Vintage Jay Ward Art?

Ever bought an original Rocky or Bullwinkle drawing or cel?  Chances are good that what you bought might not be what you thought it was.  If you've read my book, The Art of Jay Ward, you know that art from the original series, either Rocky and His Friends or The Bullwinkle Show is exceedingly rare, mostly because they were both produced in Mexico City and very little of that art emigrated back to the States.  Below is a very rare example of Rocky & Bullwinkle art produced in Mexico, recently offered at auction by Heritage Auctions:

More likely, that cel or drawing you bought was from a TV commercial, either produced contemporaneously with the original series or something more recent.  Below is an example from eBay of a cel from a vintage early 1960s Cheerios commercial signed by director Bill Hurtz, writer/storyboard artist Chris Jenkyns and the late June Foray, voice of Rocky the Flying Squirrel.  Should you wish to purchase this cel, you can buy it here.

For some time now, more recent drawings and cels of both Rocky and Bullwinkle have been offered for sale and are often misleadingly labeled so that buyers might believe they were buying vintage art; kudos to those dealers who have accurately described what they were selling.  The art in question likely came from a 1986 commercial for Hershey's Kisses.  The commercial can be viewed below:

Almost looks vintage, doesn't it?  If the print were faded, one might almost mistake it for an early 1960s ad. However, it was produced in 1986 at Filmfair, a highly regarded Los Angeles commercial studio, because Jay Ward had stopped producing commercials in-house in 1984.  The spot was notable for several reasons, not the least of which was it was Bill Scott's last performance as Bullwinkle.  Building on that foundation, it was laid out and directed by Sam Cornell, a Jay Ward alum from the George of the Jungle series.  (You can read more about Sam on pages 277 and 305 in The Art of Jay Ward.)  Here, for sale on eBay, is one of Sam's layout drawings from the commercial:

Adding to the spot's luster, it was animated by Chris Buck who had left Disney a couple of years earlier after a 6 year run.  Chris was working freelance for Sam Cornell and Filmfair on commercials during the mid-80s and later returned to Disney several times, serving as a key animator on many of the 80s and 90s hand drawn features and later as co-director of both Tarzan and Disney's mega-hit Frozen.  In between stints at Disney, he directed the TV series, Family Dog and later directed the Sony feature, Surf's Up!

The character models in the Hershey commercial are spot on and, adding to the vintage look, the cels were hand inked.  The image below was slated to be included in The Art of Jay Ward Productions but unfortunately it could not be located before the book went to press.  If you bought art from the above commercial, it might not be vintage but it still has a strong pedigree!

A Jay Ward Christmas

Jay Ward and Bill Scott sent out unusual Christmas cards and gifts to employees, freelancers and clients (see last year's post here) but perhaps the most unusual Christmas gift they ever gave was to director Ted Parmelee to commemorate his contributions to the success of the first year of Rocky and His Friends.  Since Bullwinkle the moose figured prominently in the series, the duo had delivered to Parmelee's home a full-sized stuffed moose head. 

Parmelee responded by bombarding Ward and Scott with a series of over a dozen gag cartoons riffing on the gift.  The above cartoon was included in The Art of Jay Ward Productions but space and content considerations prohibited including any more.  So, because the moose head was a Christmas present and we're in the Christmas season, here are many of those cartoons revealing not only Parmelee's sense of humor about his gift but also his confident, calligraphic drawing style.  Incidentally, the stuffed head hung in the Parmelee household for years afterwards.

 

The moose head was driven through Hollywood in a small sports car on it's way to Ted Parmelee's house.

One of Ted's passions was sailing.

The Sweet Life of Jay Ward

For those of have been following my recent string of posts, you'll recall a series of insightful gag cartoons by Bill Scott recounting the trials and tribulations of the little studio that could, Jay Ward Productions.  The last of these posts are more personal; less about production and more about the two individuals helming the studio, Jay Ward and Bill Scott.

This week showcases Jay Ward's predilection for one of the finer things in life.  In a salute written by Bill Scott  for an ASIFA awards dinner that he was unable to present in person, Scott described one of his partner's primary weaknesses:

There is Jay Ward the eternal child, with a sweet tooth approximately the size of a mastodon tusk, who, when expanding his studio, made the first order of business, even before the desks were moved in, the installation of a complete soda fountain.  Ours is the only studio certified by the Pure Food and Drug Administration.

According to one of Jay's writers, Lloyd Turner, "We had a popcorn machine, an ice cream machine with tubs of every flavor plus two types of cone, and a Snow Cone machine with strawberry and cola flavors.  There were boxes of candy, hundreds of flavors of jelly beans, Kit Kats, Snickers bars and cases of real soft drink--not the diet stuff.  We'd all be drinking coffee at eight in the morning while Jay would have a breakfast of Coca-Cola and popcorn, or doughnuts.  God, his sweet tooth was legendary!"

Herewith, some of Bill Scott's observations about Jay Ward's culinary habits:

Thanks to Keith Scott and his book, The Moose That Roared, for the above quotations.

Life at the Jay Ward studio, as seen by Bill Scott, part 6

In the early days of the Ward studio, what success there was felt both ephemeral and transient to Bill Scott and Jay Ward.  After its initial run, Rocky and His Friends was renewed for a second season and although it was good news, it wasn't quite enough to calm the angst felt by the two producers.  

 Scott measured that success through a series of barometers:

 

 

Bill Scott was a dyed-in-the-wool Democrat so JFK touting the competition was tantamount to treason.  At the time Scott drew the above right cartoon, Amos and Andy had been in reruns for about 8 years; seeing an old show garner higher ratings than their newly produced show was tough to take.

Then, there was the agency's perception of Jay Ward's success; in their eyes, Ward & Co. were practically stealing their money.  The cartoon below was not drawn by Bill Scott but given to him by the artist.  Betty was Betty O'Hara who was Dancer-Fitzgerald-Samples' West Coast contact for Ward.

Life at the Jay Ward studio, as seen by Bill Scott, part 5

Jay Ward and Bill Scott, starting with nothing more than an idea for a single series, built a scrappy little independent animation studio from virtually nothing. And with fortuitous timing, they sold their pilot, Rocky The Flying Squirrel, to a major corporate sponsor, General Mills, as a series.  The future looked bright but, as they soon discovered, there was a dark side to the good news.

Through more chicanery than I can list here*, the duo was backed into a corner by General Mill's agency, D-F-S, and forced to produce the show for about half of a comparable Hanna-Barbera series, do the work in a foreign country where much of the staff lacked production experience, find talent to fly there and oversee the work, locate Hollywood animation talent to shore up the ragged edges, fight off constant agency meddling and deal with indifferent broadcasters (ABC and NBC).

It's no wonder that there were days when they felt they carried the weight of the world on their shoulders.  Just how much they felt that way became apparent when I discovered the cache of Bill Scott's gag cartoons.  Success was never guaranteed and they both knew it; the fledgling enterprise could have failed at any time.

Harmon-Tichton Studios was a producer of animated industrials & commercials.

Before 24 hour networks, TV animation was a largely cyclical business where animation talent would experience at least a 3 month hiatus while waiting for the networks to decide which shows would be chosen and/or renewed for the coming Fall season.  That maddening indecision was equally hard on the show's producers, which Bill Scott memorialized in the cartoons below.

Hanna-Barbera (The Huckleberry Hound Show, The Flintstones) and TV Spots (King Leonardo and His Loyal Subjects, Calvin and the Colonel) were two of Ward's chief competitors.

*I touch on that chicanery in The Art of Jay Ward Productions but for a more in-depth view, see The Moose That Roared by Keith Scott.

Life at the Jay Ward studio, as seen by Bill Scott, part 4

As we saw last week, not only was Jay Ward's and Bill Scott's relationship with General Mill's agency prickly on the best of days, their interaction with the network airing The Bullwinkle Show, NBC, wasn't much better.  The two producers felt that NBC didn't do enough promotion to ensure audience awareness of their show or its name change from Rocky and His Friends and its move to prime time.

 And, much as it is to most producers and creators today, Broadcast Standards and Practices was the bane of their existence.

Bill Scott responded to an early network "push" to make cartoons more educational*:

*For those too young to remember, PBS, the Public Broadcasting Service, was originally known as NET, National Educational Television, hence Scott's reference to "National Educational TV."

Life at the Jay Ward studio, as seen by Bill Scott, part 3

 Jay Ward and Bill Scott had what could be politely called a "challenging relationship" with General Mills' agency, Dancer-Fitzgerald-Samples.  Not only had the agency insisted on a ridiculously low budget from the outset (which had necessitated setting up production in Mexico) but key agency personnel were also the primary investors in the that same Mexican studio.  Keeping costs low ensured that those investors made a return on their investment, which in turn affected the quality of the studio's output.  The one person at D-F-S who seemed to be the consistent target of Bill and Jay's ire was agency exec, Gordon Johnson, pictured below in the first two cartoons. The the man holding the sign is Peter Piech, president of Producer's Associates of Television, who often found himself caught between the two adversaries.

Agency interference was a recurring theme.  Bill Scott took special joy in illustrating portions of their memos:

Several others in this series can be seen in The Art of Jay Ward Productions.  To read about more zany agency antics, check out Keith Scott's history of the Jay Ward studio, The Moose That Roared.  Anyone running a business today will recognize the situations depicted in the cartoons below; apparently some things never change.  (My apologies for the missing part of the third scan.)

Next week, dealing with NBC.

Life at the Jay Ward studio, as seen by Bill Scott, part 2

Last time, you may remember, our heroes had sent their shows to Mexico City hoping for the best; unfortunately, their dreams were dashed on the rocky shores of reality as shows came back looking nothing like the producers had imagined.  Bill Scott was especially unhappy with the results, having had much more animation experience than his partner, Jay Ward.

This week, the frustrations of long-distance producing a show south of the border.  Compounding the lack of local control over the production, there were also language and cultural barriers, severe inexperience with animation production by the locals and vastly different conceptions of urgency.  Retake requests were steady but, as a result of the studio having pushed up against the deadlines, the error-riddled shows were often forced to air as is.  Viewing the finished product, Bill Scott could only speculate on what was going on in Mexico City and scribbled out these gags for Jay Ward expressing his aggravation. 

Life at the Jay Ward studio, as seen by Bill Scott, part 1

With the benefit of hindsight, it is easy to view the Ward studio as an animation success story, of the little studio that came from nowhere and succeeded, almost as if it were preordained.  But appearances can be deceiving and after all my interviews, research and combing through file after ancient file, the most revealing insight to the history of the Jay Ward studio came from a sheaf of gag cartoons drawn on legal pads and animation paper by Bill Scott, the producer, head writer and voice of so many of Jay Ward's cartoon shows.

In those drawings were Scott's wry observations of life in a struggling animation studio; commentary on agency perfidy, holding onto talent, the frustrations of producing a show across cultural and linguistic barriers and even whether or not the studio would survive.   Those cartoons are unguarded moments, meant to be shared only with Jay Ward; none of those emotions ever surfaced in any interview I found.  Press interviews of the time were often filled with bravado, with Jay and Bill taking on either the ABC or NBC networks while later interviews, after success was achieved, seemed to focus primarily on the shows themselves.

For those who are new here or who haven't read my book, The Art of Jay Ward Productions, most of the animation on Rocky & His Friends and The Bullwinkle Show was produced by a studio in Mexico City inexperienced in TV series production and at a fraction of the cost of shows by competitor Hanna-Barbera.  It was a situation forced on Jay and Bill by the sponsor's agency, Dancer-Fitzgerald-Samples, and it was perpetual source of aggravation for them.

Although the duo had low expectations given all that they were saddled with, even those expectations appeared to be overly optimistic.  Shows came back riddled with the kinds of errors that never should have left the production facility--characters missing body parts, painted the wrong color, walking on a ground plane different from the background, etc.  And then there was the matter of animation being executed by people who had never animated before.  Bill Scott, who had come up through the ranks of classic animation, was mortified by what he saw.

 

Next week, Bill Scott attempts to explain what happened behind the scenes at the Mexican studio.