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January 2021 No. 12 $9.95

WHAT IS… The GREATEST Christmas movie of all time??

The answer will blow-ho-ho your mind!

SHEENA

Come and knock on their door…

Three’s Company

Pin-up Queen of the TV Jungle

The Making of Rudolph the Red-Nosed Reindeer

Popeye’s Long, Strange TV History Behind the scenes of the sexy Seventies sitcom Did you own these

retro Dr. Seuss toys?

Good Morning World with Ronnie Schell • Doctor Who • CB Radios & more! 1

82658 00429

FEATURING Ernest Farino • Andy Mangels • Will Murray • Scott Saavedra • Scott Shaw! • Rick Goldschmidt

Three’s Company © DLT Entertainment. Sheena © Galaxy Publishing and Valdoro Entertainment. Rudolph © 2012 Miser Bros. Press/Rick Goldschmidt. Popeye © King Features Syndicate, Inc. All Rights Reserved.

RetroFan: The Pop Culture You Grew Up With! If you love Pop Culture of the Sixties, Seventies, and Eighties, editor MICHAEL EURY’s latest magazine is just for you!

RETROFAN #11 (Now Bi-Monthly!)

Just in time for Halloween, RETROFAN #11 features interviews with Dark Shadows’ Quentin Collins, DAVID SELBY, and the niece of movie Frankenstein Glenn Strange, JULIE ANN REAMS. Plus: KOLCHAK THE NIGHT STALKER, ROD SERLING retrospective, CASPER THE FRIENDLY GHOST, TV’s Adventures of Superman, Superman’s pal Jimmy Olsen, QUISP and QUAKE cereals, the Drak Pak and the Monster Squad, scratch model customs, and more fun, fab features! Featuring columns by ERNEST FARINO, ANDY MANGELS, WILL MURRAY, SCOTT SAAVEDRA, and SCOTT SHAW! Edited by MICHAEL EURY. (84-page FULL-COLOR magazine) $9.95 • (Digital Edition) $4.99 • Now shipping!

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Interviews with MeTV’s crazy creepster SVENGOOLIE and Eddie Munster himself, BUTCH PATRICK! Call on the original Saturday Morning GHOST BUSTERS, with BOB BURNS! Uncover the nutty NAUGAS! Plus: “My Life in the Twilight Zone,” “I Was a Teenage James Bond,” “My Letters to Famous People,” the ARCHIE-DOBIE GILLIS connection, Pinball Hall of Fame, Alien action figures, Rubik’s Cube & more!

With a JACLYN SMITH interview, as we reopen the Charlie’s Angels Casebook, and visit the Guinness World Records’ largest Charlie’s Angels collection. Plus: interview with LARRY STORCH, The Lone Ranger in Hollywood, The Dick Van Dyke Show, a vintage interview with Jonny Quest creator DOUG WILDEY, a visit to the Land of Oz, the ultra-rare Marvel World superhero playset, and more!

NOW BI-MONTHLY! Interviews with the ’60s grooviest family band THE COWSILLS, and TV’s coolest mom JUNE LOCKHART! Mars Attacks!, MAD Magazine in the ’70s, Flintstones turn 60, Electra Woman & Dyna Girl, Honey West, Max Headroom, Popeye Picnic, the Smiley Face fad, & more! With MICHAEL EURY, ERNEST FARINO, ANDY MANGELS, WILL MURRAY, SCOTT SAAVEDRA, and SCOTT SHAW!

NOW BI-MONTHLY! Interviews with ’70s’ Captain America REB BROWN, and Captain Nice (and Knight Rider’s KITT) WILLIAM DANIELS with wife BONNIE BARTLETT! Plus: Coloring Books, Fall Previews for Saturday morning cartoons, The Cyclops movie, actors behind your favorite TV commercial characters, BENNY HILL, the Mid-Atlantic Nostalgia Convention, 8-track tapes, and more!

NOW BI-MONTHLY! Celebrating fifty years of SHAFT, interviews with FAMILY AFFAIR’s KATHY GARVER and The Brady Bunch Variety Hour’s GERI “FAKE JAN” REISCHL, ED “BIG DADDY” ROTH, rare GODZILLA merchandise, Spaghetti Westerns, Saturday morning cartoon preview specials, fake presidential candidates, Spider-Man/The Spider parallels, Stuckey’s, and more fun, fab features!

(84-page FULL-COLOR magazine) $8.95 (Digital Edition) $4.99

(84-page FULL-COLOR magazine) $9.95 (Digital Edition) $4.99

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LOU FERRIGNO interview, The Phantom in Hollywood, Filmation’s STAR TREK CARTOON, “How I Met LON CHANEY, JR.”, goofy comic Zody the Mod Rob, Mego’s rare ELASTIC HULK toy, RetroTravel to Mount Airy, NC (the real-life Mayberry), interview with BETTY LYNN (“Thelma Lou” of THE ANDY GRIFFITH SHOW), TOM STEWART’s eclectic House of Collectibles, and MR. MICROPHONE!

Horror-hosts ZACHERLEY, VAMPIRA, SEYMOUR, MARVIN, and an interview with our cover-featured ELVIRA! THE GROOVIE GOOLIES, BEWITCHED, THE ADDAMS FAMILY, and THE MUNSTERS! The long-buried Dinosaur Land amusement park! History of BEN COOPER HALLOWEEN COSTUMES, character lunchboxes, superhero VIEW-MASTERS, SINDY (the British Barbie), and more!

Interview with SUPERMAN: THE MOVIE director RICHARD DONNER, IRWIN ALLEN’s sci-fi universe, Saturday morning’s undersea adventures of Aquaman, horror and sci-fi zines of the Sixties and Seventies, Spider-Man and Hulk toilet paper, RetroTravel to METROPOLIS, IL (home of the Superman Celebration), SEAMONKEYS®, FUNNY FACE beverages, Superman/Batman memorabilia, & more!

Interviews with SHAZAM! TV show’s JOHN (Captain Marvel) DAVEY and MICHAEL (Billy Batson) Gray, the GREEN HORNET in Hollywood, remembering monster maker RAY HARRYHAUSEN, the way-out Santa Monica Pacific Ocean Amusement Park, a Star Trek Set Tour, SAM J. JONES on the Spirit movie pilot, British sci-fi TV classic THUNDERBIRDS, Casper & Richie Rich museum, the KING TUT fad, and more!

Interviews with MARK HAMILL & Greatest American Hero’s WILLIAM KATT! Blast off with JASON OF STAR COMMAND! Stop by the MUSEUM OF POPULAR CULTURE! Plus: “The First Time I Met Tarzan,” MAJOR MATT MASON, MOON LANDING MANIA, SNUFFY SMITH AT 100 with cartoonist JOHN ROSE, TV Dinners, Celebrity Crushes, and more fun, fab features!

(84-page FULL-COLOR magazine) $8.95 (Digital Edition) $4.99

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The Crazy Cool Culture We Grew Up With

CONTENTS Issue #12 January 2021 Columns and Special Features

Retro Television Three’s Company

Retro Interview Nancy Morgan Ritter

Retro Cartoons The Weird, Wonderful History of Popeye Cartoons on Television

57 3

Retro Animation Rankin/Bass’ Rudolph the Red-Nosed Reindeer

Andy Mangels’ Retro Saturday Mornings Christmas cards from animation companies

Ernest Farino’s Retro Fantasmagoria What is the Greatest Christmas Movie (with Martians) of All Time?

Will Murray’s 20th Century Panopticon Sheena, Pin-up Queen of the TV Jungle

Retro Interview Good Morning World star Ronnie Schell

Departments

Retrotorial

RetroFad CB Radios

Too Much TV Quiz

Retro Brit Doctor Who’s Sixties U.S. Invasion

RetroFanmail

19 RetroFan™ #12, January 2021. Published bimonthly by TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614. Michael Eury, Editor-in-Chief. John Morrow, Publisher. Editorial Office: RetroFan, c/o Michael Eury, Editor-in-Chief, 112 Fairmount Way, New Bern, NC 28562. Email: euryman@gmail.com. Six-issue subscriptions: $67 Economy US, $101 International, $27 Digital.

Oddball World of Scott Shaw! The Fantastic, Plastic Zoo of Dr. Seuss

ReJECTED RetroFan fantasy cover by Scott Saavedra

Please send subscription orders and funds to TwoMorrows, NOT to the editorial office. Three’s Company © DLT Entertainment. Sheena © Galaxy Publishing and Valdoro Entertainment. Rudolph © 2012 Miser Bros. Press/Rick Goldschmidt. Popeye © King Features Syndicate, Inc. All Rights Reserved. All characters are © their respective companies. All material © their creators unless otherwise noted. All editorial matter © 2020 Michael Eury and TwoMorrows. Printed in China. FIRST PRINTING. ISSN 2576-7224

by Michael Eury

EDITOR-IN-CHIEF Michael Eury PUBLISHER John Morrow CONTRIBUTORS Michael Eury Ernest Farino Rick Goldschmidt Jason Hofius Andy Mangels Chris Mann Will Murray Scott Saavedra Tom Speelman DESIGNER Scott Saavedra PROOFREADER Rob Smentek SPECIAL THANKS Jerry Beck Ivan Briggs Martin Grams, Jr. Fred Grandenetti Hake Auctions Heritage Auctions VERY SPECIAL THANKS Nancy Morgan Ritter Ronnie Schell

Don’t STEAL our Digital Editions! C’mon citizen, DO THE RIGHT THING! A Mom & Pop publisher like us needs every sale just to survive! DON’T DOWNLOAD OR READ ILLEGAL COPIES ONLINE! Buy affordable, legal downloads only at

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RETROFAN

How COVID-19 Stole Christmas. That was my editorial fear when the pandemic slammed us back in March and shuttered or slowed many businesses, including TwoMorrows’ editorial and distribution networks. I was apprehensive that this issue might be delayed to where its special Christmasrelated content—our look at TV’s time-honored Rudolph the Red-Nosed Reindeer, Ernest Farino’s tongue-in-cheek Santa Claus Conquers the Martians flashback, and Andy Mangels’ sharing of holiday cards from animation studios—might be delayed to early 2021, making its yuletide material seem as stale as fruitcake in February. Luckily, that wasn’t the case, and as I pen these words in late July 2020 RetroFan #12 is slated to go on sale the first week of December. I hope that the Grinch doesn’t slow your copy from reaching you in time for the holidays. Despite the Christmas-themed features, RetroFan’s eclectic content mix is still on display this issue. A “parent” should never play favorites with his “children,” but if forced to pick a feature from this issue that touched me the most, it’s Chris Mann’s interview with the charming and talented Nancy Morgan Ritter, the first wife of the late John Ritter. Even if you weren’t a fan of Three’s Company, the sexy sitcom that Chris also writes about this issue, you couldn’t help but like its handsome and hilarious Emmy-winning co-star, John Ritter. His comedic timing and flair for slapstick made Jack Tripper one of television’s most memorable characters. John Ritter’s diverse range of roles, from The Waltons to my personal favorite, an earnest would-be superman in the delightful 1980 film Hero At Large, proved his versatile range. He left us much too soon, passing away unexpectedly on September 11, 2003, but Nancy’s interview this issue brings us closer to the unforgettable funnyman. For those of you concerned about your health during the pandemic (and who isn’t?), this issue we have two doctors in the house: Doctors Seuss (from columnist Scott Shaw!) and Who (from RetroBrit columnist Ian Millsted). Also, columnist Will Murray goes ape over Irish McCalla as Sheena, guest contributors Jason Hofius and Tom Speelman tune in to Good Morning World’s Ronnie Schell and Popeye TV cartoons, respectively, and ye ed’s spotlighted RetroFad is CB radios, good buddy. Scott Saavedra’s Secret Sanctum column is on break this issue, but he delivers a wacky fantasy cover and his always-amazing layouts, per usual. All that and more is waiting for you, making RetroFan #12 yet another NEXT ISSUE groovy grab bag of the crazy, cool culture we grew up with. We close on a sad note: We’re heartbroken to report that one of this magazine’s original columnists, Martin Pasko, died on May 10, 2020. Marty was the prolific writer of numerous comic books on properties as diverse as Superman, Swamp Thing, and Star Trek, and boasted credits in other media, including television animation (winning a Daytime Emmy for Batman: The Animated Series), animated film (Batman: Mask of the Phantasm), newspaper strips (The World’s Greatest Superheroes), and live-action television (Buck Rogers in the 25th Century, the Twilight Zone revival, Roseanne). We will feature a tribute to the late, great “Pesky” Pasko in a future issue of RetroFan. In the meantime, we extend our deepest condolences to Marty’s family, friends, and family.

January 2021

RETRO TELEVISION

Come and Knock on Our Door — An Author’s Journey

by Chris Mann And we continued to invite the show’s cast, led by John, Joyce DeWitt, and Suzanne Somers (and later Jenilee Harrison and Priscilla Barnes), into our homes long af ter Suzanne was fired during a historic and friendship-ending contract dispute in 1980–81 and Joyce lef t Hollywood for more than a

“Come and knock on our door,” their iconic sitcom theme song enchantingly calls. “We’ve been waiting for you.” Since March 15, 1977, the melodious Three’s Company opening tune has invited us to join TV’s most beloved, breeziest, and—cue the controversy—

once bawdiest mixedsex, cohabitating trio, who helped us escape reality with their zany hers-and-hers-andhis misunderstandings, titillating (and then-taboo) sexual double entendres, giggly and (for one) jiggly antics, and falloff-your-couch-funny pratfalls. All of which could elicit from the ABC hit’s top star, the late, legendary John Ritter, as the aptly named Jack Tripper, a hilariously quick and cheeky “Hurt me!” Hurt me, indeed—with from-the-gut guffaws. Critics scoffed at the silly series and its risqué premise: Two girls live with a girl-crazy guy who pretends to be gay to convince their prudish landlord to permit what otherwise couldn’t possibly be

Publicity photo of the original Three’s Company cast, (LEFT TO RIGHT) Joyce DeWitt (Janet Wood), John Ritter (Jack Tripper), and Suzanne Somers (Chrissy Snow). Three’s Company © DLT Entertainment. Courtesy of Ernest Farino.

anything but a tawdry ménage à trois. À la French farce, wild innuendos and wacky hijinks ensue. Most U.S. critics didn’t get it. But audiences gladly welcomed funloving—and platonic—roommates Jack, Janet, and Chrissy (and then Cindy, then Terri) into our families and our hearts, just as these caring friends did with each other.

decade when John moved on alone in a secretly devised spin-of f in 1984. For these once-close actors, these hurts were unmistakably, profoundly real. And this sitcom-loving, eager-to-escape Oklahoma misfit—who since age five faithfully tuned in to tune out serious family strife (when he wasn’t mediating it) and oppressive school drama (when he wasn’t making light of it as a Jack Tripperinspired class cut-up) and to boisterously laugh away the pain—got that to his core. (My dear mom forbade me from watching ABC’s racy 1977–1981 sitcom Soap—which she saw as too adult—but sweetly allowed Company’s family fun. Love ya, Mom.) Jack, Janet, and company’s “loveable space that needs your face” became my RETROFAN

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retro television

happy place where, for a half hour a week (or day, thank you, Eighties syndication), my spirit and outlook expanded well beyond life’s oft-dismal confines. Their silliness became my soothing balm, their sunniness my California-dreaming optimism. In this social media age, I know I’m not alone. This extended TV family gave me—gave us—something to look forward to. For many in these socially isolating times, it still does. Little did I know how potent looking forward could be when, as a University of Tulsa journalism and mass media studies freshman in 1990, I set my 18-year-old mind and heart on meeting and interviewing my comic-relief idols, celebrating their merrymaking magic, and breaking my favorite comedy’s untold, of ten dramatic, thoroughly human—and, as fate would one day have it, E! True Hollywood—story. Come and Knock on Our Door was my future tell-all book, and it was waiting for me.

The Door Knocking Begins

Forever seeking the real story, I read and watched anything Company I could get my hands on. I’d perused media-savvy and Hollywood-comeback-minded Suzanne Somers’ 1986 TV Guide cover article “The Rise and Fall of a TV Sex Symbol,” in which she said she was “mortally wounded” by an angry letter that John Ritter wrote her during her contract fight. (In response, at age 14 I submitted to TV Guide’s letters section an impassioned note calling for Company peace and its return to ABC. Not shockingly, it didn’t make the cut.) And I’d recorded a rare 1987 Evening Magazine TV interview in which media-shy and retreat-from-Hollywood-minded Joyce DeWitt revealed how Three’s Company’s conversion to Three’s a Crowd—or rather, the disrespectful way her producers handled it—launched her on a life-changing spiritual quest. These pieces deeply resonated, but so much more was lef t unsaid, especially by Joyce and John, who maintained their silence about falling out with Suzanne and each other. Hey, I thought, if anyone can get these three on the same page, if not the same stage, why not this roommate-lovin’ communication major? I asked, and the Three’s Company universe began to answer. In November 1990, I got the chance to meet and interview Suzanne for my college newspaper. A year away from her decade-in-the-works network primetime return, she was in town to discuss her bestselling 1988 memoir Keeping Secrets and in-development ABC movie based on this truly relatable story of growing up the child of an emotionally abusive and violent father (in her case, a raging alcoholic) and the resulting life of self-created chaos she led virtually into Secrets’ 1974 ending. She was also writing her next tome. “Will this book,” I asked, af ter finessing a question about Company’s familial themes, “pick up where Keeping Secrets lef t of f?” “I’m not ready to write that book yet,” she replied. 4

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Early ad for TV’s hottest new comedy. Three’s Company © DLT Entertainment. Courtesy of Ernest Farino.

Days later I saw John Ritter, fresh from his big-screen comedy hits Skin Deep and Problem Child, promote his lead role in ABC’s upcoming miniseries spooker Stephen King’s IT on Joan Rivers’ daytime talk show. When Joan asked about “scary things happening in dark places,” John quipped if she was inquiring “about the breakup of Three’s Company.” Like so many, I cracked up yet again at his masterful comic timing. But few knew how much he wasn’t joking. My book, I instinctively knew, was increasingly ready for me to write it. In summer 1991, while interning in Burbank, California, and intent on manifesting my dreams, I spent my off hours at Kinko’s repackaging my Suzanne interview with updates on the entire gang (from John’s Problem Child sequel to Joyce’s self-imposed Hollywood exile and return to theater to Suzanne’s sitcom comeback in ABC’s Step by Step), a Three’s retrospective, cheeky ThighMaster jokes, and a potpourri of other tenant tales in the first issue of my Company fanzine/newsletter, The Roomie Report. “Sharing is healing,” Suzanne said in her now-republished interview, noting that Three’s Company’s on-screen family gave her a chance to live out her childhood. But the one-time behindthe-scenes family still needed resolution. So, I thought, let’s see if sharing this little tribute can start a dialogue on the long road to roomie healing. I sent copies to all ten cast members, with letters stating my desire to one day write a book about their show. Only one initially responded—but it was a huge one.

Opportunity Knocks Back

After a note from his assistant requesting my phone number, John Ritter himself called me (!), saying, “I really dig the newsletter.” A Beatles fan who totally got how entertainment and art could transform hearts and minds, he was “touched and flattered” by my appreciation, and would gladly give me an interview, first for The Roomie Report. I couldn’t believe it— this internationally loved, Emmy-winning actor known for making each of the many sets he worked on a happy place was taking the time to respond so personally to my dream project. How lucky was I! (Clearly, the Heartland values instilled by his late father, legendary country singer and actor Tex Ritter, were not lost on John.) He was out of town at the time, so his assistant arranged for a phone interview when I met her at his production An example of Topps’ Three’s Company stickers, distributed with a stick of gum in a wax pack, retailing for 20 cents in 1978. Three’s Company © DLT Entertainment. Courtesy of Heritage.

retro television

company office at 20th Century Fox, where she dubbed for me members of my family to live with me (hello, theme song) down some VHS rarities. “John never really talks to the press about at my rendezvous. Suzanne Somers,” she advised. He had, though, just given People a But real life, it turned out, didn’t always wrap itself up like quote wishing her and her Step co-star Patrick Duffy well in their an episode of Three’s Company. The Roomie Report gave way to new series. studies, a student editorship, and everyday life challenges But my interview went much deeper. During call #2, John after issue #4, with—despite my best efforts—no additional was finally ready to discuss Company’s “dark places” and its good interviews. Getting that gang on the same page would be a fairly times—and he gave me the exclusive. monumental feat. “I really did love working with her,” he told me about As all humans can attest, we of ten have to go through the Suzanne. “[But] there was a time when I thought I could never dark to get to the light. John’s willingness to continue on this forgive her. I had just had a baby, my life was totally upside journey with me got me through my final years in Oklahoma down, John Lennon was killed. And I just couldn’t believe that and gave me the courage to keep knocking on his former Suzanne could literally walk of f the show and hold it up for costars’ doors in hopes of illuminating and “lightening up” any money, fame, and power, when remaining dark places. the show had opened up the doors for all of us. I felt that all of Pilot/Part 1: Getting us were getting attacked by her Real—and Real Funny— in the press. And she threatened with Jack Tripper and the us with lawsuits. I never went Ropers up against her in the press; I Funnily enough, the book’s just kept my mouth shut. I just unfolding mirrored the show’s refused to work with her.” up-and-down-and-up-again And the show’s ending? “It development. Though it was was all tense at the end,” he said. now 1995 in real time, in Company “Three’s a Crowd wasn’t handled flashback land it was the 1975–76 very well by the producers. All of TV season. Enter John Ritter, a sudden it was announced that Norman Fell, and Audra Lindley. I’m leaving the show and they’re John met with me at Café all out. There were hard feelings. Figaro on Melrose during my first Hurt feelings.” week in Los Angeles in July 1995. He shared lots of fun I’d just landed my first entrymemories, too. So how about level job at a trade magazine (as an editor and designer—I was Three’s Company reunion? It that determined to make it) and “would start out,” he said, “at he’d just wrapped filming what Chrissy’s grave, with all of us very, would be one of his most critically very sad.” Ouch! acclaimed performances of his Oh, yes. I had a book to write. career, playing a gay store owner And TV’s best pratfaller was in Billy Bob Thornton’s Oscarabout to open the door for me winning drama Sling Blade. As to take this once-in-a-lifetime a versatile artist he had again trip. But would I be able to get Autographed photo of the Seventies’ coolest roommates. transformed himself—and yet the ever-private Joyce to open Three’s Company © DLT Entertainment. Courtesy of Heritage. here he was, taking time to meet up? And would Suzanne do an with me and open up about a interview if she was writing her critically dismissed show many of his acting contemporaries own book? And what about the rest of the cast, including Norman might have advised him to keep locked away in his distant past. Fell and Audra Lindley (the oh-so-salty landlords, the Ropers), I’d met him the year prior during one of my summer L.A. getaways Don Knotts (their replacement, the hilarious Mr. Furley), and at a taping of Hearts Afire—his 1992–1995 CBS sitcom co-starring Company co-tenants Richard Kline (Larry) and Ann Wedgeworth Thortnon and Markie Post—and he welcomed me this time with (Lana)? I had to get the whole family, including the producers, one of his famous bear hugs. Like so many others would say about writers, and director. John, he put me at ease with his kindness and humor. Bringing my sitcom “extended family” back together was John’s easy-going demeanor and quick wit were part of his symbolically quite important to me, as my own family was charm and talent repertoire that made him a hot small-screen breaking down. My mom and my sister—my longtime beloved commodity when two U.S. TV execs, Donald Taffner, Sr. and Ted “live-ins”—were going through bitter, if ultimately liberating, Bergmann, sought in 1975 to “Americanize” the saucy 1973–1976 divorces, and my niece and nephews (my godchildren) were likewise suffering. If I could make three (or ten) company again, at British sitcom Man About the House, about (sound familiar?) an aspiring male cooking student masquerading as gay to share least that part of my childhood could be “fixed.” And, I dreamed, a flat with two women. All three U.S. broadcast networks’ after establishing myself in sunny L.A., I could bring all five RETROFAN

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FA ST FAC TS

screen. “Is that Chris?!” she later related. adapting my book for their TV movie Indeed, the E! show aired ad nauseam about the show. (A surprising Hollywood for years, transforming the THS brand Reporter item breaking news of the and spawning competing shows on project in January curiously failed Three’s Company ET Weekend, A&E Biography, and via a to mention its producers or source ` No. of seasons: Eight series of FOX/TV Guide Secrets Behind material, despite the fact the same ` No. of episodes: 172 the Sitcom Scandals specials. The whole publication revealed a year prior that ` Original run: March 15, 1977– experience was so trippy. I continued to a certain producer was shopping my September 18, 1984 pinch myself for years—including after book to networks.) While this is a ` Primary cast: John Ritter, Joyce John, again holding my book up and “true Hollywood story” for another DeWitt, Suzanne Somers, Norman mentioning my name, joined Joyce on time, suffice it to say that one of the Fell, Audra Lindley, Don Knotts, TV for the first time in 17 years during a executive producers of that movie was Richard Kline, Ann Wedgeworth, healing “retro reunion” on CBS’ The Early at the time attempting to circumvent Jenilee Harrison, Priscilla Barnes Show in March 2001. (My book’s dialogue exercising the “purchase” part of his/ ` Network: ABC helped bring them closer!) Indeed, my the option-purchase agreement ` Theme song: “Come and Knock on Three’s Company true Hollywood story pertaining to these film adaptation Our Door,” performed by Ray Charles was far from over. A year later I was rights to my book. John’s EW interview (of the Ray Charles Singers) and Julia approached to write a 25th anniversary and my own interview with the same Rinker feature about the again-hot sitcom for EW reporter in fall 2002 helped remedy Spin-offs and remakes: TV Guide. (No mention about the bookthat protracted and oh-so-Hollywood length letter I wrote them in 1986.) situation, and I received credit as ` The Ropers (1979–1980 spin-off series, Also in February 2002, a series Consulting Producer for that high-rated 2 seasons 28 episodes, starring of events serendipitously led me to March 2003 telefilm—the first in NBC’s Norman Fell, Audra Lindley, Jeffrey move from Hollywood to a beachside successful Behind the Camera franchise Tambor) apartment on Ocean Front Walk in (hello, Charlie’s Angels, Dif f’rent Strokes, ` Three’s a Crowd (1984–1985 spin-off Venice Beach—mere feet away from Mork & Mindy, et al.). I was proud of the series, starring John Ritter, Mary where Jack Tripper fell off his bike impact my no-holds-barred book had Cadorette, Robert Mandan) during this show’s original iconic on the TV storytelling medium. Perhaps ` Behind the Camera: The Unauthorized opening credits. Once again, the Three’s one day my next long-in-the-works Story of Three’s Company (NBC Company universe was moving me to book, details of which I’m keeping close telemovie airing May 12, 2003, a better place. Only this time it also to the vest, will have a similar impact. hosted by Joyce DeWitt, starring helped move my mom with me. Thanks With the completion of the DVD Bret Anthony as John Ritter, Melanie to my successful career as a full-time tributes to John in early 2005, my Paxson as Joyce DeWitt, Jud Tylor as magazine art director, and with a nice focus turned fully to what mattered Suzanne Somers) assist from my book sales and the most—my real family. My teenage ` Three’s Company Live (stage show in optioning of my book for an NBC movie nephews needed a normal life away various cities) of the week, I was able to help my mom from Venice High School, so we all relocate to California to live with me. By moved to a charming, family-friendly October 2002, I moved my sister and godkids out, too—who lived area in northern Santa Barbara county, where I began freelance in an apartment below us. (Six was company, too!) Finally, my writing and art directing health and wellness stories, including family was again intact, and happily and safely so. cover features on Joyce and Suzanne. Fifteen years later we still Tragically, the Three’s Company family would never fully call the California Central Coast our home. And while it’s a couple reunite. John Ritter died suddenly from an aortic dissection on hours away from that famous beach that Three’s Company helped September 11, 2003, af ter falling sick on the set of his final hit make as-seen-on-TV famous in 1977, that silly sitcom’s on-screen ABC sitcom 8 Simple Rules for Dating My Teenage Daughter—a year and behind-the-scenes family lives in millions of hearts—and af ter he attempted to reunite Joyce and Suzanne in a Three’s certainly (my thanks again eternally, Mr. Ritter and company) in dream scene (Suzanne, wanting instead to do a Chrissy and Jack my own. feature with just John, declined). His death devastated me on CHRIS MANN is the author of the 1998 a deeply personal level—and I simply could not imagine the book Come and Knock on Our Door profound loss felt by his actual family. I was honored to help and was consulting producer on the 2003 produce a series of tributes to him for the series DVD release of NBC telefilm Behind the Camera: The Three’s Company in the coming year-plus. Those salutes included Unauthorized Story of Three’s Company. one of Don Knotts’ final on-screen appearances (he passed in The health and wellness writer and pop 2006), Ann Wedgeworth’s final interview (she died in 2017), and culture storyteller (chrismann.tv) has an insightful, exclusive interview with John’s first wife, Nancy interviewed and profiled actors, authors, athletes, and other big Morgan Ritter, whom I again interview in this issue of RetroFan. names for decades. His chief inspiration, though, remains his One of John’s final kind acts on my behalf occurred in March beloved mom, Herbie. 2002, when he revealed to Entertainment Weekly that NBC was 12

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Nancy Morgan Ritter by Chris Mann

Nancy Morgan Ritter and John Ritter in 1979. Courtesy of Nancy Morgan Ritter.

Ten years after his network television debut as a 19-year-old comical bachelor on a 1967 episode of The Dating Game, actor John Ritter achieved superstardom with his starring role in the ABC hit sitcom Three’s Company. But his true brass ring was actress Nancy Morgan (star of the 1977 film Fraternity Row and “Julie” on the 1977 series The San Pedro Beach Bums), whom he wed on October 16, 1977. “If ABC said ‘Goodbye’ and everybody else said ‘Hello, hasbeen,’ it would be totally fine with me as long as we had each other,” John said of his new wife in a 1978 People magazine cover story about their marriage. Happy Days star Ron Howard—with whom Nancy starred in the 1977 comedy film Grand Theft Auto—called her “a rock” who had a “steady cut-through-nonsense attitude without being super-serious.” This strength helped build the foundation of John and Nancy’s 19-year marriage, which saw the births of their three children: actor Jason Ritter in 1980, country and folk singer-songwriter Carly Ritter in 1982, and actor Tyler Ritter in 1985. The couple also worked together in numerous projects, including the 1979 feature Americathon, the 1990 telefilm Dreamer of Oz, and an episode of John’s 1987–1989 ABC dramedy Hooperman. And their solid friendship, buoyed in part by their dedicated roles as co-parents, continued until John’s untimely passing on September 11, 2003. Even in the 17 years that have followed, the Lucky Luke actress—who has returned to acting in recent years in indie films, the acclaimed web series Break a Hip, and the 2020 comedy film Life’s a Bit—continues to feel connected to John in large part through their children and, in the last few years, their grandchildren. In this exclusive interview, Nancy Morgan Ritter, 71, shares some of her personal insights into John’s comic talents, his joyous and not-so-joyous Three’s Company years, his connection to Robin Williams, and his deep-rooted need to bring laughter.

TM & © Meredith Corporation. Courtesy of Nancy Morgan Ritter.

RETRO INTERVIEW

RetroFan: You met John in March 1975 while he was recurring on The Waltons and proving his comedy chops on the MTM sitcoms. What drew you two together? RETROFAN

January 2021

retro interview The Ritter family Christmas card photo, c. 1989. The children are: (TOP ROW) Jason Ritter; (BOTTOM ROW, LEFT TO RIGHT) Tyler Ritter and Carly Ritter. Courtesy of Nancy Morgan Ritter.

she’s hilarious, quirky, and brilliant at making creative decisions for a character. I just think she’s wonderful. RF: Why didn’t John tell Joyce and Priscilla when he learned well before they did that Three’s Company would end and he would spin off alone in Three’s a Crowd? NMR: In a nutshell, the notification about the decision to cancel the show was not his job. In fact, he had been told not to discuss that with anyone. He was not to make trouble on the set by confiding, “Girls, you’re about to be cut out and I’m about to stay in.” I can understand totally how hurt they eventually must have been. As I understood it at the time, the writers felt their story lines were getting thin, and they wanted to start with something fresh. But I have to wonder if in retrospect they didn’t regret it enormously, because Three’s a Crowd was not great. 18

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RF: Why didn’t Three’s a Crowd, which costarred TV newcomer Mary Cadorette and Soap vet Robert Mandan, work the way Three’s Company did? NMR: Well, Mary Cadorette wasn’t funny. She seemed focused on the wrong thing— and not on the show. Period. I have not gone back and ever watched a Three’s a Crowd episode, so I don’t really have a more compelling answer than that. It just wasn’t good. RF: Though your marriage ended in 1996, you and John remained good friends until his passing. What aspects of him do you continue to hold dearest? NMR: I connect with John through my eyes. And I mean that utterly sincerely. How of ten I am watching our amazing children and the spouses that each of them love and are loved by. And they have all given birth to more little souls. And John would’ve been an adoring

grandfather to those little ones. So there are more than a few times that I bring John into my journey with our children— it’s quite like a spiritual thing, my own personal way, where I just bring him in to what I’m seeing. It’s hard to really describe but I watch our family hoping that from some universe he’s able to see what I’m seeing through my eyes. Other than that, I have 28 years of his notes and letters and cards to me and to all of the kids that I’m still organizing and collecting for everybody. But it’s been a while now since he’s been gone, and the place where I feel I connected to him the most is just through the beauty of our children and grandchildren and what good people they are. I just wish he could be here for this. I’m so proud of all my kids, and I’m so thrilled that they have people in their lives who love them and who they love. It’s the best it could be. And I wish John could’ve been here for it.

RETRO CARTOONS

The

Weird, Wonderful History of

Popeye

Cartoons on Television by Tom Speelman What can be said about Popeye the Sailor at this point? Having turned 90 this past year, the ol’ mononymous sailor is now as indisputable a titan in cartoons as Bugs Bunny or Mickey Mouse (who Popeye famously became more popular than in the Thirties). King Features Syndicates’ Popeye and Friends official YouTube channel has been running the manic webseries Popeye’s Island Adventures since 2018. And, of course, Popeye-brand spinach is still sold all over the world, and there’s the Wimpy restaurant chain. But there’s one—or, rather, three—parts of Popeye history that tend to get downplayed, if not ignored. From the Sixties to the Eighties, besides the legendary Popeye theatrical cartoons being on TV, there were actually original Popeye cartoons made for TV! And if you grew up in those decades, you probably saw them! Let’s dig into how these came about, who made them and why, and whether they hold up. But first, where can you watch them? Well, that’s easy: As mentioned, King Features Syndicate—who’ve owned Popeye since E. C. Segar launched Thimble Theatre in 1919—maintain an official Popeye and Friends YouTube channel that regularly uploads every episode (complete with ad breaks and PSAs). It’s not surprising, of course, given the whole reason King Features made original Popeye cartoons for TV in the first place wasn’t so much to bring the character to new generations but to get some sweet cartoon money for themselves. How so? Well, the answer stretches back to the dawn of TV itself.

A Full Half-Hour of Cartoons

See, when television began in earnest again in the late Forties and early Fifties (we’re sticking with America here for simplicity’s sake), original programming was in short supply. So broadcast syndicators (like print ones before them) would buy up the broadcasting rights to old movies or shorts and sell them to TV stations for a tidy sum. One of the biggest, if not the biggest, was Associated Artist Productions. Founded in 1954 by film executive Eliot Hyman, the company initially syndicated programs like the original Candid Camera and the Basil Rathbone/Nigel Bruce Sherlock Holmes films. But in 1956, they hit a one-two punch of acquisitions. In February of that year, a.a.p. (as the company’s logo was styled) purchased every Warner Bros. film made before 1950 as well as every Looney Tunes and Merrie Melodies cartoon. Then, five

months later, they acquired from Popeye (the scrawny fella, at Paramount every Popeye cartoon left) and Brutus (no, not Bluto) made by Fleischer Studios and its are chummy in this 1961 cel for successor, Famous Studios, for a a made-for-TV Popeye ’toon… total of 234 cartoons. Per the June but don’t worry, the one-eyed 11, 1956 issue of the industry journal sailor would be squarin’ off Broadcasting * Telecasting, “the cost against the big galoot before of the library is estimated at $1.5 the episode’s end. © King million.” Features Syndicate, Inc. Courtesy of As they’d been in theatres, the Heritage. new-to-TV Paramount Popeyes were a big hit for all the same reasons: the expressive animation, the energetic violence, and the great gags. But King Features didn’t see a dime from it; they’d licensed the character to Paramount, after all, and it was Paramount and a.a.p who reaped the financial windfall. RETROFAN

January 2021

MONSTER MASH

The Creepy, Kooky Monster Craze In America, 1957-1972 Time-trip back to the frightening era of 1957-1972, when monsters stomped into the American mainstream! Once Frankenstein and fiends infiltrated TV in 1957, an avalanche of monster magazines, toys, games, trading cards, and comic books crashed upon an unsuspecting public. This profusely illustrated full-color hardcover covers that creepy, kooky Monster Craze through features on FAMOUS MONSTERS OF FILMLAND magazine, the #1 hit “Monster Mash,” Aurora’s model kits, TV shows (SHOCK THEATRE, THE ADDAMS FAMILY, THE MUNSTERS, and DARK SHADOWS), “MARS ATTACKS” trading cards, EERIE PUBLICATIONS, PLANET OF THE APES, and more! It features interviews with JAMES WARREN (Creepy, Eerie, and Vampirella magazines), FORREST J ACKERMAN (Famous Monsters of Filmland), JOHN ASTIN (The Addams Family), AL LEWIS (The Munsters), JONATHAN FRID (Dark Shadows), GEORGE BARRIS (monster car customizer), ED “BIG DADDY” ROTH (Rat Fink), BOBBY (BORIS) PICKETT (Monster Mash singer/songwriter) and others, with a Foreword by TV horror host ZACHERLEY, the “Cool Ghoul.” Written by MARK VOGER (author of “The Dark Age”). (192-page FULL-COLOR HARDCOVER) $39.95 • (Digital Edition) $11.99 ISBN: 978-1-60549-064-9 • Diamond Order Code: MAR151564

GROOVY

When Flower Power Bloomed In Pop Culture

GROOVY is a far-out trip to the era of lava lamps and love beads. This profusely illustrated HARDCOVER BOOK, in PSYCHEDELIC COLOR, features interviews with icons of grooviness such as PETER MAX, BRIAN WILSON, PETER FONDA, MELANIE, DAVID CASSIDY, members of the JEFFERSON AIRPLANE, CREAM, THE DOORS, THE COWSILLS and VANILLA FUDGE; and cast members of groovy TV shows like THE MONKEES, LAUGH-IN and THE BRADY BUNCH. By MARK VOGER. (192-page FULL-COLOR HARDCOVER) $39.95 • ISBN: 978-1-60549-080-9 Digital Edition: $13.99 • Diamond Order Code: JUL172227

LOU SCHEIMER CREATING THE FILMATION GENERATION

Final copies, with bookplate autographed by Lou Scheimer & Andy Mangels! Hailed as one of the fathers of Saturday morning television, LOU SCHEIMER was the co-founder of FILMATION STUDIOS, which for over 25 years provided animated excitement for TV and film. Always at the forefront, Scheimer’s company created the first DC cartoons with SUPERMAN, BATMAN, and AQUAMAN, ruled the song charts with THE ARCHIES, kept Trekkie hope alive with the Emmy-winning STAR TREK: THE ANIMATED SERIES, taught morals with FAT ALBERT AND THE COSBY KIDS, and swung into high adventure with TARZAN, THE LONE RANGER, ZORRO, HE-MAN, MASTERS OF THE UNIVERSE, live-action shows SHAZAM!, THE SECRETS OF ISIS, JASON OF STAR COMMAND and others. Now, LOU SCHEIMER tells the entire story to best-selling author (and RETROFAN columnist) ANDY MANGELS, including how his father decked ADOLF HITLER, memories of the comics of the Golden Age, schooling with ANDY WARHOL, and what it meant to lead the last all-American animation company through nearly thirty years of innovation and fun! Profusely illustrated with PHOTOS, MODEL SHEETS, STORYBOARDS, PRESENTATION ART, looks at RARE AND UNPRODUCED SERIES, and more—plus stories from TOP ANIMATION INSIDERS about Scheimer and the story behind Filmation’s stories! STANDARD EDITION IS SOLD OUT! THESE FINAL COPIES CONTAIN A BOOKPLATE AUTOGRAPHED BY LOU SCHEIMER & RETROFAN'S ANDY MANGELS! (288-page trade paperback, AUTOGRAPHED BY LOU SCHEIMER & ANDY MANGELS) $49.95 • (Digital Edition) $14.95

TwoMorrows. The Future of Pop History.

TwoMorrows Publishing • 10407 Bedfordtown Drive • Raleigh, NC 27614 USA

Phone: 919-449-0344 E-mail: store@twomorrows.com Web: www.twomorrows.com Don’t miss exclusive sales, limited editions, and new releases! Sign up for our mailing list: http:// groups.yahoo.com/group/twomorrows

RETRO ANIMATION

Enchanted World of Rankin/Bass’

Rudolph the Red-Nosed Reindeer TV Special

On December 6th, 1964, Arthur Rankin, Jr. (1924–2014) and Jules Bass (b. 1935) launched Rudolph the Red-Nosed Reindeer, the longest-running, highest-rated television special of all time, on NBC-TV during The General Electric Fantasy Hour. In 2001, I wrote a book entitled The Making of the Rankin/Bass Holiday Classic: Rudolph the Red-Nosed Reindeer, with participation from Arthur Rankin, Jr., Jules Bass, and the entire Rankin/Bass staff. Since that time I have learned more and gathered lots more in the way of materials. I will present some of this information here in RetroFan magazine and set straight much of the misinformation that has been circulating in recent years both on the internet and some very substandard Bluray and DVD releases.

The Voice Actors

In my book I covered Bill Giles, who was the engineer at the RCA Victor Studios in Canada on all of the Rudolph voice-actor sessions. Now retired, Bill today splits his time between Canada and spending winters in Florida. Bill and I have had some long recent conversations and I learned some things that I find very interesting. First of all, I learned that Bill worked at RCA in the States during his career with some of my favorite recording artists such as Elvis Presley, Perry Como, and even The Beatles, for whom he prepared their music for U.S. releases. One of his best stories had to do with Janis Orenstein, the voice

by Rick Goldschmidt

of Rudolph’s Clarice, who later became an operatic singer in Europe. “She came into the studio with her mother after school,” Giles said. “I believe it was just me and Bernard Cowan there. We gave her the song ‘There’s Always Tomorrow,’ and she absolutely nailed it on the first take! We recorded a second take, but we ended up using the first take in the TV special. I worked with many singers, and this was a rare occurrence for sure!” Larry Roemer was given credit as the director on Rankin/Bass’ Rudolph the RedNosed Reindeer, but he did not direct the special. Arthur gave him that honorary credit because Roemer got the special on the air at NBC. My book, The Arthur Rankin, Jr. Scrapbook: The Birth of Animagic, covers this and includes a picture of Roemer. It took me years to locate a photo of him, because after leaving Rankin/Bass Productions, he went to Magno Productions, the facility that was run by Ralph Friedman, who was given credit for sound on Rudolph. All of the Rankin/Bass films were housed at Magno for many years. The late Antony Peters, who was the designer of the Rudolph TV’s holliest, jolliest hero and his red-nosed guide, from Rankin/Bass’ beloved 1964 special, Rudolph the Red-Nosed Reindeer. © 2012 Miser Bros. Press/ Rick Goldschmidt Archives.

RETROFAN

January 2021

retro Animation Arthur Rankin, Jr. (CENTER) reviews the Rudolph script as he directs the voice actor cast in Canada. The recording/vocal supervisor, Bernard Cowan, is in the foreground. © 2012 Miser Bros. Press/Rick Goldschmidt Archives.

TV special, explained to me, “Roemer’s relationship really soured with Arthur and Jules. His picture on the wall was turned around and they didn’t speak of him. I ran into Larry in New York years later and he didn’t say much.” Engineer Bill Giles has an interesting story on Roemer and his participation in the sessions. “Roemer wasn’t at the RCA recording sessions in Canada,” according to Giles. “Arthur Rankin, Jr., Jules Bass, and Bernard Cowan were, as pictured in the photos in your books. Bernard Cowan rounded up this great group of actors and actresses and was given credit as vocal supervisor, but it was Arthur Rankin who called the shots and made some very smart decisions. Jules sort of stayed in the background and didn’t say

6 2

10 9

3 4

WHO’S WHO IN RUDOLPH

1. Janis Orenstein (Clarice). 2. Stan Francis (Santa Claus, King Moonracer). 3. Corinne Conley (Doll). 4. Alfie Scopp (Charlie-in-the-Box). 5. Peg Dixon (Mrs. Claus, Mrs. Donner). 6. Paul Kligman (Donner, Clarice’s father, Comet the Coach). 7. Larry Mann (Yukon Cornelius). 8. Carl Banas (Head Elf, Spotted Elephant). 9. Billie Mae (Billy) Richards (Rudolph). 10. Bernard Cowan (recording supervisor). 11. Paul Soles (Hermey). © 2012 Miser Bros. Press/Rick Goldschmidt Archives.

1964 publicity photo of the Rudolph voice cast, at Toronto’s RCA Victor Studios. (LEFT TO RIGHT) Bernard Cowan, Arthur Rankin, Jr., Paul Kligman, Paul Soles, Corinne Conley, Alfie Scopp, Larry D. Mann, Billie Mae Richards. See sidebar for additional actors and their roles. © 2012 Miser Bros. Press/Rick Goldschmidt Archives. 28

RETROFAN

January 2021

retro Animation

much at all. Arthur was in control, and everything sounded great and we had some wonderful takes. “At this time, Larry D. Mann was the voice of Sam the Snowman in addition to Yukon Cornelius,” Giles continued. “I didn’t record Burl Ives [the actual voice of Sam the Snowman] and was surprised to hear him in the final cut. After the sessions, I actually drove Arthur and Jules to the airport and as I dropped them off, Arthur handed me an envelope with several thousand dollars in it, which I really appreciated. I later used the money to buy a boat. A short time had passed, and I get a call from Arthur

to come to New York for some problems with the soundtrack. I hopped on a train and arrived at the offices of Videocraft International [later Rankin/Bass Productions] in New York, and there was a very hot Larry Roemer, Arthur Rankin, Jr., and Jules Bass. Roemer was screaming that everything was wrong and things needed to be redone. He was making many irrational comments and arguing with Arthur and Jules. At some point they

Elf Hermey and our favorite red-nosed Reindeer. Hermey was voiced by Paul Soles, one of Rudolph’s few surviving cast members. Soles has continued to act and voice-act in recent years. RetroFans also remember him as the voice of Marvel’s Web-Slinger in (INSET) GrantRay Lawrence’s Spider-Man cartoon. © 2012 Miser Bros. Press/Rick Goldschmidt Archives. Spider-Man TM & © Marvel.

RETROFAN

January 2021

ANDY MANGELS’ RETRO SATURDAY MORNINGS

SATURDAY MORNING by Andy Mangels

The 1965 Christmas card from Hanna-Barbera Productions featured almost every character they were animating for television, except the primetime Jonny Quest and The Jetsons. Shows represented included The Atom Ant/Secret Squirrel Show, The Atom Ant/ Secret Squirrel Show, The Magilla Gorilla Show, Top Cat, The Yogi Bear Show, The Flintstones, The Quick Draw McGraw Show, and The Huckleberry Hound Show. © Hanna-Barbera Productions.

Welcome back to Andy Mangels’ Retro Saturday Morning. Since 1989, I have been writing columns for magazines in the U.S. and foreign countries, all examining the intersection of comic books and Hollywood, whether animation or live-action. Andy Mangels Backstage, Andy Mangels’ Reel Marvel, Andy Mangels’ Hollywood Heroes, Andy Mangels Behind the Camera… three decades of reporting on animation and live-action—in addition to writing many books and producing around 40 DVD sets—and I’m still enthusiastic. In this RetroFan column, I will examine shows that thrilled us from yesteryear, exciting our imaginations and capturing our memories. Grab some milk and cereal, sit cross34

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January 2021

legged leaning against the couch, and dig in to Retro Saturday Morning! Saturday morning television was appointment viewing for anyone growing up from the Sixties to the Nineties. From 8am to noon, while their parents slept in from the workweek, kids could sit in front of the television and enjoy a time just for them. Cartoons—and later, live-action series—were produced by studios like Filmation Associates, DePatie-Freleng Enterprises, Total Television, Jay Ward Productions, Hanna-Barbera Productions, Sid and Marty Krofft, D’Angelo Productions, Marvel

HOLIDAY CARDS (RIGHT) With 1971, Hanna-Barbera began a recurring theme for their Christmas cards and ads: all of their characters interacted with a Christmas tree. Here, stars of Cattanooga Cats; Scooby-Doo, Where Are You!; Dastardly and Muttley in Their Flying Machines; The Banana Splits Adventure Hour; and The Perils of Penelope Pitstop cavorted with Yogi Bear and the Flintstones. © Hanna-Barbera Productions.

The 1972 Hanna-Barbera Christmas/New Year’s card featured cast members of The Pebbles and Bamm-Bamm Show, The Banana Splits, The Flintstone Comedy Hour, the short-lived The Roman Holidays, and Yogi Bear and Huckleberry Hound. According to Heritage Auctions, from which this card image came, the art is by Hanna-Barbera animator Alex Ignatiev. © Hanna-Barbera Productions. Courtesy of Heritage.

Productions, Sunbow Productions, Ruby-Spears, DIC, Film Roman, and others. Mirroring Saturday mornings for primetime were Rankin-Bass, who became famous for their stop-motion holiday-themed specials like Rudolph the Red-Nosed Reindeer, covered elsewhere in this issue. Unlike most television studios and networks, the professional world of Saturday mornings was relatively close-knit. Animators, writers, voice actors, and other crew would migrate from show to show, one season working on a comedy, the next season a superhero series. Sometimes they would work for multiple companies, though that was largely frowned upon.

But the producers of content for Saturday mornings were more of a “family” than those who worked on primetime content. In December, many of the studios would produce Christmas and/or non-denominational holiday cards, calendars, or advertisements, often featuring a wide range of projects and characters from their output. For this edition of Andy Mangels’ Retro Saturday Morning, I’m sharing a look at some of those studios’ holiday wishes… with a wish that you have a great year to come, and that the cancelled year of 2020 will not be repeated in our future! RETROFAN

January 2021

All characters TM & © their respective owners.

BOOKS FROM TWOMORROWS PUBLISHING

ER EISN RD AWAINEE! M NO

HOLLY JOLLY

MONSTER MASH

MARK VOGER’s sleigh ride thru Christmas pop culture, spotlighting classic holiday movies, music, TV, books, decor, comics, and more!

MARK VOGER’s time-trip back to 1957-1972, to explore the CREEPY, KOOKY MONSTER CRAZE, when monsters stomped into America’s mainstream!

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(192-page FULL-COLOR HARDCOVER) $39.95 (Digital Edition) $11.99 ISBN: 978-1-60549-064-9

MIKE GRELL

LIFE IS DRAWING WITHOUT AN ERASER Career-spanning tribute to a comics art legend! (160-page FULL-COLOR TPB) $27.95 ISBN: 978-1-60549-088-5 (176-page LTD. ED. HARDCOVER) $37.95 ISBN: 978-1-60549-087-8 (Digital Edition) $12.99

KIRBY & LEE: STUF’ SAID

ED AND EXP COND SE ION! IT ED

ISBN: 978-1-60549-094-6

THE MLJ COMPANION

Documents the complete history of ARCHIE COMICS’ super-heroes known as the “Mighty Crusaders”, with in-depth examinations of each era of the characters’ history: The GOLDEN AGE (beginning with the Shield, the first patriotic super-hero), the SILVER AGE (spotlighting the campy Mighty Comics issues, and The Fly and Jaguar), the BRONZE AGE (the Red Circle line, and the !mpact imprint published by DC Comics), up to the MODERN AGE, with its Dark Circle imprint! (288-page FULL-COLOR trade paperback) $34.95 (Digital Edition) $14.99 ISBN: 978-1-60549-067-0

COMIC BOOK IMPLOSION

In 1978, DC Comics implemented its “DC Explosion” with many creative new titles, but just weeks after its launch, they pulled the plug, leaving stacks of completed comic book stories unpublished. This book marks the 40th Anniversary of “The DC Implosion”, one of the most notorious events in comics, with an exhaustive oral history from the creators involved (JENETTE KAHN, PAUL LEVITZ, LEN WEIN, MIKE GOLD, and others), plus detailed analysis of how it changed the landscape of comics forever!

ER EISN RD AWAINEE! NOM

(136-page trade paperback with COLOR) $21.95 (Digital Edition) $10.99 ISBN: 978-1-60549-085-4

(272-page FULL-COLOR trade paperback) $36.95 (Digital Edition) $13.99 ISBN: 978-1-60549-073-1

IT CREPT FROM THE TOMB Digs up the best of FROM THE TOMB (the UK’s preeminent horror comics history magazine): Atomic comics lost to the Cold War, censored British horror comics, the early art of RICHARD CORBEN, Good Girls of a bygone age, TOM SUTTON, DON HECK, LOU MORALES, AL EADEH, BRUCE JONES’ ALIEN WORLDS, HP LOVECRAFT in HEAVY METAL, and more!

EXPANDED SECOND EDITION—16 EXTRA PAGES! Looks back at the creators of the Marvel Universe’s own words, in chronological order, from fanzine, magazine, radio, and television interviews, to paint a picture of JACK KIRBY and STAN LEE’s complicated relationship! Includes recollections from STEVE DITKO, ROY THOMAS, WALLACE WOOD, JOHN ROMITA SR., and other Marvel Bullpenners! (176-page FULL-COLOR trade paperback) $26.95 (Digital Edition) $12.99

HERO-A-GO-GO!

MICHAEL EURY looks at comics’ CAMP AGE, when spies liked their wars cold and their women warm, and TV’s Batman shook a mean cape!

(192-page trade paperback) $29.95 (Digital Edition) $10.99 ISBN: 978-1-60549-081-6

ER EISN RD AWAINEE! NOM

JACK KIRBY’S DINGBAT LOVE

The final complete, unpublished Jack Kirby stories in existence, presented here for the first time, in cooperation with DC Comics! Two unused 1970s DINGBATS OF DANGER STREET tales, plus TRUE-LIFE DIVORCE and SOUL LOVE magazines! (176-page FULL-COLOR HARDCOVER) $43.95 (Digital Edition) $14.99 ISBN: 978-1-60549-091-5

AMERICAN COMIC BOOK CHRONICLES:

THE WORLD OF TWOMORROWS

Celebrate our 25th anniversary with this retrospective by publisher JOHN MORROW and Comic Book Creator magazine’s JON B. COOKE! Go behind-the-scenes with MICHAEL EURY, ROY THOMAS, GEORGE KHOURY, and a host of other TwoMorrows contributors! Introduction by MARK EVANIER, Foreword by ALEX ROSS, Afterword by PAUL LEVITZ, and a new cover by TOM McWEENEY! (224-page FULL-COLOR TPB) $37.95 (240-page ULTRA-LIMITED HARDCOVER) $75 (Digital Edition) $15.99

8 Volumes Covering The 1940s-1990s

MAC RABOY

Master of the Comics

OR -COL FULLDCOVER HAR RIES SE nting me f docu ecade o d y! c a e h s histor ic com

MAC RABOY perfected his art style on such 1940s comic book creations as DR. VOODOO, BULLETMAN, SPY SMASHER, GREEN LAMA, and his crowning achievement, CAPTAIN MARVEL JR., before moving on to illustrate the FLASH GORDON Sunday newspaper strip. Author ROGER HILL documents the life and career of the master artist in a full-color hardcover with never-before-seen photos, a wealth of rare and unpublished artwork, and the first definitive biography of a true Master of the Comics! (160-page FULL-COLOR HARDCOVER) $39.95 • (Digital Edition) $14.99 ISBN: 978-1-60549-090-8

TwoMorrows. The Future of Pop History.

Phone: 919-449-0344 E-mail: store@twomorrows.com Web: www.twomorrows.com

TwoMorrows Publishing • 10407 Bedfordtown Drive • Raleigh, NC 27614 USA

ERNEST FARINO’S RETRO FANTASMAGORIA

What is the Greatest Christmas Movie (with Martians)

of All Time?*(*You get only one guess...) by Ernest Farino

Regular readers of RetroFan will know that My Favorite Year (to pinch the title of a great movie) was 1964. Kellogg’s came out with Pop-Tarts. The “British Invasion” had us Meet the Beatles; Ford introduced the brand-new, revolutionary, moderately priced sports car the Mustang (also featured for the first time on screen in the James Bond film Goldfinger that same year); and New York was the site of the spectacular 1964 World’s Fair. The slogan of the 1964 World’s Fair was “Peace Through Understanding”—as relevant today as it was then. I patiently built my Aurora monster models and Ed “Big Daddy” Roth hot-rod show-car models and studied every issue of Famous Monsters magazine with laser-like intensity (who needs fractions homework when you can have Frankenstein, for cryin’ out loud...?). In addition to must-see-TV favorites The Munsters, The Outer Limits, Bewitched, and The Twilight Zone, Sunday nights (the last gasp before—blecch—school the next day) enthralled us with Wagon Train, My Favorite Martian, My Living Doll (Julie Newmar!), Candid Camera, Walt Disney’s Wonderful World of Color, and Bonanza. And no shoebox multiplex theaters for us, thank you very much. What was playing in those grand movie palaces of yore? Fuggedaboutit—on the big 60-foot screen we had no less than Seven Days in May, Becket, The Fall of the Roman Empire, From Russia With Love, A Shot in the Dark, Mary Poppins, A Hard Day’s Night, Topkapi, and My Fair Lady. Okay, some of those were “above my pay grade” as a 12-year-old, and no self-respecting kid would be caught dead singing along with Eliza Doolittle, but you get the idea. In those films and others in 1964 we caught our first glimpse of future stars: Jenny Agutter, Ellen Burstyn, David Carradine, Dom DeLuise, Judi Dench, Olympia Dukakis, Morgan Freeman, Elliott Gould, James Earl Jones, Charlotte Rampling, Roy Scheider, and Raquel Welch.

Yet for all of that—an embarrassment of riches, a veritable cornucopia of culture, pop and otherwise—1964 stands alone for inflicting upon an unsuspecting public deluded into complacency by the otherwise high-octane menu of entertainment and diversion, a film that single-handedly possessed the power to turn anyone’s unsuspecting brain into watery oatmeal. Santa Claus Conquers the Martians.

TV News Announcer: “Here’s another UFO Bulletin: The Defense Department has just announced that the unidentified flying object suddenly disappeared from our radar screen. They believe the object has either disintegrated in space, or it may be a spaceship from another planet which has the ability to nullify all radar beams.” RETROFAN

January 2021

THE ODDBALL WORLD OF SCOTT SHAW!

The

Like fads, popular children’s books come Hears a Who! (1954), On Beyond Zebra (1955), One of Geisel’s friends, Alexander Liang, and go... except for those written and drawn and If I Ran the Circus (1956). I’d read ’em even wrote this little poem about how by the cartoonist known as “Dr. Seuss”... in school, I’d check them out of the public people pronounced “Seuss”: except that Theodor Geisel, a.k.a. “Dr. Seuss” library, and I’d beg my parents and relatives (correctly pronounced “soice”—see sidebar), to gift me with copies. Since I was already “You’re wrong as the deuce did not consider himself to be a cartoonist... a dinosaur nut, I was especially drawn to And you shouldn’t rejoice except this young-but-budding cartoonist the good doctor’s endless excess of weird certainly did. and wonderful creatures, everything from If you’re calling him Seuss. I seemed to know that I wanted to fish to birds to beasts of non-specific, nonHe pronounces it Soice (or be a cartoonist at a very early age. I was existent phylum. I even taught myself how Zoice).” fascinated by comic books, the funnies in to draw crude Seuss-ish creatures using the newspaper, and the animated cartoons certain of his signature shapes and visual on television and in theaters. But other than tropes I’d identified, copied, and practiced: animated educational films, my public elementary school was the crescent pupils, stacked feather-clusters, arms without elbows, one place that none of the other forms of cartoons were allowed. legs without knees, wispy fingers, extra limbs, etc. Like many fans, I taught myself how to read by examining In 1957, Random House introduced the first of Dr. Seuss’ the relationships and configurations of letters and images in “Beginner Books,” The Cat in the Hat. It was a big hit with everyone funny animal and kiddie comic books long before I attended but me. I thought that the Cat was irritating and that the limited kindergarten. Therefore, when I was finally a fledgling student vocabulary was for babies. (I was a geezer all of six years old.) No I hit the ground running when it came to books. I remember my wonder I avoided 2003’s live-action feature film adaptation of first favorite books were Curious George by Margret and H. A. Rey, The Cat in the Hat starring Mike Myers like it was ooblick. The year The Sailor Dog by Margaret Wise Brown and Garth Williams... 1957 was also when Dr. Seuss was creating his first-ever and stilland anything by Random House’s children’s author known as “Dr. memorable line of toys and model kits. Seuss.” By that time, his oeuvre consisted of: And to Think That I Saw But I’m getting ahead of myself. It on Mulberry Street (1937), The 500 Hats of Bartholomew Cubbins Let’s take a quick look at the career and legacy of the man (1938), The King’s Stilts (1939 whose nom de plume rhymes and still my favorite), with “choice,” not “Zeus.” Horton Hatches the Egg (1940, adapted as a tenWho Was Dr. Seuss? minute animated cartoon Theodor Geisel, a.k.a. “Dr. short in 1942, directed Seuss,” was born March by Beany and Cecil creator 2, 1904 in Springfield, Bob Clampett for Warner Missouri. While in college, he began signing his Bros.), McElligot’s Pool (1947), drawings as “Dr. Seuss” Thidwick the Big-Hearted for the school’s magazine. Moose (1948), Bartholomew Dropping out of Oxford and the Ooblick (1949), If I and returning to America Ran the Zoo (1950), Scrambled in 1927, “Ted” immediately Eggs Super! (1953), Horton 48

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Special Collections & Archives, UC San Diego. © Exxon Mobile Corporation.

by Scott Shaw!

Fantastic, Plastic Zoo of Dr. Seuss!

Ted Geisel (Dr. Seuss) at his desk in 1957, the year The Cat in the Hat was published. (INSET) Seuss later in life. 1957 photo by Al Ravenna. Courtesy of the Library of Congress Prints and Photographs Division.

The May 1934 issue of Life magazine (then a humor publication). Its Dr. Suess cover makes this one quite collectible.

control her husband’s vast realm of intellectual properties, for better, but often, for worse. Although he claimed to have little chemistry with children, he continued to create books and animated TV cartoons for kids until his death in his La Jolla home on September 24, 1991.

pursued a career as a humorous writer and illustrator for national magazines such as The Saturday Evening Post, Judge, Life, Liberty, and Vanity Fair. That led to work in advertising, including the famous “Quick, Henry – the FLIT!” ad campaign for an insecticide spray from Standard Oil (opposite page) and ads for Holly Sugar featuring a “proto-Grinch.” He also had the Ford Motor Company, NBC Radio, and Narragansett Lager & Ale for clients. Dr. Seuss Toys of 1959 He also illustrated a series of popular joke books. This It’s been rumored that Geisel was against merchandising his eventually led to creating storybooks for children, his first one stories and characters, and that only entertainment such as published in 1937. Three more followed, but as World War II The 5,000 Fingers of Dr. T and animated cartoon adaptations for began Geisel turned his attention to editorial cartooning, and television were his only acceptable exceptions to that... but that in 1942 began creating artwork for projects benefiting the war isn’t true. Geisel had worked in advertising, a business that’s not effort, especially informational posters. In 1943, he joined the artistically sensitive in the slightest, and he was not averse to U.S. Army as a Captain and was commander of the Animation increasing his income flow in honest and creative ways. What Department of the First Motion Picture Unit of the United States upset him was the fact that many manufacturers in the past— Army Air Forces, where he wrote propaganda in the form of liveagain, using images that he’d mostly created for corporate action films and animated cartoons. In addition to WB’s Horton clients—were far from the high quality he desired (although short, George Pal produced and directed stopthere were a few good-looking results, too). To motion short theatrical film adaptations of The achieve that quality he sought, Seuss was more 500 Hats of Bartholomew Cubbins (1943) and And to than willing to get involved with the production of Think That I Saw It Happen on Mulberry Street (1944). his books for Random House. In 1950, UPA produced the Oscar-winning cartoon In 1954, it became known to the public that short Gerald McBoing-Boing, based on a story when he wasn’t writing or drawing, Geisel also written by Ted. After the war, he and his first wife enjoyed painting and sculpting. He created Helen moved to La Jolla, California, just north up dozens of three-dimensional creature-characters the coast from San Diego, where he resumed his quite similar to the denizens of his kids’ books, career as a creator of children’s picture books. He and many of them were designed be hung on also wrote the film The 5,000 Fingers of Dr. T (1953) walls. Decades later, many have been reproduced and are available for sale to collectors with deep and in 1966, Chuck Jones directed an animated pockets, but in the mid-Fifties, there was no Dr. half-hour special for CBS adapting How the Grinch Seuss merchandise for sale. However, thanks to Stole Christmas! a manufacturer called the Kreiss Company, there Unfortunately, in 1967, after dealing with soon appeared products that were, shall we say, cancer and Ted’s affair with Audrey Stone “Seuss-y.” Diamond, Helen Geisel committed suicide. In a Moon Beings ceramic figure. Basing designs directly from based on sordid chain of events, Seuss married Diamond, Courtesy of Hake's. characters from what were then his most recent the woman who would eventually own and RETROFAN

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ALTER EGO #167

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COMIC BOOK CREATOR #24 COMIC BOOK CREATOR #25

Salute to Golden & Silver Age artist SYD SHORES as he’s remembered by daughter NANCY SHORES KARLEBACH, fellow artist ALLEN BELLMAN, DR. MICHAEL J. VASSALLO, and interviewer RICHARD ARNDT. Plus: mid-1940s “Green Turtle” artist/creator CHU HING profiled by ALEX JAY, JOHN BROOME, MICHAEL T. GILBERT and Mr. Monster on MORT WEISINGER Part Two, and more!

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WILL MURRAY’S 20TH CENTURY PANOPTICON

Sheena Pin-up Queen of the TV Jungle

by Will Murray During my long association with Starlog magazine, I accepted hundreds of assignments. Some brought me to shooting locations around the world to interview the cast and crew of Hollywood films. I remember declining an assignment only once—a telephone interview with an actress playing Sheena, Queen of the Jungle. Looking back, I wondered if my subconscious was talking to me. Because when I think of jungle queens, there’s only one Sheena. And her name was Irish Elizabeth McCalla. The star of the oneseason wonder that ran back in 1955–1956, she was the first actor to bring the popular comicbook character to life on TV.

Leopard skin image by skeeze/Pixabay.

I Am Sheena, Hear Me Roar

Sheena was the creation of packager Jerry Iger and artist Will Eisner of The Spirit fame. She debuted in Great Britain in 1937, and was soon appearing in Jumbo Comics, and then her own title in the U.S. Orphaned when her father was poisoned by a witch doctor, young Sheena was left to fend for herself in the Congo. Growing up to be a blonde Amazon, she was befriended by Chim the chimpanzee and a conventional great white hunter named Bob. Attired in an abbreviated leopard-skin outfit that left little to the imagination, Sheena became a comics vehicle for Cheesecake—today called Good Girl Art. Sheena sold like crazy. It was just a matter of time before Hollywood came calling. The search for a female Tarzan commenced in August 1952. TV producer Edward Nassour announced that he sought an

(ABOVE) Irish McCalla as Sheena, Queen of the Jungle. © Galaxy Publishing and Valdoro Entertainment. Courtesy of Ernest Farino.

The jungle queen originated in Golden Age comic books. Sheena #1 (Spring 1942) cover art by Dan Zolnerowich. © Galaxy Publishing and Valdoro Entertainment. Courtesy of Heritage.

Amazonian actress who could “move like a leopard, swim like a fish, hug like a bear, and have an eyepopping figure. It’ll help if she could act, too.” It was a tougher search than anticipated. Two years passed. In the meantime, the Sheena comic book was cancelled under pressure from reformers for being too sexy. Finally, pin-up queen and showgirl Irish McCalla was announced for the role in August 1954, thanks to glamour photographer Tom Kelly, who told McCalla about a producer casting for Sheena, Queen of the Jungle. “I know you used to read these comic books,” Kelly told her. “He asked me if I knew any girls that were perfect for Sheena. I said, ‘There’s only one! That’s Irish McCalla!’” Asked how she got the part, McCalla demurred, “Why, I tried out just like everyone else did when I heard the part was open.” RETROFAN

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Will Murray’s 20th Century Panopticon

Actress Anita Ekberg’s (LEFT) inability to swim cost her the Sheena gig. But when the curvaceous Irish McCalla (RIGHT) showed up, producers knew they had their jungle queen. Ekberg photo courtesy of Heritage. McCalla photo courtesy of Ernest Farino.

But the backstory was more complicated, as she later admitted. “I was the first and last person of 200 tested for the part. They almost signed Anita Ekberg—but she couldn’t swim.” The truth was more complicated, as McCalla later revealed to Scarlet Street. “Anita got a better job with Batjac Productions and didn’t show up for work, so they called me in a panic and I got the job. I told Anita later, ‘You’d hated it!’” McCalla was no stranger to the character, having doodled her as a child and play-acted as Sheena opposite her brother, who pretended to be Tarzan. “I wish I still had my Sheena comics,” she lamented to Starlog, “but my mother burned them all. When I told her I got the part, she couldn’t believe it. She said: ‘You used to play Sheena all the time when you were a kid. Now somebody’s going to pay you to do it? That’s ridiculous!’” At 24, McCalla was an expert swimmer and diver. “I physically looked like the Sheena comic book, more than anyone else,” she boasted. And who better to play a busty jungle queen than a pinup queen? There was only one problem. 58

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McCalla explained, “When the producers called, I said, ‘Are you kidding? I don’t act.’ They said it didn’t matter much—I only had to be athletic enough to chase a chimp through a jungle.” Cast in the role of hunter Bob Reynolds was Christian Drake, a Marine who had fought at Guadalcanal as one of Carlson’s Raiders. Drake’s rugged good looks convinced Hollywood that he was good box office. “Irish was absolutely perfect for the role,” he told Filmfax. “She was stunningly beautiful, and she epitomized Sheena from the start.” Drake’s account of the project’s beginnings differed from McCalla’s understanding. “Sheena was originally going to be a feature film,” he said. “When I was first cast, I was told that Anita Ekberg was going to play Sheena. They also told me they had another actress in mind—Irish McCalla—who could step in.” Perhaps McCalla was first envisioned as Ekberg’s stand-in stunt double. Both screen-tested on the same day. McCalla got busy preparing for the strenuous role. Since Sheena carried a hunting spear, she practiced throwing a javelin

Will Murray’s 20th Century Panopticon

in her North Hollywood backyard and learned how to fight on camera. “I practiced swinging from a ladder and soon got the hang of it,” she said at the time. “But the worst thing isn’t the swinging— it’s the fighting. If you just haul off and hit somebody it looks real phony, but if you calculate your punches just right it looks great in front of the camera.” Her ex-Marine costar helped her learn the rough-and-tumble art of brawling with heavies. Also necessary was learning to work with the three-year-old chimpanzee named Neil, who was cast as Chim. “Three times a week for two months I’d visit him and just play with him,” McCalla said during production. “Then his trainer began teaching me how to put him through some tricks and we’re best Publicity photo of friends now.”

Luck of the Irish

McCalla as Sheena.

It took a year to sell the series, during which time McCalla tested for the part of Miss Kitty on Gunsmoke, opposite Richard Boone. Once Irish showed up in her Sheena outfit, the deal was quickly done. Although the color pilot and first two episodes were shot in California, the Nassau Brothers decided to relocate filming to Cuernavaca, Mexico, a popular spot to shoot jungle movies. “At one time four companies were shooting pictures in that one jungle,” McCalla reminisced. “One day the Richard Widmark company, Run for the Sun, came over and borrowed our swamp. The Bob Mitchum, Gilbert Roland, and Tarzan companies came over and borrowed our trees and lakes. We were very generous with our jungle.” The latter film was Sol Lesser’s Tarzan and the Lost Safari (1957), starring Gordon Scott. Lesser had been involved in the initial search for Sheena, but mysteriously dropped out—probably to launch his new Tarzan [film] series. “Television was just getting started and we had no idea how popular it would be,” McCalla recalled. “Jungle shows were in. There was Ramar of the Jungle, starring Jon Hall, and Johnny Weissmuller was doing Jungle Jim. But I was the only woman.” Despite her lack of experience, McCalla was confident that she could handle the role. “I couldn’t act, but I could swing through the trees,” she quipped. “Of course, it’s hard to screw up lines like, ‘Come, Chim,’ and ‘Sheena go now.’ But that was the hardest work I ever did. Every mistake I learned was on the screen. On the first three shows I wondered who the guy was who was yelling at me. I finally found out he was the director.” Initially, McCalla remembered, acting wasn’t difficult. “My main instructions with something like, “You run through here, and you jump over there. But don’t jump on that plant. Then

you go over here, but watch out for that flower. Then, in that fight, you have to throw yourself this way, because you don’t want to hit that tree over there.’” “If you note the episodes,” Drake explained. “I handled about 90% of the dialogue, and Irish handled about 90% of the action. I tried to be of help to her when I could. I certainly wasn’t a teacher, but Irish improved all the time. She did quite well, under some difficult circumstances. We had some rough days, down in Mexico.” There was some advantage to being a novice, McCalla remembered later. “But it was probably good that I didn’t have acting training when I did Sheena, because people said I was so believable as someone who lived in the jungle. One of the requirements they asked was for was that you could run on uneven ground, and jump. I’ve always been athletic, climbing trees and playing football. “Most of the people they used weren’t really actors,” she admitted. “They just picked up anybody who could speak English and remember some lines, and then threw them in front of the camera. That didn’t help much when the jungle queen herself wasn’t too great.” A trio of 20 Haitian wrestlers played the stock natives. “They were phenomenally tough guys whose idea of a joke was to jump out of a tree and land on a sleeping buddy’s stomach,” McCalla recalled.

Jungle Fever

The pilot episode, “The Renegades,” opened with Sheena taking a shower in a primitive stall, and Chim stealing

FA ST FAC TS Sheena, Queen of the Jungle ` No. of seasons: One ` No. of episodes: 26 ` Original run: 1955–1956 ` Primary cast: Irish McCalla, Christian Drake, Neil the chimp ` Network: first-run syndication

Spin-offs and remakes: ` Sheena (1984 movie, starring Tanya Roberts) ` Sheena (2000–2002 TV series, starring Gena Lee Nolin) RETROFAN

January 2021

Will Murray’s 20th Century Panopticon

But McCalla did not return to the screen, except to visit the lot. Seeing the sign for Sheena, Queen of the Jungle, she confessed, “I got chills.” She eventually came to terms with her sexy alter ego. “One thing men like about me is that I’m sexy-looking and yet I look like the girl next door. If I’d been a sex queen, women would have hated me. But I was the girl their children liked, so it was a wholesome thing. I was their jungle Santa Claus.”

“I left acting at the same time it left me—I never felt like continuing,” she said in 1981. “All I wanted do was paint, and I’m happy.” Years passed. When the lure of nostalgia conventions brought McCalla out to meet her fans, and her attitude softened. “There were a lot of Tarzans, but I was the only Sheena,” she liked to point out. “It was a great period of my life. I’ve always been an independent person and if I felt that I didn’t need it anymore, I could just walk away. Which is just what I did. I never believed that was going to be any great actress or anything. Painting has always been more important to me, but acting was supporting me at the time.” In later life, Irish McCalla submitted to an interview with Starlog. Regrettably, I was not the interviewer. But she opened up about her life and career in ways she could not in the Fifties. “I really didn’t know what I was doing,” she confessed. “But I was unhappy in my marriage. I wanted a divorce. I needed a way to support myself and my two children. They offered me real money to play Sheena, so I jumped at the chance.”

Before her death in 2002, McCalla had fully reconciled to her sultry jungle past. “People never say bad things to me about Sheena. They have good memories, and they automatically feel good towards me, because I was part of a good time in their lives. I am a friend from childhood, and they’re glad to see me again. And that makes me feel wonderful.” Yes, there have been Sheenas since 1956. But only one true original. Her name was Irish McCalla. And she looked hotter in black-and-white than her successors did in full color.

When a Sheena movie was announced in 1984, with Tanya Roberts in the lead, the spotlight once again fell on the role’s originator. “They are still casting for Sheena, but they were interested in me for a small role,” McCalla revealed. “Perhaps as her mother. But what would they call my character? The queen mother? The deposed queen? No, it would have to be the queen mother.”

WILL MURRAY is the writer of the Wild Adventures (www.adventuresinbronze.com) series of novels, which stars Doc Savage, The Shadow, King Kong, The Spider, and Tarzan of the Apes. He also created the Unbeatable Squirrel Girl with legendary artist Steve Ditko.

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RETRO INTERVIEW

Good Morning World

Ronnie Schell’s Custom-Made Shot in the Spotlight by Jason Hofius

Dubbed “America’s slowest-rising comedian” by radio DJ Don Sherwood in the mid-Sixties, Ronnie Schell began his show-business career in a rather roundabout manner. His first love was baseball, but despite his ambitions to become a player, he was simply never any good at it. However, his on-field antics kept his teammates laughing and the crowds coming back for more. It was that energy and excitement he felt from the public that eventually led to his second love—stand-up comedy. Schell was born in 1931 in Richmond, California, just to the northeast of San Francisco. After graduating high school he joined the United States Air Force, where he did his first performances in various skits and shows. After his return to civilian life, Schell took a dare from a college classmate to audition as a comic at the Purple Onion nightclub in San Francisco. He was accepted, much to his surprise, and stayed on for months honing his comedic skills. After some disastrous starts, Schell kept at it and landed a job as the opener for the Kingston Trio music act around 1958. Then he never looked back. His stand-up act earned him early slots on televised variety programs and his first national television appearance as a contestant on You Bet Your Life in 1959. The show, which was hosted by the lightningfast Groucho Marx, gave Schell a chance to trade quips with one of entertainment’s best. The debut helped jump-start Schell’s six-decade career. Schell’s easygoing yet earnest attitude toward his work contributed to his career’s longevity just as much as his talent and technique. When anyone hired Ronnie

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retro interview

Larry Clarke (Ronnie Schell) and David Lewis (Joby Baker) on the air. (BELOW) S’More Entertainment’s complete Good Morning World series DVD set, released in 2007. © CBS.

Schell, they knew they’d be getting a professional who could lead a production as easily as he could keep pace with anyone else. His incredible history in entertainment includes stage, feature films, and

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January 2021

extensive commercial work. But he found a home on television starting in the Sixties, where he appeared on just about every major network series one can conceive of. From his most recognizable role of Private First Class Gilbert “Duke” Slater on Gomer Pyle, U.S.M.C. (1964–1969), to appearances in series like The Patty Duke Show, The Andy Griffith Show, Emergency!, Happy Days, Battle of the Planets, Down to Earth, Mr. Belvedere, The Wayans Bros., and countless others, Schell’s appearances were always a guarantee for fun. His early feature film roles include the Disney outings Gus (1976), The Shaggy D.A. (1976), and The Cat from Outer Space (1978). But he also performed roles in comedies like Love at First Bite (1979), The Devil & Mr. Devlin (1981), and animated theatrical features like Jetsons: The Movie (1990) and Rover Dangerfield (1991). In 1967, creators and producers Carl Reiner, Sheldon Leonard, Bill Persky, and Sam Denoff, the team behind The Dick Van Dyke Show [see RetroFan #7—ed.], brought Good Morning World to the screen. It premiered on CBS on September 5, at 9:30 p.m. A prototype to shows like WKRP in Cincinnati and NewsRadio, Good Morning

World focused on the morning radio DJ team of Lewis and Clarke, played by Joby Baker and Schell. The pair’s experiences were loosely based on Persky and Denoff’s own radio careers, and the lead character of Larry Clarke was written specifically for Ronnie Schell. After the premature cancellation of Good Morning World, Schell immediately transitioned back into his role of “Duke” Slater through Gomer Pyle’s final season (1969). His busiest period followed, with decades of television guest-starring roles, commercials, and variety shows. No matter how busy he was, Schell always made time to return to his roots entertaining audiences in person at comedy clubs all over North America. Having recently turned 88, the “slowest-rising comedian” (a nickname he still wears proudly) finally decided to retire from his favorite annual standup gigs in Las Vegas and Lake Tahoe. He continues to work in radio and television whenever he gets the chance. He also does numerous public appearances each year, where he promotes his work and spends as much time as he can with adoring fans. I caught up with Schell a couple days

retro interview

after he returned from one of his latest appearances, Mayberry Days, a four-day celebration of The Andy Griffith Show [see RetroFan #1 for details about Mayberry Days—ed.]. RetroFan: It’s great to talk with you again. How was the “Mayberry Days” weekend in Mount Airy, North Carolina? Ronnie Schell: Great! Great. There were 36,000 people last week in a little, tiny town. I rode in the parade and I was introduced at one of the festivities. It was a fun time, my sixth year. Those celebrations are 20 years old. RF: When did you first become interested in entertainment? RS: I was always an extrovert in school. Everybody encouraged me to make money out of it. So when I went in the Air Force, to get out of KP [Kitchen Patrol], I started doing shows in the military. I did them for four years. Then I got out, went back to college, got my degree, and my senior year, I started working at the Purple Onion in San Francisco. From then on, it just ballooned for me. RF: Did you ever have interest in doing anything else? Going on with the military as a career? RS: No. I wanted to be a professional baseball player, but it never came to pass. I guess I wasn’t good enough. [laughs] RF: Your stand-up led to being on You Bet Your Life... RS: That’s right, with Groucho Marx.

“Disc Jockeys” Larry Clarke (Ronnie Schell) and David Lewis (Joby Baker). (BELOW) Contestants Phyllis Warren and Ronnie Schell guess the secret word, on You Bet your Life, with Groucho Marx (May 28, 1959). © CBS.

RETROFAN

January 2021

retro interview

RF: Both Dick and Jerry Van Dyke did guest shots on Good Morning World, right? RS: Yes. Jerry Van Dyke was best man at my wedding. See, we all came out of nightclubs. So we knew each other. When I got married, he was my best man. Good guy.

(BELOW) The author and Ronnie Schell at a joint appearance at the Los Angeles Comic Book and Science Fiction Convention (March 12, 2017). © CBS.

RF: And Carl Reiner was there? RS: Oh, yeah, because he was producing it. RF: You shot at Desilu Studios? RS: Yeah, Desilu. It’s still there, but I think it’s called Ren-Mar Studios now. But it’s at Cahuenga, and the next street over from Vine [Lillian Way]. We did a lot of shows there. We did The Dick Van Dyke Show. I did two of those, by the way. Later on. [Dick Van Dyke’s] dad used to come on the show and say, “I just drove over to Desliu ‘ka-hoo-en-ga!’” He called it ‘ka-hoo-en-ga’ and we always kidded him for that. RF: Desilu Studios must have been really busy at that point. RS: It was. We did The Dick Van Dyke Show, the Marlo Thomas show [That Girl], Good Morning World, Gomer Pyle—they continued to do it there, even without me, and what else? Oh, what’s that [one] about the prisoners and the Nazis? [It was a] comedy, believe it or not... RF: Right, Hogan’s Heroes. Did you ever run into Lucille Ball at the studios? Was she still working there at the time? RS: No. I met her once, but that was when we were doing a variety show. She was over at CBS one day and they were working on The Carol Burnett Show, which was right next door to ours. She came in, she was very nice. I got to meet a lot of stars, ’cause Harvey Korman was a very close friend of mine and I used to go next door and trade quips with him. Oh, he was crazy. But Bing Crosby would come over and I met Bing. I remember I had a nice conversation with him and at the end I said, “Well, nice to meet you Mr. Crosby,” and he said, “Hang in there, Ronnie!” That was a thrill. It wasn’t big, but it was a thrill for me. RF: Good Morning World was 26 episodes, and most full seasons around that time ran to around 30, so it was right in there. RS: Yes, it was. We weren’t that bad. It was because of the competition and we were ahead of our time. 72

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RF: How did you find out Good Morning World was going to be cancelled? RS: During the last five episodes, we had hints of it. Because if you’re not big in the ratings in those days, you’re out. And our ratings were sub... not really that great. So we knew we were going to get cancelled four weeks left in it. RF: Any final words about Good Morning World? RS: I haven’t seen it recently, but I have watched it, because it plays reruns on MeTV occasionally and Antenna TV. When I look at myself in those days, it’s like looking at a dif ferent person. I guess that’s the way with everybody. I hear me talking and I say, “Gee, that sounds like me. That looks like me, it IS me!” Except

I was much younger, and I don’t know, objectively speaking I think I’m better now than I was then. I have no regrets. My disappointments were only temporary. If something was cancelled, I’d go right into a dif ferent thing, a dif ferent show. So I was never out of work for more than three weeks. I enjoyed doing it. I’m just sorry it didn’t work out. Unless otherwise noted, photos accompanying this article are courtesy of Jason Hofius. JASON HOFIUS has renounced his shady pasts in both advertising and entertainment. He now writes for the common good from his home in sunny Southern California.

RETRO BRIT

Doctor Who and the

Failed Invasion by Ian Millsted

The Retro Brit column continues its investigation of the nexus points where British and American pop culture have met, merged, or clashed. After our look at the example of Benny Hill finding success in America (in RetroFan #9), this issue we explore the tentative, and largely unsuccessful, attempts to launch Doctor Who, that great British institution of television science fiction, in the U.S.A. Ian Millsted brings his expert eye to the times the good Doctor failed to win the day. When I was working in Illinois in 1996, I visited a great science-fiction and comic-book store in Rockford (Yesterday is Tomorrow—get in touch if you read this, guys). They had a petition on the counter for people to sign to ask Fox TV to commission a series follow-up to the recently aired Doctor Who TV movie. Although I was due to return to England in a few weeks, I signed the petition. One of their customers had asked if they could have it there for folks to sign. I doubt the Fox TV people gave it more than a cursory glance, as the ratings for that movie had been quite poor. Another false start for Doctor Who in America, but far from the first.

You’ve probably heard of Doctor Who, although you may not have seen it. Something of a cult success in syndication from the late Seventies onwards, the Pinnacle paperbacks from the same era and Marvel comics on the newsstands in the early Eighties may all have passed before your eye at some point. More recently, the more iteration shown on BBC America has raised the profile of the show higher yet. Less well known are the attempts to sell the character in America in the Sixties. Doctor Who was launched on the BBC in November 1963 as a new science-fiction/adventure series of 25-minute episodes. The original brief was to mix in doses of scientific and historical education to the storytelling, but it soon became clear that the audience wanted excitement. The first episode started ten minutes late due to an extended news broadcast following the assassination of U.S. President John F. Kennedy the day before. The series started with two London schoolteachers who, curious about the odd behavior of one of their students, follow her home to find she lives with Screenwriter Terry Nation. Photo courtesy of Ian Millsted.

RETROFAN

January 2021