Colegiul National Elena Ghiba Birta Arad

LUCRARE PENTRU OBTINEREA ATESTATULUI DE COMPETENTA

LINGVISTICA LA LIMBA ENGLEZA

HANNA-BARBERA

Candidat: Profesor coordinator:

PACURAR EMANUELA ALEXANDRA SOIU

2009
 TABLE OF CONTENTS

1. Introduction3
2. History...........................4
2.1. The beginnings of Hanna-Barbera...5
2.2. Television cartoons......................6
2.3. Quality controversy..8
2.4. The slow rise and fall....8
2.5. The Turner rebound.10
2.6. The Cartoon Network Studios era...11
3. The Hanna-Barbera sound effects.12
4. List of notable Hanna-Barbera productions..14
5. Hanna-Barbera studio............................17
5.1. The Flinstones.....20
5.2. Tom and Jerry..22
5.3. Top cat.....24
5.4. Spike and Tyke.............................25
5.5. The Jetsons............................27
5.6. Yogi Bear.............................28
5.7. Scooby-Doo......30
5.8. The Addams family..31
5.9. The justice league of America..33
5.10. Ruff and Reddy............................35
5.12. Huckleberry Hound.....36
6.Precis38
7.Bibliography39

2
 Introduction

Ever since I was a child I loved cartoons.Every child at the age of eight years old loves to watch
cartoons and enjoys it very much.
First of all,I chose this subject because I think that cartoons are a very important part of each and every
person`s childhood.Watching cartoons,a child`s mind, vocabulary and imagination are developing very
quickly.It is also a way of entertaining themselves when friends are not around to play.
I have to confess that,even though I dont watch television much these days, as a kid I adored the cartoons of
Hanna-Barbera. They were always colorful and fun, and I have many happy memories of early weekend
mornings in front of the television before rushing off to play for the day. These cartoons are not full of
skimpily clad girls with attitudes that would make an adult blush (as so many are today) - they are from the
good old days of innocent entertainment. This broad selection covers some of my favorites, and definitely the
top of the pick. I hope this information is as fun as a trip down memory lane for you all as it was for me.
Secondly,William Hanna and Joseph Barbera produced many successful cartoon shows , including The
Huckleberry Hound Show, The Flintstones, Top Cat, Tom and Jerry and others,which are very famous.Their
originality and ideas had been spread all over the world and they also won several Emmy awards .They had
their moments of glory but also not so successful moments.As we can see,their work is still recognized all
over the world and not only by the little ones but also the old ones are watching and enjoying Hanna-
Barbera`s cartoons. Browse through these pages and you will see some of their legacy- it is almost amazing
two people could create so many cartoon characters! See who else worked on these shows, see pictures of the
cartoon title cards and remember your those times when you used to watch so delighted to Hanna-Barneras`
cartoons.
Finally,I think that Hanna-Barbera productions is worth to be seen,to know more about their lives,to know
their history and their television cartoons,also let`s not forget that is worth to be seen their original and
inteligent creation.

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 HISTORY

Hanna-Barbera founders Bill Hanna (left) and Joe Barbera pose with several of the Emmy awards the Hanna-
Barbera studio has won.

Hanna-Barbera Productions, Inc. (also called Hanna-Barbera Cartoons, Inc., and Hanna-Barbera
Enterprises, Inc.), was an American animation studio that dominated North American television animation
during the second half of the 20th century. The company was originally formed in 1944 by MGM animation
directors William Hanna and Joseph Barbera and live-action director George Sidney as Hanna-Barbera
Enterprises in order to produce sponsored films and later television commercials.After MGM shut down its
animation studio in 1957, Hanna-Barbera Enterprises became Hanna and Barbera's full-time job, and the
company was re-named Hanna-Barbera Productions in 1960. Over the next three decades, Hanna-Barbera
Productions produced many successful cartoon shows, including The Huckleberry Hound Show, The
Flintstones, Top Cat, Tom and Jerry, The Yogi Bear Show, The Jetsons, Jonny Quest, Scooby-Doo, The
Smurfs, and Wacky Races. In the mid-1980s, the company's fortunes declined somewhat after the profitability
of Saturday morning cartoons were eclipsed by weekday afternoon syndication.In 1991, the company was
purchased by Turner Broadcasting System. Joe Barbera and Bill Hanna both went into semi-retirement, yet
continued to serve as ceremonial figureheads for the studio. During the late 1990s, Turner turned Hanna-
Barbera towards primarily producing new material for its Cartoon Network, which had been built around
reruns from the Hanna-Barbera library. In 1994, the company was renamed Hanna-Barbera Cartoons.In
1996, TBS owner Ted Turner was bought out by Time Warner. With Bill Hanna's death in 2001, Hanna-
Barbera was absorbed into Warner Bros. Animation, and Cartoon Network Studios assumed production of
Cartoon Network output. Joe Barbera remained with Warner Bros. Animation until his death in 2006.The
Hanna-Barbera name is today used only to market properties and productions associated with Hanna-
Barbera's "classic" works such as The Flintstones and Scooby-Doo.

4
The beginnings of Hanna-Barbera

Melrose, New Mexico native William Hanna and New York City-born Joseph Barbera first teamed together
while working at the Metro-Goldwyn-Mayer cartoon studio in 1939. Their first directorial project was a
cartoon entitled Puss Gets the Boot (1940), which served as the genesis of the popular Tom and Jerry cartoon
series. Hanna and Barbera served as the directors and story men for the Tom and Jerry cartoons for seventeen
years, winning seven Academy Awards for Best Short Subject (Cartoons) between 1943 and 1953 for their
work.Hanna, Barbera, and MGM live-action director George Sidney formed H-B Enterprises in 1944 while
continuing working for MGM, and used the side company to work on ancillary projects, including early
television commercials and the original opening titles to the popular 1950s television series I Love Lucy.

MGM closed their animation studio in 1957, as it felt it had acquired a reasonable backlog of shorts for re-
release. Hanna and Barbera hired most of their MGM unit to work for H-B Enterprises, which became a full-
fledged production company at this time. The decision was made to specialize in television animation. In
order to obtain working capital to produce their cartoons, H-B made a deal with the Screen Gems television
division of Columbia Pictures in which the new animation studio received working capital in exchange for
distribution rights. H-B's first TV series was The Ruff & Reddy Show, which premiered on NBC in December
1957.In 1958, H-B had their first big success with The Huckleberry Hound Show, a syndicated series aired in
most markets just before primetime. The program was a ratings success, and introduced a new crop of cartoon
stars to audiences, in particular Huckleberry Hound and Yogi Bear. The Huckleberry Hound Show won the
1960 Emmy Award for Outstanding Achievement in the Field of Children's Programming.By 1959, H-B
Enterprises was reincorporated as Hanna-Barbera Productions, and was slowly becoming a leader in
television animation production. After introducing a second syndicated series, Quick Draw McGraw, in 1959,
Hanna-Barbera migrated into network primetime production with the animated ABC sitcom The Flintstones
in 1960. Loosely based upon the popular live-action sitcom The Honeymooners yet set in a fictionalized stone
age of cavemen and dinosaurs, The Flintstones ran for six seasons in prime time on ABC, becoming a ratings
and merchandising success.

Hanna-Barbera never had a building of its own until 1963, when the Hanna-Barbera Studio, located at 3400
Cahuenga Blvd. in Studio City, California, was opened. This California contemporary office building was
designed by architect Arthur Froehlich, its ultra-modern design included a sculpted latticework exterior, moat,
fountains, and after later additions, a Jetsons-like tower. The Columbia/Hanna-Barbera partnership lasted until
1967, when Hanna and Barbera sold the studio to Taft Broadcasting while retaining their positions there.

5
Television cartoons

This is the former Hanna-Barbera building at 3400 Cahuenga Blvd. in Studio City, California, seen in a 2007
photograph.
Hanna-Barbera was one of the first animation studios to successfully produce cartoons especially for
television. Until then, cartoons on television consisted primarily of rebroadcasts of theatrical cartoons. During
the early and mid-1960s, the studio debuted several new successful programs, among them prime time ABC
series such as Top Cat (1961-62), The Jetsons (1962-63), and Jonny Quest (1964-65). New series produced
for syndication and Saturday mornings included The Yogi Bear Show (a syndicated spinoff from Huckleberry
Hound, 1961-63), The Hanna-Barbera New Cartoon Series featuring Wally Gator (syndicated, 1962-63), The
Magilla Gorilla Show (syndicated, 1964-67), and The Atom Ant/Secret Squirrel Show (NBC, 1965-67).
Hanna-Barbera also produced several television commercials, often starring their own characters, and
animated the opening credits for the ABC sitcom Bewitched (the Bewitched characters would appear as guest
stars in an episode of The Flintstones).

The studio also produced a few theatrical projects for Columbia Pictures, including Loopy De Loop, a series
of theatrical cartoons shorts, and two feature film projects based on its television properties, Hey There, It's
Yogi Bear! (1964) and The Man Called Flintstone (1966).

Starting in 1965, Hanna-Barbera tried its hand at being a record label for a short time. Danny Hutton was
hired by Hanna-Barbera to become the head of Hanna Barbera Records or HBR from 1965-1966.[1] HBR
Records was distributed by Columbia Records, with artists such as Louis Prima, Five Americans, Scatman
Crothers, and The 13th Floor Elevators. Previously, children's records with Hanna-Barbera cartoon characters
were released by Colpix Records.

The Hanna-Barbera studio especially captured the market for Saturday morning cartoons. After the success of
The Atom Ant/Secret Squirrel Show in 1965, H-B debuted two new Saturday morning series the following
year: Space Ghost, which featured action-adventure, and Frankenstein, Jr. and The Impossibles, which

6
blended action-adventure with the earlier H-B humor style. A slew of H-B action cartoons followed in 1967,
among them Shazzan, Birdman and the Galaxy Trio, Moby Dick and the Mighty Mightor, Young Samson and
Goliath, The Herculoids and an adaptation of Marvel Comics' Fantastic Four. Between these programs and
others remaining on the air (reruns of The Flintstones, The Jetsons and Jonny Quest), Hanna-Barbera cartoons
aired on all three networks' Saturday morning lineups, and dominated CBS's and NBC's schedules in
particular.

While the action programs were notably popular and successful, pressure from parent-run organizations such
as Action for Children's Television forced the cancellation of all of them by 1969.In 1968, Hanna-Barbera
mixed live-action and animated comedy-action for its NBC anthology series, The Banana Splits Adventure
Hour, while the successful Wacky Races, aired on CBS, returned H-B to straight animated slapstick
humor.Hanna-Barbera's next runaway hit came in 1969 with Scooby-Doo, Where Are You!, a program which
blended elements of the H-B comedy series, the action series, and rival Filmation's then-current hit program
The Archie Show. Scooby-Doo centered on four teenagers and a dog solving mysteries, and was popular
enough to remain on the air and in production until 1986. A cavalcade of H-B Saturday morning cartoons
featuring mystery-solving/crime-fighting teenagers with comic pets soon followed, among them Josie and the
Pussycats (1970-72), The Funky Phantom (1971-72), Speed Buggy (1973-74), Clue Club (1976-78) and
Jabberjaw (1976-77). By 1977, Scooby-Doo was the centerpiece of a two-hour program block on ABC titled
Scooby's All-Star Laff-a-Lympics, which also included Dynomutt, Dog Wonder, Captain Caveman and the
Teen Angels, and Laff-a-Lympics.During the 1970s in particular, most American television animation was
produced by Hanna-Barbera. The only competition came from Filmation, DePatie-Freleng Enterprises and
Ruby-Spears, as well as occasional prime-time animated "specials" from DePatie-Freleng, Rankin-Bass,
Chuck Jones and Lee Mendelson-Bill Melndez's adaptations of Peanuts. Besides Scooby-Doo and the
programs derived from it, Hanna-Barbera also found success with new programs such as Harlem
Globetrotters and Hong Kong Phooey. The syndicated Wait Till Your Father Gets Home, which debuted in
1972, returned Hanna-Barbera to adult-oriented comedy, although Wait Till Your Father Gets Home was more
provocative than The Flintstones or The Jetsons had been. The studio revisited its 1960s stars with Flintstones
spin-offs such as The Pebbles and Bamm-Bamm Show and The Flintstone Comedy Hour. "All-star" shows
featuring Yogi Bear, Huckleberry Hound, and the other Hanna-Barbera funny animals included Yogi's Gang
and the Yogi's Space Race programming block. Hanna-Barbera also produced new shows starring older
cartoon favorites such as Popeye (The All-New Popeye Hour) and its founders' own Tom & Jerry (The New
Tom & Jerry/Grape Ape Show). Super Friends, a Hanna-Barbera produced adaptation of DC Comics' Justice
League of America comic book, remained on Saturday mornings from 1973 to 1986.

7
Quality controversy

Over three decades, Hanna-Barbera produced prime-time, weekday afternoon, and Saturday morning cartoons
for all three major networks in the United States, and for syndication. The small budgets television animation
producers had to work within prevented Hanna-Barbera, and most other producers of American television
animation, from working with the full theatrical-quality animation the duo had been known for at MGM.
Instead, Hanna-Barbera modified the concept of limited animation practiced and popularized by the United
Productions of America (UPA) studio. Character designs were simplified, and backgrounds and animation
cycles (walks, runs, etc.) were regularly re-purposed. Characters were often broken up into a handful of levels,
so that only the parts of the body that needed to be moved at a given time (i.e. a mouth, an arm, a head) would
be animated. The rest of the figure would remain on a held animation cel. This allowed a typical 10-minute
short to be done with only 1,200 drawings instead of the usual 26,000. Dialogue, music, and sound effects
were emphasized over action, leading Chuck Jones, a contemporary who worked for Hanna and Barbera's
rivals at Warner Bros. Cartoons when the duo was at MGM, to disparagingly refer to the limited TV cartoons
produced by Hanna-Barbera and others as "illustrated radio".

In a story published by The Saturday Evening Post in 1961, critics stated that Hanna-Barbera was taking on
more work than it could handle and was resorting to shortcuts only a television audience would tolerate. An
executive who worked for Walt Disney Productions said, "We don't even consider [them] competition."
Ironically, during the late 1950s and early 1960s, Hanna-Barbera was the only animation studio in Hollywood
that was actively hiring, and it picked up a number of Disney artists who were laid off during this period.

The studio's solution to the criticism over its quality was to go into features. The studio produced five
theatrical features, among them higher-quality versions of its TV cartoons (Hey There, It's Yogi Bear!, The
Man Called Flintstone, and Jetsons: The Movie in 1990) and adaptations of other material (Charlotte's Web in
1973 and Heidi's Song in 1982).

The slow rise and fall

In the 1980s, competing studios such as Filmation and Rankin/Bass began to introduce successful syndicated
cartoon series based upon popular toys and action figures. These included Filmation's He-Man and the
Masters of the Universe and She-Ra: Princess of Power and Rankin/Bass's Thundercats, Silverhawks and
Tigersharks. The Hanna-Barbera studio fell behind; for the most part they continued to produce for Saturday
mornings, although they no longer dominated the market as before. Hanna-Barbera also aligned themselves
with Ruby-Spears Productions, which was founded in 1977 by former H-B employees Joe Ruby and Ken

8
Spears. Hanna-Barbera's then-parent Taft Broadcasting purchased Ruby-Spears from Filmways in 1981, and
Ruby-Spears often paired their productions with Hanna-Barbera shows. Taft also bought Worldvision
Enterprises in 1979; this company became the syndication distributor for most of Hanna-Barbera's shows
throughout the 1980s.

Hanna-Barbera followed the lead of its competitors by introducing shows based on familiar licensed
properties like The Smurfs, The Snorks, Pac-Man, Shirt Tales, Happy Days, and GoBots, and also produced
several ABC Weekend Specials. One of their shows based on a licensed property, The Dukes, was co-produced
with eventual corporate sibling Warner Bros. Television, which produced the parent series The Dukes of
Hazzard. Some of their shows were produced at their Australian-based studio (a partnership with Australian
media company Southern Star Entertainment), including Drak Pack, Wildfire, The Berenstain Bears, Teen
Wolf, and almost all of the CBS Storybreak specials. The studio also worked on other projects with less fanfare
during the late 1980s and early 1990s, such as the direct-to-video series The Greatest Adventure: Stories from
the Bible.

After the success of CBS' hit 1984 Saturday morning cartoon series Muppet Babies, which featured toddler
versions of the popular Muppets characters, Hanna-Barbera began producing shows featuring "kid" versions
of popular characters, based upon both their own properties (The Flintstone Kids, A Pup Named Scooby-Doo)
and characters owned by others (Pink Panther and Sons, Popeye and Son).

In 1985, Hanna-Barbera launched The Funtastic World of Hanna-Barbera, a weekend-only program that
introduced new versions of old favorites like Yogi Bear, Jonny Quest, The Snorks, and Richie Rich alongside
brand new shows like Galtar and the Golden Lance, Paw Paws, Fantastic Max, and Midnight Patrol. The
following year, H-B started Hanna-Barbera Superstars 10, a series of 10 original telefilms based on their
popular stable of characters, including the popular crossover The Jetsons Meet the Flintstones.Throughout all
of this, both Hanna-Barbera and Ruby-Spears were subject to the financial troubles of parent company Taft
Broadcasting, which had just been acquired by the American Financial Corporation in 1987 and had its name
changed to Great American Broadcasting the following year. Along with much of the rest of the American
animation industry, Hanna-Barbera had gradually begun to move away from producing everything in-house in
the late 1970s and early 80's. Much of the Hanna-Barbera product was outsourced to studios in Australia,
Taiwan, the Philippines, and Japan, including Toei Animation, Wang Film Productions and Fil-Cartoon. In
1989, much of Hanna-Barbera's staff responded to a call from Warner Bros. to resurrect their animation
department. Producer Tom Ruegger and a number of his colleagues left the studio at this time, moving to
Warner Bros. to develop hit programs such as Tiny Toon Adventures and Animaniacs.

9
The Turner rebound

In 1990, burdened with debt, Great American put both Hanna-Barbera and Ruby-Spears up for sale. In 1991,
Hanna-Barbera and much of the original Ruby-Spears library were acquired by Turner Broadcasting.Turner's
President of Entertainment Scott Sassa hired Fred Seibert, a network television executive with no experience
in animation, to head the Hanna-Barbera studio. He immediately filled the gap left by the departure of most of
their creative crew during the Great American years with a new crop of animators, writers, and producers,
including Pat Ventura, Donovan Cook, Craig McCracken, Genndy Tartakovsky, Seth MacFarlane, David
Feiss, Van Partible, Stewart St. John, and Butch Hartman and new production head Buzz Potamkin. In 1992,
the studio was renamed H-B Productions Company, changing its name once again to Hanna-Barbera
Cartoons, Inc. a year later.In the early 1990s, Hanna-Barbera introduced new versions of earlier properties
such as Yo Yogi!, Tom and Jerry Kids, its spin-off Droopy: Master Detective. It also assumed production of
TBS's Captain Planet and the Planeteers in 1993, renaming it The New Adventures of Captain Planet. The
studio also introduced shows that were quite different from their previous releases, including Wake, Rattle,
and Roll, 2 Stupid Dogs, Swat Kats: The Radical Squadron, and The Pirates of Dark Water.

In 1992, Turner launched Cartoon Network, to showcase its huge library of animated programs, of which
Hanna-Barbera was the core contributor. As a result, many classic cartoons - especially those by H-B - were
introduced to a new audience. In 1994, The Funtastic World of Hanna-Barbera finally ended, so that Turner
could refocus H-B to produce new shows exclusively for the Turner-owned networks, especially Cartoon
Network.

In February 1995, Hanna-Barbera and Cartoon Network launched World Premiere Toons (a.k.a. What A
Cartoon!), a format designed by Seibert. The weekly program featured new creator-driven cartoon shorts
developed by its in-house staff. Several original Cartoon Network series emerged from the World Premiere
Toons project, the first of which was Genndy Tartakovsky's Dexter's Laboratory in 1996. Others programs
followed, including Johnny Bravo, Cow and Chicken, I Am Weasel and The Powerpuff Girls. Hanna-Barbera
also produced several new direct-to-video movies featuring Scooby-Doo (released by Warner Bros.) as well as
a new Jonny Quest series, The Real Adventures of Jonny Quest.After the merger between Turner Broadcasting
and Time Warner in 1996, the conglomerate had two separate animation studios in its possession. Though
under a common ownership, Hanna-Barbera and Warner Bros. Animation operated separately until 1998. That
year, the Hanna-Barbera building was closed and the studio was moved to the Warner Bros. Animation lot at
Sherman Oaks, Los Angeles, California.

10
The Cartoon Network Studios era

Around 1998, the Hanna-Barbera name began to disappear from the newer shows from the studio in favor of
the Cartoon Network Studios name. This came in handy with shows that were produced outside of Hanna-
Barbera, but Cartoon Network had a hand in producing, like a.k.a. Cartoon's Ed, Edd, and Eddy, Kino Films'
Mike, Lu and Og, Curious Pictures' Sheep in the Big City and Codename: Kids Next Door, Lucasfilm
Animation's Star Wars: Clone Wars, Renegade Animation's Hi Hi Puffy Amiyumi and Porchlight
Entertainment's The Secret Saturdays, as well as the shows the studio continued to produce, like The Grim
Adventures of Billy and Mandy, Samurai Jack, Megas XLR, Foster's Home for Imaginary Friends, Camp
Lazlo, The Life and Times of Juniper Lee, Ben 10, My Gym Partner's a Monkey, Squirrel Boy, Transformers
Animated, Chowder and The Marvelous Misadventures of Flapjack.

When William Hanna died on March 22, 2001, an era was over. Scooby-Doo and the Cyber Chase featured a
dedication to Hanna but the actual production was a Warner Bros. Animation production. After 2001, Hanna-
Barbera was completely absorbed into Warner Bros. Animation and further Cartoon Network projects were
handled by Cartoon Network Studios. Joseph Barbera continued to work for Warner Bros. Animation on
projects relating to Hanna-Barbera and Tom & Jerry properties until his death on December 18, 2006.[5]

Although the Hanna-Barbera name remains on the copyright notices of new productions based on "classic"
properties like the Flintstones, Scooby-Doo, and others, the studio that produces it is Warner Bros. Animation;
whereas most Cartoon Network series previously produced by Hanna-Barbera are copyrighted by the channel
itself.

11
 The Hanna-Barbera sound effects

Besides their cartoons and characters, Hanna-Barbera was also famous for their vast library of sound effects.
Besides cartoon-style sound effects (such as ricochets, slide whistles and more), they also had familiar sounds
used for transportation, household items, the elements, and more.

When Hanna and Barbera started their own cartoon studio in 1957, they created a handful of sound effects,
and had limited choices. They also took some sounds from the then-defunct MGM animation studios. By
1958, they began to expand and began adding more sound effects to their library. Besides creating a lot of
their own effects, they also collected sound effects from other movie and cartoon studios, such as Universal
Pictures, Warner Bros. Animation, and even Walt Disney Productions.

Some of their famous sound effects included a rapid bongo drum take used for when a character's feet were
scrambling before taking off, a "KaBONG" sound produced on a guitar for when Quick Draw McGraw, in his
Zorro-style "El Kabong" crimefighting guise, would smash a guitar over a villain's head, the sound of a car's
brake drum combined with a bulb horn for when Fred Flintstone would drop his bowling ball onto his foot, an
automobile's tires squealing with a "skipping" effect added for when someone would slide to a sudden stop, a
bass-drum-and-cymbal combination for when someone would fall down or smack into an object, a xylophone
being struck rapidly on the same note for a tip-toeing effect, and a violin being plucked with the tuning pegs
being raised to simulate something like pulling out a cat's whisker. The cartoons also used Castle Thunder, a
thunderclap sound effect that was commonly used in movies and TV shows from the 1940s to the 1970s.
Other common sounds such as Peeong (a bass guitar-sounding thud) and Bilp were used regularly in all of its
cartoons.

In the 1980s, Hanna-Barbera slowly began to cease using their trademark sound effects. This was especially
true with the action cartoons of the time such as Sky Commanders. By the 1990s, with cartoons such as Fish
Police, Swat Kats and the animated telefilm Arabian Nights, the sound effects were virtually nonexistent,
being replaced with newer, digitally-recorded sounds, as well as other cartoon sound effects such as the
Looney Tunes sound library. A few early 1990s cartoons continued to use the sound effects, such as Tom &
Jerry Kids and Gravedale High. By 1996, each cartoon from the company had its own set of sound effects,
including some selected from the classic H-B sound library, as well as some new ones and various sounds
from Disney and Warner Bros. cartoons. Several of the classic H-B sound effects still pop up from time to

12
time in Cartoon Network Studios' productions. However, on What's New, Scooby-Doo? and many of the
direct-to-video Scooby-Doo animated movies, the Hanna-Barbera sound effects are very rarely used.
Exceptions were two direct-to-video movies from 2002-2003, Scooby-Doo and the Legend of the Vampire and
Scooby-Doo and the Monster of Mexico, which extensively uses the H-B sound effects, along with remixes of
the original 1969 Scooby-Doo, Where Are You! background music and the original voice cast (sans the
departed Don Messick). This was soon quickly dropped. However, Shaggy & Scooby-Doo Get a Clue!
seemed to use the H-B sound effects more often than the previous series did.

However, since the 1960s, several other cartoon studios have used the sound effects, including, but not limited
to, Filmation, DePatie-Freleng Enterprises, DiC Entertainment, Film Roman, Spumco, Nickelodeon
Animation Studios and many others. By the 21st century, almost every animation studio was using the sound
effects. Nowadays, like Hanna-Barbera, they are used sparingly, while some cartoons like Warner Bros.
Animation's Krypto the Superdog and Spumco's Ren and Stimpy Adult Party Cartoon make heavy use of the
classic sound effects, mostly for a retro feel. Some Hanna-Barbera sounds show up in various sound libraries
such as Valentino and Audio Network. Hanna-Barbera Records (the studio's short-lived record division)
released a set of LP records in the late 1960s entitled Hanna-Barbera's Drop-Ins, which contained quite a few
of the classic sound effects. This LP set was only available for radio and TV stations and other production
studios. In 1986, H-B released a second sound effect record set; a seven-LP set entitled The Hanna-Barbera
Library of Sounds, which, like the previous set, contained most of the classic sound effects. Like the previous
set, this was only available to production companies and radio/TV stations. Then in 1993, the last President of
the studio, Fred Seibert recalled his early production experiences with early LP releases of the studio's effects
and commissioned Sound Ideas released a four-CD set entitled The Hanna-Barbera Sound FX Library,
featuring nearly all of the original H-B sound effects used from 1957 to 1990 (including the sounds H-B had
borrowed from other studios). The sound effects were digitally remastered, so they would fit easily on new
digital soundtracks. A fifth CD was added in 1996, entitled Hanna-Barbera Lost Treasures, and featured more
sound effects, including sounds from Space Ghost and The Impossibles. Also in 1994, Rhino Records released
a CD containing some of Hanna-Barbera's famous sound effects, titled simply as Hanna-Barbera Cartoon
Sound FX, and also included some answering-machine messages and birthday greetings and short stories
starring classic Hanna-Barbera characters, and was hosted by Fred Flintstone. In 1996, it was reissued with
the Hanna-Barbera's Pic-A-Nic Basket of Cartoon Classics CD set, which also contained three other CDs of
H-B TV theme songs and background music and songs from The Flintstones. Here, the CD was relabeled as
The Greatest Cartoon Sound Effects Ever.

13
 List of notable Hanna-Barbera productions

1950s 1980s

The Ruff & Reddy Show (19571960, NBC) The Richie Rich/Scooby and Scrappy-Doo
The Huckleberry Hound Show (19581962, Show (19801982, ABC)
Syndication) The Smurfs (19811990, NBC)
The Quick Draw McGraw Show (1959 Heidi's Song (1982, theatrical feature film)
1962, Syndication) The Pac-Man/Little Rascals/Richie Rich
Show (19821984, ABC)
1960s Shirt Tales (19821984, NBC)
Snorks (19841988, NBC)
The Flintstones (19601966, ABC)
Challenge of the GoBots (19841985,
Top Cat (19601961, ABC)
syndicated)
The Yogi Bear Show (19611962,
The Funtastic World of Hanna-Barbera
syndicated)
(19851994, syndicated)
The Hanna-Barbera New Cartoon Series
Foofur (19861988, NBC)
(19621963, syndicated)
Hanna-Barbera Superstars 10 (19871988,
The Jetsons (19621963, ABC; 19851988,
syndicated telefilms)
syndicated)
The Flintstone Kids (19861988, ABC)
The Magilla Gorilla Show (19641966,
The Greatest Adventure: Stories from the
syndicated)
Bible (19871990, video series)
Peter Potamus (1964, ABC)
The Completely Mental Misadventures of Ed
Jonny Quest (19641965, ABC; 19861987,
Grimley (19881989, NBC)
syndicated)
A Pup Named Scooby-Doo (19881991,
Hey There, It's Yogi Bear! (1964, theatrical
ABC)
feature film)
The Atom Ant/Secret Squirrel Show (1965
1990s
1967, ABC)
Frankenstein, Jr. and The Impossibles The Funtastic World of Hanna-Barbera
(19661968, CBS) (1990, theatrical ride film)
Space Ghost and Dino Boy (19661968, Jetsons: The Movie (1990, theatrical feature
CBS) film)

14
 The Man Called Flintstone (1966, theatrical
feature film)
Birdman and the Galaxy Trio (19671968,
NBC)
The Herculoids (19671969, CBS)
Fantastic Four (19671969, ABC)
The Banana Splits Adventure Hour (1967
1970, NBC)
Wacky Races (19681969, CBS)
Scooby-Doo, Where are You! (19691971,
CBS)
Dastardly and Muttley in Their Flying
Machines (19691971, CBS)
The Perils of Penelope Pitstop (19691971,
CBS)
1970s
Josie and the Pussycats (19701974, CBS)
Harlem Globetrotters (19701972, CBS)
Help!... It's the Hair Bear Bunch! (1971
1974, CBS)
The Funky Phantom (19711972, ABC)
The Pebbles and Bamm-Bamm Show (1971
1972, CBS)
The Roman Holidays (19721973, NBC)
Wait till Your Father Gets Home (1972
1974, syndicated)
Super Friends (19731986, ABC)
Charlotte's Web (1973, theatrical feature
film)
Speed Buggy (19731974, ABC)
The Addams Family (19731974, NBC)
Tom & Jerry Kids (19901993, co-
production with Turner Entertainment, FOX)
Fish Police (1992, CBS)
The Pirates of Dark Water (19911993, co-
production with Turner Entertainment,
ABC/syndication)
Felix the Cat: The Movie (1991 film)
The Addams Family (second animated
version) (19921994, ABC)
Once Upon A Forest (1993, theatrical feature
film)
2 Stupid Dogs (19931995, TBS)
SWAT Kats: The Radical Squadron (1993
1995, TBS)
The New Adventures of Captain Planet
(19931996, TBS)
The What-A-Cartoon! Show (19952008,
Cartoon Network)
The Real Adventures of Jonny Quest (1996
1997, Cartoon Network/TBS/TNT)
Dexter's Laboratory (19961998, Cartoon
Network) *
Johnny Bravo (19971998, 19992001,
Cartoon Network) *
Cow and Chicken (19971999, Cartoon
Network) *
I Am Weasel (19971999, Cartoon Network)
*
The Powerpuff Girls (19982001, Cartoon
Network) *
2000s
Grim and Evil (20002001, Cartoon
15
 Hong Kong Phooey (19741975, ABC) Network) *
Valley of the Dinosaurs (19741975, CBS) Whatever Happened to Robot Jones? (2000
Wheelie and the Chopper Bunch (1974 2001, Cartoon Network) *
1975, NBC) What's New, Scooby Doo? (2002 2006,
The Tom & Jerry/Grape Ape/Mumbly Show Cartoon Network) *
(19751976, ABC)
(Programs marked with an asterisk (*) continued
Jabberjaw (19761977, ABC)
production under Cartoon Network Studios
The Scooby-Doo/Dynomutt Hour (1976
following the absorption of Hanna-Barbera into
1977, ABC)
Warner Bros. Animation.)
Captain Caveman and the Teen Angels
(19771980, ABC)
Scooby's All-Star Laff-A-Lympics (1977
1979, ABC)
Yogi's Space Race (19781979, NBC)
Godzilla (19781980, NBC)
The All-New Popeye Hour (19781983,
CBS)

The New Fred and Barney Show (1979

1980, NBC)

16
 HANNA-BARBERA STUDIO
Primary Product: Television animation
Producing Since: 1957
Noted For: Tom & Jerry, Huckleberry Hound, Yogi Bear, The Flintstones, Scooby-Doo, and
much, much more

The partnership between Bill Hanna and Joe Barbera goes back much farther than Hanna-Barbera Studio. It
began in 1939, when they teamed up to co-direct cartoons for MGM. Their first release, Puss Gets the Boot
(1940), introduced their first pair of famous characters a cat named Jasper and an unnamed mouse, who
quickly became Tom & Jerry. It also garnered the pair their first Oscar nomination.

The directors' tenure at MGM lasted until 1957, the year MGM decided to get out of the cartoon business. By
that time, Hanna and Barbera had created a minor character here and there, done a non-series cartoon or two
and directed over 100 Tom & Jerry shorts, seven of which won Academy Awards. MGM later got back into
theatrical cartoons, at least briefly, but by that time, the Hanna-Barbera Studio was far too successful,
producing cartoons for television, for its founders to consider going back.

The fledgling studio had cartoons on the air within months. Ruff & Reddy was a series of shorts much like
they'd always done, except less expensively produced. It was packaged for TV just like the old theatrical
cartoons, too, one of three segments in a half-hour show. This gave the producers less control over their own
work than they could have if they were handling the entire show a factor they quickly moved to eliminate.
From their second production, Huckleberry Hound, on, the studio has produced nothing but complete shows.

17
To cut production costs to the bone, Hanna and Barbera worked out a system of what they called "planned
animation". Instead of animating an entire figure, only those body parts that moved were animated, with the
rest held steady that way, most of the body could be treated as background, with one drawing sufficing for
an entire scene. Also, animation sequences, such as walk cycles, were transferred from one cartoon to the next
or even between one series and another. This made for a certain sameness in movement, but saved a lot of
money.

The Hanna-Barbera Studio soon acquired a reputation for swiping the basic situation from earlier shows. Ruff
& Reddy was based on Crusader Rabbit, The Flintstones on The Honeymooners, Top Cat on The Phil Silvers
Show They even swiped from themselves. Yakky Doodle, who starred in one of the segments on Yogi Bear,
was a virtual duplicate of Little Quacker, a supporting character in several 1950s Tom & Jerry cartoons; and
Augie Doggie & Doggie Daddy, a segment on Quick Draw McGraw, were a reincarnation of Spike & Tyke, a
minor series they'd done at MGM. Techniques like these enabled Hanna-Barbera to produce mountains of
animation, quickly dwarfing their decades of theatrical output. This worked out just fine, as TV had a
voracious appetite for programming, one that could never be satisfied by repeatedly recycling the mere few
thousand shorts the American movie industry had produced in its entire history. Compared with TV, the
waning theatrical market was scarcely worth bothering with. This didn't quite stop them from bothering with
it, tho they launched Loopy de Loop as a theatrical series in 1959, but dropped it in '65 in favor of
exclusive reliance on the television market.

Hanna-Barbera made a breakthrough in 1960 with The Flintstones, the first successful prime-time animated
series ever to be broadcast by an American TV network. It sparked a brief fad in prime-time animation in
which Hanna-Barbera was a prominent participant, with The Jetsons and Top Cat but The Flintstones was
by far the longest lasting and best known.

In 1964, Hanna-Barbera released its first feature, Hey There, It's Yogi Bear. The studio has released dozens of
features since, including The Man Called Flintstone, Yogi's First Christmas, The Jetsons Meet the Flintstones,
and many others. '64 was also the year they took animation in a whole new direction their Jonny Quest
sparked a trend toward serious adventure cartoons, that is with us yet.

Like MGM, Hanna Barbera moved quickly to license its properties to comic books, starting in 1958, when
Dell Comics began publishing Ruff & Reddy. In 1962, like most of Dell's licensed properties, the Hanna-
Barbera characters were transferred to Gold Key, where they all stayed until 1970. That year, Charlton Comics
took over most (the rest followed in 1975), and from 1977 to '79, they were at Marvel. They were out of print

18
for several years, until Harvey Comics picked them up from 1992-94 and Archie from 1995-97. Since July,
1997, they have been published by DC Comics.

The licensing goes two ways. Hanna-Barbera has produced many TV series licensed from comic books, such
as Super Friends, loosely based on DC's Justice League of America; Fantastic Four, based on the Marvel
comic of that name; and Josie & the Pussycats, from an Archie comic. They've also done The Addams Family,
which was based on a TV show based on a cartoon.

Hanna-Barbera went on to become an industry juggernaut. In 1991 it was acquired by cable mogul Ted Turner
(who already owned the studio where Hanna and Barbera first got together). When, in 1992, Turner started
Cartoon Network, he fueled it mostly from his own animated properties, the bulk of which had been produced
by Hanna-Barbera. In 1996, Turner's holdings were themselves merged into Time Warner, which already
owned the Warner Bros. movies (including cartoons) and DC Comics.

The Hanna-Barbera Studio is now in its third generation of fans. With Cartoon Network ensuring their
continued airing along with a new channel, Boomerang, which premiered in April, 2000, programmed
entirely with their 1958-76 output it seems likely those cartoons will have fans in many generations to
come.

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THE FLINTSTONES

Original Medium: TV animation

Produced by: Hanna-Barbera
First Appeared: 1960
Creator: Dan Gordon

The creation of The Flintstones is generally credited to Hanna-Barbera storyboard artist Dan Gordon
(Cookie), but the show has two important forebears. One is the ancient sitcom The Honeymooners,
which provided a model for the major characters and their relationships. The other is an even more ancient
cartoon series "Stone Age Cartoons", which the Fleischer Studio (home of Popeye and Betty Boop)
produced for a brief period, and which anticipated by about 20 years the idea of having prehistoric animals
substitute for 20th-century machinery.

Be that as it may, the "modern stone-age family" (Fred and Wilma and later Pebbles Flintstone) and
their friends and neighbors (Barney and Betty and later Bamm-Bamm Rubble) debuted on ABC in
1960, and have been a part of the animation scene ever since. The voice actor who did Fred was Alan Reed
(also Dum Dum in Touch Turtle). Jean VanderPyl (Rosie the Robot in The Jetsons) was Wilma and Pebbles,

20
Mel Blanc (Speedy Gonzales, among others) was Barney, Bea Benaderet (Looney Tunes' Maw Bear) was
Betty, and Don Messick (Scooby-Doo) was Bamm-Bamm.

The Flintstones was television's first successful prime-time animated series, pre-dating The Simpsons by
nearly three decades. It sparked a brief fad of prime-time animation, most of which also followed its lead in
being based on old sitcoms. For example, Calvin & the Colonel was very similar to Amos and Andy, and Top
Cat was virtually a clone of Sgt. Bilko.

Unlike its imitators, The Flintsones had staying power. The original series lasted six seasons, and when it
finally went off the air, the characters immediately went into a feature film, The Man Called Flintstone
(1966). Pebbles & Bamm-Bamm, featuring the Flintstones' and Rubbles' babies, debuted in 1971 the first
of many post-series Flintstones sppearances. And from that day to this, it's been one series, special, or feature-
length movie after another. Spin-offs include, but are far from limited to, Captain Caveman, Dino & the Cave
Mouse (1980-82 the last work of the great Tex Avery, with the possible exception of Kwicky Koala), the
comic book Cave Kids (1963-67) and its later animated counterpart, and even Fred & Barney Meet the Shmoo
(1979-80 in which they're paired with creatures from Al Capp's Li'l Abner), They met The Jetsons in a
1987 TV movie; and in '94 John Goodman starred as Fred with Rick Moranis as Barney, in a live-action
version for theatrical release. A sequel, The Flintstones in Viva Rock Vegas, was made in 2000. During the few
periods in which no Flintstones series was airing, the characters still appeared regularly on network TV, in
commercials for one product or another some of which, for example Cocoa Pebbles cereal, were actually
named for them.

As their screen career went, so went their career in comics. Since their first appearance in that medium,
published by Dell Comics in 1961, they've seldom been out of print. Other publishers of Flintstones comics
include Gold Key, Charlton, Marvel, Harvey and Archie some of which published two or more series
simultaneously. Later. DC published them occasionally as part of their Cartoon Network lineup. During the
1960s, the characters also appeared in a newspaper comic strip.

The Flintstones was not only television's first prime-time animated series it's also the first animated TV
series that really hit it big. And after all these years, it shows no sign of slowing down.

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TOM AND JERRY

Original Medium: Theatrical Animation

Released by: MGM
First Appeared: 1940
Creators: Bill Hanna and Joe Barbera

Tom & Jerry (no relation) debuted in Puss Gets the Boot (1940), directed by Bill Hanna and Joe Barbera and
released by MGM. The nonstop action, which relied exclusively on sight gags rather than dialog, made a
strong impresion on moviegoers. It began a series that eventually ran to more than 150 theatrically-released
shorts, garnering more Oscars than any other cartoon characters in Hollywood history. It also "inspired" an
impressive number of imitators, including Famous Studios' Herman & Katnip, Terrytoons' Little Roquefort,
and Hanna-Barbera's own Pixie & Dixie.

Academy Award winners in the Tom & Jerry series are Yankee Doodle Mouse (1943), Quiet, Please (1945),
The Cat Concerto (1947), Mouse Cleaning (1948), Two Mouseketeers (1952) and Johann Mouse (1953). They
also received nominations for The Night Before Christmas (1941) and Dr. Jeckyl and Mr. Mouse (1947). All
"Oscar material" cartoons in the Tom & Jerry series were directed by Hanna and Barbera.

One of the Oscar winners, Two Mousketeers, began a series within the series costume stories set in a
medieval French royal castle. Others in the same vein include Touch, Pussy Cat (1954) and Royal Cat Nap
(1958). In comic books, too, a Two Mouseketeers series was spun off from the regular Tom & Jerry comic. In
1956, when Disney appropriated the word "Mouseketeer" for its Mickey Mouse Club TV show, the comic
book's title was changed to Mouse Musketeers. The directing team concentrated almost exclusively on Tom &
Jerry from the mid-1940s until the end of their time at MGM. In fact, the studio released only three Hanna-

22
Barbera-directed cartoons during the 1950s that did not star the cat and mouse two that featured Spike &
Tyke, a Tom & Jerry spin-off, and one non-series cartoon.

In 1957, Hanna and Barbera left MGM and opened their own studio. Tom & Jerry went on hiatus for several
years, re-emerging in 1961 for a brief and painfully-remembered series produced in Czechoslovakia by Gene
Deitch (whose prior credits include stints at UPA and Terrytoons). In 1963, Warner Bros. veteran Chuck Jones
took over MGM's cartoon department, bringing on another abrupt change in style and direction for Tom &
Jerry. Jones closed out the theatrical series with Purr Chance to Dream (1967).

In 1975, the now-successful Hanna-Barbera Studio bought their old characters from MGM, and produced a
series of made-for-TV cartoons with the pair. 48 new cartoons were made between then and 1977, when this
final series ended.

The Tom & Jerry comic book was published monthly from the late 1940s to the early '60s, less frequently
during the late '60s, and sporadically during the 1970s. The final issue came out in 1982.

Today, Tom & Jerry can still be seen on TV. The frenetic action of the old shorts from the 1940s and '50s
entertains generation after generation.

Tom and Jerry centered on a never-ending rivalry between a housecat (Tom) and a mouse (Jerry) whose
chases and battles often involved comic violence. Hanna and Barbera ultimately wrote and directed one
hundred and fourteen Tom and Jerry cartoons at the MGM cartoon studio in Hollywood, California between
1940 and 1957, when the animation unit was closed. The original series is notable for having won the
Academy Awards for Best Short Subject (Cartoons) seven times. Throughout the years, the term and title Tom
and Jerry became practically synonymous with never-ending rivalry, as much as the related cat and.mouse
fight metaphor has.

23
TOP CAT

Original Medium: TV animation

Produced by: Hanna-Barbera
First Appeared: 1961

The Hanna-Barbera Studio followed up its success with The Flintstones by launching its second prime-time
animated sitcom a year later. Top Cat debuted on ABC on Sept. 27, 1961.

Like its predecessor, Top Cat was based on an earlier, live-action sitcom in this case, You'll Never Get
Rich, in which Sgt. Ernie Bilko (Phil Silvers) operated various scams on a military base, maintaining a
love/hate relationship with the local authority figure, Col. Hall (Phil Ford). Top Cat (voiced by character actor
Arnold Stang) operated various scams in a New York alley, maintaining a love/hate relationship with the local
authority figure, Officer Dibble (voiced by Allen Jenkins). To drive the point home, Top Cat's Benny the Ball,
the character that corresponded to Bilko's Pvt. Doberman, was voiced by Maurice Gosfield the actor who
played Doberman.

Other members of TC's gang were Choo Choo (voiced by Marvin Kaplan), Fancy-Fancy (John Stephenson),
Spook and The Brain (the last two by Leo deLyon). They all made their headquarters in Hoagy's Alley (an
obvious reference to Hogan's Alley, where The Yellow Kid hung out).

24
Like most of Hanna-Barbera's 1960s prime-time shows, Top Cat (no relation) lasted one season in that venue,
and was then relegated to Saturday morning reruns. In TC's case, that meant 30 episodes, recycled weekly
from 1962-69. After that, it was syndicated, but not in very prominent time slots. Unlike its contemporaries,
The Jetsons and Jonny Quest, Top Cat didn't later get a booster shot of new episodes.

Top Cat lasted far longer in comic books than as a first-run TV show. Dell Comics picked it up right when the
TV show debuted. In mid-1962, along with the rest of Dell's licensed properties, it switched to Gold Key,
which continued to publish it until 1970 for a total of 31 issues. Charlton Comics picked it up that year and
published 20 more issues, the last of which was dated November, 1973.

The character later turned up in minor roles in one or two later Hanna-Barbera animated series, such as Yogi's
Treasure Hunt, and those 30 episodes are still occasionally seen in out-of-the-way cable slots. But Top Cat
never did become one of Hanna-Barbera's superstars, and is today the least well-remembered of their 1960s
prime-time animated sitcoms.

SPIKE AND TYKE

Original Medium: Theatrical animation
Produced by: MGM
First Appeared: 1942 or 1949
Creators: Bill Hanna and Joe Barbera

MGM's Tom & Jerry series, which started in 1940, is one of animation's classics but it's also very
repetitive. To keep it fresh, directors Bill Hanna and Joe Barbera introduced a few recurring supporting
characters over the years, and some of them went on to become minor stars in their own right. That's where
Spike & Tyke, stars of the last series the studio ever launched, came from.

25
Spike was a big, gruff bulldog, and Tyke was his adorable son. There was no mom in evidence. Spike & Tyke
cartoons generally consisted of Tyke doing something cute while Spike did something painful yet hilarious to
Tom. Jerry's role was to egg Spike on. At first, Spike's voice was provided by Bill Thompson (also the voice
of Droopy), but later Daws Butler (Yogi Bear, Huckleberry Hound) took the role. Tyke, tho, didn't say much.

At least one important cartoon reference work lists Dog Trouble (released April 18, 1942) as the pair's debut.
Actually, tho, only Spike appeared in that one. Spike continued as a solo guest star for the next several years.
Tyke wasn't introduced until October 1, 1949, the release date of Love That Pup. Even after that, Spike
continued to appear from time to time without Tyke. Also, between 1949 and '52, Spike guest-starred several
times with Droopy.

Within a couple of years, Spike & Tyke were holding down a series of their own only it wasn't in cartoons,
but in comic books. Their adventures ran in the back pages of Dell's Tom & Jerry comic, starting in #79
(February, 1951) and continuing until well into the 1960s. Dell also published them in their own title from
1953-61.

Back in cartoons, they finally graduated to a starring role in Give & Tyke, released March 29, 1957. The glory
was short-lived, however, as the next one in their series, Scat Cats (July 26) was the last. Shortly after it was
made, the studio shut its doors.

They got a new lease on life sort of, anyway in 1959, when their old directing team, now running
Hanna-Barbera Productions, resurrected them as Augie Doggie & Doggie Daddy, one of the back segments of
Quick Draw McGraw's show. For this, they were not merely renamed, but also redesigned, and their
characters tweaked. But the basic theme of a single male parent, who happens to be a dog, carries through.

26
THE JETSONS

Original Medium: Television animation

Produced by: Hanna-Barbera
First Appeared: 1962
Creators: Bill Hanna and Joe Barbera

After leaving MGM, Bill Hanna and Joe Barbera, creators of Tom & Jerry, found success in TV animation
with their Hanna-Barbera Studio. And the greatest of their early successes was The Flintstones. If a modern
stone-age family could make it big, why not a retro future one? And that's why we met George Jetson, as the
song goes, as well as the rest of his family.

Another way The Flintstones paved the way for The Jetsons was by premiering on prime-time TV, thus
sparking the first prime-time animation fad. George et al. premiered on ABC's prime-time schedule in 1962.
Once the fad had run its course, however, they were relegated to Saturday morning, where the same 24
episodes were re-run over and over.

A third similarity between the two is that both took their basic set-up from pre-existing series, changing only
the setting. The Flintstones was The Honeymooners in the Stone Age, whereas The Jetsons was Blondie in the
future even to the point of Penny Singleton, who played Blondie in films and on TV, providing the voice of
Jane Jetson. Other voices were George O'Hanlon (better known as a face actor than a voice actor) as George,
Janet Waldo (Penelope Pitstop, Morticia Addams) as daughter Judy, Daws Butler (Huckleberry Hound, Peter
Potamus) as son Elroy, and Don Messick (Scooby-Doo, Atom Ant) as the dog, Astro.

27
The Jetsons fared better in comic books than on TV, being published on a regular basis from 1963-73, and
sporadically ever since. Their publishers include Gold Key, Charlton, Harvey and Archie.

In the 1980s, the series enjoyed a resurgence in popularity, and new episodes were made to supplement those
that had been in syndication for the past couple of decades. The family even met their spiritual ancestors, Fred
and Wilma, in a two-hour 1987 made-for-TV movie, The Jetsons Meet the Flintsones. This revival reached its
climax in 1990 with the theatrical release of their feature film. In these latter-day Jetsons episodes, O'Hanlon
came out of retirement to play George Jetson again. He died shortly after the completion of the 1990 feature.
Is their saga now complete? Will new animated material continue to appear? Perhaps, but one thing is certain
the Jetsons material that we have seen, we will see again.

YOGI BEAR
Original Medium: TV animation
Produced by: Hanna-Barbera
First Appeared: 1958

It is quite likely that more people today know of Yogi Bear than the man he is named after, baseball's Yogi
Berra. And why not? After all, does Yogi Berra have a rock on Mars named after him? (That honor was given
to "our" Yogi, along with several other prominent cartoon characters, in 1997.)

Yogi Bear debuted on the Huckleberry Hound TV show in 1958, as the title character in one of its three
animated segments. (That was the standard format for cartoon shows back then the third segment, in this
case, was Pixie & Dixie.) His range of operations was Jellystone National Park, where, to the chagrin of his
constant companion, Boo-Boo, he spent his days stealing "pic-a-nic" baskets from tourists a practice his

28
nemesis, Ranger John Smith, was never able to break him of. It proved a popular formula, and Hanna-Barbera
repeated it in Magilla Gorilla (pet gorilla vs. pet store owner) and Wally Gator (alligator vs. zookeeper). (Not
that the formula was theirs in the first place it was taken more-or-less intact from Humphrey Bear, a minor
Disney character.)

Yogi's voice, provided by Daws Butler (Cap'n Crunch, Chilly Willie), was based on that used by Art Carney
for his character Ed Norton, one of the stars of the old sitcom The Honeymooners. (That show, by the way,
also inspired the character relationships in Hanna-Barbera's later hit, The Flintstones.) Animation veteran Don
Messick (Scooby Doo, Atom Ant) did the voices of Boo-Boo and Ranger Smith.

Yogi's popularity quickly outstripped Huck's. In 1960 a new character, Hokey Wolf, took over his slot, and in
on January 30, 1961 he got a show of his own. Yogi's co-stars in the new show were Yakky Doodle (a
cloyingly cute duckling based on an occasional Tom & Jerry supporting character named Little Quacker) and
Snagglepuss.

That show ran its course in a couple of years, but it was only the beginning. Yogi returned over and over, in
new series with different settings. He has been a space racer, a hip rapper, an airship captain, and even a pirate
(albeit, one whose quest for booty is carried on strictly for pure and noble purposes). In 1964, he was the star
of Hanna-Barbera's first feature-length animated film, Hey There, It's Yogi Bear, and he's been in several other
features over the years.

Yogi has proven not just an enduring and surpringly versatile character, but also a rich source of
merchandising revenue for his producers and not just for the usual beach blankets, pajamas, etc. All over
North America, you'll find tracts of land licensing his image, under the name "Yogi Bear Jellystone Park
Campgrounds."

Yogi made his comic book debut in 1959, again as a second banana to Huckleberry Hound. But even before
he got his own show, he was headlining comics of his own, starting with Dell's Four Color Comics #1067
(1960). Since then, he has starred, or at least appeared, in comics published by Gold Key, Charlton, Marvel,
Harvey, Archie, and DC. Even today, scarcely a year goes by without new issues appearing. On the other
hand, the only comic book Yogi Berra ever starred in was a 1951 oneshot from Fawcett.

29
SCOOBY-DOO
Original Medium:TV animation
Produced by:Hanna-Barbera
First Appeared:1969

Scooby-Doo is a long-running American animated series produced for Saturday morning television in several
different versions from 1969 to the present. The original series, Scooby-Doo, Where Are You!, was created for
Hanna-Barbera Productions by writers Joe Ruby and Ken Spears, CBS executive Fred Silverman, and
character designer Iwao Takamoto. Hanna-Barbara produced numerous spin-offs and related works until being
absorbed in 2001 into Warner Bros. Animation, which has handled production since then. Although the format
of the show and the cast (and ages) of characters have varied significantly over the years, the most familiar
versions of the show feature a talking dog named Scooby Dooby Doo and four teenagers or young adults:
Fred "Freddie" Jones, Daphne Blake, Velma Dinkley, and Norville "Shaggy" Rogers.

These five characters (officially collectively known as "Mystery, Inc.", but never referred to as such in the
original series) drive around in the Mystery Machine van,[1] solving mysteries by exposing seemingly
otherworldly ghosts and monsters as flesh and blood crooks. Later versions of Scooby-Doo featured different
variations on the show's supernatural theme, and include characters such as Scooby's cousin Scooby-Dum and
nephew Scrappy-Doo in addition to or instead of some of the original characters.

30
Scooby-Doo was originally broadcast on CBS from 1969 to 1976, when it moved to ABC. ABC aired the
show until canceling it in 1986, and presented a spin-off, A Pup Named Scooby-Doo, from 1988 until 1991,
which featured the characters as children. The series was revived for the WB Network's Kids' WB
programming block as What's New, Scooby-Doo?, which ran from 2002 until 2006. The most recent Scooby-
Doo series, Shaggy & Scooby-Doo Get a Clue!, ran from 2006 to 2008 on The CW network; a new series,
Scooby-Doo - Mystery, Inc., will begin airing on the Cartoon Network in 2009. [2] Repeats of the series are
broadcast frequently on the Cartoon Network and Boomerang in the United States and other countries.

THE ADDAMS FAMILY

Medium: TV animation
Produced by: Hanna-Barbera
First Appeared: 1972

There's nothing odd about a deceased prime-time TV series finding new life as a Saturday morning cartoon. It
happened to Star Trek, The Partridge Family and dozens of shows in between. What's unusual about this
one is that the prime-time show it's based on is, itself, based on an earlier cartoon. The Addams Family came
out of a series of panels by Charles Addams, which ran in The New Yorker for several decades, starting in
1937.

The sitcom, which originally aired from 1964-66, was proving popular in syndicated reruns. Like I Dream of
Jeannie and Batman, its characters were licensed by the Hanna-Barbera studio to guest-star on what was then
their leading show, Scooby-Doo. The Scooby/Addams crossover appeared in 1972, and made such a hit,
Hanna-Barbera produced a regular half-hour Addams Family Saturday morning series. The series debuted
September 8, 1973, on NBC.

31
Sanitized and satmornized, this series bore only a superficial resemblance to the creations of Charles Addams.
It kept to the general theme of ghoulishness, but here, the macabre elements seemed more like a schtick than
an outward expression of truly twisted souls. Their creepy old Victorian mansion was remodeled into a creepy
old Victorian mansion-like vehicle, in which they traversed the land, getting involved in the lives of various
people they met. And of course they had pets tho at least they opted for an octopus rather than a puppy,
and their cat was considerably larger and more obviously carnivorous than most.

Lennie Weinrib (Inch High, Private Eye; various voices in Smurfs) provided the voice of Gomez Addams, and
Janet Waldo (Penelope Pitstop, Judy Jetson) did that of Morticia. Jackie Coogan and Ted Cassidy repeated
their roles from the live-action version. Another notable voice credit was Jodie Foster as Pugsley.

This series lasted all of 13 episodes, each of which was aired over and over during the two years the network
carried it. It's been re-run from time to time, most recently on Cartoon Network. It also spawned a comic book
version, published by Gold Key, which began with an October, 1974 cover date and ended with #3, dated
April, 1975.

Hanna-Barbera produced a second Addams Family series, 1992-93, this one lasting 16 episodes. It resembled
the original a little more closely, but with parent action groups still wielding some of their old power, still
wasn't able to delve into the characters' true weirdness. Voice actors in this one included John Astin reprising
his 1960s role as Gomez, with Nancy Linari (several voices in Sonic the Hedgehog and Duckman) as
Morticia, Jim Cummings (Darkwing Duck, Tasmanian Devil) as Lurch and Carol Channing (Mehitabel,
several voices in Where's Waldo?) as Granny. As robust as the Addams Family franchise is in live action
two TV series, a special, three movies, and endless syndicated reruns over a period of nearly four decades
both animated versions seem rather puny and insipid. The only cartoons that ever truly depicted The Addams
Family are the ones drawn by Charles Addams himself.

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THE JUSTICE LEAGUE OF AMERICA

Medium: Comic books

Published by: DC Comics
First Appeared: 1960
Creator: Julius Schwartz

As the 1950s drew to a close, DC Comics editor Julius Schwartz, having good reason to believe superheroes
were on their way back, revived the old Justice Society of America but because Justice "Society"
sounded a bit hoity-toity to him, he gave it a slightly different name, The Justice League of America. He
gathered together nearly all of DC's then-extant superheroes (Aquaman, Batman, The Flash, Green Lantern,
The Martian Manhunter, Superman, and Wonder Woman somehow, he overlooked Green Arrow, but made
him the first addition to the group) and teamed them up to fight an alien menace named Starro the Conqueror.
This occured in the March, 1960 issue of The Brave & the Bold, a comic book title which then functioned as a
try-out arena, where concepts that had not yet proven themselves were tested before receiving their own
series.

It was a successful trial. The Justice League of America title went into regular publication only four months
after winding up its three-issue test run. That series was to last over a quarter of a century.

Before long, Schwartz introduced revamped versions of two more 1940s characters, The Atom and Hawkman,
and added them to the mix. That completed what fans generally consider the "classic" JLA, although quite a
few other costumed do-gooders, including The Elongated Man, The Black Canary, Firestorm, The Red
Tornado, Zatanna, and even The Phantom Stranger, became members later on.

By 1963, many of the old 1940s characters had been brought back in their original forms, at least for cameo
appearances. Writer Gardner Fox, who, two years earlier, had begun the process of re-introducing them,
brought the whole crowd together that year for the first of what would become an annual team-up of the

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Justice League and Justice Society. The story was spread out over two issues (titled "Crisis on Earth-One" and
"Crisis on Earth-Two"), both of which have since become highly prized collector's items.

Until fairly recently, The Justice League of America was never animated as such except as occasional back
segments on Aquaman's 1968 TV show. However, a version of it entitled Super Friends had several
incarnations on Saturday morning TV, starting in 1973.

All through the 1960s and '70s, the JLA series functioned as a meeting ground for DC's super characters. But
in the '80s, a downturn in circulation led DC's decision makers to think it might be growing stale. In an
apparently desperate attempt to juice it up, they made an unfortunate decision to jettison the traditional
characters and pack it with a bunch of ethnically-diverse unknowns perhaps the worst of which was a
Puerto Rican super-breakdancer named Vibe. Sales plummetted, and the group disbanded meaning the
comic was cancelled in 1987.

Later that year, a new Justice League was formed, without "America" in the title. Since then, there have been
several spin-offs and revivals, with varying degrees of success including a couple of animated TV series,
starting in 2001. But however enjoyable these may be to modern-day readers, the JLA of old is gone.

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RUFF AND REDDY
Original Medium: TV animation
Produced by: Hanna-Barbera
First Appeared: 1957
Creators: Bill Hanna and Joe Barbera

In 1957, MGM closed its cartoon studio, and their animation employees found themselves out of work
including the creators of Tom & Jerry, Bill Hanna and Joe Barbera. For them, this was a cue to enter the
burgeoning market for television animation. On December 14 of that year, the Hanna-Barbera Studio's very
first production, Ruff & Reddy (voiced by Don Messick and Daws Butler, respectively), debuted on NBC.

The breakneck action of their theatrical cartoons was impossible on a television budget, where each six-
minute cartoon cost only a tenth as much as its big-screen counterpart. But Hanna and Barbera worked out a
system of "planned animation", in which movement could be mass-produced, and cycles transferred from one
character to another. Ruff & Reddy demonstrated that this planned animation, if not necessarily high art, was a
system that worked.

Another thing that may not have been high art, but worked, was the Hanna-Barbera Studio's method of
swiping situations from existing properties. Ruff & Reddy, with its smart little guy and big dumb guy always
getting into adventures, was based on the old Crusader Rabbit formula. Many of the studio's later shows,
including The Flintstones and Top Cat, used set-ups that had been done before.

Ruff & Reddy was only one segment of a half-hour show, the remainder made up of old theatrical Screen
Gems cartoons, with a live-action host. Although Hanna and Barbera strongly felt the limits of their control
over the presentation of their characters which is why their subsequent shows (starting with Huckleberry
Hound) were full half-hour productions the series ran until 1964, a total of over 100 episodes.

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Between 1958 and '62, Dell Comics published an even dozen issues of its version of Ruff & Reddy, thus
becoming the first of seven American publishers (along with Gold Key, Charlton, Marvel, Harvey, Archie, and
DC) to produce comics based on Hanna-Barbera characters.

Today, an awful lot of people remember a Ruff & Reddy storyline in which they met aliens from the planet
Munimula ("aluminum" spelled backward) although many can't recall what cartoon it was associated with.
They had a chance to be reminded in the early years of the 21st century, when the series was rerun on
Boomerang, the cable channel devoted entirely to vintage Hanna-Barbera. Other than that, Ruff & Reddy has
been seen little in recent decades. But its place in history is secured by its status as proving ground for a
fledgling industry giant.

HUCKLEBERRY HOUND

Original Medium: TV animation

Produced by: Hanna-Barbera
First Appeared: 1958

During the early and middle 1950s, voice actor Daws Butler (Chilly Willy, Reddy) created a sort of laconic
drawl, which he used for the "Wolf" character in several of MGM's "Droopy" cartoons. Later, he used the
same voice at Walter Lantz Studios, for Smedley the Bear (a foe of Chilly Willy) and other characters. In
1958, he gave that voice to a syndicated TV character called Huckleberry Hound, and that's what it's mostly
remembered for today.

Huckleberry Hound was Hanna-Barbera's second animated TV series, and the first in which they produced
and controlled the entire content of the entire show. Its three cartoon segments the other two were Yogi
Bear and Pixie & Dixie were all Hanna-Barbera productions, and its host Huck himself, a laid-back guy

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with a Southern accent to go with his countrified name also belonged to them. A total of 55 episodes were
made. Among Huck's many distinctions is his show's Emmy Award, which it won during the 1959-60 season,
and which was the first ever given to an animated series.

In 1961, Yogi Bear was spun off into a show of his own, and replaced by a new character named Hokey Wolf.

Huck made the transition to comic books in 1959, when, like most of his contemporary cartoon stars, he was
picked up by Dell Comics. Despite a couple of changes of publisher (first to Western Printing's Gold Key
imprint, then to Charlton Comics), he was published regularly in that medium until 1972. Since then, he's
appeared sporadically in comics published by Marvel, Harvey, Archie, and DC. He was also, like most
Hanna-Barbera stars, merchandised all over the place.

Back in TV, Huck didn't exactly disappear. He was in several ensemble shows, such as Yogi's Gang (1973),
which he shared with Peter Potamus, Wally Gator and others; and Scooby's All-Star Laff-A-Lympics (1977),
where other players included Augie Doggie and Snagglepuss. He also turned up in the occasional feature or
special, including Yogi's First Christmas (1980) and The Good, the Bad & Huckleberry Hound (1988).

Huck is no longer one of Hanna-Barbera's superstars, but his videos sell steadily, if not spectacularly, and he
can still be seen at odd hours on TV.

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 PRECIS
When you look at the history of television you can usually connect names to certain eras of
programming. For instance, producer Aaron Spelling can be connected with many of the dramas and
primetime soap operas of the 70s and 80s; Garry Marshall can be matched to many of the great ABC
comedies of the 70s.When the names William Hanna and Joseph Barbera are mentioned two words come to
mind: Saturday mornings.
Without the creations that the Hanna-Barbera studios put out year after year Saturday mornings
would have looked much different. Oh, other studios like Rankin-Bass and Filmation would have probably
picked up the slack, but then we wouldn't have known about Space Ghost, Scooby-Doo, Mutley, Jabberjaw, or
the Wonder Twins. From the late 50s until the early 90's Hanna-Barbera was a major presence on television.
Their shows produced countless imitations (some coming from Hanna-Barbera itself), thousands of
characters, and memories that will last our lifetime.And, it all started with a cat and a mouse.William "Bill"
Hanna (1910-2001) and Joseph Barbera (1911-2006) first met at MGM in 1938. Joe came from the Van
Beuren Studios/Terrytoons, where he was animator and script writer (and produced a series called Tom and
Jerry -- no relation to the cat and mouse), Bill came from Leon Schlesinger Productions, where he was head
of their Ink and Paint Department. The two would join together at MGM to direct theatrical short cartoons:
Joe was the layout artist while Bill was the director. Their first short was the 1940 Puss Gets the Boot, which
would become the first Tom and Jerry cartoon and be nominated for an Academy Award a year later. It was
that cartoon that began a partnership that would produce 114 Tom and Jerry shorts, seven Academy Awards
for Best (Cartoon) Short Subject, and 14 nominations.
All looked great for the duo. By 1944 they had established H-B Enterprises in order to independently produce
sponsored films and, later, television commercials. A decade later they would be put in charge of MGM's
animated division. This new title would be short-lived as the movie studio decided to shutdown their animated
division in 1957. So, what did Joe and Bill do? Since they were already producing commercials for television,
they decided to jump head first into the wonderful world of animated television programs. Their first offering
was The Ruff & Reddy Show, which premiered on NBC in December, 1957 and featured a dog and cat team
that fell into many mishaps. The next cartoon Hanna-Barbera produced was 1958's The Huckleberry Hound
Show..And so on they create more than 1000 cartoon characters,Hanna-Barbera Productions remain a force in
television into the 90`s.When Time-Warner purchased Turner Broadcasting in the mid 1990s the Hanna-
Barbera were shutdown and merged with Warner Brothers Animation, ending a nearly four-decade run for the
animation studio.
Despite the poor animation and, sometime, cheesy plot an dialogue. the hundreds of cartoons
created by Hanna-Barbera will always have a soft spot in our lives.

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 Bibliography:
www.wikipedia.com
www.tvsquad.com
www.bcdb.com

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