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An Unknown Compelling Force
"Believer" - Imagine Dragons
Last things last
By the grace of fire and flames
You're the face of the future, the blood in my veins
Outlaw Code
"These Dreams" - Heart
These dreams go on when I close my eyes
Every second of the night, I live another life
These dreams that sleep when it's cold outside
Every moment I'm awake, the further I'm away...
Visual Inspiration - Slumberland
Full outfit and scene breakdown available on my blog: Parts Undrawn
Excerpt from the plaque:
Construction of a Cupola
In late 2020, I started the painting “Construction of a Cupola.” As in every cupola structure, its construction goes in concentric circles that diminish as they get to the center. At the same time, we can imagine rays going from that center to the foundations of the cupola. The intersections of these rays and concentric circles form a grid and the surface of the cupola will consist of segments that gradually diminish as they approach the center.
So, in pondering my conception I prepared to make these segments one after the other, coming up with subjects for each, assuming that when I had finished them, they would fill the entire surface of my cupola (its half) and simultaneously the entire painting.
I drew all the large segments on the edges of the painting and, following my sketches, began moving confidently to its center, filling in several smaller segments. And here I was ambushed by something strange and unexpected.
The point is that the planned painting was rather large (229x862 cm) and consisted of five separate canvases which would be put together for the final painting. I made each of the canvases separately, without completing them in full, but just marking in different places the diminishing segments on each canvas.
When I set all of them next to one another against the wall, just to see “how the work was going” and how much more needed to be done to fill in all the segments and thus complete the entire painting, I unexpectedly saw that the painting was “done” and that nothing more needed to be done!
What had happened?
Before executing all the segments, I had drawn thin yellow lines of the grid that I mentioned earlier and in which I had already completed the greater number of segments. So, when I put it all together, the white and the drawn segments formed a strange but convincing unity that led to the unexpected completion of the painting. The white, undrawn segments in that grid next to the “drawn” ones gained from that proximity a special, mysterious meaning that allowed them to take a “legal” place and not simply be unfinished “holes” on the surface; they had become natural participants of the entire artistic whole.
What was that meaning?
In the article “Finished/Unfinished,” I mentioned and examined the hypothesis that next to the “obvious,” real world there is something that we will never see and that in a symbolic, artistic image can be presented as being “white,” empty, incomplete. And now placed next to each other, “depicted” and empty, in the grid system, where they were the same size, their proximity formed that strange completeness, that unity that we can sense only intuitively.
Excerpt from the plaque:
Construction of a Cupola
In late 2020, I started the painting “Construction of a Cupola.” As in every cupola structure, its construction goes in concentric circles that diminish as they get to the center. At the same time, we can imagine rays going from that center to the foundations of the cupola. The intersections of these rays and concentric circles form a grid and the surface of the cupola will consist of segments that gradually diminish as they approach the center.
So, in pondering my conception I prepared to make these segments one after the other, coming up with subjects for each, assuming that when I had finished them, they would fill the entire surface of my cupola (its half) and simultaneously the entire painting.
I drew all the large segments on the edges of the painting and, following my sketches, began moving confidently to its center, filling in several smaller segments. And here I was ambushed by something strange and unexpected.
The point is that the planned painting was rather large (229x862 cm) and consisted of five separate canvases which would be put together for the final painting. I made each of the canvases separately, without completing them in full, but just marking in different places the diminishing segments on each canvas.
When I set all of them next to one another against the wall, just to see “how the work was going” and how much more needed to be done to fill in all the segments and thus complete the entire painting, I unexpectedly saw that the painting was “done” and that nothing more needed to be done!
What had happened?
Before executing all the segments, I had drawn thin yellow lines of the grid that I mentioned earlier and in which I had already completed the greater number of segments. So, when I put it all together, the white and the drawn segments formed a strange but convincing unity that led to the unexpected completion of the painting. The white, undrawn segments in that grid next to the “drawn” ones gained from that proximity a special, mysterious meaning that allowed them to take a “legal” place and not simply be unfinished “holes” on the surface; they had become natural participants of the entire artistic whole.
What was that meaning?
In the article “Finished/Unfinished,” I mentioned and examined the hypothesis that next to the “obvious,” real world there is something that we will never see and that in a symbolic, artistic image can be presented as being “white,” empty, incomplete. And now placed next to each other, “depicted” and empty, in the grid system, where they were the same size, their proximity formed that strange completeness, that unity that we can sense only intuitively.
Excerpt from the plaque:
Construction of a Cupola
In late 2020, I started the painting “Construction of a Cupola.” As in every cupola structure, its construction goes in concentric circles that diminish as they get to the center. At the same time, we can imagine rays going from that center to the foundations of the cupola. The intersections of these rays and concentric circles form a grid and the surface of the cupola will consist of segments that gradually diminish as they approach the center.
So, in pondering my conception I prepared to make these segments one after the other, coming up with subjects for each, assuming that when I had finished them, they would fill the entire surface of my cupola (its half) and simultaneously the entire painting.
I drew all the large segments on the edges of the painting and, following my sketches, began moving confidently to its center, filling in several smaller segments. And here I was ambushed by something strange and unexpected.
The point is that the planned painting was rather large (229x862 cm) and consisted of five separate canvases which would be put together for the final painting. I made each of the canvases separately, without completing them in full, but just marking in different places the diminishing segments on each canvas.
When I set all of them next to one another against the wall, just to see “how the work was going” and how much more needed to be done to fill in all the segments and thus complete the entire painting, I unexpectedly saw that the painting was “done” and that nothing more needed to be done!
What had happened?
Before executing all the segments, I had drawn thin yellow lines of the grid that I mentioned earlier and in which I had already completed the greater number of segments. So, when I put it all together, the white and the drawn segments formed a strange but convincing unity that led to the unexpected completion of the painting. The white, undrawn segments in that grid next to the “drawn” ones gained from that proximity a special, mysterious meaning that allowed them to take a “legal” place and not simply be unfinished “holes” on the surface; they had become natural participants of the entire artistic whole.
What was that meaning?
In the article “Finished/Unfinished,” I mentioned and examined the hypothesis that next to the “obvious,” real world there is something that we will never see and that in a symbolic, artistic image can be presented as being “white,” empty, incomplete. And now placed next to each other, “depicted” and empty, in the grid system, where they were the same size, their proximity formed that strange completeness, that unity that we can sense only intuitively.
"An unseen ruler defines with geometry
An unrulable expanse of geography
An aerial photographer over-exposed
To the cartologist's 2D images knows
The areas where the water flowed
So petrified, the landscape grows
Straining eyes try to understand
The works, incessantly in hand
The carving and paring of the land
The quarter square, the graph divides
Beneath the rule, a country hides
Interrupting my train of thought
Lines of longitude and latitude
Define, refine my altitudes
Interrupting my train of thought
Lines of longitude and latitude
Define, refine my altitudes
The curtain's undrawn
Harness fitted, no escape
Common and peaceful, duck, flat, lowland
Landscape, canal, canard, water coloured
Crystal palaces for floral kings
A well known waving span of wings
Witness the sinking of the sun
A deep breath of submission has begun
Interrupting my train of thought
Lines of longitude and latitude
Define, refine my altitudes
Interrupting my train of thought
Lines of longitude and latitude
Define, refine my altitudes
Interrupting my train of thought
Lines of longitude and latitude
Define, refine my altitudes"...
Wire / Map Ref 41 Degrees N 93 Degrees W...
a7rii + Sony CZ Vario Tessar 16-70/4 (APS-C)
Arguably the most-famous image from the Tanum rock carvings: the lovers, sometimes more poetically described as the Holy Bride and Groom or the Bridal Couple. It depicts a man and woman kissing.
The carvings of the impressive Vitlycke Panel were made mostly between 1000-500 BC but some of the last carvings were added as late as the early Iron Age, around 500 BC to AD 1.
The Tanum UNESCO World Cultural Heritage area is in the province Bohuslän – roughly the area of western Sweden between the city Gothenburg and the Norwegian border. Bronze Age rock carvings are found throughout Bohuslän and much of the rest of Sweden and Scandinavia but the concentration is particularly high in the Tanum area.
There are four major sites: Fossum, Vitlycke (with a museum), Aspeberget and Litsleby.
Although the rock art of Tanum and the Bohuslän region is commonly described as rock carvings, the images were rather chipped or grounded into the rock with quartz, diabase or a similarly harder rock. The correct term is petroglyphs while Felsritzungen in German and Hällristningarna in Swedish are less technical.
The rock carvings in Bohuslän were mostly made during the Bronze Age and early Iron Age – thus between 1700 BC and 200 BC. Different models of boats and weaponry, as well as the appearance of animals, help to date the works.
Whether the carvings were painted or not during the Bronze Age are still debated by experts. Nowadays, most of the carvings are painted red, which does make them easier to study, especially in the middle of the day when shadows are of limited help in defining the figures.
The real purpose of the rock art remains unknown but the carvings were almost certainly of a religious or sacred nature. The same motifs recur: boats, cup marks, humans, animals, foot prints, musical instruments, weaponry, carts, ploughs, wheels and carriages. Simple daily life events and items such as houses, people at work, children, cows and fish are never depicted.
Cupmarks are the most common motif with around 40,000 known in the Bohuslän region. The purpose of these cupmarks is well debated: theories of what they symbolize include amongst others a representation of fertility, the sun, the moon, stars, life, death, rebirth and simple calendars. Somewhat surprisingly boats are the second most common motif with around 10,000 known. Different boats are depicted but sails and oars are rare. People are often depicted in the boats and some scenes may show funerals.
People are also fairly common on the carvings with 98% of the gender identifiable portraits of men. Men are identified by showing a penis – often erect – and/or bearing weapons (usually undrawn swords). The women commonly have a ponytail.
Famous person depictions include the lovers (a couple kissing) at Vitlycke, the woman of Fossum and the Spear God at Litsleby.
Again somewhat surprising, very few violent scenes are depicted – no murderous raiding and pilfering Vikings here. Although lots of weapons are shown, very little fighting or even active hunting is depicted. One scene at Fossum shows an animal actually being speared while others hint at dead animals (or people) without showing the actual moment of being killed. The weapons are probably for ceremonial use with swords rarely drawn.
The most common animals are bulls, horses, snakes, deer and birds. Common animals such as cows, sheep and fish are noticeable absent. Bulls are never shown doing any work although oxen are shown pulling carriages. Only around 50 agricultural scenes are known.
Many scenes are unidentifiable – some may simply be incomplete works. Sometimes scenes were carved over older ones and many are too worn to identify.
from: www.european-traveler.com/sweden/see-prehistoric-rock-art...
The Tanum UNESCO World Cultural Heritage area is in the province Bohuslän – roughly the area of western Sweden between the city Gothenburg and the Norwegian border. Bronze Age rock carvings are found throughout Bohuslän and much of the rest of Sweden and Scandinavia but the concentration is particularly high in the Tanum area.
There are four major sites: Fossum, Vitlycke (with a museum), Aspeberget and Litsleby.
Although the rock art of Tanum and the Bohuslän region is commonly described as rock carvings, the images were rather chipped or grounded into the rock with quartz, diabase or a similarly harder rock. The correct term is petroglyphs while Felsritzungen in German and Hällristningarna in Swedish are less technical.
The rock carvings in Bohuslän were mostly made during the Bronze Age and early Iron Age – thus between 1700 BC and 200 BC. Different models of boats and weaponry, as well as the appearance of animals, help to date the works.
Whether the carvings were painted or not during the Bronze Age are still debated by experts. Nowadays, most of the carvings are painted red, which does make them easier to study, especially in the middle of the day when shadows are of limited help in defining the figures.
The real purpose of the rock art remains unknown but the carvings were almost certainly of a religious or sacred nature. The same motifs recur: boats, cup marks, humans, animals, foot prints, musical instruments, weaponry, carts, ploughs, wheels and carriages. Simple daily life events and items such as houses, people at work, children, cows and fish are never depicted.
Cupmarks are the most common motif with around 40,000 known in the Bohuslän region. The purpose of these cupmarks is well debated: theories of what they symbolize include amongst others a representation of fertility, the sun, the moon, stars, life, death, rebirth and simple calendars. Somewhat surprisingly boats are the second most common motif with around 10,000 known. Different boats are depicted but sails and oars are rare. People are often depicted in the boats and some scenes may show funerals.
People are also fairly common on the carvings with 98% of the gender identifiable portraits of men. Men are identified by showing a penis – often erect – and/or bearing weapons (usually undrawn swords). The women commonly have a ponytail.
Famous person depictions include the lovers (a couple kissing) at Vitlycke, the woman of Fossum and the Spear God at Litsleby.
Again somewhat surprising, very few violent scenes are depicted – no murderous raiding and pilfering Vikings here. Although lots of weapons are shown, very little fighting or even active hunting is depicted. One scene at Fossum shows an animal actually being speared while others hint at dead animals (or people) without showing the actual moment of being killed. The weapons are probably for ceremonial use with swords rarely drawn.
The most common animals are bulls, horses, snakes, deer and birds. Common animals such as cows, sheep and fish are noticeable absent. Bulls are never shown doing any work although oxen are shown pulling carriages. Only around 50 agricultural scenes are known.
Many scenes are unidentifiable – some may simply be incomplete works. Sometimes scenes were carved over older ones and many are too worn to identify.
from: www.european-traveler.com/sweden/see-prehistoric-rock-art...
a7rii + Sony CZ FE Vario Tessar 16-35mm F4 ZA OSS
I leave the curtains undrawn and the room lights on. If I'm lucky one of these will appear at the window. Hunmanby, North Yorkshire.
a7rii + Sony CZ Vario Tessar 16-70/4 (APS-C)
The carvings of the impressive Vitlycke Panel were made mostly between 1000-500 BC but some of the last carvings were added as late as the early Iron Age, around 500 BC to AD 1.
The main Vitlycke panel has a large variety and number of images including arguably the most-famous image from the Tanum rock carvings: the lovers, sometimes more poetically described as the Holy Bride and Groom or the Bridal Couple. It depicts a man and woman kissing.
The Tanum UNESCO World Cultural Heritage area is in the province Bohuslän – roughly the area of western Sweden between the city Gothenburg and the Norwegian border. Bronze Age rock carvings are found throughout Bohuslän and much of the rest of Sweden and Scandinavia but the concentration is particularly high in the Tanum area.
There are four major sites: Fossum, Vitlycke (with a museum), Aspeberget and Litsleby.
Although the rock art of Tanum and the Bohuslän region is commonly described as rock carvings, the images were rather chipped or grounded into the rock with quartz, diabase or a similarly harder rock. The correct term is petroglyphs while Felsritzungen in German and Hällristningarna in Swedish are less technical.
The rock carvings in Bohuslän were mostly made during the Bronze Age and early Iron Age – thus between 1700 BC and 200 BC. Different models of boats and weaponry, as well as the appearance of animals, help to date the works.
Whether the carvings were painted or not during the Bronze Age are still debated by experts. Nowadays, most of the carvings are painted red, which does make them easier to study, especially in the middle of the day when shadows are of limited help in defining the figures.
The real purpose of the rock art remains unknown but the carvings were almost certainly of a religious or sacred nature. The same motifs recur: boats, cup marks, humans, animals, foot prints, musical instruments, weaponry, carts, ploughs, wheels and carriages. Simple daily life events and items such as houses, people at work, children, cows and fish are never depicted.
Cupmarks are the most common motif with around 40,000 known in the Bohuslän region. The purpose of these cupmarks is well debated: theories of what they symbolize include amongst others a representation of fertility, the sun, the moon, stars, life, death, rebirth and simple calendars. Somewhat surprisingly boats are the second most common motif with around 10,000 known. Different boats are depicted but sails and oars are rare. People are often depicted in the boats and some scenes may show funerals.
People are also fairly common on the carvings with 98% of the gender identifiable portraits of men. Men are identified by showing a penis – often erect – and/or bearing weapons (usually undrawn swords). The women commonly have a ponytail.
Famous person depictions include the lovers (a couple kissing) at Vitlycke, the woman of Fossum and the Spear God at Litsleby.
Again somewhat surprising, very few violent scenes are depicted – no murderous raiding and pilfering Vikings here. Although lots of weapons are shown, very little fighting or even active hunting is depicted. One scene at Fossum shows an animal actually being speared while others hint at dead animals (or people) without showing the actual moment of being killed. The weapons are probably for ceremonial use with swords rarely drawn.
The most common animals are bulls, horses, snakes, deer and birds. Common animals such as cows, sheep and fish are noticeable absent. Bulls are never shown doing any work although oxen are shown pulling carriages. Only around 50 agricultural scenes are known.
Many scenes are unidentifiable – some may simply be incomplete works. Sometimes scenes were carved over older ones and many are too worn to identify.
from: www.european-traveler.com/sweden/see-prehistoric-rock-art...
a7rii + Sony CZ Vario Tessar 16-70/4 (APS-C)
In this scene we see a man and in front of him a snake or a bolt of lightning; or maybe both because the snake was a symbol of life-giving rain. The raised arms of the man could signify a rain-making prayer or else fear of the beast.
The carvings of the impressive Vitlycke Panel were made mostly between 1000-500 BC but some of the last carvings were added as late as the early Iron Age, around 500 BC to AD 1.
The Tanum UNESCO World Cultural Heritage area is in the province Bohuslän – roughly the area of western Sweden between the city Gothenburg and the Norwegian border. Bronze Age rock carvings are found throughout Bohuslän and much of the rest of Sweden and Scandinavia but the concentration is particularly high in the Tanum area.
There are four major sites: Fossum, Vitlycke (with a museum), Aspeberget and Litsleby.
Although the rock art of Tanum and the Bohuslän region is commonly described as rock carvings, the images were rather chipped or grounded into the rock with quartz, diabase or a similarly harder rock. The correct term is petroglyphs while Felsritzungen in German and Hällristningarna in Swedish are less technical.
The rock carvings in Bohuslän were mostly made during the Bronze Age and early Iron Age – thus between 1700 BC and 200 BC. Different models of boats and weaponry, as well as the appearance of animals, help to date the works.
Whether the carvings were painted or not during the Bronze Age are still debated by experts. Nowadays, most of the carvings are painted red, which does make them easier to study, especially in the middle of the day when shadows are of limited help in defining the figures.
The real purpose of the rock art remains unknown but the carvings were almost certainly of a religious or sacred nature. The same motifs recur: boats, cup marks, humans, animals, foot prints, musical instruments, weaponry, carts, ploughs, wheels and carriages. Simple daily life events and items such as houses, people at work, children, cows and fish are never depicted.
Cupmarks are the most common motif with around 40,000 known in the Bohuslän region. The purpose of these cupmarks is well debated: theories of what they symbolize include amongst others a representation of fertility, the sun, the moon, stars, life, death, rebirth and simple calendars. Somewhat surprisingly boats are the second most common motif with around 10,000 known. Different boats are depicted but sails and oars are rare. People are often depicted in the boats and some scenes may show funerals.
People are also fairly common on the carvings with 98% of the gender identifiable portraits of men. Men are identified by showing a penis – often erect – and/or bearing weapons (usually undrawn swords). The women commonly have a ponytail.
Famous person depictions include the lovers (a couple kissing) at Vitlycke, the woman of Fossum and the Spear God at Litsleby.
Again somewhat surprising, very few violent scenes are depicted – no murderous raiding and pilfering Vikings here. Although lots of weapons are shown, very little fighting or even active hunting is depicted. One scene at Fossum shows an animal actually being speared while others hint at dead animals (or people) without showing the actual moment of being killed. The weapons are probably for ceremonial use with swords rarely drawn.
The most common animals are bulls, horses, snakes, deer and birds. Common animals such as cows, sheep and fish are noticeable absent. Bulls are never shown doing any work although oxen are shown pulling carriages. Only around 50 agricultural scenes are known.
Many scenes are unidentifiable – some may simply be incomplete works. Sometimes scenes were carved over older ones and many are too worn to identify.
from: www.european-traveler.com/sweden/see-prehistoric-rock-art...
a7rii + Sony CZ Vario Tessar 16-70/4 (APS-C)
The carvings of the impressive Vitlycke Panel were made mostly between 1000-500 BC but some of the last carvings were added as late as the early Iron Age, around 500 BC to AD 1.
The Tanum UNESCO World Cultural Heritage area is in the province Bohuslän – roughly the area of western Sweden between the city Gothenburg and the Norwegian border. Bronze Age rock carvings are found throughout Bohuslän and much of the rest of Sweden and Scandinavia but the concentration is particularly high in the Tanum area.
There are four major sites: Fossum, Vitlycke (with a museum), Aspeberget and Litsleby.
Although the rock art of Tanum and the Bohuslän region is commonly described as rock carvings, the images were rather chipped or grounded into the rock with quartz, diabase or a similarly harder rock. The correct term is petroglyphs while Felsritzungen in German and Hällristningarna in Swedish are less technical.
The rock carvings in Bohuslän were mostly made during the Bronze Age and early Iron Age – thus between 1700 BC and 200 BC. Different models of boats and weaponry, as well as the appearance of animals, help to date the works.
Whether the carvings were painted or not during the Bronze Age are still debated by experts. Nowadays, most of the carvings are painted red, which does make them easier to study, especially in the middle of the day when shadows are of limited help in defining the figures.
The real purpose of the rock art remains unknown but the carvings were almost certainly of a religious or sacred nature. The same motifs recur: boats, cup marks, humans, animals, foot prints, musical instruments, weaponry, carts, ploughs, wheels and carriages. Simple daily life events and items such as houses, people at work, children, cows and fish are never depicted.
Cupmarks are the most common motif with around 40,000 known in the Bohuslän region. The purpose of these cupmarks is well debated: theories of what they symbolize include amongst others a representation of fertility, the sun, the moon, stars, life, death, rebirth and simple calendars. Somewhat surprisingly boats are the second most common motif with around 10,000 known. Different boats are depicted but sails and oars are rare. People are often depicted in the boats and some scenes may show funerals.
People are also fairly common on the carvings with 98% of the gender identifiable portraits of men. Men are identified by showing a penis – often erect – and/or bearing weapons (usually undrawn swords). The women commonly have a ponytail.
Famous person depictions include the lovers (a couple kissing) at Vitlycke, the woman of Fossum and the Spear God at Litsleby.
Again somewhat surprising, very few violent scenes are depicted – no murderous raiding and pilfering Vikings here. Although lots of weapons are shown, very little fighting or even active hunting is depicted. One scene at Fossum shows an animal actually being speared while others hint at dead animals (or people) without showing the actual moment of being killed. The weapons are probably for ceremonial use with swords rarely drawn.
The most common animals are bulls, horses, snakes, deer and birds. Common animals such as cows, sheep and fish are noticeable absent. Bulls are never shown doing any work although oxen are shown pulling carriages. Only around 50 agricultural scenes are known.
Many scenes are unidentifiable – some may simply be incomplete works. Sometimes scenes were carved over older ones and many are too worn to identify.
from: www.european-traveler.com/sweden/see-prehistoric-rock-art...
a7rii + Sony CZ Vario Tessar 16-70/4 (APS-C)
The carvings of the impressive Vitlycke Panel were made mostly between 1000-500 BC but some of the last carvings were added as late as the early Iron Age, around 500 BC to AD 1.
The main Vitlycke panel has a large variety and number of images including arguably the most-famous image from the Tanum rock carvings: the lovers, sometimes more poetically described as the Holy Bride and Groom or the Bridal Couple. It depicts a man and woman kissing.
The Tanum UNESCO World Cultural Heritage area is in the province Bohuslän – roughly the area of western Sweden between the city Gothenburg and the Norwegian border. Bronze Age rock carvings are found throughout Bohuslän and much of the rest of Sweden and Scandinavia but the concentration is particularly high in the Tanum area.
There are four major sites: Fossum, Vitlycke (with a museum), Aspeberget and Litsleby.
Although the rock art of Tanum and the Bohuslän region is commonly described as rock carvings, the images were rather chipped or grounded into the rock with quartz, diabase or a similarly harder rock. The correct term is petroglyphs while Felsritzungen in German and Hällristningarna in Swedish are less technical.
The rock carvings in Bohuslän were mostly made during the Bronze Age and early Iron Age – thus between 1700 BC and 200 BC. Different models of boats and weaponry, as well as the appearance of animals, help to date the works.
Whether the carvings were painted or not during the Bronze Age are still debated by experts. Nowadays, most of the carvings are painted red, which does make them easier to study, especially in the middle of the day when shadows are of limited help in defining the figures.
The real purpose of the rock art remains unknown but the carvings were almost certainly of a religious or sacred nature. The same motifs recur: boats, cup marks, humans, animals, foot prints, musical instruments, weaponry, carts, ploughs, wheels and carriages. Simple daily life events and items such as houses, people at work, children, cows and fish are never depicted.
Cupmarks are the most common motif with around 40,000 known in the Bohuslän region. The purpose of these cupmarks is well debated: theories of what they symbolize include amongst others a representation of fertility, the sun, the moon, stars, life, death, rebirth and simple calendars. Somewhat surprisingly boats are the second most common motif with around 10,000 known. Different boats are depicted but sails and oars are rare. People are often depicted in the boats and some scenes may show funerals.
People are also fairly common on the carvings with 98% of the gender identifiable portraits of men. Men are identified by showing a penis – often erect – and/or bearing weapons (usually undrawn swords). The women commonly have a ponytail.
Famous person depictions include the lovers (a couple kissing) at Vitlycke, the woman of Fossum and the Spear God at Litsleby.
Again somewhat surprising, very few violent scenes are depicted – no murderous raiding and pilfering Vikings here. Although lots of weapons are shown, very little fighting or even active hunting is depicted. One scene at Fossum shows an animal actually being speared while others hint at dead animals (or people) without showing the actual moment of being killed. The weapons are probably for ceremonial use with swords rarely drawn.
The most common animals are bulls, horses, snakes, deer and birds. Common animals such as cows, sheep and fish are noticeable absent. Bulls are never shown doing any work although oxen are shown pulling carriages. Only around 50 agricultural scenes are known.
Many scenes are unidentifiable – some may simply be incomplete works. Sometimes scenes were carved over older ones and many are too worn to identify.
from: www.european-traveler.com/sweden/see-prehistoric-rock-art...
a7rii + Sony CZ Vario Tessar 16-70/4 (APS-C)
The small figure top right is almost unique. It probably represents a blue whale. Despite being so close to the sea, representations of fish and sea mammals are extremely rare.
The carvings of the impressive Vitlycke Panel were made mostly between 1000-500 BC but some of the last carvings were added as late as the early Iron Age, around 500 BC to AD 1.
The Tanum UNESCO World Cultural Heritage area is in the province Bohuslän – roughly the area of western Sweden between the city Gothenburg and the Norwegian border. Bronze Age rock carvings are found throughout Bohuslän and much of the rest of Sweden and Scandinavia but the concentration is particularly high in the Tanum area.
There are four major sites: Fossum, Vitlycke (with a museum), Aspeberget and Litsleby.
Although the rock art of Tanum and the Bohuslän region is commonly described as rock carvings, the images were rather chipped or grounded into the rock with quartz, diabase or a similarly harder rock. The correct term is petroglyphs while Felsritzungen in German and Hällristningarna in Swedish are less technical.
The rock carvings in Bohuslän were mostly made during the Bronze Age and early Iron Age – thus between 1700 BC and 200 BC. Different models of boats and weaponry, as well as the appearance of animals, help to date the works.
Whether the carvings were painted or not during the Bronze Age are still debated by experts. Nowadays, most of the carvings are painted red, which does make them easier to study, especially in the middle of the day when shadows are of limited help in defining the figures.
The real purpose of the rock art remains unknown but the carvings were almost certainly of a religious or sacred nature. The same motifs recur: boats, cup marks, humans, animals, foot prints, musical instruments, weaponry, carts, ploughs, wheels and carriages. Simple daily life events and items such as houses, people at work, children, cows and fish are never depicted.
Cupmarks are the most common motif with around 40,000 known in the Bohuslän region. The purpose of these cupmarks is well debated: theories of what they symbolize include amongst others a representation of fertility, the sun, the moon, stars, life, death, rebirth and simple calendars. Somewhat surprisingly boats are the second most common motif with around 10,000 known. Different boats are depicted but sails and oars are rare. People are often depicted in the boats and some scenes may show funerals.
People are also fairly common on the carvings with 98% of the gender identifiable portraits of men. Men are identified by showing a penis – often erect – and/or bearing weapons (usually undrawn swords). The women commonly have a ponytail.
Famous person depictions include the lovers (a couple kissing) at Vitlycke, the woman of Fossum and the Spear God at Litsleby.
Again somewhat surprising, very few violent scenes are depicted – no murderous raiding and pilfering Vikings here. Although lots of weapons are shown, very little fighting or even active hunting is depicted. One scene at Fossum shows an animal actually being speared while others hint at dead animals (or people) without showing the actual moment of being killed. The weapons are probably for ceremonial use with swords rarely drawn.
The most common animals are bulls, horses, snakes, deer and birds. Common animals such as cows, sheep and fish are noticeable absent. Bulls are never shown doing any work although oxen are shown pulling carriages. Only around 50 agricultural scenes are known.
Many scenes are unidentifiable – some may simply be incomplete works. Sometimes scenes were carved over older ones and many are too worn to identify.
from: www.european-traveler.com/sweden/see-prehistoric-rock-art...
a7rii + Sony CZ Vario Tessar 16-70/4 (APS-C)
The carvings of the impressive Vitlycke Panel were made mostly between 1000-500 BC but some of the last carvings were added as late as the early Iron Age, around 500 BC to AD 1.
The main Vitlycke panel has a large variety and number of images. It is divided by a unique row of 70 cup-marks. The images on the left are considered to be of a different character than those on the right.
The Tanum UNESCO World Cultural Heritage area is in the province Bohuslän – roughly the area of western Sweden between the city Gothenburg and the Norwegian border. Bronze Age rock carvings are found throughout Bohuslän and much of the rest of Sweden and Scandinavia but the concentration is particularly high in the Tanum area.
There are four major sites: Fossum, Vitlycke (with a museum), Aspeberget and Litsleby.
Although the rock art of Tanum and the Bohuslän region is commonly described as rock carvings, the images were rather chipped or grounded into the rock with quartz, diabase or a similarly harder rock. The correct term is petroglyphs while Felsritzungen in German and Hällristningarna in Swedish are less technical.
The rock carvings in Bohuslän were mostly made during the Bronze Age and early Iron Age – thus between 1700 BC and 200 BC. Different models of boats and weaponry, as well as the appearance of animals, help to date the works.
Whether the carvings were painted or not during the Bronze Age are still debated by experts. Nowadays, most of the carvings are painted red, which does make them easier to study, especially in the middle of the day when shadows are of limited help in defining the figures.
The real purpose of the rock art remains unknown but the carvings were almost certainly of a religious or sacred nature. The same motifs recur: boats, cup marks, humans, animals, foot prints, musical instruments, weaponry, carts, ploughs, wheels and carriages. Simple daily life events and items such as houses, people at work, children, cows and fish are never depicted.
Cupmarks are the most common motif with around 40,000 known in the Bohuslän region. The purpose of these cupmarks is well debated: theories of what they symbolize include amongst others a representation of fertility, the sun, the moon, stars, life, death, rebirth and simple calendars. Somewhat surprisingly boats are the second most common motif with around 10,000 known. Different boats are depicted but sails and oars are rare. People are often depicted in the boats and some scenes may show funerals.
People are also fairly common on the carvings with 98% of the gender identifiable portraits of men. Men are identified by showing a penis – often erect – and/or bearing weapons (usually undrawn swords). The women commonly have a ponytail.
Famous person depictions include the lovers (a couple kissing) at Vitlycke, the woman of Fossum and the Spear God at Litsleby.
Again somewhat surprising, very few violent scenes are depicted – no murderous raiding and pilfering Vikings here. Although lots of weapons are shown, very little fighting or even active hunting is depicted. One scene at Fossum shows an animal actually being speared while others hint at dead animals (or people) without showing the actual moment of being killed. The weapons are probably for ceremonial use with swords rarely drawn.
The most common animals are bulls, horses, snakes, deer and birds. Common animals such as cows, sheep and fish are noticeable absent. Bulls are never shown doing any work although oxen are shown pulling carriages. Only around 50 agricultural scenes are known.
Many scenes are unidentifiable – some may simply be incomplete works. Sometimes scenes were carved over older ones and many are too worn to identify.
from: www.european-traveler.com/sweden/see-prehistoric-rock-art...
Final spread of the Davis moleskine! Phew! I decided to let it run off into the undrawn so as to offer the promise of more, but that's the end of the very long page, and I'm not drawing on the other side. This is spread 12; there was a bit of a gap between spreads 11 and 12, 11 was done at the end of October (the whole thing was started in early September...). So I had to finish it. Another from E Street - Bizarro Comics (now in the former location of Bogey's Books) and Chipotle, where we often eat.
Sepia Pitt pen in the Urban Sketchers accordion-style Moleskine
HANNA BARBERA STUDIOS
The IMPOSSIBLES Original Animation TELEVISION SERIES 1960s
Type: AWESOME Original Hand Drawn Production Animation Drawing of the Dr. Futuro from the 1969 HANNA BARBERA Animated TELEVISION SERIES
This is one of the original Production Layout (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during
the production filming of the original Television Commercial.
The Impossibles was a series of animated cartoons produced by Hanna-Barbera in 1966 and aired on American television by CBS. The series of shorts (6 minutes) appeared as part of Frankenstein, Jr. and The Impossibles.
The Impossibles were a trio of rock and roll musicians. When contacted by "Big D" (voiced by Paul Frees) about criminal activities in Empire City, they became superheroes. Like the Monkees, the group’s appearance (in their musician form) was based on 1960s pop star stereotypes, which included somewhat long hair, brightly colored (and matching) outfits, high-heeled boots, screaming female fans and, unlike the Monkees, no percussion or bass instruments. Nothing is known about their personal lives, although Fluid-Man once mentioned having an Aunt Tilly. They seemed to have secret identities though even a little child would have no trouble connecting the singing Impossibles to the hero Impossibles on appearance alone. They also seemed to change to their "secret identities" in front of the crowds they were playing to when given a mission.
The Impossibles
Posing as a trio of young rock 'n roll musicians, the Impossibles were in reality super-powered crime fighters dedicated to battling evil supervillains of all shapes and sizes. When performing for their adoring fans (usually star-struck, screaming teeny boppers) the lads would play their mod, futuristic-looking guitars atop an equally futuristic bandstand (emblazoned with their "Impossibles" logo on the side, ala Ringo's drumkit) that could convert into a car (the "Impossi-Mobile"), or a jet (the "Impossi-Jet"), a speedboat, or even a submarine. Their standard catch cry when called into action was "Rally ho!"
Their humorous dialogue was typically peppered with puns. As with many Hanna-Barbera characters, The Impossibles were topical and inspired by their times, in this case resembling the rock 'n roll groups of the mid-Sixties.
The Heroes
Each member of the Impossibles had a specific, and very visual superpower:
Coil-Man (voiced by Hal Smith) - Short, barrel-chested and sporting a mod haircut, blond "Coily" could transform his arms and legs into impossibly stretchable or coiled springs, allowing him to bounce to avoid attacks, deliver long-range punches, or drill through walls. Coil-Man usually drove the Impossi-jet, and his guitar contained a small TV receiver through which "Big D" (voiced by Paul Frees, who also served as the voice over Narrator in almost every episode) could contact the group and deliver orders (Big D used Multi Man's guitar in "The Fiendish Dr Futuro," "Beamatron," and "The Diabolical Dauber"). Because of his presumably metal coils, Coily could be held in place by a super magnet, but could also conduct heat or electricity with his coils. He also hid in a closet disguised as a wire coat hanger, further implying that he was at least partially made of metal. Coil-Man's costume was purple and blue and included a purple mask and a cowl crested by a triangular fin.
Fluid-Man (voiced by Paul Frees) - Dark-haired Fluid-Man, aka "Fluey", could morph parts of his body into a liquid form, a talent perfect for sneaking up on an enemy though a water faucet. He could also vaporize himself into a cloud or storm, but he could also be soaked up and trapped by a sponge ("Televisatron" and "Return of the Spinner"), or frozen solid inside a block of ice ("Not So Nice Mr. Ice"). Fluid-Man's costume resembled a lime green wetsuit complete with diver's mask and swimfins. Fluey's speaking style indicated that he was the beatnik of the group.
Multi-Man (voiced by Don Messick) - Multi could create infinite duplicates of himself which were often destroyed, leaving only the original behind. His duplicates rarely, if ever, functioned independently, and were often used as camouflage, a bluff, for extra strength or transportation (he could fly by continuously creating replicas above himself). When duplicating himself, he could push tons of rocks out of the way or crack the block of solid concrete he and the others were entombed in. The character had shaggy, orange hair and he usually held a shield emblazoned with a capital 'M' for what seems decorative reasons, though he has used it at least twice. In one instance, Multi repelled bullets with his bare hand ("Fero, the Fiendish Fiddler"), however it may be the shield was supposed to have been used but was accidentally left undrawn. Multi-Man's angular, red and black costume resembled an oversized, stylized 'M', and included a short, triangular redcape. A physical trait that he shared with many of his contemporaries in cartoons and comics of the mid-Sixties was a mop of hair that entirely covered his eyes. Favorite saying: "You got them all except the original." Multi bore a resemblance to the four identical members of the singing group "The Way Outs" from "The Flintstones."
Each episode usually began with the villain pulling off his improbable caper while the Impossibles are busy performing at a gig or concert across town, where they are called into action by their chief, "Big D." After a series of funny super powered forays, the Impossibles would best the baddie, and usually return to finish their gig.
The Villains
The Impossibles faced many bizarre villains, similar to those Batman and Superman had to face:
The Spinner (voiced by Hal Smith) - A supervillain with spider-based powers, specifically web spinning. He is one of the villains to have more than one appearance. The first time was when he stole a million dollar tiara. The second was when he stole a poodle by the name of "Little Miss Muffet".
Perilous Paper Doll Man (voiced by Don Messick) - A supervillain made of paper who has the ability to slip underneath locked doors, or fold himself into paper airplanes for a quick getaway. He is one of the villains to have more than one appearance. The first time was when he stole most of the top secret plans from the Pentagon and had to return there to get Plan X. The second time was when he was robbing hotels.
Professor Stretch (voiced by Paul Frees) - A super-stretchy supervillain with elasticity powers. He is one of the villains to have more than one appearance. The first time was when he sabotaged a tank by using powder from a shaker that turns anything into rubber and in the end we see him being used as a basketball. The second time was when he created a monster made of rubber cooking chowder.
Beamatron, the Laser Beam Man (voiced by Hal Smith) - A supervillain who shot laser beams from his fingers, lasers had short battery lives.
The Bubbler (voiced by Don Messick) - A supervillain who kidnaps the young Shah of Shishkabob (voiced by Ginny Tyler) by sealing him in an unbreakable bubble. The Bubbler has an undersea hideout at the bottom of the ocean guarded by a giant attack octopus named Octavius. However, Multi ties Ocky into knots.
The Burrower (voiced by Allen Melvin) - A supervillain who burrows under banks in order to pilfer the money inside. He has a henchman named Muddy (possibly voiced by either Hal Smith or John Stephenson) who has a worm named Curly (Don Messick).
Timeatron (voiced by Keye Luke)- A supervillain who can bring villains from the past to help him. These villains include Captain Kid (Paul Frees), Jesse James (Don Messick), and Goliath (Hal Smith). Timeatron goes to bring back Alexander the Great (Don Messick) but ends up trapped thanks to Multi destroying the time cabinet with an ax.
Smogula (voiced by Alan Reed) - A supervillain who floats around in a rain cloud and wields a weather-controlling ray-gun.
Sinister Speck (voiced by Hal Smith) - A supervillain who has a potion that lets him shrink and grow at will.
Mother Gruesome (voiced by June Foray) - A female criminal that uses a machine that can bring villainous storybook characters to life. She has a pet crow named Cromwell (Don Messick).
Fero, the Fiendish Fiddler (voiced by Don Messick) - A supervillain who, despite his attire making him look like a caricature of Nero, could send people and objects to anywhere he wished with a hi-tech violin.
Diabolical Dauber (voiced by Paul Winchell) - A supervillain artist that brings to life anything that he paints.
Televisitron (voiced by Hal Smith) - A supervillain who used a remote control to send his foes into various channels of the television to do them in.
Aquator (voiced by Paul Winchell) - An underwater-based supervillain who steals a formula for changing the size of organisms in an attempt to create an army of giant-sized micro-organisms.
Devilish Dragster (voiced by Daws Butler) - A speedy car thief with a Boris Karloff accent who steals a diamond-encrusted car.
The Puzzler - A supervillain who had the ability to change shape due to being a living puzzle. Notably, he is the only villain given an origin, as he mentions having fallen into a jigsaw-making machine which gave him his abilities.
Satanic Surfer (voiced by Don Messick) - A supervillain that can surf and use a remote control ukelele.
Scurrilous Sculptor (voiced by Lennie Weinrib) - A supervillain who carries a gun that fires quick-dry cement either turning people into statues or making instant rocks and walls.
Scheming Spraysol (voiced by Hal Smith) - A supervillain with a spray nozzle helmet that sprays liquid or gas.
Dastardly Diamond Dazzler (voiced by Alan Reed) - A villain in a turban who steals a diamond that contains a genie (Hal Smith).
Terrible Twister (voiced by Don Messick) - A supervillain that is dress like a top with a propeller beanie who steals by spinning like a twister.
Terrifying Tapper (voiced by Hal Smith) - A supervillain that can travel through telephone wires with his weapon, the deceminator which he used to send Coil Man to Ackbar the Martian (Don Messick) in his flying saucer and Multi Man to Captain Cutlass (Hal Smith or Alan Reed) on his smuggling ship, the Sea Serpent.
Anxious Angler (voiced by Don Messick) - A supervillain in a torpedo-shaped fish suit that steals with a fishing rod.
Rascally Ringmaster (voiced by Hal Smith) - A villain who has circus performers as his henchmen.
Infamous Mr. Instant (voiced by Paul Frees) - A scientist that has a gun that can create anything in an instant.
Crafty Clutcher (voiced by Don Messick) - An inventive supervillain that has created remote-controlled gloves for clutching anything at a long distance.
Not So Nice Mr. Ice (voiced by Hal Smith) - A supervillain that plans to conquer the city by freezing it with the help of his henchman Freezer (Don Messick).
Bizarre Batter (voiced by Don Messick) - A supervillain that bases his crimes on baseball.
All villains were defeated in a timely manner and justice was always served. Some villains were made to serve a useful purpose and even went straight upon their capture:
The Artful Archer (voiced by Paul Frees) - A supervillain who was dressed like Robin Hood. He decided to take up being a musician.
Cronella Critch the Tricky Witch (voiced by Jean Vander Pyl) - A witch who was robbing a charity-for-orphans party. She was turned into a cat due to a spell reversal by Multi-Man.
Billy the Kidder (voiced by Hal Smith) - A futuristic western bandit that wanted to rob from the Mint. After serving his time he is seen as a rodeo clown.
Dr. Futuro (voiced by Paul Frees) - A villain from the 40th century, who traveled to the 1960s in order to steal a gold brick to finance his crimes. He accidentally ran into an age-reversing machine, and was turned into a baby.
The Insidious Inflator (voiced by Hal Smith) - A supervillain who attacked places with giant balloons that he brought to life by using a special ray-gun. He had served time and is seen selling balloons to children.
An ad for the Saturday morning cartoon lineup in comic books of the time referred to "the Bubbler," "Bratfink," and "The Sponge."
The Impossibles episodes were written by the great Warner Brothers story man Michael Maltese, who is known mostly for his work with director Chuck Jones
The show was a package program similar to the Hanna-Barbera/NBC show The Banana Splits, except that it contained no live-action segments. During the 1969–1970 season, Cattanooga Cats ran one hour and contained four segments. During the 1970–1971 season, the segments It's the Wolf! and Motormouse and Autocat were spun off into a half-hour show. Around the World in 79 Days remained a part of Cattanoga Cats, which was reduced to a half-hour. Motormouse and Autocat ran concurrently with Cattanooga Cats until both met their demise at the end of the 1970–1971 season.
Cattanooga Cats
Cattanooga Cats depicted the adventures of a fictitious rock band similar to The Archies and The Banana Splits populated by anthropomorphic hillbilly cats consisting of:
Lead singer/guitarist Country (voiced by Bill Callaway)
Singer/dancer Kitty Jo (voiced by Julie Bennett)
Bassist Scoots (voiced by Jim Begg)
Drummer Groove (voiced by Casey Kasem)
A fifth member, a mouse keyboardist named "Cheesie", was storyboarded but cut out of the series. The group travelled around in a van, was chased by a female cat groupie named Jessie the "Autograph Hound" (also voiced by Julie Bennett) and Kitty Jo owned a big blue dog named "Teeny Tim". The singing vocals for The Cattanooga Cats were performed by Michael Lloyd and Peggy Clinger. Producer Mike Curb was the musical director for the series and co-wrote all the songs performed by the Cattanooga Cats. Ted Nichols composed the background music. An LP, The Cattanooga Cats (Forward ST-F-1018), featuring some of the songs used in the series was released in 1969.
The Cats also appeared in various "bumpers" between the other cartoons, but were best remembered for their animated musical segments. These cartoons showed a strong psychedelic and op-art influence and the Cattanooga Cats remain a cult favorite to this day
Magilla Gorilla is a fictional gorilla and the star of The Magilla Gorilla Show by Hanna-Barbera that aired from 1964 to 1967
Magilla Gorilla (voiced by Allan Melvin[2]) is a gorilla who spends his time languishing in the front display window of Melvin Peebles' pet shop, eating bananas and being a drain on the businessman's finances. Peebles (voiced by Howard Morris and later by Don Messick) marked down Magilla's price considerably, but Magilla was invariably only purchased for a short time, typically by some thieves who needed a gorilla to break into a bank or by an advertising agency looking for a mascot for their new product. The customers always ended up returning Magilla, forcing Peebles to refund their money. Magilla often ended each episode with his catchphrase "We'll try again next week."
Like many of Hanna-Barbera's animal characters, Magilla Gorilla was dressed in human accessories, sporting a bow tie, shorts held up by suspenders, and an undersized derby hat.[2]
The only customer truly interested in obtaining the trouble-prone Magilla was a little girl named Ogee (voiced by Jean Vander Pyl and pronounced "Oh Gee!"). During the cartoon's theme song, "We've Got a Gorilla for Sale", she asks hopefully, "How much is that gorilla in the window?" a twist on the old standard, "(How Much Is) That Doggie in the Window?"), but she was never able to convince her parents to let her keep Magilla.
The trials of Magilla mirrored the attitudes that American citizens had towards racial integration during the Civil Rights Movement in the 1960s. The Magilla Gorilla Show perpetuated the idea that non-whites should be segregated, with Peebles selling Magilla to white customers who would invariably return him to the pet shop by the end of each episode.[3]
In Yiddish, a "megillah" is a long tedious or embroidered account, from the Hebrew "megillah", a story written in a scroll. One episode has Magilla saying, "Such a megillah over a gorilla
Hanna-Barbera Productions, Inc. (play /ˌhænə bɑrˈbɛrə/) 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 1957 by former Metro-Goldwyn-Mayer animation directors William Hanna and Joseph Barbera and live-action director George Sidney in partnership with Columbia Pictures' Screen Gems television division as H-B Enterprises, Inc.[1]. Established after MGM shut down its animation studio and ended production of its animated short films (such as the popular Tom and Jerry series), H-B Enterprises, Inc. was renamed Hanna-Barbera Productions, Inc. in 1959.
Over the next three decades, the studio produced many successful animated shows, including The Huckleberry Hound Show, The Quick Draw McGraw Show, The Flintstones, The Yogi Bear Show, Top Cat, The Jetsons, Jonny Quest, Space Ghost, Wacky Races, Scooby-Doo, Where Are You? and The Smurfs among others. The studio also produced several feature films and cartoon shorts for theaters along with a number of specials and movies for television. While Hanna and Barbera's theatrical work awarded them seven Oscars, their television productions have earned the company eight Emmys[2] and the duo was awarded a star on the Hollywood Walk of Fame. In the mid-1980s, the company's fortunes declined somewhat after the profitability of Saturday morning cartoons was eclipsed by weekday afternoon syndication.
In 1991, the company was purchased by Turner Broadcasting System, who began using much of the H-B back catalog to program the Cartoon Network the following year[3][4]. Both Hanna and Barbera went into semi-retirement after Turner purchased the company, continuing to serve as ceremonial figureheads for and sporadic artistic contributors to the studio. The same year, the company was renamed H-B Production Co. then became Hanna-Barbera Cartoons, Inc. in 1994, and in October 1996, Turner merged with Time Warner.
By the time of the merger, Turner had turned Hanna-Barbera towards primarily producing new material for Cartoon Network, including the successful Cartoon Cartoons shows such as Dexter's Laboratory, Johnny Bravo, Cow and Chicken, I Am Weasel and The Powerpuff Girls. With William Hanna's death in 2001, the studio was folded into Warner Bros. Animation, and Cartoon Network Studios continued the projects for Cartoon Network output.
Joseph Barbera remained with the Warner Animation division until his death in 2006. Hanna-Barbera currently exists as an in-name-only company used to market properties and productions associated with the studio's "classic" works such as Yogi Bear, Scooby-Doo and Huckleberry Hound
Magilla Gorilla (voiced by Allan Melvin[2]) is a gorilla who spends his time languishing in the front display window of Melvin Peebles' pet shop, eating bananas and being a drain on the businessman's finances. Peebles (voiced by Howard Morris and later by Don Messick) marked down Magilla's price considerably, but Magilla was invariably only purchased for a short time, typically by some thieves who needed a gorilla to break into a bank or by an advertising agency looking for a mascot for their new product. The customers always ended up returning Magilla, forcing Peebles to refund their money. Magilla often ended each episode with his catchphrase "We'll try again next week."
Like many of Hanna-Barbera's animal characters, Magilla Gorilla was dressed in human accessories, sporting a bow tie, shorts held up by suspenders, and an undersized derby hat.[2]
The only customer truly interested in obtaining the trouble-prone Magilla was a little girl named Ogee (voiced by Jean Vander Pyl and pronounced "Oh Gee!"). During the cartoon's theme song, "We've Got a Gorilla for Sale", she asks hopefully, "How much is that gorilla in the window?" a twist on the old standard, "(How Much Is) That Doggie in the Window?"), but she was never able to convince her parents to let her keep Magilla.
The trials of Magilla mirrored the attitudes that American citizens had towards racial integration during the Civil Rights Movement in the 1960s. The Magilla Gorilla Show perpetuated the idea that non-whites should be segregated, with Peebles selling Magilla to white customers who would invariably return him to the pet shop by the end of each episode.[3]
In Yiddish, a "megillah" is a long tedious or embroidered account, from the Hebrew "megillah", a story written in a scroll. One episode has Magilla saying, "Such a megillah over a gorilla
Saturday, 22 March 2008
Vals, Switzerland
Room 196, Stucco Selva Red Room,Therme Baths
Pause IV
For a lifetime to work out what it all means
Or just 5 minutes to do absolutely nothing
For Viv,
We woke up at the same time
Snow had fallen through the night
And I had left the curtains undrawn the night before
Without turning to me
you said in that gentle voice of yours
'its so beautiful'
HANNA BARBERA STUDIOS
The IMPOSSIBLES Original Animation TELEVISION SERIES 1960s
Type: AWESOME Original Hand Drawn Production Animation Drawing of the Dr. Futuro from the 1969 HANNA BARBERA Animated TELEVISION SERIES
This is one of the original Production Layout (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during
the production filming of the original Television Commercial.
The Impossibles was a series of animated cartoons produced by Hanna-Barbera in 1966 and aired on American television by CBS. The series of shorts (6 minutes) appeared as part of Frankenstein, Jr. and The Impossibles.
The Impossibles were a trio of rock and roll musicians. When contacted by "Big D" (voiced by Paul Frees) about criminal activities in Empire City, they became superheroes. Like the Monkees, the group’s appearance (in their musician form) was based on 1960s pop star stereotypes, which included somewhat long hair, brightly colored (and matching) outfits, high-heeled boots, screaming female fans and, unlike the Monkees, no percussion or bass instruments. Nothing is known about their personal lives, although Fluid-Man once mentioned having an Aunt Tilly. They seemed to have secret identities though even a little child would have no trouble connecting the singing Impossibles to the hero Impossibles on appearance alone. They also seemed to change to their "secret identities" in front of the crowds they were playing to when given a mission.
The Impossibles
Posing as a trio of young rock 'n roll musicians, the Impossibles were in reality super-powered crime fighters dedicated to battling evil supervillains of all shapes and sizes. When performing for their adoring fans (usually star-struck, screaming teeny boppers) the lads would play their mod, futuristic-looking guitars atop an equally futuristic bandstand (emblazoned with their "Impossibles" logo on the side, ala Ringo's drumkit) that could convert into a car (the "Impossi-Mobile"), or a jet (the "Impossi-Jet"), a speedboat, or even a submarine. Their standard catch cry when called into action was "Rally ho!"
Their humorous dialogue was typically peppered with puns. As with many Hanna-Barbera characters, The Impossibles were topical and inspired by their times, in this case resembling the rock 'n roll groups of the mid-Sixties.
The Heroes
Each member of the Impossibles had a specific, and very visual superpower:
Coil-Man (voiced by Hal Smith) - Short, barrel-chested and sporting a mod haircut, blond "Coily" could transform his arms and legs into impossibly stretchable or coiled springs, allowing him to bounce to avoid attacks, deliver long-range punches, or drill through walls. Coil-Man usually drove the Impossi-jet, and his guitar contained a small TV receiver through which "Big D" (voiced by Paul Frees, who also served as the voice over Narrator in almost every episode) could contact the group and deliver orders (Big D used Multi Man's guitar in "The Fiendish Dr Futuro," "Beamatron," and "The Diabolical Dauber"). Because of his presumably metal coils, Coily could be held in place by a super magnet, but could also conduct heat or electricity with his coils. He also hid in a closet disguised as a wire coat hanger, further implying that he was at least partially made of metal. Coil-Man's costume was purple and blue and included a purple mask and a cowl crested by a triangular fin.
Fluid-Man (voiced by Paul Frees) - Dark-haired Fluid-Man, aka "Fluey", could morph parts of his body into a liquid form, a talent perfect for sneaking up on an enemy though a water faucet. He could also vaporize himself into a cloud or storm, but he could also be soaked up and trapped by a sponge ("Televisatron" and "Return of the Spinner"), or frozen solid inside a block of ice ("Not So Nice Mr. Ice"). Fluid-Man's costume resembled a lime green wetsuit complete with diver's mask and swimfins. Fluey's speaking style indicated that he was the beatnik of the group.
Multi-Man (voiced by Don Messick) - Multi could create infinite duplicates of himself which were often destroyed, leaving only the original behind. His duplicates rarely, if ever, functioned independently, and were often used as camouflage, a bluff, for extra strength or transportation (he could fly by continuously creating replicas above himself). When duplicating himself, he could push tons of rocks out of the way or crack the block of solid concrete he and the others were entombed in. The character had shaggy, orange hair and he usually held a shield emblazoned with a capital 'M' for what seems decorative reasons, though he has used it at least twice. In one instance, Multi repelled bullets with his bare hand ("Fero, the Fiendish Fiddler"), however it may be the shield was supposed to have been used but was accidentally left undrawn. Multi-Man's angular, red and black costume resembled an oversized, stylized 'M', and included a short, triangular redcape. A physical trait that he shared with many of his contemporaries in cartoons and comics of the mid-Sixties was a mop of hair that entirely covered his eyes. Favorite saying: "You got them all except the original." Multi bore a resemblance to the four identical members of the singing group "The Way Outs" from "The Flintstones."
Each episode usually began with the villain pulling off his improbable caper while the Impossibles are busy performing at a gig or concert across town, where they are called into action by their chief, "Big D." After a series of funny super powered forays, the Impossibles would best the baddie, and usually return to finish their gig.
The Villains
The Impossibles faced many bizarre villains, similar to those Batman and Superman had to face:
The Spinner (voiced by Hal Smith) - A supervillain with spider-based powers, specifically web spinning. He is one of the villains to have more than one appearance. The first time was when he stole a million dollar tiara. The second was when he stole a poodle by the name of "Little Miss Muffet".
Perilous Paper Doll Man (voiced by Don Messick) - A supervillain made of paper who has the ability to slip underneath locked doors, or fold himself into paper airplanes for a quick getaway. He is one of the villains to have more than one appearance. The first time was when he stole most of the top secret plans from the Pentagon and had to return there to get Plan X. The second time was when he was robbing hotels.
Professor Stretch (voiced by Paul Frees) - A super-stretchy supervillain with elasticity powers. He is one of the villains to have more than one appearance. The first time was when he sabotaged a tank by using powder from a shaker that turns anything into rubber and in the end we see him being used as a basketball. The second time was when he created a monster made of rubber cooking chowder.
Beamatron, the Laser Beam Man (voiced by Hal Smith) - A supervillain who shot laser beams from his fingers, lasers had short battery lives.
The Bubbler (voiced by Don Messick) - A supervillain who kidnaps the young Shah of Shishkabob (voiced by Ginny Tyler) by sealing him in an unbreakable bubble. The Bubbler has an undersea hideout at the bottom of the ocean guarded by a giant attack octopus named Octavius. However, Multi ties Ocky into knots.
The Burrower (voiced by Allen Melvin) - A supervillain who burrows under banks in order to pilfer the money inside. He has a henchman named Muddy (possibly voiced by either Hal Smith or John Stephenson) who has a worm named Curly (Don Messick).
Timeatron (voiced by Keye Luke)- A supervillain who can bring villains from the past to help him. These villains include Captain Kid (Paul Frees), Jesse James (Don Messick), and Goliath (Hal Smith). Timeatron goes to bring back Alexander the Great (Don Messick) but ends up trapped thanks to Multi destroying the time cabinet with an ax.
Smogula (voiced by Alan Reed) - A supervillain who floats around in a rain cloud and wields a weather-controlling ray-gun.
Sinister Speck (voiced by Hal Smith) - A supervillain who has a potion that lets him shrink and grow at will.
Mother Gruesome (voiced by June Foray) - A female criminal that uses a machine that can bring villainous storybook characters to life. She has a pet crow named Cromwell (Don Messick).
Fero, the Fiendish Fiddler (voiced by Don Messick) - A supervillain who, despite his attire making him look like a caricature of Nero, could send people and objects to anywhere he wished with a hi-tech violin.
Diabolical Dauber (voiced by Paul Winchell) - A supervillain artist that brings to life anything that he paints.
Televisitron (voiced by Hal Smith) - A supervillain who used a remote control to send his foes into various channels of the television to do them in.
Aquator (voiced by Paul Winchell) - An underwater-based supervillain who steals a formula for changing the size of organisms in an attempt to create an army of giant-sized micro-organisms.
Devilish Dragster (voiced by Daws Butler) - A speedy car thief with a Boris Karloff accent who steals a diamond-encrusted car.
The Puzzler - A supervillain who had the ability to change shape due to being a living puzzle. Notably, he is the only villain given an origin, as he mentions having fallen into a jigsaw-making machine which gave him his abilities.
Satanic Surfer (voiced by Don Messick) - A supervillain that can surf and use a remote control ukelele.
Scurrilous Sculptor (voiced by Lennie Weinrib) - A supervillain who carries a gun that fires quick-dry cement either turning people into statues or making instant rocks and walls.
Scheming Spraysol (voiced by Hal Smith) - A supervillain with a spray nozzle helmet that sprays liquid or gas.
Dastardly Diamond Dazzler (voiced by Alan Reed) - A villain in a turban who steals a diamond that contains a genie (Hal Smith).
Terrible Twister (voiced by Don Messick) - A supervillain that is dress like a top with a propeller beanie who steals by spinning like a twister.
Terrifying Tapper (voiced by Hal Smith) - A supervillain that can travel through telephone wires with his weapon, the deceminator which he used to send Coil Man to Ackbar the Martian (Don Messick) in his flying saucer and Multi Man to Captain Cutlass (Hal Smith or Alan Reed) on his smuggling ship, the Sea Serpent.
Anxious Angler (voiced by Don Messick) - A supervillain in a torpedo-shaped fish suit that steals with a fishing rod.
Rascally Ringmaster (voiced by Hal Smith) - A villain who has circus performers as his henchmen.
Infamous Mr. Instant (voiced by Paul Frees) - A scientist that has a gun that can create anything in an instant.
Crafty Clutcher (voiced by Don Messick) - An inventive supervillain that has created remote-controlled gloves for clutching anything at a long distance.
Not So Nice Mr. Ice (voiced by Hal Smith) - A supervillain that plans to conquer the city by freezing it with the help of his henchman Freezer (Don Messick).
Bizarre Batter (voiced by Don Messick) - A supervillain that bases his crimes on baseball.
All villains were defeated in a timely manner and justice was always served. Some villains were made to serve a useful purpose and even went straight upon their capture:
The Artful Archer (voiced by Paul Frees) - A supervillain who was dressed like Robin Hood. He decided to take up being a musician.
Cronella Critch the Tricky Witch (voiced by Jean Vander Pyl) - A witch who was robbing a charity-for-orphans party. She was turned into a cat due to a spell reversal by Multi-Man.
Billy the Kidder (voiced by Hal Smith) - A futuristic western bandit that wanted to rob from the Mint. After serving his time he is seen as a rodeo clown.
Dr. Futuro (voiced by Paul Frees) - A villain from the 40th century, who traveled to the 1960s in order to steal a gold brick to finance his crimes. He accidentally ran into an age-reversing machine, and was turned into a baby.
The Insidious Inflator (voiced by Hal Smith) - A supervillain who attacked places with giant balloons that he brought to life by using a special ray-gun. He had served time and is seen selling balloons to children.
An ad for the Saturday morning cartoon lineup in comic books of the time referred to "the Bubbler," "Bratfink," and "The Sponge."
The Impossibles episodes were written by the great Warner Brothers story man Michael Maltese, who is known mostly for his work with director Chuck Jones
The show was a package program similar to the Hanna-Barbera/NBC show The Banana Splits, except that it contained no live-action segments. During the 1969–1970 season, Cattanooga Cats ran one hour and contained four segments. During the 1970–1971 season, the segments It's the Wolf! and Motormouse and Autocat were spun off into a half-hour show. Around the World in 79 Days remained a part of Cattanoga Cats, which was reduced to a half-hour. Motormouse and Autocat ran concurrently with Cattanooga Cats until both met their demise at the end of the 1970–1971 season.
Cattanooga Cats
Cattanooga Cats depicted the adventures of a fictitious rock band similar to The Archies and The Banana Splits populated by anthropomorphic hillbilly cats consisting of:
Lead singer/guitarist Country (voiced by Bill Callaway)
Singer/dancer Kitty Jo (voiced by Julie Bennett)
Bassist Scoots (voiced by Jim Begg)
Drummer Groove (voiced by Casey Kasem)
A fifth member, a mouse keyboardist named "Cheesie", was storyboarded but cut out of the series. The group travelled around in a van, was chased by a female cat groupie named Jessie the "Autograph Hound" (also voiced by Julie Bennett) and Kitty Jo owned a big blue dog named "Teeny Tim". The singing vocals for The Cattanooga Cats were performed by Michael Lloyd and Peggy Clinger. Producer Mike Curb was the musical director for the series and co-wrote all the songs performed by the Cattanooga Cats. Ted Nichols composed the background music. An LP, The Cattanooga Cats (Forward ST-F-1018), featuring some of the songs used in the series was released in 1969.
The Cats also appeared in various "bumpers" between the other cartoons, but were best remembered for their animated musical segments. These cartoons showed a strong psychedelic and op-art influence and the Cattanooga Cats remain a cult favorite to this day
Magilla Gorilla is a fictional gorilla and the star of The Magilla Gorilla Show by Hanna-Barbera that aired from 1964 to 1967
Magilla Gorilla (voiced by Allan Melvin[2]) is a gorilla who spends his time languishing in the front display window of Melvin Peebles' pet shop, eating bananas and being a drain on the businessman's finances. Peebles (voiced by Howard Morris and later by Don Messick) marked down Magilla's price considerably, but Magilla was invariably only purchased for a short time, typically by some thieves who needed a gorilla to break into a bank or by an advertising agency looking for a mascot for their new product. The customers always ended up returning Magilla, forcing Peebles to refund their money. Magilla often ended each episode with his catchphrase "We'll try again next week."
Like many of Hanna-Barbera's animal characters, Magilla Gorilla was dressed in human accessories, sporting a bow tie, shorts held up by suspenders, and an undersized derby hat.[2]
The only customer truly interested in obtaining the trouble-prone Magilla was a little girl named Ogee (voiced by Jean Vander Pyl and pronounced "Oh Gee!"). During the cartoon's theme song, "We've Got a Gorilla for Sale", she asks hopefully, "How much is that gorilla in the window?" a twist on the old standard, "(How Much Is) That Doggie in the Window?"), but she was never able to convince her parents to let her keep Magilla.
The trials of Magilla mirrored the attitudes that American citizens had towards racial integration during the Civil Rights Movement in the 1960s. The Magilla Gorilla Show perpetuated the idea that non-whites should be segregated, with Peebles selling Magilla to white customers who would invariably return him to the pet shop by the end of each episode.[3]
In Yiddish, a "megillah" is a long tedious or embroidered account, from the Hebrew "megillah", a story written in a scroll. One episode has Magilla saying, "Such a megillah over a gorilla
Hanna-Barbera Productions, Inc. (play /ˌhænə bɑrˈbɛrə/) 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 1957 by former Metro-Goldwyn-Mayer animation directors William Hanna and Joseph Barbera and live-action director George Sidney in partnership with Columbia Pictures' Screen Gems television division as H-B Enterprises, Inc.[1]. Established after MGM shut down its animation studio and ended production of its animated short films (such as the popular Tom and Jerry series), H-B Enterprises, Inc. was renamed Hanna-Barbera Productions, Inc. in 1959.
Over the next three decades, the studio produced many successful animated shows, including The Huckleberry Hound Show, The Quick Draw McGraw Show, The Flintstones, The Yogi Bear Show, Top Cat, The Jetsons, Jonny Quest, Space Ghost, Wacky Races, Scooby-Doo, Where Are You? and The Smurfs among others. The studio also produced several feature films and cartoon shorts for theaters along with a number of specials and movies for television. While Hanna and Barbera's theatrical work awarded them seven Oscars, their television productions have earned the company eight Emmys[2] and the duo was awarded a star on the Hollywood Walk of Fame. In the mid-1980s, the company's fortunes declined somewhat after the profitability of Saturday morning cartoons was eclipsed by weekday afternoon syndication.
In 1991, the company was purchased by Turner Broadcasting System, who began using much of the H-B back catalog to program the Cartoon Network the following year[3][4]. Both Hanna and Barbera went into semi-retirement after Turner purchased the company, continuing to serve as ceremonial figureheads for and sporadic artistic contributors to the studio. The same year, the company was renamed H-B Production Co. then became Hanna-Barbera Cartoons, Inc. in 1994, and in October 1996, Turner merged with Time Warner.
By the time of the merger, Turner had turned Hanna-Barbera towards primarily producing new material for Cartoon Network, including the successful Cartoon Cartoons shows such as Dexter's Laboratory, Johnny Bravo, Cow and Chicken, I Am Weasel and The Powerpuff Girls. With William Hanna's death in 2001, the studio was folded into Warner Bros. Animation, and Cartoon Network Studios continued the projects for Cartoon Network output.
Joseph Barbera remained with the Warner Animation division until his death in 2006. Hanna-Barbera currently exists as an in-name-only company used to market properties and productions associated with the studio's "classic" works such as Yogi Bear, Scooby-Doo and Huckleberry Hound
Magilla Gorilla (voiced by Allan Melvin[2]) is a gorilla who spends his time languishing in the front display window of Melvin Peebles' pet shop, eating bananas and being a drain on the businessman's finances. Peebles (voiced by Howard Morris and later by Don Messick) marked down Magilla's price considerably, but Magilla was invariably only purchased for a short time, typically by some thieves who needed a gorilla to break into a bank or by an advertising agency looking for a mascot for their new product. The customers always ended up returning Magilla, forcing Peebles to refund their money. Magilla often ended each episode with his catchphrase "We'll try again next week."
Like many of Hanna-Barbera's animal characters, Magilla Gorilla was dressed in human accessories, sporting a bow tie, shorts held up by suspenders, and an undersized derby hat.[2]
The only customer truly interested in obtaining the trouble-prone Magilla was a little girl named Ogee (voiced by Jean Vander Pyl and pronounced "Oh Gee!"). During the cartoon's theme song, "We've Got a Gorilla for Sale", she asks hopefully, "How much is that gorilla in the window?" a twist on the old standard, "(How Much Is) That Doggie in the Window?"), but she was never able to convince her parents to let her keep Magilla.
The trials of Magilla mirrored the attitudes that American citizens had towards racial integration during the Civil Rights Movement in the 1960s. The Magilla Gorilla Show perpetuated the idea that non-whites should be segregated, with Peebles selling Magilla to white customers who would invariably return him to the pet shop by the end of each episode.[3]
In Yiddish, a "megillah" is a long tedious or embroidered account, from the Hebrew "megillah", a story written in a scroll. One episode has Magilla saying, "Such a megillah over a gorilla
HANNA BARBERA STUDIOS
THE IMPOSSIBLES
Original Animation TELEVISION SERIES 1966
Type: AWESOME Original Production Animation MODEL Drawing of THE SHERIFF from the 1966 HANNA BARBERA Animated TELEVISION SERIES
This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during
the production filming of the original Television Commercial.
NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION
Size: 12 field 12.5 x 10.5
Type: . Vintage Hand Drawn Art
Condition: EXCELLENT
Featuring SHERIFF
Date 1966
NOTES:
The Impossibles was a series of animated cartoons produced by Hanna-Barbera in 1966 and aired on American television by CBS. The series of shorts (6 minutes) appeared as part of Frankenstein Jr. and The Impossibles.
The Impossibles were a trio of rock and roll musicians. When contacted by "Big D" (voiced by Paul Frees) about criminal activities in Empire City, they became superheroes. Like the Monkees, the group’s appearance (in their musician form) was based on 1960s pop star stereotypes, which included somewhat long hair, brightly colored (and matching) outfits, high-heeled boots, screaming female fans and, unlike the Monkees, no percussion or bass instruments. Nothing is known about their personal lives, although Fluid Man once mentioned having an Aunt Tilly. They seemed to have secret identities though even a little child would have no trouble connecting the singing Impossibles to the hero Impossibles on appearance alone. They also seemed to change to their "secret identities" in front of the crowds they were playing to when given a mission.
Impossibles
In their guise as musicians, The Impossibles played their futuristic-looking guitars atop an equally futuristic bandstand that could convert into a car which, in turn, could transform into either a van, a submarine or boat which did not need a driver. Their standard catch cry, when called into action, was "Rally ho!" Their humorous dialogue was peppered with puns. As with many Hanna-Barbera characters, The Impossibles were very loosely styled after an existing famous trio, in this case The Three Stooges. Each member of The Impossibles had specific superhuman powers:
Coil Man (voiced by Hal Smith) - Seemingly the group's leader, short, blond Coily could transform his limbs into impossibly stretchable springs, with his human arms and legs becoming coiled springs, allowing him to bounce to avoid attacks, deliver long-ranged punches and drill through walls. Coil Man usually drove the Impossijet, and his guitar contained a small TV receiver through which "Big D" could contact the group and deliver orders (Big D used Multi Man's guitar in "The Fiendish Dr Futuro," "Beamatron," and "The Diabolical Dauber"). Coil Man's costume was purple and pink and included a crested helmet. He could be held in place by a magnet, implying that he was at least partially made of metal.
Fluid Man (voiced by Paul Frees) - Dark-haired Fluid Man, aka Fluey, could morph parts of his body into a liquid form, a talent perfect for sneaking up on an enemy though a water faucet. He could also vapor himself into a cloud or storm. His costume resembled a green wetsuit and swimfins. He could however be soaked up and trapped by a sponge, or frozen solid inside a block of ice.
Multi Man (voiced by Don Messick) - Multi could create infinite duplicates of himself which were often destroyed, leaving only the original behind. His duplicates rarely, if ever, functioned independently, and were often used as camouflage, a bluff, for extra strength or transportation (he could fly by continuously creating replicas above himself). When duplicating himself, he could push tons of rocks out of the way or crack the solid concrete he and the others were entombed in. The character had orange hair covering his eyes and occasionally held a shield for what seems decorative reasons, though he has used it at least twice. In one instance, Multi repelled bullets with his bare hand (Fero, the Fiendish Fiddler), however it may be the shield was supposed to have been used but was accidentally left undrawn. Multi Man's angular, red and black costume included a short, red cape. A physical trait that he shared with many of his contemporaries in cartoons and comics was a mop of orange hair that entirely covered his eyes. Favourite saying: "But you missed the original".
Villains
The Impossibles faced many bizarre villains, similar to those Batman and Superman had to face:
The Perilous Paper Doll Man (voiced by Don Messick) - A supervillain who had the ability to change into any form of paper.
Beamatron, The Laser Beam Man - A supervillain who shot laser beams from his fingers, lasers had short battery lives.
The Bubbler - A supervillain who attacked with almost unbreakable bubbles.
The Burrower - A supervillain who burrowed under banks and pilfered the money inside.
Fero, the Fiendish Fiddler - A supervillain who, despite his attire making him look like a caricature of Nero, could send people and objects to anywhere he wished with a hi-tech violin.
Televisitron - A supervillain who used a remote control to send his foes into various channels of the television to do them in.
The Puzzler - A supervillain who had the ability to change shape due to being a living puzzle. Notably, he is the only villain given an origin, as he mentions having fallen into a jigsaw-making machine which gave him his abilities.
The Insidious Inflator - A supervillain who attacked places with giant balloons that he brought to life by using a special ray-gun.
Spinner - A supervillain with spider-based powers.
Professor Stretch - A supervillain with elasticity.
Smogula - A supervillain that floats in a rain cloud and wields a weather ray-gun.
All villains were defeated in a timely manner and justice was always served. Some villains were made to serve a useful purpose and even went straight upon their capture:
The Artful Archer - A supervillain who was dressed like Robin Hood; decided to take up being a musician.
Cronella Critch - A witch who was robbing a charity-for-orphans party. She was turned into a cat due to a spell reversal by Multi-Man.
Dr. Futuro - A villain from the 40th century, who travelled to the 1960s in order to steal a gold brick to finance his crimes. He accidentally ran into an age-reversing machine, and was turned into a baby.
An ad for the Saturday morning cartoon lineup in comic books of the time referred to "the Bubbler," "Bratfink," and "The Sponge".
HANNA BARBERA STUDIOS
THE IMPOSSIBLES
Original Animation TELEVISION SERIES 1966
Type: AWESOME Original Production Animation MODEL Drawing of the DIABOLICAL DAUBER from the 1966 HANNA BARBERA Animated TELEVISION SERIES
This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during
the production filming of the original Television Commercial.
NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION
Size: 12 field 12.5 x 10.5
Type: . Vintage Hand Drawn Art
Condition: EXCELLENT
Featuring THE IMPOSSIBLES VILLIAN aka DIABOLICAL DAUBER
Date 1966
NOTES:
The Impossibles was a series of animated cartoons produced by Hanna-Barbera in 1966 and aired on American television by CBS. The series of shorts (6 minutes) appeared as part of Frankenstein Jr. and The Impossibles.
The Impossibles were a trio of rock and roll musicians. When contacted by "Big D" (voiced by Paul Frees) about criminal activities in Empire City, they became superheroes. Like the Monkees, the group’s appearance (in their musician form) was based on 1960s pop star stereotypes, which included somewhat long hair, brightly colored (and matching) outfits, high-heeled boots, screaming female fans and, unlike the Monkees, no percussion or bass instruments. Nothing is known about their personal lives, although Fluid Man once mentioned having an Aunt Tilly. They seemed to have secret identities though even a little child would have no trouble connecting the singing Impossibles to the hero Impossibles on appearance alone. They also seemed to change to their "secret identities" in front of the crowds they were playing to when given a mission.
Impossibles
In their guise as musicians, The Impossibles played their futuristic-looking guitars atop an equally futuristic bandstand that could convert into a car which, in turn, could transform into either a van, a submarine or boat which did not need a driver. Their standard catch cry, when called into action, was "Rally ho!" Their humorous dialogue was peppered with puns. As with many Hanna-Barbera characters, The Impossibles were very loosely styled after an existing famous trio, in this case The Three Stooges. Each member of The Impossibles had specific superhuman powers:
Coil Man (voiced by Hal Smith) - Seemingly the group's leader, short, blond Coily could transform his limbs into impossibly stretchable springs, with his human arms and legs becoming coiled springs, allowing him to bounce to avoid attacks, deliver long-ranged punches and drill through walls. Coil Man usually drove the Impossijet, and his guitar contained a small TV receiver through which "Big D" could contact the group and deliver orders (Big D used Multi Man's guitar in "The Fiendish Dr Futuro," "Beamatron," and "The Diabolical Dauber"). Coil Man's costume was purple and pink and included a crested helmet. He could be held in place by a magnet, implying that he was at least partially made of metal.
Fluid Man (voiced by Paul Frees) - Dark-haired Fluid Man, aka Fluey, could morph parts of his body into a liquid form, a talent perfect for sneaking up on an enemy though a water faucet. He could also vapor himself into a cloud or storm. His costume resembled a green wetsuit and swimfins. He could however be soaked up and trapped by a sponge, or frozen solid inside a block of ice.
Multi Man (voiced by Don Messick) - Multi could create infinite duplicates of himself which were often destroyed, leaving only the original behind. His duplicates rarely, if ever, functioned independently, and were often used as camouflage, a bluff, for extra strength or transportation (he could fly by continuously creating replicas above himself). When duplicating himself, he could push tons of rocks out of the way or crack the solid concrete he and the others were entombed in. The character had orange hair covering his eyes and occasionally held a shield for what seems decorative reasons, though he has used it at least twice. In one instance, Multi repelled bullets with his bare hand (Fero, the Fiendish Fiddler), however it may be the shield was supposed to have been used but was accidentally left undrawn. Multi Man's angular, red and black costume included a short, red cape. A physical trait that he shared with many of his contemporaries in cartoons and comics was a mop of orange hair that entirely covered his eyes. Favourite saying: "But you missed the original".
Villains
The Impossibles faced many bizarre villains, similar to those Batman and Superman had to face:
The Perilous Paper Doll Man (voiced by Don Messick) - A supervillain who had the ability to change into any form of paper.
Beamatron, The Laser Beam Man - A supervillain who shot laser beams from his fingers, lasers had short battery lives.
The Bubbler - A supervillain who attacked with almost unbreakable bubbles.
The Burrower - A supervillain who burrowed under banks and pilfered the money inside.
Fero, the Fiendish Fiddler - A supervillain who, despite his attire making him look like a caricature of Nero, could send people and objects to anywhere he wished with a hi-tech violin.
Televisitron - A supervillain who used a remote control to send his foes into various channels of the television to do them in.
The Puzzler - A supervillain who had the ability to change shape due to being a living puzzle. Notably, he is the only villain given an origin, as he mentions having fallen into a jigsaw-making machine which gave him his abilities.
The Insidious Inflator - A supervillain who attacked places with giant balloons that he brought to life by using a special ray-gun.
Spinner - A supervillain with spider-based powers.
Professor Stretch - A supervillain with elasticity.
Smogula - A supervillain that floats in a rain cloud and wields a weather ray-gun.
All villains were defeated in a timely manner and justice was always served. Some villains were made to serve a useful purpose and even went straight upon their capture:
The Artful Archer - A supervillain who was dressed like Robin Hood; decided to take up being a musician.
Cronella Critch - A witch who was robbing a charity-for-orphans party. She was turned into a cat due to a spell reversal by Multi-Man.
Dr. Futuro - A villain from the 40th century, who travelled to the 1960s in order to steal a gold brick to finance his crimes. He accidentally ran into an age-reversing machine, and was turned into a baby.
An ad for the Saturday morning cartoon lineup in comic books of the time referred to "the Bubbler," "Bratfink," and "The Sponge".
HANNA BARBERA STUDIOS
The IMPOSSIBLES Original Animation TELEVISION SERIES 1960s
Type: AWESOME Original Hand Drawn Production Animation Drawing of the Dr. Futuro from the 1969 HANNA BARBERA Animated TELEVISION SERIES
This is one of the original Production Layout (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during
the production filming of the original Television Commercial.
The Impossibles was a series of animated cartoons produced by Hanna-Barbera in 1966 and aired on American television by CBS. The series of shorts (6 minutes) appeared as part of Frankenstein, Jr. and The Impossibles.
The Impossibles were a trio of rock and roll musicians. When contacted by "Big D" (voiced by Paul Frees) about criminal activities in Empire City, they became superheroes. Like the Monkees, the group’s appearance (in their musician form) was based on 1960s pop star stereotypes, which included somewhat long hair, brightly colored (and matching) outfits, high-heeled boots, screaming female fans and, unlike the Monkees, no percussion or bass instruments. Nothing is known about their personal lives, although Fluid-Man once mentioned having an Aunt Tilly. They seemed to have secret identities though even a little child would have no trouble connecting the singing Impossibles to the hero Impossibles on appearance alone. They also seemed to change to their "secret identities" in front of the crowds they were playing to when given a mission.
The Impossibles
Posing as a trio of young rock 'n roll musicians, the Impossibles were in reality super-powered crime fighters dedicated to battling evil supervillains of all shapes and sizes. When performing for their adoring fans (usually star-struck, screaming teeny boppers) the lads would play their mod, futuristic-looking guitars atop an equally futuristic bandstand (emblazoned with their "Impossibles" logo on the side, ala Ringo's drumkit) that could convert into a car (the "Impossi-Mobile"), or a jet (the "Impossi-Jet"), a speedboat, or even a submarine. Their standard catch cry when called into action was "Rally ho!"
Their humorous dialogue was typically peppered with puns. As with many Hanna-Barbera characters, The Impossibles were topical and inspired by their times, in this case resembling the rock 'n roll groups of the mid-Sixties.
The Heroes
Each member of the Impossibles had a specific, and very visual superpower:
Coil-Man (voiced by Hal Smith) - Short, barrel-chested and sporting a mod haircut, blond "Coily" could transform his arms and legs into impossibly stretchable or coiled springs, allowing him to bounce to avoid attacks, deliver long-range punches, or drill through walls. Coil-Man usually drove the Impossi-jet, and his guitar contained a small TV receiver through which "Big D" (voiced by Paul Frees, who also served as the voice over Narrator in almost every episode) could contact the group and deliver orders (Big D used Multi Man's guitar in "The Fiendish Dr Futuro," "Beamatron," and "The Diabolical Dauber"). Because of his presumably metal coils, Coily could be held in place by a super magnet, but could also conduct heat or electricity with his coils. He also hid in a closet disguised as a wire coat hanger, further implying that he was at least partially made of metal. Coil-Man's costume was purple and blue and included a purple mask and a cowl crested by a triangular fin.
Fluid-Man (voiced by Paul Frees) - Dark-haired Fluid-Man, aka "Fluey", could morph parts of his body into a liquid form, a talent perfect for sneaking up on an enemy though a water faucet. He could also vaporize himself into a cloud or storm, but he could also be soaked up and trapped by a sponge ("Televisatron" and "Return of the Spinner"), or frozen solid inside a block of ice ("Not So Nice Mr. Ice"). Fluid-Man's costume resembled a lime green wetsuit complete with diver's mask and swimfins. Fluey's speaking style indicated that he was the beatnik of the group.
Multi-Man (voiced by Don Messick) - Multi could create infinite duplicates of himself which were often destroyed, leaving only the original behind. His duplicates rarely, if ever, functioned independently, and were often used as camouflage, a bluff, for extra strength or transportation (he could fly by continuously creating replicas above himself). When duplicating himself, he could push tons of rocks out of the way or crack the block of solid concrete he and the others were entombed in. The character had shaggy, orange hair and he usually held a shield emblazoned with a capital 'M' for what seems decorative reasons, though he has used it at least twice. In one instance, Multi repelled bullets with his bare hand ("Fero, the Fiendish Fiddler"), however it may be the shield was supposed to have been used but was accidentally left undrawn. Multi-Man's angular, red and black costume resembled an oversized, stylized 'M', and included a short, triangular redcape. A physical trait that he shared with many of his contemporaries in cartoons and comics of the mid-Sixties was a mop of hair that entirely covered his eyes. Favorite saying: "You got them all except the original." Multi bore a resemblance to the four identical members of the singing group "The Way Outs" from "The Flintstones."
Each episode usually began with the villain pulling off his improbable caper while the Impossibles are busy performing at a gig or concert across town, where they are called into action by their chief, "Big D." After a series of funny super powered forays, the Impossibles would best the baddie, and usually return to finish their gig.
The Villains
The Impossibles faced many bizarre villains, similar to those Batman and Superman had to face:
The Spinner (voiced by Hal Smith) - A supervillain with spider-based powers, specifically web spinning. He is one of the villains to have more than one appearance. The first time was when he stole a million dollar tiara. The second was when he stole a poodle by the name of "Little Miss Muffet".
Perilous Paper Doll Man (voiced by Don Messick) - A supervillain made of paper who has the ability to slip underneath locked doors, or fold himself into paper airplanes for a quick getaway. He is one of the villains to have more than one appearance. The first time was when he stole most of the top secret plans from the Pentagon and had to return there to get Plan X. The second time was when he was robbing hotels.
Professor Stretch (voiced by Paul Frees) - A super-stretchy supervillain with elasticity powers. He is one of the villains to have more than one appearance. The first time was when he sabotaged a tank by using powder from a shaker that turns anything into rubber and in the end we see him being used as a basketball. The second time was when he created a monster made of rubber cooking chowder.
Beamatron, the Laser Beam Man (voiced by Hal Smith) - A supervillain who shot laser beams from his fingers, lasers had short battery lives.
The Bubbler (voiced by Don Messick) - A supervillain who kidnaps the young Shah of Shishkabob (voiced by Ginny Tyler) by sealing him in an unbreakable bubble. The Bubbler has an undersea hideout at the bottom of the ocean guarded by a giant attack octopus named Octavius. However, Multi ties Ocky into knots.
The Burrower (voiced by Allen Melvin) - A supervillain who burrows under banks in order to pilfer the money inside. He has a henchman named Muddy (possibly voiced by either Hal Smith or John Stephenson) who has a worm named Curly (Don Messick).
Timeatron (voiced by Keye Luke)- A supervillain who can bring villains from the past to help him. These villains include Captain Kid (Paul Frees), Jesse James (Don Messick), and Goliath (Hal Smith). Timeatron goes to bring back Alexander the Great (Don Messick) but ends up trapped thanks to Multi destroying the time cabinet with an ax.
Smogula (voiced by Alan Reed) - A supervillain who floats around in a rain cloud and wields a weather-controlling ray-gun.
Sinister Speck (voiced by Hal Smith) - A supervillain who has a potion that lets him shrink and grow at will.
Mother Gruesome (voiced by June Foray) - A female criminal that uses a machine that can bring villainous storybook characters to life. She has a pet crow named Cromwell (Don Messick).
Fero, the Fiendish Fiddler (voiced by Don Messick) - A supervillain who, despite his attire making him look like a caricature of Nero, could send people and objects to anywhere he wished with a hi-tech violin.
Diabolical Dauber (voiced by Paul Winchell) - A supervillain artist that brings to life anything that he paints.
Televisitron (voiced by Hal Smith) - A supervillain who used a remote control to send his foes into various channels of the television to do them in.
Aquator (voiced by Paul Winchell) - An underwater-based supervillain who steals a formula for changing the size of organisms in an attempt to create an army of giant-sized micro-organisms.
Devilish Dragster (voiced by Daws Butler) - A speedy car thief with a Boris Karloff accent who steals a diamond-encrusted car.
The Puzzler - A supervillain who had the ability to change shape due to being a living puzzle. Notably, he is the only villain given an origin, as he mentions having fallen into a jigsaw-making machine which gave him his abilities.
Satanic Surfer (voiced by Don Messick) - A supervillain that can surf and use a remote control ukelele.
Scurrilous Sculptor (voiced by Lennie Weinrib) - A supervillain who carries a gun that fires quick-dry cement either turning people into statues or making instant rocks and walls.
Scheming Spraysol (voiced by Hal Smith) - A supervillain with a spray nozzle helmet that sprays liquid or gas.
Dastardly Diamond Dazzler (voiced by Alan Reed) - A villain in a turban who steals a diamond that contains a genie (Hal Smith).
Terrible Twister (voiced by Don Messick) - A supervillain that is dress like a top with a propeller beanie who steals by spinning like a twister.
Terrifying Tapper (voiced by Hal Smith) - A supervillain that can travel through telephone wires with his weapon, the deceminator which he used to send Coil Man to Ackbar the Martian (Don Messick) in his flying saucer and Multi Man to Captain Cutlass (Hal Smith or Alan Reed) on his smuggling ship, the Sea Serpent.
Anxious Angler (voiced by Don Messick) - A supervillain in a torpedo-shaped fish suit that steals with a fishing rod.
Rascally Ringmaster (voiced by Hal Smith) - A villain who has circus performers as his henchmen.
Infamous Mr. Instant (voiced by Paul Frees) - A scientist that has a gun that can create anything in an instant.
Crafty Clutcher (voiced by Don Messick) - An inventive supervillain that has created remote-controlled gloves for clutching anything at a long distance.
Not So Nice Mr. Ice (voiced by Hal Smith) - A supervillain that plans to conquer the city by freezing it with the help of his henchman Freezer (Don Messick).
Bizarre Batter (voiced by Don Messick) - A supervillain that bases his crimes on baseball.
All villains were defeated in a timely manner and justice was always served. Some villains were made to serve a useful purpose and even went straight upon their capture:
The Artful Archer (voiced by Paul Frees) - A supervillain who was dressed like Robin Hood. He decided to take up being a musician.
Cronella Critch the Tricky Witch (voiced by Jean Vander Pyl) - A witch who was robbing a charity-for-orphans party. She was turned into a cat due to a spell reversal by Multi-Man.
Billy the Kidder (voiced by Hal Smith) - A futuristic western bandit that wanted to rob from the Mint. After serving his time he is seen as a rodeo clown.
Dr. Futuro (voiced by Paul Frees) - A villain from the 40th century, who traveled to the 1960s in order to steal a gold brick to finance his crimes. He accidentally ran into an age-reversing machine, and was turned into a baby.
The Insidious Inflator (voiced by Hal Smith) - A supervillain who attacked places with giant balloons that he brought to life by using a special ray-gun. He had served time and is seen selling balloons to children.
An ad for the Saturday morning cartoon lineup in comic books of the time referred to "the Bubbler," "Bratfink," and "The Sponge."
The Impossibles episodes were written by the great Warner Brothers story man Michael Maltese, who is known mostly for his work with director Chuck Jones
The show was a package program similar to the Hanna-Barbera/NBC show The Banana Splits, except that it contained no live-action segments. During the 1969–1970 season, Cattanooga Cats ran one hour and contained four segments. During the 1970–1971 season, the segments It's the Wolf! and Motormouse and Autocat were spun off into a half-hour show. Around the World in 79 Days remained a part of Cattanoga Cats, which was reduced to a half-hour. Motormouse and Autocat ran concurrently with Cattanooga Cats until both met their demise at the end of the 1970–1971 season.
Cattanooga Cats
Cattanooga Cats depicted the adventures of a fictitious rock band similar to The Archies and The Banana Splits populated by anthropomorphic hillbilly cats consisting of:
Lead singer/guitarist Country (voiced by Bill Callaway)
Singer/dancer Kitty Jo (voiced by Julie Bennett)
Bassist Scoots (voiced by Jim Begg)
Drummer Groove (voiced by Casey Kasem)
A fifth member, a mouse keyboardist named "Cheesie", was storyboarded but cut out of the series. The group travelled around in a van, was chased by a female cat groupie named Jessie the "Autograph Hound" (also voiced by Julie Bennett) and Kitty Jo owned a big blue dog named "Teeny Tim". The singing vocals for The Cattanooga Cats were performed by Michael Lloyd and Peggy Clinger. Producer Mike Curb was the musical director for the series and co-wrote all the songs performed by the Cattanooga Cats. Ted Nichols composed the background music. An LP, The Cattanooga Cats (Forward ST-F-1018), featuring some of the songs used in the series was released in 1969.
The Cats also appeared in various "bumpers" between the other cartoons, but were best remembered for their animated musical segments. These cartoons showed a strong psychedelic and op-art influence and the Cattanooga Cats remain a cult favorite to this day
Magilla Gorilla is a fictional gorilla and the star of The Magilla Gorilla Show by Hanna-Barbera that aired from 1964 to 1967
Magilla Gorilla (voiced by Allan Melvin[2]) is a gorilla who spends his time languishing in the front display window of Melvin Peebles' pet shop, eating bananas and being a drain on the businessman's finances. Peebles (voiced by Howard Morris and later by Don Messick) marked down Magilla's price considerably, but Magilla was invariably only purchased for a short time, typically by some thieves who needed a gorilla to break into a bank or by an advertising agency looking for a mascot for their new product. The customers always ended up returning Magilla, forcing Peebles to refund their money. Magilla often ended each episode with his catchphrase "We'll try again next week."
Like many of Hanna-Barbera's animal characters, Magilla Gorilla was dressed in human accessories, sporting a bow tie, shorts held up by suspenders, and an undersized derby hat.[2]
The only customer truly interested in obtaining the trouble-prone Magilla was a little girl named Ogee (voiced by Jean Vander Pyl and pronounced "Oh Gee!"). During the cartoon's theme song, "We've Got a Gorilla for Sale", she asks hopefully, "How much is that gorilla in the window?" a twist on the old standard, "(How Much Is) That Doggie in the Window?"), but she was never able to convince her parents to let her keep Magilla.
The trials of Magilla mirrored the attitudes that American citizens had towards racial integration during the Civil Rights Movement in the 1960s. The Magilla Gorilla Show perpetuated the idea that non-whites should be segregated, with Peebles selling Magilla to white customers who would invariably return him to the pet shop by the end of each episode.[3]
In Yiddish, a "megillah" is a long tedious or embroidered account, from the Hebrew "megillah", a story written in a scroll. One episode has Magilla saying, "Such a megillah over a gorilla
Hanna-Barbera Productions, Inc. (play /ˌhænə bɑrˈbɛrə/) 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 1957 by former Metro-Goldwyn-Mayer animation directors William Hanna and Joseph Barbera and live-action director George Sidney in partnership with Columbia Pictures' Screen Gems television division as H-B Enterprises, Inc.[1]. Established after MGM shut down its animation studio and ended production of its animated short films (such as the popular Tom and Jerry series), H-B Enterprises, Inc. was renamed Hanna-Barbera Productions, Inc. in 1959.
Over the next three decades, the studio produced many successful animated shows, including The Huckleberry Hound Show, The Quick Draw McGraw Show, The Flintstones, The Yogi Bear Show, Top Cat, The Jetsons, Jonny Quest, Space Ghost, Wacky Races, Scooby-Doo, Where Are You? and The Smurfs among others. The studio also produced several feature films and cartoon shorts for theaters along with a number of specials and movies for television. While Hanna and Barbera's theatrical work awarded them seven Oscars, their television productions have earned the company eight Emmys[2] and the duo was awarded a star on the Hollywood Walk of Fame. In the mid-1980s, the company's fortunes declined somewhat after the profitability of Saturday morning cartoons was eclipsed by weekday afternoon syndication.
In 1991, the company was purchased by Turner Broadcasting System, who began using much of the H-B back catalog to program the Cartoon Network the following year[3][4]. Both Hanna and Barbera went into semi-retirement after Turner purchased the company, continuing to serve as ceremonial figureheads for and sporadic artistic contributors to the studio. The same year, the company was renamed H-B Production Co. then became Hanna-Barbera Cartoons, Inc. in 1994, and in October 1996, Turner merged with Time Warner.
By the time of the merger, Turner had turned Hanna-Barbera towards primarily producing new material for Cartoon Network, including the successful Cartoon Cartoons shows such as Dexter's Laboratory, Johnny Bravo, Cow and Chicken, I Am Weasel and The Powerpuff Girls. With William Hanna's death in 2001, the studio was folded into Warner Bros. Animation, and Cartoon Network Studios continued the projects for Cartoon Network output.
Joseph Barbera remained with the Warner Animation division until his death in 2006. Hanna-Barbera currently exists as an in-name-only company used to market properties and productions associated with the studio's "classic" works such as Yogi Bear, Scooby-Doo and Huckleberry Hound
Magilla Gorilla (voiced by Allan Melvin[2]) is a gorilla who spends his time languishing in the front display window of Melvin Peebles' pet shop, eating bananas and being a drain on the businessman's finances. Peebles (voiced by Howard Morris and later by Don Messick) marked down Magilla's price considerably, but Magilla was invariably only purchased for a short time, typically by some thieves who needed a gorilla to break into a bank or by an advertising agency looking for a mascot for their new product. The customers always ended up returning Magilla, forcing Peebles to refund their money. Magilla often ended each episode with his catchphrase "We'll try again next week."
Like many of Hanna-Barbera's animal characters, Magilla Gorilla was dressed in human accessories, sporting a bow tie, shorts held up by suspenders, and an undersized derby hat.[2]
The only customer truly interested in obtaining the trouble-prone Magilla was a little girl named Ogee (voiced by Jean Vander Pyl and pronounced "Oh Gee!"). During the cartoon's theme song, "We've Got a Gorilla for Sale", she asks hopefully, "How much is that gorilla in the window?" a twist on the old standard, "(How Much Is) That Doggie in the Window?"), but she was never able to convince her parents to let her keep Magilla.
The trials of Magilla mirrored the attitudes that American citizens had towards racial integration during the Civil Rights Movement in the 1960s. The Magilla Gorilla Show perpetuated the idea that non-whites should be segregated, with Peebles selling Magilla to white customers who would invariably return him to the pet shop by the end of each episode.[3]
In Yiddish, a "megillah" is a long tedious or embroidered account, from the Hebrew "megillah", a story written in a scroll. One episode has Magilla saying, "Such a megillah over a gorilla
HANNA BARBERA STUDIOS
THE IMPOSSIBLES
Original Animation TELEVISION SERIES 1966
Type: AWESOME Original Production Animation MODEL Drawing of THE SHERIFF from the 1966 HANNA BARBERA Animated TELEVISION SERIES
This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during
the production filming of the original Television Commercial.
NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION
Size: 12 field 12.5 x 10.5
Type: . Vintage Hand Drawn Art
Condition: EXCELLENT
Featuring SHERIFF
Date 1966
NOTES:
The Impossibles was a series of animated cartoons produced by Hanna-Barbera in 1966 and aired on American television by CBS. The series of shorts (6 minutes) appeared as part of Frankenstein Jr. and The Impossibles.
The Impossibles were a trio of rock and roll musicians. When contacted by "Big D" (voiced by Paul Frees) about criminal activities in Empire City, they became superheroes. Like the Monkees, the group’s appearance (in their musician form) was based on 1960s pop star stereotypes, which included somewhat long hair, brightly colored (and matching) outfits, high-heeled boots, screaming female fans and, unlike the Monkees, no percussion or bass instruments. Nothing is known about their personal lives, although Fluid Man once mentioned having an Aunt Tilly. They seemed to have secret identities though even a little child would have no trouble connecting the singing Impossibles to the hero Impossibles on appearance alone. They also seemed to change to their "secret identities" in front of the crowds they were playing to when given a mission.
Impossibles
In their guise as musicians, The Impossibles played their futuristic-looking guitars atop an equally futuristic bandstand that could convert into a car which, in turn, could transform into either a van, a submarine or boat which did not need a driver. Their standard catch cry, when called into action, was "Rally ho!" Their humorous dialogue was peppered with puns. As with many Hanna-Barbera characters, The Impossibles were very loosely styled after an existing famous trio, in this case The Three Stooges. Each member of The Impossibles had specific superhuman powers:
Coil Man (voiced by Hal Smith) - Seemingly the group's leader, short, blond Coily could transform his limbs into impossibly stretchable springs, with his human arms and legs becoming coiled springs, allowing him to bounce to avoid attacks, deliver long-ranged punches and drill through walls. Coil Man usually drove the Impossijet, and his guitar contained a small TV receiver through which "Big D" could contact the group and deliver orders (Big D used Multi Man's guitar in "The Fiendish Dr Futuro," "Beamatron," and "The Diabolical Dauber"). Coil Man's costume was purple and pink and included a crested helmet. He could be held in place by a magnet, implying that he was at least partially made of metal.
Fluid Man (voiced by Paul Frees) - Dark-haired Fluid Man, aka Fluey, could morph parts of his body into a liquid form, a talent perfect for sneaking up on an enemy though a water faucet. He could also vapor himself into a cloud or storm. His costume resembled a green wetsuit and swimfins. He could however be soaked up and trapped by a sponge, or frozen solid inside a block of ice.
Multi Man (voiced by Don Messick) - Multi could create infinite duplicates of himself which were often destroyed, leaving only the original behind. His duplicates rarely, if ever, functioned independently, and were often used as camouflage, a bluff, for extra strength or transportation (he could fly by continuously creating replicas above himself). When duplicating himself, he could push tons of rocks out of the way or crack the solid concrete he and the others were entombed in. The character had orange hair covering his eyes and occasionally held a shield for what seems decorative reasons, though he has used it at least twice. In one instance, Multi repelled bullets with his bare hand (Fero, the Fiendish Fiddler), however it may be the shield was supposed to have been used but was accidentally left undrawn. Multi Man's angular, red and black costume included a short, red cape. A physical trait that he shared with many of his contemporaries in cartoons and comics was a mop of orange hair that entirely covered his eyes. Favourite saying: "But you missed the original".
Villains
The Impossibles faced many bizarre villains, similar to those Batman and Superman had to face:
The Perilous Paper Doll Man (voiced by Don Messick) - A supervillain who had the ability to change into any form of paper.
Beamatron, The Laser Beam Man - A supervillain who shot laser beams from his fingers, lasers had short battery lives.
The Bubbler - A supervillain who attacked with almost unbreakable bubbles.
The Burrower - A supervillain who burrowed under banks and pilfered the money inside.
Fero, the Fiendish Fiddler - A supervillain who, despite his attire making him look like a caricature of Nero, could send people and objects to anywhere he wished with a hi-tech violin.
Televisitron - A supervillain who used a remote control to send his foes into various channels of the television to do them in.
The Puzzler - A supervillain who had the ability to change shape due to being a living puzzle. Notably, he is the only villain given an origin, as he mentions having fallen into a jigsaw-making machine which gave him his abilities.
The Insidious Inflator - A supervillain who attacked places with giant balloons that he brought to life by using a special ray-gun.
Spinner - A supervillain with spider-based powers.
Professor Stretch - A supervillain with elasticity.
Smogula - A supervillain that floats in a rain cloud and wields a weather ray-gun.
All villains were defeated in a timely manner and justice was always served. Some villains were made to serve a useful purpose and even went straight upon their capture:
The Artful Archer - A supervillain who was dressed like Robin Hood; decided to take up being a musician.
Cronella Critch - A witch who was robbing a charity-for-orphans party. She was turned into a cat due to a spell reversal by Multi-Man.
Dr. Futuro - A villain from the 40th century, who travelled to the 1960s in order to steal a gold brick to finance his crimes. He accidentally ran into an age-reversing machine, and was turned into a baby.
An ad for the Saturday morning cartoon lineup in comic books of the time referred to "the Bubbler," "Bratfink," and "The Sponge".
HANNA BARBERA STUDIOS
THE IMPOSSIBLES
Original Animation TELEVISION SERIES 1966
Type: AWESOME Original Production Animation MODEL Drawing of SMOGULA from the 1966 HANNA BARBERA Animated TELEVISION SERIES
This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during
the production filming of the original Television Commercial.
NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION
Size: 12 field 12.5 x 10.5
Type: . Vintage Hand Drawn Art
Condition: EXCELLENT
Featuring THE IMPOSSIBLES VILLIAN SMOGULA
Date 1966
NOTES:
The Impossibles was a series of animated cartoons produced by Hanna-Barbera in 1966 and aired on American television by CBS. The series of shorts (6 minutes) appeared as part of Frankenstein Jr. and The Impossibles.
The Impossibles were a trio of rock and roll musicians. When contacted by "Big D" (voiced by Paul Frees) about criminal activities in Empire City, they became superheroes. Like the Monkees, the group’s appearance (in their musician form) was based on 1960s pop star stereotypes, which included somewhat long hair, brightly colored (and matching) outfits, high-heeled boots, screaming female fans and, unlike the Monkees, no percussion or bass instruments. Nothing is known about their personal lives, although Fluid Man once mentioned having an Aunt Tilly. They seemed to have secret identities though even a little child would have no trouble connecting the singing Impossibles to the hero Impossibles on appearance alone. They also seemed to change to their "secret identities" in front of the crowds they were playing to when given a mission.
Impossibles
In their guise as musicians, The Impossibles played their futuristic-looking guitars atop an equally futuristic bandstand that could convert into a car which, in turn, could transform into either a van, a submarine or boat which did not need a driver. Their standard catch cry, when called into action, was "Rally ho!" Their humorous dialogue was peppered with puns. As with many Hanna-Barbera characters, The Impossibles were very loosely styled after an existing famous trio, in this case The Three Stooges. Each member of The Impossibles had specific superhuman powers:
Coil Man (voiced by Hal Smith) - Seemingly the group's leader, short, blond Coily could transform his limbs into impossibly stretchable springs, with his human arms and legs becoming coiled springs, allowing him to bounce to avoid attacks, deliver long-ranged punches and drill through walls. Coil Man usually drove the Impossijet, and his guitar contained a small TV receiver through which "Big D" could contact the group and deliver orders (Big D used Multi Man's guitar in "The Fiendish Dr Futuro," "Beamatron," and "The Diabolical Dauber"). Coil Man's costume was purple and pink and included a crested helmet. He could be held in place by a magnet, implying that he was at least partially made of metal.
Fluid Man (voiced by Paul Frees) - Dark-haired Fluid Man, aka Fluey, could morph parts of his body into a liquid form, a talent perfect for sneaking up on an enemy though a water faucet. He could also vapor himself into a cloud or storm. His costume resembled a green wetsuit and swimfins. He could however be soaked up and trapped by a sponge, or frozen solid inside a block of ice.
Multi Man (voiced by Don Messick) - Multi could create infinite duplicates of himself which were often destroyed, leaving only the original behind. His duplicates rarely, if ever, functioned independently, and were often used as camouflage, a bluff, for extra strength or transportation (he could fly by continuously creating replicas above himself). When duplicating himself, he could push tons of rocks out of the way or crack the solid concrete he and the others were entombed in. The character had orange hair covering his eyes and occasionally held a shield for what seems decorative reasons, though he has used it at least twice. In one instance, Multi repelled bullets with his bare hand (Fero, the Fiendish Fiddler), however it may be the shield was supposed to have been used but was accidentally left undrawn. Multi Man's angular, red and black costume included a short, red cape. A physical trait that he shared with many of his contemporaries in cartoons and comics was a mop of orange hair that entirely covered his eyes. Favourite saying: "But you missed the original".
Villains
The Impossibles faced many bizarre villains, similar to those Batman and Superman had to face:
The Perilous Paper Doll Man (voiced by Don Messick) - A supervillain who had the ability to change into any form of paper.
Beamatron, The Laser Beam Man - A supervillain who shot laser beams from his fingers, lasers had short battery lives.
The Bubbler - A supervillain who attacked with almost unbreakable bubbles.
The Burrower - A supervillain who burrowed under banks and pilfered the money inside.
Fero, the Fiendish Fiddler - A supervillain who, despite his attire making him look like a caricature of Nero, could send people and objects to anywhere he wished with a hi-tech violin.
Televisitron - A supervillain who used a remote control to send his foes into various channels of the television to do them in.
The Puzzler - A supervillain who had the ability to change shape due to being a living puzzle. Notably, he is the only villain given an origin, as he mentions having fallen into a jigsaw-making machine which gave him his abilities.
The Insidious Inflator - A supervillain who attacked places with giant balloons that he brought to life by using a special ray-gun.
Spinner - A supervillain with spider-based powers.
Professor Stretch - A supervillain with elasticity.
Smogula - A supervillain that floats in a rain cloud and wields a weather ray-gun.
All villains were defeated in a timely manner and justice was always served. Some villains were made to serve a useful purpose and even went straight upon their capture:
The Artful Archer - A supervillain who was dressed like Robin Hood; decided to take up being a musician.
Cronella Critch - A witch who was robbing a charity-for-orphans party. She was turned into a cat due to a spell reversal by Multi-Man.
Dr. Futuro - A villain from the 40th century, who travelled to the 1960s in order to steal a gold brick to finance his crimes. He accidentally ran into an age-reversing machine, and was turned into a baby.
An ad for the Saturday morning cartoon lineup in comic books of the time referred to "the Bubbler," "Bratfink," and "The Sponge".
I see in the echoes and reverberations the transfigurations which alone keep wonder pure. Otherwise all magic is lost. Otherwise life shows its deformities and the homeliness becomes rust. My drug. Covering all things with a mist of smoke, deforming and transforming as the night does. All matter must be fused this way through the lens of my vice or the rust of living would slow down my rhythm to a sob.
HANNA BARBERA STUDIOS
IMPOSSIBLES
Original Animation TELEVISION SERIES 1967
Type: ) AWESOME Original Production Animation MODEL Drawing of IMPOSSIBLE VILLIAN's DRAGON from the 1967 HANNA BARBERA Animated TELEVISION SERIES.
This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during
the production filming of the original Television Commercial.
NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION
Size: 12 field 12.5 x 10.5
Type: . Vintage Hand Drawn Art
Condition: EXCELLENT
Featuring villian, TELEVISITRON
Date 1967
NOTES:
The Impossibles was a series of animated cartoons produced by Hanna-Barbera in 1966 and aired on American television by CBS. The series of shorts (6 minutes) appeared as part of Frankenstein Jr. and The Impossibles.
The Impossibles were a trio of rock and roll musicians. When contacted by "Big D" (voiced by Paul Frees) about criminal activities in Empire City, they became superheroes. Like the Monkees, the group’s appearance (in their musician form) was based on 1960s pop star stereotypes, which included somewhat long hair, brightly colored (and matching) outfits, high-heeled boots, screaming female fans and, unlike the Monkees, no percussion or bass instruments. Nothing is known about their personal lives, although Fluid Man once mentioned having an Aunt Tilly. They seemed to have secret identities though even a little child would have no trouble connecting the singing Impossibles to the hero Impossibles on appearance alone. They also seemed to change to their "secret identities" in front of the crowds they were playing to when given a mission
Impossibles
In their guise as musicians, The Impossibles played their futuristic-looking guitars atop an equally futuristic bandstand that could convert into a car which, in turn, could transform into either a van, a submarine or boat which did not need a driver. Their standard catch cry, when called into action, was "Rally ho!" Their humorous dialogue was typically peppered with puns. As with many Hanna-Barbera characters, The Impossibles were very loosely styled after an existing famous trio, in this case The Three Stooges. Each member of The Impossibles had specific superhuman powers:
Coil Man (voiced by Hal Smith) - Seemingly the group's leader, short, blond Coily could transform his human limbs into impossibly stretchable or coiled springs, allowing him to bounce to avoid attacks, deliver long-ranged punches and drill through walls. Coil Man usually drove the Impossijet, and his guitar contained a small TV receiver through which "Big D" could contact the group and deliver orders (Big D used Multi Man's guitar in "The Fiendish Dr Futuro," "Beamatron," and "The Diabolical Dauber"). He could be held in place by a magnet, implying that he was at least partially made of metal. Coil Man's costume was purple and pink and included a crested helmet.
Fluid Man (voiced by Paul Frees) - Dark-haired Fluid Man, aka Fluey, could morph parts of his body into a liquid form, a talent perfect for sneaking up on an enemy though a water faucet. He could also vaporise himself into a cloud or storm, but he could also be soaked up and trapped by a sponge ("Televisatron" and "Return of the Spinner"), or frozen solid inside a block of ice ("Not So Nice Mr. Ice"). Fluid Man's costume resembled a green wetsuit and swimfins.
Multi Man (voiced by Don Messick) - Multi could create infinite duplicates of himself which were often destroyed, leaving only the original behind. His duplicates rarely, if ever, functioned independently, and were often used as camouflage, a bluff, for extra strength or transportation (he could fly by continuously creating replicas above himself). When duplicating himself, he could push tons of rocks out of the way or crack the solid concrete he and the others were entombed in. The character had shaggy, orange hair and he occasionally held a shield for what seems decorative reasons, though he has used it at least twice. In one instance, Multi repelled bullets with his bare hand ("Fero, the Fiendish Fiddler"), however it may be the shield was supposed to have been used but was accidentally left undrawn. Multi Man's angular, red and black costume included a short, red cape. A physical trait that he shared with many of his contemporaries in cartoons and comics was a mop of hair that entirely covered his eyes. Favourite saying: "You got them all except the original."
The Spinner - The Spinner steals a $1,000,000 tiara.
The Perilous Paper Doll - The Paper Doll Man has stolen a top secret plan and is out to steal the second part.
Beamatron - Beamatron steals a priceless painting from a ship.
The Bubbler - The Bubbler kidnaps the Shah of Shish-Ka-Bob and it's up to the Impossible to rescue the Shah.
The Burrower - The Burrower uses his burrowing machine to steal half a million dollars from the bank and dig ten mile down to his lair.
Timeatron - Timeatron uses his powers to bring villains from the past to pillage for him.
Smogula - Smogula freezes the Impossibles and seals them within a cave, so they won't interfere with his plans to conquer Empire City.
The Sinister Speck - The Speck uses a formula to shrink himself in order to photograph some top secret plans.
Mother Gruesome - Mother Gruesome invents a machine that brings villainous storybook characters out of their stories to help her with her crimes Help Coil Man save way.
Fero, The Fiendish Fiddler - To get the Impossibles out of the way, Fero uses his fiddle to transport them to different planets.
The Diabolical Dauber - The Dauber uses a special brush where anything he paints becomes real.
Televisatron - Televisatron uses his powers to transport the Impossibles to different television shows Coily and Multi at Fluid Man save it!
The Wretched Professor Stretch - Professor Stretch is causing havoc with his elastical abilities.
Aquator - Aquator has stolen a secret formula and shrinks himself to microscopic size.
The Devilish Dragster - The Devilish Dragster has stolen a very valuable item.
The Return Of The Spinner - The Spinner returns and steals a priceless pooch Fluid Man Save Help Dogs!
The Puzzler - The Puzzler steals some top secret documents which he plans to sell to the highest bidder.
Satanic Surfer - The Satanic Surfer takes pictures of a top secret submarine.
The Scurrilous Sculptor - The Sculptor is turning people into statues.
The Scheming Spraysol - Spraysol is out to steal some top secret documents.
The Insidious Inflator - The Inflator creates giant balloon monsters to help him commit crimes.
The Artful Archer - The Artful Archer steals a priceless violin and a million dollars. It's up to the Impossibles to reclaim them.
The Return Of The Perilous Paperman - The Paper Doll Man returns and causes trouble for the Impossibles.
The Dastardly Diamond Dazzler - The Diamond Dazzler has stolen a precious diamond in order to awaken the genie within.
Cronella Critch The Tricky Witch - Cronella Critch has robbed a charity for orphans party.
The Terrible Twister - The Twister is on a crime spree and is stealing precious jewels.
The Terrifying Tapper - The Tapper is a criminal who can transmit himself over the phone lines. He uses this ability to commit crimes.
Professor Stretch Bounces Back - Professor Stretch returns and creates a rubber monster to help him in his crimes.
The Anxious Angler - The Angler has stolen some secret space research and plans to sell them to another country.
The Rascally Ringmaster - The Ringmaster puts on a circus and robs from those who attend.
Billy The Kidder - Billy the Kidder, a cowboy that rides a robotic horse, is planning to rob the U.S. Mint.
The Fiendish Doctor Futuro - The Impossibles fight Doctor Futuro who has come from the fortieth century to their time to steal a million dollar gold brick.
The Infamous Mr. Instant - Mr. Instant uses his insta-gun which can make anything in an instant to help him commit crimes.
The Crafty Clutcher - The Clutcher uses an invention that brings his gloves to life.
The Not So Nice Mr. Ice - Mr. Ice and his assistant Freeze are freezing the city in order to take over it.
The Bizarre Batter - The Batter kidnaps a baseball star and holds him for a ransom of $1,000,000.
I made this 'on- more-sparrow-bush-drawing' not being able to leave a bird theme undrawn... lol The weather is getting colder and I have to find a place to draw.
The tree was a dead one, but it didn't bother birds. They used it as they always do – as a club to sit&talk and eat cafe leftovers. :)
HANNA BARBERA STUDIOS
THE IMPOSSIBLES
Original Animation TELEVISION SERIES 1966
Type: AWESOME Original Production Animation MODEL Drawing of the GENIE from the 1966 HANNA BARBERA Animated TELEVISION SERIES
This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during
the production filming of the original Television Commercial.
NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION
Size: 12 field 12.5 x 10.5
Type: . Vintage Hand Drawn Art
Condition: EXCELLENT
Featuring THE IMPOSSIBLES VILLIAN the GENIE Date 1966
NOTES:
The Impossibles was a series of animated cartoons produced by Hanna-Barbera in 1966 and aired on American television by CBS. The series of shorts (6 minutes) appeared as part of Frankenstein Jr. and The Impossibles.
The Impossibles were a trio of rock and roll musicians. When contacted by "Big D" (voiced by Paul Frees) about criminal activities in Empire City, they became superheroes. Like the Monkees, the group’s appearance (in their musician form) was based on 1960s pop star stereotypes, which included somewhat long hair, brightly colored (and matching) outfits, high-heeled boots, screaming female fans and, unlike the Monkees, no percussion or bass instruments. Nothing is known about their personal lives, although Fluid Man once mentioned having an Aunt Tilly. They seemed to have secret identities though even a little child would have no trouble connecting the singing Impossibles to the hero Impossibles on appearance alone. They also seemed to change to their "secret identities" in front of the crowds they were playing to when given a mission.
Impossibles
In their guise as musicians, The Impossibles played their futuristic-looking guitars atop an equally futuristic bandstand that could convert into a car which, in turn, could transform into either a van, a submarine or boat which did not need a driver. Their standard catch cry, when called into action, was "Rally ho!" Their humorous dialogue was peppered with puns. As with many Hanna-Barbera characters, The Impossibles were very loosely styled after an existing famous trio, in this case The Three Stooges. Each member of The Impossibles had specific superhuman powers:
Coil Man (voiced by Hal Smith) - Seemingly the group's leader, short, blond Coily could transform his limbs into impossibly stretchable springs, with his human arms and legs becoming coiled springs, allowing him to bounce to avoid attacks, deliver long-ranged punches and drill through walls. Coil Man usually drove the Impossijet, and his guitar contained a small TV receiver through which "Big D" could contact the group and deliver orders (Big D used Multi Man's guitar in "The Fiendish Dr Futuro," "Beamatron," and "The Diabolical Dauber"). Coil Man's costume was purple and pink and included a crested helmet. He could be held in place by a magnet, implying that he was at least partially made of metal.
Fluid Man (voiced by Paul Frees) - Dark-haired Fluid Man, aka Fluey, could morph parts of his body into a liquid form, a talent perfect for sneaking up on an enemy though a water faucet. He could also vapor himself into a cloud or storm. His costume resembled a green wetsuit and swimfins. He could however be soaked up and trapped by a sponge, or frozen solid inside a block of ice.
Multi Man (voiced by Don Messick) - Multi could create infinite duplicates of himself which were often destroyed, leaving only the original behind. His duplicates rarely, if ever, functioned independently, and were often used as camouflage, a bluff, for extra strength or transportation (he could fly by continuously creating replicas above himself). When duplicating himself, he could push tons of rocks out of the way or crack the solid concrete he and the others were entombed in. The character had orange hair covering his eyes and occasionally held a shield for what seems decorative reasons, though he has used it at least twice. In one instance, Multi repelled bullets with his bare hand (Fero, the Fiendish Fiddler), however it may be the shield was supposed to have been used but was accidentally left undrawn. Multi Man's angular, red and black costume included a short, red cape. A physical trait that he shared with many of his contemporaries in cartoons and comics was a mop of orange hair that entirely covered his eyes. Favourite saying: "But you missed the original".
Villains
The Impossibles faced many bizarre villains, similar to those Batman and Superman had to face:
The Perilous Paper Doll Man (voiced by Don Messick) - A supervillain who had the ability to change into any form of paper.
Beamatron, The Laser Beam Man - A supervillain who shot laser beams from his fingers, lasers had short battery lives.
The Bubbler - A supervillain who attacked with almost unbreakable bubbles.
The Burrower - A supervillain who burrowed under banks and pilfered the money inside.
Fero, the Fiendish Fiddler - A supervillain who, despite his attire making him look like a caricature of Nero, could send people and objects to anywhere he wished with a hi-tech violin.
Televisitron - A supervillain who used a remote control to send his foes into various channels of the television to do them in.
The Puzzler - A supervillain who had the ability to change shape due to being a living puzzle. Notably, he is the only villain given an origin, as he mentions having fallen into a jigsaw-making machine which gave him his abilities.
The Insidious Inflator - A supervillain who attacked places with giant balloons that he brought to life by using a special ray-gun.
Spinner - A supervillain with spider-based powers.
Professor Stretch - A supervillain with elasticity.
Smogula - A supervillain that floats in a rain cloud and wields a weather ray-gun.
All villains were defeated in a timely manner and justice was always served. Some villains were made to serve a useful purpose and even went straight upon their capture:
The Artful Archer - A supervillain who was dressed like Robin Hood; decided to take up being a musician.
Cronella Critch - A witch who was robbing a charity-for-orphans party. She was turned into a cat due to a spell reversal by Multi-Man.
Dr. Futuro - A villain from the 40th century, who travelled to the 1960s in order to steal a gold brick to finance his crimes. He accidentally ran into an age-reversing machine, and was turned into a baby.
An ad for the Saturday morning cartoon lineup in comic books of the time referred to "the Bubbler," "Bratfink," and "The Sponge".
HANNA BARBERA STUDIOS
The IMPOSSIBLES Original Animation TELEVISION SERIES 1960s
Type: AWESOME Original Hand Drawn Production Animation Drawing of the Dr. Futuro from the 1969 HANNA BARBERA Animated TELEVISION SERIES
This is one of the original Production Layout (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during
the production filming of the original Television Commercial.
The Impossibles was a series of animated cartoons produced by Hanna-Barbera in 1966 and aired on American television by CBS. The series of shorts (6 minutes) appeared as part of Frankenstein, Jr. and The Impossibles.
The Impossibles were a trio of rock and roll musicians. When contacted by "Big D" (voiced by Paul Frees) about criminal activities in Empire City, they became superheroes. Like the Monkees, the group’s appearance (in their musician form) was based on 1960s pop star stereotypes, which included somewhat long hair, brightly colored (and matching) outfits, high-heeled boots, screaming female fans and, unlike the Monkees, no percussion or bass instruments. Nothing is known about their personal lives, although Fluid-Man once mentioned having an Aunt Tilly. They seemed to have secret identities though even a little child would have no trouble connecting the singing Impossibles to the hero Impossibles on appearance alone. They also seemed to change to their "secret identities" in front of the crowds they were playing to when given a mission.
The Impossibles
Posing as a trio of young rock 'n roll musicians, the Impossibles were in reality super-powered crime fighters dedicated to battling evil supervillains of all shapes and sizes. When performing for their adoring fans (usually star-struck, screaming teeny boppers) the lads would play their mod, futuristic-looking guitars atop an equally futuristic bandstand (emblazoned with their "Impossibles" logo on the side, ala Ringo's drumkit) that could convert into a car (the "Impossi-Mobile"), or a jet (the "Impossi-Jet"), a speedboat, or even a submarine. Their standard catch cry when called into action was "Rally ho!"
Their humorous dialogue was typically peppered with puns. As with many Hanna-Barbera characters, The Impossibles were topical and inspired by their times, in this case resembling the rock 'n roll groups of the mid-Sixties.
The Heroes
Each member of the Impossibles had a specific, and very visual superpower:
Coil-Man (voiced by Hal Smith) - Short, barrel-chested and sporting a mod haircut, blond "Coily" could transform his arms and legs into impossibly stretchable or coiled springs, allowing him to bounce to avoid attacks, deliver long-range punches, or drill through walls. Coil-Man usually drove the Impossi-jet, and his guitar contained a small TV receiver through which "Big D" (voiced by Paul Frees, who also served as the voice over Narrator in almost every episode) could contact the group and deliver orders (Big D used Multi Man's guitar in "The Fiendish Dr Futuro," "Beamatron," and "The Diabolical Dauber"). Because of his presumably metal coils, Coily could be held in place by a super magnet, but could also conduct heat or electricity with his coils. He also hid in a closet disguised as a wire coat hanger, further implying that he was at least partially made of metal. Coil-Man's costume was purple and blue and included a purple mask and a cowl crested by a triangular fin.
Fluid-Man (voiced by Paul Frees) - Dark-haired Fluid-Man, aka "Fluey", could morph parts of his body into a liquid form, a talent perfect for sneaking up on an enemy though a water faucet. He could also vaporize himself into a cloud or storm, but he could also be soaked up and trapped by a sponge ("Televisatron" and "Return of the Spinner"), or frozen solid inside a block of ice ("Not So Nice Mr. Ice"). Fluid-Man's costume resembled a lime green wetsuit complete with diver's mask and swimfins. Fluey's speaking style indicated that he was the beatnik of the group.
Multi-Man (voiced by Don Messick) - Multi could create infinite duplicates of himself which were often destroyed, leaving only the original behind. His duplicates rarely, if ever, functioned independently, and were often used as camouflage, a bluff, for extra strength or transportation (he could fly by continuously creating replicas above himself). When duplicating himself, he could push tons of rocks out of the way or crack the block of solid concrete he and the others were entombed in. The character had shaggy, orange hair and he usually held a shield emblazoned with a capital 'M' for what seems decorative reasons, though he has used it at least twice. In one instance, Multi repelled bullets with his bare hand ("Fero, the Fiendish Fiddler"), however it may be the shield was supposed to have been used but was accidentally left undrawn. Multi-Man's angular, red and black costume resembled an oversized, stylized 'M', and included a short, triangular redcape. A physical trait that he shared with many of his contemporaries in cartoons and comics of the mid-Sixties was a mop of hair that entirely covered his eyes. Favorite saying: "You got them all except the original." Multi bore a resemblance to the four identical members of the singing group "The Way Outs" from "The Flintstones."
Each episode usually began with the villain pulling off his improbable caper while the Impossibles are busy performing at a gig or concert across town, where they are called into action by their chief, "Big D." After a series of funny super powered forays, the Impossibles would best the baddie, and usually return to finish their gig.
The Villains
The Impossibles faced many bizarre villains, similar to those Batman and Superman had to face:
The Spinner (voiced by Hal Smith) - A supervillain with spider-based powers, specifically web spinning. He is one of the villains to have more than one appearance. The first time was when he stole a million dollar tiara. The second was when he stole a poodle by the name of "Little Miss Muffet".
Perilous Paper Doll Man (voiced by Don Messick) - A supervillain made of paper who has the ability to slip underneath locked doors, or fold himself into paper airplanes for a quick getaway. He is one of the villains to have more than one appearance. The first time was when he stole most of the top secret plans from the Pentagon and had to return there to get Plan X. The second time was when he was robbing hotels.
Professor Stretch (voiced by Paul Frees) - A super-stretchy supervillain with elasticity powers. He is one of the villains to have more than one appearance. The first time was when he sabotaged a tank by using powder from a shaker that turns anything into rubber and in the end we see him being used as a basketball. The second time was when he created a monster made of rubber cooking chowder.
Beamatron, the Laser Beam Man (voiced by Hal Smith) - A supervillain who shot laser beams from his fingers, lasers had short battery lives.
The Bubbler (voiced by Don Messick) - A supervillain who kidnaps the young Shah of Shishkabob (voiced by Ginny Tyler) by sealing him in an unbreakable bubble. The Bubbler has an undersea hideout at the bottom of the ocean guarded by a giant attack octopus named Octavius. However, Multi ties Ocky into knots.
The Burrower (voiced by Allen Melvin) - A supervillain who burrows under banks in order to pilfer the money inside. He has a henchman named Muddy (possibly voiced by either Hal Smith or John Stephenson) who has a worm named Curly (Don Messick).
Timeatron (voiced by Keye Luke)- A supervillain who can bring villains from the past to help him. These villains include Captain Kid (Paul Frees), Jesse James (Don Messick), and Goliath (Hal Smith). Timeatron goes to bring back Alexander the Great (Don Messick) but ends up trapped thanks to Multi destroying the time cabinet with an ax.
Smogula (voiced by Alan Reed) - A supervillain who floats around in a rain cloud and wields a weather-controlling ray-gun.
Sinister Speck (voiced by Hal Smith) - A supervillain who has a potion that lets him shrink and grow at will.
Mother Gruesome (voiced by June Foray) - A female criminal that uses a machine that can bring villainous storybook characters to life. She has a pet crow named Cromwell (Don Messick).
Fero, the Fiendish Fiddler (voiced by Don Messick) - A supervillain who, despite his attire making him look like a caricature of Nero, could send people and objects to anywhere he wished with a hi-tech violin.
Diabolical Dauber (voiced by Paul Winchell) - A supervillain artist that brings to life anything that he paints.
Televisitron (voiced by Hal Smith) - A supervillain who used a remote control to send his foes into various channels of the television to do them in.
Aquator (voiced by Paul Winchell) - An underwater-based supervillain who steals a formula for changing the size of organisms in an attempt to create an army of giant-sized micro-organisms.
Devilish Dragster (voiced by Daws Butler) - A speedy car thief with a Boris Karloff accent who steals a diamond-encrusted car.
The Puzzler - A supervillain who had the ability to change shape due to being a living puzzle. Notably, he is the only villain given an origin, as he mentions having fallen into a jigsaw-making machine which gave him his abilities.
Satanic Surfer (voiced by Don Messick) - A supervillain that can surf and use a remote control ukelele.
Scurrilous Sculptor (voiced by Lennie Weinrib) - A supervillain who carries a gun that fires quick-dry cement either turning people into statues or making instant rocks and walls.
Scheming Spraysol (voiced by Hal Smith) - A supervillain with a spray nozzle helmet that sprays liquid or gas.
Dastardly Diamond Dazzler (voiced by Alan Reed) - A villain in a turban who steals a diamond that contains a genie (Hal Smith).
Terrible Twister (voiced by Don Messick) - A supervillain that is dress like a top with a propeller beanie who steals by spinning like a twister.
Terrifying Tapper (voiced by Hal Smith) - A supervillain that can travel through telephone wires with his weapon, the deceminator which he used to send Coil Man to Ackbar the Martian (Don Messick) in his flying saucer and Multi Man to Captain Cutlass (Hal Smith or Alan Reed) on his smuggling ship, the Sea Serpent.
Anxious Angler (voiced by Don Messick) - A supervillain in a torpedo-shaped fish suit that steals with a fishing rod.
Rascally Ringmaster (voiced by Hal Smith) - A villain who has circus performers as his henchmen.
Infamous Mr. Instant (voiced by Paul Frees) - A scientist that has a gun that can create anything in an instant.
Crafty Clutcher (voiced by Don Messick) - An inventive supervillain that has created remote-controlled gloves for clutching anything at a long distance.
Not So Nice Mr. Ice (voiced by Hal Smith) - A supervillain that plans to conquer the city by freezing it with the help of his henchman Freezer (Don Messick).
Bizarre Batter (voiced by Don Messick) - A supervillain that bases his crimes on baseball.
All villains were defeated in a timely manner and justice was always served. Some villains were made to serve a useful purpose and even went straight upon their capture:
The Artful Archer (voiced by Paul Frees) - A supervillain who was dressed like Robin Hood. He decided to take up being a musician.
Cronella Critch the Tricky Witch (voiced by Jean Vander Pyl) - A witch who was robbing a charity-for-orphans party. She was turned into a cat due to a spell reversal by Multi-Man.
Billy the Kidder (voiced by Hal Smith) - A futuristic western bandit that wanted to rob from the Mint. After serving his time he is seen as a rodeo clown.
Dr. Futuro (voiced by Paul Frees) - A villain from the 40th century, who traveled to the 1960s in order to steal a gold brick to finance his crimes. He accidentally ran into an age-reversing machine, and was turned into a baby.
The Insidious Inflator (voiced by Hal Smith) - A supervillain who attacked places with giant balloons that he brought to life by using a special ray-gun. He had served time and is seen selling balloons to children.
An ad for the Saturday morning cartoon lineup in comic books of the time referred to "the Bubbler," "Bratfink," and "The Sponge."
The Impossibles episodes were written by the great Warner Brothers story man Michael Maltese, who is known mostly for his work with director Chuck Jones
The show was a package program similar to the Hanna-Barbera/NBC show The Banana Splits, except that it contained no live-action segments. During the 1969–1970 season, Cattanooga Cats ran one hour and contained four segments. During the 1970–1971 season, the segments It's the Wolf! and Motormouse and Autocat were spun off into a half-hour show. Around the World in 79 Days remained a part of Cattanoga Cats, which was reduced to a half-hour. Motormouse and Autocat ran concurrently with Cattanooga Cats until both met their demise at the end of the 1970–1971 season.
Cattanooga Cats
Cattanooga Cats depicted the adventures of a fictitious rock band similar to The Archies and The Banana Splits populated by anthropomorphic hillbilly cats consisting of:
Lead singer/guitarist Country (voiced by Bill Callaway)
Singer/dancer Kitty Jo (voiced by Julie Bennett)
Bassist Scoots (voiced by Jim Begg)
Drummer Groove (voiced by Casey Kasem)
A fifth member, a mouse keyboardist named "Cheesie", was storyboarded but cut out of the series. The group travelled around in a van, was chased by a female cat groupie named Jessie the "Autograph Hound" (also voiced by Julie Bennett) and Kitty Jo owned a big blue dog named "Teeny Tim". The singing vocals for The Cattanooga Cats were performed by Michael Lloyd and Peggy Clinger. Producer Mike Curb was the musical director for the series and co-wrote all the songs performed by the Cattanooga Cats. Ted Nichols composed the background music. An LP, The Cattanooga Cats (Forward ST-F-1018), featuring some of the songs used in the series was released in 1969.
The Cats also appeared in various "bumpers" between the other cartoons, but were best remembered for their animated musical segments. These cartoons showed a strong psychedelic and op-art influence and the Cattanooga Cats remain a cult favorite to this day
Magilla Gorilla is a fictional gorilla and the star of The Magilla Gorilla Show by Hanna-Barbera that aired from 1964 to 1967
Magilla Gorilla (voiced by Allan Melvin[2]) is a gorilla who spends his time languishing in the front display window of Melvin Peebles' pet shop, eating bananas and being a drain on the businessman's finances. Peebles (voiced by Howard Morris and later by Don Messick) marked down Magilla's price considerably, but Magilla was invariably only purchased for a short time, typically by some thieves who needed a gorilla to break into a bank or by an advertising agency looking for a mascot for their new product. The customers always ended up returning Magilla, forcing Peebles to refund their money. Magilla often ended each episode with his catchphrase "We'll try again next week."
Like many of Hanna-Barbera's animal characters, Magilla Gorilla was dressed in human accessories, sporting a bow tie, shorts held up by suspenders, and an undersized derby hat.[2]
The only customer truly interested in obtaining the trouble-prone Magilla was a little girl named Ogee (voiced by Jean Vander Pyl and pronounced "Oh Gee!"). During the cartoon's theme song, "We've Got a Gorilla for Sale", she asks hopefully, "How much is that gorilla in the window?" a twist on the old standard, "(How Much Is) That Doggie in the Window?"), but she was never able to convince her parents to let her keep Magilla.
The trials of Magilla mirrored the attitudes that American citizens had towards racial integration during the Civil Rights Movement in the 1960s. The Magilla Gorilla Show perpetuated the idea that non-whites should be segregated, with Peebles selling Magilla to white customers who would invariably return him to the pet shop by the end of each episode.[3]
In Yiddish, a "megillah" is a long tedious or embroidered account, from the Hebrew "megillah", a story written in a scroll. One episode has Magilla saying, "Such a megillah over a gorilla
Hanna-Barbera Productions, Inc. (play /ˌhænə bɑrˈbɛrə/) 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 1957 by former Metro-Goldwyn-Mayer animation directors William Hanna and Joseph Barbera and live-action director George Sidney in partnership with Columbia Pictures' Screen Gems television division as H-B Enterprises, Inc.[1]. Established after MGM shut down its animation studio and ended production of its animated short films (such as the popular Tom and Jerry series), H-B Enterprises, Inc. was renamed Hanna-Barbera Productions, Inc. in 1959.
Over the next three decades, the studio produced many successful animated shows, including The Huckleberry Hound Show, The Quick Draw McGraw Show, The Flintstones, The Yogi Bear Show, Top Cat, The Jetsons, Jonny Quest, Space Ghost, Wacky Races, Scooby-Doo, Where Are You? and The Smurfs among others. The studio also produced several feature films and cartoon shorts for theaters along with a number of specials and movies for television. While Hanna and Barbera's theatrical work awarded them seven Oscars, their television productions have earned the company eight Emmys[2] and the duo was awarded a star on the Hollywood Walk of Fame. In the mid-1980s, the company's fortunes declined somewhat after the profitability of Saturday morning cartoons was eclipsed by weekday afternoon syndication.
In 1991, the company was purchased by Turner Broadcasting System, who began using much of the H-B back catalog to program the Cartoon Network the following year[3][4]. Both Hanna and Barbera went into semi-retirement after Turner purchased the company, continuing to serve as ceremonial figureheads for and sporadic artistic contributors to the studio. The same year, the company was renamed H-B Production Co. then became Hanna-Barbera Cartoons, Inc. in 1994, and in October 1996, Turner merged with Time Warner.
By the time of the merger, Turner had turned Hanna-Barbera towards primarily producing new material for Cartoon Network, including the successful Cartoon Cartoons shows such as Dexter's Laboratory, Johnny Bravo, Cow and Chicken, I Am Weasel and The Powerpuff Girls. With William Hanna's death in 2001, the studio was folded into Warner Bros. Animation, and Cartoon Network Studios continued the projects for Cartoon Network output.
Joseph Barbera remained with the Warner Animation division until his death in 2006. Hanna-Barbera currently exists as an in-name-only company used to market properties and productions associated with the studio's "classic" works such as Yogi Bear, Scooby-Doo and Huckleberry Hound
Magilla Gorilla (voiced by Allan Melvin[2]) is a gorilla who spends his time languishing in the front display window of Melvin Peebles' pet shop, eating bananas and being a drain on the businessman's finances. Peebles (voiced by Howard Morris and later by Don Messick) marked down Magilla's price considerably, but Magilla was invariably only purchased for a short time, typically by some thieves who needed a gorilla to break into a bank or by an advertising agency looking for a mascot for their new product. The customers always ended up returning Magilla, forcing Peebles to refund their money. Magilla often ended each episode with his catchphrase "We'll try again next week."
Like many of Hanna-Barbera's animal characters, Magilla Gorilla was dressed in human accessories, sporting a bow tie, shorts held up by suspenders, and an undersized derby hat.[2]
The only customer truly interested in obtaining the trouble-prone Magilla was a little girl named Ogee (voiced by Jean Vander Pyl and pronounced "Oh Gee!"). During the cartoon's theme song, "We've Got a Gorilla for Sale", she asks hopefully, "How much is that gorilla in the window?" a twist on the old standard, "(How Much Is) That Doggie in the Window?"), but she was never able to convince her parents to let her keep Magilla.
The trials of Magilla mirrored the attitudes that American citizens had towards racial integration during the Civil Rights Movement in the 1960s. The Magilla Gorilla Show perpetuated the idea that non-whites should be segregated, with Peebles selling Magilla to white customers who would invariably return him to the pet shop by the end of each episode.[3]
In Yiddish, a "megillah" is a long tedious or embroidered account, from the Hebrew "megillah", a story written in a scroll. One episode has Magilla saying, "Such a megillah over a gorilla
HANNA BARBERA STUDIOS
The IMPOSSIBLES Original Animation TELEVISION SERIES 1960s
Type: AWESOME Original Hand Drawn Production Animation Drawing of the Dr. Futuro from the 1969 HANNA BARBERA Animated TELEVISION SERIES
This is one of the original Production Layout (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during
the production filming of the original Television Commercial.
The Impossibles was a series of animated cartoons produced by Hanna-Barbera in 1966 and aired on American television by CBS. The series of shorts (6 minutes) appeared as part of Frankenstein, Jr. and The Impossibles.
The Impossibles were a trio of rock and roll musicians. When contacted by "Big D" (voiced by Paul Frees) about criminal activities in Empire City, they became superheroes. Like the Monkees, the group’s appearance (in their musician form) was based on 1960s pop star stereotypes, which included somewhat long hair, brightly colored (and matching) outfits, high-heeled boots, screaming female fans and, unlike the Monkees, no percussion or bass instruments. Nothing is known about their personal lives, although Fluid-Man once mentioned having an Aunt Tilly. They seemed to have secret identities though even a little child would have no trouble connecting the singing Impossibles to the hero Impossibles on appearance alone. They also seemed to change to their "secret identities" in front of the crowds they were playing to when given a mission.
The Impossibles
Posing as a trio of young rock 'n roll musicians, the Impossibles were in reality super-powered crime fighters dedicated to battling evil supervillains of all shapes and sizes. When performing for their adoring fans (usually star-struck, screaming teeny boppers) the lads would play their mod, futuristic-looking guitars atop an equally futuristic bandstand (emblazoned with their "Impossibles" logo on the side, ala Ringo's drumkit) that could convert into a car (the "Impossi-Mobile"), or a jet (the "Impossi-Jet"), a speedboat, or even a submarine. Their standard catch cry when called into action was "Rally ho!"
Their humorous dialogue was typically peppered with puns. As with many Hanna-Barbera characters, The Impossibles were topical and inspired by their times, in this case resembling the rock 'n roll groups of the mid-Sixties.
The Heroes
Each member of the Impossibles had a specific, and very visual superpower:
Coil-Man (voiced by Hal Smith) - Short, barrel-chested and sporting a mod haircut, blond "Coily" could transform his arms and legs into impossibly stretchable or coiled springs, allowing him to bounce to avoid attacks, deliver long-range punches, or drill through walls. Coil-Man usually drove the Impossi-jet, and his guitar contained a small TV receiver through which "Big D" (voiced by Paul Frees, who also served as the voice over Narrator in almost every episode) could contact the group and deliver orders (Big D used Multi Man's guitar in "The Fiendish Dr Futuro," "Beamatron," and "The Diabolical Dauber"). Because of his presumably metal coils, Coily could be held in place by a super magnet, but could also conduct heat or electricity with his coils. He also hid in a closet disguised as a wire coat hanger, further implying that he was at least partially made of metal. Coil-Man's costume was purple and blue and included a purple mask and a cowl crested by a triangular fin.
Fluid-Man (voiced by Paul Frees) - Dark-haired Fluid-Man, aka "Fluey", could morph parts of his body into a liquid form, a talent perfect for sneaking up on an enemy though a water faucet. He could also vaporize himself into a cloud or storm, but he could also be soaked up and trapped by a sponge ("Televisatron" and "Return of the Spinner"), or frozen solid inside a block of ice ("Not So Nice Mr. Ice"). Fluid-Man's costume resembled a lime green wetsuit complete with diver's mask and swimfins. Fluey's speaking style indicated that he was the beatnik of the group.
Multi-Man (voiced by Don Messick) - Multi could create infinite duplicates of himself which were often destroyed, leaving only the original behind. His duplicates rarely, if ever, functioned independently, and were often used as camouflage, a bluff, for extra strength or transportation (he could fly by continuously creating replicas above himself). When duplicating himself, he could push tons of rocks out of the way or crack the block of solid concrete he and the others were entombed in. The character had shaggy, orange hair and he usually held a shield emblazoned with a capital 'M' for what seems decorative reasons, though he has used it at least twice. In one instance, Multi repelled bullets with his bare hand ("Fero, the Fiendish Fiddler"), however it may be the shield was supposed to have been used but was accidentally left undrawn. Multi-Man's angular, red and black costume resembled an oversized, stylized 'M', and included a short, triangular redcape. A physical trait that he shared with many of his contemporaries in cartoons and comics of the mid-Sixties was a mop of hair that entirely covered his eyes. Favorite saying: "You got them all except the original." Multi bore a resemblance to the four identical members of the singing group "The Way Outs" from "The Flintstones."
Each episode usually began with the villain pulling off his improbable caper while the Impossibles are busy performing at a gig or concert across town, where they are called into action by their chief, "Big D." After a series of funny super powered forays, the Impossibles would best the baddie, and usually return to finish their gig.
The Villains
The Impossibles faced many bizarre villains, similar to those Batman and Superman had to face:
The Spinner (voiced by Hal Smith) - A supervillain with spider-based powers, specifically web spinning. He is one of the villains to have more than one appearance. The first time was when he stole a million dollar tiara. The second was when he stole a poodle by the name of "Little Miss Muffet".
Perilous Paper Doll Man (voiced by Don Messick) - A supervillain made of paper who has the ability to slip underneath locked doors, or fold himself into paper airplanes for a quick getaway. He is one of the villains to have more than one appearance. The first time was when he stole most of the top secret plans from the Pentagon and had to return there to get Plan X. The second time was when he was robbing hotels.
Professor Stretch (voiced by Paul Frees) - A super-stretchy supervillain with elasticity powers. He is one of the villains to have more than one appearance. The first time was when he sabotaged a tank by using powder from a shaker that turns anything into rubber and in the end we see him being used as a basketball. The second time was when he created a monster made of rubber cooking chowder.
Beamatron, the Laser Beam Man (voiced by Hal Smith) - A supervillain who shot laser beams from his fingers, lasers had short battery lives.
The Bubbler (voiced by Don Messick) - A supervillain who kidnaps the young Shah of Shishkabob (voiced by Ginny Tyler) by sealing him in an unbreakable bubble. The Bubbler has an undersea hideout at the bottom of the ocean guarded by a giant attack octopus named Octavius. However, Multi ties Ocky into knots.
The Burrower (voiced by Allen Melvin) - A supervillain who burrows under banks in order to pilfer the money inside. He has a henchman named Muddy (possibly voiced by either Hal Smith or John Stephenson) who has a worm named Curly (Don Messick).
Timeatron (voiced by Keye Luke)- A supervillain who can bring villains from the past to help him. These villains include Captain Kid (Paul Frees), Jesse James (Don Messick), and Goliath (Hal Smith). Timeatron goes to bring back Alexander the Great (Don Messick) but ends up trapped thanks to Multi destroying the time cabinet with an ax.
Smogula (voiced by Alan Reed) - A supervillain who floats around in a rain cloud and wields a weather-controlling ray-gun.
Sinister Speck (voiced by Hal Smith) - A supervillain who has a potion that lets him shrink and grow at will.
Mother Gruesome (voiced by June Foray) - A female criminal that uses a machine that can bring villainous storybook characters to life. She has a pet crow named Cromwell (Don Messick).
Fero, the Fiendish Fiddler (voiced by Don Messick) - A supervillain who, despite his attire making him look like a caricature of Nero, could send people and objects to anywhere he wished with a hi-tech violin.
Diabolical Dauber (voiced by Paul Winchell) - A supervillain artist that brings to life anything that he paints.
Televisitron (voiced by Hal Smith) - A supervillain who used a remote control to send his foes into various channels of the television to do them in.
Aquator (voiced by Paul Winchell) - An underwater-based supervillain who steals a formula for changing the size of organisms in an attempt to create an army of giant-sized micro-organisms.
Devilish Dragster (voiced by Daws Butler) - A speedy car thief with a Boris Karloff accent who steals a diamond-encrusted car.
The Puzzler - A supervillain who had the ability to change shape due to being a living puzzle. Notably, he is the only villain given an origin, as he mentions having fallen into a jigsaw-making machine which gave him his abilities.
Satanic Surfer (voiced by Don Messick) - A supervillain that can surf and use a remote control ukelele.
Scurrilous Sculptor (voiced by Lennie Weinrib) - A supervillain who carries a gun that fires quick-dry cement either turning people into statues or making instant rocks and walls.
Scheming Spraysol (voiced by Hal Smith) - A supervillain with a spray nozzle helmet that sprays liquid or gas.
Dastardly Diamond Dazzler (voiced by Alan Reed) - A villain in a turban who steals a diamond that contains a genie (Hal Smith).
Terrible Twister (voiced by Don Messick) - A supervillain that is dress like a top with a propeller beanie who steals by spinning like a twister.
Terrifying Tapper (voiced by Hal Smith) - A supervillain that can travel through telephone wires with his weapon, the deceminator which he used to send Coil Man to Ackbar the Martian (Don Messick) in his flying saucer and Multi Man to Captain Cutlass (Hal Smith or Alan Reed) on his smuggling ship, the Sea Serpent.
Anxious Angler (voiced by Don Messick) - A supervillain in a torpedo-shaped fish suit that steals with a fishing rod.
Rascally Ringmaster (voiced by Hal Smith) - A villain who has circus performers as his henchmen.
Infamous Mr. Instant (voiced by Paul Frees) - A scientist that has a gun that can create anything in an instant.
Crafty Clutcher (voiced by Don Messick) - An inventive supervillain that has created remote-controlled gloves for clutching anything at a long distance.
Not So Nice Mr. Ice (voiced by Hal Smith) - A supervillain that plans to conquer the city by freezing it with the help of his henchman Freezer (Don Messick).
Bizarre Batter (voiced by Don Messick) - A supervillain that bases his crimes on baseball.
All villains were defeated in a timely manner and justice was always served. Some villains were made to serve a useful purpose and even went straight upon their capture:
The Artful Archer (voiced by Paul Frees) - A supervillain who was dressed like Robin Hood. He decided to take up being a musician.
Cronella Critch the Tricky Witch (voiced by Jean Vander Pyl) - A witch who was robbing a charity-for-orphans party. She was turned into a cat due to a spell reversal by Multi-Man.
Billy the Kidder (voiced by Hal Smith) - A futuristic western bandit that wanted to rob from the Mint. After serving his time he is seen as a rodeo clown.
Dr. Futuro (voiced by Paul Frees) - A villain from the 40th century, who traveled to the 1960s in order to steal a gold brick to finance his crimes. He accidentally ran into an age-reversing machine, and was turned into a baby.
The Insidious Inflator (voiced by Hal Smith) - A supervillain who attacked places with giant balloons that he brought to life by using a special ray-gun. He had served time and is seen selling balloons to children.
An ad for the Saturday morning cartoon lineup in comic books of the time referred to "the Bubbler," "Bratfink," and "The Sponge."
The Impossibles episodes were written by the great Warner Brothers story man Michael Maltese, who is known mostly for his work with director Chuck Jones
The show was a package program similar to the Hanna-Barbera/NBC show The Banana Splits, except that it contained no live-action segments. During the 1969–1970 season, Cattanooga Cats ran one hour and contained four segments. During the 1970–1971 season, the segments It's the Wolf! and Motormouse and Autocat were spun off into a half-hour show. Around the World in 79 Days remained a part of Cattanoga Cats, which was reduced to a half-hour. Motormouse and Autocat ran concurrently with Cattanooga Cats until both met their demise at the end of the 1970–1971 season.
Cattanooga Cats
Cattanooga Cats depicted the adventures of a fictitious rock band similar to The Archies and The Banana Splits populated by anthropomorphic hillbilly cats consisting of:
Lead singer/guitarist Country (voiced by Bill Callaway)
Singer/dancer Kitty Jo (voiced by Julie Bennett)
Bassist Scoots (voiced by Jim Begg)
Drummer Groove (voiced by Casey Kasem)
A fifth member, a mouse keyboardist named "Cheesie", was storyboarded but cut out of the series. The group travelled around in a van, was chased by a female cat groupie named Jessie the "Autograph Hound" (also voiced by Julie Bennett) and Kitty Jo owned a big blue dog named "Teeny Tim". The singing vocals for The Cattanooga Cats were performed by Michael Lloyd and Peggy Clinger. Producer Mike Curb was the musical director for the series and co-wrote all the songs performed by the Cattanooga Cats. Ted Nichols composed the background music. An LP, The Cattanooga Cats (Forward ST-F-1018), featuring some of the songs used in the series was released in 1969.
The Cats also appeared in various "bumpers" between the other cartoons, but were best remembered for their animated musical segments. These cartoons showed a strong psychedelic and op-art influence and the Cattanooga Cats remain a cult favorite to this day
Magilla Gorilla is a fictional gorilla and the star of The Magilla Gorilla Show by Hanna-Barbera that aired from 1964 to 1967
Magilla Gorilla (voiced by Allan Melvin[2]) is a gorilla who spends his time languishing in the front display window of Melvin Peebles' pet shop, eating bananas and being a drain on the businessman's finances. Peebles (voiced by Howard Morris and later by Don Messick) marked down Magilla's price considerably, but Magilla was invariably only purchased for a short time, typically by some thieves who needed a gorilla to break into a bank or by an advertising agency looking for a mascot for their new product. The customers always ended up returning Magilla, forcing Peebles to refund their money. Magilla often ended each episode with his catchphrase "We'll try again next week."
Like many of Hanna-Barbera's animal characters, Magilla Gorilla was dressed in human accessories, sporting a bow tie, shorts held up by suspenders, and an undersized derby hat.[2]
The only customer truly interested in obtaining the trouble-prone Magilla was a little girl named Ogee (voiced by Jean Vander Pyl and pronounced "Oh Gee!"). During the cartoon's theme song, "We've Got a Gorilla for Sale", she asks hopefully, "How much is that gorilla in the window?" a twist on the old standard, "(How Much Is) That Doggie in the Window?"), but she was never able to convince her parents to let her keep Magilla.
The trials of Magilla mirrored the attitudes that American citizens had towards racial integration during the Civil Rights Movement in the 1960s. The Magilla Gorilla Show perpetuated the idea that non-whites should be segregated, with Peebles selling Magilla to white customers who would invariably return him to the pet shop by the end of each episode.[3]
In Yiddish, a "megillah" is a long tedious or embroidered account, from the Hebrew "megillah", a story written in a scroll. One episode has Magilla saying, "Such a megillah over a gorilla
Hanna-Barbera Productions, Inc. (play /ˌhænə bɑrˈbɛrə/) 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 1957 by former Metro-Goldwyn-Mayer animation directors William Hanna and Joseph Barbera and live-action director George Sidney in partnership with Columbia Pictures' Screen Gems television division as H-B Enterprises, Inc.[1]. Established after MGM shut down its animation studio and ended production of its animated short films (such as the popular Tom and Jerry series), H-B Enterprises, Inc. was renamed Hanna-Barbera Productions, Inc. in 1959.
Over the next three decades, the studio produced many successful animated shows, including The Huckleberry Hound Show, The Quick Draw McGraw Show, The Flintstones, The Yogi Bear Show, Top Cat, The Jetsons, Jonny Quest, Space Ghost, Wacky Races, Scooby-Doo, Where Are You? and The Smurfs among others. The studio also produced several feature films and cartoon shorts for theaters along with a number of specials and movies for television. While Hanna and Barbera's theatrical work awarded them seven Oscars, their television productions have earned the company eight Emmys[2] and the duo was awarded a star on the Hollywood Walk of Fame. In the mid-1980s, the company's fortunes declined somewhat after the profitability of Saturday morning cartoons was eclipsed by weekday afternoon syndication.
In 1991, the company was purchased by Turner Broadcasting System, who began using much of the H-B back catalog to program the Cartoon Network the following year[3][4]. Both Hanna and Barbera went into semi-retirement after Turner purchased the company, continuing to serve as ceremonial figureheads for and sporadic artistic contributors to the studio. The same year, the company was renamed H-B Production Co. then became Hanna-Barbera Cartoons, Inc. in 1994, and in October 1996, Turner merged with Time Warner.
By the time of the merger, Turner had turned Hanna-Barbera towards primarily producing new material for Cartoon Network, including the successful Cartoon Cartoons shows such as Dexter's Laboratory, Johnny Bravo, Cow and Chicken, I Am Weasel and The Powerpuff Girls. With William Hanna's death in 2001, the studio was folded into Warner Bros. Animation, and Cartoon Network Studios continued the projects for Cartoon Network output.
Joseph Barbera remained with the Warner Animation division until his death in 2006. Hanna-Barbera currently exists as an in-name-only company used to market properties and productions associated with the studio's "classic" works such as Yogi Bear, Scooby-Doo and Huckleberry Hound
Magilla Gorilla (voiced by Allan Melvin[2]) is a gorilla who spends his time languishing in the front display window of Melvin Peebles' pet shop, eating bananas and being a drain on the businessman's finances. Peebles (voiced by Howard Morris and later by Don Messick) marked down Magilla's price considerably, but Magilla was invariably only purchased for a short time, typically by some thieves who needed a gorilla to break into a bank or by an advertising agency looking for a mascot for their new product. The customers always ended up returning Magilla, forcing Peebles to refund their money. Magilla often ended each episode with his catchphrase "We'll try again next week."
Like many of Hanna-Barbera's animal characters, Magilla Gorilla was dressed in human accessories, sporting a bow tie, shorts held up by suspenders, and an undersized derby hat.[2]
The only customer truly interested in obtaining the trouble-prone Magilla was a little girl named Ogee (voiced by Jean Vander Pyl and pronounced "Oh Gee!"). During the cartoon's theme song, "We've Got a Gorilla for Sale", she asks hopefully, "How much is that gorilla in the window?" a twist on the old standard, "(How Much Is) That Doggie in the Window?"), but she was never able to convince her parents to let her keep Magilla.
The trials of Magilla mirrored the attitudes that American citizens had towards racial integration during the Civil Rights Movement in the 1960s. The Magilla Gorilla Show perpetuated the idea that non-whites should be segregated, with Peebles selling Magilla to white customers who would invariably return him to the pet shop by the end of each episode.[3]
In Yiddish, a "megillah" is a long tedious or embroidered account, from the Hebrew "megillah", a story written in a scroll. One episode has Magilla saying, "Such a megillah over a gorilla
HANNA BARBERA STUDIOS
IMPOSSIBLES
Original Animation TELEVISION SERIES 1967
Type: ) AWESOME Original Production Animation MODEL Drawing of IMPOSSIBLE VILLIAN's FERO the fiendish FIDDLER
from the 1967 HANNA BARBERA Animated TELEVISION SERIES.
This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during
the production filming of the original Television Commercial.
NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION
Size: 12 field 12.5 x 10.5
Type: . Vintage Hand Drawn Art
Condition: EXCELLENT
Featuring Impossibles the Fiendish Fiddler
Date 1967
NOTES:
The Impossibles was a series of animated cartoons produced by Hanna-Barbera in 1966 and aired on American television by CBS. The series of shorts (6 minutes) appeared as part of Frankenstein Jr. and The Impossibles.
The Impossibles were a trio of rock and roll musicians. When contacted by "Big D" (voiced by Paul Frees) about criminal activities in Empire City, they became superheroes. Like the Monkees, the group’s appearance (in their musician form) was based on 1960s pop star stereotypes, which included somewhat long hair, brightly colored (and matching) outfits, high-heeled boots, screaming female fans and, unlike the Monkees, no percussion or bass instruments. Nothing is known about their personal lives, although Fluid Man once mentioned having an Aunt Tilly. They seemed to have secret identities though even a little child would have no trouble connecting the singing Impossibles to the hero Impossibles on appearance alone. They also seemed to change to their "secret identities" in front of the crowds they were playing to when given a mission
Impossibles
In their guise as musicians, The Impossibles played their futuristic-looking guitars atop an equally futuristic bandstand that could convert into a car which, in turn, could transform into either a van, a submarine or boat which did not need a driver. Their standard catch cry, when called into action, was "Rally ho!" Their humorous dialogue was typically peppered with puns. As with many Hanna-Barbera characters, The Impossibles were very loosely styled after an existing famous trio, in this case The Three Stooges. Each member of The Impossibles had specific superhuman powers:
Coil Man (voiced by Hal Smith) - Seemingly the group's leader, short, blond Coily could transform his human limbs into impossibly stretchable or coiled springs, allowing him to bounce to avoid attacks, deliver long-ranged punches and drill through walls. Coil Man usually drove the Impossijet, and his guitar contained a small TV receiver through which "Big D" could contact the group and deliver orders (Big D used Multi Man's guitar in "The Fiendish Dr Futuro," "Beamatron," and "The Diabolical Dauber"). He could be held in place by a magnet, implying that he was at least partially made of metal. Coil Man's costume was purple and pink and included a crested helmet.
Fluid Man (voiced by Paul Frees) - Dark-haired Fluid Man, aka Fluey, could morph parts of his body into a liquid form, a talent perfect for sneaking up on an enemy though a water faucet. He could also vaporise himself into a cloud or storm, but he could also be soaked up and trapped by a sponge ("Televisatron" and "Return of the Spinner"), or frozen solid inside a block of ice ("Not So Nice Mr. Ice"). Fluid Man's costume resembled a green wetsuit and swimfins.
Multi Man (voiced by Don Messick) - Multi could create infinite duplicates of himself which were often destroyed, leaving only the original behind. His duplicates rarely, if ever, functioned independently, and were often used as camouflage, a bluff, for extra strength or transportation (he could fly by continuously creating replicas above himself). When duplicating himself, he could push tons of rocks out of the way or crack the solid concrete he and the others were entombed in. The character had shaggy, orange hair and he occasionally held a shield for what seems decorative reasons, though he has used it at least twice. In one instance, Multi repelled bullets with his bare hand ("Fero, the Fiendish Fiddler"), however it may be the shield was supposed to have been used but was accidentally left undrawn. Multi Man's angular, red and black costume included a short, red cape. A physical trait that he shared with many of his contemporaries in cartoons and comics was a mop of hair that entirely covered his eyes. Favourite saying: "You got them all except the original."
The Spinner - The Spinner steals a $1,000,000 tiara.
The Perilous Paper Doll - The Paper Doll Man has stolen a top secret plan and is out to steal the second part.
Beamatron - Beamatron steals a priceless painting from a ship.
The Bubbler - The Bubbler kidnaps the Shah of Shish-Ka-Bob and it's up to the Impossible to rescue the Shah.
The Burrower - The Burrower uses his burrowing machine to steal half a million dollars from the bank and dig ten mile down to his lair.
Timeatron - Timeatron uses his powers to bring villains from the past to pillage for him.
Smogula - Smogula freezes the Impossibles and seals them within a cave, so they won't interfere with his plans to conquer Empire City.
The Sinister Speck - The Speck uses a formula to shrink himself in order to photograph some top secret plans.
Mother Gruesome - Mother Gruesome invents a machine that brings villainous storybook characters out of their stories to help her with her crimes Help Coil Man save way.
Fero, The Fiendish Fiddler - To get the Impossibles out of the way, Fero uses his fiddle to transport them to different planets.
The Diabolical Dauber - The Dauber uses a special brush where anything he paints becomes real.
Televisatron - Televisatron uses his powers to transport the Impossibles to different television shows Coily and Multi at Fluid Man save it!
The Wretched Professor Stretch - Professor Stretch is causing havoc with his elastical abilities.
Aquator - Aquator has stolen a secret formula and shrinks himself to microscopic size.
The Devilish Dragster - The Devilish Dragster has stolen a very valuable item.
The Return Of The Spinner - The Spinner returns and steals a priceless pooch Fluid Man Save Help Dogs!
The Puzzler - The Puzzler steals some top secret documents which he plans to sell to the highest bidder.
Satanic Surfer - The Satanic Surfer takes pictures of a top secret submarine.
The Scurrilous Sculptor - The Sculptor is turning people into statues.
The Scheming Spraysol - Spraysol is out to steal some top secret documents.
The Insidious Inflator - The Inflator creates giant balloon monsters to help him commit crimes.
The Artful Archer - The Artful Archer steals a priceless violin and a million dollars. It's up to the Impossibles to reclaim them.
The Return Of The Perilous Paperman - The Paper Doll Man returns and causes trouble for the Impossibles.
The Dastardly Diamond Dazzler - The Diamond Dazzler has stolen a precious diamond in order to awaken the genie within.
Cronella Critch The Tricky Witch - Cronella Critch has robbed a charity for orphans party.
The Terrible Twister - The Twister is on a crime spree and is stealing precious jewels.
The Terrifying Tapper - The Tapper is a criminal who can transmit himself over the phone lines. He uses this ability to commit crimes.
Professor Stretch Bounces Back - Professor Stretch returns and creates a rubber monster to help him in his crimes.
The Anxious Angler - The Angler has stolen some secret space research and plans to sell them to another country.
The Rascally Ringmaster - The Ringmaster puts on a circus and robs from those who attend.
Billy The Kidder - Billy the Kidder, a cowboy that rides a robotic horse, is planning to rob the U.S. Mint.
The Fiendish Doctor Futuro - The Impossibles fight Doctor Futuro who has come from the fortieth century to their time to steal a million dollar gold brick.
The Infamous Mr. Instant - Mr. Instant uses his insta-gun which can make anything in an instant to help him commit crimes.
The Crafty Clutcher - The Clutcher uses an invention that brings his gloves to life.
The Not So Nice Mr. Ice - Mr. Ice and his assistant Freeze are freezing the city in order to take over it.
The Bizarre Batter - The Batter kidnaps a baseball star and holds him for a ransom of $1,000,000.
HANNA BARBERA STUDIOS
THE IMPOSSIBLES
Original Animation TELEVISION SERIES 1966
Type: AWESOME Original Production Animation MODEL Drawing of the GENIE from the 1966 HANNA BARBERA Animated TELEVISION SERIES
This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during
the production filming of the original Television Commercial.
NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION
Size: 12 field 12.5 x 10.5
Type: . Vintage Hand Drawn Art
Condition: EXCELLENT
Featuring THE IMPOSSIBLES VILLIAN the GENIE Date 1966
NOTES:
The Impossibles was a series of animated cartoons produced by Hanna-Barbera in 1966 and aired on American television by CBS. The series of shorts (6 minutes) appeared as part of Frankenstein Jr. and The Impossibles.
The Impossibles were a trio of rock and roll musicians. When contacted by "Big D" (voiced by Paul Frees) about criminal activities in Empire City, they became superheroes. Like the Monkees, the group’s appearance (in their musician form) was based on 1960s pop star stereotypes, which included somewhat long hair, brightly colored (and matching) outfits, high-heeled boots, screaming female fans and, unlike the Monkees, no percussion or bass instruments. Nothing is known about their personal lives, although Fluid Man once mentioned having an Aunt Tilly. They seemed to have secret identities though even a little child would have no trouble connecting the singing Impossibles to the hero Impossibles on appearance alone. They also seemed to change to their "secret identities" in front of the crowds they were playing to when given a mission.
Impossibles
In their guise as musicians, The Impossibles played their futuristic-looking guitars atop an equally futuristic bandstand that could convert into a car which, in turn, could transform into either a van, a submarine or boat which did not need a driver. Their standard catch cry, when called into action, was "Rally ho!" Their humorous dialogue was peppered with puns. As with many Hanna-Barbera characters, The Impossibles were very loosely styled after an existing famous trio, in this case The Three Stooges. Each member of The Impossibles had specific superhuman powers:
Coil Man (voiced by Hal Smith) - Seemingly the group's leader, short, blond Coily could transform his limbs into impossibly stretchable springs, with his human arms and legs becoming coiled springs, allowing him to bounce to avoid attacks, deliver long-ranged punches and drill through walls. Coil Man usually drove the Impossijet, and his guitar contained a small TV receiver through which "Big D" could contact the group and deliver orders (Big D used Multi Man's guitar in "The Fiendish Dr Futuro," "Beamatron," and "The Diabolical Dauber"). Coil Man's costume was purple and pink and included a crested helmet. He could be held in place by a magnet, implying that he was at least partially made of metal.
Fluid Man (voiced by Paul Frees) - Dark-haired Fluid Man, aka Fluey, could morph parts of his body into a liquid form, a talent perfect for sneaking up on an enemy though a water faucet. He could also vapor himself into a cloud or storm. His costume resembled a green wetsuit and swimfins. He could however be soaked up and trapped by a sponge, or frozen solid inside a block of ice.
Multi Man (voiced by Don Messick) - Multi could create infinite duplicates of himself which were often destroyed, leaving only the original behind. His duplicates rarely, if ever, functioned independently, and were often used as camouflage, a bluff, for extra strength or transportation (he could fly by continuously creating replicas above himself). When duplicating himself, he could push tons of rocks out of the way or crack the solid concrete he and the others were entombed in. The character had orange hair covering his eyes and occasionally held a shield for what seems decorative reasons, though he has used it at least twice. In one instance, Multi repelled bullets with his bare hand (Fero, the Fiendish Fiddler), however it may be the shield was supposed to have been used but was accidentally left undrawn. Multi Man's angular, red and black costume included a short, red cape. A physical trait that he shared with many of his contemporaries in cartoons and comics was a mop of orange hair that entirely covered his eyes. Favourite saying: "But you missed the original".
Villains
The Impossibles faced many bizarre villains, similar to those Batman and Superman had to face:
The Perilous Paper Doll Man (voiced by Don Messick) - A supervillain who had the ability to change into any form of paper.
Beamatron, The Laser Beam Man - A supervillain who shot laser beams from his fingers, lasers had short battery lives.
The Bubbler - A supervillain who attacked with almost unbreakable bubbles.
The Burrower - A supervillain who burrowed under banks and pilfered the money inside.
Fero, the Fiendish Fiddler - A supervillain who, despite his attire making him look like a caricature of Nero, could send people and objects to anywhere he wished with a hi-tech violin.
Televisitron - A supervillain who used a remote control to send his foes into various channels of the television to do them in.
The Puzzler - A supervillain who had the ability to change shape due to being a living puzzle. Notably, he is the only villain given an origin, as he mentions having fallen into a jigsaw-making machine which gave him his abilities.
The Insidious Inflator - A supervillain who attacked places with giant balloons that he brought to life by using a special ray-gun.
Spinner - A supervillain with spider-based powers.
Professor Stretch - A supervillain with elasticity.
Smogula - A supervillain that floats in a rain cloud and wields a weather ray-gun.
All villains were defeated in a timely manner and justice was always served. Some villains were made to serve a useful purpose and even went straight upon their capture:
The Artful Archer - A supervillain who was dressed like Robin Hood; decided to take up being a musician.
Cronella Critch - A witch who was robbing a charity-for-orphans party. She was turned into a cat due to a spell reversal by Multi-Man.
Dr. Futuro - A villain from the 40th century, who travelled to the 1960s in order to steal a gold brick to finance his crimes. He accidentally ran into an age-reversing machine, and was turned into a baby.
An ad for the Saturday morning cartoon lineup in comic books of the time referred to "the Bubbler," "Bratfink," and "The Sponge".
HANNA BARBERA STUDIOS
THE IMPOSSIBLES
Original Animation TELEVISION SERIES 1966
Type: AWESOME Original Production Animation MODEL Drawing of the GENIE from the 1966 HANNA BARBERA Animated TELEVISION SERIES
This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during
the production filming of the original Television Commercial.
NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION
Size: 12 field 12.5 x 10.5
Type: . Vintage Hand Drawn Art
Condition: EXCELLENT
Featuring THE IMPOSSIBLES VILLIAN the MARTIAN Date 1966
NOTES:
The Impossibles was a series of animated cartoons produced by Hanna-Barbera in 1966 and aired on American television by CBS. The series of shorts (6 minutes) appeared as part of Frankenstein Jr. and The Impossibles.
The Impossibles were a trio of rock and roll musicians. When contacted by "Big D" (voiced by Paul Frees) about criminal activities in Empire City, they became superheroes. Like the Monkees, the group’s appearance (in their musician form) was based on 1960s pop star stereotypes, which included somewhat long hair, brightly colored (and matching) outfits, high-heeled boots, screaming female fans and, unlike the Monkees, no percussion or bass instruments. Nothing is known about their personal lives, although Fluid Man once mentioned having an Aunt Tilly. They seemed to have secret identities though even a little child would have no trouble connecting the singing Impossibles to the hero Impossibles on appearance alone. They also seemed to change to their "secret identities" in front of the crowds they were playing to when given a mission.
Impossibles
In their guise as musicians, The Impossibles played their futuristic-looking guitars atop an equally futuristic bandstand that could convert into a car which, in turn, could transform into either a van, a submarine or boat which did not need a driver. Their standard catch cry, when called into action, was "Rally ho!" Their humorous dialogue was peppered with puns. As with many Hanna-Barbera characters, The Impossibles were very loosely styled after an existing famous trio, in this case The Three Stooges. Each member of The Impossibles had specific superhuman powers:
Coil Man (voiced by Hal Smith) - Seemingly the group's leader, short, blond Coily could transform his limbs into impossibly stretchable springs, with his human arms and legs becoming coiled springs, allowing him to bounce to avoid attacks, deliver long-ranged punches and drill through walls. Coil Man usually drove the Impossijet, and his guitar contained a small TV receiver through which "Big D" could contact the group and deliver orders (Big D used Multi Man's guitar in "The Fiendish Dr Futuro," "Beamatron," and "The Diabolical Dauber"). Coil Man's costume was purple and pink and included a crested helmet. He could be held in place by a magnet, implying that he was at least partially made of metal.
Fluid Man (voiced by Paul Frees) - Dark-haired Fluid Man, aka Fluey, could morph parts of his body into a liquid form, a talent perfect for sneaking up on an enemy though a water faucet. He could also vapor himself into a cloud or storm. His costume resembled a green wetsuit and swimfins. He could however be soaked up and trapped by a sponge, or frozen solid inside a block of ice.
Multi Man (voiced by Don Messick) - Multi could create infinite duplicates of himself which were often destroyed, leaving only the original behind. His duplicates rarely, if ever, functioned independently, and were often used as camouflage, a bluff, for extra strength or transportation (he could fly by continuously creating replicas above himself). When duplicating himself, he could push tons of rocks out of the way or crack the solid concrete he and the others were entombed in. The character had orange hair covering his eyes and occasionally held a shield for what seems decorative reasons, though he has used it at least twice. In one instance, Multi repelled bullets with his bare hand (Fero, the Fiendish Fiddler), however it may be the shield was supposed to have been used but was accidentally left undrawn. Multi Man's angular, red and black costume included a short, red cape. A physical trait that he shared with many of his contemporaries in cartoons and comics was a mop of orange hair that entirely covered his eyes. Favourite saying: "But you missed the original".
Villains
The Impossibles faced many bizarre villains, similar to those Batman and Superman had to face:
The Perilous Paper Doll Man (voiced by Don Messick) - A supervillain who had the ability to change into any form of paper.
Beamatron, The Laser Beam Man - A supervillain who shot laser beams from his fingers, lasers had short battery lives.
The Bubbler - A supervillain who attacked with almost unbreakable bubbles.
The Burrower - A supervillain who burrowed under banks and pilfered the money inside.
Fero, the Fiendish Fiddler - A supervillain who, despite his attire making him look like a caricature of Nero, could send people and objects to anywhere he wished with a hi-tech violin.
Televisitron - A supervillain who used a remote control to send his foes into various channels of the television to do them in.
The Puzzler - A supervillain who had the ability to change shape due to being a living puzzle. Notably, he is the only villain given an origin, as he mentions having fallen into a jigsaw-making machine which gave him his abilities.
The Insidious Inflator - A supervillain who attacked places with giant balloons that he brought to life by using a special ray-gun.
Spinner - A supervillain with spider-based powers.
Professor Stretch - A supervillain with elasticity.
Smogula - A supervillain that floats in a rain cloud and wields a weather ray-gun.
All villains were defeated in a timely manner and justice was always served. Some villains were made to serve a useful purpose and even went straight upon their capture:
The Artful Archer - A supervillain who was dressed like Robin Hood; decided to take up being a musician.
Cronella Critch - A witch who was robbing a charity-for-orphans party. She was turned into a cat due to a spell reversal by Multi-Man.
Dr. Futuro - A villain from the 40th century, who travelled to the 1960s in order to steal a gold brick to finance his crimes. He accidentally ran into an age-reversing machine, and was turned into a baby.
An ad for the Saturday morning cartoon lineup in comic books of the time referred to "the Bubbler," "Bratfink," and "The Sponge".
Die Schreitende/The Pacer, 1914 (Bleistift und Deckfarben/Pencil and gouache), Albertina
Schiele also aims at a mystification of the obvious with his nude stepping briskly to the left. The Pacer is accurately rendered, both in terms of space and anatomically. Entirely immersed in herself, she gazes at her left hand as if holding an object in it. Her gaze ist fixed on this absent, undrawn object, not on her empty hand. Another sheet from the same time shows the same, though slightly foreshortened head so that a tight-fitting string of pearls around the woman's neck becomes visible and her sharp facial features even more pronounced. Although the vertical format corresponds with the previously discussed picture, the pictorial space between the somewhat enlargend head and the artist's signature to the lower right is surrendered to the emptiness of the paper und, thus, to the viewer's imagination.
Auch mit dem energisch nach links schreitenden Frauenakt verfolgt Schiele die Verrätselung des Offensichtlichen. Die Schreitende ist räumlich und anatomisch präzise erfasst. In völliger Versenkung betrachtet sie die linke Hand, als ob sie einen Gegenstand darin hielte: diesem abwesenden, nicht gezeichneten Objekt gilt der konzentrierte Blick, nicht der leeren Hand. Denselben Kopf, nun aber in gemilderter Verkürzung, sodass eine eng um den Hals liegende Perlenkette sichtbar wird und die spitzen Gesichtszüge der Frau noch markanter hervortreten, zeigt ein weiteres, zeitgleich entstandenes Blatt. Zwar stimmt es im gewählten Hochformat mit der zuvor besprochenen Darstellung überein, doch ist nun der Bildraum zwischen dem etwas vergrößerten Haupt und der unten rechts platzierten Künstlersignatur der Leere des Papiers und damit der Eingebung des Betrachters überlassen.
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
a7rii + Sony CZ Vario Tessar 16-70/4 (APS-C)
The carvings at Vitlycke were made mostly between 1000-500 BC but some of the last carvings were added as late as the early Iron Age, around 500 BC to AD 1.
The main Vitlycke panel has a large variety and number of images including arguably the most-famous image from the Tanum rock carvings: the lovers, sometimes more poetically described as the Holy Bride and Groom or the Bridal Couple. It depicts a man and woman kissing.
The Tanum UNESCO World Cultural Heritage area is in the province Bohuslän – roughly the area of western Sweden between the city Gothenburg and the Norwegian border. Bronze Age rock carvings are found throughout Bohuslän and much of the rest of Sweden and Scandinavia but the concentration is particularly high in the Tanum area.
There are four major sites: Fossum, Vitlycke (with a museum), Aspeberget and Litsleby.
Although the rock art of Tanum and the Bohuslän region is commonly described as rock carvings, the images were rather chipped or grounded into the rock with quartz, diabase or a similarly harder rock. The correct term is petroglyphs while Felsritzungen in German and Hällristningarna in Swedish are less technical.
The rock carvings in Bohuslän were mostly made during the Bronze Age and early Iron Age – thus between 1700 BC and 200 BC. Different models of boats and weaponry, as well as the appearance of animals, help to date the works.
Whether the carvings were painted or not during the Bronze Age are still debated by experts. Nowadays, most of the carvings are painted red, which does make them easier to study, especially in the middle of the day when shadows are of limited help in defining the figures.
The real purpose of the rock art remains unknown but the carvings were almost certainly of a religious or sacred nature. The same motifs recur: boats, cup marks, humans, animals, foot prints, musical instruments, weaponry, carts, ploughs, wheels and carriages. Simple daily life events and items such as houses, people at work, children, cows and fish are never depicted.
Cupmarks are the most common motif with around 40,000 known in the Bohuslän region. The purpose of these cupmarks is well debated: theories of what they symbolize include amongst others a representation of fertility, the sun, the moon, stars, life, death, rebirth and simple calendars. Somewhat surprisingly boats are the second most common motif with around 10,000 known. Different boats are depicted but sails and oars are rare. People are often depicted in the boats and some scenes may show funerals.
People are also fairly common on the carvings with 98% of the gender identifiable portraits of men. Men are identified by showing a penis – often erect – and/or bearing weapons (usually undrawn swords). The women commonly have a ponytail.
Famous person depictions include the lovers (a couple kissing) at Vitlycke, the woman of Fossum and the Spear God at Litsleby.
Again somewhat surprising, very few violent scenes are depicted – no murderous raiding and pilfering Vikings here. Although lots of weapons are shown, very little fighting or even active hunting is depicted. One scene at Fossum shows an animal actually being speared while others hint at dead animals (or people) without showing the actual moment of being killed. The weapons are probably for ceremonial use with swords rarely drawn.
The most common animals are bulls, horses, snakes, deer and birds. Common animals such as cows, sheep and fish are noticeable absent. Bulls are never shown doing any work although oxen are shown pulling carriages. Only around 50 agricultural scenes are known.
Many scenes are unidentifiable – some may simply be incomplete works. Sometimes scenes were carved over older ones and many are too worn to identify.
from: www.european-traveler.com/sweden/see-prehistoric-rock-art...
So most of this is sketched out, although I need to come up with a snappy advertisement for the side of the bus. (So far all I can think of is "MEAT! It's what's for dinner!" I'll sleep on it and think up something good.) Also the background is largely undrawn but it's abstracted buildings, kind of like wooden building blocks. Makes more sense to cut them out as I go along than plot 'em. Or else I'm just lazy, but it's more fun to carve it. I'm noting all the animals in case it's hard to see right now. All sizes, baby.
Suspended Animation Classic #353
Originally published September 24, 1995 (#38)
(Dates are approximate)
Dennis the Menace: His First 40 Years; Triple X
By Michael Vance
“SOLD!” shouts the auctioneer, “to the man holding his hand over his little boys’ mouth!”
Yep, it’s him again in “Dennis the Menace: His First 40 Years” [Abbeville Press, 220 pages].
Hank Ketcham’s forever-five-year-old has brought a chuckle or a tear to millions of readers worldwide since 1951.
It’s no surprise that this delightful collection represents comic strips at their best.
Nor is their much surprise in why “Dennis the Menace” is so incredibly popular outside of the fact that Ketcham is one of the greatest cartoonists in the world.
Dennis is Everyboy, full of cockiness born of ignorance and inexperience, of endless curiosity and energy.
This essential “boyness” is so well understood that readers easily fill in the unwritten and undrawn situations preceding a punchline.
As example:
A room full of adults hide their laughter behind a hand, or turn away from the embarrassed faces of mom and pop. Hands firmly on hips, Dennis exclaims, “If what I said wasn’t funny, why is everybody tryin’ not to laugh?”
Or: Dennis the magician holds out a fan of playing cards as his pop begins to pick one. “Take a card!” Dennis prompts, “Any card!”
Not that one!”
Or: as pop shows a new wrist watch to mom, Dennis observes, “It don't look unbreakable to ME!”
This is the stuff of real life seen through the eyes of a man who loves life and people, the stuff that makes gritty, violent superheroes seem silly.
And this treasure was discovered in the remainders bin of a major, chain book store for $2.999, about the price of many comic books! It was probably originally priced at $15 to $20.
Highly recommended.
MINIVIEW: “Triple X” #3 (of 7) [Dark Horse]. Intriguing power struggles in a future Amsterdam. Quirky, exceptional art, barebones dialog, brief graphic sex, and violence. Recommended for readers who don’t find that objectionable.
Mark 15:42-45 (NLT)
This all happened on Friday, the day of preparation, the day before the Sabbath. As evening approached, an honoured member of the high council, Joseph from Arimathea (who was waiting for the Kingdom of God to come), gathered his courage and went to Pilate to ask for Jesus' body. Pilate couldn't believe that Jesus was already dead, so he called for the Roman military officer [Centurion] in charge and asked him. The officer confirmed the fact, and Pilate told Joseph he could have the body.
DRAWING NOTES:
TIME OF DAY:
Mark 15:33 informs us that Jesus died, ‘at the ninth hour’, which in Hebrew time keeping is 3 o’clock in the afternoon. So this scene is set after that time. Since evening was approaching, it must have been some time before 6pm, which in Jewish time keeping is the end of the present day & the beginning of the next. perhaps it is about 4 pm in the afternoon.
LIGHTING NOTES:
The sun is starting to descend towards the horizon & has lost it’s brilliance in this scene.
CHARACTERS PRESENT:
From left to right, Roman Centurion, Pontius Pilate & Joseph from Arimathea.
RESEARCH/ADDITIONAL NOTES:
the Roman Centurion & Pontius Pilate I have drawn before, so I simply used the skin tones & uniform colouring I have used in previous scenes for them. Joseph from Arimathea is a new character, previously undrawn. I wanted to make his clothing a bit grander, since he is described as ‘an honoured member of the high council (Sanhedrin)’, & so I’ve drawn him in purple colours, with a rather fetching purple turban!
Notice that Joseph is on the steps of Pilate’s residence in this scene. The Jews believed they would be defiled if they went inside a gentile (non-Jew) house, that’s why Pilate & the Centurion are on the stone veranda outside Pilate’s residence. The Roman Centurion is explaining to Pilate that Jesus has indeed died. Joseph is standing on the steps, beseeching Pilate for the body of Jesus. Notice that Pilate is looking a bit pompous, & is raising his hand to dismiss Joseph by agreeing to give Jesus’ body to him.
Where is Arimathea?
‘(Ἀριμαθαία, Arimathaía): "A city of the Jews," the home of Joseph in whose sepulchre the body of Jesus was laid. Its identity is the subject of much conjecture. The Onomasticon of Eusebius and Jerome identifies it with Ramathaim-Zophim in the hill-country of Ephraim (1 Samuel 11), which is Ramah the birthplace and burial-place of Samuel (1 Samuel 1:19; 1 Samuel 25:1), and places it near Timnah on the borders of Judah and Dan. G. A. Smith thinks it may be the modern Beit Rima, a village on an eminence 2 miles North of Timnah. Others incline to Ramallah, 8 miles North of Jerusalem and 3 miles from Bethel (Matthew 27:57; Mark 15:43; Luke 23:51; John 19:38).’
(Source: The International Standard Bible Encyclopedia.)
Why not visit my website & see all the cartoons there? www.biblecartoons.co.uk
There'll be no one in the house
Save for twilight. All alone,
Winter's day seen in the space that's
Made by curtains left undrawn.
Only flash-past of the wet white
Snowflake clusters, glimpsed and gone.
Only roofs and snows, and save for
Roofs and snow - no one at home.
Once more, frost will trace its patterns,
I'll be haunted once again
By my last-year's melancholy,
By that other wintertime.
Once more I'll be troubled by an
Old, un-expiated shame,
And the icy firewood famine
Will press on the window-pane.
But the quiver of intrusion
Through those curtain folds will run
Measuring silence with your footsteps,
Like the future, in you'll come.
You'll appear there in the doorway
Wearing something white and plain,
Something in the very stuff from
Which the snowflakes too are sewn.
-- Boris Pasternak
Pride & Prejudice is 200 years old on January 28th
Lottery is a game of chance not skill. The rule of this game are included in Hoyles Games of 1817:
The cards being shuffled and cut by the left hand person, one dealer gives every person a card, face down, for the prize, on which is to be placed different values of counters from the pool, at the option of the person to whom each card has been given.
The second dealer then delivers to each player from the other pack, a card for the ticket. Next the cards are turned, by order of the manager, and whoever happens to have a corresponding card takes the prize upon the card dealt to him and those remaining undrawn, are returned to the hand…..
Just the sort of game to engross Lydia, a girl not known for her towering intellect.
For gaming counters at Mrs Phillips’s Meryton home, we understand that the company used “fish”:
Elizabeth went away with her head full of him. She could think of nothing but of Mr. Wickham, and of what he had told her, all the way home; but there was not time for her even to mention his name as they went, for neither Lydia nor Mr. Collins were once silent. Lydia talked incessantly of lottery tickets, of the fish she had lost and the fish she had won; Mr. Collins, in describing the civility of Mr. and Mrs. Philips, protesting that he did not in the least regard his losses at whist, enumerating all the dishes at supper, and repeatedly fearing that he crowded his cousins, had more to say than he could well manage before the carriage stopped at Longbourn House.
(Chapter 16)
A George III 1806 half penny, 3 antique mother of pearl gaming fish [also can be used as a thread winder] probably mid 19th C Chinese, a small early 20th C red leather purse all wrapped up in a reproduction of a 1940s cover of Pride & Prejudice.
HANNA BARBERA STUDIOS
THE IMPOSSIBLES
Original Animation TELEVISION SERIES 1966
Type: AWESOME Original Production Animation MODEL Drawing of the CREATURE 1 and 2 from the 1966 HANNA BARBERA Animated TELEVISION SERIES
This is one of the original Production MODEL (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during
the production filming of the original Television Commercial.
NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION
Size: 12 field 12.5 x 10.5
Type: . Vintage Hand Drawn Art
Condition: EXCELLENT
Featuring THE IMPOSSIBLES VILLIAN of CREATURE 1 and CREATURE 2
Date 1966
NOTES:
The Impossibles was a series of animated cartoons produced by Hanna-Barbera in 1966 and aired on American television by CBS. The series of shorts (6 minutes) appeared as part of Frankenstein Jr. and The Impossibles.
The Impossibles were a trio of rock and roll musicians. When contacted by "Big D" (voiced by Paul Frees) about criminal activities in Empire City, they became superheroes. Like the Monkees, the group’s appearance (in their musician form) was based on 1960s pop star stereotypes, which included somewhat long hair, brightly colored (and matching) outfits, high-heeled boots, screaming female fans and, unlike the Monkees, no percussion or bass instruments. Nothing is known about their personal lives, although Fluid Man once mentioned having an Aunt Tilly. They seemed to have secret identities though even a little child would have no trouble connecting the singing Impossibles to the hero Impossibles on appearance alone. They also seemed to change to their "secret identities" in front of the crowds they were playing to when given a mission.
Impossibles
In their guise as musicians, The Impossibles played their futuristic-looking guitars atop an equally futuristic bandstand that could convert into a car which, in turn, could transform into either a van, a submarine or boat which did not need a driver. Their standard catch cry, when called into action, was "Rally ho!" Their humorous dialogue was peppered with puns. As with many Hanna-Barbera characters, The Impossibles were very loosely styled after an existing famous trio, in this case The Three Stooges. Each member of The Impossibles had specific superhuman powers:
Coil Man (voiced by Hal Smith) - Seemingly the group's leader, short, blond Coily could transform his limbs into impossibly stretchable springs, with his human arms and legs becoming coiled springs, allowing him to bounce to avoid attacks, deliver long-ranged punches and drill through walls. Coil Man usually drove the Impossijet, and his guitar contained a small TV receiver through which "Big D" could contact the group and deliver orders (Big D used Multi Man's guitar in "The Fiendish Dr Futuro," "Beamatron," and "The Diabolical Dauber"). Coil Man's costume was purple and pink and included a crested helmet. He could be held in place by a magnet, implying that he was at least partially made of metal.
Fluid Man (voiced by Paul Frees) - Dark-haired Fluid Man, aka Fluey, could morph parts of his body into a liquid form, a talent perfect for sneaking up on an enemy though a water faucet. He could also vapor himself into a cloud or storm. His costume resembled a green wetsuit and swimfins. He could however be soaked up and trapped by a sponge, or frozen solid inside a block of ice.
Multi Man (voiced by Don Messick) - Multi could create infinite duplicates of himself which were often destroyed, leaving only the original behind. His duplicates rarely, if ever, functioned independently, and were often used as camouflage, a bluff, for extra strength or transportation (he could fly by continuously creating replicas above himself). When duplicating himself, he could push tons of rocks out of the way or crack the solid concrete he and the others were entombed in. The character had orange hair covering his eyes and occasionally held a shield for what seems decorative reasons, though he has used it at least twice. In one instance, Multi repelled bullets with his bare hand (Fero, the Fiendish Fiddler), however it may be the shield was supposed to have been used but was accidentally left undrawn. Multi Man's angular, red and black costume included a short, red cape. A physical trait that he shared with many of his contemporaries in cartoons and comics was a mop of orange hair that entirely covered his eyes. Favourite saying: "But you missed the original".
Villains
The Impossibles faced many bizarre villains, similar to those Batman and Superman had to face:
The Perilous Paper Doll Man (voiced by Don Messick) - A supervillain who had the ability to change into any form of paper.
Beamatron, The Laser Beam Man - A supervillain who shot laser beams from his fingers, lasers had short battery lives.
The Bubbler - A supervillain who attacked with almost unbreakable bubbles.
The Burrower - A supervillain who burrowed under banks and pilfered the money inside.
Fero, the Fiendish Fiddler - A supervillain who, despite his attire making him look like a caricature of Nero, could send people and objects to anywhere he wished with a hi-tech violin.
Televisitron - A supervillain who used a remote control to send his foes into various channels of the television to do them in.
The Puzzler - A supervillain who had the ability to change shape due to being a living puzzle. Notably, he is the only villain given an origin, as he mentions having fallen into a jigsaw-making machine which gave him his abilities.
The Insidious Inflator - A supervillain who attacked places with giant balloons that he brought to life by using a special ray-gun.
Spinner - A supervillain with spider-based powers.
Professor Stretch - A supervillain with elasticity.
Smogula - A supervillain that floats in a rain cloud and wields a weather ray-gun.
All villains were defeated in a timely manner and justice was always served. Some villains were made to serve a useful purpose and even went straight upon their capture:
The Artful Archer - A supervillain who was dressed like Robin Hood; decided to take up being a musician.
Cronella Critch - A witch who was robbing a charity-for-orphans party. She was turned into a cat due to a spell reversal by Multi-Man.
Dr. Futuro - A villain from the 40th century, who travelled to the 1960s in order to steal a gold brick to finance his crimes. He accidentally ran into an age-reversing machine, and was turned into a baby.
An ad for the Saturday morning cartoon lineup in comic books of the time referred to "the Bubbler," "Bratfink," and "The Sponge".
also on blog here
Pride & Prejudice is 200 years old on January 28th
Lottery is a game of chance not skill. The rule of this game are included in Hoyles Games of 1817:
The cards being shuffled and cut by the left hand person, one dealer gives every person a card, face down, for the prize, on which is to be placed different values of counters from the pool, at the option of the person to whom each card has been given.
The second dealer then delivers to each player from the other pack, a card for the ticket. Next the cards are turned, by order of the manager, and whoever happens to have a corresponding card takes the prize upon the card dealt to him and those remaining undrawn, are returned to the hand…..
Just the sort of game to engross Lydia, a girl not known for her towering intellect.
For gaming counters at Mrs Phillips’s Meryton home, we understand that the company used “fish”:
Elizabeth went away with her head full of him. She could think of nothing but of Mr. Wickham, and of what he had told her, all the way home; but there was not time for her even to mention his name as they went, for neither Lydia nor Mr. Collins were once silent. Lydia talked incessantly of lottery tickets, of the fish she had lost and the fish she had won; Mr. Collins, in describing the civility of Mr. and Mrs. Philips, protesting that he did not in the least regard his losses at whist, enumerating all the dishes at supper, and repeatedly fearing that he crowded his cousins, had more to say than he could well manage before the carriage stopped at Longbourn House.
(Chapter 16)
A George III 1806 half penny, 3 antique mother of pearl gaming fish [also can be used as a thread winder] probably mid 19th C Chinese, a small early 20th C red leather purse all wrapped up in a reproduction of a 1940s cover of Pride & Prejudice.
HANNA BARBERA STUDIOS
The IMPOSSIBLES Original Animation TELEVISION SERIES 1960s
Type: AWESOME Original Hand Drawn Production Animation Model Drawing from the 1969 HANNA BARBERA Animated TELEVISION SERIES
Captain Cutlass
This is one of the original Production Layout (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during
the production filming of the original Television Commercial.
NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION
Size: 12 field 12.5 x 10.5
Type: . Vintage Hand Drawn Art
Condition: EXCELLENT
Featuring Captain Cutless
Date 1960s
The Impossibles was a series of animated cartoons produced by Hanna-Barbera in 1966 and aired on American television by CBS. The series of shorts (6 minutes) appeared as part of Frankenstein, Jr. and The Impossibles.
The Impossibles were a trio of rock and roll musicians. When contacted by "Big D" (voiced by Paul Frees) about criminal activities in Empire City, they became superheroes. Like the Monkees, the group’s appearance (in their musician form) was based on 1960s pop star stereotypes, which included somewhat long hair, brightly colored (and matching) outfits, high-heeled boots, screaming female fans and, unlike the Monkees, no percussion or bass instruments. Nothing is known about their personal lives, although Fluid-Man once mentioned having an Aunt Tilly. They seemed to have secret identities though even a little child would have no trouble connecting the singing Impossibles to the hero Impossibles on appearance alone. They also seemed to change to their "secret identities" in front of the crowds they were playing to when given a mission.
[edit] The Impossibles
Posing as a trio of young rock 'n roll musicians, the Impossibles were in reality super-powered crime fighters dedicated to battling evil supervillains of all shapes and sizes. When performing for their adoring fans (usually star-struck, screaming teeny boppers) the lads would play their mod, futuristic-looking guitars atop an equally futuristic bandstand (emblazoned with their "Impossibles" logo on the side, ala Ringo's drumkit) that could convert into a car (the "Impossi-Mobile"), or a jet (the "Impossi-Jet"), a speedboat, or even a submarine. Their standard catch cry when called into action was "Rally ho!"
Their humorous dialogue was typically peppered with puns. As with many Hanna-Barbera characters, The Impossibles were topical and inspired by their times, in this case resembling the rock 'n roll groups of the mid-Sixties.
[edit] The Heroes
Each member of the Impossibles had a specific, and very visual superpower:
Coil-Man (voiced by Hal Smith) - Short, barrel-chested and sporting a mod haircut, blond "Coily" could transform his arms and legs into impossibly stretchable or coiled springs, allowing him to bounce to avoid attacks, deliver long-range punches, or drill through walls. Coil-Man usually drove the Impossi-jet, and his guitar contained a small TV receiver through which "Big D" (voiced by Paul Frees, who also served as the voice over Narrator in almost every episode) could contact the group and deliver orders (Big D used Multi Man's guitar in "The Fiendish Dr Futuro," "Beamatron," and "The Diabolical Dauber"). Because of his presumably metal coils, Coily could be held in place by a super magnet, but could also conduct heat or electricity with his coils. He also hid in a closet disguised as a wire coat hanger, further implying that he was at least partially made of metal. Coil-Man's costume was purple and blue and included a purple mask and a cowl crested by a triangular fin.
Fluid-Man (voiced by Paul Frees) - Dark-haired Fluid-Man, aka "Fluey", could morph parts of his body into a liquid form, a talent perfect for sneaking up on an enemy though a water faucet. He could also vaporize himself into a cloud or storm, but he could also be soaked up and trapped by a sponge ("Televisatron" and "Return of the Spinner"), or frozen solid inside a block of ice ("Not So Nice Mr. Ice"). Fluid-Man's costume resembled a lime green wetsuit complete with diver's mask and swimfins. Fluey's speaking style indicated that he was the beatnik of the group.
Multi-Man (voiced by Don Messick) - Multi could create infinite duplicates of himself which were often destroyed, leaving only the original behind. His duplicates rarely, if ever, functioned independently, and were often used as camouflage, a bluff, for extra strength or transportation (he could fly by continuously creating replicas above himself). When duplicating himself, he could push tons of rocks out of the way or crack the block of solid concrete he and the others were entombed in. The character had shaggy, orange hair and he usually held a shield emblazoned with a capital 'M' for what seems decorative reasons, though he has used it at least twice. In one instance, Multi repelled bullets with his bare hand ("Fero, the Fiendish Fiddler"), however it may be the shield was supposed to have been used but was accidentally left undrawn. Multi-Man's angular, red and black costume resembled an oversized, stylized 'M', and included a short, triangular redcape. A physical trait that he shared with many of his contemporaries in cartoons and comics of the mid-Sixties was a mop of hair that entirely covered his eyes. Favorite saying: "You got them all except the original." Multi bore a resemblance to the four identical members of the singing group "The Way Outs" from "The Flintstones."
Each episode usually began with the villain pulling off his improbable caper while the Impossibles are busy performing at a gig or concert across town, where they are called into action by their chief, "Big D." After a series of funny super powered forays, the Impossibles would best the baddie, and usually return to finish their gig.
[edit] The Villains
The Impossibles faced many bizarre villains, similar to those Batman and Superman had to face:
The Spinner (voiced by Hal Smith) - A supervillain with spider-based powers, specifically web spinning. He is one of the villains to have more than one appearance. The first time was when he stole a million dollar tiara. The second was when he stole a poodle by the name of "Little Miss Muffet".
Perilous Paper Doll Man (voiced by Don Messick) - A supervillain made of paper who has the ability to slip underneath locked doors, or fold himself into paper airplanes for a quick getaway. He is one of the villains to have more than one appearance. The first time was when he stole most of the top secret plans from the Pentagon and had to return there to get Plan X. The second time was when he was robbing hotels.
Professor Stretch (voiced by Paul Frees) - A super-stretchy supervillain with elasticity powers. He is one of the villains to have more than one appearance. The first time was when he sabotaged a tank by using powder from a shaker that turns anything into rubber and in the end we see him being used as a basketball. The second time was when he created a monster made of rubber cooking chowder.
Beamatron, the Laser Beam Man (voiced by Hal Smith) - A supervillain who shot laser beams from his fingers, lasers had short battery lives.
The Bubbler (voiced by Don Messick) - A supervillain who kidnaps the young Shah of Shishkabob (voiced by Ginny Tyler) by sealing him in an unbreakable bubble. The Bubbler has an undersea hideout at the bottom of the ocean guarded by a giant attack octopus named Octavius. However, Multi ties Ocky into knots.
The Burrower (voiced by Allen Melvin) - A supervillain who burrows under banks in order to pilfer the money inside. He has a henchman named Muddy (possibly voiced by either Hal Smith or John Stephenson) who has a worm named Curly (Don Messick).
Timeatron (voiced by Keye Luke)- A supervillain who can bring villains from the past to help him. These villains include Captain Kid (Paul Frees), Jesse James (Don Messick), and Goliath (Hal Smith). Timeatron goes to bring back Alexander the Great (Don Messick) but ends up trapped thanks to Multi destroying the time cabinet with an ax.
Smogula (voiced by Alan Reed) - A supervillain who floats around in a rain cloud and wields a weather-controlling ray-gun.
Sinister Speck (voiced by Hal Smith) - A supervillain who has a potion that lets him shrink and grow at will.
Mother Gruesome (voiced by June Foray) - A female criminal that uses a machine that can bring villainous storybook characters to life. She has a pet crow named Cromwell (Don Messick).
Fero, the Fiendish Fiddler (voiced by Don Messick) - A supervillain who, despite his attire making him look like a caricature of Nero, could send people and objects to anywhere he wished with a hi-tech violin.
Diabolical Dauber (voiced by Paul Winchell) - A supervillain artist that brings to life anything that he paints.
Televisitron (voiced by Hal Smith) - A supervillain who used a remote control to send his foes into various channels of the television to do them in.
Aquator (voiced by Paul Winchell) - An underwater-based supervillain who steals a formula for changing the size of organisms in an attempt to create an army of giant-sized micro-organisms.
Devilish Dragster (voiced by Daws Butler) - A speedy car thief with a Boris Karloff accent who steals a diamond-encrusted car.
The Puzzler - A supervillain who had the ability to change shape due to being a living puzzle. Notably, he is the only villain given an origin, as he mentions having fallen into a jigsaw-making machine which gave him his abilities.
Satanic Surfer (voiced by Don Messick) - A supervillain that can surf and use a remote control ukelele.
Scurrilous Sculptor (voiced by Lennie Weinrib) - A supervillain who carries a gun that fires quick-dry cement either turning people into statues or making instant rocks and walls.
Scheming Spraysol (voiced by Hal Smith) - A supervillain with a spray nozzle helmet that sprays liquid or gas.
Dastardly Diamond Dazzler (voiced by Alan Reed) - A villain in a turban who steals a diamond that contains a genie (Hal Smith).
Terrible Twister (voiced by Don Messick) - A supervillain that is dress like a top with a propeller beanie who steals by spinning like a twister.
Terrifying Tapper (voiced by Hal Smith) - A supervillain that can travel through telephone wires with his weapon, the deceminator which he used to send Coil Man to Ackbar the Martian (Don Messick) in his flying saucer and Multi Man to Captain Cutlass (Hal Smith or Alan Reed) on his smuggling ship, the Sea Serpent.
Anxious Angler (voiced by Don Messick) - A supervillain in a torpedo-shaped fish suit that steals with a fishing rod.
Rascally Ringmaster (voiced by Hal Smith) - A villain who has circus performers as his henchmen.
Infamous Mr. Instant (voiced by Paul Frees) - A scientist that has a gun that can create anything in an instant.
Crafty Clutcher (voiced by Don Messick) - An inventive supervillain that has created remote-controlled gloves for clutching anything at a long distance.
Not So Nice Mr. Ice (voiced by Hal Smith) - A supervillain that plans to conquer the city by freezing it with the help of his henchman Freezer (Don Messick).
Bizarre Batter (voiced by Don Messick) - A supervillain that bases his crimes on baseball.
All villains were defeated in a timely manner and justice was always served. Some villains were made to serve a useful purpose and even went straight upon their capture:
The Artful Archer (voiced by Paul Frees) - A supervillain who was dressed like Robin Hood. He decided to take up being a musician.
Cronella Critch the Tricky Witch (voiced by Jean Vander Pyl) - A witch who was robbing a charity-for-orphans party. She was turned into a cat due to a spell reversal by Multi-Man.
Billy the Kidder (voiced by Hal Smith) - A futuristic western bandit that wanted to rob from the Mint. After serving his time he is seen as a rodeo clown.
Dr. Futuro (voiced by Paul Frees) - A villain from the 40th century, who traveled to the 1960s in order to steal a gold brick to finance his crimes. He accidentally ran into an age-reversing machine, and was turned into a baby.
The Insidious Inflator (voiced by Hal Smith) - A supervillain who attacked places with giant balloons that he brought to life by using a special ray-gun. He had served time and is seen selling balloons to children.
An ad for the Saturday morning cartoon lineup in comic books of the time referred to "the Bubbler," "Bratfink," and "The Sponge."
The Impossibles episodes were written by the great Warner Brothers story man Michael Maltese, who is known mostly for his work with director Chuck Jones
The show was a package program similar to the Hanna-Barbera/NBC show The Banana Splits, except that it contained no live-action segments. During the 1969–1970 season, Cattanooga Cats ran one hour and contained four segments. During the 1970–1971 season, the segments It's the Wolf! and Motormouse and Autocat were spun off into a half-hour show. Around the World in 79 Days remained a part of Cattanoga Cats, which was reduced to a half-hour. Motormouse and Autocat ran concurrently with Cattanooga Cats until both met their demise at the end of the 1970–1971 season.
Cattanooga Cats
Cattanooga Cats depicted the adventures of a fictitious rock band similar to The Archies and The Banana Splits populated by anthropomorphic hillbilly cats consisting of:
Lead singer/guitarist Country (voiced by Bill Callaway)
Singer/dancer Kitty Jo (voiced by Julie Bennett)
Bassist Scoots (voiced by Jim Begg)
Drummer Groove (voiced by Casey Kasem)
A fifth member, a mouse keyboardist named "Cheesie", was storyboarded but cut out of the series. The group travelled around in a van, was chased by a female cat groupie named Jessie the "Autograph Hound" (also voiced by Julie Bennett) and Kitty Jo owned a big blue dog named "Teeny Tim". The singing vocals for The Cattanooga Cats were performed by Michael Lloyd and Peggy Clinger. Producer Mike Curb was the musical director for the series and co-wrote all the songs performed by the Cattanooga Cats. Ted Nichols composed the background music. An LP, The Cattanooga Cats (Forward ST-F-1018), featuring some of the songs used in the series was released in 1969.
The Cats also appeared in various "bumpers" between the other cartoons, but were best remembered for their animated musical segments. These cartoons showed a strong psychedelic and op-art influence and the Cattanooga Cats remain a cult favorite to this day
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Magilla Gorilla is a fictional gorilla and the star of The Magilla Gorilla Show by Hanna-Barbera that aired from 1964 to 1967
Magilla Gorilla (voiced by Allan Melvin[2]) is a gorilla who spends his time languishing in the front display window of Melvin Peebles' pet shop, eating bananas and being a drain on the businessman's finances. Peebles (voiced by Howard Morris and later by Don Messick) marked down Magilla's price considerably, but Magilla was invariably only purchased for a short time, typically by some thieves who needed a gorilla to break into a bank or by an advertising agency looking for a mascot for their new product. The customers always ended up returning Magilla, forcing Peebles to refund their money. Magilla often ended each episode with his catchphrase "We'll try again next week."
Like many of Hanna-Barbera's animal characters, Magilla Gorilla was dressed in human accessories, sporting a bow tie, shorts held up by suspenders, and an undersized derby hat.[2]
The only customer truly interested in obtaining the trouble-prone Magilla was a little girl named Ogee (voiced by Jean Vander Pyl and pronounced "Oh Gee!"). During the cartoon's theme song, "We've Got a Gorilla for Sale", she asks hopefully, "How much is that gorilla in the window?" a twist on the old standard, "(How Much Is) That Doggie in the Window?"), but she was never able to convince her parents to let her keep Magilla.
The trials of Magilla mirrored the attitudes that American citizens had towards racial integration during the Civil Rights Movement in the 1960s. The Magilla Gorilla Show perpetuated the idea that non-whites should be segregated, with Peebles selling Magilla to white customers who would invariably return him to the pet shop by the end of each episode.[3]
In Yiddish, a "megillah" is a long tedious or embroidered account, from the Hebrew "megillah", a story written in a scroll. One episode has Magilla saying, "Such a megillah over a gorilla
Hanna-Barbera Productions, Inc. ( /ˌhænə bɑrˈbɛrə/) 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 1957 by former Metro-Goldwyn-Mayer animation directors William Hanna and Joseph Barbera and live-action director George Sidney in partnership with Columbia Pictures' Screen Gems television division as H-B Enterprises, Inc.[1]. Established after MGM shut down its animation studio and ended production of its animated short films (such as the popular Tom and Jerry series), H-B Enterprises, Inc. was renamed Hanna-Barbera Productions, Inc. in 1959.
Over the next three decades, the studio produced many successful animated shows, including The Huckleberry Hound Show, The Quick Draw McGraw Show, The Flintstones, The Yogi Bear Show, Top Cat, The Jetsons, Jonny Quest, Space Ghost, Wacky Races, Scooby-Doo, Where Are You? and The Smurfs among others. The studio also produced several feature films and cartoon shorts for theaters along with a number of specials and movies for television. While Hanna and Barbera's theatrical work awarded them seven Oscars, their television productions have earned the company eight Emmys[2] and the duo was awarded a star on the Hollywood Walk of Fame. In the mid-1980s, the company's fortunes declined somewhat after the profitability of Saturday morning cartoons was eclipsed by weekday afternoon syndication.
In 1991, the company was purchased by Turner Broadcasting System, who began using much of the H-B back catalog to program the Cartoon Network the following year[3][4]. Both Hanna and Barbera went into semi-retirement after Turner purchased the company, continuing to serve as ceremonial figureheads for and sporadic artistic contributors to the studio. The same year, the company was renamed H-B Production Co. then became Hanna-Barbera Cartoons, Inc. in 1994, and in October 1996, Turner merged with Time Warner.
By the time of the merger, Turner had turned Hanna-Barbera towards primarily producing new material for Cartoon Network, including the successful Cartoon Cartoons shows such as Dexter's Laboratory, Johnny Bravo, Cow and Chicken, I Am Weasel and The Powerpuff Girls. With William Hanna's death in 2001, the studio was folded into Warner Bros. Animation, and Cartoon Network Studios continued the projects for Cartoon Network output.
Joseph Barbera remained with the Warner Animation division until his death in 2006. Hanna-Barbera currently exists as an in-name-only company used to market properties and productions associated with the studio's "classic" works such as Yogi Bear, Scooby-Doo and Huckleberry Hound
Magilla Gorilla (voiced by Allan Melvin[2]) is a gorilla who spends his time languishing in the front display window of Melvin Peebles' pet shop, eating bananas and being a drain on the businessman's finances. Peebles (voiced by Howard Morris and later by Don Messick) marked down Magilla's price considerably, but Magilla was invariably only purchased for a short time, typically by some thieves who needed a gorilla to break into a bank or by an advertising agency looking for a mascot for their new product. The customers always ended up returning Magilla, forcing Peebles to refund their money. Magilla often ended each episode with his catchphrase "We'll try again next week."
Like many of Hanna-Barbera's animal characters, Magilla Gorilla was dressed in human accessories, sporting a bow tie, shorts held up by suspenders, and an undersized derby hat.[2]
The only customer truly interested in obtaining the trouble-prone Magilla was a little girl named Ogee (voiced by Jean Vander Pyl and pronounced "Oh Gee!"). During the cartoon's theme song, "We've Got a Gorilla for Sale", she asks hopefully, "How much is that gorilla in the window?" a twist on the old standard, "(How Much Is) That Doggie in the Window?"), but she was never able to convince her parents to let her keep Magilla.
The trials of Magilla mirrored the attitudes that American citizens had towards racial integration during the Civil Rights Movement in the 1960s. The Magilla Gorilla Show perpetuated the idea that non-whites should be segregated, with Peebles selling Magilla to white customers who would invariably return him to the pet shop by the end of each episode.[3]
In Yiddish, a "megillah" is a long tedious or embroidered account, from the Hebrew "megillah", a story written in a scroll. One episode has Magilla saying, "Such a megillah over a gorilla
HANNA BARBERA STUDIOS
The IMPOSSIBLES Original Animation TELEVISION SERIES 1960s
Type: AWESOME Original Hand Drawn Production Animation Model Drawing from the 1969 HANNA BARBERA Animated TELEVISION SERIES
Captain Cutlass
This is one of the original Production Layout (Pencil Drawings) that was used to DESIGN THE ART that appeared under the camera during
the production filming of the original Television Commercial.
NOTE: THIS IS AN ORIGINAL; NOT A MASS PRODUCED LIMITED EDITION
Size: 12 field 12.5 x 10.5
Type: . Vintage Hand Drawn Art
Condition: EXCELLENT
Featuring Captain Cutless
Date 1960s
The Impossibles was a series of animated cartoons produced by Hanna-Barbera in 1966 and aired on American television by CBS. The series of shorts (6 minutes) appeared as part of Frankenstein, Jr. and The Impossibles.
The Impossibles were a trio of rock and roll musicians. When contacted by "Big D" (voiced by Paul Frees) about criminal activities in Empire City, they became superheroes. Like the Monkees, the group’s appearance (in their musician form) was based on 1960s pop star stereotypes, which included somewhat long hair, brightly colored (and matching) outfits, high-heeled boots, screaming female fans and, unlike the Monkees, no percussion or bass instruments. Nothing is known about their personal lives, although Fluid-Man once mentioned having an Aunt Tilly. They seemed to have secret identities though even a little child would have no trouble connecting the singing Impossibles to the hero Impossibles on appearance alone. They also seemed to change to their "secret identities" in front of the crowds they were playing to when given a mission.
[edit] The Impossibles
Posing as a trio of young rock 'n roll musicians, the Impossibles were in reality super-powered crime fighters dedicated to battling evil supervillains of all shapes and sizes. When performing for their adoring fans (usually star-struck, screaming teeny boppers) the lads would play their mod, futuristic-looking guitars atop an equally futuristic bandstand (emblazoned with their "Impossibles" logo on the side, ala Ringo's drumkit) that could convert into a car (the "Impossi-Mobile"), or a jet (the "Impossi-Jet"), a speedboat, or even a submarine. Their standard catch cry when called into action was "Rally ho!"
Their humorous dialogue was typically peppered with puns. As with many Hanna-Barbera characters, The Impossibles were topical and inspired by their times, in this case resembling the rock 'n roll groups of the mid-Sixties.
[edit] The Heroes
Each member of the Impossibles had a specific, and very visual superpower:
Coil-Man (voiced by Hal Smith) - Short, barrel-chested and sporting a mod haircut, blond "Coily" could transform his arms and legs into impossibly stretchable or coiled springs, allowing him to bounce to avoid attacks, deliver long-range punches, or drill through walls. Coil-Man usually drove the Impossi-jet, and his guitar contained a small TV receiver through which "Big D" (voiced by Paul Frees, who also served as the voice over Narrator in almost every episode) could contact the group and deliver orders (Big D used Multi Man's guitar in "The Fiendish Dr Futuro," "Beamatron," and "The Diabolical Dauber"). Because of his presumably metal coils, Coily could be held in place by a super magnet, but could also conduct heat or electricity with his coils. He also hid in a closet disguised as a wire coat hanger, further implying that he was at least partially made of metal. Coil-Man's costume was purple and blue and included a purple mask and a cowl crested by a triangular fin.
Fluid-Man (voiced by Paul Frees) - Dark-haired Fluid-Man, aka "Fluey", could morph parts of his body into a liquid form, a talent perfect for sneaking up on an enemy though a water faucet. He could also vaporize himself into a cloud or storm, but he could also be soaked up and trapped by a sponge ("Televisatron" and "Return of the Spinner"), or frozen solid inside a block of ice ("Not So Nice Mr. Ice"). Fluid-Man's costume resembled a lime green wetsuit complete with diver's mask and swimfins. Fluey's speaking style indicated that he was the beatnik of the group.
Multi-Man (voiced by Don Messick) - Multi could create infinite duplicates of himself which were often destroyed, leaving only the original behind. His duplicates rarely, if ever, functioned independently, and were often used as camouflage, a bluff, for extra strength or transportation (he could fly by continuously creating replicas above himself). When duplicating himself, he could push tons of rocks out of the way or crack the block of solid concrete he and the others were entombed in. The character had shaggy, orange hair and he usually held a shield emblazoned with a capital 'M' for what seems decorative reasons, though he has used it at least twice. In one instance, Multi repelled bullets with his bare hand ("Fero, the Fiendish Fiddler"), however it may be the shield was supposed to have been used but was accidentally left undrawn. Multi-Man's angular, red and black costume resembled an oversized, stylized 'M', and included a short, triangular redcape. A physical trait that he shared with many of his contemporaries in cartoons and comics of the mid-Sixties was a mop of hair that entirely covered his eyes. Favorite saying: "You got them all except the original." Multi bore a resemblance to the four identical members of the singing group "The Way Outs" from "The Flintstones."
Each episode usually began with the villain pulling off his improbable caper while the Impossibles are busy performing at a gig or concert across town, where they are called into action by their chief, "Big D." After a series of funny super powered forays, the Impossibles would best the baddie, and usually return to finish their gig.
[edit] The Villains
The Impossibles faced many bizarre villains, similar to those Batman and Superman had to face:
The Spinner (voiced by Hal Smith) - A supervillain with spider-based powers, specifically web spinning. He is one of the villains to have more than one appearance. The first time was when he stole a million dollar tiara. The second was when he stole a poodle by the name of "Little Miss Muffet".
Perilous Paper Doll Man (voiced by Don Messick) - A supervillain made of paper who has the ability to slip underneath locked doors, or fold himself into paper airplanes for a quick getaway. He is one of the villains to have more than one appearance. The first time was when he stole most of the top secret plans from the Pentagon and had to return there to get Plan X. The second time was when he was robbing hotels.
Professor Stretch (voiced by Paul Frees) - A super-stretchy supervillain with elasticity powers. He is one of the villains to have more than one appearance. The first time was when he sabotaged a tank by using powder from a shaker that turns anything into rubber and in the end we see him being used as a basketball. The second time was when he created a monster made of rubber cooking chowder.
Beamatron, the Laser Beam Man (voiced by Hal Smith) - A supervillain who shot laser beams from his fingers, lasers had short battery lives.
The Bubbler (voiced by Don Messick) - A supervillain who kidnaps the young Shah of Shishkabob (voiced by Ginny Tyler) by sealing him in an unbreakable bubble. The Bubbler has an undersea hideout at the bottom of the ocean guarded by a giant attack octopus named Octavius. However, Multi ties Ocky into knots.
The Burrower (voiced by Allen Melvin) - A supervillain who burrows under banks in order to pilfer the money inside. He has a henchman named Muddy (possibly voiced by either Hal Smith or John Stephenson) who has a worm named Curly (Don Messick).
Timeatron (voiced by Keye Luke)- A supervillain who can bring villains from the past to help him. These villains include Captain Kid (Paul Frees), Jesse James (Don Messick), and Goliath (Hal Smith). Timeatron goes to bring back Alexander the Great (Don Messick) but ends up trapped thanks to Multi destroying the time cabinet with an ax.
Smogula (voiced by Alan Reed) - A supervillain who floats around in a rain cloud and wields a weather-controlling ray-gun.
Sinister Speck (voiced by Hal Smith) - A supervillain who has a potion that lets him shrink and grow at will.
Mother Gruesome (voiced by June Foray) - A female criminal that uses a machine that can bring villainous storybook characters to life. She has a pet crow named Cromwell (Don Messick).
Fero, the Fiendish Fiddler (voiced by Don Messick) - A supervillain who, despite his attire making him look like a caricature of Nero, could send people and objects to anywhere he wished with a hi-tech violin.
Diabolical Dauber (voiced by Paul Winchell) - A supervillain artist that brings to life anything that he paints.
Televisitron (voiced by Hal Smith) - A supervillain who used a remote control to send his foes into various channels of the television to do them in.
Aquator (voiced by Paul Winchell) - An underwater-based supervillain who steals a formula for changing the size of organisms in an attempt to create an army of giant-sized micro-organisms.
Devilish Dragster (voiced by Daws Butler) - A speedy car thief with a Boris Karloff accent who steals a diamond-encrusted car.
The Puzzler - A supervillain who had the ability to change shape due to being a living puzzle. Notably, he is the only villain given an origin, as he mentions having fallen into a jigsaw-making machine which gave him his abilities.
Satanic Surfer (voiced by Don Messick) - A supervillain that can surf and use a remote control ukelele.
Scurrilous Sculptor (voiced by Lennie Weinrib) - A supervillain who carries a gun that fires quick-dry cement either turning people into statues or making instant rocks and walls.
Scheming Spraysol (voiced by Hal Smith) - A supervillain with a spray nozzle helmet that sprays liquid or gas.
Dastardly Diamond Dazzler (voiced by Alan Reed) - A villain in a turban who steals a diamond that contains a genie (Hal Smith).
Terrible Twister (voiced by Don Messick) - A supervillain that is dress like a top with a propeller beanie who steals by spinning like a twister.
Terrifying Tapper (voiced by Hal Smith) - A supervillain that can travel through telephone wires with his weapon, the deceminator which he used to send Coil Man to Ackbar the Martian (Don Messick) in his flying saucer and Multi Man to Captain Cutlass (Hal Smith or Alan Reed) on his smuggling ship, the Sea Serpent.
Anxious Angler (voiced by Don Messick) - A supervillain in a torpedo-shaped fish suit that steals with a fishing rod.
Rascally Ringmaster (voiced by Hal Smith) - A villain who has circus performers as his henchmen.
Infamous Mr. Instant (voiced by Paul Frees) - A scientist that has a gun that can create anything in an instant.
Crafty Clutcher (voiced by Don Messick) - An inventive supervillain that has created remote-controlled gloves for clutching anything at a long distance.
Not So Nice Mr. Ice (voiced by Hal Smith) - A supervillain that plans to conquer the city by freezing it with the help of his henchman Freezer (Don Messick).
Bizarre Batter (voiced by Don Messick) - A supervillain that bases his crimes on baseball.
All villains were defeated in a timely manner and justice was always served. Some villains were made to serve a useful purpose and even went straight upon their capture:
The Artful Archer (voiced by Paul Frees) - A supervillain who was dressed like Robin Hood. He decided to take up being a musician.
Cronella Critch the Tricky Witch (voiced by Jean Vander Pyl) - A witch who was robbing a charity-for-orphans party. She was turned into a cat due to a spell reversal by Multi-Man.
Billy the Kidder (voiced by Hal Smith) - A futuristic western bandit that wanted to rob from the Mint. After serving his time he is seen as a rodeo clown.
Dr. Futuro (voiced by Paul Frees) - A villain from the 40th century, who traveled to the 1960s in order to steal a gold brick to finance his crimes. He accidentally ran into an age-reversing machine, and was turned into a baby.
The Insidious Inflator (voiced by Hal Smith) - A supervillain who attacked places with giant balloons that he brought to life by using a special ray-gun. He had served time and is seen selling balloons to children.
An ad for the Saturday morning cartoon lineup in comic books of the time referred to "the Bubbler," "Bratfink," and "The Sponge."
The Impossibles episodes were written by the great Warner Brothers story man Michael Maltese, who is known mostly for his work with director Chuck Jones
The show was a package program similar to the Hanna-Barbera/NBC show The Banana Splits, except that it contained no live-action segments. During the 1969–1970 season, Cattanooga Cats ran one hour and contained four segments. During the 1970–1971 season, the segments It's the Wolf! and Motormouse and Autocat were spun off into a half-hour show. Around the World in 79 Days remained a part of Cattanoga Cats, which was reduced to a half-hour. Motormouse and Autocat ran concurrently with Cattanooga Cats until both met their demise at the end of the 1970–1971 season.
Cattanooga Cats
Cattanooga Cats depicted the adventures of a fictitious rock band similar to The Archies and The Banana Splits populated by anthropomorphic hillbilly cats consisting of:
Lead singer/guitarist Country (voiced by Bill Callaway)
Singer/dancer Kitty Jo (voiced by Julie Bennett)
Bassist Scoots (voiced by Jim Begg)
Drummer Groove (voiced by Casey Kasem)
A fifth member, a mouse keyboardist named "Cheesie", was storyboarded but cut out of the series. The group travelled around in a van, was chased by a female cat groupie named Jessie the "Autograph Hound" (also voiced by Julie Bennett) and Kitty Jo owned a big blue dog named "Teeny Tim". The singing vocals for The Cattanooga Cats were performed by Michael Lloyd and Peggy Clinger. Producer Mike Curb was the musical director for the series and co-wrote all the songs performed by the Cattanooga Cats. Ted Nichols composed the background music. An LP, The Cattanooga Cats (Forward ST-F-1018), featuring some of the songs used in the series was released in 1969.
The Cats also appeared in various "bumpers" between the other cartoons, but were best remembered for their animated musical segments. These cartoons showed a strong psychedelic and op-art influence and the Cattanooga Cats remain a cult favorite to this day
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Magilla Gorilla is a fictional gorilla and the star of The Magilla Gorilla Show by Hanna-Barbera that aired from 1964 to 1967
Magilla Gorilla (voiced by Allan Melvin[2]) is a gorilla who spends his time languishing in the front display window of Melvin Peebles' pet shop, eating bananas and being a drain on the businessman's finances. Peebles (voiced by Howard Morris and later by Don Messick) marked down Magilla's price considerably, but Magilla was invariably only purchased for a short time, typically by some thieves who needed a gorilla to break into a bank or by an advertising agency looking for a mascot for their new product. The customers always ended up returning Magilla, forcing Peebles to refund their money. Magilla often ended each episode with his catchphrase "We'll try again next week."
Like many of Hanna-Barbera's animal characters, Magilla Gorilla was dressed in human accessories, sporting a bow tie, shorts held up by suspenders, and an undersized derby hat.[2]
The only customer truly interested in obtaining the trouble-prone Magilla was a little girl named Ogee (voiced by Jean Vander Pyl and pronounced "Oh Gee!"). During the cartoon's theme song, "We've Got a Gorilla for Sale", she asks hopefully, "How much is that gorilla in the window?" a twist on the old standard, "(How Much Is) That Doggie in the Window?"), but she was never able to convince her parents to let her keep Magilla.
The trials of Magilla mirrored the attitudes that American citizens had towards racial integration during the Civil Rights Movement in the 1960s. The Magilla Gorilla Show perpetuated the idea that non-whites should be segregated, with Peebles selling Magilla to white customers who would invariably return him to the pet shop by the end of each episode.[3]
In Yiddish, a "megillah" is a long tedious or embroidered account, from the Hebrew "megillah", a story written in a scroll. One episode has Magilla saying, "Such a megillah over a gorilla
Hanna-Barbera Productions, Inc. ( /ˌhænə bɑrˈbɛrə/) 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 1957 by former Metro-Goldwyn-Mayer animation directors William Hanna and Joseph Barbera and live-action director George Sidney in partnership with Columbia Pictures' Screen Gems television division as H-B Enterprises, Inc.[1]. Established after MGM shut down its animation studio and ended production of its animated short films (such as the popular Tom and Jerry series), H-B Enterprises, Inc. was renamed Hanna-Barbera Productions, Inc. in 1959.
Over the next three decades, the studio produced many successful animated shows, including The Huckleberry Hound Show, The Quick Draw McGraw Show, The Flintstones, The Yogi Bear Show, Top Cat, The Jetsons, Jonny Quest, Space Ghost, Wacky Races, Scooby-Doo, Where Are You? and The Smurfs among others. The studio also produced several feature films and cartoon shorts for theaters along with a number of specials and movies for television. While Hanna and Barbera's theatrical work awarded them seven Oscars, their television productions have earned the company eight Emmys[2] and the duo was awarded a star on the Hollywood Walk of Fame. In the mid-1980s, the company's fortunes declined somewhat after the profitability of Saturday morning cartoons was eclipsed by weekday afternoon syndication.
In 1991, the company was purchased by Turner Broadcasting System, who began using much of the H-B back catalog to program the Cartoon Network the following year[3][4]. Both Hanna and Barbera went into semi-retirement after Turner purchased the company, continuing to serve as ceremonial figureheads for and sporadic artistic contributors to the studio. The same year, the company was renamed H-B Production Co. then became Hanna-Barbera Cartoons, Inc. in 1994, and in October 1996, Turner merged with Time Warner.
By the time of the merger, Turner had turned Hanna-Barbera towards primarily producing new material for Cartoon Network, including the successful Cartoon Cartoons shows such as Dexter's Laboratory, Johnny Bravo, Cow and Chicken, I Am Weasel and The Powerpuff Girls. With William Hanna's death in 2001, the studio was folded into Warner Bros. Animation, and Cartoon Network Studios continued the projects for Cartoon Network output.
Joseph Barbera remained with the Warner Animation division until his death in 2006. Hanna-Barbera currently exists as an in-name-only company used to market properties and productions associated with the studio's "classic" works such as Yogi Bear, Scooby-Doo and Huckleberry Hound
Magilla Gorilla (voiced by Allan Melvin[2]) is a gorilla who spends his time languishing in the front display window of Melvin Peebles' pet shop, eating bananas and being a drain on the businessman's finances. Peebles (voiced by Howard Morris and later by Don Messick) marked down Magilla's price considerably, but Magilla was invariably only purchased for a short time, typically by some thieves who needed a gorilla to break into a bank or by an advertising agency looking for a mascot for their new product. The customers always ended up returning Magilla, forcing Peebles to refund their money. Magilla often ended each episode with his catchphrase "We'll try again next week."
Like many of Hanna-Barbera's animal characters, Magilla Gorilla was dressed in human accessories, sporting a bow tie, shorts held up by suspenders, and an undersized derby hat.[2]
The only customer truly interested in obtaining the trouble-prone Magilla was a little girl named Ogee (voiced by Jean Vander Pyl and pronounced "Oh Gee!"). During the cartoon's theme song, "We've Got a Gorilla for Sale", she asks hopefully, "How much is that gorilla in the window?" a twist on the old standard, "(How Much Is) That Doggie in the Window?"), but she was never able to convince her parents to let her keep Magilla.
The trials of Magilla mirrored the attitudes that American citizens had towards racial integration during the Civil Rights Movement in the 1960s. The Magilla Gorilla Show perpetuated the idea that non-whites should be segregated, with Peebles selling Magilla to white customers who would invariably return him to the pet shop by the end of each episode.[3]
In Yiddish, a "megillah" is a long tedious or embroidered account, from the Hebrew "megillah", a story written in a scroll. One episode has Magilla saying, "Such a megillah over a gorilla