told everyone to call him Bill. When I worked there, I felt a bit awkward addressing Mr. Hanna as Bill and even less comfy turning to Mr. Barbera and saying, "Well, Joe…" I think most of us had this problem to some extent…at least, those of us who grew up on Huckleberry Hound and The Flintstones and Top Cat and other seminal Hanna-Barbera programming. It wasn't just that these men were such towering presences in the animation business. It was that they were such a part of our lives, our childhoods…in some cases, the reasons we got into cartoons or creative arts. Which was why a lot of us called him "Mr. B." It was friendly and casual but it didn't bring him down wholly to our level. That was not where we wanted him.

He and Bill were the guys who, once upon a time, had saved the animation industry. Perhaps if they hadn't, someone else would have…but they were the ones who did it. They'd made all those wonderful, Oscar-winning Tom & Jerry cartoons for seventeen years for MGM and then, one day, the studio was closing. All the studios that did that kind of thing were closing and Bill and Joe were, like many talented folks who wanted to work in animation, without a place to do that. Others had done cartoons for TV before them but they were the guys who showed everyone how it could be done as they built a dynasty in that new venue. At first, it was founded on the likes of Huckleberry Hound and Yogi Bear and The Flintstones — very good shows, I thought. A whole generation of kids loved them and many of us were inspired to want to write or draw, if not for Hanna-Barbera then for someone.

Later, especially after the studio was sold to corporate overlords, Bill and Joe seemed to put profit over pride in craft…but from their point of view, I'm sure it didn't feel that way. Mr. B. sometimes admitted that his legacy included an awful lot of dreadful shows and cut corners, though he defended some (not all) as being as good as network and financial circumstances permitted. More important though was that they kept the doors open, kept the operation operating, kept everyone — including Bill and Joe — working. They were both tireless workers who rarely took a day off, and who never retired. The last day that his health allowed it, Barbera was trying to get another cartoon made. Same with Hanna.

Unfortunately for me, I worked at Hanna-Barbera during a period when Mr. B. was not happy with much of their product and often felt shackled by all the restrictions. Still, just as he was excited at the prospect of rebuilding Marineland, he never seemed to lose his optimism that the next show could be better, that the idea they'd just sold ABC could be the next Scooby Doo. And of course, there was enormous pride in employing so many people who needed a paycheck and wanted to earn it by helping create cartoons. No overview of his life and times would be complete without noting the thousands of writers and artists who might have had to go work at Home Depot had it not been for Hanna and Barbera.

On a personal basis, Joe Barbera was a delight. He was charming and funny and in all the years I was around him, I never saw him lose his enthusiasm for the next series, the next project, the next challenge. The way he and Hanna divvied up the operation, Joe was in charge of selling the shows, Bill was in charge of the details of production. It worked well because Mr. B. was a fabulous salesman. He had good ideas and bad ideas but when he pitched them, they all sounded great.

One day, Barbera was in a network meeting proposing idea after idea for specials, tossing out jokes and concepts and ideas with machine-gun precision. Finally, as the hour grew late, the network guy said, "Okay, we'll buy two hours," and Barbera quickly left. That's how you sell. When they say yes, you get the hell out before they have time to think it over and take it back. So J.B. got the hell out and an hour or two later, the guys from the network called over to H-B and said, "Uh, this is embarrassing and we are going to honor the commitment…but there were so many ideas flying around that room. Just what was it we agreed to buy?" And of course, the punch line was that Barbera wasn't sure, either.

I believe that to be true because I worked with Joe Barbera. Anyone who did would believe it.

As I said, I grew up on the initial product of the H-B empire. When I was hired for the aforementioned live-action show, I had the feeling I'd come in through the wrong door. I wanted to work there but Mr. B. had the belief that "live-action writers" couldn't write animation and since he'd met me as a live-action writer, that's what I was to him. I dazzled him with my knowledge of their early shows and showed him Hanna-Barbera comic books I'd written…but still, I was a live-action writer. I had to go write animation for other studios before he'd consider me to write cartoons for his.

That's how I got in. How I got out was that one day, he and I were debating some silly story point on a new, planned Yogi Bear series. I was right and he was wrong but he was still Joe Barbera. Even when he or his company did me wrong, which they occasionally did and not just to me, he was still Joe Barbera and I liked him so much. I had other offers at the time and I suddenly, right in the middle of our meeting, decided that I should go take one of them; that if I argued much more with Mr. B., right or wrong, something would change for me in how I viewed him and his studio. On the spot, I decided it was better to leave while I was still in love. I've never regretted anything about that decision other than that I didn't make it one show earlier.

It was smart because every time I saw J.B. after that, we were friends and my affection for him and his studio was undiminished. The last few encounters though, were bittersweet. Well into his eighties, he looked sixty and performed with the energy of a man of forty. Then one day not long before Hanna passed, Barbera was suddenly acting his age, whatever it was. The official bios say he was born in 1911 but some animation scholars say it was earlier than that. However old he was, you could tell the mind was as alert as ever but things just weren't connecting as before. Paul Dini and I went to lunch with him and J.B. told us, almost by rote, an anecdote right after we ordered and the exact same anecdote once again just before dessert. Paul and I exchanged uncomfortable glances. Mr. Barbera was on Autoplay, no longer thinking clearly but still determined to be entertaining and to not disappoint his audience.

The twice-told tale was about how they'd sold The Flintstones, arguably their best show and the one that established the studio as the top animation company of its day. He related some of the obstacles they'd faced, including sponsors who questioned whether anyone over the age of twelve would ever watch cartoons. And even if it was all from primal memory, he spoke with great satisfaction of how the whole crew — he made a point of spreading the credit around widely — had triumphed over all the skepticism. They'd not only created a show that was popular then but popular still. They'll be watching The Flintstones when The Jetsons is a period piece.

After the replay of the anecdote, we got to talking about the little side comments that were made by the animals in the show — a bird that functioned as Fred's record player or a monkey that did the dishes for Wilma. Everyone around the table recounted a favorite they recalled and suddenly, Mr. B. started inventing new ones, suggesting animal-based inventions that could be in the next Flintstones cartoon, whenever that occurred. It was a momentary flash of the real Joe Barbera, the creative guy, the man who'd helped launch so many great shows that you could forgive him the non-great ones. He came up with one gag, apparently on the spot, that was so funny that our table burst into laughter that startled other diners. It caused someone in our party to say, "I wish you were producing a new Flintstones show right now."

Mr. Barbera sighed and said, "I wish I was doing a lot of things I used to do." I wish he was still with us, still doing a lot of the things he used to do, too. But wherever he is now, I bet he just sold three shows and a special.

Here's a story about Joe Barbera, followed by an old Kellogg's cereal commercial.

In the mid-seventies, CBS commissioned Hanna-Barbera to do a pilot for a series that, if accepted, would run Monday-Friday early in the morning. At the time, that's when they aired Captain Kangaroo…but the good Captain was holding out for higher pay and the network would need a new show for that slot if they couldn't come to terms. If nothing else, they thought, the fact that they were making a pilot might frighten Bob Keeshan, who owned and played C.K., and cause him to temper his demands.

So Joe Barbera supervised this pilot…and it came out rather well, despite the fact that it was produced for little more than pocket change. A guy in a Yogi Bear costume played a part in it, and there wasn't enough money in the budget to pay to have Daws Butler come in and record two Yogi lines that were called for in the script. So Mr. Barbera, for just the two lines, did the voice of Yogi Bear. He did a pretty good imitation of Daws.

J.B. was proud of the finished product and confident that once the CBS execs saw it, they'd close down the Treasure House, retire Mr. Greenjeans and mount Mr. Moose's head on their wall. Instead of just showing them the finished product, he arranged a small party in a fancy conference room at the facility where the editing was done. He had his favorite restaurant of the moment, the Villa Capri, send over a bartender and a sumptious supper buffet for about ten people. What Barbera was thinking was that he'd wine them and dine them, and then he'd run the pilot for them and they'd be so happy and/or drunk by then, they'd buy it. Not a bad idea but it didn't work out that way.

No one from CBS ever showed. Ten minutes after the scheduled arrival time, someone phoned to say that the network and Bob Keeshan had come to terms…so there was no available time slot for the new series and no rush to view the pilot. The execs there were busy so instead of trekking over to Burbank for Mr. B's little party, they wanted him to just send over the tape. They'd watch it — or not — when things were a bit less hectic.

Barbera told the bartender and the catering folks to go home. Then he called upstairs to an editing room where I was working. I had not worked on the pilot that had just met a probable demise. I was there laboring over another Hanna-Barbera pilot which would eventually meet a similar fate. Its producer and I were in the middle of an editing session when Joe phoned and asked me to please come down to the conference room. When I got there, he told me his pilot had just been shot down without anyone seeing it, and that he needed my help. "You want me to help you on a rewrite?" I asked.

He said, "No, I want you to help me on this dinner." He began loading a plate for me with pasta and veal from the spread. "We're going to eat as much of this as we can, you and me. And then we'll pack up what's left and you can take it home, stick it in your freezer for a few months and then throw it out when it gets too old." I guess I had a sad look on my face because he added, "Don't be down. This is a celebration!"

"A celebration? Your pilot didn't sell," I reminded him. "Just what is it you're celebrating?"

Joe picked up a bottle of wine, took a long swig and replied, "I'm celebrating that I'm not going to have to go around for the rest of my life with people pointing at me and saying, 'That's the man who got them to cancel Captain Kangaroo!' Here — have a canneloni."

That's today's Joe Barbera story. Now, here's Yogi Bear (with his real voice, the voice of Daws Butler) selling cereal…

When did Colin Powell become one of those raving left-wing commie loony Surrender Monkeys who hates America and wants to see our troops all die?

Lawrence O'Donnell on the Iraq Study Group report. Briefly, he believes that we're going to have to surrender in Iraq and that the report was a decent plan to do that without calling it "surrender." Critics like Rush Limbaugh, he says, are spoiling that option by identifying it as surrender.

The L.A. Times runs a nice obit on Chris Hayward, the comedy/animation writer who passed away almost a month ago. (Here's a link to what I posted then.)

Our video links here the next few days will be a tribute to Joe Barbera, and I'll try to tell you a few stories about this extraordinary man and perhaps explain what his work has meant to me. We kick off with the original opening to my first favorite cartoon show, Huckleberry Hound, which debuted in October of 1958. It was the second Hanna-Barbera series, following hot on the heels of Ruff & Reddy, which I liked but not as much as I liked Huckleberry Hound. Kellogg's funded this show and the opening titles featured the rooster from the Kellogg's Corn Flakes box dancing around a circus arena. Later, this opening was remade with Huck himself going through the same motions, and that's the one most of you probably recall.

The Huck Hound show featured clever scripts, wonderful voice work by Daws Butler and Don Messick, and resourceful animation…which is a way to saying that a lot of things didn't move very much on the screen but you hardly noticed. This footage was shot in color but I kind of like watching it here in black-and-white because that's the way I originally viewed it on the TV in my parents' living room. It ran Tuesday evenings at 7 PM on KTTV, Channel 11 in Los Angeles and I could hardly wait from one week to the next.

Shortly after the show debuted, my mother took me back East for a trip to New York and Hartford to see a little of America and to meet some of my relatives. I was reluctant to go because they might not have Huckleberry Hound back there and I couldn't miss an episode now, could I? My father, eager to please, phoned his brother Seymour in New York and his brother Irving in Connecticut and had them check their local TV Guides. Only when I was assured they had Huckleberry Hound in those remote locales did I consent to get on the plane.

After several days in Manhattan — where I watched Huck and his friends on the TV in our room at the Taft Hotel on Seventh Avenue at Fiftieth — we were going to take a train to Hartford. In a little newsstand in a snack bar in Penn Station, I found a comic book rack and on it was the first Huckleberry Hound comic book from Dell. This was a wonderful thing, of course, and it was promptly purchased and read over and over and over. It had superb art by a man I would later (much later) learn was named Harvey Eisenberg and it had stories adapted from episodes I had recently seen on TV. It was Heaven but I was worried: Was this something they only had in New York? And if it was, how could I get my parents to move there before I missed another issue? Happily, it turned out that no relocation was necessary. When we got back to Los Angeles, they had Huckleberry Hound comic books there, too.

So here's the opening to Huck's show. I love this bit of animation and every bit of the tune except for the part where they pretend "get yourselves all set" rhymes with "TV set." It bothered me when I was six, too. When I sang the song, I changed it to "It's a certain bet / You'll watch your TV set…" and I wondered why if I could think of that at my age, the guy who wrote the song couldn't. Twenty-some-odd years later when I worked for him, I asked Mr. Barbera about it. He laughed and said, "Bill wrote that line. Go upstairs and tell him we have to go back and fix it." I never did that but I should have.

Frederick W. Kagan makes the case that victory is still possible in Iraq. I'm a little fuzzy on the current definition of what will constitute "victory" in Iraq and I get the feeling I'm not alone. In any case, that article may tell us what the White House has in mind.

We recently plugged one of the new Superman movie DVDs from Warner Home Video. Adrian Hickman informs me that some of the discs that have been issued have flaws and that the company is making replacement discs available. I won't pretend to have all the details but if you read this post and this one over at the Digital Bits website, you should have all the info. Don't thank me. Thank Adrian.

I have in the past linked to several of the Private Snafu cartoons produced for the U.S. Army during World War II, primarily by the same folks making the Warner Brothers cartoons. Less well known is that that studio (Leon Schlesinger's company) also did a few shorts in a series for the U.S. Navy. It featured a a sailor named Mr. Hook and his voice was supplied by Arthur Lake, who was then appearing on-screen and on radio as Dagwood Bumstead in the Blondie series. Very little is known about the Hook series other than that Hank Ketcham, who later created the Dennis the Menace newspaper strip, was among the writers.

There were three or four Hook cartoons made. This one is called Tokyo Woes and it reportedly was directed by Bob Clampett, though I don't see a lot of his style evident in it. Apart from Hook, all the male voices are Mel Blanc, including the cameo of the Sad Sack character that Mel was then performing on radio. The female voice appears to be that of Sara Berner.

I guess I should warn you before you click that this is an extremely racist, Japanese-hating cartoon. Okay, you've been warned. Go ahead and click.

I am deeply honored to have been named "Person of the Year" by Time Magazine. They couldn't have made a better choice.

A Charlie Brown Christmas airs again on Sunday evening. Here's a pretty good article about its making, including chats with Lee Mendelson and Bill Melendez.

Here are a few messages that seem like they oughta be up here. This first one is from Daniel Klos…

I'm sure others have already written in to tell you this, but just in case they haven't, the new 14-disc Superman Ultimate DVD Collection that came out last month from Warner Bros. has all 17 Fleischer cartoons on it, completely restored. I've bought many, many versions of these cartoons over the years on DVD and VHS trying to get the cleanest, most pristine prints I could find, but the ones on this DVD set are the best I have seen hands down. (Also the best I've heard. Several collections have tried to update these things with upgraded sound effects and the results were less than desired)

No one else wrote to tell me that so I'm glad you did. If someone wants to order that set, here's an Amazon link. Meanwhile, Dan O'Shannon sent me a message devoid of capital letters…

a little while ago, you posted a betty boop cartoon in which she impersonates maurice chevalier, and you posited that doing chevalier was mandatory for all performers at paramount (just ask the marx brothers). i smiled at the thought, but woke up today with a chilling realization: you may be right. check out jerry lewis in "the stooge" (paramount, 1952). it's the scene where dean's too drunk to go on stage so jerry goes up by himself. sure enough: chevalier. i'm beginning to think that there are more chevalier impersonations on film than there is actual film of chevalier.

I once had an interesting discussion with an impressionist friend about stars he called "gimme impressions." These were people who had one or two traits so distinctive that if you could approximate them — fairly easy to do — then onlookers would recognize who you were doing and it really didn't matter if the impression was any good at all. I've seen/heard people do Groucho with no attempt to approximate his voice or rhythms. The "impression" is just to hunch over, pantomime a cigar and maybe try to move one's eyebrows up and down. I suspect Chevalier would fall into the same category: You stick out your lower lip, mime a straw hat and attempt any sort of French accent and…voila! Chevalier! That's probably why he was so mimicked…but it does seem to also have been some sort of Paramount Pictures corporate policy.

This last one's from Bart Lidofsky…

I have deja vu about this, but, just in case: I used to have a talent (well, a skill, since it required actually using it to keep it up). I would be able to see about 10-15 minutes of a movie, and I could figure out the year it was made, plus or minus one year. There were many things I looked at for clues. Period pieces, of course, were harder (the only movie that I can recall getting really wrong was when I first saw Privilege; it was so dead on with a lot of its predictions, including style, that I thought it was made in 1972 or 1973 instead of 1967).

Which brings me to my point. For pretty much all other movies, one major clue to movies made before 1969 or after 1971 was the attitude the movie showed towards its female characters. It is difficult for those who were not news/media aware during those years (and I am certain that I am merely jogging your memory rather than informing you) how radically societal attitudes towards women were altered during that short period of time. I've since done more research, but the short version is that attitudes that were formed over thousands of years for very good and logical reasons became obsolete starting with the Industrial Revolution (and one can trace the codifying of a lot of laws in the West locking women's positions in society to technological advances which removed physical necessities for this). However, the inflation of the mid-late 60's, making two-income families more of a requirement than a luxury for the middle class, brought home that many of the attitudes in our society towards women made no sense when measured against reality.

That Girl is a wonderful example of this; as a show about a single woman during the time that the attitudes were beginning to change, it reflected some of those changes, as the series went on (I Dream of Jeannie did similar things, but the basis of the show made the changes much more uncomfortable for the comedy). Both shows ended by the time that the change had been more or less set into society; it was no coincidence.

One of the first people I worked with in the TV business was a delightful gent named Jerry Davis who, among his many other credits, produced That Girl. He used to say that two things made that show work. One was Marlo Thomas because everyone at ABC was convinced Marlo Thomas could be a star and so they pushed the series in every way possible. The other was the timing. Two years earlier, it would never have gone. But then one day, someone at a major ad agency wrote a memo that said that the thing America was yearning to see, and wasn't yet getting on their teevees, was "young women controlling their own lives." It wasn't a matter of the characters being powerful — obviously, Samantha on Bewitched (which Jerry had produced before That Girl) and Jeannie on I Dream of Jeannie were powerful…but they functioned in relation to a male. Jeannie just wanted to serve her master, Tony. Samantha just wanted to have a "normal" marriage with her mate, Darren.

The key to That Girl was that Marlo's character didn't want to just marry Donald. She didn't rule that out but there were other things that mattered to her. Every network around that time did a couple of pilots that aspired to depict women controlling their lives but, according to Jerry, the other ones all chickened out and in some way made the female an appendage of a male. She was making decisions with "him" keeping an eye on her.

I don't think the old That Girl episodes hold up all that well. There are some wonderful comedy bits and performers in them but we've evolved so far beyond that era and its view of women. You're right though that it was a great marker of its time.

Before I forget: Those of you interested in the music changes made on reruns of WKRP in Cincinnati can find out everything you want to know on this page. Thanks to John Schrank for the link.