YABBA-DABBA-DOO!

m. ifc#g;;r
- ‘'fcJM r . fc* ■ h& .„•-
rj|H ;;;'■JSgjL ;v.

f %,y VK ^
. * /<^s‘ ® >13* ■

BRARY
EAST CENTRAL REGIONAL LIBRARY
244 South Birch
Cambridge, Minnesota 55006

DEMCQ
 BY

Lau rie Rozakis £ast ^ sS^i&rary

Illustrations by Dick SmolinskiCambricj9e« Minnesota 55008

A BLACKBIRCH PRESS BOOK

WOODBRIDGE CONNECTICUT
Published by Blackbirch Press, Inc.
One Bradley Road
Woodbridge , CT 06525

©1994 Blackbirch Press, Inc.

First Edition

All rights reserved. No part of this book may be reproduced in any form with¬
out permission in writing from Blackbirch Press, Inc. except by a reviewer.

Printed in Hong Kong

10987654321

Library of Congress Cataloging-in-Publication Data

Rozakis, Laurie.
Hanna & Barbera: yabba-dabba-doo! / by Laurie Rozakis. —1st ed.
p. cm.
Includes bibliographical references and index.
ISBN 1-56711-065-7
1. Hanna-Barbera Productions—Juvenile literature. 2. Animated
films—United States—Juvenile literature. [1. Hanna-Barbera Productions.
2. Animated films.] I. Title. II. Title: Hanna and Barbera.
NCI 766.U52H3636 1994
791.45'092'2—dc20
93-42986
CIP
AC
 ° Contents00

Chapter 1• Let the Magic Begin! 5

Chapter 2• joe Barbera 8

Chapter 3 • Bill Hanna 19

Chapter 4. Tom and Jerry 25

Chapter 5 • An Empire Built on Laughter 32

Glossary 44

Further Reading 46

Index 47
The cartoon world of Bill Hanna
and Joe Barbera is filled with
hundreds of characters, including
the Flintstones, Yogi Bear, and
the Jetsons.
 ooO
I Ooo

Let the Magic Begin!

I moe Barbera came from New York City.

I m Bill Hanna lived in California. Joe was a
f—w If banker, and Bill was an engineer. What
I ™ M could they have in common? A love of
cartoons'. They met for the first time in
1937, in the new Cartoon Department of MGM
Studios in Culver City, California. At that time, they
had no idea they would become the most famous
team in cartoon history.
First they made more than 200 Tom and Jerry
cartoons and won seven Academy Awards'. Then
came Huckleberry Hound, Quick Draw McGraw,
Yogi Bear, The Flintstones, Top Cat, The Jetsons,
and so many more great shows. 5
 Smurfs, Pac-Man, and More
C.■

In 1957, Joe and Bill left MGM and formed their

own company. They called it Hanna-Barbera
Productions, Inc. The company, with its 800-plus
workers, has made more than 1 50 cartoon series for
television. Have you watched The Flintstone Kids,
Pound Puppies, The Biskitts, The Dukes, Pac-Man,
The Smurfs, or Richie Rich? These are all Hanna-
Barbera shows. More than 500 million viewers
every week watch these cartoons. They are shown
around the world and are even in many different
languages in many different countries.

Joe Barbera and Bill Hanna Today

Joe Barbera has dark curly hair and a wide smile.
He and his wife, Sheila, have two daughters, Jayne
and Lynn, and a son, Neal. They also have two
grandchildren and two great-grandchildren. Bill
Hanna is a twinkly-eyed, white-haired man. He has
a square face and a deep cleft, or line, in his chin.
Very quiet, he rarely speaks to reporters. He lives
with his wife, Violet. They have a son, David, a
daughter, Bonnie, and seven grandchildren.
But how did the magic between Bill and Joe
begin? And what were these partners like when they
were young? Let's take a look at the early years of
these two men who shared the same dream.

The Flintstones is one of the most

popular cartoons in television history.
 oOO Ooo

Joe Barbera

I moe Barbera was born in 1911, in New

I M York City's Lower East Side. A few years
m before, his parents had sailed to America
I * M from Italy. While Joe was still a baby, his
parents moved to the Flatbush section of
Brooklyn. Joe's father liked to wear fancy suits and
smoke big cigars. Lie also liked to bet money at the
horse races. He had a good mind for business and
bought three barber shops and beauty parlors. The
Barbera family was warm and friendly.

A Happy Childhood
Many families that lived in Flatbush had come to
America from other countries. The city streets were
8 always crowded with children, and Joe had many
friends. Back then, it was great to play on the
streets. Horse-drawn carts loaded with good things
would clip-clop down the alleys. To Joe, it seemed
like peddlers sold everything from their carts! There
were loaves of warm bread, piles of crisp vegetables,
rows of shiny pots and pans, and heaps of new and
used clothing. Joe Barbera's childhood world was
very different from that of today. For example,
refrigerators had not yet been invented, and people
used boxes filled with ice to keep their food cold.
These iceboxes looked like refrigerators, but the
food was cooled with blocks of ice. On his
cart, an iceman would stack big slabs of The streets were
ice. When someone called to him, he fun and exciting,
but young Joe had
would stop his horses in the middle of
another interest:
the street to chop off a big chunk.
drawing.
The streets were fun and exciting, but
young Joe had another interest. Joe liked to
draw. On rainy days, he would spread magazines
all over the floor and spend hours copying the draw¬
ings. The nuns who taught Joe at Holy Innocents
Catholic School saw that Joe had a talent for art.
They often asked him to draw simple religious
scenes on the classroom blackboards.
Joe Barbera grew up in New York City
during the 1920s and spent much of his
time playing in the neighborhood streets
 After Joe graduated, he went to Public School
1 39 on Cortelyou Road. After that, he went to
Erasmus Hall High School. There, the teachers saw
that he was as good at writing as he was at drawing!
One day, his English teacher asked him to make up
a story. Joe was particularly interested in the fierce
Russian soldiers called cossacks. It seemed like a
good topic for a story, Joe thought. "The story was
about cossacks attacking a village, and it was all
seen through the eyes of a wounded soldier," Joe
recalls. The teacher was so pleased with the story
that she asked him to read it to the class. Joe was
happy about the honor.

Hard Times
When he was 16, Joe graduated from high school
and the future looked bright. But just two years
later, the economy in America would become
ruined. In 1929, millions of people who had put
their money into big companies lost everything.
Hundreds of banks failed, and many factories, mills,
and companies closed. By 1932, more than 10 mil¬
lion people were out of work, including Joe. Many
Americans lost their homes. The Great Depression,
Whether he was drawing or writing, young Joe
always used his rich imagination.

as this period was called, was so bad that its effects

reached around the world.
After searching for months, Joe finally got a job.
It wasn't in drawing, writing, or theater. The Irving
Trust Company hired Joe to file income-tax returns—
forms that show how much money people have 13
 made during the year. Joe was talented in many
14 things, but math was not one of them—he couldn't
even add simple numbers. "To this day, they must
be looking for my mistakes," he jokes. Joe didn't
like the work at all. The best part of the job, he later
said, were his lunch hours. Still, people did not quit
a job—no matter how much they disliked it—in the
middle of the Great Depression. Joe's mother need¬
ed his help, so he gave her part of the money he
earned. What kept him going?

I Want to Draw!
Joe dreamed of making his own cartoons—but he
also did more than dream. Every night he would
draw cartoons, hoping that some magazine would
use one. Once a week, during his lunch hour, he'd
race uptown on the subway to drop off his cartoons
on the doorsteps of Redbook, Collier's, The New
Yorker, and The Saturday Evening Post But no one
bought his cartoons, and the next week he would
have to pick them all up and take them home again.
This went on week after week. To sharpen his draw¬
ing skills, Joe started taking night classes at the
famous Art Students League of Manhattan.
 Then one day a letter came from Collier's maga¬
zine. With it was a $25 check! Collier's had bought
one of Joe's cartoons! He sold a few more cartoons
to Collier's, but it didn't seem as though he could
sell enough to support himself. He took more art
classes at night while he continued working at Irving
Trust Company during the day.

The Big Break?

When Joe was 19, he decided it was time to make
a move. So he left the bank and started to work at
Fleischer Studios. Max and Dave Fleischer, two
brothers, were famous for their Popeye the Sailor
and Betty Boop cartoons. At that time, all cartoons
were painted by hand on sheets of celluloid, a see-
through material. Joe was hired to paint these sheets
of celluloid, called cels, and he was paid $35 a
week. This was a lot of money in those days. Joe
also got paid $1 for every joke of his that was used
in a cartoon. This job seemed like his big break.
But after only four days, Joe decided that the job
was not right. He left Fleischer Studios and asked
for his job back at the bank. But the bank could not
hire him back. Joe tried to be cheerful, but he was
very upset. He could not support himself, and he
didn't have any money to give to his mother.
Then Joe got really lucky. He met a friend from
high school who said, "There's a job for a cartoonist
at the Van Beuren Studio." That company was in
Manhattan, across the street from Max Fleischer's
studio. Van Beuren Studio was not famous, or even
well known, but Joe thought it might be the right
place for him to learn about making cartoons. After
all, he had worked in cartoons for only four days! 17
 Joe applied for the job and got it. For six
^ months, he worked night and day. Like a sponge,
Joe soaked up all he could about making cartoons.
He learned about drawing cartoon figures,
painting the cels, and writing scripts. Joe
In 1936, cartoonist \
was so happy. He loved his work and
Paul Terry invited Joe \ was sure that he had found a job for life.
at his studio.
J Terrytoons
/ In 1936, Van Beuren went out of business,
so once again, Joe had to look for a job.
He decided there was only one place to make car¬
toons—at Walt Disney's studio in California. A few
years before, he had sent Disney some cartoons and
a letter. Mr. Disney had not answered, but Joe was
desperate. He packed up to move to California.
Before he got on the train, however, Joe went to Paul
Terry's cartoon studio in New Rochelle, New York,
to say good-bye to some of his friends. As he was
leaving, Joe met Mr. Terry himself. Terry was well
known for his Terrytoon cartoons. Later, he would
create Mighty Mouse and Heckle and Jeckle.
Believe it or not, Terry offered Joe a job right on the
spot. Joe Barbera was back in the cartoon business.
 Bill Hanna

illiam Denby Hanna was born in

1910 at the opposite end of the
country from Joe Barbera—in
Melrose, New Mexico. His
father helped build the Santa Fe
railroads. Every time Mr. Hanna finished one train
stop, the family would move on to the next one.
Since Mr. Hanna worked pretty fast, Bill moved a lot
when he was a child. By the time Bill was three
years old, the family was living in Baker, Oregon.
This time, his father was building a dam. Bill liked
living in Baker. He used to visit the dam to watch
his father work. There were so many trout in the
water that people could lift the fish from the shallow
 water with their bare hands. Bill sometimes got in
20 trouble, too. Bill remembers one particular day
when he and his sister Norma broke all the windows
in the family's barn. They did it because they both
liked the pretty pattern that the cracked glass made
in the window frames.

Moving Around the Country

By the time Bill started school, the family had moved
to Logan, Utah, where the winters were bitterly cold.
Sometimes, students got frostbitten feet on their way
to school, and the teacher had to rub their
feet next to the hot iron stove until they
Growing up Bill
>
warmed up. It was very painful. But
and his family lived
Bill remembers good times, too, like
in many places across
sledding in the deep snow. In 1917,
the country.
when Bill was seven years old, the family
moved once more.
This time, they went to San Pedro,
California, where they stayed for two years. There
was an army fort at San Pedro, and Bill liked to go to
the fort to watch the soldiers practice shooting. He
also spent hours looking at the houses the Oriental
fishermen had built over the harbor.
 After Bill's family moved to Los Angeles,
California, in 1919, he became a Boy Scout.

In 1919, the Hannas moved to Los Angeles,

California. When he was 12 years old, Bill joined
the Boy Scouts. He liked being a Boy Scout so
much that he is still active in scouting today. Young
Bill also loved music. He started playing the saxo¬
phone and soon joined a neighborhood band. Later,
he took piano lessons. 21
Work in Construction
When it was time for Bill to go to high school, the
Hanna family was living in Compton, California.
Bill's favorite subjects were journalism and math.
He played many sports, too. After high school, Bill
went to Compton Junior College, where he studied
journalism and engineering. Because times were
very bad during the Depression, however, he left
college to find a job. Just like Joe Barbera, whom
he would meet some years later, he had a hard time
getting work. Finally, he found a job with a group
of construction engineers who were building a large
theater in Hollywood. When the theater was fin¬
ished, though, Bill decided that he didn't like being
an engineer. He knew it was time for him to move
in a new direction.

Bitten by the “Cartoon Bug”

Bill heard about Harman-lsing Studios, a new car¬
toon studio. Working in a small room above a dress
shop, Hugh Harman and Rudy Ising created Looney
Tunes and Merrie Melodies cartoons. Like Joe
Barbera, Bill was put to work painting cels and
doing other odd jobs. "My job was to run for coffee,
Joe had the chance to visit
Hollywood when he helped some
engineers build a theater there.
 to wipe cels, to sweep up, and to drown my bosses
with story ideas," he says. As the company
grew, so did Bill's job. By the end of the
In 1937, MGM
first year, he was the head of a depart¬
hired Bill to run its
ment and earned $37.50 a week. His
animation depart¬
ment Joe Barbera
boss, Rudy Ising, worked from noon to
soon joined him. midnight seven days a week. Bill joined
the late-night sessions. He also started
writing stories and gags for the cartoons.
Soon he was even writing music. For seven years,
Bill worked happily with Harman-lsing.

Lightning Strikes!
Bill worked in all the major areas of cartoon making,
which suited him just fine. But in 1937, the giant
Hollywood film company MGM started its own car¬
toon studio. Suddenly, Culver City, California, was
the best place for cartoonists to be. On June 7,
MGM hired Bill to run its animation department,
where cartoons were made. Within a few months,
someone at the company contacted Joe Barbera,
who joined MGM as a cartoon artist at $87.50 a
week. With Bill and Joe both at MGM, the stage
was set for the two men to meet.
 oOO Ooo

Tom and Jerry

/ oe anc^ Bill got along from the start.

I M Soon, they saw that they shared some-
f a M thing special. Joe was great at writing
l M jokes, and Bill wanted to be a director.
Joe could draw like lightning. "He was
the best cartoonist I'd ever seen," Bill recalls. And
Bill could make a joke really funny. They knew they
were a perfect team, but somehow they had to prove
it to the boss. In order to do that, their first cartoon
would have to be a winner. 25
We Need an Idea!
They tried a lot of ideas, but nothing seemed right.
After many false starts, they came up with two typi¬
cal enemies—a eat and a mouse. Everyone knows
that cats chase mice—and usually catch them! With
a cat and a mouse in it, the cartoon would have many
wild chases—and the mouse would have lots of near
escapes. Working far into the night, Joe and Bill
created their first cartoon, called Puss Gets the Boot.
There was no television yet in the 1930s, so peo¬
ple went to the movies a lot. Before movies started,
cartoons were shown. The cartoon that Bill and Joe
created, they hoped, would become popular with
movie audiences.

A Game of Cat and Mouse

Puss Gets the Boot starred a house cat named Jasper
and a mouse who was never named. Jasper was
very clumsy. He would break many things around
the house as he chased the mouse. Whenever the
housekeeper warned him that he would be kicked
out of the house if he broke one more thing, the
mouse saw it as his chance to get back at the cat.
The mouse would tease Jasper and threaten to break
a glass if Jasper came any closer. Who won the bat¬
tle in the end? The mouse! Jasper is thrown out of
the house and the happy mouse puts a "Home Sweet
Home" sign above his mouse hole.
Puss Gets the Boot was a huge hit. It was even
up for an Academy Award, although it didn't get
one. A bit later, Bill and Joe thought more about the
cat Jasper and the mouse. Nobody liked the name
Jasper much. And the mouse didn't even have a
name. Finally, MGM decided to hold a contest
to find names. All the cartoonists tossed
names into a hat. Bill and Joe picked
"Tom"for the cat and "Jerry" for the
mouse, and the winner got $50.
chrrpW a r/pi/Pi'

A Winning Team
Bill and Joe would make Tom and Jerry
cartoons for the next 20 years. "We
breathed, ate, slept cartoons," they remember. They
changed the way the cat and mouse looked, but the
stories stayed the same. Tom was always chasing
Jerry—and rarely catching him!
Although the cat seemed eager to get the mouse,
people knew that Tom and Jerry really didn't want to
 hurt each other. In The Night Before Christmas, Tom
worries that Jerry will freeze in the cold. In Nit
Witty Kitty, Jerry loses his memory and Tom works
hard to help him get it back. In Just Ducky, Jerry
28 feeds hot soup to a freezing Tom.
 Bill and Joe worked hard on every step together.
Bill acted out all the scenes, every single gag. That
29
helped Joe draw exactly what they needed. It took
the two men and their helpers six weeks to make a
seven-minute cartoon. Then they added beautiful
music and wild sound effects. It cost $30,000 per
cartoon—more than $4,000 per minute. That was
a lot of money in the 1940s and 1950s.

Laughs and More Laughs

The Tom and Jerry cartoons won seven Academy
Awards. That was more than any other cartoon
series. Joe and Bill were pleased with the honors,
but they were even happier that Tom and Jerry
made people happy. "The gags brought
laughs from beginning to end. That was / Over the years,
our reward," they explain. The good feel- / f/jeTom and Jerry
ings were another reward. Everyone at [ cartoons won seven
the MGM animation department worked Academy Awards.
well with one another. \.^ ^
The two partners were also a lot of fun to \
be around. One day Joe drilled a hole in the wall
where an artist had a habit of resting his head. He
ran a soda straw through the hole. Then, when he
 Bill and Joe always
had a lot of fun at the
office and would
often play jokes on
their fellow workers.

saw that the artist was sitting at his desk, he filled his
mouth with water and squirted it through the straw
at the artist's head! But the artist got back at Joe.
He filled a big film can with water and put it above
30 Joe's desk. He wrapped a string around the can and
tied it to an electric fan. When Joe turned the fan
on, the string pulled down the can of water. Joe
stepped back just in time. "The whole business was
fun. It was hard work, but it was fun," remembers
an artist. But would it stay fun forever? 31
 oOO % Ooo

An Empire Built on
Laughter

@ y the end of the 1950s, Joe and Bill had

a secure place at MGM. They were
making eight cartoons a year, and the
quality stayed as high as ever. They
were also winning awards. But there
were now new problems brewing.
MGM was in trouble. Costs had gone up and
people were going to the movies less. Now many
people stayed home and watched a new invention:
television. In 1957, MGM closed its cartoon studio.
"Here we were thinking that we're at the top of the
heap," Joe remembers. "Without a hint, the phone
rings. 'Close the studio! Lay everybody off!'" Bill
and Joe went to every studio looking for work, but
no one was making cartoons. They just cost too
32 much. It seemed as if their dream was over.
Down but Not Out
Bill and Joe had worked together for 20 years and
wanted to continue. As soon as the studio closed,
they started thinking of new characters. They creat¬
ed a sweet but dopey dog named Ruff and a smart
cat named Reddy. Unlike Tom and Jerry, Ruff and
Reddy would be friends. They would also talk. Joe
made the drawings, and his daughter Jayne colored
them. Over and over, the project was turned down.
But then Joe and Bill got lucky again.
In the fall of 1957, Screen Gems hired Bill and
Joe to make a five-minute Ruff and Reddy cartoon
for television. Things didn't go well at first. The
boss took one look at the cartoon and shouted, "Get
rid of them! Just drop the whole idea!" Then they
came to an agreement: Each cartoon could cost
only $3,000. At that time, the average cartoon cost
$30,000. How could Joe and Bill stick to this tough
budget? They created a new kind of animation!
They called it "planned" animation. Instead of
1,000 drawings, it used just 300. The cartoon lost
some of its rich detail, but lots of money was saved.
In this way, Joe and Bill actually made television
cartoons possible.
 As soon as Ruff and Reddy was a hit, Joe and
Bill did a lot of smart things. First, they started their
own company. They hired all the best cartoonists
and musicians they could find, and they found the
perfect actors to do the voices. Next, they made all
the cartoons in color, even though they were shown
in black-and-white at first. "It was one of the
smartest things we did," Bill recalls. "Color will be
here soon," he said. "Cartoons last forever. Let's go
ahead and do them in color, and we'll be a jump
ahead of the game."

A Dog and a Bear Team Up

The time seemed to be right for a half-hour cartoon
program. To do this, Bill and Joe created a happy
but silly dog. They considered calling him "Alfalfa
Hound," "Cactus Hound," and "Dingy Dog." But
finally the partners settled on Huckleberry Hound.
They added a cute cat named Mr. Jinx and the mice
he chased, Dixie and Pixie. But the third character
was the biggest hit of all. That character was a bear
who lives in Jellystone National Park and steals "pic-
a-nic" baskets from the visitors. He also has a bear-
cub pal named Boo Boo. His name is Yogi Bear.
Yogi Bear was one of Bill and Joe's first major successes on their own.
 Right from the start—October 2, 1958—The
Huckleberry Hound Show, with the goofy, funny
dog and the cagey bear, was a big hit. Soon The
Huckleberry Hound Show became the first cartoon
to win an Emmy Award for its outstanding achieve¬
ment in children's programming.
Soon after, Bill and Joe created many other famil¬
iar characters. Among them was a mustang horse
from New Mexico called Quick Draw McGraw and
his partner, the Mexican burro Baba Looey. "Hold
on thar!" Quick Draw often shouted. "I'll do all the
thinkin' around here. . . and don-o-n't you forget it!"

Yabba-dabba-doo!
By 1960, Joe and Bill had proved that animation
could work on television. Their shows were on
more than 100 television stations, and they were on
in the early evening, when mostly children would be
watching. Then Joe and Bill had a wild idea. What
about a cartoon show for adults?
They knew they wanted the show to make fun of
modern life. They dressed the characters in modern
clothes. That didn't work. Next they tried togas—
long loose clothing worn by ancient Romans. Nope.
They tried Pilgrims. What about the Stone Age? When joe and
Bill decided to
They loved it! And that's how The FUntstones was produce a car¬
toon that adults
born! The first show aired on September 30, 1960. would like,
they created
Fred, Wilma, and Pebbles Flintstone were the stars,
The FUntstones.
along with their neighbors, Barney, Betty, and Bamm
Bamm Rubble. The FUntstones ran for six years and
won many awards—and many fans.

From Stone Age to Space Age

The FUntstones took place in the past. Where would
Bill and Joe go next? To the future, of course! The
twenty-first century, to be exact. In 1962, The
Jetsons zoomed onto television. George Jetson, his 37
$HOPPM(i
* Li5T I
 wife, Jane, their children, Judy and Elroy, and Astro
40 the dog, all lived in a skypad apartment in Orbit City.
Like The Flintstones, the show ran for six years and it
is still seen in reruns today. It got more laughs than
any other Hanna-Barbera production. "That show
was ahead of its time," Joe recalls. In the years that
followed, Hanna-Barbera created lots of other great
new shows: Lippy the Lion, Touche Turtle, Magilla
Gorilla, Atom Ant, and Secret Squirrel, to name a few.

The Superheroes and

Other New Shows
In the 1960s, astronauts like Gordon Cooper, Alan
Shepard, and John Glenn were soaring into space.
For Bill and Joe, it was time to look to the comic¬
book heroes of their childhood. "As kids, Bill and I
had always loved the big heroic figures like Tom
Swift. Now it was our turn to create our own," Joe
says. In 1964, they launched The Adventures of
Johnny Quest. This action-adventure show was
a big hit. Then came more series: Space Ghost,
Dino Boy, Shazzan, and The Fantastic Four.
In 1968, CBS, ABC, and NBC decided to buy
brand-new cartoons for Saturday morning. Up to
that point, they had been using only reruns. Within
41
months, Bill and Joe were making one third of these
new cartoons. Their new projects included
Penelope Pitstop, Wacky Races, Danger
Island, and Scooby-Doo, Where Are You? ,
In the 1970s Joe and
Bill started making
Animated Specials full-length movies.
In the 1970s, Joe and Bill started making
full-length movies around their most popu¬
lar characters. Many mixed real people with
cartoon characters. They began with famous chil¬
dren's books: Alice in Wonderland, Gulliver's
Travels, Black Beauty, Charlotte's Web, and Jack and
the Beanstalk. Newsweek magazine called their
movies "heartwarming." The Village Voice, a New
York City newspaper, said the films were "terrific."
By the 1980s, Bill and Joe were taking popular
television shows and making them into cartoons:
Tonz and the Happy Days Gang, Laverne and
Shirley, and Mork and Mindy. During this time peri¬
od, they also developed The Smurfs, which won two
Emmy Awards. And from one of the first popular
video games, Hanna-Barbera got the idea for their
successful Pac-Man cartoon.
Still Hard at Work
Today, Bill and Joe are still working on many new
ideas, some with Andrew Lloyd Weber. Weber is
the famous British composer who created the musi¬
cal Cats and the Broadway version of Phantom of
the Opera. Weber and Hanna-Barbera want to mix
animation with live action. Bill and Joe have also
teamed up with Steven Spielberg, who created
Raiders of the Lost Ark and Indiana Jones and the
Temple of Doom. They have worked together with
comedians, too, like Lily Tomlin, Rodney Danger-
field, and Whoopi Goldberg.

Awards and Rewards

Together, Joe and Bill have won many awards. In
1985, the Boy Scouts gave Bill the Distinguished
Eagle Scout Award for 60 years in scouting. The
same year, Joe got the Columbian Award from the
Federated Italo-Americans of Southern California. In
1988, the National Academy of Television Arts and
Sciences awarded both men the Governor's Award.
Bill and Joe are especially proud of their "Laugh
Rooms"—special hospital rooms where sick children
can have fun and forget they are sick for awhile.
 Together, Bill and
In the past 50 years, many things have changed
Joe have won
in the way cartoons are made. People no longer many important
awards. In 1988,
paint cels by hand. Most work is done by comput¬ the National
Academy of
ers. The computer has codes for the characters' Television Arts
movements, like eye blinks, shock vibrations, and and Sciences pre¬
sented them with
nods. Today, Hanna-Barbera Productions is a very the distinguished
Governor's Award.
big company, and it now spends millions just to
make one cartoon feature. But some things never
change. Joe and Bill feel most proud when people
tell them how much pleasure their television series
have brought to them during the past 30 years. "I
have a simple goal," Joe says. "It is to make people
laugh." Their gift to us? The magic of laughter! 43
 Glossary

Academy Award An award given to a person who

works in the motion-picture industry,
animation A motion picture made by photographing
successive positions of still objects, such as car¬
toon characters.
cartoon In the motion-picture industry, a type of
movie whose characters are not real people and
whose object is to make the audience laugh,
celluloid A see-through material on which cartoons
were once drawn. The sheets of celluloid were
called cels for short,
cleft A line or crack.
cossacks Russian soldiers who fought on horseback.
Emmy Award An award given to a person who
44 works in television.
gag A trick that is played on someone to make
people laugh.
45
Great Depression A period in the 1930s when
many people were out of work and times were
generally hard.
journalism The study that deals with newspaper and
magazine reporting.
rerun A re-presentation of a movie or television pro¬
gram after it has been shown, or run, for the first
time.
script A written guideline for a show such as a
movie, television program, or cartoon. It has the
words the characters will say and the directions for
music and sound effects.
 Further Reading

Benjamin, Carol L. Cartooning for Kids. New York:

HarperCollins Publishers, 1982.
Byars, Betsy. The Cartoonist. New York: Dell
Publishing Company, 1981.
Edwards, R. Scott and Bob Stobener. Cel Magic: The
Book on Collecting Animation Art. Sacramento,
CA: Laughs Unlimited, 1990.
Gautier, Dick. The Career Cartoonist: A Step-by-Step
Guide to Presenting and Selling Your Artwork.
New York: The Putnam Publishing Group, 1992.
Hodge, Anthony. Cartooning. New York: Franklin
Watts, 1992.
Jenkins, Patrick. Animation. Redding, MA: Addison-
46 Wesley Publishing, 1991.
 Index

Academy Awards, 5, 27, 29 Fleischer, Max, 16, 1 7

Adventures of Johnny Quest; 40 Fleischer Studios, 16
Art Students League of Manhattan, 14 Tlintstones, The, 5, 37
Atom Ant, 40 Tlintstones Kids, The, 6

Baba Looey, 36 Great Depression, 12-13, 22

Baker, Oregon, 19
Barbera, Joe Hanna, Bill
childhood of, 8-12 childhood of, 19-21
big break of, 16-18 job at Harman-lsing, 22, 24
Betty Boop, 16 Hanna & Barbera
Biskitts, The, 6 animated specials, 41
Boo Boo, 34 awards of, 42
Boy Scouts, 21,42 cartoon shows of, 40-41
first cartoon, 26-27
Collier's, 14, 1 6 start of company, 34
Compton, California, 22 Hanna-Barbera Productions, Inc., 6,
Compton Junior College, 22 40, 43
Culver City, California, 5, 24 Harman, Hugh, 22, 24
Harman-lsing Studios, 22, 24
Danger Island, 41 Heckle and Jeckle, 18
Dino Boy, 40 Hollywood, California, 22
Dixie and Pixie, 34 Huckleberry Hound, 5, 34, 36
Dukes, The, 6
Irving Trust Company, 13, 16
Emmy Awards, 36, 41 Ising, Rudy, 22, 24
Erasmus Hall High School, 12
jellystone National Park, 34
Flatbush, New York, 8 Jetsons, The, 5, 37
Fleischer, Dave, 16 Just Ducky, 28 47
Lippy the Lion, 40 Redbook, 14
Logan, Utah, 20 Richie Rich, 6
Looney Tunes, 22 Ruff and Reddy, 33, 34
Los Angeles, California, 21
San Pedro, California, 20
Magilla Gorilla, 40 Saturday Evening Post, The, 14
Melrose, New Mexico, 19 Scooby-Doo, Where Are You?, 41
Merrie Melodies, 22 Screen Gems, 33
Mighty Mouse, 18 Secret Squirrel, 40
MGM Studios, 5, 6, 24, 27, 29, 32 Smurfs, The, 6
Mr. Jinx, 34 Space Ghost, 40
Spielberg, Steven, 42
New Rochelle, New York, 18
New Yorker; The, 14
Terry, Paul, 18
Night Before Christmas, The, 28
Terrytoon cartoons
Nit Witty Kitty, 28
Tom and Jerry, 5, 26-29
Top Cat, 5
Orbit City, 40
Touche Turtle, 40
Pac-Man, 6
Penelope Pitstop, 41 Van Beuren Studio, 1 7, 1 8
Popeye the Sailor, 16
Pound Puppies, 6 Wacky Races, 41
Public School 1 39, 12 Walt Disney Studio, 18
Puss Gets the Boot, 26-27 Weber, Andrew Lloyd, 42

Quick Draw McGraw, 5, 36 Yogi Bear, 5, 34

48
 Unique Biographies About Creativity and Cooperation

ith an innovative approach, the PARTNERS series opens up a whole new world in
biography. Rather than focusing on the life of just one person, each PARTNERS book
explores the unique relationship between two or more individuals. In addition to present¬
ing the early life and important influences for each of the subjects, each book highlights
the cooperation and compromise that are so important for any successful partnership.

By looking closely at the special things each member of a team contributes, readers better
understand how the best partnerships achieve their goals. These exciting stories will not
only inspire young readers to explore their own creativity, they will also help them to
better appreciate the value of working with others.

Titles in the Series:

Ben & Jerry: Ice Cream for Everyone!

Hanna & Barbera: Yabba-dabba-doo!
Henson & Peary: The Race for the North Pole
Bill & HiPTsTiiiimm,^119 Together in the White House

9781567110654
*BARBERA yabba oabba d 2018 02-05 13:3
-

BLACKBIRCH PRESS