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In preparation for the upcoming cartoon series, Hanna-Barbera began working on putting together a real-life Josie and the Pussycats girl group, who would provide the singing voices of the girls in the cartoons and also record an album of songs to be used both as radio singles and in the TV series.


According to Danny Janssen's recollections in his liner notes for the Rhino compilation CD, when he submitted his suggested studio singers, he was unaware that all three characters in the Archie comic book were caucasian. But Hanna-Barbera's art and animation elements were already in production, so there was concern about going back and changing the character -- not because of race but because of time, budget, and most of all, approvals. Janssen said that he could not return to Patrice Holloway and take her out of the trio so his only alternative was to leave the project. "They were very nice about it," Janssen said, but they agreed that he could happily return for another project in the future. However, in the meantime, Hanna-Barbera, which would not have made such a change in the midst of production without consulting with Archie Comics (who controlled the characters), CBS (who approved the series), and Kellogg's (the sponsor), did indeed replace Pepper with a new character named Valerie. Pepper disappeared from the comic book, and African-American Valerie took her place in December 1969. The timeline of her debut in the comic book bears out the production of the series and the development of the merchandise design guides, which include Valerie. Hanna-Barbera initiated this in order to replace Pepper with African-American Valerie to keep Patrice Holloway. They then hired African-American Barbara Pariot as Valerie's speaking voice. Danny Janssen wasn't aware that this had happened until weeks later when he was brought back as the music producer and made the records.[8] The Valerie character was the first black female character on a regular Saturday morning cartoon series. The Hardy Boys drummer Pete Jones had been the first black male to appear on Saturday mornings a year earlier, but Pete's voice was not spoken by an African-American. Hanna-Barbera did cast Valerie's speaking voice accordingly and Danny Janssen cast her singing voice, setting the historic precedent.


Of the songs that were broadcast, Patrice Holloway sang lead on the series' theme song, "You've Come A Long Way, Baby", "Voodoo", "It's All Right With Me", "The Handclapping Song", "Stop, Look And Listen", "Clock On The Wall" and "Every Beat Of My Heart". Holloway was the primary lead vocalist on "Roadrunner" which also features verses sung by Kathleen Dougherty and Cheryl Ladd. Ladd sang lead on "Inside, Outside, Upside-Down", "Dream Maker", "I Wanna Make You Happy", "The Time To Love", "I Love You Too Much", "Lie! Lie! Lie!" and "Dreaming". According to songwriter/vocal arranger Sue Sheridan (known as Sue Steward at the time), Dougherty felt she was stronger on harmony than lead and ceded her spotlight to Ladd. Essentially then, Josie was the group leader but Valerie and Melody provided the trio with its singing voices.


A cover of "Josie and the Pussycats" performed by Juliana Hatfield and Tanya Donelly is included on the 1995 tribute album Saturday Morning: Cartoons' Greatest Hits, produced by Ralph Sall for MCA Records.[9] The theme song was also covered on the soundtrack for the 2001 live-action film based on the comic book series.


In September 1972, a sequel spin-off series titled Josie and the Pussycats in Outer Space debuted on CBS. This version of the series launched the characters into outer space; the opening credits sequence shows the group taking a promotional photo at the launch site of a new spaceship. (It is unclear whether they were the ship's assigned crew, or simply publicity guests.) A jealous Alexandra, elbowing the cast aside in order to steal the spotlight from Josie yet again, stumbles and causes a domino effect so that they are all jerked inside, accidentally triggering the launch sequence which sends all into deep space. Val knows how to pilot the vessel. Every episode centered on the Pussycats encountering a strange new world where they would encounter and often be captured by various aliens-of-the-week before escaping and attempting to return to Earth. No matter what the scenario, Alexandra remains determined to stop Josie from getting too close to Alan. A typical ending for an episode is that they meet a wise benevolent person who reprograms the ship's course for Earth, only to have a clumsy action by Alexandra (or occasionally Melody or Alex) set the ship on the wrong trajectory once again.


Musical numbers and chaotic chase sequences were set to 10 all original newly recorded songs specifically written as "featured performances" with Music & Lyrics by ASCAP songwriter Richard Moyers, who was signed for the sequel by Roger Karshner, Hanna-Barbera's new "Musical Development Director"[10] and Produced by Hanna-Barbera's in-house Musical Director Hoyt Curtin. All recordings were done by studio professionals known as "The Wrecking Crew" at Whitney Recording Studios, Glendale, CA for this spin-off as with the original. Josie and the Pussycats in Outer Space also added the character of Bleep, a pet-sized fluffy alien adopted by Melody, who was the only one who could understand the creature's language (he only says "Bleep" repeatedly) and numerous other alien animals encountered. Bleep and Sebastian fluctuate between being competitors or good friends throughout the series, with Don Messick providing the non-verbal chattering of both pets.


The series' premise in similar to Lost in Space (1965-1968), particularly that series' third season where the formerly marooned ship was allowed to visit a new planet each week a la Star Trek. Alexandra's role parallels that of Dr. Zachary Smith - both are unpleasant characters, often at odds with the rest of the crew, whose blunders caused the initial loss in space. Bleep is similar to Debbie the Bloop, Penny Robinson's pet who was played by a chimpanzee in a costume.


The Pussycats encounter aliens who can seemingly become invisible at will. Josie and the others are baffled as to how to outsmart and escape the aliens, until Melody inadvertently acquires the power of invisibility. The invisibility plot is similar to the 6th episode of the earlier series.


Aliens that reside on a ship that resembles a planet plan to enslave others by using a ray that turns its victims into children. Can Josie and the Pussycats stop them? The age-reversing ray plot is similar to the 16th and final episode of the earlier series.


Two VHS volumes of Josie and the Pussycats, each containing four episodes of the original 1970 series, minus the laugh tracks, were released by Warner Home Video (Hanna-Barbera had been sold to Turner Broadcasting in 1991, with Turner merging with Time Warner six years later) on April 10, 2001 to coincide with the release of the live-action film. A Josie in Outer Space episode, "Warrior Women of Amazonia", was featured in a clip/episode collection of Hanna-Barbera on VHS, released in the UK.


A Josie and the Pussycats: The Complete Series two-DVD box set was released in Region 1 (the United States, Canada, and Japan) on September 18, 2007.[11] All 16 episodes, again minus the laugh tracks, were included, as well as a half-hour documentary on the life and career of Dan DeCarlo. The first episode of the series, "The Nemo's A No No Affair", is featured on the DVD compilation Saturday Morning Cartoons: The 1970s Volume 1 released on May 26, 2009.


Both Josie and the Pussycats and Josie and the Pussycats in Outer Space are available on the Boomerang and HBO Max streaming services, with the latter featuring the series in remastered HD copies.[13][14] Warner Archive released the HD versions of Josie and the Pussycats on Blu-ray on November 3, 2020,[15] and Josie and the Pussycats in Outer Space on April 13, 2021.[16][17]


Josie and the Pussycats was named the 100th best animated series by entertainment website IGN, which referred to Josie as an amusing show for the way in which it combined elements from The Archie Show and Scooby-Doo.[19]


The 2017 live-action TV series Riverdale featured Josie and the Pussycats as African-American students at Riverdale High School, portrayed by Ashleigh Murray (Josie), Hayley Law (Valerie) and Asha Bromfield (Melody). Murray later co-starred in the Riverdale spin-off Katy Keene starting in 2020 as an adult Josie, with Lucien Laviscount as Alexander and Camille Hyde as Alexandra.[22]


380 The Canadian Historical Review did read with Ellen'.s as 'I have wonderfully accomodating [sic] eyes like an old pussy-cat' (232). Her letters consistently effused warmth, strength and, sometimes, humour. Catharine Parr Traill was a remarkable woman in that she had nine children, wrote seventeen books, and lived to be ninety-eight years old. Her selected correspondence from about 500 letters has been reproduced in an informative way that is historically accurate and enlightening , so that readers not only can be introduced to this wonderful character but are reminded of the difficulties our forbears endured before technology and modern medicine eased life's tasks and strains. LAUREL SEFTON MACDOWELL University of Toronto Haven't Any News: Ruby's Letters from the Fifties. Edited by EDNA STAEBLER . Waterloo: Wilfrid Laurier University Press 1995 pp. x, 165. $18.95 For some time now the 1950s have been fashionable. Historians, many of us boomer products of that decade, are among the most fascinated. Immersed in those years after the Second World War, we seek the roots of nostalgia or malaise, explanations for our postmodern condition . Fortunately, those who were adults during that transitional decade are often still around to set us straight about the complexities of the lives they led. Saved and edited by her sister, Ruby's letters do just that. While modestly titled, Haven't Any News, they challenge aware readers now, just as they must have Ruby's family earlier, to understand the limitations and the possibilities of life for a married, middle-class, white woman in Barrie, Ontario. In her Afterword, Marlene Kadar, a scholar of 'life writing,' identifies as central to the narrative five primary 'story-themes,' those of love for and anxiety about food, childraising, women's work, animals, and personal appearance, as well as three 'covert themes' of longings for money, creativity, and companionship. Certainly these issues crowd the page and reveal that the 'letters are not only the site of communication, but of self-presentation and affirmation'(164). The distinctions between the two categories and among the eight themes appear artificial to this historian. As she tries to negotiate the various roles she has to play as daughter, sister, wife, mother, neighbour, and worker, Ruby's life seems, finally, all ofa piece. Her letters move quickly from one subject or theme to another, as she juggles diverse responsibilities and tries to be more than their sum. Her boomer offspring, a daughter and a son, not to mention her insurance agent husband, are anchored in the middle-class community of Ontario by her labours, both paid and unpaid . As she grows older, entering menopause, Ruby writes to assert Book Reviews 381 her own version of events, even if they can only be acknowledged by her mother and sisters. She did not want to be ignored in the r95os. Nor, as revealed in the few words we have from her when she was eighty-four, does she want to be forgotten in the r99os. Access to this type of normally private commentary is an inestimable boon to the social histori_ an. The physical, intellectual, and emotional .work of making a life for oneself, one's family, and one's community are movingly laid out in details that few public documents preserve. Ruby's letters ultimately supply a salutary reminder of the past's, indeed our parents,' right to tell their own story in their own way. Ifwe listen closely to Ruby and her contemporaries, we will learn that the generation of the r95os represents more than mere creators of today's self-absorbed boomers. VERONICA STRONG-BOAG University ofBritish Columbia Canadian Papers in Rural History, vol. IO. Edited by DONALD J. AKENSON . Gananoque: Langdale Press 1996. $49.50 This is the tenth and final volume of Donald Akenson's Canadian Papers in Rural History. In these volumes, Akenson has provided a forum for historians of the countryside to publish their works and, as he noted in the first volume, explore the lives of people who shaped this country while 'working the ground.' It seems appropriate, then, to comment on the history produced by this series. In this particular volume, with twelve virtually unrelated essays, exclusion... 041b061a72


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