Marc Tyler Nobleman's Blog, page 142
October 13, 2011
Super '70s and '80s: Thank you to all who participated
Introduction to series "Super '70s and '80s."
Between 12/09 and 7/11, I compiled this series; what started as a few unconnected interviews ended up being an expansive, cohesive feature that, when pasted into Word, fills more pages than I would be sane to reveal.
Along the way, I was fortunate to meet seven of the people I interviewed, most of whom I'd been curious about since childhood. As it happens, those seven people represented five of the ten subseries in this series without repeats.
Thank you again to you seven...
with Jody Spence and Reyna Blasko, Sea World skiers
April 2010, Las Vegas
with Bo Rucker, the pimp from Superman: The Movie
May 2010, New York
[image error] with Liberty Williams and Michael Bell, the Wonder Twins from Super Friends
July 2011, Los Angeles
[image error] with Garrett Craig, Captain Marvel from Legends of the Superheroes
July 2011, Los Angeles
with Mick Smiley, "Magic" singer/songwriter
July 2011, Los Angeles
...and, of course, the other 93.
Between 12/09 and 7/11, I compiled this series; what started as a few unconnected interviews ended up being an expansive, cohesive feature that, when pasted into Word, fills more pages than I would be sane to reveal.
Along the way, I was fortunate to meet seven of the people I interviewed, most of whom I'd been curious about since childhood. As it happens, those seven people represented five of the ten subseries in this series without repeats.
Thank you again to you seven...
with Jody Spence and Reyna Blasko, Sea World skiersApril 2010, Las Vegas
with Bo Rucker, the pimp from Superman: The MovieMay 2010, New York
[image error] with Liberty Williams and Michael Bell, the Wonder Twins from Super Friends
July 2011, Los Angeles
[image error] with Garrett Craig, Captain Marvel from Legends of the Superheroes
July 2011, Los Angeles
with Mick Smiley, "Magic" singer/songwriterJuly 2011, Los Angeles
...and, of course, the other 93.
October 12, 2011
Super '70s and '80s: "Ghostbusters"—Mick Smiley, singer-songwriter of "Magic"
Introduction to series "Super '70s and '80s."
This is the 71st and last installment of this series, which began in July 2011.
This post is perhaps the most far removed from the others, and from my work in general, because it is about a musician. Yet this is a musician associated with a fantastic—and hilarious—ghost story, and I have dabbled in ghosts myself so perhaps you'll forgive the reach.
But more to the point, the song still has a big following yet I have found nothing online about its background.
Mick Smiley was yet another in this series who was not easy to find. But he was well worth it. Many a summer day in 1984, I was eager to get home from camp to listen to the Ghostbusters soundtrack, but only two tracks mattered to me. One was the title track, but since that was on the radio constantly, it came down to "Magic."
A friend of Mick's told me "[Mick] was like the missing link between Alice Cooper and Green Day. What Billy Joe Armstrong does now, Mick was doing back in '79."
At least as of 2010, there was a Myspace page dedicated to finding Mick. Here is what the owner of that page wrote about Mick (it is pasted directly—no editing):
"Currently, all that is known of Mick Smiley is that he is most well known for writing and performing the greatest song of the 1980's, (Magic) which can be purchased on the newly remastered 'Ghostbusters' Soundtrack. Mick Smiley also performed as a musician (bass) with Billy Idol. He also penned Lita Ford's hit, "Kiss me deadly." His whereabouts are currently unknown. If you have any information about Mick Smiley please let us know so we can post it here. In addition, this page makes no representation or claim that we are 'Mick Smiley." This page aims to honor the man, the legend. If anyone has any additional media, please send it here for review, and if it passes certain standards it may get posted here! Help us locate and honor all that is Mick Smiley!"
Fascinatingly, the woman who was in the "Magic" video wrote in there to ask if Mick would post it. Here it is.
And here is the song as used in the movie:
Almost as mysterious as ghosts themselves, Mick nonetheless allowed me to ask him some questions.
What was your background before contributing "Magic" to the Ghostbusters soundtrack?
I was a musician (bass player) in the Mick Smiley Band playing all the LA clubs—Whiskey, Troubadour, Starwood, Madame Wongs, etc.
Did you write the song for the movie?
No, the track was produced by Keith Forsey in the hope of getting me a record deal. I knew Keith and had played bass on his production of Billy Idol's first single "Mony Mony."
How did the song end up on the soundtrack?
It was submitted by Mike Dixon to Ivan Reitman, who liked it and lobbied the producers to include it in the film. I was the only artist [with music in the film] not signed to Arista Records.
Did you tour in the wake of the movie?
No, but I continued to play in and around Los Angeles.
Was "Magic" released as a single?
No.
What was your reaction to that?
I was shocked. A video had been shot (no Arista involvement) and had been submitted to MTV; [they] said they would play it as soon as it was officially released as a single by Arista. Arista declined to release it. I was told that since the album had gone platinum and I was not signed as an artist to Arista that it was not in their financial interest to release it as a single.
What was the video shoot like?
It was great. Shot in Santa Monica by my friend Dominic Sena, it was groundbreaking (glorious black and white) and featured a biracial love affair. Cutting edge at that time and his career took off after that.
[image error] Do the video ever air on MTV?
As far as I know, it was never played on MTV.
Did you perform "Magic" on any late-night talk shows?
No.
What was your reaction to another song called "Magic" (by the Cars) becoming a smash hit the same year Ghostbusters came out?
No reaction.
What if anything did the song do for you professionally?
Not much. I did get a Grammy nomination (Album of the Year; Purple Rain won and deserved it, too) but I failed to get a recording contract.
What path did your career take after recording "Magic"?
Another song I wrote, "Kiss Me Deadly," was recorded by Lita Ford and was a big hit (platinum).
What was your opinion of Ghostbusters?
I liked it at the time. I haven't seen it in many years. Does it hold up?
Did you attend the premiere?
No, however I did see a cast and crew prescreening on the lot.
Did you do any press for the movie?
No.
Are you still writing/recording in any capacity?
I am. I will let you know if I am happy with the outcome.
What was your reaction when you heard why I was contacting you?
Not much really. You seem like a very passionate man so I decided to answer some of your questions.
Have you been interviewed about the song before?
No.
How often do "Magic" fans locate you?
They don't.
What is your opinion of the song today?
I like the second half of the song. First half is a bit sappy (although it was heartfelt when I wrote it).
Would you be open to "Magic" being used (officially) in a movie, TV show, and/or commercial today?
Yes.
If you keep up with popular music, who are some contemporary artists you like?
The Killers, Muse, Duffy, Phoenix, White Stripes, Amy Winehouse, Lady Gaga…
Anything else about the song you'd like to add?
It worked very well in the pivotal scene when the ghosts escape and invade NYC. You would think it was written for the movie.
Mick Smiley and me
Is Mick Smiley your real name?
[Mick Smiley is not] my given name. "Smiley" is my middle name (a family name) and Mick was my father's name. I liked the sound of it. Very rock 'n' roll, n'est-ce pas?
And so concludes this interview…and this series.
Appropriately enough, it is a Saturday morning.
(July 30, to be precise. Yes, I had to get this in order that far in advance. Thanks for reading!)
This is the 71st and last installment of this series, which began in July 2011.
This post is perhaps the most far removed from the others, and from my work in general, because it is about a musician. Yet this is a musician associated with a fantastic—and hilarious—ghost story, and I have dabbled in ghosts myself so perhaps you'll forgive the reach.
But more to the point, the song still has a big following yet I have found nothing online about its background.
Mick Smiley was yet another in this series who was not easy to find. But he was well worth it. Many a summer day in 1984, I was eager to get home from camp to listen to the Ghostbusters soundtrack, but only two tracks mattered to me. One was the title track, but since that was on the radio constantly, it came down to "Magic."
A friend of Mick's told me "[Mick] was like the missing link between Alice Cooper and Green Day. What Billy Joe Armstrong does now, Mick was doing back in '79."
At least as of 2010, there was a Myspace page dedicated to finding Mick. Here is what the owner of that page wrote about Mick (it is pasted directly—no editing):"Currently, all that is known of Mick Smiley is that he is most well known for writing and performing the greatest song of the 1980's, (Magic) which can be purchased on the newly remastered 'Ghostbusters' Soundtrack. Mick Smiley also performed as a musician (bass) with Billy Idol. He also penned Lita Ford's hit, "Kiss me deadly." His whereabouts are currently unknown. If you have any information about Mick Smiley please let us know so we can post it here. In addition, this page makes no representation or claim that we are 'Mick Smiley." This page aims to honor the man, the legend. If anyone has any additional media, please send it here for review, and if it passes certain standards it may get posted here! Help us locate and honor all that is Mick Smiley!"
Fascinatingly, the woman who was in the "Magic" video wrote in there to ask if Mick would post it. Here it is.
And here is the song as used in the movie:
Almost as mysterious as ghosts themselves, Mick nonetheless allowed me to ask him some questions.
What was your background before contributing "Magic" to the Ghostbusters soundtrack?
I was a musician (bass player) in the Mick Smiley Band playing all the LA clubs—Whiskey, Troubadour, Starwood, Madame Wongs, etc.
Did you write the song for the movie?
No, the track was produced by Keith Forsey in the hope of getting me a record deal. I knew Keith and had played bass on his production of Billy Idol's first single "Mony Mony."
How did the song end up on the soundtrack?
It was submitted by Mike Dixon to Ivan Reitman, who liked it and lobbied the producers to include it in the film. I was the only artist [with music in the film] not signed to Arista Records.
Did you tour in the wake of the movie?
No, but I continued to play in and around Los Angeles.
Was "Magic" released as a single?
No.
What was your reaction to that?
I was shocked. A video had been shot (no Arista involvement) and had been submitted to MTV; [they] said they would play it as soon as it was officially released as a single by Arista. Arista declined to release it. I was told that since the album had gone platinum and I was not signed as an artist to Arista that it was not in their financial interest to release it as a single.
What was the video shoot like?
It was great. Shot in Santa Monica by my friend Dominic Sena, it was groundbreaking (glorious black and white) and featured a biracial love affair. Cutting edge at that time and his career took off after that.
[image error] Do the video ever air on MTV?
As far as I know, it was never played on MTV.
Did you perform "Magic" on any late-night talk shows?
No.
What was your reaction to another song called "Magic" (by the Cars) becoming a smash hit the same year Ghostbusters came out?
No reaction.
What if anything did the song do for you professionally?
Not much. I did get a Grammy nomination (Album of the Year; Purple Rain won and deserved it, too) but I failed to get a recording contract.
What path did your career take after recording "Magic"?
Another song I wrote, "Kiss Me Deadly," was recorded by Lita Ford and was a big hit (platinum).
What was your opinion of Ghostbusters?
I liked it at the time. I haven't seen it in many years. Does it hold up?
Did you attend the premiere?
No, however I did see a cast and crew prescreening on the lot.
Did you do any press for the movie?
No.
Are you still writing/recording in any capacity?
I am. I will let you know if I am happy with the outcome.
What was your reaction when you heard why I was contacting you?
Not much really. You seem like a very passionate man so I decided to answer some of your questions.
Have you been interviewed about the song before?
No.
How often do "Magic" fans locate you?
They don't.
What is your opinion of the song today?
I like the second half of the song. First half is a bit sappy (although it was heartfelt when I wrote it).
Would you be open to "Magic" being used (officially) in a movie, TV show, and/or commercial today?
Yes.
If you keep up with popular music, who are some contemporary artists you like?
The Killers, Muse, Duffy, Phoenix, White Stripes, Amy Winehouse, Lady Gaga…
Anything else about the song you'd like to add?
It worked very well in the pivotal scene when the ghosts escape and invade NYC. You would think it was written for the movie.
Mick Smiley and meIs Mick Smiley your real name?
[Mick Smiley is not] my given name. "Smiley" is my middle name (a family name) and Mick was my father's name. I liked the sound of it. Very rock 'n' roll, n'est-ce pas?
And so concludes this interview…and this series.
Appropriately enough, it is a Saturday morning.
(July 30, to be precise. Yes, I had to get this in order that far in advance. Thanks for reading!)
October 11, 2011
Super '70s and '80s: "Scooby-Doo, Where Are You!"—Heather Kenney (North) (Daphne 2, beginning in season 2, 1970)
Introduction to series "Super '70s and '80s."
Introduction to subseries "Scooby-Doo, Where Are You!" (including list of interviewees).
What were you doing professionally before you were cast as Daphne?
I had worked since I was 11 years old in everything from TV episodes to theatre and musicals. At the time, I was a recurring character on Days of Our Lives.
What were you told and/or shown about the show before auditioning? Did you know what Daphne would look like?
I wasn't the first Daphne, but their original left to get married. When they went to recast, I ended up going to the audition because of my roommate Nicole [Jaffe] (see answer two questions down).
How old were you in 1970, which was, I believe, the year you started on Scooby?
I was going on 20.
Did you know any of the other voice actors on the show beforehand?
I went on the audition with Nicole Jaffe, my roommate at the time, who ended up becoming Velma.
How would you describe Daphne?
She was a pretty and sincere girl who had a penchant for being "danger prone"!
Did you like the show?
I did.
Do you have a favorite episode?
I most liked the episodes with guest stars: Batman, the Globetrotters, Jonathan Winters, Dick Van Dyke, Phyllis Diller, etc.
Any funny anecdotes about working on the show that you've told to friends over the years?
Most of us would use our breaks to get coffee or use the bathroom. Not Casey Kasem! He was always on the phone arranging a deal. We all loved him!
Did the voice actors ever joke about the show and the characters—i.e. if Fred and Daphne were a secret item, if there was drug innuendo like so many people speculate, etc.?
No, it never even occurred to us!
Did you do any appearances for Scooby-Doo at the time?
No.
Did you receive any fan letters while you were on the show?
A few.
What did you do after you left the show?
I had already become a wife and mother, and I focused on that.
What are you doing these days professionally?
I am retired.
What do you like to do when not working?
I participate in my church's women's and community service programs and continue to take good care of my family.
Do you have children?
One son, Kevin. [NOTE: Special thanks to Kevin, through whom I arranged this interview.]
What did he think growing up with a mom who played an iconic character?
For my son and grandchildren, it has always been a nice "claim to fame" because the show maintained its popularity for so long.
Any funny stories about your kids' friends when they learned your Daphne connection?
There is one pair of little boys from our family who always referred to me as "Gramma Scooby-Doo" growing up.
Do you ever rewatch your Scooby-Doo episodes? If so, how do you think they hold up?
I don't, but they clearly have stood the test of time!
Did you stay in touch with any of the other Scooby-Doo voice actors after you left the show? Are you in touch with any still?
Not really, though I did attend Casey Kasem's star induction on the Hollywood Walk of Fame many years afterward.
How similar to your everyday voice was your Daphne voice?
Fairly similar, but I added energy and a little higher pitch.
Have you ever been recognized on the street by voice as Daphne?
No.
Have you ever been interviewed about your Scooby-Doo work before, and if so, when/where? Do you remember the earliest instance?
Yes, for both DVD releases and other interviews.
screen shot from bonus material on
Scooby-Doo, Where Are You!: The Complete Series DVD
Do you own any Scooby-Doo memorabilia (dolls, books, DVDs, etc.)?
Quite a bit…certain action figures and original drawings, things of that nature.
Do you have any of your original Scooby-Doo paperwork—scripts, your contract, letters from Hanna-Barbera, birthday cards from the cast, fan letters (from the 1970s), etc.?
I do, including the "Scooby-Doo Bible" (the handout which explains the characters, plotline, etc.).
Do you have a continuing relationship with Warner Bros. re: Scooby-Doo? For example, have you been invited to the live action movie premieres, etc.?
No.
Do you still receive residuals for Daphne?
Yes.
Would you be open to appearing at a pop culture convention to meet fans and sign autographs? (Have you already done that?)
Nope [to both].
How do you look back at your time on Scooby-Doo?
Very fondly.
Did you have any sense at the time that this show would have such staying power?
Certainly not!
Next (and last): Mick Smiley, singer-songwriter of "Magic" from Ghostbusters.
Introduction to subseries "Scooby-Doo, Where Are You!" (including list of interviewees).
What were you doing professionally before you were cast as Daphne?I had worked since I was 11 years old in everything from TV episodes to theatre and musicals. At the time, I was a recurring character on Days of Our Lives.
What were you told and/or shown about the show before auditioning? Did you know what Daphne would look like?
I wasn't the first Daphne, but their original left to get married. When they went to recast, I ended up going to the audition because of my roommate Nicole [Jaffe] (see answer two questions down).
How old were you in 1970, which was, I believe, the year you started on Scooby?
I was going on 20.
Did you know any of the other voice actors on the show beforehand?I went on the audition with Nicole Jaffe, my roommate at the time, who ended up becoming Velma.
How would you describe Daphne?
She was a pretty and sincere girl who had a penchant for being "danger prone"!
Did you like the show?
I did.
Do you have a favorite episode?
I most liked the episodes with guest stars: Batman, the Globetrotters, Jonathan Winters, Dick Van Dyke, Phyllis Diller, etc.
Any funny anecdotes about working on the show that you've told to friends over the years?
Most of us would use our breaks to get coffee or use the bathroom. Not Casey Kasem! He was always on the phone arranging a deal. We all loved him!
Did the voice actors ever joke about the show and the characters—i.e. if Fred and Daphne were a secret item, if there was drug innuendo like so many people speculate, etc.?
No, it never even occurred to us!
Did you do any appearances for Scooby-Doo at the time?
No.
Did you receive any fan letters while you were on the show?
A few.
What did you do after you left the show?
I had already become a wife and mother, and I focused on that.
What are you doing these days professionally?
I am retired.
What do you like to do when not working?
I participate in my church's women's and community service programs and continue to take good care of my family.
Do you have children?
One son, Kevin. [NOTE: Special thanks to Kevin, through whom I arranged this interview.]
What did he think growing up with a mom who played an iconic character?
For my son and grandchildren, it has always been a nice "claim to fame" because the show maintained its popularity for so long.
Any funny stories about your kids' friends when they learned your Daphne connection?
There is one pair of little boys from our family who always referred to me as "Gramma Scooby-Doo" growing up.
Do you ever rewatch your Scooby-Doo episodes? If so, how do you think they hold up?
I don't, but they clearly have stood the test of time!
Did you stay in touch with any of the other Scooby-Doo voice actors after you left the show? Are you in touch with any still?
Not really, though I did attend Casey Kasem's star induction on the Hollywood Walk of Fame many years afterward.
How similar to your everyday voice was your Daphne voice?
Fairly similar, but I added energy and a little higher pitch.
Have you ever been recognized on the street by voice as Daphne?
No.
Have you ever been interviewed about your Scooby-Doo work before, and if so, when/where? Do you remember the earliest instance?
Yes, for both DVD releases and other interviews.
screen shot from bonus material on Scooby-Doo, Where Are You!: The Complete Series DVD
Do you own any Scooby-Doo memorabilia (dolls, books, DVDs, etc.)?
Quite a bit…certain action figures and original drawings, things of that nature.
Do you have any of your original Scooby-Doo paperwork—scripts, your contract, letters from Hanna-Barbera, birthday cards from the cast, fan letters (from the 1970s), etc.?
I do, including the "Scooby-Doo Bible" (the handout which explains the characters, plotline, etc.).
Do you have a continuing relationship with Warner Bros. re: Scooby-Doo? For example, have you been invited to the live action movie premieres, etc.?
No.
Do you still receive residuals for Daphne?
Yes.
Would you be open to appearing at a pop culture convention to meet fans and sign autographs? (Have you already done that?)
Nope [to both].
How do you look back at your time on Scooby-Doo?
Very fondly.
Did you have any sense at the time that this show would have such staying power?
Certainly not!
Next (and last): Mick Smiley, singer-songwriter of "Magic" from Ghostbusters.
October 10, 2011
Super '70s and '80s: "Scooby-Doo, Where Are You!"—Nicole David (Jaffe) (Velma 1, 1969-74)
Introduction to series "Super '70s and '80s."
Introduction to subseries "Scooby-Doo, Where Are You!" (including list of interviewees).
What were you doing professionally before you were cast as Velma?
I was doing You're a Good Man, Charlie Brown. The people from Hanna-Barbera—director Gordon Hunt—came to see the show. I must've sort of looked like the girl.
Did he approach you after the show?
Yes, he sort of said something after the show and then my agency called me and said he wanted to meet me. They showed me the drawings and gave me lines to read. They must have shown pictures of Velma. She looked like me enough that I could see why he wanted me to come in. He hired me.
What were you told and/or shown about the show before auditioning?
I don't know if you should write this. In those days, I wanted to be Daniel Day Lewis, Emma Thompson. I was not interested in being in voice-over. I needed to make a living and wasn't doing anything else at the moment. [With Scooby-Doo], I didn't think I was doing something iconic. It was like getting a soap opera when you wanted to be in a Scorsese film. I thought it was like a drive-by.
How old were you in 1969?
I don't remember but young. In Charlie Brown, I played Peppermint Patty. I could see afterward why [Hanna-Barbera] wanted me. I played Patty like a know-it-all, which I guess I am. That character is kind of like Velma. [But] she was sweeter than Velma.
Did you know any of the other voice actors on the show beforehand?
No. The only person I knew was Heather North, but neither of us had any idea what this would be like. Heather was more of a girl next door. She was a great girl. I assumed everyone would look like their character on some level. I don't even think I thought about the dog. I thought this was a stepping stone to paying my rent and I would go off and do greater things.
Did you socialize with them at the time?
Never. I don't know what voice people are like today but in those days, I thought they were kind of weird. Somebody of 40 was playing somebody of 20. Somebody was playing a dog. It wasn't like doing a movie when everybody bonds. Before the show, Heather was on Days of Our Lives. I don't know how we met. We shared an apartment on Crescent Heights. But I didn't consider her a voice person. I considered her a normal actress.
You were not living together when on the show?
I don't think so. Heather would remember.
Did you like the show?
I loved Mr. Barbera. He was very handsome. I loved Gordon Hunt. They were two really regular terrific people. They were very nice to us.
What about the show itself?
I don't really remember. I can tell you when I first really appreciated the show for real. I met Lauryn Hill (the singer) and she must've found out that I did that show and she was so impressed. She happens to be really smart. She was an amazing young woman. When she started saying how great the show was, I watched three or four episodes to figure out what she was talking about. That was many years [after I was on it]. I would say twenty years ago.
[When I was on it], I certainly didn't understand the things everybody [would talk] about later. I was not smart enough when I was young. I had no idea that I was stoned eating those snacks [refers to Scooby Snacks]. Not because I wasn't ever getting stoned. [But in general] this was not my life. I was in acting class with Lee Strasberg. I knew about great acting. I didn't know anything about voice actors. Heather is probably a better judge.
Do you have a favorite episode?
I don't.
Any funny anecdotes about working on the show that you've told to friends over the years?
One of the highlights was that they fed us. They gave us expensive cookies. This was an amazing thing. I had no money. I remember thinking they must be very rich. I remember how really good Casey Kasem and everybody was at their jobs. They changed from one voice to another in an amazing fashion.
Have you had interaction with them since the show ended?
I think all the original cast got called back to do a few more of the movies. That was maybe five years ago. That was the first time I saw anyone since the day we finished. That was very different this time. I was glad I didn't have to do it anymore. I could see that my voice had changed. It's lower now. I didn't do it anywhere near as well as I had done it before. I also noticed that I liked my character after Lauryn Hill said she liked my character. Other people over the years have told me about my character.
Were you using your real voice for Velma?
No, I created a voice. It wasn't that far away but I created a voice.
Were you all recording at the same time in the same room?
I don't remember. The most recent time I think we all were at a table with mikes. When I auditioned I was in a booth.
Did the voice actors ever joke about the show and the characters—i.e. if Fred and Daphne were a secret item, if there was drug innuendo like so many people speculate, etc.?
No. I didn't care if they were an item.
Did you do any appearances for Scooby-Doo at the time?
I don't think so. I was busy. I don't know if they did. When I came back all those years later, the difference between Casey between any other star was that he knew was a star and he was treated like a star. Not a bad thing because he was famous.
Did you receive any fan letters while you were on the show?
Yes. I still receive fan letters and people asking for autographs.
Still have any of the 1970s ones today?
No, I threw them out. I wouldn't have kept them.
What did you do after you left the show?
I think I did a movie with Elvis Presley. I'm not sure if that came first. [NOTE: That came first.]
I realized on that movie that I did not like acting. I wasn't very good and wasn't interested in being good but I was interested in helping people that were good. Someone suggested I agent—[which I did] and I loved it.
What are you doing these days professionally? Still agenting?
I am. I work with music people, actors for movies, TV, and whatever they want to do. Not voice-overs. [clients have included Elijah Wood, Alicia Keys, Whitney Houston, John Travolta, Emma Thompson, Lauryn Hill, Melanie Griffiths, Cher, Patrick Swayze, Roseanne]
A few notes from a 1/13/96 article in The Independent (UK) that add to Nicole's background:
almost always on phonefive feet tall"one of Hollywood's most powerful"can influence how a script is writtenhigh school dropoutborn in Canadamet shoe salesman Arnold Rifkind, who had sharp business mind; combined with her understanding of actors, they formed small talent agency which was eventually bought by William Morris"both are now rich""I would not be good at having kids and I know having them would make me a worse agent. But the quality of mothering is used in every aspect of my work."
What do you like to do when not working?
I'm married. I like spending time with my husband. I like movies, reading, going for walks. I like working with Keep a Child Alive, a charity run by a wonderful woman that brings medicine to children with AIDS.
If you have children, how many/ages?
I do not have children.
Did you have any sense at the time that this show would have such staying power?
I didn't have any sense of what the show was. I'm happy that children love it so much.
Have you ever been interviewed about your Scooby-Doo work before?
I have, once, but I've never given such an honest interview [as this one]. [That first time] I think I wrote my answers.
Do you own any Scooby-Doo memorabilia (dolls, books, DVDs, etc.)?
I think I may have some of those animation cels. I think I've sold most of them for charity or given them to children.
screen shot from bonus material on
Scooby-Doo, Where Are You!: The Complete Series DVD
Do you have any of your original Scooby-Doo paperwork—scripts, your contract, letters from Hanna-Barbera, birthday cards from the cast, fan letters (from the 1970s), etc.?
Probably somewhere.
Do you have a continuing relationship with Warner Bros. re: Scooby-Doo? For example, have you been invited to the live action movie premieres, etc.?
I have really good relationships with Warner Brothers but not about Scooby-Doo.
Would you be open to appearing at a pop culture convention to meet fans and sign autographs?
Yes, I would. I think it'd be interesting; it'd be an education.
Have you been asked before?
I don't think so. If you go to a convention, bring me with you.
Next: Heather Kenney (North) (Daphne 2, beginning in season 2, 1970).
Introduction to subseries "Scooby-Doo, Where Are You!" (including list of interviewees).
What were you doing professionally before you were cast as Velma?I was doing You're a Good Man, Charlie Brown. The people from Hanna-Barbera—director Gordon Hunt—came to see the show. I must've sort of looked like the girl.
Did he approach you after the show?
Yes, he sort of said something after the show and then my agency called me and said he wanted to meet me. They showed me the drawings and gave me lines to read. They must have shown pictures of Velma. She looked like me enough that I could see why he wanted me to come in. He hired me.
What were you told and/or shown about the show before auditioning?
I don't know if you should write this. In those days, I wanted to be Daniel Day Lewis, Emma Thompson. I was not interested in being in voice-over. I needed to make a living and wasn't doing anything else at the moment. [With Scooby-Doo], I didn't think I was doing something iconic. It was like getting a soap opera when you wanted to be in a Scorsese film. I thought it was like a drive-by.
How old were you in 1969?
I don't remember but young. In Charlie Brown, I played Peppermint Patty. I could see afterward why [Hanna-Barbera] wanted me. I played Patty like a know-it-all, which I guess I am. That character is kind of like Velma. [But] she was sweeter than Velma.
Did you know any of the other voice actors on the show beforehand?
No. The only person I knew was Heather North, but neither of us had any idea what this would be like. Heather was more of a girl next door. She was a great girl. I assumed everyone would look like their character on some level. I don't even think I thought about the dog. I thought this was a stepping stone to paying my rent and I would go off and do greater things.
Did you socialize with them at the time?
Never. I don't know what voice people are like today but in those days, I thought they were kind of weird. Somebody of 40 was playing somebody of 20. Somebody was playing a dog. It wasn't like doing a movie when everybody bonds. Before the show, Heather was on Days of Our Lives. I don't know how we met. We shared an apartment on Crescent Heights. But I didn't consider her a voice person. I considered her a normal actress.
You were not living together when on the show?
I don't think so. Heather would remember.
Did you like the show?
I loved Mr. Barbera. He was very handsome. I loved Gordon Hunt. They were two really regular terrific people. They were very nice to us.
What about the show itself?
I don't really remember. I can tell you when I first really appreciated the show for real. I met Lauryn Hill (the singer) and she must've found out that I did that show and she was so impressed. She happens to be really smart. She was an amazing young woman. When she started saying how great the show was, I watched three or four episodes to figure out what she was talking about. That was many years [after I was on it]. I would say twenty years ago.
[When I was on it], I certainly didn't understand the things everybody [would talk] about later. I was not smart enough when I was young. I had no idea that I was stoned eating those snacks [refers to Scooby Snacks]. Not because I wasn't ever getting stoned. [But in general] this was not my life. I was in acting class with Lee Strasberg. I knew about great acting. I didn't know anything about voice actors. Heather is probably a better judge.
Do you have a favorite episode?
I don't.
Any funny anecdotes about working on the show that you've told to friends over the years?
One of the highlights was that they fed us. They gave us expensive cookies. This was an amazing thing. I had no money. I remember thinking they must be very rich. I remember how really good Casey Kasem and everybody was at their jobs. They changed from one voice to another in an amazing fashion.
Have you had interaction with them since the show ended?
I think all the original cast got called back to do a few more of the movies. That was maybe five years ago. That was the first time I saw anyone since the day we finished. That was very different this time. I was glad I didn't have to do it anymore. I could see that my voice had changed. It's lower now. I didn't do it anywhere near as well as I had done it before. I also noticed that I liked my character after Lauryn Hill said she liked my character. Other people over the years have told me about my character.
Were you using your real voice for Velma?
No, I created a voice. It wasn't that far away but I created a voice.
Were you all recording at the same time in the same room?
I don't remember. The most recent time I think we all were at a table with mikes. When I auditioned I was in a booth.
Did the voice actors ever joke about the show and the characters—i.e. if Fred and Daphne were a secret item, if there was drug innuendo like so many people speculate, etc.?
No. I didn't care if they were an item.
Did you do any appearances for Scooby-Doo at the time?
I don't think so. I was busy. I don't know if they did. When I came back all those years later, the difference between Casey between any other star was that he knew was a star and he was treated like a star. Not a bad thing because he was famous.
Did you receive any fan letters while you were on the show?
Yes. I still receive fan letters and people asking for autographs.
Still have any of the 1970s ones today?
No, I threw them out. I wouldn't have kept them.
What did you do after you left the show?
I think I did a movie with Elvis Presley. I'm not sure if that came first. [NOTE: That came first.]
I realized on that movie that I did not like acting. I wasn't very good and wasn't interested in being good but I was interested in helping people that were good. Someone suggested I agent—[which I did] and I loved it.What are you doing these days professionally? Still agenting?
I am. I work with music people, actors for movies, TV, and whatever they want to do. Not voice-overs. [clients have included Elijah Wood, Alicia Keys, Whitney Houston, John Travolta, Emma Thompson, Lauryn Hill, Melanie Griffiths, Cher, Patrick Swayze, Roseanne]
A few notes from a 1/13/96 article in The Independent (UK) that add to Nicole's background:
almost always on phonefive feet tall"one of Hollywood's most powerful"can influence how a script is writtenhigh school dropoutborn in Canadamet shoe salesman Arnold Rifkind, who had sharp business mind; combined with her understanding of actors, they formed small talent agency which was eventually bought by William Morris"both are now rich""I would not be good at having kids and I know having them would make me a worse agent. But the quality of mothering is used in every aspect of my work."
What do you like to do when not working?
I'm married. I like spending time with my husband. I like movies, reading, going for walks. I like working with Keep a Child Alive, a charity run by a wonderful woman that brings medicine to children with AIDS.
If you have children, how many/ages?I do not have children.
Did you have any sense at the time that this show would have such staying power?
I didn't have any sense of what the show was. I'm happy that children love it so much.
Have you ever been interviewed about your Scooby-Doo work before?
I have, once, but I've never given such an honest interview [as this one]. [That first time] I think I wrote my answers.
Do you own any Scooby-Doo memorabilia (dolls, books, DVDs, etc.)?
I think I may have some of those animation cels. I think I've sold most of them for charity or given them to children.
screen shot from bonus material on Scooby-Doo, Where Are You!: The Complete Series DVD
Do you have any of your original Scooby-Doo paperwork—scripts, your contract, letters from Hanna-Barbera, birthday cards from the cast, fan letters (from the 1970s), etc.?
Probably somewhere.
Do you have a continuing relationship with Warner Bros. re: Scooby-Doo? For example, have you been invited to the live action movie premieres, etc.?
I have really good relationships with Warner Brothers but not about Scooby-Doo.
Would you be open to appearing at a pop culture convention to meet fans and sign autographs?
Yes, I would. I think it'd be interesting; it'd be an education.
Have you been asked before?
I don't think so. If you go to a convention, bring me with you.
Next: Heather Kenney (North) (Daphne 2, beginning in season 2, 1970).
October 9, 2011
Super '70s and '80s: "Scooby-Doo, Where Are You!"—Rose Marie Mook and Nick Mook, widow and son of theme co-writer David Mook
Introduction to series "Super '70s and '80s."
Introduction to subseries "Scooby-Doo, Where Are You!" (including list of interviewees).
[NOTE: "Mook" rhymes with "book."]
Rose Marie Mook:
Tell me about David.
He was born in Brooklyn. He was very well educated. He went to the best schools. He loved music from when he was young. When he graduated from NYU, he decided to go into music. He was going to be an English teacher but he visited his cousins from Austria who founded the [music] company Hill and Range in New York City. They loved country-western music.
One day around 1961 David walked up there, said I'm looking for work, and I'd love to learn. So they hired him. They were really the best in the business. They were famous, doing things that no one else did. They also signed Phil Spector, Burt Bacharach, many others. He was responsible for "Little Songs that Teach," a book and record. When he passed away I had to renew the copyright to Scooby-Doo. When a composer passes away the next in line, which was myself, has to renew the copyright. He also produced The Banana Splits.
When was he born?
April 15, 1936.
How did he become involved with Scooby-Doo?
He did a lot of projects for Hanna-Barbera. We moved out here. He opened a music company, a California office of A. Schroeder. He started circulating, meeting the music people out here. Hanna-Barbera had this idea to do a cartoon show about a dog whose name was going to be Scooby. They called David and said we need a song and you're going to write it with Ben Raleigh, one of their freelance songwriters. We need an opening song. It's gotta be catchy.
Ben lived in Palm Springs at the time. So David called him and said they want us to write this song together. He said it's just a trial but we've got to give them something. He drove to Palm Springs on a Tuesday. They write the song, David brings it back, presents it to Hanna-Barbera, and they loved it. And the rest is history.
How do you remember it was a Tuesday?
Everything good that's ever happened in my life has happened on a Tuesday.
Did Hanna-Barbera give David any visuals first?
Oh yeah. They called him over there. They showed him the diagram of the dog, went over the format.
Did David and Ben already know each other?
Yes, from New York and out here. They had met.
They wrote the song in a day?
In one day. David left early in the morning and was back that evening.
Did he perform it for you that night?
He sang the catchy tune to it.
David and Rose Marie Mook 1976
Did one write the music and one write the lyrics?
David wrote the lyrics and Ben wrote the music.
Did I read somewhere that they wrote the song the week the show was supposed to air?
Yes, it was very fast. [NOTE: Assuming Rose Marie is correct about David and Ben meeting on a Tuesday and the song being fast-tracked, and knowing that Scooby debuted on Saturday, September 13, 1969, this means we can pinpoint the exact date on which the Scooby theme was created: September 9, 1969. Those who know me know how much I love when an event can be triangulated like that.]
Do you remember watching it for the first time on TV?
Oh yeah. When they did the films a few years ago, they invited me to the premiere. I was so disappointed with what they did with the dog. He looked so devilish. David would've had a fit. In the cartoons he's still adorable. Have you seen 127 Hours? My Scooby's in that. I was thrilled that it was in there and the way that it was incorporated.
What instruments did David play?
Guitar, drums, and piano.
How many children do you have?
Two sons.
Were either born before Scooby-Doo debuted?
My older was born in 1967. He always watched.
Was this something special for David or just another job at first?
He never looked at anything as just another job. Everything he did was special. This is going to be weird for you but you know Charles Manson?
Yes.
Manson walked into my husband's office peddling some demos he had! This was before all that happened. David looked at him and thought "This is a very strange person. I've got to get him out of my office." David said he'd always listen to anybody's material.
How soon after that did the horrible things happen with Manson?
About a year [after], I think.
Did David right away make the connection when the news broke about Manson?
Oh yes. He couldn't believe it.
Did David ever say anything specific about the inspiration for the Scooby-Doo lyrics?
No. He knew the format and they just wrote.
What did writing the Scooby-Doo theme do for David's career?
It did a lot. It boosted his career as a writer. But at the same time he had his own publishing company. He was independent so he was able to submit music to motion picture companies. His pride and joy was Randy Newman, who he discovered out of UCLA. When David came out here, he was looking for a doctor. Everyone in the business recommended a Dr. Newman. So David went to see him. Randy was still going to school at UCLA. David told Dr. Newman what he did and Dr. Newman said "My son is a genius, been composing since he was four years old, and if you don't mind we'd love you to listen to his tapes." David heard the music and loved it and signed him as an in-house writer.
David sent one of Randy's songs to the Beatles called "Simon Smith and the Amazing Dancing Bear." And they recorded it. And that's what broke Randy Newman into being a big star. It was on one of their hit albums. [NOTE: I found record of multiple artists covering the song, but not the Beatles. Rose Marie felt certain they had, so perhaps it's actually an unreleased demo?]
Did he receive a flat fee or royalty for the Scooby-Doo theme?
Royalties for life.
Was that standard in the business then?
Yes, and it still is.
How does that exactly work? The song must run many times a day around the world…
It used to be a lot more. Now it gets picked up for different projects like commercials, movies. BMI keeps track of every time it airs. I'm very popular with them. David was a BMI writer. They have their sources on everything that's played.
Was that song the most lucrative song that David worked on?
Yes, because it was completely his.
Shared with Ben, I presume?
50-50.
Any funny Scooby-Doo anecdotes, like how someone reacted when they learned David co-wrote the theme?
Everybody said "I grew up with that song!"
How did David react to people being so excited?
He was happy, he was cool. He was happy that it became a copyright for his family.
What do his kids think of that aspect of their dad?
My younger son works for a lot of people in the music business. Every time they hear "Mook," they say was your dad David Mook? He was a great music man. He was a great writer and knew great talent.
Do you have grandchildren?
I have two granddaughters, one eight and one ten.
Are they Scooby-Doo fans?
They like it but they don't watch it. Our 10-year-old likes iCarly. And the little one doesn't like music at all.
David Mook 1994
When and how did David die?
He passed away in 1996. He was sick for five years with cancer.
What do you do for a living?
I'm a makeup artist. Presently I work in a salon and also do freelance.
Did David stay in touch with Ben Raleigh?
They would speak through the years. And whenever something [business-related] came up they would speak. Ben died three months after David did.
Are you in touch with the Raleigh family?
No. I never knew his widow. Ben was quite a bit older than my husband. His widow did sell her part of the catalog to Music Sales in New York. They came calling at my door and I said no, never, because that's one thing David always said: "Never sell your copyright." I'm the one that has final say on every project.
In touch with anyone else associated with Scooby-Doo?
Hanna-Barbera. Everybody at Warner/Chappell. They're all my friends over there. Susan De Christofaro is a very good friend.
Do you have any Scooby-Doo memorabilia?
Not really. I have a couple of fun things—the dog on my desk. It's not a stuffed animal. It's kind of metal.
What about any notes, lyrics, etc., of David's?
I don't have anything on paper. I have it on CDs. I have the first time he sang the song on cassette. I have it put away somewhere. I think it was the one they presented. He kept a copy. They used to make a lot of copies.
Was David ever interviewed about Scooby-Doo?
I don't think he was.
What did you think when you heard why I was contacting you?
I didn't know what this was going to be about. I'm happy to interview. It was a year after David passed away when Scooby started to really come forward and become big. I got a lot of calls for commercials, films.
I wish he was here to see this. Thanks for doing this wonderful thing.
Nick Mook:
When do you recall learning that your dad had something to do with Scooby-Doo?
Probably not until 1975 [Nick was born in 1971]. I remember that he wrote it and sang it, not the business details. I remember him dancing around the living room, playing the bass guitar and singing it to me as a kid. I found it very funny and never took him seriously.
Meaning he said he was the one who wrote it and you didn't believe him?
I was a typical five year old. He used to sit in his underwear on Saturday mornings jamming with his bass guitar and amplifier, hitting the chords perfectly. Whenever the song came on, I'd yell from across the house for him to come and join in with me.
Was your brother involved?
He was around. But not jamming.
Were you a Scooby-Doo fan as a kid?
Big time. Hooked on it. I vividly remembering all the artist friends of my dad. I was one of the first latchkey kids and I would sit watching Scooby-Doo and other cartoons with a bowl of cereal.
How much of your fondness for Scooby-Doo came on your own and how much was related to your dad?
A good 80% was on my own. When they made the newer one in the '80s with Scrappy, it wasn't the same. I remember all my friends from elementary to high school, when I told them about my dad's involvement, everybody was just amazed by it.
Do you remember any anecdotes involving your friends when they found out your dad co-wrote the Scooby-Doo theme?
In high school, when I was out with my friends, making mischief, partying, I would bring it up and it would be the big thing.
Do you feel your dad got proper credit for this accomplishment?
Not at the time. I think after he passed away it really came, when they started making the movie. It's unfortunate that he was really never able to see it.
Do you think he recognized his own contribution to pop culture?
To some extent. That was one of his larger accomplishments in the industry. I think he would've been proud of the way it brought income in to support my mother.
So it was only with the movie that the income was more significant?
That's right.
What is your dad best remembered for professionally?
I would say this one is really up there. Some of the music themes on television. He worked with Jimi Hendrix to Linda Ronstadt to quite a few different artists, but this is really up there for him.
Was he proud of it?
Absolutely. I know he was.
Do you have any Scooby-Doo paraphernalia?
No. I'm not the type of guy that would keep stuff like that. Nothing inherited from my dad. Just his sense of humor. He had a big one.
What do your kid(s) think of Scooby-Doo and their grandfather's role in it?
She loves it. She thinks it's great. She brags about it to her friends. And they go crazy, these 9- and 10-year-old girls.
So she watches Scooby-Doo?
You know what, she hasn't. She knows the music. She saw the movie but she hasn't seen the original '70s series. She's not really into cartoons.
What do you do for a living?
I'm an arborist, a tree doctor. I work in high-end residential homes so I work with a lot of celebrities and the like. Beverly Hills, Bel Air, and the valley. I bump into a lot of people that my dad knew.
What did you think when you first heard why I was contacting you?
I thought it was great. I was surprised. I thought that it was a dying thing. I thought it was very interesting that you picked up on this. There were a lot of old guys that made a huge impact on the industry that never were discussed.
Do you have the Scooby-Doo theme on your iPod/iPhone?
Uh…actually, no I don't. But I don't need it. I've got it in my head. I'll have that for the rest of my life.
Next: Nicole David (Jaffe) (Velma 1, 1969-74).
Introduction to subseries "Scooby-Doo, Where Are You!" (including list of interviewees).
[NOTE: "Mook" rhymes with "book."]Rose Marie Mook:
Tell me about David.
He was born in Brooklyn. He was very well educated. He went to the best schools. He loved music from when he was young. When he graduated from NYU, he decided to go into music. He was going to be an English teacher but he visited his cousins from Austria who founded the [music] company Hill and Range in New York City. They loved country-western music.
One day around 1961 David walked up there, said I'm looking for work, and I'd love to learn. So they hired him. They were really the best in the business. They were famous, doing things that no one else did. They also signed Phil Spector, Burt Bacharach, many others. He was responsible for "Little Songs that Teach," a book and record. When he passed away I had to renew the copyright to Scooby-Doo. When a composer passes away the next in line, which was myself, has to renew the copyright. He also produced The Banana Splits.
When was he born?
April 15, 1936.
How did he become involved with Scooby-Doo?
He did a lot of projects for Hanna-Barbera. We moved out here. He opened a music company, a California office of A. Schroeder. He started circulating, meeting the music people out here. Hanna-Barbera had this idea to do a cartoon show about a dog whose name was going to be Scooby. They called David and said we need a song and you're going to write it with Ben Raleigh, one of their freelance songwriters. We need an opening song. It's gotta be catchy.
Ben lived in Palm Springs at the time. So David called him and said they want us to write this song together. He said it's just a trial but we've got to give them something. He drove to Palm Springs on a Tuesday. They write the song, David brings it back, presents it to Hanna-Barbera, and they loved it. And the rest is history.
How do you remember it was a Tuesday?
Everything good that's ever happened in my life has happened on a Tuesday.
Did Hanna-Barbera give David any visuals first?
Oh yeah. They called him over there. They showed him the diagram of the dog, went over the format.
Did David and Ben already know each other?
Yes, from New York and out here. They had met.
They wrote the song in a day?
In one day. David left early in the morning and was back that evening.
Did he perform it for you that night?
He sang the catchy tune to it.
David and Rose Marie Mook 1976Did one write the music and one write the lyrics?
David wrote the lyrics and Ben wrote the music.
Did I read somewhere that they wrote the song the week the show was supposed to air?
Yes, it was very fast. [NOTE: Assuming Rose Marie is correct about David and Ben meeting on a Tuesday and the song being fast-tracked, and knowing that Scooby debuted on Saturday, September 13, 1969, this means we can pinpoint the exact date on which the Scooby theme was created: September 9, 1969. Those who know me know how much I love when an event can be triangulated like that.]
Do you remember watching it for the first time on TV?
Oh yeah. When they did the films a few years ago, they invited me to the premiere. I was so disappointed with what they did with the dog. He looked so devilish. David would've had a fit. In the cartoons he's still adorable. Have you seen 127 Hours? My Scooby's in that. I was thrilled that it was in there and the way that it was incorporated.
What instruments did David play?
Guitar, drums, and piano.
How many children do you have?
Two sons.
Were either born before Scooby-Doo debuted?
My older was born in 1967. He always watched.
Was this something special for David or just another job at first?
He never looked at anything as just another job. Everything he did was special. This is going to be weird for you but you know Charles Manson?
Yes.
Manson walked into my husband's office peddling some demos he had! This was before all that happened. David looked at him and thought "This is a very strange person. I've got to get him out of my office." David said he'd always listen to anybody's material.
How soon after that did the horrible things happen with Manson?
About a year [after], I think.
Did David right away make the connection when the news broke about Manson?
Oh yes. He couldn't believe it.
Did David ever say anything specific about the inspiration for the Scooby-Doo lyrics?
No. He knew the format and they just wrote.
What did writing the Scooby-Doo theme do for David's career?
It did a lot. It boosted his career as a writer. But at the same time he had his own publishing company. He was independent so he was able to submit music to motion picture companies. His pride and joy was Randy Newman, who he discovered out of UCLA. When David came out here, he was looking for a doctor. Everyone in the business recommended a Dr. Newman. So David went to see him. Randy was still going to school at UCLA. David told Dr. Newman what he did and Dr. Newman said "My son is a genius, been composing since he was four years old, and if you don't mind we'd love you to listen to his tapes." David heard the music and loved it and signed him as an in-house writer.
David sent one of Randy's songs to the Beatles called "Simon Smith and the Amazing Dancing Bear." And they recorded it. And that's what broke Randy Newman into being a big star. It was on one of their hit albums. [NOTE: I found record of multiple artists covering the song, but not the Beatles. Rose Marie felt certain they had, so perhaps it's actually an unreleased demo?]
Did he receive a flat fee or royalty for the Scooby-Doo theme?
Royalties for life.
Was that standard in the business then?
Yes, and it still is.
How does that exactly work? The song must run many times a day around the world…
It used to be a lot more. Now it gets picked up for different projects like commercials, movies. BMI keeps track of every time it airs. I'm very popular with them. David was a BMI writer. They have their sources on everything that's played.
Was that song the most lucrative song that David worked on?
Yes, because it was completely his.
Shared with Ben, I presume?
50-50.
Any funny Scooby-Doo anecdotes, like how someone reacted when they learned David co-wrote the theme?
Everybody said "I grew up with that song!"
How did David react to people being so excited?
He was happy, he was cool. He was happy that it became a copyright for his family.
What do his kids think of that aspect of their dad?
My younger son works for a lot of people in the music business. Every time they hear "Mook," they say was your dad David Mook? He was a great music man. He was a great writer and knew great talent.
Do you have grandchildren?
I have two granddaughters, one eight and one ten.
Are they Scooby-Doo fans?
They like it but they don't watch it. Our 10-year-old likes iCarly. And the little one doesn't like music at all.
David Mook 1994When and how did David die?
He passed away in 1996. He was sick for five years with cancer.
What do you do for a living?
I'm a makeup artist. Presently I work in a salon and also do freelance.
Did David stay in touch with Ben Raleigh?
They would speak through the years. And whenever something [business-related] came up they would speak. Ben died three months after David did.
Are you in touch with the Raleigh family?
No. I never knew his widow. Ben was quite a bit older than my husband. His widow did sell her part of the catalog to Music Sales in New York. They came calling at my door and I said no, never, because that's one thing David always said: "Never sell your copyright." I'm the one that has final say on every project.
In touch with anyone else associated with Scooby-Doo?
Hanna-Barbera. Everybody at Warner/Chappell. They're all my friends over there. Susan De Christofaro is a very good friend.
Do you have any Scooby-Doo memorabilia?
Not really. I have a couple of fun things—the dog on my desk. It's not a stuffed animal. It's kind of metal.
What about any notes, lyrics, etc., of David's?
I don't have anything on paper. I have it on CDs. I have the first time he sang the song on cassette. I have it put away somewhere. I think it was the one they presented. He kept a copy. They used to make a lot of copies.
Was David ever interviewed about Scooby-Doo?
I don't think he was.
What did you think when you heard why I was contacting you?
I didn't know what this was going to be about. I'm happy to interview. It was a year after David passed away when Scooby started to really come forward and become big. I got a lot of calls for commercials, films.
I wish he was here to see this. Thanks for doing this wonderful thing.
Nick Mook:
When do you recall learning that your dad had something to do with Scooby-Doo?
Probably not until 1975 [Nick was born in 1971]. I remember that he wrote it and sang it, not the business details. I remember him dancing around the living room, playing the bass guitar and singing it to me as a kid. I found it very funny and never took him seriously.
Meaning he said he was the one who wrote it and you didn't believe him?
I was a typical five year old. He used to sit in his underwear on Saturday mornings jamming with his bass guitar and amplifier, hitting the chords perfectly. Whenever the song came on, I'd yell from across the house for him to come and join in with me.
Was your brother involved?
He was around. But not jamming.
Were you a Scooby-Doo fan as a kid?
Big time. Hooked on it. I vividly remembering all the artist friends of my dad. I was one of the first latchkey kids and I would sit watching Scooby-Doo and other cartoons with a bowl of cereal.
How much of your fondness for Scooby-Doo came on your own and how much was related to your dad?
A good 80% was on my own. When they made the newer one in the '80s with Scrappy, it wasn't the same. I remember all my friends from elementary to high school, when I told them about my dad's involvement, everybody was just amazed by it.
Do you remember any anecdotes involving your friends when they found out your dad co-wrote the Scooby-Doo theme?
In high school, when I was out with my friends, making mischief, partying, I would bring it up and it would be the big thing.
Do you feel your dad got proper credit for this accomplishment?
Not at the time. I think after he passed away it really came, when they started making the movie. It's unfortunate that he was really never able to see it.
Do you think he recognized his own contribution to pop culture?
To some extent. That was one of his larger accomplishments in the industry. I think he would've been proud of the way it brought income in to support my mother.
So it was only with the movie that the income was more significant?
That's right.
What is your dad best remembered for professionally?
I would say this one is really up there. Some of the music themes on television. He worked with Jimi Hendrix to Linda Ronstadt to quite a few different artists, but this is really up there for him.
Was he proud of it?
Absolutely. I know he was.
Do you have any Scooby-Doo paraphernalia?
No. I'm not the type of guy that would keep stuff like that. Nothing inherited from my dad. Just his sense of humor. He had a big one.
What do your kid(s) think of Scooby-Doo and their grandfather's role in it?
She loves it. She thinks it's great. She brags about it to her friends. And they go crazy, these 9- and 10-year-old girls.
So she watches Scooby-Doo?
You know what, she hasn't. She knows the music. She saw the movie but she hasn't seen the original '70s series. She's not really into cartoons.
What do you do for a living?
I'm an arborist, a tree doctor. I work in high-end residential homes so I work with a lot of celebrities and the like. Beverly Hills, Bel Air, and the valley. I bump into a lot of people that my dad knew.
What did you think when you first heard why I was contacting you?
I thought it was great. I was surprised. I thought that it was a dying thing. I thought it was very interesting that you picked up on this. There were a lot of old guys that made a huge impact on the industry that never were discussed.
Do you have the Scooby-Doo theme on your iPod/iPhone?
Uh…actually, no I don't. But I don't need it. I've got it in my head. I'll have that for the rest of my life.
Next: Nicole David (Jaffe) (Velma 1, 1969-74).
October 8, 2011
Super '70s and '80s: "Scooby-Doo, Where Are You!"—Danny Janssen, producer
Introduction to series "Super '70s and '80s."
Introduction to subseries "Scooby-Doo, Where Are You!" (including list of interviewees).
What's your background?
I come from a family of ten children. I don't remember my parents arguing a single time. I've buried most of my family. There are four left. I'm the youngest. The oldest has been dead for years. If she was alive, she'd been 95. My oldest brother is 93 years old. He's still alive. They left me with all kinds of wonderful, warm memories.
My background is quite different than anyone you've run into. I'd compare myself to Clive Davis or Billy Rose. He was a business guy who did music. In 1971, I made $11 million dollars and only $1.5 million of it was from music.
I was a master teacher in Chicago and California, which means I taught other people to teach. That's as high as you can go without being a principal. The last year I was teaching school I was paying far more in taxes than I was earning.
I was a really good athlete. I was asked to play pro football in Canada. I'm too small for that.
We did 14 [TV] series. There was a time when I believe we were number one in all four time slots [on Saturday morning] and then we went on to do The Partridge Family, which was number one for five consecutive years. I have an honorary doctorate and it was given to me for some of the work that we're talking about but other work, too.
What was your role on Scooby-Doo?
We wrote all the songs and produced them. I was the head producer.
1973 (from BMI Magazine)
How old were you at the time?
I was in my twenties. I think 27.
What was your business besides music?
A partner and I owned 23,000 acres of land in California.
How did you get involved with Scooby?
They asked me do the show. I wrote things like [sings] "C'mon, Get Happy" [for The Partridge Family]. You know it. There was a show called Josie and the Pussycats. I interviewed 68 girls and I picked three of them to be the main ones. One was Patrice Holloway; she [co-]wrote [sings] "You've Made Me So Very Happy." She was black. And no one had ever used a black person [for animation]. My dad was a minister. I was taught everybody is equal. I didn't notice she was black. She was the best singer. Another girl picked by me you know as Cheryl Ladd. The third singer was operatic. Austin [Roberts] would know her name. He paid more attention to the women. [laughs]
When I picked Patrice, Hanna and Barbera called me down to the office. I didn't need the money. I was a multi-millionaire before I walked in there. I was in my twenties. I might have had more money than either of them. They said good news and bad news: We're going do the show but we can't use Patrice because she's black. I said I can't do that because it's against my religion. I can't tell her Patrice she can't do it because she's black. About three weeks later they called me down. I said, "You got a new show?" They said, "No, we're going do Josie and the Pussycats." I said, "Don't do that to me. I won't do it unless Patrice does it. Just paint the storyboard black."
Did Patrice know what you did on her behalf?
Obviously, they were all there. I'm the one who didn't realize what I was doing. I was just doing my job.
I mean did she know you threatened to walk off the project unless they hired her?
I don't think Patrice knew I refused to work on the show unless she was hired. [Back to Scooby-Doo], I came down to do the first segment of Josie and I couldn't get a place to park more than 2-3 blocks from the studio. I go in there and Elvis and all these others had sent over their bands. And the guy who was the fifth Beatle. Billy Preston. [NOTE: I didn't get the connection between this last anecdote and the Josie story, but I left it in because it's cool in and of itself.]
They liked Josie so much they wanted to do Scooby-Doo.
When we did Scooby, my friend who became the president of the union Local 44—we grew up together—he said I got a kid I want you to meet. His name's Austin Roberts. He said Austin has a good commercial voice. He ended up singing the theme. Austin and I kind of rewrote that whole song for them. I don't want to make fun of them but Hoyt Curtin and those guys wrote it. [NOTE: The songwriters of the original theme were David Mook and Ben Raleigh, though Hoyt Curtin wrote other Hanna-Barbera themes, including a later Scooby-Doo one.] It was a little flat. We were more commercial writers and gave that to them.
What did you think about the concept?
I enjoyed Scooby. I brought Austin in. I enjoyed children. The only thing I didn't like—the dog. I wanted a more talkative dog. They had a bird that gets killed in the segment. I said let the bird go on. That became the Road Runner. [NOTE: I didn't get the bird reference and Road Runner debuted in 1949; perhaps he was mixing up stories?]
You know why I did Scooby-Doo? You'll never guess.
Why?
I had an awful lot of fun teaching kids. When I was going to leave teaching, 40 years ago, the principal of my school said I should also be a principal. I said I can't. He said, "Will you promise me you won't forget the children? You're so good with them." Every year ever since, I've done something for kids including series like Josie and the Pussycats and Scooby-Doo and The Partridge Family.
Do you have children?
I never could have children because I got hurt playing football. People [would say], "That must be great having all those gold records." But then people said, "What are you doing for Christmas?"
What were [Scooby-Doo theme co-writers] David Mook and Ben Raleigh like?
Who was David Mook? I've heard the name David Mook, maybe from Austin. [NOTE: I told Danny who they were and he didn't remember them but most likely because their paths never crossed; David and Ben had written the song before Danny became involved with the show.]
Did you also work with Larry Marks [who sang the theme for the first season]?
I don't know Larry Marks.
Why was the theme rerecorded for season 2?
We were better. I don't remember Larry Marks. I'm sure he's a nice guy. I always thought the year we came there was the first year they did it, until you just said it. Part of it's just my attitude. You got to believe in yourself. [NOTE: He then clarified that he means no disrespect to Larry Marks, whose version of the theme he was not familiar with.]
Did you have a favorite of those songs?
Not honestly, no. I have 478 songs out there. It's hard for me to remember.
What are you doing these days?
It's hard for me to explain to you in a minute or two so I won't really try, but there's been an industry trying to be built for the last 12 years and I've been watching it. It involves holograms and billboards. They asked me to help them build this Canadian corporation and I said I will if I can stay home. Once in a while I'll go down to the studio. We do experimental things at malls. They do digital signage in the malls and the advertisers are concerned because they want guarantees of the exposure they'll get a month.
So it's a digital way to track or count customers in a mall?
Not track them. Not count them.
I'm not clear on just what you mean. Can you say what industry?
I don't care to. I can tell you [when] we're far enough along. The only people right now who can compete with us are guys like Steven Spielberg and he's not looking to do it. I told [my business partners] I'd help build this company if they'd just leave me alone. [laughs]
I take care of a gal, Sheri, who used to be married to a guy in Supertramp. I traveled for almost two years with her husband. He was divorced from Sheri. They'd married way too young, at 17. They had a cute little boy. Now he looks Tom Cruise. The boy really liked me. He'd been living with his dad. He wanted me to meet his mother. I said alright. In 1992, at the restaurant at the Plaza Hotel in Los Angeles, right when I was [walking to her table] to meet her, and I don't remember this, I went into a coma for 11 days. It was a full-fledged heart attack. I actually died. Sheri got a fireman and policeman to give me mouth-to-mouth because 911 couldn't get there in time. She saved me. She came to the hospital every day. She took care of me. She paid my bills. [Then] she came down with multiple sclerosis. We spent $40,000 to redo a room in my house for her. I've taken care of her for [the past] 18 years. She's 58 now. She's been bedridden for 6 years. She can't walk anymore. She's a friend, not my wife.
[NOTE: We had a side talk about this in which I said how touching I found both of their actions.]
What was your reaction when you heard why I was contacting you?
I didn't think anything. Scooby-Doo to me is like playing football when I was a kid. I enjoyed it [but it was not a defining moment for me]. Our beach house was in the middle of [homes of] Ryan O'Neal, Bob Dylan, others. My ex-wife used to throw parties [when I got] gold records. There'd be over 100 people there. She was well-liked. [Meanwhile] I'd be in the back room working on something else. I was never a social guy. I got a letter from Lastrada [Entertainment] about you. Sometimes it takes me a year to get to things. [NOTE: Lastrada was one of the companies I had contacted to try to reach Danny, though ultimately I got to him another way.]
Have you been contacted before for an interview about Scooby?
No. My biggest fear is you say something to somebody and it comes in backwards. Somebody wrote I was the first to bring blacks into animation. But I wasn't a fighter. I liked Hanna and Barbera. I just had a different philosophy of life.
Have you heard from Scooby fans?
People occasionally want me to meet their kids for having done Scooby. When I got the honorary doctorate…I hate giving a speech. I look in the mirror and say, "Did you do all those things?" Truth: I didn't do any of them. God did them through me.
From which university did you receive the doctorate?
One of the Concordias. In St. Paul, Minnesota. I spoke at the graduation in 1995 [May 27]. When I [was a student] there, it was just a small school. I went there for junior college. I went on to another school. I wanted to learn music.
Do you have any personal notes, letters, contract, etc. related to your Scooby work?
My next statement is going to come back to haunt me. [Scooby-Doo] just wasn't a big enough deal to me. I did it because I loved kids. I never realized they'd be sending me money 41 years later. I'm sure there's stuff out in the garage. All kinds of articles.
Are you still in touch with any of the people you worked with in music in the early 1970s, like Patrice Holloway or the Partridge Family cast?
Not even with Austin Roberts and I gave him his first gold record. [laughs] But he calls me and I return his calls.
How are you feeling these days?
My heart stopped and I died in 1992. I have an enlarged heart. My religion would not let me get a heart transplant or take any medication. The last operation I had was on January 10, 2000. Most people didn't make it through the operation but I'm still here. I exercise every day.
[I asked for a "then" and "now" photo and later, after he'd sent them, he said the following]
I never let anyone take a picture of me. There's a personal reason for that. I was brought up with a lot of Mafia guys. I didn't want them to know what I was doing. When a friend heard I was sending you photos, he said "Boy, have you changed!"
Danny Janssen now
Anything you'd like to add?
In 1970, Bobby Engemann—[onetime] lead singer of The Letterman and one of the nicest guys I ever met—said I was one of a group of only 10 people who had written more than one gold record by himself. It's been a really fun life. A line I wrote for the closing of a Christmas show was the most meaningful thing I ever wrote: "I wish people all around the world would have as much as me."
Next: Rose Marie Mook and Nick Mook, widow and son of theme co-writer David Mook.
Introduction to subseries "Scooby-Doo, Where Are You!" (including list of interviewees).
What's your background?I come from a family of ten children. I don't remember my parents arguing a single time. I've buried most of my family. There are four left. I'm the youngest. The oldest has been dead for years. If she was alive, she'd been 95. My oldest brother is 93 years old. He's still alive. They left me with all kinds of wonderful, warm memories.
My background is quite different than anyone you've run into. I'd compare myself to Clive Davis or Billy Rose. He was a business guy who did music. In 1971, I made $11 million dollars and only $1.5 million of it was from music.
I was a master teacher in Chicago and California, which means I taught other people to teach. That's as high as you can go without being a principal. The last year I was teaching school I was paying far more in taxes than I was earning.
I was a really good athlete. I was asked to play pro football in Canada. I'm too small for that.
We did 14 [TV] series. There was a time when I believe we were number one in all four time slots [on Saturday morning] and then we went on to do The Partridge Family, which was number one for five consecutive years. I have an honorary doctorate and it was given to me for some of the work that we're talking about but other work, too.
What was your role on Scooby-Doo?
We wrote all the songs and produced them. I was the head producer.
1973 (from BMI Magazine)How old were you at the time?
I was in my twenties. I think 27.
What was your business besides music?
A partner and I owned 23,000 acres of land in California.
How did you get involved with Scooby?
They asked me do the show. I wrote things like [sings] "C'mon, Get Happy" [for The Partridge Family]. You know it. There was a show called Josie and the Pussycats. I interviewed 68 girls and I picked three of them to be the main ones. One was Patrice Holloway; she [co-]wrote [sings] "You've Made Me So Very Happy." She was black. And no one had ever used a black person [for animation]. My dad was a minister. I was taught everybody is equal. I didn't notice she was black. She was the best singer. Another girl picked by me you know as Cheryl Ladd. The third singer was operatic. Austin [Roberts] would know her name. He paid more attention to the women. [laughs]
When I picked Patrice, Hanna and Barbera called me down to the office. I didn't need the money. I was a multi-millionaire before I walked in there. I was in my twenties. I might have had more money than either of them. They said good news and bad news: We're going do the show but we can't use Patrice because she's black. I said I can't do that because it's against my religion. I can't tell her Patrice she can't do it because she's black. About three weeks later they called me down. I said, "You got a new show?" They said, "No, we're going do Josie and the Pussycats." I said, "Don't do that to me. I won't do it unless Patrice does it. Just paint the storyboard black."
Did Patrice know what you did on her behalf?
Obviously, they were all there. I'm the one who didn't realize what I was doing. I was just doing my job.
I mean did she know you threatened to walk off the project unless they hired her?
I don't think Patrice knew I refused to work on the show unless she was hired. [Back to Scooby-Doo], I came down to do the first segment of Josie and I couldn't get a place to park more than 2-3 blocks from the studio. I go in there and Elvis and all these others had sent over their bands. And the guy who was the fifth Beatle. Billy Preston. [NOTE: I didn't get the connection between this last anecdote and the Josie story, but I left it in because it's cool in and of itself.]
They liked Josie so much they wanted to do Scooby-Doo.
When we did Scooby, my friend who became the president of the union Local 44—we grew up together—he said I got a kid I want you to meet. His name's Austin Roberts. He said Austin has a good commercial voice. He ended up singing the theme. Austin and I kind of rewrote that whole song for them. I don't want to make fun of them but Hoyt Curtin and those guys wrote it. [NOTE: The songwriters of the original theme were David Mook and Ben Raleigh, though Hoyt Curtin wrote other Hanna-Barbera themes, including a later Scooby-Doo one.] It was a little flat. We were more commercial writers and gave that to them.
What did you think about the concept?
I enjoyed Scooby. I brought Austin in. I enjoyed children. The only thing I didn't like—the dog. I wanted a more talkative dog. They had a bird that gets killed in the segment. I said let the bird go on. That became the Road Runner. [NOTE: I didn't get the bird reference and Road Runner debuted in 1949; perhaps he was mixing up stories?]
You know why I did Scooby-Doo? You'll never guess.
Why?
I had an awful lot of fun teaching kids. When I was going to leave teaching, 40 years ago, the principal of my school said I should also be a principal. I said I can't. He said, "Will you promise me you won't forget the children? You're so good with them." Every year ever since, I've done something for kids including series like Josie and the Pussycats and Scooby-Doo and The Partridge Family.
Do you have children?
I never could have children because I got hurt playing football. People [would say], "That must be great having all those gold records." But then people said, "What are you doing for Christmas?"
What were [Scooby-Doo theme co-writers] David Mook and Ben Raleigh like?
Who was David Mook? I've heard the name David Mook, maybe from Austin. [NOTE: I told Danny who they were and he didn't remember them but most likely because their paths never crossed; David and Ben had written the song before Danny became involved with the show.]
Did you also work with Larry Marks [who sang the theme for the first season]?
I don't know Larry Marks.
Why was the theme rerecorded for season 2?
We were better. I don't remember Larry Marks. I'm sure he's a nice guy. I always thought the year we came there was the first year they did it, until you just said it. Part of it's just my attitude. You got to believe in yourself. [NOTE: He then clarified that he means no disrespect to Larry Marks, whose version of the theme he was not familiar with.]
Did you have a favorite of those songs?
Not honestly, no. I have 478 songs out there. It's hard for me to remember.
What are you doing these days?
It's hard for me to explain to you in a minute or two so I won't really try, but there's been an industry trying to be built for the last 12 years and I've been watching it. It involves holograms and billboards. They asked me to help them build this Canadian corporation and I said I will if I can stay home. Once in a while I'll go down to the studio. We do experimental things at malls. They do digital signage in the malls and the advertisers are concerned because they want guarantees of the exposure they'll get a month.
So it's a digital way to track or count customers in a mall?
Not track them. Not count them.
I'm not clear on just what you mean. Can you say what industry?
I don't care to. I can tell you [when] we're far enough along. The only people right now who can compete with us are guys like Steven Spielberg and he's not looking to do it. I told [my business partners] I'd help build this company if they'd just leave me alone. [laughs]
I take care of a gal, Sheri, who used to be married to a guy in Supertramp. I traveled for almost two years with her husband. He was divorced from Sheri. They'd married way too young, at 17. They had a cute little boy. Now he looks Tom Cruise. The boy really liked me. He'd been living with his dad. He wanted me to meet his mother. I said alright. In 1992, at the restaurant at the Plaza Hotel in Los Angeles, right when I was [walking to her table] to meet her, and I don't remember this, I went into a coma for 11 days. It was a full-fledged heart attack. I actually died. Sheri got a fireman and policeman to give me mouth-to-mouth because 911 couldn't get there in time. She saved me. She came to the hospital every day. She took care of me. She paid my bills. [Then] she came down with multiple sclerosis. We spent $40,000 to redo a room in my house for her. I've taken care of her for [the past] 18 years. She's 58 now. She's been bedridden for 6 years. She can't walk anymore. She's a friend, not my wife.
[NOTE: We had a side talk about this in which I said how touching I found both of their actions.]
What was your reaction when you heard why I was contacting you?
I didn't think anything. Scooby-Doo to me is like playing football when I was a kid. I enjoyed it [but it was not a defining moment for me]. Our beach house was in the middle of [homes of] Ryan O'Neal, Bob Dylan, others. My ex-wife used to throw parties [when I got] gold records. There'd be over 100 people there. She was well-liked. [Meanwhile] I'd be in the back room working on something else. I was never a social guy. I got a letter from Lastrada [Entertainment] about you. Sometimes it takes me a year to get to things. [NOTE: Lastrada was one of the companies I had contacted to try to reach Danny, though ultimately I got to him another way.]
Have you been contacted before for an interview about Scooby?
No. My biggest fear is you say something to somebody and it comes in backwards. Somebody wrote I was the first to bring blacks into animation. But I wasn't a fighter. I liked Hanna and Barbera. I just had a different philosophy of life.
Have you heard from Scooby fans?
People occasionally want me to meet their kids for having done Scooby. When I got the honorary doctorate…I hate giving a speech. I look in the mirror and say, "Did you do all those things?" Truth: I didn't do any of them. God did them through me.
From which university did you receive the doctorate?
One of the Concordias. In St. Paul, Minnesota. I spoke at the graduation in 1995 [May 27]. When I [was a student] there, it was just a small school. I went there for junior college. I went on to another school. I wanted to learn music.
Do you have any personal notes, letters, contract, etc. related to your Scooby work?My next statement is going to come back to haunt me. [Scooby-Doo] just wasn't a big enough deal to me. I did it because I loved kids. I never realized they'd be sending me money 41 years later. I'm sure there's stuff out in the garage. All kinds of articles.
Are you still in touch with any of the people you worked with in music in the early 1970s, like Patrice Holloway or the Partridge Family cast?
Not even with Austin Roberts and I gave him his first gold record. [laughs] But he calls me and I return his calls.
How are you feeling these days?
My heart stopped and I died in 1992. I have an enlarged heart. My religion would not let me get a heart transplant or take any medication. The last operation I had was on January 10, 2000. Most people didn't make it through the operation but I'm still here. I exercise every day.
[I asked for a "then" and "now" photo and later, after he'd sent them, he said the following]
I never let anyone take a picture of me. There's a personal reason for that. I was brought up with a lot of Mafia guys. I didn't want them to know what I was doing. When a friend heard I was sending you photos, he said "Boy, have you changed!"
Danny Janssen nowAnything you'd like to add?
In 1970, Bobby Engemann—[onetime] lead singer of The Letterman and one of the nicest guys I ever met—said I was one of a group of only 10 people who had written more than one gold record by himself. It's been a really fun life. A line I wrote for the closing of a Christmas show was the most meaningful thing I ever wrote: "I wish people all around the world would have as much as me."
Next: Rose Marie Mook and Nick Mook, widow and son of theme co-writer David Mook.
October 7, 2011
Super '70s and '80s: "Scooby-Doo, Where Are You!"—Austin Roberts, theme song and "chase songs" singer, season 2
Introduction to series "Super '70s and '80s."
Introduction to subseries "Scooby-Doo, Where Are You!" (including list of interviewees).
What's your professional background?
I started working as a writer for ABC Music in 1968 in New York. I'd gotten a writing gig on R&R from the Marine Corps. I got a singing gig about three months after that.
Had you intended to go into music after your service?
Yes, I'd been messing with music since high school, since I was 14.
What were you doing in 1970 before the Scooby call came?
I was living in Los Angeles and writing for anyone that would take songs. I think I was with Screen Gems for a little while. I was learning the business more than anything.
How did you get involved with Scooby?
A friend of mine that I'd met out there, Danny Janssen, asked me if I would sing in [the actor] Kurt Russell's ear. Kurt—another great guy—had gotten a deal with Capitol and they cut a song of mine with him. They hired me do the album with him.
Austin Roberts 1970s
What do you mean by "sing in his ear"?
So he could follow me and sing the melody line.
Quietly guiding him?
Yes. Anyway, after that, the people at Hanna-Barbera liked what Danny was doing. They asked if he would write for and produce this new cartoon. Danny said, "You'd be great for this." I said sure, it'd be fun. Most anything [musically] I could do, I wanted to do. I think we started the vocals in 1969, but the stuff didn't come out till 1970.
Before singing the theme, had you seen the show?
I hadn't seen it. They just told me about it. We just did the theme and some of the songs he'd written and a couple I'd written.
Do you remember the songs you wrote?
The one that did the best was "Pretty Mary Sunlite." Jerry Reed did it.
Were you told about the show to help you perform the theme, or didn't it matter?
They did tell me and it did help. I'm not an actor but any singer kind of acts a little bit when they're singing.
How did the recordings go?
We cut about ten things plus the theme. There were several sessions. They went real well, real smooth. Danny was really easy to work with. We became close friends. Kurt came around some because all the pretty girls were auditioning for Josie and the Pussycats. Cheryl Ladd was one of them.
Are you still in touch with Kurt?
I was for a while and then I moved. I think he lost my number. He keeps in touch with me through Danny. I once saw him on TV telling the story about me singing in his ear.
Do you did meet [Scooby-Doo theme co-writers] David Mook and Ben Raleigh?
I didn't know Ben but I knew David. He was a talented guy. These people were very friendly. It was an eye opener after all I've heard about the music business.
Was there ever talk of releasing the song as single?
There was some talk. They were thinking of releasing "Seven Days a Week" and I think the theme song as well. Hanna-Barbera owned everything. It's hard to say what happened. It [would have been] fine with me if they wanted to release it.
Did you have a favorite of those songs?
I guess "Pretty Mary Sunlite." The most melodic thing I'd written. Danny and I rewrote it.
Were you paid a flat fee or royalty?
For the songs I wrote I got royalties each quarter. I still do sometimes. The songs I just sang, they went through AFTRA so I got paid the first time I sang them plus every time they played on TV. It worked out well in the long run because the show's been on so long.
Do you remember if you watched the first episode?
I did, as a matter of fact. I was tickled with it. I've been to a couple of hospitals in Nashville and Charlotte to see sick kids and I take them Scooby-Doo dolls. I was there because I was involved with Scooby-Doo. Everyone knew Scooby-Doo, like the circus. I did it then [when the show was new] and up until about three years ago. I had open heart surgery about a year ago.
Were the hospital visits something you did on your own or were you asked?
I was asked. Once I volunteered when they asked for singers to go to hospitals. It went over real well. I sang them Scooby-Doo. Gave the stuffed dog. It was pretty moving.
Was that covered by the press?
No, we were trying not to. We wanted to just keep it in the hospitals. [To announce it to the press] would've been headline-grabbing to me.
What did you think of the show when you first saw it?
I really liked it. I'm a kid anyway.
Do you remember who you watched it with the first time?
I don't. I was thinking it might've been my ex-wife, but we weren't married in 1971 [a year after Austin's theme debuted on the show] and divorced in 1999.
So you were young and single at the time?
Yeah.
Did the song have any impact on your dating life?
It did. Some of the girls who auditioned for Josie and the Pussycats. We had guys hanging by the rafters there, stuffed into corners. They were some beauties.
How many kids do you have?
Three. All in this area but none in the music business. Two grandchildren.
What do your children think of your connection to pop culture history?
They get a kick out of it.
Any stories about your kids growing up and friends learning their dad sang the Scooby theme?
A lot of times when their friends were over at the house they'd try to get me to sing the theme. At my older daughter's wedding, they got me to. The frat her fiancé belonged to at Ole Miss conned me into singing the song. I told the guys I'd sing it if they'd come up on stage and help me. I can remember the words of the hits more than the ones that weren't. Fortunately the band there knew the song. This was in the early '90s.
So this was unrehearsed?
Totally. You could tell.
And unplanned too?
I didn't expect it at all.
Was it videotaped?
I don't think it was. There was some drinking going on because of the fraternity. It was a loose reading at best. (laughs)
How old was your daughter at the time?
She'd just graduated from Ole Miss.
Was it the first time you'd sung the song since you first sung the song?
I think I sang it some when I was on the road for my three biggest hits [in order of highest charting: "Rocky" (1975), "Something's Wrong with Me" (1972), "Keep On Singing" (1973)]. I think I sang it as part of the show.
Remember any reactions to that or all a blur?
Everybody knew the song! (laughs) I never understood the reason it was so popular and I don't mean that as a negative. It was a good thing, by all means. It was kind of overwhelming.
I now know how singing the Scooby theme impacted your dating life. Did it have an impact on your career?
It gave some more import to it. It showed the fact that I could sing different kinds of things. Maybe the label would feel a little more secure. It affected my career as far as when I was performing, if I sang it, it was fun. I stopped recording the year my son was born in 1977. I decided I didn't want to miss anything. So I quit the traveling.
Do you know of any films of you singing it live?
I've been on Dick Clark and Johnny Carson singing my hit records, but not Scooby-Doo. But Dick would bring it up. I think he was a fan of Scooby-Doo. (laughs)
What are you doing these days?
Working on a musical. I wrote a song with a guy named Kerry Chater called "I.O.U." and it did well for Lee Greenwood. Kerry and I just decided to get back together and do some writing.
Austin Roberts now
What can you tell me about the musical?
It's not in the infant stage. We're kind of in the high school stages of it. (laughs) We've got a ways to go.
How would you describe the music?
It's got a black thread through it. It's got some pop, some hip hop. We're pretty proud of it. In fact we worked on it today.
Is it already slated to be produced when you're done, or is that next hurdle?
That'd be the next hurdle.
Will it be performed first in Nashville?
Just depends on where we can get the first showing. I've had three musicals; one has been done three times and one done twice.
Name them?
No, they're…well, one was called Rachinoff. The lead in it was the guy who directed the movie Chicago, Rob Marshall. It was performed at Carnegie Mellon [1981], then that summer in the park in Pittsburgh and was nominated for an ACE [now CableACE] Award.
What was your reaction when you heard why I was contacting you?
I thought it was great. I've done several interviews where the thrust was Scooby-Doo but it always went into other directions as well. Some of [the interviewers] knew my hits. I kind of like this theme of Scooby-Doo.
So no else ever contacted you for an interview about Scooby?
Larry Kane had a TV show out of Houston. He brought it up with me on his show in 1973 or 1974. Most everything [Scooby-related] was a long time ago. My dad said if you don't have anything (gold records) on the wall, find another business. [NOTE: I didn't get what this last line had to do with the topic of this question/answer, but I liked it so I kept it!]
Have you ever done a print interview about Scooby-Doo?
Yeah, and I'm trying to think…Danny Janssen did a real long one…gosh, I'd say in the 1990s. I can't remember who did it. I do remember seeing something in print at least once. It may have been in one of those music books.
Have you heard from Scooby fans?
Yeah, I started getting Scooby-Doo pajamas and underwear from fans. It was more at the time, in the early '70s.
Through your record company?
Yeah, or Hanna-Barbera.
Do you have any fan letters?
I used to have a whole ton in storage. I've moved several times since then, and I don't know where any of that is.
Did you get letters specifically about Scooby-Doo?
I did. Mostly from younger kids. I used to keep things but where I kept them is gone. I had a big box and it disappeared. I don't think it was stolen, just misplaced.
Do you have any Scooby memorabilia?
I've got underwear. The ones sent back in the '70s. It's probably torn and tattered. I haven't checked on it in a while. It's stored away. I've got one small stuffed Scooby.
Do you have any personal notes, letters, contract, etc. related to your Scooby work?
Just royalty notices. I did have a couple letters from Hanna-Barbera but that was so long ago, I don't know where that is.
Would you appear at pop culture conventions to sign autographs?
This would depend on when and where. I really am involved with this show. It might be fun. It was a good time in my life.
Do you have an iPod?
No, I don't have much of anything. After my surgery, I got rid of some things that were hard to deal with. [After my surgery] I got 1,000 messages, some on Facemail, what do you call it, Facebook. Most were on my phone.
How do you feel now?
I work out and I feel pretty good. I've got weights and a treadmill. I mostly try to treadmill it or walk, things that are not too heavy. The surgery was January 2010. I had double bypass and a valve replacement. I think it took 13 hours.
Anything to add?
Scooby-Doo was one of my favorite things I've ever been involved in.
Next: Danny Janssen, producer.
Introduction to subseries "Scooby-Doo, Where Are You!" (including list of interviewees).
What's your professional background?I started working as a writer for ABC Music in 1968 in New York. I'd gotten a writing gig on R&R from the Marine Corps. I got a singing gig about three months after that.
Had you intended to go into music after your service?
Yes, I'd been messing with music since high school, since I was 14.
What were you doing in 1970 before the Scooby call came?
I was living in Los Angeles and writing for anyone that would take songs. I think I was with Screen Gems for a little while. I was learning the business more than anything.
How did you get involved with Scooby?
A friend of mine that I'd met out there, Danny Janssen, asked me if I would sing in [the actor] Kurt Russell's ear. Kurt—another great guy—had gotten a deal with Capitol and they cut a song of mine with him. They hired me do the album with him.
Austin Roberts 1970sWhat do you mean by "sing in his ear"?
So he could follow me and sing the melody line.
Quietly guiding him?
Yes. Anyway, after that, the people at Hanna-Barbera liked what Danny was doing. They asked if he would write for and produce this new cartoon. Danny said, "You'd be great for this." I said sure, it'd be fun. Most anything [musically] I could do, I wanted to do. I think we started the vocals in 1969, but the stuff didn't come out till 1970.
Before singing the theme, had you seen the show?
I hadn't seen it. They just told me about it. We just did the theme and some of the songs he'd written and a couple I'd written.
Do you remember the songs you wrote?
The one that did the best was "Pretty Mary Sunlite." Jerry Reed did it.
Were you told about the show to help you perform the theme, or didn't it matter?
They did tell me and it did help. I'm not an actor but any singer kind of acts a little bit when they're singing.
How did the recordings go?
We cut about ten things plus the theme. There were several sessions. They went real well, real smooth. Danny was really easy to work with. We became close friends. Kurt came around some because all the pretty girls were auditioning for Josie and the Pussycats. Cheryl Ladd was one of them.
Are you still in touch with Kurt?
I was for a while and then I moved. I think he lost my number. He keeps in touch with me through Danny. I once saw him on TV telling the story about me singing in his ear.
Do you did meet [Scooby-Doo theme co-writers] David Mook and Ben Raleigh?
I didn't know Ben but I knew David. He was a talented guy. These people were very friendly. It was an eye opener after all I've heard about the music business.
Was there ever talk of releasing the song as single?
There was some talk. They were thinking of releasing "Seven Days a Week" and I think the theme song as well. Hanna-Barbera owned everything. It's hard to say what happened. It [would have been] fine with me if they wanted to release it.
Did you have a favorite of those songs?
I guess "Pretty Mary Sunlite." The most melodic thing I'd written. Danny and I rewrote it.
Were you paid a flat fee or royalty?
For the songs I wrote I got royalties each quarter. I still do sometimes. The songs I just sang, they went through AFTRA so I got paid the first time I sang them plus every time they played on TV. It worked out well in the long run because the show's been on so long.
Do you remember if you watched the first episode?
I did, as a matter of fact. I was tickled with it. I've been to a couple of hospitals in Nashville and Charlotte to see sick kids and I take them Scooby-Doo dolls. I was there because I was involved with Scooby-Doo. Everyone knew Scooby-Doo, like the circus. I did it then [when the show was new] and up until about three years ago. I had open heart surgery about a year ago.
Were the hospital visits something you did on your own or were you asked?
I was asked. Once I volunteered when they asked for singers to go to hospitals. It went over real well. I sang them Scooby-Doo. Gave the stuffed dog. It was pretty moving.
Was that covered by the press?
No, we were trying not to. We wanted to just keep it in the hospitals. [To announce it to the press] would've been headline-grabbing to me.
What did you think of the show when you first saw it?
I really liked it. I'm a kid anyway.
Do you remember who you watched it with the first time?
I don't. I was thinking it might've been my ex-wife, but we weren't married in 1971 [a year after Austin's theme debuted on the show] and divorced in 1999.
So you were young and single at the time?
Yeah.
Did the song have any impact on your dating life?
It did. Some of the girls who auditioned for Josie and the Pussycats. We had guys hanging by the rafters there, stuffed into corners. They were some beauties.
How many kids do you have?
Three. All in this area but none in the music business. Two grandchildren.
What do your children think of your connection to pop culture history?
They get a kick out of it.
Any stories about your kids growing up and friends learning their dad sang the Scooby theme?
A lot of times when their friends were over at the house they'd try to get me to sing the theme. At my older daughter's wedding, they got me to. The frat her fiancé belonged to at Ole Miss conned me into singing the song. I told the guys I'd sing it if they'd come up on stage and help me. I can remember the words of the hits more than the ones that weren't. Fortunately the band there knew the song. This was in the early '90s.
So this was unrehearsed?
Totally. You could tell.
And unplanned too?
I didn't expect it at all.
Was it videotaped?
I don't think it was. There was some drinking going on because of the fraternity. It was a loose reading at best. (laughs)
How old was your daughter at the time?
She'd just graduated from Ole Miss.
Was it the first time you'd sung the song since you first sung the song?
I think I sang it some when I was on the road for my three biggest hits [in order of highest charting: "Rocky" (1975), "Something's Wrong with Me" (1972), "Keep On Singing" (1973)]. I think I sang it as part of the show.
Remember any reactions to that or all a blur?
Everybody knew the song! (laughs) I never understood the reason it was so popular and I don't mean that as a negative. It was a good thing, by all means. It was kind of overwhelming.
I now know how singing the Scooby theme impacted your dating life. Did it have an impact on your career?
It gave some more import to it. It showed the fact that I could sing different kinds of things. Maybe the label would feel a little more secure. It affected my career as far as when I was performing, if I sang it, it was fun. I stopped recording the year my son was born in 1977. I decided I didn't want to miss anything. So I quit the traveling.
Do you know of any films of you singing it live?
I've been on Dick Clark and Johnny Carson singing my hit records, but not Scooby-Doo. But Dick would bring it up. I think he was a fan of Scooby-Doo. (laughs)
What are you doing these days?
Working on a musical. I wrote a song with a guy named Kerry Chater called "I.O.U." and it did well for Lee Greenwood. Kerry and I just decided to get back together and do some writing.
Austin Roberts nowWhat can you tell me about the musical?
It's not in the infant stage. We're kind of in the high school stages of it. (laughs) We've got a ways to go.
How would you describe the music?
It's got a black thread through it. It's got some pop, some hip hop. We're pretty proud of it. In fact we worked on it today.
Is it already slated to be produced when you're done, or is that next hurdle?
That'd be the next hurdle.
Will it be performed first in Nashville?
Just depends on where we can get the first showing. I've had three musicals; one has been done three times and one done twice.
Name them?
No, they're…well, one was called Rachinoff. The lead in it was the guy who directed the movie Chicago, Rob Marshall. It was performed at Carnegie Mellon [1981], then that summer in the park in Pittsburgh and was nominated for an ACE [now CableACE] Award.
What was your reaction when you heard why I was contacting you?
I thought it was great. I've done several interviews where the thrust was Scooby-Doo but it always went into other directions as well. Some of [the interviewers] knew my hits. I kind of like this theme of Scooby-Doo.
So no else ever contacted you for an interview about Scooby?
Larry Kane had a TV show out of Houston. He brought it up with me on his show in 1973 or 1974. Most everything [Scooby-related] was a long time ago. My dad said if you don't have anything (gold records) on the wall, find another business. [NOTE: I didn't get what this last line had to do with the topic of this question/answer, but I liked it so I kept it!]
Have you ever done a print interview about Scooby-Doo?
Yeah, and I'm trying to think…Danny Janssen did a real long one…gosh, I'd say in the 1990s. I can't remember who did it. I do remember seeing something in print at least once. It may have been in one of those music books.
Have you heard from Scooby fans?
Yeah, I started getting Scooby-Doo pajamas and underwear from fans. It was more at the time, in the early '70s.
Through your record company?
Yeah, or Hanna-Barbera.
Do you have any fan letters?
I used to have a whole ton in storage. I've moved several times since then, and I don't know where any of that is.
Did you get letters specifically about Scooby-Doo?
I did. Mostly from younger kids. I used to keep things but where I kept them is gone. I had a big box and it disappeared. I don't think it was stolen, just misplaced.
Do you have any Scooby memorabilia?
I've got underwear. The ones sent back in the '70s. It's probably torn and tattered. I haven't checked on it in a while. It's stored away. I've got one small stuffed Scooby.
Do you have any personal notes, letters, contract, etc. related to your Scooby work?
Just royalty notices. I did have a couple letters from Hanna-Barbera but that was so long ago, I don't know where that is.
Would you appear at pop culture conventions to sign autographs?
This would depend on when and where. I really am involved with this show. It might be fun. It was a good time in my life.
Do you have an iPod?
No, I don't have much of anything. After my surgery, I got rid of some things that were hard to deal with. [After my surgery] I got 1,000 messages, some on Facemail, what do you call it, Facebook. Most were on my phone.
How do you feel now?
I work out and I feel pretty good. I've got weights and a treadmill. I mostly try to treadmill it or walk, things that are not too heavy. The surgery was January 2010. I had double bypass and a valve replacement. I think it took 13 hours.
Anything to add?
Scooby-Doo was one of my favorite things I've ever been involved in.
Next: Danny Janssen, producer.
October 6, 2011
Stand by your man(uscript)
Please come back tomorrow for the continuation of the massive "Super '70s and '80s" series, running most days between now and 10/12/11! And for today, a post of "regularly scheduled content":
Recently I posted an unprecedented experiment on this blog.
I publicly pitched a nonfiction picture book manuscript I've written but so far failed to sell. To show that the project is commercial, I incorporated multiple "selling points":
mock covers for it designed by professional illustrators of children's booksmock covers for it designed by kids from the book's target audienceexamples of how I promote relentlessly, even books that are years oldpraise from editors who rejected it
Tim Bush
Coby, age 10, IL
In doing so, I was fortunate to pick up another compelling selling point: reactions from others in or affected by publishing, from librarians to educators to bloggers to parents to fellow authors. Among the public ones:
Fuse #8 (School Library Journal blog)100 Scope Notes
The Happy AccidentThe Children's War
Meghan McCarthy, picture book author/illustratorKeri Collins, educatorPlus, my post inspired the 10/4/11 topic of the weekly Twitter @kidlitchat (an hourlong conversation among numerous kidlit pros): "What do you do with a manuscript you know is good but hasn't sold?"
Upcoming coverage I know of (subject to change, including dates; check back for direct links):
Seven Impossible Things Before Breakfast—10/9/11I.N.K. (Interesting Nonfiction for Kids)—10/10/11 Brain Burps About Books podcast—week of 10/10/11
Selected feedback from the above:
"I think it's brilliant! He's probably a pioneer, and we'll see a lot more books being offered this way. I love it."—Valerie Hobbs, author"Now THAT is clever self-marketing."—Betsy Bird, Fuse #8"The post is visually compelling, the story he tells is compelling, and the story the book tells is compelling. It's a trifecta. ... Don't you want this manuscript to get published? I find that I do, both for the story itself and for Marc's passion."—Greg Pincus, The Happy Accident"Of course, I would definitely purchase this book for my library, and when it does see the light of day (note that I say 'when' rather than 'if'), I'm sure others will do the same. You truly have a gift for conveying historical information in a way that tells a story and draws in your readers."—Kristen Monroe, Denver librarian"I so hope this one gets published! I also thank you for your courage in presenting the idea this way and seeking less traditional ways to get it the attention it obviously deserves."—Julie Hedlund, author
"Yes, yes, and yes on adding to a library collection and, honestly, what a great book to take into a MG (even YA, frankly) book club. The conversations we could have. ... I can't help but say this is brilliant and gives great food for thought for each of us to spread our wings outside the box—be fearless."—Deb A. Marshall, educator"This is just the kind of book I'd offer as a gift to the young readers in my family. The history, human interest, and cultural aspects are a powerful combination and would make an exciting read. I hope he finds a way to get this one out. I've already written down the title in my 'To Buy' list."—C. Lee McKenzie, author
"I am now totally engrossed in this Thirty Minutes Over Oregon saga."—Karen Morgenstern, Los Angeles librarian"Ingenious"—Keri Collins, educator"Would I add this book to my collection? Without hesitation! ... [I]t seems to me that there are several niches this book fits."—Linda Williams, Connecticut librarian"We would certainly buy this one."—Jane Drabkin, Virginia librarian"Yes—this story would definitely find a home here."—Marie Girolomo, Connecticut media specialist
Thank you to those who have supported this project. I hope to post an update soon.
Recently I posted an unprecedented experiment on this blog.
I publicly pitched a nonfiction picture book manuscript I've written but so far failed to sell. To show that the project is commercial, I incorporated multiple "selling points":
mock covers for it designed by professional illustrators of children's booksmock covers for it designed by kids from the book's target audienceexamples of how I promote relentlessly, even books that are years oldpraise from editors who rejected it
Tim Bush
Coby, age 10, ILIn doing so, I was fortunate to pick up another compelling selling point: reactions from others in or affected by publishing, from librarians to educators to bloggers to parents to fellow authors. Among the public ones:
Fuse #8 (School Library Journal blog)100 Scope Notes
The Happy AccidentThe Children's War
Meghan McCarthy, picture book author/illustratorKeri Collins, educatorPlus, my post inspired the 10/4/11 topic of the weekly Twitter @kidlitchat (an hourlong conversation among numerous kidlit pros): "What do you do with a manuscript you know is good but hasn't sold?"
Upcoming coverage I know of (subject to change, including dates; check back for direct links):
Seven Impossible Things Before Breakfast—10/9/11I.N.K. (Interesting Nonfiction for Kids)—10/10/11 Brain Burps About Books podcast—week of 10/10/11
Selected feedback from the above:
"I think it's brilliant! He's probably a pioneer, and we'll see a lot more books being offered this way. I love it."—Valerie Hobbs, author"Now THAT is clever self-marketing."—Betsy Bird, Fuse #8"The post is visually compelling, the story he tells is compelling, and the story the book tells is compelling. It's a trifecta. ... Don't you want this manuscript to get published? I find that I do, both for the story itself and for Marc's passion."—Greg Pincus, The Happy Accident"Of course, I would definitely purchase this book for my library, and when it does see the light of day (note that I say 'when' rather than 'if'), I'm sure others will do the same. You truly have a gift for conveying historical information in a way that tells a story and draws in your readers."—Kristen Monroe, Denver librarian"I so hope this one gets published! I also thank you for your courage in presenting the idea this way and seeking less traditional ways to get it the attention it obviously deserves."—Julie Hedlund, author
"Yes, yes, and yes on adding to a library collection and, honestly, what a great book to take into a MG (even YA, frankly) book club. The conversations we could have. ... I can't help but say this is brilliant and gives great food for thought for each of us to spread our wings outside the box—be fearless."—Deb A. Marshall, educator"This is just the kind of book I'd offer as a gift to the young readers in my family. The history, human interest, and cultural aspects are a powerful combination and would make an exciting read. I hope he finds a way to get this one out. I've already written down the title in my 'To Buy' list."—C. Lee McKenzie, author
"I am now totally engrossed in this Thirty Minutes Over Oregon saga."—Karen Morgenstern, Los Angeles librarian"Ingenious"—Keri Collins, educator"Would I add this book to my collection? Without hesitation! ... [I]t seems to me that there are several niches this book fits."—Linda Williams, Connecticut librarian"We would certainly buy this one."—Jane Drabkin, Virginia librarian"Yes—this story would definitely find a home here."—Marie Girolomo, Connecticut media specialist
Thank you to those who have supported this project. I hope to post an update soon.
October 5, 2011
Super '70s and '80s: "Scooby-Doo, Where Are You!"—Larry Marks, theme song singer, season 1
Introduction to series "Super '70s and '80s."
Introduction to subseries "Scooby-Doo, Where Are You!" (including list of interviewees).
What's your professional background?
I started out as a musician, a working musician. When I left college I was on the road about a year and a half with a band. Got married, played nightclubs in California, transitioned to studio work. Then I started getting hired. That was in the late 1960s. I came to California from New York in 1966.
What were you doing in 1969 before the Scooby call came?
I was hired by Lee Hazlewood, a record producer in those days. I was doing background dates (meaning I was a background singer) and producing records for him. When I left his company, I went to A. Schroeder, a music publishing company. Randy Newman, Barry White were some of our writers. One of the music catalogs we administered was Hanna-Barbera. In that capacity we also provided theme music for their shows. We put our writers to work on their shows. One of the shows that we did was Scooby-Doo.
How did you get involved with Scooby?
I had a three-and-a-half octave range so I could do girls' parts. I was handy to have around the studio. When the theme was written for Scooby-Doo, my boss said I want you to do the vocals.
Larry Marks late 1960s
Before singing the theme, what were you told or shown about the show?
Nothing actually. That was the interesting thing about it. We knew the premise essentially but that's it.
So you hadn't even seen what the characters looked like?
No, never saw anything. We cut the tracks on Wednesday and the show was on the air on Saturday.
Was that a typical turnaround in those days?
That was pretty quick. (laughs) We knew it was going to be okay but you don't want to cut it that close if you can avoid it.
How did the recording go?
It went great. I did all the parts. I sang the lead and the backgrounds, one at a time.
Is it true that it was you who suggested adding the words "Scooby-Dooby Doo" to the lyrics? Those weren't in the version David Mook and Ben Raleigh wrote?
Actually the only line that I added was "Scooby-Dooby Doo, here are you." It was grammatically twisted but it rhymed.
What was the original line?
I don't remember.
So you didn't suggest the adding "Scooby-Dooby Doo"?
No, the song was written by Ben Raleigh, co-written by the guy I worked for at the time, David Mook. We had a pretty impressive stable of writers to go to. We would go to guys who'd had hit records before.
Was there ever talk of releasing the song as single?
No. A couple of guys approached me when they did the [first live action] movie version. Someone had the bright idea of me, the guy who did the original, updating the theme. I recorded a version of it but it was more on spec than anything else.
Was it ever used?
No.
Was anything changed?
We updated the arrangement so it sounded a little more contemporary.
I thought the original theme sounded sophisticated for a cartoon at that time.
I think because it was written by a [hit] songwriter. It had a different attraction to it. It was a little bit hipper.
What was David Mook like?
An interesting guy. He worked for Schroeder along with me. He was a nice guy. He was not a music guy per se, not a musician. It's been a long time.
Did you ever meet Ben Raleigh?
Yes. He was old school. When I met him he was [already] an older guy. I didn't have a lot of contact.
What about Austin Roberts, who sang the theme after you?
I don't know why they rerecorded it. Maybe because at the time Roberts had a hit record out called "Keep On Singing."
Did that bother you at the time?
No, I couldn't care less. It was an arbitrary decision [to have me sing the original]. [Roberts performed] the same song and essentially the same arrangement, if I remember correctly.
Were you paid a flat fee or royalty?
I was paid scale. The thing was on film. It was a SAG thing. (AFTRA is on tape.) Then you get residuals and they last for several years.
That doesn't continue to this day?
It's a convoluted thing. [In the contracts] they talked about all future technology. Maybe 10-12 years ago, a friend said, "You ought to see if there's any money [for you] in Scooby-Doo." It's on the air 1,000 times a day. Not just the show, but my version of the song. There was a phrase that [Hanna-Barbera/Warners] used to talk specifically about the first year of Scooby—"classic"? They were selling it that way. I thought maybe I'll start calling up. In 1969, there were no computers, no way of keeping information [electronically]. I had to go SAG thirty years after the fact and say, "I think you owe me money." They finally did the accounting and after all those years they gave me a check…are you ready for this…for $400-something dollars—not $400,000—and they took taxes out. The money comes from cable, DVD, [and so on], and those [DVDs] had to sell I think 100,000 copies before you participate in the sales [and they didn't]. They did have a favored nations clause—meaning that everyone involved with the recording , including the voice talent [on the show], makes as much as the highest paid [among them].
Was that $400 all you're expecting to see?
No, I was expecting to buy a home. (laughs) I didn't have any real expectations but I had to admit I was little taken aback [that it was so little].
Do you think there's more Scooby money to come for you?
I got another check recently…for $100 and change.
Do you remember if you watched the first episode? What was your reaction? Who did you watch with?
Yes, I did with watch, with my kids.
What did you think?
I'd heard myself sing before. I'd had record deals as an artist. I'd heard myself on the radio before. But I'd never heard my voice on TV before. I thought it was kind of fun.
What did you think of the show itself?
I thought it was interesting. I heard a theory why this show was so popular; someone did an analysis some years ago. [The study determined that] it was the only show at the time that really had a plot with a real whodunit where kids had to think and pay attention. There was no other show like that.
And that struck you at the beginning?
We were used to The Flintstones, The Jetsons, benign shows with no plot. So when you're looking at something like this, I thought it was [different and] interesting.
Do you have children?
My son was born in 1966 and daughter in 1968.
You remember watching it with both of them? Your daughter was very young in 1969.
Oh yeah.
Do you remember what they thought?
I think they dug it but they were young. I don't know if [they liked it on its own or if it was] the novelty of me singing on it that attracted them.
What do your children think of your connection to pop culture history?
I don't know if they looked at it in those terms. I think they put it in the back of their minds and kept it with them. I wanted to have kids young on purpose so I could relate to them. Being in music I could connect with them directly. They came to some of my [recording] sessions. I sang on The Banana Splits and they came. It was normal for them to be around musicians.
Any stories about your kids growing up and friends learning their dad sang the Scooby theme?
That happened later on, when they were older. When they said my dad sang the Scooby-Doo theme, people would go into how they loved that show.
Do you have grandchildren?
I have a grandson. He's six.
Does he know about your Scooby contribution?
He does. I think he's impressed but I'm not really sure. (laughs) Then, TV was the most compelling medium we had. There was no multimedia. A person in TV was something of a player. But now with the Internet anyone can make albums. But for some reason whenever Scooby-Doo is mentioned, there's an [exuberant] reaction.
Did singing the Scooby theme have an impact on your career?
No. It was a part of things that I did. I sang on a lot of people's records. To me it was just another gig. I don't want to appear cavalier or ungrateful but some people [like me] worked on everybody's records and they all ran together.
What did you do after the Scooby gig?
When I left the music biz, I met my second wife and she had a marketing PR firm. We did media relations, strategizing.
When did you leave the music biz?
I left in 1984.
Was it hard to leave?
The reason the break occurred was not the music but the business. A lot of people were disenchanted.
Did you have training in marketing, etc.?
I didn't have any formal training but I was a quick study. We had a good run. But I still have a passion for music and always will.
What are you doing these days?
I'm semi-retired. My wife passed away a year and a half ago. I'm too old to go back to work but too young to not do something. I'm in a hovering phase.
Larry Marks 2011
What was your reaction when you heard why I was contacting you?
I was flattered, number one. I don't want this to sound wrong, but in a way it's not super surprising. Several years ago my wife went online and was attempting to see where my name popped up and even if it popped up. I was surprised that anybody cared or anybody knew [about me and Scooby]. Of all the shows on the air in those days, I'm really surprised at the longevity.
Yes, the Flintstones and the Jetsons are long gone, but Scooby goes on and is reinvented in small ways every few years.
That's my point!
So no else ever contacted you for an interview about Scooby?
No.
Have you heard from Scooby fans?
No.
Would you appear at pop culture conventions to sign autographs?
I would be amazed and flattered. If somebody wants to meet me, I'd be delighted to meet them. I've always been a fan and student of pop culture, since I was a kid. It should be repaid in kind.
Do you have any Scooby memorabilia?
No.
Do you have any personal notes, letters, contract, etc. related to your Scooby work?
I can give you a copy of my last royalty check if you want to see something really pathetic. (laughs) It was just a session that I did and then that swirl about Scooby-Doo came up around me after. I was fascinated but felt like I was looking at like an [outside] observer.
Do you have an iPod? If so, is your Scooby theme on it?
Yes. But it's not on there.
I can e-mail it to you.
I would love that.
Next: Austin Roberts, theme song and "chase songs" singer, season 2.
Introduction to subseries "Scooby-Doo, Where Are You!" (including list of interviewees).
What's your professional background?I started out as a musician, a working musician. When I left college I was on the road about a year and a half with a band. Got married, played nightclubs in California, transitioned to studio work. Then I started getting hired. That was in the late 1960s. I came to California from New York in 1966.
What were you doing in 1969 before the Scooby call came?
I was hired by Lee Hazlewood, a record producer in those days. I was doing background dates (meaning I was a background singer) and producing records for him. When I left his company, I went to A. Schroeder, a music publishing company. Randy Newman, Barry White were some of our writers. One of the music catalogs we administered was Hanna-Barbera. In that capacity we also provided theme music for their shows. We put our writers to work on their shows. One of the shows that we did was Scooby-Doo.
How did you get involved with Scooby?
I had a three-and-a-half octave range so I could do girls' parts. I was handy to have around the studio. When the theme was written for Scooby-Doo, my boss said I want you to do the vocals.
Larry Marks late 1960sBefore singing the theme, what were you told or shown about the show?
Nothing actually. That was the interesting thing about it. We knew the premise essentially but that's it.
So you hadn't even seen what the characters looked like?
No, never saw anything. We cut the tracks on Wednesday and the show was on the air on Saturday.
Was that a typical turnaround in those days?
That was pretty quick. (laughs) We knew it was going to be okay but you don't want to cut it that close if you can avoid it.
How did the recording go?
It went great. I did all the parts. I sang the lead and the backgrounds, one at a time.
Is it true that it was you who suggested adding the words "Scooby-Dooby Doo" to the lyrics? Those weren't in the version David Mook and Ben Raleigh wrote?
Actually the only line that I added was "Scooby-Dooby Doo, here are you." It was grammatically twisted but it rhymed.
What was the original line?
I don't remember.
So you didn't suggest the adding "Scooby-Dooby Doo"?
No, the song was written by Ben Raleigh, co-written by the guy I worked for at the time, David Mook. We had a pretty impressive stable of writers to go to. We would go to guys who'd had hit records before.
Was there ever talk of releasing the song as single?
No. A couple of guys approached me when they did the [first live action] movie version. Someone had the bright idea of me, the guy who did the original, updating the theme. I recorded a version of it but it was more on spec than anything else.
Was it ever used?
No.
Was anything changed?
We updated the arrangement so it sounded a little more contemporary.
I thought the original theme sounded sophisticated for a cartoon at that time.
I think because it was written by a [hit] songwriter. It had a different attraction to it. It was a little bit hipper.
What was David Mook like?
An interesting guy. He worked for Schroeder along with me. He was a nice guy. He was not a music guy per se, not a musician. It's been a long time.
Did you ever meet Ben Raleigh?
Yes. He was old school. When I met him he was [already] an older guy. I didn't have a lot of contact.
What about Austin Roberts, who sang the theme after you?
I don't know why they rerecorded it. Maybe because at the time Roberts had a hit record out called "Keep On Singing."
Did that bother you at the time?
No, I couldn't care less. It was an arbitrary decision [to have me sing the original]. [Roberts performed] the same song and essentially the same arrangement, if I remember correctly.
Were you paid a flat fee or royalty?
I was paid scale. The thing was on film. It was a SAG thing. (AFTRA is on tape.) Then you get residuals and they last for several years.
That doesn't continue to this day?
It's a convoluted thing. [In the contracts] they talked about all future technology. Maybe 10-12 years ago, a friend said, "You ought to see if there's any money [for you] in Scooby-Doo." It's on the air 1,000 times a day. Not just the show, but my version of the song. There was a phrase that [Hanna-Barbera/Warners] used to talk specifically about the first year of Scooby—"classic"? They were selling it that way. I thought maybe I'll start calling up. In 1969, there were no computers, no way of keeping information [electronically]. I had to go SAG thirty years after the fact and say, "I think you owe me money." They finally did the accounting and after all those years they gave me a check…are you ready for this…for $400-something dollars—not $400,000—and they took taxes out. The money comes from cable, DVD, [and so on], and those [DVDs] had to sell I think 100,000 copies before you participate in the sales [and they didn't]. They did have a favored nations clause—meaning that everyone involved with the recording , including the voice talent [on the show], makes as much as the highest paid [among them].
Was that $400 all you're expecting to see?
No, I was expecting to buy a home. (laughs) I didn't have any real expectations but I had to admit I was little taken aback [that it was so little].
Do you think there's more Scooby money to come for you?
I got another check recently…for $100 and change.
Do you remember if you watched the first episode? What was your reaction? Who did you watch with?
Yes, I did with watch, with my kids.
What did you think?
I'd heard myself sing before. I'd had record deals as an artist. I'd heard myself on the radio before. But I'd never heard my voice on TV before. I thought it was kind of fun.
What did you think of the show itself?
I thought it was interesting. I heard a theory why this show was so popular; someone did an analysis some years ago. [The study determined that] it was the only show at the time that really had a plot with a real whodunit where kids had to think and pay attention. There was no other show like that.
And that struck you at the beginning?
We were used to The Flintstones, The Jetsons, benign shows with no plot. So when you're looking at something like this, I thought it was [different and] interesting.
Do you have children?
My son was born in 1966 and daughter in 1968.
You remember watching it with both of them? Your daughter was very young in 1969.
Oh yeah.
Do you remember what they thought?
I think they dug it but they were young. I don't know if [they liked it on its own or if it was] the novelty of me singing on it that attracted them.
What do your children think of your connection to pop culture history?
I don't know if they looked at it in those terms. I think they put it in the back of their minds and kept it with them. I wanted to have kids young on purpose so I could relate to them. Being in music I could connect with them directly. They came to some of my [recording] sessions. I sang on The Banana Splits and they came. It was normal for them to be around musicians.
Any stories about your kids growing up and friends learning their dad sang the Scooby theme?
That happened later on, when they were older. When they said my dad sang the Scooby-Doo theme, people would go into how they loved that show.
Do you have grandchildren?
I have a grandson. He's six.
Does he know about your Scooby contribution?
He does. I think he's impressed but I'm not really sure. (laughs) Then, TV was the most compelling medium we had. There was no multimedia. A person in TV was something of a player. But now with the Internet anyone can make albums. But for some reason whenever Scooby-Doo is mentioned, there's an [exuberant] reaction.
Did singing the Scooby theme have an impact on your career?
No. It was a part of things that I did. I sang on a lot of people's records. To me it was just another gig. I don't want to appear cavalier or ungrateful but some people [like me] worked on everybody's records and they all ran together.
What did you do after the Scooby gig?
When I left the music biz, I met my second wife and she had a marketing PR firm. We did media relations, strategizing.
When did you leave the music biz?
I left in 1984.
Was it hard to leave?
The reason the break occurred was not the music but the business. A lot of people were disenchanted.
Did you have training in marketing, etc.?
I didn't have any formal training but I was a quick study. We had a good run. But I still have a passion for music and always will.
What are you doing these days?
I'm semi-retired. My wife passed away a year and a half ago. I'm too old to go back to work but too young to not do something. I'm in a hovering phase.
Larry Marks 2011What was your reaction when you heard why I was contacting you?
I was flattered, number one. I don't want this to sound wrong, but in a way it's not super surprising. Several years ago my wife went online and was attempting to see where my name popped up and even if it popped up. I was surprised that anybody cared or anybody knew [about me and Scooby]. Of all the shows on the air in those days, I'm really surprised at the longevity.
Yes, the Flintstones and the Jetsons are long gone, but Scooby goes on and is reinvented in small ways every few years.
That's my point!
So no else ever contacted you for an interview about Scooby?
No.
Have you heard from Scooby fans?
No.
Would you appear at pop culture conventions to sign autographs?
I would be amazed and flattered. If somebody wants to meet me, I'd be delighted to meet them. I've always been a fan and student of pop culture, since I was a kid. It should be repaid in kind.
Do you have any Scooby memorabilia?
No.
Do you have any personal notes, letters, contract, etc. related to your Scooby work?
I can give you a copy of my last royalty check if you want to see something really pathetic. (laughs) It was just a session that I did and then that swirl about Scooby-Doo came up around me after. I was fascinated but felt like I was looking at like an [outside] observer.
Do you have an iPod? If so, is your Scooby theme on it?
Yes. But it's not on there.
I can e-mail it to you.
I would love that.
Next: Austin Roberts, theme song and "chase songs" singer, season 2.
October 4, 2011
Super '70s and '80s: "Scooby-Doo, Where Are You!"—introduction
Introduction to series "Super '70s and '80s."
Scooby-Doo and his gang do good deeds like superheroes and have even worked with superheroes (Batman and Robin)...
...but they're not superheroes themselves.
Nonetheless, Scooby-Doo is included in this predominantly superhero-focused series (as the last addition), and the reason is that he, tied with Super Friends, was my childhood favorite. Also, the Scooby people I was most interested in fit the criteria of most of the others in this series: they have not been interviewed before about their Scooby role.
The voice cast (mid-1970s), most of whom have been interviewed before:
Casey Kasem (Shaggy), Heather North (Daphne),
Don Messick (Scooby-Doo), Pat Stevens (Velma),
Don Jurwich (producer), Frank Welker (Fred).
Photo courtesy of Frank Welker.
I got permission to post all images; if you want to repost, please do the same and ask me first.
Welcome to the first-ever oral history of Scooby-Doo, Where Are You! [NOTE: My focus was on the first two seasons.]
Theme song singers interviewed (2 parts):
Larry Marks, theme song singer, season 1
Austin Roberts, theme song and "chase songs" singer, season 2
Theme song production staff interviewed (2 parts):
Danny Janssen, producer
Rose Marie Mook and Nick Mook, widow and son of theme co-writer David Mook
Voice actors interviewed (2 parts):
Nicole David (Jaffe) (Velma 1, 1969-74)
Heather Kenney (North) (Daphne 2, beginning in season 2, 1970)
Scooby-Doo and his gang do good deeds like superheroes and have even worked with superheroes (Batman and Robin)...
...but they're not superheroes themselves.Nonetheless, Scooby-Doo is included in this predominantly superhero-focused series (as the last addition), and the reason is that he, tied with Super Friends, was my childhood favorite. Also, the Scooby people I was most interested in fit the criteria of most of the others in this series: they have not been interviewed before about their Scooby role.
The voice cast (mid-1970s), most of whom have been interviewed before:Casey Kasem (Shaggy), Heather North (Daphne),
Don Messick (Scooby-Doo), Pat Stevens (Velma),
Don Jurwich (producer), Frank Welker (Fred).
Photo courtesy of Frank Welker.
I got permission to post all images; if you want to repost, please do the same and ask me first.
Welcome to the first-ever oral history of Scooby-Doo, Where Are You! [NOTE: My focus was on the first two seasons.]
Theme song singers interviewed (2 parts):Larry Marks, theme song singer, season 1
Austin Roberts, theme song and "chase songs" singer, season 2
Theme song production staff interviewed (2 parts):
Danny Janssen, producer
Rose Marie Mook and Nick Mook, widow and son of theme co-writer David Mook
Voice actors interviewed (2 parts):
Nicole David (Jaffe) (Velma 1, 1969-74)
Heather Kenney (North) (Daphne 2, beginning in season 2, 1970)
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