KEY CREW BEHIND THE STAR: Bill Hanna, Joe Barbera (directors), Daws Butler (voice), Joe Barbera, Warren Foster (writers)

CAREER HIGH: THE HUCKLEBERRY HOUND SHOW (1958-61) - The first animated series to win an Emmy, and the show that popularized the trend of sophisticated humor in TV animation.

Huckleberry, or Huck, is a slow talking, slow moving, blue hound dog who walks on two legs. More a human in dog's clothing, Huck still generally works like a dog. His inate kindness, gentleness and honesty made him a lovable character.

Huck comes from the line of characters who never get flustered. No matter what the disaster or danger that presents itself, he merely looks at the audience and calmly announces it in his slightly Southern drawl. For example, when his foe crushes Huck flat with a drawbridge, Huck's only response is, "You know, that's a right heavy drawbridge."

However, this slow, leisurely pace should not be confused with a dull wit. Huck proved to be one of the fastest thinking, cleverest, and athletic characters around. His ability to think himself in and out of trouble is remarkably rapid. Unfortunately, his ideas are more clever than workable.

Hearkening back to a Mickey Mouse style, Huck is really a cartoon actor. He is merely a hound looking for a role. He could be a mailman, a knight in shining armor, a rocket scientist, or the heroic Purple Pumpernickel. More than any other of the Hanna-Barbera creations, he is the consummate toon thespian.

HUCK AND HANNA-BARBERA

In the Fifties, movie studios began closing down their shorts department. The MGM studio was no different. For many of their talented staff, this meant unemployment. However, for Bill Hanna and Joe Barbera, the team behind MGM's Tom and Jerry series, it was a new opportunity.

They opened their own studio and developed a technique to create animation on a highly limited budget. Rather than animate the entire figure, only the parts that moved would be animated. This meant multiple layered drawings and cels. (For example, the drawing might have the body and head of the character, but no eyes, mouth, legs or arms. These would be separate drawings that "moved.")

The studio was filled with top talent. They boasted not only a number of key animators, like Ken Muse, but voice and writing talent. Their writing staff included two ex-Warner writers Michael Maltese and Warren Foster. The pair had written many of the most popular Bugs, Daffy and Porky cartoons. The writing became even more vital in these new cartoons that relied so heavily on clever dialog and characterization instead of movement. Many of the key first episodes were scripted by Joe Barbera, himself.

For voices they had Daws Butler, who'd worked in cartoons, radio and with Stan Freberg. Long a corner stone for Hanna- Barbera voices (Yogi Bear, Snagglepuss, Quick Draw McGraw, Peter Potamus, Mr. Jinks, and dozens of others), Daws Butler was key to many of the characterizations. Also on hand was Don Messick, a former ventriloquist and radio voice. (Messick would supply the voice of the announcer in Huckleberry Hound cartoons, as well as Pixie, of Pixie and Dixie, and other Hanna-Barbera characters.)

The talent and enthusiasm in the studio kept most spirits high, and all were sure their big break was coming; television as a whole was coming out of its brief dry spell after the earlier "golden age." The studio had already received some minor success via their RUFF AND REDDY animated series of shorts. One final missing ingredient was added in 1957: corn flakes.

Kellogg's Cereals, interested for marketing reasons in sponsoring a children's show, was looking for a suitable animated series. Hanna-Barbera was contacted and a show began to take shape. Instead of simply coming up with some live character to emcee the show (like Howdy Doody and countless live hosts), Hanna and Barbera envisioned an animated host. They also thought of three separate segments, making it easier to script and leaving some flexibility if either sponsor or audience disliked a particular segment.

"Because of time and budget," explained long time Hanna- Barbera producer Art Scott, "we couldn't use a lot of animation. So we borrowed from radio the concept of using a lot of jokes and satire. The characters created were more like stand up comics than slapstick clowns."

The lead character filled that description perfectly. He didn't move fast; in fact, he didn't even talk fast.

"I had been doing the slow-talking, laconic voice for some time at MGM," explained Daws Butler in a 1979 interview. "At one time we were going to do a series with a wolf using the voice." The wolf in question appeared in a number of Droopy and other Tex Avery cartoons. "I even used the voice for the big dog, Ruff, in the series Hanna-Barbera was already doing."

Along with the voice, a slow moving blue hound dog with a necktie was created. (All Hanna-Barbera characters were given something around the neck to better camouflage the segmented artwork.) He was christened Huckleberry Hound and made master of ceremonies for his other stars: Yogi Bear, Mr. Jinks, the cat, and the "meeces," Pixie and Dixie. Oddly enough, the only thing Kellogg's didn't like was the character's name. They thought it was too long for children. But it stuck.

In the beginning, Joe Barbera was responsible for writing the Huckleberry Hound sequences. By the second season, Warren Foster had taken over. All the segments were directed by the team of Hanna and Barbera.

INSTANT SUPERSTAR

The show opened in syndication during the Fall of 1958 near prime time (6:30pm in New York). It became a surprise hit. Prior to the recent effect of THE SIMPSONS, it is hard for many to remember when an animated TV series has attracted as much attention and press as Huckleberry Hound did. Articles on Huck and his costars appeared in dozens of magazines (such as TIME and PARENTS) and newspapers (such as The New York Times).

Huckleberry Hound became an instant cult hero of sorts. Clubs formed and merchandise flourished. But the biggest surprise was the discovery that a large percentage of the 16 million viewers were college students and adults. Hanna felt the puns and witty dialog gave Huck a "sophisticated feel." Or, perhaps it was that Huck was something different in a TV season that opened with over 20 western and a dozen detective shows.

More than likely, it was Huck's character that caught audiences by surprise. Used to the brash, fast-paced cartoon characters of the past, Huck debuted as a nice friendly sort who was pleasant to be around and easy to get along with. His even temperament and amiable disposition was obviously due to the kind of superhuman patience that could remain blissfully oblivious to the most alarming injuries and disasters.

HUCKLEBERRY HOUND MEETS WEE WILLIE was the first Huck cartoon produced. It features several key "Huck-isms." First, the story opens with a narrator. Second, Huck is up against a formidable opponent. Third, Huck continually talks to the audience. He not only tells viewers what he plans to do, he also shares his personal insights into any situtation.

For this initial venture, Huck does the opening narration. At first refering to himself as a "cop" he catches himself and changes the title to "policeman." Officer Huck, in Car 13, is notified of an escaped gorilla called Wee Willie. His orders are to bring Willie in, but not to hurt the gorilla as it is very valuable. Huck arrives on the scene and discovers mass destruction. He approaches Willie in an attempt of true police procedure. Unfortunately, Willie quickly eats Hucks gun, handcuffs and begins work on Huck's arm. "He's a hungry gorilla," Huck informs the audience, "and that's the worst kind." As Huck's police radio continually informs the officer not to hurt the gorilla, the simian repeatedly bashes Huck.

Finally Huck is able to trap Willie in a giant industrial construction can. He places the can in his patrol car and tells headquarters he is proceeding North with Willie. Suddenly, Willie's head bursts from the top of the can and through the car roof. The gorilla's feet similarly crash through the bottom of the can and car. Facing the opposite direction of Huck, Willie begins walking the car away from headquarters. Calmly, Huck informs headquarters that Willie is "heading South" with a police car and a policeman, "namely me," as the short fades out.

The second short, LION-HEARTED HUCK, adds two more important Huck elements. First, he is given a talking opponent. Rather than reacting to the monkey sounds of Willie, now there is a second voice that can talk not only with Huck but with the viewer. In this case it's a jokester lion with a crazy laugh. This majestic creature delights in telling the viewer how much fun he is having. The other major element is the addition of a seperate narrator (Don Messick). However, in this short, he has little to say.

LION-HEARTED HUCK also features some great humor. First, there is some visual fun when the narrator shows us how the modern lion battles the modern hunter. (The lion is found to have monkeys running radar installations.) Huck admires the lion and his humor almost as much as the lion does! As the lion keeps telling viewers how funny his practical jokes are ("These tacks will slow him down, get the point?"), Huck keeps admitting the same ("You gotta admit, that lion's a load of laughs."). The short ends when the lion pulls his "missing motor bit" by removing the motor from Huck's jeep. The lion sits on the stolen property behind a bush, and chuckles as Huck gets in the vehicle and tries to start it. To the lion's surprise, the engine does start, sending him flying through the jungle on top of the runaway engine. As he calls out, "What's with this creepy jeep?" all Huck can say is, "That there lion will do anything for a laugh."

By Huck's third short, TRICKY TRAPPER, the Huck formula and character are 99% set. First, he finally sings "Oh my darling, Clementine" (several times, actually). Second, the narrator maintains an active role in the short, continually attempting to describe in serious tones what is and what will happen. The story follows Mountie Huck as he tracks down Powerful Pierre. Pierre is the first of Huck's formidable human foes with both large bodies and somewhat silly names and fussy demeanor. Huck does capture Pierre because a Mountie "always gets his man." A phrase Huck repeats endlessly through the short, having been told "not to forget it" by his commander.

The only missing element finally comes in SIR HUCKLEBERRY HOUND, his fourth short. (Huck attempts to rescue a maiden from Hassle Castle.) In this one, the narrator not only talks to the audience, but to the cast. As he describes Huck's latest foe as a "cruel, vicious, dastardly, horrible, fat knight," the knight looks to the screen disgusted and announces, "Fat! Cheeesh!" After several forays, Huck defeats the Knight by dressing as a damsel. However when Huck discovers that the damsel is a matronly, love-sick spinster, he locks himself in the tower and begins calling for help.

That fast (or perhaps slow) paced first season found Huck portraying his usual variety of roles. TWO CORNY CROWS went to work each day to bother farmer Huck. SHERIFF HUCKLEBERRY found him trying to bring in Dinky Dalton, who had now grown to gigantic size. Huck also was a fire man, a knight, a cowboy, a sheepherder, and a homeowner among others.

In all, there were 22 Huck segments seen in the first season. As final tribute to a great year, THE HUCKLEBERRY HOUND SHOW was awarded an Emmy for Outstanding Achievement in Children's Programming.

The second season (1959) found Huck in even wilder situations. Thirteen new episodes were made. JOLLY ROGER AND OUT found him fighting pirates. COP AND SAUCER featured Huck trying to arrest aliens. NOTTINGHAM & YEGGS found him in the days of Robin Hood. He was an early settler in GRIM PILGRIM. These all featured more of the absurd humor and top puns seen in the first season.

This was the last season that Yogi Bear appeared on the show. Yogi's popularity had quickly grown and he was given his own show in 1960. To replace the bruin, Hokey Wolf and his son Ding-a-Ling were added to the series.

In his third season (1960), Huck debuted in another thirteen original stories. This season had one of his greatest adventures in SPUD DUD. This sci-fi classic tells the tale of a potato that not only had eyes... but a brain. He uses his brain to grow to gigantic size and terrorize the world. Huck is the scientist who must stop the spectacular spud. After several failed attempts, Huck tricks the potato into a rocket and fires it into space. A reporter asks Huck whatever happened to the rocket. Huck looks upward and says it should be flying overhead any moment. Suddenly an explosion rocks the air. Huck states we may never know what happened to the giant potato, and as white flakes fall from the sky, he adds, "but it is rainin' potato chips."

This same season also offered Huck's classic hero of derring do, the PURPLE PUMPERNICKEL. (Huck tells the viewers, "You can call me 'Purp.'") After defeating the evil greedy king, the Purple Pumpernickel announces things will be better in the kingdom. Of course to make improvements, he will have to raise the taxes. Soon the crowd is booing him as another costumed hero arrives to vanquish the Purple Pumpernickel. Huck states there'll be no problem, causes he knows what to do. He then begins running from the new hero. Other titles included LEGION BOUND HOUND (the foreign legion), KNIGHT SCHOOL, NUTS OVER MUTTS and CLUCK AND DAGGER (a spy spoof).

Sadly this was the last season for new Huck stories. Hanna- Barbera was now busy with their prime time series such as THE FLINTSTONES, THE JETSONS and TOP CAT. Yogi Bear would continue on another year to keep the legacy alive. Though Huck would return, he would only have one other chance to be "the star."

In 1972, Hanna-Barbera were the kings of Saturday morning, producing many of the shows on the air. One such show, ABC'S SATURDAY SUPERSTAR MOVIE, featured a different "movie" each week. One episode brought back the classic Hanna-Barbera characters. YOGI'S ARK LARK featured the popular bruin in an air ship setting sail to help the environment. Huck, once the star, was now along just for the ride with such stars as Snagglepuss, Quick Draw McGraw, Peter Potamus and others. The "movie" proved popular enough to become a series.

1973 saw the debut of YOGI'S ARK, but the series only lasted a year. After this, though Huck became one of the regular costars in a line of series that toplined Yogi or other new stars. These included SCOOBY'S ALL-STAR LAFF-A-LYMPICS (1977) which was later re-run as SCOOBY'S ALL STARS (1978) and SCOOBY'S LAFF-A-LYMPICS (1980). Huck was part of the Yogi Yahooeys team. 1978 saw the debut of YOGI'S SPACE RACE with Huck teamed with the frantic Quack-Up (a Daffy Duck inspired character). The show also had a segment starring THE GALAXY GOOF-UPS. Huck was part of a team, including Yogi, Scare Bear and Quack-Up as a bumbling squad of space policemen. These were soon split into two separate series.

YOGI'S FIRST CHRISTMAS (1981) was the first of several made for TV features that had Huck as co-star. The holidays brought another reunion with the half hour YOGI BEAR'S ALL STAR COMEDY CHRISTMAS CAPER (1982). 1985 found Huck as part of THE FUNTASTIC WORLD OF HANNA-BARBERA, a collection of syndicated series on Sunday mornings. Huck not only was one of the costumed characters working the control board between segments, he also appeared in the animated YOGI'S TREASURE HUNT.

The Fall of 1987 saw the launch of "Hanna-Barbera's Superstars 10." This was a new series of made-for-TV features starring their classic characters. Huck was co-star in several including YOGI'S GREAT ESCAPE (1987) and YOGI AND THE MAGICAL FLIGHT OF THE SPRUCE GOOSE (1987).

However, Huck did get the title role in THE GOOD THE BAD AND THE HUCKLEBERRY (1987). Aided by Yogi Bear, Magilla Gorilla, Quick Draw McGraw and other H-B characters, Huck takes the sheriff's job in the old West town of Two-Bit. The plot was disjointed as Huck dealt with Indians, outlaws, and townfolk. Though it was nice to be a "star" again, it did not add anything to Huck's prestige. Huck remained pretty much inactive until 1990 when he was cast in the "Fender Bender 500," part of the daily syndicated series WAKE, RATTLE & ROLL. The segment features numerous classic Hanna-Barbera characters (Yogi Bear, Snagglepuss, Top Cat, Magilla Gorilla, etc.) in 4x4 races around the world.

CO STARS

Huck had no regular co-stars in his short subjects. Though he frequently met with similar characters (mean dogs, tough guys, aliens, etc.), they were never really the same character twice. In his many later appearances with Yogi Bear, Huck did little interaction with the bear, generally being one of the crowd.

OTHER MEDIA

Huck was one of Hanna-Barbera's merchandised stars during his first three years. Comics, books, toys, dolls and more could be found for the blue hound. Due to his association with Kellogg's he was a regular subject for cereal promotions and giveaways.

He joined his other Hanna-Barbera friends as a costume character in a variety of locations. In the early Sixties, he and Yogi Bear traveled the country visiting schools and shopping centers. In the Seventies and Eighties, he became associated with several amusement parks including the Taft parks Kings Island, Kings Dominion and Carowinds. He also appeared at Southern California's Marineland and still appears at Great America in Northern California and Universal Studios Florida.

The United States Coast Guard ice breaker "Glacier," named a tiny island "Huckleberry Hound" in the Antartic's Bellingshausen Sea.

SUPERSTAR QUALITY

Huckleberry Hound is the classic showbiz story of a top star who is upstaged by one of his supporting players, and thus becomes a supporting player, himself. However, Huck's place as a Cartoon Superstar is secure due to his many years of hilarious work as the star and host of his own show. Huck gave some of the greatest cartoon characters their first break. His history making show and the attention it brought make Huck one of the most fondly remembered characters of the Fifties and Sixties.

CREATORS COMMENTS

"We've never tried to educate to children. We've never tried to preach to them. We've just tried to entertain them." - Bill Hanna

"It was the voice that made Huck. Daws had that great voice and it became the character." Bernie Wolf, animation producer

"A large part of the Hanna-Barbera humor depends on word usage." - Parents Magazine (1962)

"He is a sort of Tennessee-type guy who never gets mad no matter how much he is outraged. He is the fall guy, and a large part of his humor is the way he shrugs off his misfortunes. To Huck, nobody is really bad." - Warren Foster, Huck's writer

"We're always surprised when something catches on. You work on something and you think its good, but you're just as surprised when it's a hit as when it isn't." - Bill Hanna, on the success of Huckleberry Hound

"Disney's trend was more and more toward beautiful art. Huck and the others have restored cartoons to caricature and fun." - Warren Foster, Huck's writer

"There was some bars in San Francisco... where they would stop serving drinks when... Huckleberry Hound came on. They said, 'No noise, no tinkling of glasses' during the screening of THE HUCKLEBERRY HOUND SHOW." - Joe Barbera

"I felt I shouldn't have to go through life as Huckleberry Hound. But then I thought, I shouldn't be ashamed of being known as Huckleberry Hound either." - Daws Butler