Happy Harmonies Music and The

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UNIVERSITY OF CALIFORNIA
Los Angeles
Happy Harmonies:
Music and the Hollywood Animated Cartoon
A dissertation submitted in partial satisfaction of the

requirements for the degree Doctor of Philosophy
in Musicology
by
Daniel Ira Goldmark
2001
UMI Number: 3005967
Copyright 2001 by
Goldmark, Daniel Ira
All rights reserved.
__ ®
UMI
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© Copyright by
Daniel Ira Goldmark
2001
The dissertation of Daniel Ira Goldmark is approved.
Ciaudia Gorbm^n
Mitchell
Rdbert Walser
Susan McClary, Committee Chair
University of California, Los Angeles
2001
ii
For my grandparents
Evelyn Bronski Kredenser
Who Instilled in me a love and appreciation for music

Nathan Kredenser
Who fostered my sense of creativity and interest in art

Herbert Goldmark
Who taught me to keep my head on my shoulders

Ethel Ringle Goldmark
Who was wiser than anyone ever knew
iii
TABLE OF CONTENTS
LIST OF MUSICAL EXAMPLES......................................................................... vii

ACKNOWLEDGMENTS .................................................................................... viii
V T T A ................................................................................................................... xix
ABSTRACT.......................................................................................................... xx
Chapter One
INTRODUCTION AND APOLOGIA..................................................................... 1
Chapter Two
JUNGLE JIVE. THE ANIMATED REPRESENTATION OF JAZZ MUSIC
AND SWING CULTURE ............................................................................... 16

Early Impressions of Jazz as Rim Music............................................20
Jazz and Prim itivism ............................................................................. 24
Primitivism and the Fleischer Shorts................................................... 30
Jazz and Popular Song: The Warner Bros. Cartoons........................ 44
The 1940s: Race and Rhythm.............................................................54

White Jazz .................................................................................. 57
Other Voices: Jazz in the Cartoon Score............................................. 61
Chapter Three
CARL STALLING AND POPULAR MUSIC IN THE WARNER BROS.

CARTOONS.........................................................................................................64
Stalling and the Silent F ilm ................................................................. 66

Music and Comedies, Silent S tyle........................................................69
Warner Bros. Scores, the Practical S ide.............................................. 76
iv
Musical Gags «... 88
Generic M u sic.......................................................................... ... . . . 99
Stalling's Composite Scores......................................................... . . . 112

Conclusion...........................................................................................124
Chapter Four
SCOTT BRADLEY'S (VIOLENT) MUSIC FOR M-G-M, OR "YOU REALLY DO

BEAT THE SHIT OUT OF THAT CAT"............................................................ 128
Happy Harmonies: M-G-M's Early Y ears..................................« . . . 131

Scott Bradley: Musical Modernist............................................. . . . 135
M-G-M and Warner Bros......................................................................142
Tom and Jerry............................................................................ « . . . 148
Tom and Jerry and Bradley....................................................... 156
Clash of the Titans: Bradley vs. A very..............................................177

The Future of Cartoon Music.................................................... . . . 181
Chapter Five
CLASSICAL MUSIC AND THE ANIMATED CANON...................................... 183
Repertoire and the Cartoon Canon.......................................... . . . 184
Disney/ Fantasia.......................................................................... 194
Long-Haired H are............................................................................... 200
An Operatic Interlude _ . . . 222
W hat's Opera, Doc?................................................................... 230

Conclusion........................................................................................... 261
EPILOGUE........................................................................................................ 266
Appendix 1A
A CARTOON-BY-CARTOON RECORD OF POPULAR SONGS USED IN
WARNER BROS. CARTOONS.......................................................................... 273

Appendix IB
ALPHABETICAL LIST OF THE WARNER BROS. CARTOONS PRODUCED
FROM 1930-1968 ........................................................................................... 467

Appendix 1C
INDEX OF SONGS USED IN WARNER BROS. CARTOONS..........................478
BIBLIOGRAPHY................................................................................................ 540
vi
LIST OF MUSICAL EXAMPLES
Example 1: "Khosn, Kale Mazl Tov" melody .......................................... 103
Example 2: "Powerhouse" melody................................................................ I l l
Example 3: Passage from Franz Liszt's Second Hungarian Rhapsody. . . 189
ACKNOWLEDGMENTS
My earliest musical influences—outside the home, that is—were my
two music tutors, both of whom are directly responsible for my pursuing
this project. Blanche Nissim took up the task of teaching me piano when I
expressed an interest in learning a particular piano piece of Mozart's at an
early age; while I discontinued the lessons after several years, she has
been continually supportive and encouraging in my ongoing musical
explorations. Several years later, I found in Ron Perry as positive a musical
influence as I could have hoped for in high school. He provided me with a
perfect example of someone putting his love for music to good use, and he
always advised me with great care.
The faculty and staff at UC Riverside, where I began this project,
was always very supportive of my work, as strange as it may have seemed
to some o f them at the time. This includes Lea Appleton, Ed Clinkscale,
Fred Gable, Anthony Ginter, Ethan Nasreddin-Longo, and especially Barbara
Bennett, Byron Adams, and Philip Brett. Besides listening to my earliest
ideas on the topic, Barbara also allowed me and a dozen other undergrads
to overrun her home one afternoon in a frenzy of "name-that-tune" cartoon
watching. Both Byron and Philip pushed me continually to expand my ways
VIII
of thinking about my topic—something they still do to this day. Kathleen
McHugh first interested me in film studies as an undergraduate, and I owe
her greatly for having introduced me to the work of her advisor, Claudia
Gorbman, whose direction and guidance in this and other projects keeps
me asking questions and pushing myself more than I would ever have
thought possible. I am also particularly thankful to the late Irene Aim who,
in the spring of 1992, was my instructor for a Romantic-20th century music
history course; she did not laugh at my revelation that I had heard
Schubert's Erfkonig as somehow being music fit for a cartoon, but instead
encouraged me to pursue my curiosity, in part by putting me in contact
with a colleague of hers from UCLA, Jim Westby.
While this undertaking began as an archival research project, I
would have been lost without the help of two very important people. Ed
Goldberg created the original database through which I chronicled the
musical records of the Warner Bros, cartoons, assisting me at all hours with
questions about the system, while Kris Cassias provided essential
information in my initial quest for details about animation and film music in
general.
I was lucky that my introduction to the animation world was made
through a series of phone calls, each of which introduced me to a different
ix
person in the field who I would want or need to know in the future. Stuart
Ng, who, in 1993, was in charge of the Warner Bros. Archive at USC, put
me in contact with Irwin Chusid, a disc jockey, musicologist, and above all
the biggest champion for Raymond Scott's music to come along in decades.
Irwin put me in contact with his friend Will Friedwald, who in turn put me in
contact with his own writing partner, Jerry Beck. The night I met Jerry (a t a
release party for a book about Friz Freleng), I also met Joe Adamson and
Miles Kreuger. Jerry has, over the years, introduced me to almost every
animation historian and cartoon maven in the United States, including John
Kricfalusi, Will Ryan, Leslie Cabarga, Mark Kausler, Greg Ford, Mike Barrier,
Keith Scott, David Gerstein, Linda Simensky, and Stephen Schneider, to
name but a few. Mark Kausler's assistance in this project has been
invaluable to this project; he showed me extremely rare footage, shared
numerous stories about the history of Hollywood animation, and just
listened to my theories on cartoon music. Greg FOrd and I have had dozens
of fruitful telephone calls about Carl Stalling and the Warner Bros, sound.
Mike Barrier cheerfully provided me with direction on aspects of animation
history, as well as sending one-of-a-kind interview materials from his own
collection.
Miles Kreuger continually gave me untold support and
encouragement. As the only person I knew who would be up and working
at 2 am, he also introduced me to Leonard Maltin and J.B. Kaufman.
Chuck Jones allowed me to interview him twice over the telephone,
and I had the good fortune of giving Bill Hanna a ride one afternoon in
1994, during which I plied him with questions about Scott Bradley and the
Tom and Jerry days. Rob and Sody Clampett spent a great deal of time
talking with me both about Bob Clampett but also about Carl Stalling, to
whom Bob and his family were very close. Other people in the film and
animation industry whom I wish to acknowledge are Rudy Behlmer, Stacy
Behlmer at the Margaret Herrick Library of the Academy of Motion Picture
Arts and Sciences, Charles Carney a t Warner Bros. Consumer Products, and
Howard Green at Walt Disney Studios.
I spent the summer of 1994 as the assistant librarian-cum-archivist
at Spumco Animation in Hollywood, working on a variety of projects for
John Kricfalusi. While there, I also made the happy acquaintances of Libby
Simon, Jim Smith, Stephen Worth, Kevin Kolde, and Vincent Waller, all of
whom taught me a great deal about the animation industry and some of
the finer points of animation theory.
xi
The faculty and staff at UCLA embraced me and my topic from my
arrival in the program. I could not have asked for a better advisor and
mentor than Susan McClary, who kept me focused on my topic. She also
provided me almost single-handedly with the tools I needed to grapple with
the issues I raised. Jim Westby was perceptive enough to encourage my
interest in film music long before I became a graduate student, and then
became almost vigilant in reminding me of my stated goals, while opening
my eyes to a wealth of discourses that might enrich my work. Robert
Walser and Mitchell Morris both demanded that I put my work under
intense personal and professional scrutiny, teaching me a great deal about
writing as well as about academic life in general. I'd like to acknowledge
the support of the rest of the faculty as well, including Murray Bradshaw,
Malcolm Cole, Robert Fink, Marie-Louise Gollner, Ray Knapp, and Elizabeth
Le Guin, as well as two essential staff members, Cora Gamuio and Kate
Goodyear, both of whom kept me properly enrolled throughout my
graduate career. Professor Dan McLaughlin enlightened me to entire worlds
of animation that I didn't even know existed and that I now embrace as my
own.
The first student I met at UCLA was David Ake, a jazz pianist who
went on to change his focus slightly from ethnomusicology to musicology,
xii
allowing me more opportunities to interact with him in both the classroom
and at our local tea house, Urth Caffe. Dave has always been unfailingly
positive and heartening, in good and bad times. I look forward to being his
colleague, and continue to have great respect and affection for him, his
music, and his work.
I have had the good fortune to work with some truly outstanding,
dedicated graduate students, both at UCLA and at other schools around the
country, who have offered me their support and good humor. These include
Durrell Bowman— my film music partner C'mmmm . . . . something"), Kate
Bartel, Bettie Jo Basinger, Steven Baur, Jay Beck, Stuart De Ocampo,
Francesca Draughon, Nasser El-Taee, Chuck Garrett, Gordon Haramaki,
Samantha Holland, Mai Kawabata, Beth Lorenzo, Louis Niebur, Cecilia Sun,
Mel Surdin, Grace Tam , Aaron Thacker (who provided technical support at
the most crucial of moments), Jacqueline Warwick, Nadya Zimmerman, and
all the members of the Dissertation Support Group at UCLA.
Marty Marks and Neil Lerner have both kept me honest as a film
music scholar, pointing me toward places I would not have thought to
examine, while Tim Anderson has simply encouraged me to look more
carefully at the basics. I have also received welcome support from Kay
Kalinak, Thomas Mathiesen, Richard Leppert, Rose Subotnik, and David
XIII
Josephson, all established scholars who took time out to answer my
questions and make suggestions for further inquiry.
For the last four years I have worked at Rhino Records, where my
love for cartoons and music did not go unnoticed. I have had the great
fortune o f being involved with several projects related to film and/or
cartoon music, which has only expanded my interest in the topic. Patrick
Milligan and Bob Carlton, both cartoon lovers, were instrumental in making
sure everyone else knew of my interests, while still encouraging me to
pursue my own projects. John Sperling, Ben Trask, and Crystal Jones all
helped me at various times when my research database became too
unwieldy or uncooperative. Anthony Soroka and Wendi Cartwright spent
time aiding me in my quest for cue sheets, and Julie D'Angelo introduced
me to the helpful folks at Turner Entertainment. My editorial mentors, Julee
Stover, Steven Chean, and Vanessa Atkins—who kindly consented to copy-
edit this manuscript—have listened to my babblings-on about academic life
with great humor, and have all given me much-needed reassurances over
the years. Other Rhinos who have encouraged me in this exploit include
Phil Baron, Rick Brodey, Rachel Gutek, Dee Murphy, Matt Oppenheimer,
Thane Tierney, and Julie Vlasak.
xiv
The families and friends of the composers I've studied—Michael J.
Stewart, Laurence, Genevieve, and Heather Ann Stalling, David Raksin,
George Eddy, Howard Rumsey, Pat Timberg, Buddy Kaye—have all been
generously forthcoming with information and excellent anecdotes. I have
also spent a great deal of time talking with and interviewing contemporary
cartoon composers, including Steve and Julie Bernstein, Alf Clausen, Randy
Rogel, and the late Richard Stone, in whom I found a person whose
fascination with and admiration for Carl Stalling could possibly exceed my
own.
I owe a great deal of thanks to the many archivists and researchers
who have provided information for this project. These include Leith Adams
of the Warner Bros. Studio Museum, Stuart Ng, Bill Whittington and Noelle
Carter of the USC-Warner Bros. Archive, and Ned Comstock, reference
librarian extraordinaire of the USC Cinema-Television Library. George
Feltenstein of Turner Entertainment was very helpful in answering my
constant queries, and Todd Doogan produced extremely important
information about Scott Bradley. Lisa Auerbach and Sid Herman provided
useful publishing information, as did Shawn LeMone and Noemi de Roca of
ASCAP, and Nick Szczeck from Columbia. Robert Tieman at the Walt Disney
Archive graciously helped me fill in several gaps in my accounting of
xv
cartoon sheet music, and Tim Edwards from UCLA Special Collections kept
me in a good mood while I went fishing for film music materials under his
care. Thanks also to Carol Bowers and the rest of the staff at the American
Heritage Center at the University of Wyoming for readily fulfilling my
endless photocopying requests.
Several establishments around the Los Angeles area—Cacao, Urth
Caffe, Buzz Coffee, and Swingers—helped keep me awake at times when it
seemed that working on this project would only serve as a cure for
insomnia.
I also want to extend my thanks to numerous other individuals—
strangers, acquaintances, and friends—who have shared with me their own
experiences with cartoons and music. The stories I continue to receive on a
weekly basis serve to remind me that I am really not the only person who
has found cartoons stimulating on a musical level, and that countless folks,
like me, got a sizable portion of their musical education from watching
Daffy Duck and Tom & Jerry cartoons.
Finally, I cannot begin to thank my family and friends for putting up
with my complete lack of social commitment over the last several years as I
completed on this project. My friends Marshall Fenig, Bill Cook, and David
Govaker have all been remarkably understanding as our plans would move
xvi
in accordance with my work schedule. My parents, my brother, and my
loving partner, Cyleste, have all been unyielding in their positive attitudes
toward my completion o f this degree. I am certain Cyleste has given more
time to cartoons than she ever could have dreamed possible, and for this I
have a heart full of thanks and affection.
Sections or chapters o f this dissertation have been presented at
various conferences, going back to a reading for the UC Riverside Music
Department in early 1994 of what eventually became Chapter Five. Chapter
Two was presented in various forms at the IASPM Annual Conference,
University of California, Los Angeles, October 17, 1998; the"Soundtracking:
Popular Music and the Media" Conference in Sheffield, England, July 10,
1999; and the Annual National Meeting of the American Musicological
Society, Kansas City, Missouri, November 5, 1999. Chapter Three was first
presented in a very early stage at the "Music and Popular Song" Conference
at the University of Iowa, Iowa City, Iowa, April 3, 1999. Chapter Four was
given as a paper at the 2000 Annual Meeting of the Society for Cinema
Studies, Chicago, Illinois, March 10, 2000. Chapter Five was also presented
as "Moving Musical Moments: Classical Music and the Animated Cartoon" at
xvii
the Royal Music Association 29th Annual Music Research Students7
Conference, Royal Holloway, University o f London, December 22, 1995.
xvm
VTTA
Born, Los Angeles, California
1994 B.A., Music

University of California, Riverside
Riverside, California
1997 M.A., Musicology

Los Angeles, California
1996-2000 Teaching Assistant

Department of Musicology
Los Angeles, California
PUBLICATIONS AND PRESENTATIONS
"Carl Stalling and Humor in Cartoons," Animation World Magazine 2:1, April,
1997.
"Swing Wedding. The Sight and Sound of Jazz in Classic Hollywood

Animation," paper given at the Annual National Meeting of the
American Musicological Society, Kansas City, Missouri, November 5,
1999; also at"Soundtracking: Popular Music and the Media,"
Sheffield, England, July 10, 1999, and at the IASPM Annual
Conference, University of California, Los Angeles, October 17, 1998.
"Carl Stalling and the Quick Cue: Popular Music in the Warner Bros.
Cartoons, 1936-1958," paper given at the "Music and Popular Song"
Conference, University of Iowa, Iowa City, Iowa, April 3, 1999.
"Violent Music: Scott Bradley's Scores for Tom & Jerry," paper given at the
Annual National Meeting of the Society for Cinema Studies, Chicago,
Illinois, March 10,2000.
"Film, Music, and Vaughan Williams," paper given at the Vaughan Williams
2000 Symposium, Charterhouse, Surrey, England, July 24, 2000.
xix
ABSTRACT OF THE DISSERTATION
Happy Harmonies:
Music and The Hollywood Animated Cartoon
by
Daniel Ira Goldmark

Doctor of Philosophy in Musicology
University of California, Los Angeles, 2001
Professor Susan McClary, Chair
Like all forms of music in media, music in cartoons enlarges the
viewing experience by telling audiences what is happening and how they
should feel. The brevity of animated shorts ensures a close relationship
between the score and the animation, giving rise to a scoring style that can
indicate emotion or action instantaneously before the story moves on to the
next gag. Happy Harm onies presents four case studies of the role and
lasting significance o f music from cartoons produced during the Hollywood
studio era, from the late 1920s to the early 1960s. Two of the chapters deal
specifically with issues of musical genre. Jazz and classical music each holds
a particularly prominent place in the cartoon universe. Stylistic traits of both
xx
genres constitute a significant portion of the overall "sound" of cartoon
scores, which typically use a combination o f traditional, Romantic-era
melodic idioms with jazz-inspired harmonies and driving rhythmic lines.
Because animated shorts of the Hollywood studio era placed such a great
emphasis on music as a plot device, aspects of the culture of the two
genres also recur; storylines related to jazz's African-American stars
repeatedly arise, while the culture of the concert hall offers a rich base for
lampoons. The remaining two chapters focus on the craft of writing music
for cartoons, detailing the very different approaches to scoring practiced by
the two most influential composers in the field. Carl Stalling scores are
dominated by his penchant for telling stories through the titles of known
pieces of music (a practice derived from his days as a silent film
accompanist), yet he could craft each song to match the mood of the
cartoon and convey the proper sense o f rhythm as well. Scott Bradley, who
had classical training as a composer, looked at the cartoon as a site for
original, innovative music, and thus he resisted the use of popular music.
He adopted contemporary composing idioms to make his scores more
stimulating musically and to wed them more closely to the visual action.
xxi
Chapter One
Introduction and Apologia
Turn on the Cartoon Network any late evening and you will likely see
and hear one of the following: Bugs Bunny in a barber's outfit, massaging
Elmer Fudd's scalp to The Barber o fSeville Overture; Tom and Jerry
running around a suburban yard with suspiciously dodecaphonic music
following their every step; the Coyote falling off a cliff, having once more
missed catching the Road Runner, with a lone clarinet tracing the predator's
rapid descent into a world of pain; Granny placing Tweety into his cage
while a familiar Mozart melody innocently accompanies the scene.
The connection between these sounds and images form not only the
core of this project but also explains how, at age five, I first became
interested in music. I apparently expressed a desire at that age in learning
a particular piece of classical music. Having determined the identity of the
piece (Mozart's Piano Sonata in C-major, K. 545), my mother arranged for
me to take piano lessons. I practiced, learned the piece in question, and
eventually moved on to other instruments, although the melody of the
Mozart stuck with me as something of an enigma. It wasn't until I was a
music student in college that I realized that I had originally heard the piece
in a cartoon, or, more accurately, in many cartoons.
Mozart's C-major Sonata, the so-called "facile" sonata (presumably
for its relative technical simplicity and an unpretentiously plain melody),
appears in sixteen Warner Bros, cartoons, including several with Tweety (as
described above). While the revelation that I had become familiar with this
melody through cartoons came as a shock, I did not realize at the time of
my epiphany that, of the sixteen references to the tune, ten were actually a
jazz band arrangement of the song as performed by Raymond Scott and His
Quintette, titled "In An Eighteenth-Century Drawing Room." Discovering
this later confirmed my suspicion that I had not only learned classical music
by watching cartoons on Saturday mornings—including the music of
Rossini, Liszt, Brahms, von Suppe, and others—but also that I had learned
other genres as well. As I continued my investigations, I discovered I had a
working familiarity with songs from no fewer than a dozen genres or
traditions, among them classical, jazz, Tin Pan Alley, Hollywood film
musicals, American and international folk songs, Viennese opera, and 19th-
century American popular songs, particularly those of Stephen Foster.
This project grew out of my interest in discussing just how much
music I learned from cartoons, and it quickly expanded to a wider scope,
encompassing numerous topics on music and animation, with a special
emphasis on cartoon music as a cultural signifier, both now and when the
cartoons were created. Having an interest in cartoon music and parlaying
that interest into an actual study—a legitimate academic one, at that—are
two different things altogether. Animated shorts (and animation in general)
are typically disqualified from serious study on the grounds that they have
no intellectual importance whatsoever. Kristin Thomspon has pointed out
that the close relationship between comic strips and cartoons—many of the
former having been adapted into animated versions of the latter—and the
fact that "animated film narratives frequently drew upon fantasy, magic and
traditional stories as a motivation for stylization" encouraged film critics in
the 1920s and '30s to see animation as existing only for children, thus
leading to "a trivialisation of the medium."1 She further shows that, with the
focusing of practically a//the energies of producers of animation toward
children, especially following the takeover of television as the dominant
dispenser of visual entertainment, the creators of animated cartoons no
longer counted adults as part of their ideal demographic and, as a result,
targeted their humor at a far less sophisticated viewer.
Another obstacle to meaningful discussion of cartoon has been the
tendency of critics to view all cartoons as belonging to a single genre—a
1Kristin Thompson, "Implications of the Cel Animation Technique," in The Onematfc

Apparatus, Teresa de Laurent's and Stephen Heath, eds. (New York: St. Martin's Press,
1980), 110-111.
misconception based on the fact that they are all created through the
process of animation. This is how film historians tend to see ^//animated
films: as a single genre that poses no significant ideological challenges.
Looking more closely at the output of the major animation studios from the
1930s to the 1960s, we find a tremendous amount of heterogeneity:
animated films that—whether shorts, two-reelers, or features—fulfill the
qualifications o f any imaginable genre in Hollywood, including Westerns,
mysteries, dramas, musicals, and documentaries, as well as comedies of all
styles—romantic, slapstick, chase, black, and musical. Animation is n o t a
genre; it is technological process that creates a particular (highly
idiosyncratic) means of visual representation. The question then becomes:
how did animation become so pigeonholed?
Thompson offers the following explanation:
Film-makers and audiences maintained the ideological view of

animation's difference; animation could do things live-action
could not, and hence it came to be assumed that it should do
only these things.. . . only certain types of narratives were
considered appropriate to the animated medium: all cartoons
were supposed to be comic.. . . comedy has traditionally been
a mode which motivates extreme departures from canons of
verisimilitude. . . . Since comedy so easily permitted the
stylization thought 'natural' to the animated film, an ideological
view of cartoons as comic developed.2
Tom pson, "Implications of the Cel Animation Technique," 110.
The public's misconception of genre may be attributed to this mis-
codifying of animation as solely comedic; people began to see cartoons
themselves as a genre, and since many short cartoons are funny, suddenly
all animation becomes implicitly funny. The categorization of a//films in the
animated medium as "cartoons" further cast them into the realm of popular
amusements.
The rhetorical power of animated films comes from the fact that
cartoon characters can portray any human emotion or action AND they can
be made to do things that humans cannot. In a cartoon, a character can
comment on the barbarity of hunting or the joys of cross-dressing, and we
as viewers can laugh and dismiss their actions as nonsense, knowing at the
same time that their actions stem from our own desires or fears. In this
way, cartoon characters serve as Doppelgangers for our own internal
selves, the hidden side of our personalities we keep locked away. It is
because cartoons work at such an essential level in popular culture that
meanings can be created at all. Robert Walser states that "popular culture
is important because that is where most people get their 'entertainment
and information; it's where they find dominant definitions of themselves as
well as alternatives, options to try on for size."3
3Robert Walser, Running With the D evi!(Hanover, Wesleyan University Press, 1993), p. xiv.
The fact that little critical work exists on cartoon music seems to
confirm the supposedly inconsequential nature of the topic. Until very
recently, neither film studies or musicology afforded film music any
credence as a topic of import, while film historians, as we have just seen,
seldom give any more than a cursory glance toward animation, particularly
Hollywood cartoons. The ignoring of the two topics has all but prohibited
any study of the music used in cartoons. Things have changed somewhat,
however: film music criticism has burgeoned exponentially with the
acceptance in the academy of general media studies, while critical
approaches to animation have expanded (although not to the same extent
as film music).
A telltale sign that cartoon music is seen as a poor relation to film
music is the attempt to use film music terminology for cartoons.
Dichotomies like "source & underscore," "diegetic & non-diegetic," and
"iconic and isomorphic" ail provide very useful means for discussing the
music in live-action films. Granted, these terms can describe particular
situations in cartoons, and they do appear occasionally in this text. Feature
film scores traditionally make it clear whether or not the music being heard
is occurring within the narrative world or not. Because animated shorts are
created in a manner completely different than live-action films, however,
the music has a far more integral role in the way that the cartoon is
constructed. The above terms consider none of this, and therefore can only
be useful to a limited extent.4
Looking back at the earliest literature on cartoon music confirms that
most writers saw animation as being less important than traditional live-
action films. What little existing evidence regarding music in films prior to
the development of synchronized sound indicates that far less attention was
paid to scoring cartoons than features. Special scores and cue sheets—
topics of great interest to film music scholars—were created for cartoons
only in the most extraordinary of circumstances, and thus offer us little
substantial evidence on how cartoons might have been accompanied.5
4One term that music in cartoons has given rise to, however, is "mickey-mousing," which
describes the exact synchronization of music and action. The phrase was supposedly
coined by David O. Selznick, who was derisively referring to a Max Steiner score as
resembling the music of a Mickey Mouse cartoon. The term implies that the music in
question is not only simplistic, or "mickey mouse," but that, by mimicking what is
happening on screen too closely, the music calls attention to itself as it describes the
action. Stephen Handzo, "Appendix: A Narrative Glossary of Rim Sound Technology," in
Rim Sound: Theory and Practice, edited by Elisabeth Weis and John Belton (New York:
Columbia University Press, 1985), 409.
5Evidence exists that the Fleischers produced original scores—arrangements of songs,
actually—to be used while accompanying their bouncing-ball Song Cartunes. Mike Barrier
also notes that by 1923 the Pathe studio "was furnishing 'musical effect sheets' for those
distributors booking Aesop's Fables." Michael Barrier, Hollywood Cartoons: American
Animation in Its Golden Age (New York: Oxford University Press, 1999), 51. Rapee's
Encyclopedia confirms the advanced attitudes toward music at Pathe; one of its categories
is "Aesop's Fables." Unfortunately, it only refers the reader to the "Comedy Pictures"
category instead of specifically providing the names of pieces to use with Aesop's Fables;
we can still surmise, however, that the Fables series was sufficiently popular that Rapee
and others recognized it as an entertainment entity. Emo Rapee, Encyclopedia o f Music fo r
Pictures (Hew York: Belwin, 1925; rep. Amo Press Inc., 1970), 31.
George Tootell states in his 1920s handbook, How To Play The Gnema
Orgarr.
In this category we also include "Cartoon" comedies, such as

those of the famous Felix, though in these more opportunity
is offered for the exercise of the musician's wit. The organist
is recommended to extemporise accompaniments to cartoon
comedies, which are always short and concise, and offer
scope for witty extemporisation; it is not too much to say that
a skillfully accompanied cartoon can often be the most
popular item in the programme.6
Rather than spending any time discussing the possible techniques at using
music to establish mood or define character, the author just states that
cartoons are good place for composers to be "witty" and perhaps show off
their musical abilities. Edith Lang and George West's accompaniment guide
offers similar advice, although they do provide more than just a paragraph.7
(See Chapter Three for examples.)
Most film music books and manuals from the 1930s make some
mention of animated cartoons, usually lumping them in with comedies and
other short subjects. Disney's cartoons serve as the most frequent
examples of having "good" scores, although this is no doubt because the
Disney name had become so ubiquitously associated with animation around
6George Tootell, How to Play the Cinema Organ: A Practical Book By a PracticalPlayer
(London: W. Paxton &Co., Ltd., [c.1925]), 84.
7Edith Lang and George West, MusicalAccompaniment o f Moving Pictures (Boston: Boston
Music Company, 1920; rep. New York: Amo Press &The New York Times, 1970). 35-37.
the world. This international fame explains why, for instance, in Kurt
London's 1936 book, Film Music, only Disney's music is discussed in the
section "Sound Cartoon Rims" before the author moves on to European
animation directors.8
As the animation industry reached its productive peak in the 1940s
and 1950s, interest in cartoon music also increased somewhat, with
attention paid to the subject in various literary or professional journals,
particularly Film Music Notes.9 One feature of Film Music Notes was that its
editors always tried to provide information—biographical as well as
professional—on composers working in Hollywood in the 1940s, and thus
biographies of certain cartoon composers appear sporadically at this time.
Once again, the predominance of the Disney studio in Hollywood assured
that their composers were the most frequently featured, with the sole
exception of Scott Bradley (see Chapter FOur). Numerous other composers
8Kurt London, Film Music (London: Faber &. Faber Ltd., 1936; rep. New York: Amo Press 81
The New York Times, 1970), 149-153.
9Music in animation was featured in articles and reviews of new films and shorts. Some of
the lengthier articles include: Scott Bradley, "'Music in Cartoons/ Excerpts from a talk given
at The Music Forum October 28,1944," Film Music Notes IV :III (Dec. 1944): [np];
Nathaniel Shilkret, "Condensed from 'Some Predictions For the Future of Rim Music' in
Music Publishers'Journalla n ., Feb. 1946," Film Music Notes V:vm (Apr. 1946), 14; Ingolf
Dahl, "Notes on Cartoon Music," Film Music Notes Q:S (May-June 1949): 3-13; Lawrence
Morton, "Rim Music Profile-Leigh Harline," Film Music Notes IX:IV (March-April 1950): 13-
14; Frederick W. Stemfeld, "Kubik's McBoing Score," Film M usicNotesXM (Nov-Dee 1950),
8-16; Albert Mellot," The Two Mouseketeerswith Score Excerpts," Film Music N otesYlN
(May-June 1952): 9-11; Otis L. Guernsey, Jr., "The Movie Cartoon is Coming of Age," Film
Music Notes 13:2 (Nov-Dee 1953): 21-22.
for cartoons received little or no attention, including (by production
company):
Columbia: Joe de Nat, Eddie Kilfeather

Fleischer/Famous: Dave & Lou Fleischer, Winston Sharpies, Sammy
Timberg
Iwerks: Carl Stalling, Arthur Turkisher
Lantz: James Dietrich, Frank Marsales, Darrell Calker, Clarence
Wheeler
M-G-M: Eugene Poddany
Terrytoons: Philip Scheib
UPA: Hoyt Curtin, David Raksin, Gail Kubik, and many others
Van Beuren: Eugene Rodemich
Warner Bros.: Frank Marsales, Bernard Brown, Carl Stalling, Milt
Franklyn, William Lava
Serious critical examination of cartoon music would not occur until
the late 1970s. Roy Prendergast, in his 1977 book Film M usic: A Neglected
A rt, spends an entire chapter discussing "Music in the Cartoon and
Experimental Animated Rim." The chapter consists largely of an
examination of Scott Bradley's music—drawn in part from his numerous
Film Music Notes articles—and the sound-on-film experiments of John
Whitney and Norman McLaren. Just four years later, Jon Newsom provided
an in-depth examination of the history of cartoon music in The Q uarterly
Journal o f the Library o f Congress.™ The greater part o f his discussion
centers on Disney, M-G-M (Bradley again), and the music for the UPA
10Jon Newsom, '"A Sound Idea': Music for Animated Films," The Q uarterly Journal o f the
Library o f Congress 37:3-4 (Summer-Fall 1980), 279-309.
10
shorts o f the 1950s. Both Prendergast and Newsom chose their topics
according to available information; for instance, practically nothing on
Warner Bros, composer Carl Stalling existed then (or now)—his importance
as an influential composer on the rest of the industry had yet to be widely
acknowledged—and thus he is barely mentioned. Since that time, a handful
of other articles has appeared on topics ranging from Eisenstein's theories
of sound applied to Disney cartoons to how the technological limitations of
early sound affected the music for cartoons in the early 1930s.11
O f all the possible topics that Happy Harm onies could address—given
the relative dearth of writing on cartoon music—it will not speak to the
question "What is cartoon music supposed to do?" Most of these roles are
identical to those taken on by traditional film scores: establishing setting,
drawing the audience into the story, providing the viewer with additional
information about a scene, vitalizing the "lifeless" pictures of the film (even
more so because the figures in animated drawings were never alive to
begin with, unlike films featuring humans), and telling the viewer how to
feel at any given moment.
11Douglas Kahn, "Eisenstein and Cartoon Sound," from the website www.soundculture.org;
Scott Curtis, "The Sound of the Early Warner Bros. Cartoons," in Sound Theory, Sound
Practice, edited by Rick Altman (New York: Routledge, 1992).
11
Rather than presenting an all-encompassing history of cartoon
music, Happy Harm onies is organized into a set of four case studies
involving issues o f genre and compositional style. The comparison of jazz
and swing music with classical music and opera has been made repeatedly
in films and cartoons going back to The Jazz Singer. Rather than setting the
two against each other, however, I am more interested in the looking at
how the various studios made use of such culturally charged musics in the
cartoon narrative, and at how successful composers were at integrating
music of the two styles into their scores.
The role of jazz and swing in cartoons is not a new topic; in fact, it
has received more attention than any other component of music and
cartoons, albeit always from the perspective of representations of black jazz
musicians. What is equally important in these cartoons, however, is what
the very different approaches to jazz tell us about the public's view of the
genre and its creators when these shorts were produced. The look of jazz
does not tell the whole story; the songs chosen, the personalities
represented, and the specific styles appropriated in each short show how
pervasive an element of popular culture this genre had become. Numerous
forms of jazz—swing, bop, Dixieland, vocalese, big band, and even free
jazz—surfaced in cartoon scores or stories during the Hollywood studio era.
12
The obvious complement to a study of jazz in cartoons is an
examination of the uses made o f classical music. I f we are believe the
oppositions set up in cartoons and films of the 1930s, '40s, and '50s, these
two genres are cultural and aesthetic antagonists, constantly jockeying for
the position o f prominence in society's eyes. The increasingly highbrow
aura surrounding classical music and its practitioners provided cartoon
directors with an endless supply of jokes at the expense o f concert hall
culture. W hat we see after looking a t many of these cartoons is that certain
topics—the appearance and actions of the conductor, the attitudes of
singers— and particular pieces— Rossini's William Tell O verture anti Liszt's
Second Hungarian Rhapsody, for instance—seem perpetually ripe for
ridicule. W hat makes the comparison of classical and jazz so rewarding is
that the two actually have a great deal in common, especially in the way
that popular culture—expressed in a form like animation—took the most
recognizable bits of both as fodder for social commentary.
In Chapters Three and Fdur I discuss the composing methods of Carl
Stalling and Scott Bradley at the one studio where each had the most
significance historically. M-G-M is the only choice for Bradley, while Stalling
came into his own as a composer a t Warner Bros., particularly because he
was writing almost one new score every week. The extraordinary effect Carl
13
Stalling had on cartoon music as a whole provides me with a number of
possible topics: his relation to the term mickey-mousing', the original music
he wrote for each score; his collaboration with his arranger (and eventual
successor), Milt Franklyn; and his formative experiences with Disney and
Iwerks prior to Warner Bros. I eschew them all here in deference to what I
believe is the most pressing topic, particularly in the eyes of his critics: why
he made such frequent, if not pervasive, use of popular songs in his scores,
how those songs became a musical language through which Stalling could
tell stories, and how his particular style colors our understanding of the
Warner Bros, cartoons.
Scott Bradley provides the perfect foil to Stalling. While the Warner
Bros, composer was trained through the practical experience of
accompanying films, used popular music as often as possible, and saw his
work as simply that, work, Bradley came from the exact opposite point of
view, with formal compositional training and a love for modern music. This
explains both why he avoided popular songs in his scores and why he was
on a constant quest to raise the public's awareness of the quality of music
in animated cartoons. He pays careful attention in his music to the action of
each cartoon. By emphasizing the building tension between the characters,
his scores have a sense of flow and direction, indicating that the music will
14
reach a climax o f sorts. What I discuss in Chapter Four are the modernist
composing techniques Bradley used both to elevate his scores aesthetically
and to give them a unique musical "signature/' a compositional style that
differed greatly from any other studio composer for cartoons, most of all
Stalling (who once said that his idea o f a modernist composing style meant
using augmented intervals).
Why is cartoon music important? A quotation from Lawrence Levine
best sums up the situation: "We tend to forget too easily the truth that
precisely the same forms of culture can perform markedly distinct functions
in different periods or among different groups."12 Cartoon music had a
specific role in the heyday of Hollywood animation, and while the cartoons
remain, what the music signifies has changed, not only because the
audience has changed, but because animation and our culture have evolved
and transformed over the last 50 years. The music in cartoons still helps to
create meaning—the question is how.
12Lawrence Levine, Highbrow/Lowbrow: The Emergence o f CulturalHierarchy in America

(Cambridge: Harvard University Press, 1988), 240.
15
Chapter Two
Jungle Jive: The Animated Representation of

Jazz Music and Swing Culture
"Boogie Woogie is the native musical expression. There is jumpin'

jive, as the locals and native animals cut loose in accepted 'real
gone' fashion."
Motion Picture Herald, 13 October 1951
Review of Walter Lantz's Jungle Jive1
By the early 1920s, a new style of music had worked its way north
from New Orleans and begun to infiltrate numerous forms of
entertainment, including recordings, live performance venues, and even
film scores. In only a few years, jazz permeated the collective musical
culture of America, sped along by the commercially successful recordings of
such groups as the Original Dixieland Jazz Band. Cartoons were an
especially potent site for spreading the sound of jazz nationwide. Within
two years of the Hollywood sound revolution, cartoons began appearing
with such titles as The Jazz Foot (Disney, 1929), Jungle Rhythm (Disney,
1929), Jazz M ad(Terrytoons, 1931), Jungle Jazzm an Beuren, 1930), and
Congo Jazz (Warner Bros., 1930), each with a different stylistic approach to
the sound of jazz. The above review shows how those marketing cartoons
also attempted to cash in on the "swinging" qualities of a short to interest
16
potential buyers. Cartoons produced in the beginning of the sound era thus
provide us a valuable means of understanding how the general public
viewed jazz and its practitioners, assumed mostly to be black performers.
Because o f the racial associations with this music, particularly as its
popularity grew among white audiences in the 1920s and 1930s, we find in
almost every cartoon highlighting the performance of jazz a plethora of
racial stereotypes and imagery, much of it offensive to today's viewers.
The first critical attention paid specifically to jazz in cartoons
occurred in Charles Berg's "Cinema Sings the Blues," a 1978 article that
also provided one of earliest critical assessments of the cinematic images
painted o f jazz's creators. Berg effectively sums up the three most
important considerations of jazz's presence in animated films in fewer than
two pages: the racial stereotypes on which the animators relied when
depicting jazz musicians, the use o f jazz cliches for particular effects in the
cartoon score, and the special appeal of jazz to avant-garde animators.2 It
was not until almost 20 years later that a full book on the subject of jazz in
film appeared, Krin Gabbard's Jam m in 'atth e Margins, bringing
contemporary cultural criticism, in addition to modern film theory and
1HenryT. Sampson, That's Enough, Folks: Black Im ages in Anim ated Cartoons, 1900-1960
(Lanham, MD: Scarecrow Press, Inc., 1998), 184. This cartoon was originally released in
1944.
17
musicology, to jazz films. Gabbard also mentions animation, particularly
during his discussion o f King o f Jazz, as well as of the repeated
appearances of Louis Armstrong in cartoons in his chapter on Armstrong in
film.3
'"Jungle Nights in Harlem': Jazz, Ideology and the Animated
Cartoon," by Barry Keith Grant, marked the first attempt by a scholar to
concentrate exclusively on cartoons featuring jazz. Grant sought to expand
on Berg's brief discussion of the coupling of jazz and animation in the
1930s and '40s by looking at several notable cartoons of this genre—many
of which I examine in this chapter—and in the process touching quickly
upon a host of important issues that regularly come up in discourse on
feature films, but not animated shorts. As he carefully describes the various
types of stereotypical behavior and racist visual imagery in these cartoons,
he demonstrates that while scholars acknowledge how much feature films
fostered these generalizations, cartoons dealt in cultural and social issues
as much as (if not more pointedly than) feature films.4
2Charles Merreil Berg, "Cinema Sings the Blues/' Cinema Journal17:2 (1978), 3-4.
3Krin Gabbard, Jam m in'at the Margins: Jazz and the American Cinema (Chicago:
University of Chicago Press, 1996), 11, 205, 236-237. While Berg creates a basic chronicle
of jazz in film through its means of appropriation in successive film genres, Gabbard's book
consists of a series of case studies.
4Barry Keith Grant, '"Jungle Nights in Harlem': Jazz, Ideology and the Animated Cartoon,"
University o fH artford Studies in Literature (Volume 21:3, 1989), 3-12.
18
Another recent work on animation, by Norman Klein, frequently
refers to the influence of jazz on studios in the 1930s and 1940s. Citing
particularly to the Fleischer cartoons, Klein posits, "With support (or even
coaxing) from Paramount, [Dave] and Max [Fleischer] chose big city jazz,
as opposed to Disney's 'Turkey in the Straw / or nineteenth-century
symphonic music. Their animators tried to follow the pattern of jazz
improvisation in cartoons, to use gags the way a horn plays against the
piano, or to insert metamorphoses just as the vocalist holds on to an
unexpected note."5 Klein's book also dedicates an entire chapter to a
discussion of Coal Black and de Sebben Dw arfs (Warner Bros., 1943), a
cartoon filled from beginning to end with racist images and a jazz-styled
score.
Grant and Klein both make the representation of jazz, rather than
the actual music, their focus. This omission might reflect the widespread
belief that the music in feature films, because it typically gets added a fte r
the film has been edited, does not constitute part of the director's "vision"
5Norman M. Klein, 7 Minutes: The Life and Death o f the American Animated Cartoon (New
York: Verso, 1993), 83. Grant also compares the supposedly fluid nature and ease of
metamorphosis in an animated medium to the jazz musician's ability to take standard pop
songs and create new material from them apparently at will.
19
for the work.6 As I discuss in Chapter Three, music in animated cartoons
was almost always considered very early in the creative process because of
its role in maintaining the temporal flo w o f the cartoon narrative.7 Although
we should not ignore the visual imag-es cast upon jazz musicians in these
cartoons, I would argue equally that we cannot neglect the music, which
functions simultaneously as the inspiration for the narrative and as the
explicit source of its rhythm. Before going into specific examples of this
dual role that jazz plays, we should look first at some of the more general
attitudes toward jazz as a musical genre in the 1920s. Why might film
composers have found jazz's characteristic sound particularly useful?
Early Impressions of Jazz as F ilm Music
6Grant mostly dismisses the music by saying: that the scores are "generally not much more
than pastiches of popular and folk tunes . . . cartoon music has been rather conventional,
like cartoons themselves." While this statem ent explains why Grant seldom discusses the
practical or ideological role of jazz in the cartoon scores—opting instead to look a t the
cultural implications of the imagery—an implHcit contradiction still persists between his
obvious interest in the messages of the cartoons and his lack of focus on the music and
animation.
7While we must make an exception for shorts produced in the late 1920s and early 1930s,
when many scores would have been prerecorded (simply because the technology
necessary to synchronize a group of musicians with animated drawings did not yet exist),
these cartoons usually had just as much musical preplanning as any others. A noteworthy
example of the director and animators taking music into account before the shooting of the
film can be found in extant notes by Walt Disney, indicating how he wished to place the
music for Steam boat Willie in relation to the action. Still photographs of these notes are
included in Mickey Mouse: The Black and W hite Years, Volume One, 244 min., Walt Disney
Home Video, 1997, laserdisc.
20
One key to the generalized perception o f jazz, especially to those
working in the film industry, comes from the accounts of the innovative
sound of early jazz in film-music manuals from the beginning of the
century. Edith Lang and George West's 1920 handbook declares jazz's
unusual rhythmic characteristics ideal for marking special effects:
Jazz Band—The only way to imitate a jazz band is to hear one

of these unique organizations. There is no way of describing
it. Each and every player must hear these peculiar effects for
himself and then imitate them according to his impression
thereof. The general idea is to have one hand play the tune,
while the other hand "jazzes" or syncopates around it, the
pedals performing the drum and bass parts. The ability to lift
your audience's feet off the floor in sympathetic rhythm is the
truest test; that you will distress the ears of really musical
people goes without saying, but you will not distress their
sense of rhythm. This rhythm on your part must be perfectly
maintained, no matter what stunts you may perform with
hand and feet.8
The general characterization here of "jazz" gives the reader the distinct
impression that the power of the music defies description, but that if
executed properly, it will fulfill the accompanist's needs. The authors wisely
instruct the reader to go watch someone who can play good jazz rather
than trying to describe it, a particularly difficult feat at a time when the
8Edith Lang and George West, MusicalAccompaniment o f Moving Pictures (Boston: Boston
Music Company, 1920, rep. 1970, Amo Press, New York), 58-59. This excerpt comes from
a section entitled "Special Effects, and How to Produce Them."
21
sound of jazz had yet to reach all comers of the nation. Elsewhere, Lang
and West prescribe jazz for specific moments in scoring:
One important factor in these pictorial farces is the matter of

speed. "Pep" is the key-note to the situation, with the current
"jazz" tunes as a medium. When special effects are to be
introduced, or certain moods or emotions are to be "italicized"
and burlesqued, this may be done at any point of the
composition played, the piece instantly to be resumed.9
Again, the authors establish a connection between the sound of jazz and
significant points in the story or, rather, moments when the music must
convey a specific message. This instruction further demonstrates to the
budding accompanist the idea that jazz possesses an ineffable quality that
will spice up a score without detracting too much from it aesthetically.10
Early accounts of live jazz performances usually focus on its rhythmic
characteristics—that element of jazz's sound that so many found
9Lang and West, MusicalAccompaniment, 37. The footnote to this passage in the text
reads, in part, "The player should have at his command the choruses of such well-known
topical songs as 'I cannot make my eyes behave/. . . 'What's the matter with Father?' 'My
mind's made up to marry Carolina,' etc., etc. The association of such tunes with their
particular text phrase will always insure a quick response in the audience, if the tunes are
applied to the proper situation." The association of lyrics or a song title with on-screen
situations will become a very important component of Carl Stalling's compositional
technique (see Chapter 3).
10A similar comment on early jazz appeared in The Moving Picture World, an important
periodical to the early film industry. Each issue featured a "Music For The Picture" column,
which included articles regarding music and its performance in the theatre. In the
"Questions Answered—Suggestions Offered" section from a 1918 issue, the following query
appeared: ”Q. In playing 'blues' how do you get the real 'niggeri effects? A. There is no
way to explain the peculiar darky rhythm acquired by Southern players that make 'blues'
effective. It is a thing born in the player and not made. Would advise that you hear the
real thing." "Questions Answered—Suggestions Offered," in The Moving Picture World
(March 23, 1918), 1662.
22
inexplicably novel—without explaining why so many people found the music
so compelling, and why listeners could not keep from moving along to the
music. The link between black jazz musicians and their presumed African
heritage also figured widely in these critical assessments, so that blunt
references to the "primitive" and "native" elements of the music appear
constantly. A 1917 article on "jass" in a major New York newspaper by a
critic intending to draw readers to a variety show at a local theatre contains
this passage:
[Jass] is an attempt to reproduce the marvelous syncopation

of the African jungle. Prof. William Morrison Patterson, Ph.D.
. . . says: "The music of contemporary savages taunts us with
a lost art of rhythm. Modern sophistication has inhibited many
native instincts, and the mere feet that our conventional
dignity usually forbids us to sway our bodies or to tap our feet
when we hear effective music has deprived us of unsuspected
pleasures."11
The "syncopation of the African jungle" and the "music of
contemporary savages" both allude to the notion that the perceived
freedom in jazz or ragtime came from its supposed contact with its primitive
origins. Many cartoons relied on this perceived connection to the jungle to
justify their settings of jazz performances in the forest primeval. Far more
central in the critic's mind, however, is what jazz tells us about "us" and
23
"our bodies." Instead of condemning the "savages/' Patterson's description
betrays a deep sense o f envy: the more carefree and uninhibited black
population enjoys the ineffable pleasures of their "native instincts/'while
"modern" civilized society has deprived us of such "unsuspected pleasures."
This trope of primitivism that runs throughout much early jazz reception
referred to w hat was regarded as the essential attributes of the music as
well as that which made it so desirable. The mass consumption o f black
music and culture in the 1920s and 1930s by whites heading to Harlem and
other black cultural centers was a direct result of such a view of jazz's
innate qualities.
Jazz and Primitivism
The opening sequence to the Paul Whiteman film King o f Jazz ( 1930)
is one of the earliest appearances of jazz in an animated film. Krin Gabbard
remarks that "Although the sequence begins by suggesting that Whiteman
is in Africa to hunt for something, perhaps musical inspiration, the cartoon
ultimately portrays Whiteman as bringing jazz to Africa."12 In Blackface,
White Noise, Michael Rogin interprets the scene differently, saying, "Jazz . .
11Walter Kingsley, "Whence Comes Jass? Facts From the Great Authority on the Subject/'
New York Sun (August 5, 1917), 3; reprinted in Keeping Time: Readings in Jazz History,
edited by Robert Walser (New York: Oxford University Press, 1999), 5-7.
12Gabbard, Jam m in 'atth e Margins, 11. For a complete description of the scene in
question, I refer to Gabbard's introduction, 11-14.
24
. is the trophy the white hunter brings back from Africa."13 I agree more
with Gabbard's reading, as the film's underlying goal is to establish how and
tv/7/Whiteman deserves the title "King of Jazz"; what better way to do this
than by implying that he introduced the music to the very people most
associated with it?
While the notion of how someone as mainstream and pop-oriented
as Whiteman could make the claim to be the King of Jazz is fascinating
(Russell Sanjek called Whiteman a "press agent-anointed king"14), I am
more interested here in the music used in the opening cartoon to support
this claim. Like the remainder of the feature, in which, as Grant points out,
"almost none of the music played by the Whiteman orchestra could be
classified as ja z z .. . [but] rather tepid pop material,"15 the music in the
animated sequence relies on the notion of jazz as Whiteman's group
preached it to their audiences: big band arrangements o f current Tin Pan
Alley hits and jazz melodies. Songs used or referred to in the cartoon's
score include "Music Hath Charms" and "The Aba Daba Honeymoon" (Tin
Pan Alley), "The Campbells are Coming" (Scotch folk tune), and a snatch of
13Michael Rogin, Blackface, White Noise: Jewish Im m igrants in the Hollywood Melting Pot
(Berkeley: University of California Press, 1996), 139.
14Russell Sanjek, Pennies From Heaven: The American Popular Music Business in the
Twentieth Century (Hew York: Da Capo Press, 1995), 30.
15Grant, "Jungle Nights in Harlem," 7.
25
Rhapsody in Blue, George Gershwin's jazz-infused work, which is featured
in a later segment of the film.16 "Music Hath Charms/' first introduced to
the audience during the film's opening credits by one-third of Whiteman's
Rhythm Boys, Bing Crosby, receives the most attention in the cartoon's
narrative. Whiteman (that is, the animated Whiteman) plays the song
during the cartoon for an attacking lion who, instead of mauling the
bandleader as intended, gets caught up in the jazzy rhythm and changes
from a savage beast to a swinging cat.17 The instruments heard during this
scene, including violin (Joe Venuti), rhythm guitar (Eddie Lang), and bass,
typify the swinging sound produced by Whiteman's orchestra and other
popular ones in the early 1930s. When it came to the "primitive" or
"savage" sound of jazz, Whiteman's style did not even approach the hot
jazz played by such leaders as Duke Ellington or Louis Armstrong. For most
white listeners, however, Whiteman's jazz was still novel and even slightly
1SA quick joke, probably not lost on the audience in 1930, occurs when an elephant sprays
a monkey with water, angering the tree-dwelling primate into throwing a coconut that hits
Whiteman on the head, effectively "crowning" him as King of Jazz. "The Aba Daba
Honeymoon," the lyrics of which begin "Aba daba daba daba daba daba daba said the
chimpey to the monk," plays during the monkey's brief appearance. The use of Rhapsody
in Blue in the cartoon segment and later in the film was by no means accidental, as the
piece was written for and premiered by Whiteman's orchestra on February 12, 1924, at
Aeolian Hall in New York City. Walser, Keeping Time, 39.
26
dangerous in its appropriation of black musical styles. What made his jazz
so very innovative is that he "tamed" jazz's "savage impulses" for white
audiences to consume (possibly robbing it of much of the "native instincts"
I alluded to earlier).18
Whiteman's reliance on pop-oriented tunes does not reflect poor
musical abilities. Walter Lantz, who directed the animation, recalled that
during the scoring session he wished to set up a system to help Whiteman
synchronize the music to the animation, but the musician felt it
unnecessary. As chronicled in Leonard Maltin's O fMice and Magic,
Whiteman said:
"Let me tell ya, sonny, I can keep a rhythm on anything,"

Lantz remembers him saying. "So you tell me how long the
picture's going to be—three minutes, four minutes,
whatever—and III give you the rhythm you want." " I said we
wanted four minutes," Lantz continues, "and I'll be darned if
he didn't beat this thing out. It came to four minutes at 2/12
[two beats per second, or one beat every 12 frames]."19
17 Whiteman's taming of the beast in this manner is only one of several similarities to the
Walt Disney cartoon Jungle Rhythm (1929), in which Mickey performs for (and on, as in
Steamboat W illie) many of the jungle animals, having first calmed and impressed them
with his musical prowess by singing for them. While jazz might be implied in the title as it
is in Whiteman's film, Mickey nonetheless steers clear of contemporary songs and instead
performs pieces such as "Yankee Doodle" and "Turkey in the Straw."
18Once more, the Aeolian Hall concert of 1924 was probably where this transformation first
occurred, it being the performance in which Whiteman supposedly "made a lady out of
jazz." Walser, Keeping Time, 39.
19Leonard Maltin, O fMice and Magic: A H istory o fAmerican Animated Cartoons, Revised
Edition (New York: Plume Books, 1987), 162.
27
And, indeed, the music works well for the short sequence, carefully
underscoring the movement by Whiteman's animated counterpart, as well
as those of the animals he encounters in the jungle. I f the sequence makes
any (musical) arguments, however, it is that the music heard in the jungle
usually consists o f folk tunes and Tin Pan Alley songs.
The African natives depicted in this sequence—referred to as
"cannibals" in the original cartoon storyboards—appear on screen for the
duration of eight bars (less than ten seconds), during which they dance to
the beat of the music, casting tall shadows on the wall behind them.20 At
the end of the musical phrase, however, the two figures strike a frightening
pose, jumping onto their tip-toes, sticking out their tongues, and bulging
out their eyes. This brief bit of mugging for the camera (on screen for only
two seconds) anticipated the stereotyped drawings of African natives that
would dominate cartoons for at least the next two decades.
20Barry Grant also says that we see dancing "a black rabbit—'a jungle bunny'—enjoying the
music," yet he neglects to mention that the bunny was actually Oswald the Lucky Rabbit, a
character with which Lantz had begun producing cartoons the previous year, and therefore
a logical candidate for a quick cameo in a major feature film. Oswald began life as a Disney
character in 1927 and, like Mickey Mouse and Bosko, was modeled on vaudeville blackface
performers, but never actually became a character explicitly African in origin; these three
characters a ll made appearances in the jungle, but always as the visitor, never the native.
Samuel Floyd also mentions in The Power o fBlack Music in the midst of a discussion of
recurring figures in African storytelling traditions: "I posit, as have others in casual
conversation, that Brier Rabbit later metamorphosed into Bugs Bunny, trickster hero of
millions of Americans, white and black, child and adult." Samuel Floyd, The Power o fBlack
Music (New York: Oxford University Press, 1995), 29. Some of Oswald's personality traits—
being a fellow rabbit—no doubt influenced Bugs' personality.
28
The caricatures and gags presented in King o fJazz involving natives
recur, along with several other racial cliches, in almost every form of
entertainment of the time that thrived on the use of stereotypes, from
cartoons to stage shows.21 In a survey resembling Donald Bogle's study of
black character types in films, Henry Sampson describes the narrative
trends that developed in shorts for use o f black characters, which include
cartoons taking place on the stereotypical antebellum plantation, cartoons
set in the jungle, and cartoons actually depicting vaudeville or minstrel
shows, all of which date back to the era predating synchronized sound.22
Not surprisingly, jazz's influence extends to virtually every cartoon listed in
Sampson's book, for, as we have already seen, by the 1930s jazz came to
be closely identified with anything referring to black culture.
Stereotypes not only figured their way into the stories and design
format of the cartoons but also into the scores, as particular songs also
came to be identified through their association with minstrelsy and
21 Animation historians who have queried the presence of stereotypes in cartoons have
recorded some of the rationalizations that seem to dominate this discourse; for instance,
critic Charles Solomon is quoted by Terry Lindvall and Ben Fraser as saying, "At the time,
most people considered this style of humor both good fun and good taste." Solomon
provides no explanation as to who "most people" might be. Terry Lindvall and Ben Fraser,
"Darker Shades of Animation: African-American Images in the Warner Bros. Cartoon," in
Reading the Rabbit: Explorations o f Warner Bros. Animation, edited by Kevin Sandler (New
Brunswick: Rutgers University Press, 1998), 123.
22Sampson, That's Enough, Folks, v. See also Donald Bogle, Toms, Coons, Mulattoes,
Mammies, and Bucks: An Interpretive History o fBlacks in American Films (New York:
Continuum, 1994).
29
vaudeville with black society. Although famous minstrelsy songs such as
"Zip Coon" and "Jim Crow" seldom appeared in sound cartoon scores, other
songs surfaced to take their place, most prominently "Listen to the
Mocking-Bird."23 Another late 19th-century song, "Sweet Georgia Brown" by
Ben Bernie, Maceo Pinkard, and Kenneth Casey, also frequently denotes
moments in which race and gender intersect. Nevertheless, while the
aforementioned songs may have functioned well as recognizable melodic
cues for individual black characters, jazz provided the sound that most
often signified the black community and its culture.
Primitivism and the Fleischer Shorts
The Fleischer cartoon studio was probably the first to portray jazz as
a musical genre deserving recognition in the late 1920s and 1930s. Instead
of simply employing jazz idioms to color the musical score, these cartoons
featured well-known songs by famous recording artists. The Fleischers—not
Disney—actually developed the first sound cartoons, the Fleischer Song
Kar-Tunes: bouncing-ball shorts used in theatre sing-alongs. Having
Êrno Rapee, Encyclopedia o fMusic fo r Pictures (New York: Belwin, 1925; rep. New York:
Amo Press & The New York Times, 1970), 64. In the category titled "American
(Southern)/' Rapee includes, along with "Listen to the Mocking Bird," songs such as "The
Darkville Dance" and "From the Cotton Field," as well as 'Turkey in the Straw." The cue
sheet for the Fleischer cartoon Bimbo's Initiation (1932) indicates the song title "Old Zip
Coon," yet it could have also been heard as 'Turkey in the Straw," the song into which
30
achieved tremendous success with popular music in these early shorts, the
Fleischers sought a new means of making money after the industry made
the transition to sound. Help came from their distributor and parent
company, Paramount Pictures, which gave the Fleischers the use o f their
newsreel recording facilities in Manhattan and, more importantly, permitted
the Fleischers to film the celebrities already scheduled to appear in shorts
and films in those same facilities.24 Thus, Ethel Merman, Rudy Vallee, the
Mills Brothers, Cab Calloway, and Louis Armstrong—all artists who starred
in Paramount short subjects or films—began starring in Fleischer cartoons.
This arrangement benefited both the studios and the stars. Once the
Fleischers had chosen a song from the featured artist to use in a cartoon,
the writers would construct a story that made the performance of the song
the centerpiece of the short, usually taking the song's title for the name of
the cartoon—one of the many ways in which the recordings were
publicized. Paramount would then often release the cartoon with the live
footage prior to the artist's appearance in a given city, hoping thus to
further increase the public's interest in seeing him or her perform.
"Old Zip Coon" eventually mutated at the turn of the century. Charles Hamm, Music in the
New W orld{New York: W.W. Norton &. Company, 1983), 259-260.
24Leslie Cabarga, The Fleischer Story (New York: Da Capo Press, 1988), 63-64.
31
The Fleischers also responded to local influences of the Manhattan
music scene in their use of jazz. Their earlier success with the Song Kar-
Tunes came from the use of Tin Pan Alley tunes and 19th-century popular
songs, styles familiar on the vaudeville and theatre stages in the city. The
proximity of their studio to premier music venues, particularly the uptown
clubs in Harlem that featured artists like Duke Ellington, Fletcher
Henderson, and Cab Calloway clearly had an impact on their choices.
Nathan Irvin Huggins described the widespread allure of jazz during the
Harlem Renaissance:
How convenient! It was merely a taxi trip to the exotic for

most white New Yorkers. In cabarets decorated with tropical
and jungle motifs—some of them replicas of southern
plantations—they heard jazz, that almost forbidden music. It
was not merely that jazz was exotic, but that it was instinctive
and abandoned, yet laughingly light and immediate—melody
skipping atop inexorable driving rhythm. . . In the darkness
and closeness, the music, infectious and unrelenting, drove
on.25
Lou Fleischer, the brother in charge of music for the studio, recalls going to
the Cotton Club to catch Cab Calloway in concert in an attempt to choose
which of the performer's songs might work well in a cartoon.26 Seeing the
musicians in such environments no doubt gave the writers at the studio
25Nathan Irvin Huggins, Harlem Renaissance (New York: Oxford University Press, 1971),
89.
26Cabarga, The Fleischer Story, 63.
32
story ideas for future cartoons. They could easily have taken the portrayals
of primitivism seen in the acts at the Cotton Club and written stories around
them, simultaneously combining the music and visual trappings of the
performers with the animators' own creative ideas on the drawing board.
The cartoons the Fleischer studio created—having couched the songs
of the featured musicians within the stereotyped narratives that they played
out in their live acts—allowed movie-going audiences around the country to
experience an even more fantastical version of the popular nightclub shows
that only select club patrons in New York City could see. LeRoi Jones points
out that whites eagerly engaged with the new black music that offered such
a novel image of America.27 They desired to experience the sensual
overtones ascribed to "primitive" music. Through outlets such as Harlem-
based musical venues and even cartoons, whites could add something to
their lives they felt they implicitly lacked: the perceived freedom and
hedonism of a simpler, more instinctual society, an idea alluded to in Prof.
Patterson's earlier review. As Huggins later states," .. . like white audiences
that had watched blackface minstrels throughout the history of the
American stage, these found in the black surrogate the possibility of being
27LeRoi Jones (Amiri Baraka), Blues People: Negro Music in White America (New York:
Morrow Quill Paperbacks, 1963), 149.
33
transported into black innocence/728 Like King o fJazz and the examples to
follow, the cartoons that combined the notion of primitivism with jazz
strongly emphasized the careless freedom with which blacks supposedly
lived their lives.
Among the Fleischer cartoons starring famous black jazz musicians,
Louis Armstrong and his band make their sole appearance in IH Be Glad
When You're Dead, You Rascal You{1932).29 Like most of the cartoons in
this series, the film opens with a sequence of live footage following the title
cards, featuring Armstrong and his band performing before moving to the
animated story, thereby giving the audience the opportunity to see the
musicians and providing Armstrong with the publicity he obviously desired.
Rather than having the cartoon begin with the performance of the title
song, however, Armstrong and his men play another song—"Shine"—that
28Huggins, Harlem Renaissance, 300. In his examination of homosexuality and animation,

Sean Griffin points out that a wide variety of subverted cultures flourished in 1920s New
York: "The Prohibition era created in New York City a vast underground of speakeasies and
gin joints that allowed individuals who had considered themselves law-abiding before
Prohibition to mix with minorities and outcasts from society." Sean Griffin, "Pronoun
Trouble: The 'Queerness' of Animation," Spectator 15:1 (Fall 1994), 99.
29The list also includes Cab Calloway and his Orchestra in Minnie the Moocher(1932),
Snow White (1933), The Old Man o f the Mountain (1933); the Mills Brothers in I A in 't Got
Nobody (1932), Dinah (1933), When Yuba Plays the Rumba on the Tuba (1933); and Don
Redman and his Orchestra in / H eard(1933).
34
segues neatly into the background music for the animated sequence.30 The
audience must watch w hat amounts to half the cartoon before Armstrong
begins the title song—a clever strategy on the part of the studio to get
viewers to focus their attention on the characters in the cartoon, and a
technique for story construction that has parallels in the Warner Bros, style.
The story centers on Betty Boop and her companions, Bimbo and Ko-Ko,
exploring the depths o f the African jungle. They inevitably become involved
in a chase with some natives, culminating in the appearance of the title
song. As Bimbo and Ko-Ko try to give the slip to the native pursuing them,
a characteristic "ONE-two-three-four" drum beat—a musical stereotype
usually associated with Native American drumming patterns—starts playing
in the background, making a transition almost immediately into the title
song, for which the drums have subtly set up the tempo. As the drum beat
ostensibly comes from "native" drums and is heard as if being played off
screen, the music establishes, before any lyrics are heard, the presumably
primal origin and nature of the song, which springs full-formed from the
primordial rhythm.
30The session players for the songs used in this cartoon included Armstrong on trumpet
and vocals, Zilmer Randolph, trumpet, Preston Jackson, trombone, George James and
Lester Boone, alto saxophone, Al Washington, tenor saxophone, Charlie Alexander, piano,
Mike McKendrick, banjo, Johnny Lindsay, bass, and Tubby Hall, drums. Tom Lord, The Jazz
Discography: Volume 1 (West Vancouver, B.C.: Lord Music Reference, 1992), A334.
35
During the chase, the native pursuing Bimbo and Ko-Ko literally loses
his head, which flies, disembodied, after them in the sky. As the
introduction to the song ends and the opening verse begins, this image
dissolves into Armstrong's own live-action head, singing the title song! This
transformation creates a direct visual link to the perceived primitive nature
of jazz, implying that Armstrong is still a denizen of the jungle himself. The
skies even darken forebodingly as the native/Armstrong first runs up behind
Ko-Ko and Bimbo, who clearly fear Armstrong, his song, and (implicitly) jazz
and the black community that created it. Apparently setting the story within
the jungle and "native'-izing Armstrong did not create an obvious enough
connection for the animators. The film ends with Armstrong's version of
"Chinatown, My Chinatown," and while a group o f natives dance around a
captured Betty, the animators visually transform—through the same
dissolve effect used with Armstrong's visage—a jungle drummer into
Armstrong's own percussionist (Tubby Hall), once more firmly establishing
jazz's origins in the jungle.31
Placing Betty into a perilous setting in the jungle against Armstrong's
savage image created a very compelling and successful story—so successful
31"Chinatown, My Chinatown" makes for an interesting choice for the final cue—being
mostly about life in an Oriental opium den—as it presents a different type of exoticism than
36
Reproduced with permission o f the copyright owner. Further reproduction prohibited without permission.
in fact that in the three Betty Boop cartoons starring Cab Calloway, Betty
likewise finds herself in, as Paul Wells describes it, a "dark, mysterious
underworld, characterized by transgressive behaviour and taboo imagery.
Even in its crudest forms, representations of black-ness or black-oriented
contexts, operate as signifiers of danger and cultural threat."32 Luring
Betty—the quintessential flapper, a young, newly liberated, and highly
sexualized woman—into such a den of urban iniquity made her vulnerable
to the visceral temptations of jazz that I have already mentioned, but also
exposed her to black men, who, stereotypically, want to possess and make
off with white women, a characteristic of "bucks," as Bogle classifies them.
He states: "Bucks are always big, baadddd niggers, oversexed and savage,
violent and frenzied as they lust for white flesh."33 In the jazz cartoons with
black musicians, Betty almost always ends up being chased by the
animated representatives of jazz: Cab Calloway chases her in The Old Man
o f the Mountain and M innie the Moocher, Don Redman and a bunch of
other "spooks" try to catch her in I Heard, and natives pursue her in I'll Be
that portrayed in the cartoon. Thus, we have an American interpretation of African life
mediated through a song about the presence of Far Eastern culture in the United States.
32Paul Wells, Understanding Animation (London: Routledge, 1998), 217. Sean Griffin also
describes Betty's descent into the cave in Snow White as "much like the entrance to a
speakeasy, dark and secret." Griffin, "Pronoun Trouble," 99.
33Bogle, Toms, Coons, 13.
37
Glad. In this way among others cartoons perpetuated cultural myths about
black males.34
Locating Betty in a jazz world aurally also means placing her in the
ideological world of black music—hence the dark jungles meant to
represent jazz's supposed primeval origins, while the caves that appear in
all three Calloway cartoons might be seen as metaphors for the urban
source o f jazz, Harlem nightclubs.35 For white audiences, seeing these
exotic locales in cartoons provided a safe outing to a strange and unusual
world, much like the Harlem clubs. As Huggins states in reference to
Harlem clubs, " It was a cheap trip. No safari! Daylight and a taxi ride
rediscovered New York City, no tropic jungle. There had been thrill without
danger. For these black savages were civilized—not head-hunters or
cannibals—they would not run amok."36 This cartoon had several other
attractive features for white viewers. Not only were audiences transported
to faraway lands, but the humorous and fantastical sight gags that
characterized the Fleischer style also made Africa seem less dangerous and
even somewhat laughable, especially considering the dehumanizing image
340 f course, Betty is pursued by men in many of her cartoons; the race issue only serves
to complicate the chase.
35 The Betty Boop cartoon I Heard, featuring Don Redman and his Orchestra, takes place
at a mining camp. The first half of the cartoon occurs nearby in Betty's Tavern; the song's
chorus, however, is not heard until Bimbo, mining deep underground, comes upon a
cavern filled with a skeleton and several ghosts (or "spooks"), singing " I Heard."
38
painted of African natives. (By extension, such portrayals naturally
extended to the urban American black, who could become less fearsome to
white audiences through such caricaturizations.) Experiencing the forbidden
music of Armstrong or Calloway as a soundtrack to the journey at the same
time created an additional level of excitement.
This cartoon appeared in theatres just prior to the period when
Armstrong would begin to face accusations from other jazz musicians and
the black population in general who charged that, with his wide grin,
affable nature, and questionable repertoire, including his ongoing use of the
song "When It's Sleepy Time Down South," he continued to strike the pose
of a "Tom"—a stereotypically friendly, non-threatening male black—in order
to please white audiences and ensure his ongoing popularity in the
entertainment world.37 This cartoon comes at the very beginning of
Armstrong's film career—according to Gabbard, only one feature film,
unfortunately lost, predates I I I Be Glad—and shows to what lengths others
portray Armstrong in what many saw as a less than honorable fashion,
since the Fleischer animators applied to his image as a black performer
almost every conceivable stereotype relating to the primitivism of African
36Huggins, Harlem Renaissance, 90.

37Gabbard, Jam m in'atthe Margins, 207. For a discussion of the "tom" as derived from
"Uncle Tom", see Bogle, Toms, Coons, 4-7.
39
natives. O f all the jazz personalities featured in Fleischer cartoons,
Armstrong's sole appearance was probably the most extreme in its use of
stereotypes. With the dissolve between Armstrong's live-acbon head and
that of his animated savage counterpart, the implicit statement made by
the cartoon's creators concerning the constitution of his "inner" nature
could not be more clear.
Even Armstrong's voice lent itself to the stereotype of the savage
persona. In vaudeville, Huggins writes that, "The minstrel's dialect,
whatever its relationship to true Negro speech, was coarse, ignorant, and
stood at the opposite pole from the soft tones and grace of what was
considered cultivated speech."38 Of course, a popular facet of Armstrong's
act was his raspy and ebullient singing style, yet in the context of this
cartoon, the manner in which he makes music suddenly takes on primitive
characteristics, especially with his frequent vocal exclamations that often
bordered on the unintelligible. Later cartoons that caricatured Armstrong
would fetishize the same idiosyncratic elements of his performing style,
with his voice usually the most obvious and therefore most often satirized
part of his public image.
38Huggins, Harlem Renaissance, 255.
40
Many of the points I have described regarding Armstrong's qualities
as "savage" first appeared in A Rhapsody in Black and Blue, a one-reel
musical short Paramount produced in 1932, directed by Aubrey Scotto. The
film opens in a run-down home where a black man sits listening to his Louis
Armstrong records and playing a makeshift drum kit while his wife
admonishes him to clean the house. When she knocks him out cold with a
mop, the bubbles in the soap bucket, combined with the jazz music in
background, lead to his having a wild fantasy where he is the king of
"Jazzmania/'The scene is (apparently) set in a throne room where, dressed
in a military outfit, the "king" is entertained by Armstrong and his band, all
dressed in leopard skins and other primitivistic costumes, while (unseen)
bubble machines churn away and fill the foreground with soap bubbles.
Armstrong sings " III Be Glad When You're Dead, You Rascal You," followed
by "Shine," after which the man wakes up from his reverie. Gabbard argues
that, in this early short, Armstrong codified the physical means of
"expressing male sexuality."39 What makes this short particularly important
to my discussion is the great influence it clearly had on the Fleischer
animators: they used the same song featured in A Rhapsody in Black and
Blue and kept the idea of primitivism, but exercised the limitless nature of
39Gabbard, Jam m in'At The Margins, 210-211.
41
their medium by setting the story in the jungle itself, while the live-action
short clearly never leaves the soundstage. They even retain some of the
camera work from Rhapsody. Only two musicians get close-ups in
Rhapsody, Armstrong and his drummer, Tubby Hall; likewise, both
Armstrong and Hall not only receive animated emphasis in 11/Be Glad
When You're Dead, but both have their visages compared directly to those
of jungle natives.
As a final example of primitivism, we can look at the Warner Bros,
short The Is /e o f Pingo-Pongo (1938). Set on a remote island, the cartoon
consists mostly of travelogue-type narration and blackout gags, many
involving Egghead, the character that eventually evolved into Elmer Fudd.40
Once we finally see the inhabitants of Pingo-Pongo—almost every one of
them tall, black, with excessively large feet and lips, and with faces bearing
a striking resemblance to the animals on the island—the omnipresent tour
guide chimes in with, "As we near the village, we hear the primitive beat of
jungle tom-toms. We come upon a group of native musicians, beating out
the savage rhythm that is as old and primitive as the jungle itself." Yet after
the establishing shot of the four musicians—four black natives squatting in
front of four drums beating the familiar "ONE-two-three-four" rhythm—the
42
quartet suddenly jumps up and does a Texan-styled performance of "Shell
Be Cornin' 'Round the Mountain/' complete with yodeled responses to each
line of the melody. The humor comes from the unexpected use o f an
American folk tune, when we have clearly been set up to expect something
in a far less familiar vein, especially considering that "She'll Be Cornin'" is
n o t as "old and primitive as the jungle itself," a fact made even more ironic
by the black natives singing such a song in a Western harmony style.
The narrator's line about the "primitive savage rhythm" sets up a
connection for the audience between jazz and the jungle culminating in a
later scene during a "native celebration." Several male-female couples
dance a short minuet, with arms raised and in perfect synchronization, to
imply refined, proper style—yet another of Avery's comic juxtapositions of
contemporary cultural conventions with the uncivilized jungle dweller.
Suddenly a short, squat native (obviously meant to be Fats Waller, inferred
both by his size and singing style) announces the next song, a rendition of
"Sweet Georgia Brown" with Waller and four natives representing the Mills
Brothers singing around a 1930s radio microphone.41 The dancers respond,
40The title o f the cartoon clearly plays on the pronunciation of the South Pacific island Pago
Pago (pronounced pan(g)o, according to Merriam Webster's Collegiate Dictionary?).
41Several elements in this scene show up in other cartoons: the Mills Brothers/Fats Waller
combination has already been seen in Clean Pastures (1937, discussed below), while the
transition from refined dancing to hot jitterbugging occurs again in Coal Black and De
Sebben Dwarfs {1943, also discussed below).
43
predictably, with much less refined and more stylized dance moves. The
song ends with a final chorus played by a native orchestra on modem jazz
instruments.42 The startling performance by Waller and the Mills Brothers
dominates the scene, however, as the brothers perform all their
characteristic tricks of imitating instruments with their hands, while Waller
scats his way through a chorus of the song. In this case, the music of the
"contemporary savages," to return to the "Whence Comes Jass" article
quoted earlier, quickly goes from stereotypical music for jungle natives—
nothing but beating drums—to a much more modern and swinging sound,
though one that was still understood to be primitive in origin. It was not
only the Fleischer and Warner Bros, cartoons that fostered images of the
emergence of jazz from the savage hinterland; all the major studios
participated in the reproduction of this prevalent stereotype of jazz's
origins.43
Jazz and Popular Song: The Warner Bros. Cartoons
Warner Bros, took a very different approach to jazz from the
Fleischers. While Warner Bros, did n o t have direct access to famous
42The cartoon's penultimate cue further confuses the musical construction of the story:
while the narrator tells us it is time to bid farewell to Pingo-Pongo, the melody of "Aloha
Oe," typically associated with Pacific islands (particularly Hawaii) slows down the
momentum from the previous song. This conflation of primitive attributes indicates another
stereotype at work here: that a ll primitive peoples look and act the same.
44
performers, they had the next best thing—their songs. By dubbing the
voices of famous performers with professional singers who could imitate
celebrities, the Warner cartoons could use contemporary jazz or big band
hits in their cartoons, taking the songs from their extensive holdings of
popular sheet music, and have them (ostensibly) performed by the biggest
names in the business, a practice we have just seen with The Is /e o fP in gio -
Pongof*
Warner Bros, already had a strong identification with the musical
film: The Jazz Singer and a whole line of musicals, including Go/d D iggers
o f1933, Gold Diggers o f1935, and 42nd Street, came from that studio.
Most of the early cartoons produced there were constructed with a sim ilar
narrative framework to that of the musicals, particularly in the notion of tfie
storyline diverting into song every so often before returning to "reality". B ut
in cartoons, of course, reality is relative and requires no "interruption" whien
a song is introduced; it can exist just as logically and rationally as anything
else that happens in an animated environment. Hank Sartin clarifies one
distinction between live-action and animated musicals: " . . . unlike the
43Sampson's chronicle of black images in cartoons confirms this.

Ân all-black vocal jazz/rhythm group similar to the Mills Brothers, known as the Four
Blackbirds, recorded the backing vocals for many cartoon soundtracks, including Clean
Pastures, The Is le o f Pingo-Pongo, and others. One of the members of this group—possifciy
Leroy Hurte—also did the imitations of the famous music personalities. Thanks to Keith
Scott from providing this information.
45
anonymous audiences of 42n d S treet(1933) and Dames {1934), [diegetic
cartoon audiences] are not passive consumers but active participants in the
spectacle. Everyone in the cartoon is a potential performer, and singing and
dancing are an integrated part o f normal experience."45 With such a close
relationship established between the score and the story, the actual music,
not just its cultural implications, helped to create meaning in the cartoons.
The 1937 cartoon Clean Pastures offers an example of the method in
musicals of slipping back and forth between the main story and a musical
interlude or number. Inspired by an immensely successful all-black Warner
Bros, musical film, The Green Pastures, itself an adaptation of one of the
most popular plays of the early 20th century (written by Marc Connelly, and
premiering in 1930), Clean Pastures is a morality play that takes us back to
the heyday o f the Harlem Renaissance.46 The main title establishes the
theme of redemption—unusual in these cartoons—as an all-male (and
clearly understood to be all-black) chorus sing the a cappella phrase "Save
me, sister, from temptation," taken from yet another Warner Bros, musical
45Hank Sartin, "From Vaudeville to Hollywood, from Silence to Sound: Warner Bros.
Cartoons of the Early Sound Era," in Reading the Rabbit: Explorations in W arner Bros.
Anim ation, edited by Kevin S. Sandler (New Brunswick, NJ: Rutgers University Press,
1998), 75. Sartin's essay makes some very compelling arguments about the similarities
between Hollywood musicals and the early sound cartoon, as well as the great extent to
which cartoons owe their storytelling abilities to vaudeville practices.
46Gerald Bordman, The Oxford Companion to American Theatre, Second Edition (New
York: Oxford University Press, 1992), 306-307.
46
film, Al Jolson's The Singing Kid, released only one year before Clean
Pastures. The brief appearance of this song foreshadows the cartoon's
religious theme.
The plot: heaven, called "Pair-O-Dice," has a shortage of attendees,
in contrast to "Hades, Inc.," where the wanton residents of Harlem head
after a lifetime of dancing, drinking, and carrying on (all to the Tin Pan Alley
tune "Nagasaki"). The angel in charge, clearly modeled on Uncle Tom,
sends his assistant, a Stepin Fechit angel, down to Harlem to lure the
Hades-bound to Pair-O-Dice, but to no avail. During Fechit's entreaties to
the Harlemites, Bill "Bojangles" Robinson walks by and soft-shoes "Old
Folks at Home," and a blackface-costumed Al Jolson walks up and sings a
chorus of " I Love to Singa," which only seems to confuse the hapless
cherub. Only with the help of angelic jazz luminaries—including Louis
Armstrong, Cab Calloway and his band, Fats Waller, and the Mills
Brothers—can the Harlem pleasure-seekers work their way to the promised
land. Several of the musicians convince Uncle Tom that "rhythm" will make
Pair-O-Dice more attractive, and launch into a swinging version of "Swing
For Sale."
47
(chorus)
[Cab Calloway and his orchestra]
If your rhythm's been too dreamy [echo] and you like your trumpets
screamy, [echo]
That's when you should call to see me, ['cuz] I've got SWING FOR SALE.
If you think a waltz is horrid, and you like your rhythm torrid,
Till it makes you mop your forehead, I've got SWING FOR SALE
(bridge)
[Mills Brothers]
Rhythm is what this country needs, for years and years, I've said it.
When you buy from me, it's C.O.D., I sell swing but not for credit.
[repeat of second phrase of chorus by Armstrong]
[Cab Calloway]
There's no tellin' what can happen, I can start your toes a tappin'.
I can set your fingers snappin', I've got SWING FOR SALE.47
The song works perfectly as an enticing agent for the jazz stars to use on
Pair-O-Dice's behalf, and between Armstrong's impassioned solo—during
which his eyes bug out and his face turns positively purple—and the vocal
hand/mouth effects employed by the Mills Brothers, they succeed.
The climax of Clean Pastures (as well as that of its theatrical
predecessors) evokes the spirit of a revivalist camp meeting, about which
Charles Hamm notes that "its message, delivered in an atmosphere
supercharged with emotionalism, was that Christian salvation was a
personal matter, available immediately to anyone who would repent of his
47The song was originally featured in a 1930 Vitaphone short of the same name featuring
Hal LeRoy.
48
sinful ways and accept Jesus as his saviour."48 Clean Pastures, in proposing
rhythm as the way to salvation, uses rhythm as a metaphor for religious
faith, showing again how strongly the white population identified jazz with
aspects of black culture, including religion. Rather than offer an alternative
to the swinging Harlem music, the heavenly musicians appropriate the very
hottest sounds for their own purpose: to lure people to Pair-O-Dice. By
placing the creators of "good" hot jazz in heaven, the cartoon suggests that
certain types of black music are better than others, implying that "hot"
music made in such places as Harlem would lead to debauchery and
eventually to "Hades, Inc." Only through the noble efforts of famous black
musicians could souls be turned for the better. Armstrong and Calloway
must have been deemed safe enough—or at least sufficiently
nonthreatening to whites—to represent angels. This modicum of respect
perhaps explains why the animators chose to portray these famous
musicians with fewer racist stereotypes than was usual.
This image of paradise did not please everyone, however; Michael
Barrier points out that Clean Pastures
was one of the few cartoons to run afoul of the Production

Code. The Code required rejection of any film that was a
burlesque of religion, and the Code's administrator, Joseph I.
Breen, condemned Clean Pastures as exactly that. In a letter
^Ham m , Music in the New World, 129.
49
to [producer] Leon Schlesinger, Breen cited the portions of
the film set in an ersatz Heaven called Pair-o-Dice, and said,
" I am certain that such scenes would give serious offense to
many people in all parts of the world/'49
Breen's letter does not specify, unfortunately, if the scenes he perceived as
globally sacrilegious were offensive because they involved the depiction of
blacks, not only as denizens of heaven but also as the angels who ran the
place. Karl Cohen cites an article from 1939 in which Warner Bros, cartoon
producer Leon Schlesinger stated that "the phrase 'De Lawd' was cut out of
the cartoon and that the censors wanted to eliminate the halo over the
head of a Negro angel."50 Perhaps the cartoon also ran into trouble because
it made the image of a black heaven manifest at all. Donald Bogle writes
about The Green Pastures: "The movie played hard at exploiting the
incongruity of angels with dirty faces . . . . All this went under the guise of
a 'Negro miracle play/"51 The "incongruity" of which Bogle speaks—with
black men, women, and children living normal (after)lives in the same
heaven as white folk, portrayed in the-film through the down South
recharacterization of Bible stories—became even more obvious in Clean
Pastures.
49Michael Barrier, Hollywood Cartoons: American Anim ation in Its Golden Age (New York:
Oxford University Press, 1999), 342.
50«ari F. Cohen, Forbidden Animation: Censored Cartoons and Blacklisted Animators in
America (Jefferson, NC: McFarland &. Company, Inc., 1997), 29.
50
Like the Hollywood musicals of the 1930s on which so many of the
Warner Bros, cartoons were based, Clean Pastures moves from the real
world (the urban city) to a state of surreal existence. In this case, the all-
star band, singing promises of a swing-filled eternity, eventually leads the
righteous away from Harlem and into heaven, beyond any bounds of
earthly reality, embracing a lively version of "Oh! dem Golden Slippers" on
their way. This combination of hot music with a traditional spiritual allows
both the music-loving Harlemites and the angles in heaven to get what they
want. Hank Sartin says that these musical cartoons, "celebrate spontaneity,
imagining a world that is entirely transformable into a space of limitless
entertainment."52 Since neither we nor the righteous Harlemites get to see
what glories await in heaven—no doubt appealing since Satan himself
comes to call at the cartoon's close—the music m ust paint a compelling
picture o f the blissful times to be had. Using the popular images of
Armstrong, Calloway, and the like allowed the writers to entice the
Harlemites upward and to present an alternative to the hedonistic nightclub
scene. Bogle describes paradise in The Green Pastures as "a perpetual
Negro holiday, one everlasting weekend fish fry. Harmony and good spirits

52Sartin, "From Vaudeville to Hollywood, from Silence to Sound," 77.
51
reign supreme.. ."53 The Warner Bros, animators model their version of
heaven after that of The Green Pastures, with heavenly Harlem shops and
singing choirs making up their vision of paradise.
Musically, the story features several Warner Bros.-owned songs,
including "Sweet Georgia Brown," "I Love to Singa," and the extended
version of "Swing for Sale." The score here forms both the foundation for
the story and the driving force behind the animation. Even in sequences
without a visual performance, the animation still moves precisely in time
with the music; for example, the righteous bound for Pair-O-Dice two-step
their way in time up toward heaven to James Bland's minstrel tune "Oh!
dem Golden Slippers," played by the Calloway, Waller, and the rest.
Clean PasturesXn turn became an inspiration for the 1943 Warner
Bros, cartoon Tin Pan A lley Cats, which also sets what Barry Grant called an
"overtly moralistic tone" in suggesting that jazz is the music of disorder and
decadence.54 In this cartoon, a cat (Fats Waller once again) must choose
between the musically square cats in the Salvation Army, playing "Gimme
That Old Time Religion" outside a seamy nightclub, or the hot tunes
produced inside. Having chosen the latter (in Fats' words, "Well, wotis de
mutta wit dat?"), Fats shows off his musical skill by blazing through the
52
opening chords to "Nagasaki" on the piano, which are taken up immediately
by the whole nightclub. Finally, a scatting trumpet player literally blows Fats
"out of this world," landing him in a bizarre, nonsensical netherland filled
with fantastic creatures.55 Transported into a universe seemingly created
from the excesses o f jazz, Fats cannot make any sense of it: voices speak
to him from nowhere, and creatures like a two-headed dog/cat mutant
chasing itself shock him. Rejecting this wacky land, Fats returns to the
world he knows, and exits the club to join the righteous in their song of
salvation, seemingly converted to their way o f thinking. Their rendition of
"Old Time Religion" has no swing or joy to it whatsoever, further
strengthening its function as a safety mechanism against the chaotic
impulses of jazz through its straightlaced performance. The message of Tin
Pan A lley Cats seems to follow the more typical line of reasoning that too
much jazz will make you lose your grip on reality (as Fats does). This points
out the surprising reversal of Clean Pastures, in which jazz can be the
means not just to damnation but also to salvation.
^Grant, "Jungle Nights in Harlem," 8.

55The "world" to which Cats travels is "Wackyland," the wonderful never-never land first
seen in Clampett's 1938 cartoon Porky in Wackyland.
53
The 1940s: Race and Rhythm
Coal Black and de Sebben Dw arfs was the creative zenith at Warner
Bros, in regard to cartoons featuring jazz and black culture. The animation
is some of the most vibrant to come from the studio at this time, and the
story moves along succinctly from gag to gag.56 The furor surrounding this
cartoon, because of director Bob Clampett's use of extremely offensive
black stereotypes, has all but eclipsed the actual film. Virtually every gag,
visual or aural, made reference to an anachronistic picture of black citizens
in the United States. One such gag included giving the zoot-suited Prince
Chawmin—his name spelled in dialect in flashing lights on his car door—
teeth entirely of gold except for the front two, which are dice. Henry
Sampson chronicles several of the responses to Coal Black, including that of
the NAACP in 1943, which requested that Warner Bros, withdraw the
picture because of the unbecoming portrayal of black soldiers (the dwarfs),
while in 1981 Stanley Crouch dismissed the film as "contrived beyond the
pale of sharp humor" and "an example of eccentricity."57
Clampett felt strongly about having "authentic" music and images for
this cartoon: so strongly, in fact, that he took his animators to a black club
seThe racist nature of this cartoon has prevented most people from seeing it in the last 25
years, yet animation and film historians agree that the animation and timing in CoalBlack
are some of the best ever produced at the studio.
54
in downtown Los Angeles so that they could observe the nightlife. He even
attempted to hire only black musicians to record the score.58 In spite of the
feet that Clampett did not get the musical performers he desired, Barrier
points out that "the characters snap and bounce continuously to bright and
jazzy music."59 Relying on the Warner Bros, sheet music vaults, Carl Stalling
provided a score that highlighted only two songs, "Old King Cole" and "The
Rve O'clock Whistle," neither of which were jazz standards.60 Instead of a
bred big-band arrangement for the Warner Bros, orchestra, however, the
final score for Coal Black ensures that an ongoing groove pervades the
entire cartoon. Even in moments when the background score goes silent,
and when other cartoons might rely on the inevitable delivery of a strictly
verbal punchline to break the silence, the voices in this case keep the
momentum progressing smoothly as the actors speak their parts with a
^Sampson, That's Enough, Folks, 164.

58Barrier, Hollywood Cartoons, 439. The author also points out that the studio
management turned down Clampett's request to not have the Warner Bros, orchestra
record the score, though a trumpet player from a black band did record the solo for the
cartoon's finale. In his discussion of CoalBlack, Norman Klein states that the trumpeter
was actually from the band of Eddie Beal. Klein also claims that Clampett was note
musician, overlooking the fact that the director wrote several songs for his own cartoons at
Warner Bros., as well as the songs for his later series, A Time fo r Beanyand The Beany
and Cedi Show. (Oein, 7 Minutes, 193.
59Barrier, Hollywood Cartoons, 439.
^Some notable artists did record "The Rve O'clock Whistle," including Ella Fitzgerald,
Glenn Miller, and Duke Ellington (all in 1940, for Decca, Bluebird, and Victor, respectively).
55
keen, rhythmic sense of swing, only to be subsumed once more into the
score mere seconds later.61
On a par with, if not exceeding, Coal Bfack'm its racial imagery, the
1944 Lantz cartoon Scrub Me Mama W ith A Boogie Beat uses an entirely
different set of black stereotypes, this time dwelling on images of lazy
blacks lounging around a river landing on a hot summer day. Everybody
moves slowly: two men fighting slap each other upside the head in slow
motion, a listless man on the dock reacts slowly and deliberately to being
stung on the nose repeatedly by a wasp, and a woman washing clothes
stops moving almost altogether. Enter a riverboat which, pulling up to the
dock, releases jazz's invigorating spirit and rhythm into the town. A full
band o f musicians, led by a mulatto (to use Bogle's designation once more)
female singer, inject the spirit of jazz into the townspeople. Just as in Clean
Pastures, a jazz tune, in this case the title song, becomes the salvation for
the people in the narrative world, except now an awakening from their
physical stupor is the blessed result, not heavenly salvation.
One can detect an unusual combination of images during several
quick shots of the musicians playing together: while all four men shown are
61The best example of this occurs when So White, kidnapped by Murder, Inc., is set down
in the forest, after having presumably "put out" for her abductors to ensure her release. As
56
black, three (the bass, trumpet, and piano players) follow the typical big
lipped, chimpanzee-faced design that so typifies these cartoons; the clarinet
player, however, seems to be a refugee from the Harlem Renaissance, as
his face and body are rendered very realistically and human-like, almost as
if someone different, and more sympathetic to his portrayal, drew him and
not the other three players. While this clarinetist never assumes an actual
personality in the story, the few seconds he spends on screen remind us of
the ways in which the portrayal of jazz differed from cartoon to cartoon,
and in this case, within the same scene.
W hite Jazz
Jazz did not belong solely to black characters in cartoons; in fact,
white characters appear quite frequently playing jazz. The animated
sequence in King o f Jazz demonstrates how far back these portrayals occur.
The best known, perhaps even beloved, example o f "white" jazz in a
cartoon occurs in the Warner Bros, short I Love to Singa (1936). A
truncated and animated version of the 1927 version of The Jazz Singer
featuring the opening (and closing) song from 1933's The Singing Kid (both
Warner Bros, films starring Al Jolson), I Love to Singa presented the now
the men place her body on the road, a quick bit of patter, almost unintelligible, keeps the
sense of the beat for about ten seconds, during which time the music cuts out altogether.
57
familiar concept of the old world clashing with the new: Professor Owl
teaches strictly classical music—the sign on his housefront vehemently
states "NO JAZZ"—but his youngest son, Owl Jolson, dreams of a life as a
crooner. Papa throws sonny out, but eventually the family accepts him for
who he is after Owl finds success singing on Jack Bunny's radio show.62
Considering the relatively tame nature of the "jazz" Owl sings, the conflict
between tradition and popular styles seems only to recall the similar story
line in the original film, which involved a far more emotional choice for the
young singer: religious faith, pressed upon him by his dying father, or
popular fame. The similarity of the music in this cartoon to that of King o f
Jazz\s quite striking, as both (animated) white performers stay a safe
distance from anything smacking of truly "hot" jazz, opting instead to tread
the safer ground of swing-infused pop songs.63 For Whiteman, the songs
used in the film simply typified those that most often made up his band's
playlist; likewise, for I Love to Singa, the director (Tex Avery) used the
same music sung by the real Jolson.
62See Rogin, Blackface, White Noise for a discussion of this scene.

^ In The Singing Kid, Jolson introduces the song nI Love to Singa" by singing it on the
balcony of his penthouse apartment. His accompanist is Cab Calloway and his Orchestra,
who just happen to be playing on an adjacent penthouse balcony, dressed to the nines and
in full force. Even Calloway cannot make Jolson's rendition any more "hot". All three of
Calloway's shorts for the Fleischer studio had been released by 1933 (one in 1932, the
others in 1933), showing a very different image of the popular bandleader.
58
This concept of "hot" jazz musicians, established (as we have seen)
through generations of stereotypical imagery, persisted until the late
1950s.64 With the bebop revolution fully ingrained in the musical world, and
free and modal jazz just around the comer, a more modern and sanitized
image of what hot jazz could sound like began to surface. The 1957 Warner
Bros, cartoon Three U ttfe Bops, yet another short reinterpreting the "three
little pigs" fairy tale, features the trumpet work of West Coast jazz luminary
Shorty Rogers and ultra-hep narration by comedy recording star Stan
Freberg. Suddenly there seems to be nothing anomalous about three white
(or, rather, pink) characters playing jazz; on the contrary, the pigs set up a
groove that jives everywhere they go, frustrated only by the unmelodic
sounds of the Big Bad Wolf, whose unhip playing rubs the pigs and their
audience the wrong way. By the time Three Little Bops appears, we can see
that what was once an old stereotype—only black musicians can play good
jazz—has been shattered, supplanted by yet another stylistic limitation
placed upon the music by its practitioners: only tonaland melodicyazz is
valuable. The music the wolf plays sounds sneakingly like an early form of
free jazz, a style fomented in the Los Angeles jazz scene, particularly at the
^ In the cartoon Goldilocks and the Jivin'Bears (Warner Bros., 1944), a trio of bears
(clarinet/bass/piano) is shown jamming in their home (on the Raymond Scott tune
59
hands of saxophone player Ornette Coleman. The wolf only gains
acceptance afte rh e has blown himself up and winds up In hell, where he
can play truly hot—that is, tonal and melodic—jazz; as the cartoon's
epigram states, "The big bad wolf/He learned the ruIe/Ya gotta get real
hot/To play real cool."65 Just as Whiteman and Jolson confined themselves
to playing what was, in their time, the most widely accepted (and also
conventional) type of pop/jazz for the sake of their audience, shying away
from the hot jazz preferred by innovative black groups, twenty-five years
later the emphasis shifted. The West Coast/bop style became the new
norm, exemplified by the three w hite pigs, and, as a result, the innovative
free jazz sound became the music that is too hot to touch. We cannot
discount the possibility that Rogers, a known figure in the L.A. music world,
might have used Three Littfe Bops to make a statement against Coleman's
"Twilight in Turkey") until each one's instrument catches fire, literalizing the idea of "hot
jazz" and a player "burning up."
65The wolf twice sits in with the pigs (and sneaks in once), only to be ostracized and
kicked out of the dub when his trumpet licks have nothing to do with what the pigs are
playing. He is further humiliated when he tries to enter the pigs' dub (the House of Bricks,
"built in 1776") disguised as a 1920s hipster, complete with fur coat and playing "Trie
Charleston'on a ukulele. When his playing finally does get cool down in hell, his trumpet
suddenly has a m uted tim bre, for an ultra-cool sound, quite similar to that used by Miles
Davis.
60
experimental style of music, as both artists undoubtedly ran in similar
circles.66
Other Voices: Jazz in the Cartoon Score
What I hoped to have shown in this survey is that jazz made an
indelible mark on the both the creation and scoring o f cartoons through the
portrayal of jazz performances and through the appropriation of jazz styles
to the cartoon score. This perhaps remains the most overlooked aspect of
jazz's contribution to cartoon scores in general: even when the action did
not relate to jazz or black culture in general, following the late 1920s,
practically every cartoon had elements of jazz—particularly the rhythmic
characteristics—throughout its score. O f course, this weaving in of the
music of race was not new. The music of Stephen Foster and other popular
songs—such as "Mocking-Bird" and "Sweet Georgia Brown" mentioned
above—continued their work of musically evoking the Old South well into
5eThe wolfs being thrown out of the dubs in Three Little Bops reminded me of a quote by
Charlie Haden, the bass player who played on most of Ornette Cdleman's earliest—and
most controversial—albums on Atlantic Records. Haden recalled his first experience of
seeing Coleman play, in part, "This guy came up on stage and asked the musidans if he
could play, and started to sit in. He played three or four phrases, and I couldn't believe it—
I had never heard anything like that before. Immediately the musidans told him to stop
playing, and he packed up his horn.. Quotation from brochure notes for Ornette
Coleman, Beauty Is A Rare Thing: The Complete Atlantic Recordings (Rhino Records
71410, 1993), 8. David Ake points out the reactions of those not so taken with Coleman's
music as Haden; he specifically mentions an inddent in which drummer Max Roach became
physically violent with Coleman over his playing. David Ake, Jazz Cultures (Berkeley:
University of California Press, forthcoming).
61
the 1950s. The legacy of blackface minstrelsy loomed prominently with the
continued use of these melodies. Charles Hamm has shown that the simple
structure and sound of minstrel tunes was intentional, as it represented
prim itive music, and thus the songs sung associated with black characters
in the cartoons, whether 19th-century folk or modern pop songs, would
help to reinforce their supposedly intrinsically primitive nature (while
simultaneously reaffirming the white notion of the general unsophistication
of black culture).67 With jazz, however, broader stylistic elements, not just
melodies, became a part of the general musical vocabulary of cartoon
scores. Only the occasional on-screen performance by a live or animated
performer might remind the viewer of the significant role jazz played in the
sound of the score.
Even though the first film considered by film music historians to have
a "true" jazz score was not released until 1955—Otto Preminger's The Man
W ith the Golden Arm—]azz had already integrated itself into the public's
musical psyche well before: just consider the first sound film, The Jazz
Singer ( 1 9 2 8 ) Cartoons began using jazz just as early, and yet we have
only begun to understand how large a part jazz played in the creation of
67Hamm, Music in the New Woridf 363.
62
the cartoon sound. Robert Stam and Ella Shohat implore the conscientious
reader to look carefully into popular texts for sublimated influences. "T h e
challenge, then, it to render visible, or at least audible, the repressed
multiculturalism even of dominant texts. When one rereads Hollywood
classics as it were 'from the margins/ reconstructing the cultural voices
drowned out or reduced to a whisper, one begins to hear other voices."*9
How well this applies to jazz's part in the cartoon score, and film scores in
general! We have only now started to realize how essential jazz's role in
cartoons has been all along, its conspicuousness no longer "drowned outt"
by decades of inattention.
use the term "score" here with the understanding that I am not referring to films tf»at
used popular songs or jazz/big band tunes within the narrative or the film's underscore.,
but rather films that consistently incorporated elements of the jazz style and sound in to the
score as a whole.
69Ella Shohat and Robert Stam, Unthinking Eurocentrism: Multiculturalism and the M edtia
(New York: Routledge, 1994), 220-221.
63
Chapter Three
Carl Stalling and Popular Music in the W arner Bros. Cartoons
"Medleys o f old time hits can supply valuable material for the scoring o f
comedies."1
Greg Ford and Hal Willner, producers of The Carl Stalling Project, are
directly responsible for the general public's knowledge and admiration of
Carl Stalling. The two CDs they produced o f Stalling's music from his tenure
at Warner Bros. (1936 to 1958) not only sold surprisingly well for a niche
release—the first of the two discs actually entered the Billboard album
chart—but they also provided interested music aficionados with a resource
for reliving a part of their childhood.2 Through the CDs, Stalling entered the
consciousness of countless animation fans who had never considered the
artist who had provided them with such pleasure. More important, however,
people have begun to realize how much contemporary cartoon music—
television, theatrical, and online—models itself on the sound of the Warner
Bros, cartoons, a sound that Stalling developed and practically codified and
which is now identified as the paradigm for music in cartoons.
^-Emo Rapee, Encyclopedia o fMusic fo r Pictures^ New York: Belwin, 1925; rep. New York:
Amo Press & The New York Times), 16.
1The CariStalling Project was on the Billboard"Top Pop Albums" chart for two weeks,
achieving a peak position of #188. Joel Whitburn, Joe! Whitburn's Top Pop Albums 1955-
1996(Menomonee Falls, WI: Record Research Inc., 1996), 738.
64
Chuck Jones once remarked that "Stalling was good at writing his
own music, but he seldom did/'3 This quotation provides us with the most
common perception of Carl Stalling's abilities as a musician: a talented
composer who seemed to rely a great deal (too much, for some) on the
stories evoked through the titles of popular songs to help him formulate
scores for cartoons—something he had to do very quickly, as the turnover
for new scores occurred weekly. The songs that many derided in his
musical palette enabled Stalling to illustrate the on-screen humor on an
entirely separate narrative level from the actual animation, and his
strategies eventually became endemic to the Warner Bros, style. The
extensive sheet music collection owned by Warner Bros, only stimulated his
particular manner of expression. I want to discuss how two sides of
Stalling's personality as a composer—the humorous side and the practical
side—came together in each score through his use of popular or
precomposed music.4 By looking first at his early experiences as a film
accompanist, we can come to a better understanding of how Stalling
incorporated film accompanying techniques into his storytelling methods.
3Joe Adamson, "Chuck Jones Interviewed," in Gerald and Danny Peary, The American
Anim ated Cartoon (New York: E.P.Dutton, 1980), 135.
4I will label the music Stalling uses as "published" or "unpublished"; the former refers to
those pieces by other composers that existed previously as sheet music or some other
published form, and the latter to original music by Stalling.
65
Stalling and the Silent Film
Stalling's primary methods as a cartoon composer stem from his
experiences as a film accompanist. In a 1969 interview he recalled his first
professional job as a musician:
I played the piano at a theater about a block from former

President Truman's home in Independence, Missouri, around
1910. That was my first job in the Kansas City area, but I'd
played the piano in 1904 at Lexington, where I was born.
Lexington is forty miles east of Independence. In those days,
they just wanted a piano going while the operator was
changing reels. In the cities, they had two machines, so you
didn't have to wait for the next reel, but in little towns like
Lexington they hadn't gotten that far yet.
One year previous to that job in Lexington, Stalling had seen The G reat
Train Robberyawi decided he had to be "connected with the movies in
some way."5 He worked as organist and accompanist at the Isis Theatre in
Kansas City, MO in the mid-1920s, playing afternoons and evenings by
conducting the orchestra from either the piano or the organ. As the
orchestra leader, Stalling chose music to accompany the features, but
would improvise at the keyboard for shorter films, including newsreels and
5Mike Barrier, Milton Gray, and Bill Spicer, "An Interview With Carl Stalling," Funnyworfd 13
(Spring 1971), 27. Stalling would have been around twelve years old when he saw The
Great Train Robbery; he was bom on November 10,1891 in Lexington, MO. This date has
been confirmed to me by his nephew, Laurence Stalling, and reconfirmed by the Social
Security registry.
66
short comedies.6 He stated: "I really was used to composing for films
before I started writing for cartoons. I just imagined myself playing for a
cartoon in the theater, improvising, and it came easier."7 Judging by the
daily ads printed in The Kansas C ity S tar fo r the Isis (referred to in the ad
copy as "Isis The Irresistible"), Stalling had extensive experience "playing
for a cartoon in the theater." The majority o f the announcements' ten
square inches (on average) highlight the weekly feature, yet the bottom of
the space usually listed "Added Attractions," including "Carl Stallings [sic] at
the Hope Jones organ," playing for, among other items, "Felix, Comical
Cat," [Van Beuren's Aesop's] "Fables," "Our Gang Comedy," and even "Alice
Comedy," referring to the silent "Alice In Cartoonland" series created and
produced by a young filmmaker from the Kansas City area, Walt Disney.8
6A newsletter for the Warner Bros, animation unit reported a wonderful anecdote from
Stalling's accompanying days:
When asked for a happy memory, Carl remembers the time when he was
playing a theatre in K.C. It had high windows all around the walls, and
they were always kept open to let in the air. At one time the silent "Sea
Hawk" was playing, and Carl, at the organ, was throwing his all into a
swell storm affect - all stops open! Just as the storm on the screen began,
the gods took the situation in hand, and gave out with a real storm above
the theatre! The competition was too much for Carl, and throwing up his
hands in great disgust, he just sat back and let the heavens take over. But
finally the storm became too terrific, and the windows were closed. Thus
was saved the Maestro's career!!
The Exposure Sheet2:7 (April 15,1940), [np].
7Barrier, "An Interview With Carl Stalling," 26.
8 The Kansas Q 'ty Star, February 26, 1922; June 3,1923; June 17, 1923; December 14,
1926; December 17, 1926.
67
Stalling met and became friends with Disney in the mid-1920s, when
the animator was producing short animated commercials for the Newman
Theatre. Disney came to the composer in 1928 with the finished prints of
two Mickey Mouse cartoons, Plane Crazyanti Gallopin'Gaucho. (Contrary to
popular belief, Stalling did not score Steam boat W illie, the first cartoon
Disney produced and released with synchronized sound.9) He proceeded to
score nineteen more cartoons for Disney until early 1930, when he left the
studio at the same time as Ub Iwerks, Disney's collaborator and primary
animator in the early years of the studio.10 Stalling worked for a short time
at the Van Beuren animation studio in New York where, he recalled, they
"didn't have anything for me to do;" he left the same year to join Iwerks at
his new animation studio in California. He was with Iwerks on and off for
six years, occasionally going back to Disney's studio as an arranger and a
9Stalling states as much, with substantiation from Wilfred Jackson (who was involved with
the recording session for Steamboat W illie), in the 1969 interview. Besides meeting Disney
and numerous other future Hollywood animators/directors in Kansas City (Ub Iwerks, Hugh
Harman, Rudy Ising, and Friz Freleng), Stalling also became friendly with violinist Leo
Forbstein, with whom he played in the Newman and Royal Theatres. Forbstein went on to
found the original Warner Bros, studio orchestra in 1933 and eventually become the
director of the Warner Bros. Music Department (in essence, Stalling's supervisor). Stalling
stated, "So when I came out [to Hollywood], I liked it much better at Warner Brothers [s/c]
than at Disney's, because of that association [with Forbstein]. We'd known each other and
worked together for years." Barrier, "An Interview With Carl Stalling," 21, 27.
10Michael Barrier, Hollywood Cartoons: American Anim ation in Its Golden Age (New York:
68
pianist.11 He came to Warner Bros, in 1936, having been recommended to
producer Leon Schlesinger by Iwerks colleague Ben "Bugs" Hardaway, and
remained there until his retirement in 1958 (the same year Scott Bradley
retired from M-G-M).12 Before we look at his Warner Bros, output, however,
I want first to explore some possible connections between his first
experiences as a composer working in Kansas City and his particularly
idiosyncratic method to scoring sound cartoons.
Music and Comedies, Silent Style
To understand how Stalling might have approached the
accompanying o f silent cartoons and comic films in general in the 1920s,
we can begin by looking at contemporaneous film music manuals,
11Stalling played the piano for Practical Pig in Three L ittle Pigs (Disney, 1933) and
arranged the scores for approximately ten other shorts. Barrier, "An Interview With Carl
Stalling," 25.
12Stalling was musical director for the cartoons throughout this period, although he did not
score every short produced. His arranger, Milt Franklyn, received cowriting or codirection
credits with Stalling beginning in the 1940s, and eventually took over when Stalling retired.
Eugene Poddany, who went on to work with Chuck Jones at M-G-M in the 1960s, wrote
three scores in 1951 when, in Stalling's words, " I bumped my head and a clot as big as my
hand formed between my skull and my brain. I was ill for four or five weeks." Additionally,
five of the last cartoons released in 1958, the year Stalling retired, featured scores
compiled from stock music cues written by John Seely, whose music was also used in the
early episodes of Hanna-Barbera's The Huckleberry Hound show. It is possible that Seely's
music was used as an experiment to see if less expensive, precomposed/prerecorded cues
could actually work in the Warner Bros, cartoons. Whatever the reason, the stock music
paled in comparison with Stalling and Franklyn's custom-written cues and was abandoned
until 1962 when, following Milt Franklyn's death that year, Bill Lava became musical
director and used stock cues, very similar to those used four years earlier, because of ever-
shrinking budgets. Stalling himself outlived his successor, finally passing away on 29
November 1972. Barrier, "An Interview With Carl Stalling," 26.
69
particularly Edith Lang and George West's MusicalAccompaniment o f
Moving Pictures, which Stalling had in his library throughout his life. In a
section on musical interpretation referring specifically to "Animated
Cartoons and Slap-Stick Comedy," Lang and West state:
The player should learn to recognize, and be able personally

to enjoy, the fun of the comic situations depicted on screen.
Nothing is more calamitous than to see "Mutt and Jeff" disport
themselves in their inimitable antics and to have a "Brother
Gloom" at the organ who gives vent to his perennial grouch in
sadly sentimental or funereal strains.. . . If the "point" of the
joke be missed, if the player lag behind with his effect, all will
be lost, and the audience cheated out of its rightful share of
joy.13
This admonition spells out one of the most basic duties of accompanists as
storytellers: they must not only know where and when the comedic
moments will occur within a picture, they must be able to indicate to the
audience what they are seeing so they don't miss it. Any film accompanist
should know enough to direct the audience's attention to important
moments in the story. Like any genre film, a comedy demands its own
approach; most important to Lang and West is a sense of humor for
comedy scores.
13Edith Lang and George West, MusicalAccompaniment o f Moving Pictures (Boston:

Boston Music Company, 1920; rep.: New York: Amo Press &The New York Times, 1970),
36.
70
Regardless o f genre, what musical vocabulary does one use to
enhance the story o f a film? Tim Anderson's investigation into the different
approaches to film accompanying casts light on this:
. . . part of the training of <?//professional musicians entails an

expectation that they will eventually master the ability to read
the adjective, no matter how vague it may be, as a musical
cue and bring forth a "correct" set of tones on demand.
The successful accompanist needed to properly translate the emotion or
"adjective" on screen at any moment and present an appropriate musical
analogue. Anderson goes on to remind us that relying on the adjective
creates new problems, because it, "like music, refers to no one specific
thing."14 The handbooks developed by Erno Rapee worked on the very
principle of the signifying possibilities of a single adjective or descriptive
phrase; his Motion Picture Moods For Pianists and Organists offered the
accompanist hundreds of familiar melodies in a thumb-indexed volume
arranged by mood or subject matter, including "Wedding," "Hurry," and
"Fire-fighting." Relying on such simplified approaches, while economically
and logistically advantageous, could lead to scores consisting of only a few
melodies. Lang and West advise accompanists against falling into the
musical rut of using the same "lively tune that must serve all cartoons,
14Tim Anderson, "Reforming 'Jackass Music': The Problematic Aesthetics of Early American
Rim Music Accompaniment," Cinema Journal37:1 (Fall 1997), 12.
71
comedies and jokes, invariably and indiscriminately," especially because
"[i]n the cartoons and in the comedies all sorts of other emotions, besides
that of plain hilarity, may come into play; there may be sorrow, doubt,
horror and even death.. . ,"15 The range of materials available to the
committed theatre musician would provide a wealth of musical possibilities.
Any accompanist interested in keeping the audience involved with the show
would certainly vary the melodies used throughout the afternoon or
evening (not just in the one picture), adding constantly to the musical
range—and the emotional spectrum—o f the show.
But how could even a resourceful composer continually come up
with new and interesting tunes? A solution came from Tin Pan Alley.
Referring once again to cartoons and short comedies, Lang and West note:
This part of the show is admirably adapted to the introduction

of all sorts of popular songs and dances. The player should
keep in touch with the publications of popular music houses,
since it will repay him to establish a reputation which will
make the public say: "Let's go to the Star Theatre—you
always hear the latest tune th ere /'16
Popular music related to movies can be traced back to the late 1910s, with
the earliest cross-promotion attempt to tie a song to a film—the practical
inception of the "title song." While ASCAP licensing fees prevented most
15Lang and West, MusicalAccompaniment o f Moving Pictures, 36.

16Lang and West, MusicalAccompaniment, 37.
72
theatre musicians from using ASCAP-represented tunes (that is, until an
agreement was finally reached in 1926), the extraordinary financial
possibilities presented by using licensed music in films—for the publishers,
the producers o f the film, and the songwriters— were clear.17 Russell Sanjek
states that, "within the space of a year, talking pictures became the
principal means for plugging popular music."18 By the time synchronized
sound arrived, "Hollywood changed its attitude toward the value of popular
music in promoting its products, and some segments of the music business
were made aware of the awesome power o f th e talking picture and its
weekly audience of 70 million to catapult songs into success."19
But getting back to Stalling: with theatres and ASCAP alike blessing
the use of popular songs in movie houses, Stalling had practically no limits
to what music he could use. The musical vocabulary as defined by Rapee's
handbook (and by Lang and West, who had their own categorized lists in
their book) became exponentially richer with current-day songs added to
the fold. The adjectives Rapee used became less restrictive as a result.
Anderson states that, while "the musical adjective constructs limitations and
17Jeff Smith, The Sounds o f Commerce: Marketing Popular Film Music (New York:
Columbia University Press, 1998), 29-30.
18Russell Sanjek, Pennies From Heaven: The American Popular Music Business in the
Twentieth Century {yiew York: Da Capo Press, 1996), 54.
19Sanjek, Pennies From Heaven, 106.
73
enables signifying possibilities," the composer could still "create and play to
the specific cultural needs and demands of the audience, however
contingent and ephemeral they may be."20 Thus Stalling's job also included
tailoring his scores to meet the needs of the theatre patrons.
W hat if, however, the accompanist, for the sake of a truly funny take
on the film, purposely read against the grain in the choice o f the music
used? That is, what if the idea linking the music and the image led to its
own gag, which itself relied on recognizing the song within the context of
that moment of the film? Stalling probably caught on to this practice early
in his career, which became his trademark as a cartoon composer. Charles
Berg describes the modus operandi of such an individual, termed the "film
funner":
The film-funner's stock-in-trade was a mischievous sense of

humor which exploited practically all films for their comedic
potential regardless of the film director's intentions. The film-
funner would, for example, accompany a dramatic scene
where burglars are craftily entering the heroine's home with
the strains of the romantic love-song, "Meet Me in the
Shadows."21
Those worried about the creative license of film funners warned against
overdoing the comic effect or trying to create comedy "where none is
20Anderson, "Reforming 'Jackass Music/" 12.

21Charles Merrell Berg, An Investigation o f the Motives fo r and Realization o fMusic to
Accompany the American Silent Film , 1896-1927{Hew York: Amo Press, 1976), 245.
74
intended." Berg also states that with the birth o f feature-length films and
grand movie houses, musical cliches used by film funners became exclusive
to comedies, where such behavior seemed appropriate.
While the practice was approved of because of the title's or

lyric's relevance and the pleasure the audience derived from
hearing old "favorites," film music advisors . . . cautioned
against the excesses of "film funners."22
If we consider the various responsibilities music had in films, comedies or
otherwise, popular song references had much more to do than just plug a
song or fill up some time until something really interesting came along for
the composer. Anderson asserts:
Because of their well-known lyrical contents the use of

popular songs was viewed as an exceptional manner of
reinforcing narrative demands. As long as popular songs were
kept subordinate by a successful merger with the on-screen
image, they would have the twofold effect of comforting the
audience with familiar musical forms of well-known, popular
pleasures while they worked to advance the narrative.23
Stalling learned the power of music to shape, direct, and manipulate the
emotional level of both the narrative and the audience when he worked as
an accompanist, and he made it a standard part o f what he tried to
accomplish with each score he wrote. He acknowledged this when he said
that, " I really was used to composing for films before I started writing for
22Berg, An Investigation o f the Motives, 199.

Ânderson, "Jackass Music," 14.
75
cartoons. I just imagined myself playing for a cartoon in the theater,
improvising, and it came easier."24 Clearly, he consciously drew on his
experience to inform his sound cartoon scores. I've outlined the above
ideas to try to give some foundation as to how accompanists like Stalling
might have thought about their scores; I will refer back to these notions
later to show just how rooted Stalling remained—for his entire career—in
the practices of his first job as a musician.
W arner Bros. Scores, the Practical Side
In order to understand precisely how Stalling contributed to the
Warner Bros, cartoons, I want to address first the logistics and processes
involved with writing the music and recording the score for each cartoon.
Animation historians Mike Barrier, Steve Schneider, and Hank Sartin have
all shown that music motivated the early Looney Tunes and Merrie Melodies
more than any other element of the narrative. Sartin points out that other
critics have found the early Warner Bros, cartoons disappointing because of
their "peculiarly weak narratives/' owing to their attention to music and
spectacle over any story development.
Generally speaking, the Warner Bros, cartoons do not usually have
much narrative development. Typically they provide a situation or set-up—
24Barrier, "An Interview With Carl Stalling," 26.
76
Daffy in a Western locale, Elmer chasing Bugs through th e woods—and
then let the characters lead the story wherever they want. Instead of
building a trajectory toward climax and denouement, W arner Bros, cartoons
continually introduce new gags and shticks to move the story forward; the
last gag in the short can hurt just as much as any other. Considering how
Stalling's music works in relation to the narrative, we can see that his
scores do not have a emotional arc, but instead carefully monitor and
convey whatever joke is being perpetrated at that moment. (As I will show
in Chapter Four, this differs from the approach of someone like Scott
Bradley: while his scores emphasize individual gags or hits^ they do so
clearly within the context of an ongoing musical narrative. Bradley can build
up the pressure within the score, just as the tension withira the narrative
increases with each successive gag, until everything bursts in a violent
explosion of dynamite and brass instruments.)
While the Warner Bros, cartoons usually had no progressive plot
lines to inflate the emotional stakes, the successive streams of gags and
verbal jokes kept the high emotional level constant. Tom Gunning posits
that, when films began to increase in length following the tu rn of the
century, the mischief gag, being "structured around a quick payoff," could
not support an extended narrative development leading to a big finish, as
77
could the chase. Mischief, Gunning states, "works through interruption
rather than development/'25 With this in mind, we might reconsider
Stalling's preference for brief, rapidly changing musical cues: they follow
the prevalent storytelling style at Warner Bros., which moved the narrative
along from gag to gag. His training with silent comedies— O ur Gang shorts,
in addition to the cartoons (Aesop's Fables, F elix, and KrazyKat)—means
that he learned about writing music for comedies by accompanying gag-
driven stories. With the story progressing in rather short spurts, Stalling
could write his music to match the intensity level throughout the narrative
and not have to come up with a score that culminated in a violent episode,
as Bradley had to for almost every single cartoon he worked on.
The Warner Bros, cartoon division had an even more compelling
reason to have complex scores: the original deal producer Leon Schlesinger
made with Warner Bros, specified that music owned by the company would
feature in every cartoon produced. In fact, W arner Bros, had a rich musical
legacy, for they owned or had a controlling interest in more than a half-
dozen sheet music houses, including DeSylva, Brown & Henderson,
Advanced, Harms, T.B. Harms, and "the original Tin Pan Alley music house,
25Tom Gunning, "Crazy Machines in the Garden of Forking Paths: Mischief Gags and The
Origins of American Rim Comedy," in ClassicalHollywood Comedy, edited by Kristine
Brunovska Karnickand Henry Jenkins (New York and London: Routledge, 1995), 96.
78
formed in 1885," M. Witmark & Sons.26 Barrier notes that Frank Marsales,
the composer for the Warner Bros, shorts from 1930 through 1933, "was
able to use as much Warner-controlled music as he wished (Schlesinger's
original contract provided that he was to 'have complete access to
[Warners'] musical libraries')."27 Further, the Merrie Melodies series, begun
in 1931, required (by contract) a verse and chorus of the title song in each
cartoon, further plunging the animation directors into the Warner Bros,
music catalogue, on the lookout for good subject matter.
Why Warner Bros, would have wanted the cartoons to feature their
songs goes back to the synergistic cross-promotional efforts employed by
studios in the 1920s. According to Jeff Smith, "As studios either bought or
formed their own music publishing subsidiaries, Hollywood not only freed
itself from the threat of outrageous synchronization fees but was also now
in a position to generate added revenues from the songs it featured in
original musicals." Smith also points out that these revenues came from two
sources: the money accrued from the publishing and licensing of songs,
26Sanjek, Pennies from Heaven, 55. While other Hollywood studios had an interest in
finding songwriters-for-hire to create new music for their musical films, Warner Bros.,
according to Sanjek, was "unique in the rush by movie companies to purchase movie
houses.. . . look[ing] to the day when it might be freed of onerous and increasingly
exorbitant synchronization fees." Warner Bros, purchased Witmark in January of 1929, and
in May purchased a half-interest in Remick, which also included parts of DeSytva, Brown, &
Henderson, Harms, and several others. Smith, The Sounds o f Commerce, 30.
79
and the revenues made by "the successful exploitation of a film's theme
song or featured music/' which could include sales of sheet music and
recordings, as well as radio airplay.28 Schlesinger no doubt understood the
potential profits to be made from exploiting the studio's song catalogue in
new media, particularly those that, like the cartoons, would emphasize the
recent advances in sound.
Each director who spoke of the requirement to use the Warners
music catalogue had similar comments, particularly regarding how the
sudden appearance of a song could irreparably derail the narrative. Friz
Freleng explained the plan's practical purpose:
We had to put two singing choruses in every cartoon, the idea

being that if people heard something they liked in the
theatres, maybe they'd go out afterward and buy the song
sheets.29
Bob Clampett pointed out the procedure's main flaw:
When I started [at Warner Bros.], the rule was that we had to
have a singing chorus in every Merrie Melodie. We'd have a
great story going along, but then we'd have to stop and have
the singing chorus.30
28Smith, The Sounds o f Commerce, 30-31.

29Friz Freleng with David Weber, Animation: The A rt o fFriz Frefeng (Newport Beach, CA:
Donovan Publishing, 1994), 77.
30Michaei Barrier and Milton Gray, "Bob Gampett: An Interview,* Funnyworid 12 (Summer
1970), 13.
80
Tex Avery was far more blunt in his description:
We were forced to use a song, which would just ruin the

cartoon. You'd try like a fool to get funny [during the song],
but it was seldom you did.. . Finally, when Schlesinger let us
get by [without using the songs], the cartoons started picking
up.31
Or, as Chuck Jones told me, "It was a pain in the ass."32 Whatever the
opinion, the "song-per-cartoon" rule—in which the Merrie Melodies
functioned as an early form of music video, featuring a diegetic
performance of a Warner-controlled tune—ensured that the music was the
actual star in the earliest Warner Bros, shorts.33
As we have seen from the directors' testimonies, a song's
appearance almost always meant a full-scale performance, so the narrative
would come to a noticeably abrupt halt when the song began, especially if
it took place in the middle of the cartoon. While showcasing the featured
song as a music number necessitated this break in the story, such an
interruption prevented the narrative from developing any sense of build-up

32Telephone interview with Chuck Jones, 19 September 1994.
33Rudy Ising recalled later that the soundtracks for the original Merrie Melodies were to
have been performed by "name bands"; only the first few shorts credit Abe Lyman's
Brunswick Record Orchestra, after which the recordings were presumably done by the
Warner Bros, studio orchestra, which had already been recording the Looney Tunes scores.
Steve Schneider, That's A ll Folks! The A rt o f W arner Bros. Animation (New York: Henry
Holt and Company, 1988), 3S-39. Like Disney's Silly Symphonies, the Merrie Melodies did
not use recurring characters, but instead came up with an entirely novel plot and set of
personalities for each episode.
81
toward a dramatic climax of any sort, as the performance immediately
diffused it Exactly how much this contributed to the emergent Warner
Bros, style is unclear, but we can see that several of the directors adapted
their gag writing to accommodate this approach, in turn affecting how
Stalling constructed his scores.
The Warner Bros, cartoon division underwent a great deal of internal
upheaval in the mid-1930s. The two men who brought animation to Warner
Bros, in the first place, Hugh Harman and Rudy Ising, left over a contract
dispute in 1933, only to reopen shop the next year, producing cartoons for
M-G-M. Practically the entire creative staff of animators and writers—and
the composer, Frank Marsales—stayed loyal to Harman and Ising at first.
Producer Leon Schlesinger eventually hired many of them back, one by
one.34 Veteran animator and new director Isadore "Friz" Freleng also left
Warner Bros, for a short time in 1937, trying unsuccessfully to breathe life
into M-G-M's animated adaptation of the popular newspaper comic "The
Captain and The Kids," only to return the next year. On the positive side,
the departure of the Warner Bros/ original animation crew led to a slew of
promotions for those who stayed on as well as some new hires—directors,
writers, animators, among others—to replace those who had left for good.
82
This new regime brought about the gradual evolution of the second
generation of Warner Bros, cartoons, including the creation and
development of characters such as Porky Pig, Daffy Duck, and eventually
Bugs Bunny. Tex Avery and Frank Tashlin both began directing (although
they were credited as "Supervisor" on the actual title cards) in late 1935,
and Bob Clampett and Charles "Chuck" Jones, originally animators in
Avery's production unit, were on their way to their own responsibilities:
Clampett began in 1937, and Jones started directing one year later.
Carl Stalling came to Warner Bros, in the midst of all this change in
1936. This challenge lay before him: not only did he have to feature a song
in every Merrie Melodie—a fortunate change from his earlier experiences
with Disney, where he would have been lucky to feature anything current—
he also had to demonstrate to all the creative staff that the cartoons could
use such songs and still be interesting. His predecessor, Frank Marsales,
had not received high praise from the directors for his efforts. Freleng once
stated:
[MarsalesT music was like something you'd find in the street.

It was absolutely lacking in anything you needed to make a
picture good; he didn't synchronize.. . . Before Carl, the
music was used only to set the tempo, which was usually
83
impossibly slow, unless we picked it up for something he'd
understand, like a chase.35
Rather than being just another studio gig, Warner Bros, became a truly
serendipitous arrangement for Stalling; the situation could not have been
better matched to his abilities and past experiences as a composer and
accompanist.
Two important factors made Warner Bros. Stalling's ideal home.
First: during Stalling's tenure at the early Disney studio, Wait Disney
pioneered the use of bar sheets, a notated blueprint of the music, dialogue,
and animation timing, which allowed for a very exacting approach to the
synchronization of the soundtrack and the action. While discussing the early
attempts to match music to film, Stalling stated the reason why bar sheets
had been invented in the first place: "Perfect synchronization of music for
cartoons was a problem, since there were so many quick changes and
actions that the music had to match."36 A method had to be devised to take
advantage of the audio-visual simultaneity that animation could afford;
35Freleng, Animation: The A rt o fFriz Freieng, 102. The context of these comments is
Freleng talking about how important music was to the Warner Bros, cartoons, and how
limited the early shorts were by the "one song-per-cartoon" statute. I believe Marsales'
scores are very good; they may not be as creative as Stalling's or contrapuntally involved
as Scott Bradley's, but they were completely in line with what composers a t other studios
were producing in the early 1930s, including Joe de Nat (Columbia), Philip Scheib
(Terrytoons), and James Dietrich (Lantz). Another difference between the scores of these
men and these of Stalling and Bradley was that the former did not have the luxury of bar
sheets to help them guide their composing, thus limiting the amount of synchronous music
that could be created. My thanks to Mike Barrier for pointing this out to me.
84
once perfected, bar sheets became an invaluable part of planning out any
cartoon. When he arrived at Warner Bros., Stalling was no doubt happy to
discover that many of the directors there also used bar sheets for their
cartoons, a process that had been imported by former Disney colleagues
Harman and Ising.
Part of the implicit musicality in the Warner Bros, cartoons comes
from this synchronization of music and image. According to Stalling, once
the basic story for a cartoon had been blocked out onto storyboards
(usually 300-400 key poses and drawings), he would meet with the
cartoon's director and determine the various tempi for each scene. This
mapping of the cartoon's action—known as "timing"—allowed the directors
to instruct their animators on precisely how many frames per second each
scene would have, while Stalling could compose the score without having to
wait to see the cartoon. Director Friz Freleng, who had some musical
background himself, stated:
[Carl] never waited until the picture was done. Often he'd
compose right from my bar sheets, writing music to the action
I indicated. And later he might say, "Hey, could you make this
bang (or whatever sound effect it was) come out on the
beat?" And if it worked better musically that way, I'd change
i t . . . . I did everything in phrases of fours and twos, so Carl
could follow it. I f a character walked, I'd put down the steps,
evenly, and he would write the music to those steps. I'd never
36Barrier, wAn Interview With Carl Stalling," 23.
85
leave him in the middle of a beat or the middle of a phrase. I f
I had a cat run across the room, I'd figure out how many
steps that cat was going to use; I then set it up so that if the
cat paused or some sound effect was needed, it happened on
the beat. I didn't write any of the music, but I did write the
phrases and the rhythm for Carl.
In the case of an on-screen diegetic performance, the music would be
recorded first to provide the animators with a vocal track to which they
could animate mouth movements. "Then Carl or Milt Franklyn would write
[the prescored song] out on a music sheet," Freleng recalled, "which I'd
use to direct the action."37
The other advantage in Stalling's position at Warner Bros, involved
their library of popular music, something the composer saw as an obvious
asset from the start. "My leaving turned out better for Walt and it turned
out better for me. At Warner Brothers [s /t], I could use a lot more popular
songs; they didn't mind paying for them, as they had their own music
publishing firm ." He elaborated: " .. . at Warner's, I could use popular
music. That opened up a new field so far as the kind of music we could
use. At Disney's, we had to go back to the Nineteenth Century, to classical
music, to "My Old Kentucky Home."38 Note here that Stalling speaks very
naturally about cartoon music in terms of the popular melodies that he
37Freieng, Anim ation: The A rt o fFriz Freleng, 148.

38Barrier, "An Interview With Carl Stalling," 25-26.
86
could use, showing that he actively sought such tunes for his scores. Even
as early as the mid-1930s, the directors had begun to shy away from the
obligation to feature and/or narrativize Warner-controlled songs; Stalling
did not follow their lead. Instead of writing more original music, he began
digging even deeper into the libraries of music at his disposal. A contract
between Schlesinger and Warner Bros., dated 1 September 1940, lays out
broad terms on what musical materials the studio will provide the animation
group.
SOUND RECORDING: Warner agrees during the period of this

agreement [1940-1945], without cost to Schlesinger, to
furnish and supply Schlesinger with all music that is either in
public domain or music owned by Warner or by any of the
music publishing houses owned or controlled by Warner,
musicians, singers, voices, talent, sound, sound equipment
and recording crew used in the recording of the cartoons, and
shall complete said cartoons so that they may be used for
theatre exhibition purposes. All recording of music and sound
effects shall be done under the supervision of a musician and
of a technician employed by Schlesinger.39
This statement clearly emphasizes that the Wamer-owned sheet music be
made available to Schlesinger's group, even in 1940 when the explicit need
to promote songs through the Merrie Melodies had begun to wane
significantly. For Stalling, this agreement simply let him continue using the
music that he had just begun to fully exploit.
39Wamer Bros. Archives, School of Cinema-Television, University of Southern California.
87
Musical Gags
The foreplanning at Warner Bros, afforded by bar sheets and other
systems allowed Stalling some time to devise or even search for
appropriate music to use in a short; with advance knowledge of the
narrative, its setting and, most importantly, the gags involved, he could
decide what songs might fit well with the narrative.40 One criticism that
several of the directors leveled at Stalling involved his repeated use of
certain songs for particular kinds of scenes. While the following comments
jokingly oversimplify Stalling's practice, the directors' true feelings still shine
through. Chuck Jones reminisced about Stalling:
He was a brilliant musician. But the quickest way for him to

write a musical score—and he did one six-minute score a
week—was to simply look up some music that had the proper
name. If there was a lady dressed in red, he'd always play
'The Lady in R ed/ If somebody went into a cave, he'd play
'Rngal's Cave.' If we were doing anything about eating, he'd
do 'A Cup of Coffee, a Sandwich, and You.' I had a bee one
time, and my God if he didn't go and find a piece of music
written in 1906 or something called 'I'm a Busy Little Bumble
Bee.'41
Freleng biographer David Weber also remarks:
say "some" time, since Stalling was scoring close to one cartoon every week. When
writing out the piano score, he would make notes to his orchestrator, Milt Franklyn,
indicating instructions for specific moments, such as "trombones here/'"mysterioso effect
here," and so on. Franklyn would then take the score and orchestrate it, returning it to
Stalling scored for orchestra and (presumably) ready to record.
41Joe Adamson, "Chuck Jones Interviewed," in The American Animated Cartoon: A C ritical
Anthology, edited by Gerald and Danny Peary (New York: E.P. Dutton, 1980), 135.
88
In later years, Stalling's use of this material became a running
joke between Friz and Chuck Jones. "We both used to say we
were afraid to use colored pencils, because whenever Carl
saw a red pencil mark, he'd use 'Lady in R ed/ and when he
saw a blue pencil mark, 'Am I Blue/ Better to use gray and
not risk it!" Friz recalls.42
So far we can see that both Freleng and Jones found Stalling's literalism
amusing but possibly limiting creatively. A slightly different version of Jones'
anecdote from an earlier interview further illuminates this:
I f it was a lady in a red dress, he'd a/ways-play "The Lady in

Red," or if a bee, he'd alw ays play "My Funny Little
Bumblebee," which was written in 1906 [emphasis mine].
Sometimes it worked and sometimes it didn't—that "Funny
Little Bumblebee" thing was so obscure no one could make
the connection. You had to be a hundred and eight years old
to even know there was such a song.43
Both of Jones' stories refer to the 1912 song (properly titled) "Be My Little
Baby Bumble Bee," which appears as the title music to the 1949 Jones-
directed cartoon The Bee-Deviled Bruin. I emphasize Jones' use of the word
"always" as a sign of his manifest disapproval—if not outright disdain—of
Stalling's technique, in spite of the fact that the composer used "Be My
Little Baby Bumble Bee" only once during his entire tenure at Warner Bros.
Likewise, "Fingal's Cave" was never actually used for a cave scene in the
42Freleng, Anim ation: The A rt o fFriz Freleng, 105. Stalling could have used "The Old Gray
Mare" for gray . . .
43Greg Ford and Richard Thompson, "Chuck Jones," Rim Comment 11:1 (Jan-Feb 1975),
23.
89
dozen times that that Mendelssohn melody shows up, be it in a Jones
cartoon or anyone else's.44
I bring up these details to help clarify the real issue for Jones
regarding Stalling's music: whether or not anyone actually knew that
Stalling was making a joke through the score. Those who criticize the
composer are uneasy with his repeated use of certain melodies in
numerous cartoons. They also express concern that he depended heavily
on popular songs (as opposed to writing original music), choosing the tunes
in a seemingly uncreative and clumsy attempt to establish a connection
between song and gag, and perhaps engendering some humor between the
juxtaposition of the visuals and the inappropriateness of the music to create
a pun unto itself (in the true "film-funner" fashion).
^Gerald Bordman, American Musical Theatre: A Chronicle, Second Edition (New York:
Oxford University Press, 1992), 276; Joel Whitburn, Pop Memories 1890-1954: The History
o fAmerican Popular Music (Menomonee Falls, WI: Record Research Inc., 1986), 239.
"Bumble Bee" was actually a tremendous hit in 1912, originating in the Florenz Ziegfeld-
produced show A Winsome Widow, and recorded that same year to popular acclaim by the
hugely popular duo of Ada Jones and Billy Murray. An explanation as to why Stalling would
have thought to use this song—aside from its unique title—which appears nowhere else in
his output may be attributed in part to Mr. Bug Goes To Town, an animated feature
released by the Fleischer studio in late 1941. Remick Music, who owned the rights to "Be
My Little Baby Bumble Bee," published a version of the song in 1941 with a drawing of the
two main characters (Hoppity and Honey Bee) on the cover, as well as an ad placement in
the middle of the page, reading "Paramount Presents 'Mr. Bug Goes To Town' in
Technicolor." The song did not receive any new commercial recordings as a result of its use
in the film. Nonetheless, I cannot help but wonder if its presence in Mr. Bug brought it to
Stalling's attention as a candidate for a "bee" picture after years of being in the recesses of
his musical memory, even if it was for a short produced eight years after Mr. Bug.
90
Jeff Smith presents a middle ground by theorizing the presence of
such musical puns in films that are neither diegetic (the "self-contained
fictional world" in which the story itself occurs) or non-diegetic. Gags
cannot work if thought of strictly as part of the narrative, that is, something
that "move[s] the story forward," but make more sense if considered as
part of the diegesis. The puns therefore serve "separate but interrelated
functions, some of which are narrative and some of which are
nonnarrative."45 This explanation works particularly well in the present
discussion because of the fundamental role gags play in the Warner Bros.
style from 1936 onward. Each cartoon usually operated on the most basic
of plot devices, leaving the gags to fill in the spaces.
The issue at stake here is whether the success of a gag—be it visual,
verbal, or musical—depends on its perceptibility. As Jones said, "that
'[insert title of old song here]7thing was so obscure no one could make the
connection." Indeed, does the connection matter? Smith addresses this
very topic, particularly whether or not gags made through the popular
songs used in the soundtrack can have any impact on the narrative.
As a resource for humor, the linguistic element of popular

songs neither advance the film's narrative or contribute much
45Jeff Smith, "Popular Songs and Comic Allusion in Contemporary Cinema," in Soundtrack
Available, edited by Pamela Robertson Wojcik and Arthur Knight (Duke University Press,
forthcoming), 16. My thanks to Jeff Smith for sending me a copy of this paper.
91
to our understanding of the diegesis. It is within this more
limited sense that musical puns may exhibit a tension with
cinematic narrative.46
This "tension" obviously bothered Jones, who apparently felt that if no one
got Stalling's joke, the musical selection itself had no value. But the music
doesn't have to implicate itself into the diegesis to be funny. To explain
how music can engender humor, Smith uses the concept of bisociation, as
defined by Arthur Koestier, in which humor "arises from the juxtaposition of
two associative chains to create two incongruous ways of seeing
something. . . . " Precomposed or popular music, Smith explains, can create
this effect by juxtaposing the "original scenario" of the song used with the
"immediate situation" occurring in the film.
These two frames of reference must be sufficiently different

to create the incongruity upon which the pun is based.. . .
each frame o f reference must also be associatively elicited by
some linguistic element of the title. This is important since the
spectator must recognize the title's relevance to the narrative
situation depicted in the film to activate the two interpretive
possibilities presupposed by the pun's play of meaning.47
Smith's application o f the bisociative process proposes that the audience
must both recognize the lyrics of the song in question and connect its use
to that moment in the unfolding narrative for the joke to work successfully.
Most of the musical jokes "told" in Warner Bros, cartoons have no text to
^Smith, "Popular Songs and Comic Allusion," 17.
92
indicate the song's title and thus establish its relation to the narrative. For
most of Stalling's 22 years at Warner Bros., characters sang because they
had a reason to, not to satisfy a contractual agreement, and so any
featured songs would have doubtless been chosen by the director and/or
writers to fulfill a specific dramatic need.
For example: in Fifth Column Mouse (1943), a house full of mice,
resolved to rid their home of a mouse-craving feline, organize themselves
into an efficient rodent army, singing the World War I I song "We Did It
Before (And We Can Do It Again)/' The common struggle of cat versus
mice, placed upon the significantly larger (both literally and figuratively)
conflict between Hitler and the Allies, make up the two "frames of
reference" against which the mice perform the song. The " i f in "We Did It
Before" constitutes the "linguistic element of the title" that links the two
situations, and thus creates the musical pun by comparing the training
sequence of the mice, set to this military song, to the wide-scale
mobilization of the American armed forces in World War I I following the
attack on Pearl Harbor.48 Having the mice sing this song—with unaltered
47Smith, "Popular Songs," 20.

48The song comes from a patriotic wartime musical, Banjo Eyes (opened 12-25-41),
starring Eddie Cantor; the song was introduced by James Farrell and chorus. Information
from the Playbillof the original production.
93
lyrics, no less—means that the audience should make the connection, that
is, if they are listening.
We can see that this schema works perfectly well when dealing with
texted songs. Many more instrumental puns occur in Warner Bros, cartoons
than ones with sung lyrics, however. Without a performer—on or off
screen—to provide the words and thus illuminate the purpose of the song
of the moment, the composer cannot assume that the audience would, if
they successfully recognized the song, remember any more than its title. In
cases such as these, the joke therefore depends on the recollection of the
song's title, nothing more. Smith discusses these circumstances as well:
. . . viewers simply apply what they already know — a title or

chorus — to the specific dramatic context that is depicted in
the film. Thus, one need not have a thorough understanding
of the song's lyrics, but simply the minimal information
supplied by the song's title. Not surprisingly, this system of
musical allusions places a certain premium on well-known
songs. After all, if the song is unfamiliar to the audience, then
they will fail to grasp the specific way in which the song's title
relates to the scene it accompanies.49
This means of communicating to the audience through the music seems
well suited to both Stalling's method of composing in relatively short cues
and the studio's preference for quick gags. The key lies in the viewer's
ability to recognize the music as something not original, and possibly
49Smith, "Popular Songs," 21-22.
94
related to the narrative on more than just a "meta" level; If they d o n 't know
the song at all, then the music simply illustrates the scene without evoking
any specific ideas unrelated to the cartoon.
In the notes to the first volume of The Carl Stalling Project, Willi
Friedwald is quoted as saying that audiences detect the musical puns
Stalling sets up, even if the melodies have been reduced to a paltry handful
of notes, because they rely "on the collective unconscious which, a fte r
having followed enough of Bugs Bunny's episodic adventures, unknovwingly
makes the connection between the few bars of the motif Stalling sneaks by
and the idea put across on screen."50 Stalling may have singled out
particular melodies and even used distinctive timbres for special scenes, but
he could never steal attention from the visual action or the dialogue umless
the story called for the music to make its presence explicitly known.
Additionally, the rate at which the cartoons appeared in theatres in th e
1930s and 1940s—on average o f one every week—meant that, with tine
exception of kiddie matinee shows, you only saw one Warner Bros, cairtoon
per week. These circumstances mean that few people would have noticed
any continuity between the songs Stalling cited and their correspondirag
gags.
95
More than any other circumstance, however, time has rendered
Stalling's references ineffectual; the cultural language has evolved over the
last 60 years, so that melodies that might have been recognizable to some
in the 1940s are nearly indistinguishable today. We can understand Jones'
frustration in the earlier quotation about The Bee-Deviled Bruin, since
neither he nor his audience had much chance o f catching the allusion
Stalling had placed in the score. I cannot help but wonder if using such
songs was Stalling's means of providing yet another level of humor to the
cartoons, to be understood and appreciated by the connoisseur of obscure
songs; as Smith says, Stalling provides, for those who know the music, "a
secondary frisson of pleasure in our recognition of its unexpected aptness
to the scene it accompanies."51 The notion that he made these musical
gags for his own amusement goes right along with the understood goals of
many of the Warner Bros, directors, who have stated on numerous
occasions that they wrote their cartoons to please themselves. Chuck
Jones, for instance, said in 1988: "We never made films for adults, and we
never made films for children. We made pictures for what I suppose you
50Greg Ford, brochure notes for Carl Stalling, The Car! Stalling Project: Music From Warner
Bros. Cartoons 1936-1958(Warner Bros. Records 26027, 1990), [np].
51Smith, "Popular Songs," 21.
96
could call a minority. We made pictures for ourselves, and we were lucky
because the producers never knew exactly what we were doing."52
Rim critic John Tebbel raises a different concern: not that the
musical pun could not be understood at all, but rather that people would
misunderstand i t He writes:
A skewed link between the visual and the music can be a

problem. In Fast and Furryous ('49), the first Road Runner
and Coyote, the demon bird uses a free-way cloverleaf—a
potent, fresh image of the time—to elude his pursuer. Stalling
fields the chestnut 'Tm Looking Over a Four Leaf Clover."
While accurately paraphrasing the camera angle, the music's
boisterous optimism contradicts the emotional content—
bewilderment—of the scene.53
Tebbel seems more interested in the issues of post-war industrialism that
appear in Fast and Furryous and takes the overall content of the song quite
seriously, dismissing the fact that it does not function as a comment on the
scene's "emotional content," but rather as a quick gag about the highway
cloverleaf. An examination of the setup to the gag confirms this: the Coyote
has donned a pair of "Fleet Foot Jet Propelled Tennis Shoes" in order to
chase the Road Runner at his own pace. Since both can now move at
unnatural speeds, Jones naturally take the two onto the highway, where—
52Chuck Jones, "What's Up, Down Under? Chuck Jones Talks at The Illusion o fLife
Conference,* in The Illusion o fLife: Essays on A nim ationedited by Alan Cholodenko
(Sydney: Power Publications, 1991), 39.
53John Robert Tebbel, "Looney Tunester," Film Comment2S:5 (Sept-Oct 1992), 66.
97
especially in the late 1940s, when interstate highways began to pop up
around the country to the delight of those who relished a fast drive—the
Coyote can give chase at full speed. When the actual chase begins, Stalling
uses a minor theme from Smetana's "Dance of the Comedians" from The
Bartered Bride, a theme he used repeatedly with the hyper speeds of the
road runner. Jones shows the chase from a side perspective for two
seconds, switching then to a far-off side view for the same duration, and
then to an even more distant overhead shot, reducing the two animals to
dots on the road. When they reach the freeway, the two are just little
circles moving seemingly at random on a tf7ree-/ea/fcloverleaf!54 Thus we
see here an example of the bisociative process that Smith describes: two
different references occur at once, the characters racing around the
highway cloverleaf (with three loops), and the song, which refers to a four-
leaf clover plant. Because Jones' intended joke focuses on the highway, not
the music, there is no less humor created if no one recognizes Stalling's
reference.
^Jones himself uses this joke in the 1952 cartoon Operation: Rabbit Instead of chasing
the Road Runner, the Coyote—named "Wile E. Coyote, Genius"—must contend with Bugs
Bunny's wiseguy jokes and gags throughout the picture. At one point, after outsmarting
Wile E/s pressure-cooker-on-the-rabbit-hole plan, Bugs walks away singing, "I'm looking
over a three-leaf clover that I overlooked be-threee...." Just as with the musical pun, this
play on words comes and goes almost instantaneously; whether or not the audience gets it
depends on whether they are paying attention a/K/whether or not they know the song.
98
Generic Music
Tom Gunning has referred to comic films from the turn of the 20th
century as examples of the "cinema of attractions/' which he defines as "a
dominant tendency in early cinema which addresses spectators with a
visual display, rather than a developed narrative action."55 The nearly
myopic focus of the Warner Bros, cartoons on gags over story development
is only one of the similarities they share with the cinema of attractions.
Another involves the use of generic storylines to create new plot situations,
compelling the cartoon's director and writers to come up with gags specific
to the stereotyped genre they were satirizing: Western, vaudeville,
romance, horror, and so on. As Henry Jenkins has shown, an "economy" of
representation is involved when setting up a dramatic set piece:
. . . characters and situations needed to be immediately

recognizable. An elaborate system o f typage developed:
exaggerated costumes, facial characteristics, phrases, and
accents were meant to reflect general personality traits
viewed as emblematic of a particular class, ethnic group, or
gender.. . . Whatever its racist implications, such
stereotyping was a necessary aspect of the highly economic
style of vaudeville performance.56
These visual stereotypes played specifically to cultural expectations of
appearance and sound; film accompanists learned very quickly that
55Gunning, "Crazy Machines in the Garden of Forking Paths," 93-94.
99
particular pieces could evoke—almost instantaneously—a response when
used with the appropriate situation. Claudia Gorbman states that film music
in such situations "interprets the image, pinpoints and channels the 'correct/
meaning of the narrative events depicted." Going further, she states that
music "efficiently establishes historical and geographical setting, and
atmosphere, through the high degree o f its cultural coding."57 Stalling's
musical process, directly related with his own economy of description—
namely, getting his point across as quickly as possible58—involved using
particular songs as a signifying tool for identifying whatever he found
compelling in the images presented, be it an ethnic/racial distinction, a
geographical region, or even an inanimate object. Stalling identified the
flavor of each new cartoon's plot and picked his music accordingly, basing
many of his choices on music he had used previously for certain generic
situations.
Many of the songs he chose for these purposes came directly from
his days as a film accompanist, when Rapee's handbooks and various
collections of original, copyright-free music told him and hundreds of other
56Jenkins, W hat Made Pistachio Nuts?, 70-71. Cited in Paul Wells, Understanding Animation
(London and New York: Routiedge, 1998), 135.
^Claudia Gorbman, Unheard Melodies: N arrative Film Music (London: BFT Publishing,
1987), 58.
100
organists precisely which tunes and styles of music to use in which
situations and, implicitly, what people expected to hear for particular
scenes.59 For instance, Stalling inevitably used J.F. Barth's "Frat," Van
Alstyne and Williams'"Cheyenne," and Rossini's W illiam Tell Overture s
Westerns. Schubert's lied Die Er/kdnig—M&od in Rapee's Motion Picture
Moods under the heading "Misterioso" and in his Encyclopedia under
"Storm"—also appears in several Westerns as the dramatic music for the
villain (most often associated with Yosemite Sam).
Stalling's training as a film accompanist becomes evident when we
consider his method of establishing musical identities in cartoons through
the use of generic melodies. When a cartoon uses stereotypes of race,
gender, or nationality as the key for a gag, the audience must first be
informed of the marginalized group in question in order for the gag to
58With the comparatively limited amount of time each gag or series of gags a cartoon
receives, the punchline in any gag must be delivered quickly and succinctly before the next
joke occurs and the previous one is forgotten.
59A few examples of songs Stalling used that are listed in Rapee: Chopin's "Marche
Funebre" for deaths or funerals, Stephen Foster's "Old Folks at Home" or Daniel Emmett's
"Dixie" for the South, J.B. Lampe's "Vision of Salome" for settings in the Middle East or the
Orient, and "Chinatown, My Chinatown" by Schwartz and Jerome for scenes involving
Chinese characters. One could develop an entire history of film-accompanying practices
from the contents of Stalling's library at the time of his death in 1972 (the collection now
resides at the University of Wyoming in Laramie). For the discussion here, the tremendous
number of popular songs, either in sheet music form or in arrangements for band or small
orchestra, is by far the most significant component of the collection. Music written and
published specifically for use in film scores is definitely present, evidenced by the multitude
of volumes from series such as "A.B.C. Dramatic Set' by Ernst Luz, "Breil's Dramatic Music"
by J.C. Breil, and "Moving Picture Series" by various authors.
101
succeed. The exaggerated visual markers Jenkins alludes to (large nose on
the Jewish car salesman, extra-high heels and lipstick on someone in drag,
big lips and extra dark skin on an African American) could only be enhanced
by the culturally mandated music for the "other" in question. This would
ensure that the viewer would properly recognize the situation—ethnic,
sexual, or racial—that was about to take place.
Religion did not often find its way into the cartoons as a source for
satire, mainly because Hollywood's Production Code (or Hays Code) forbade
such humor, especially directed toward religious leaders. Nevertheless,
respect for the public's beliefs implicitly extended only to white Protestant
America; anything not falling in this category could still receive "special"
treatment, as long as it wasn't too extreme. For instance, Jewish characters
or characterizations occur in numerous cartoons, including Laundry Blues
(Columbia, 1930), Rodeo Dough (Columbia, 1931), Cubby's Picnic (Van
Beuren, 1933), B etty Boop's Big Boss (Fleischer, 1933), Three Little Pigs
(Disney, 1933), Bosko The Ta/k-Ink K id(Warner Bros., 1929; this is the
pilot short that led to the first Warner Bros, cartoon series), The Opry
House (Disney, 1929), and The New (Iwerks, 1931). The last two,
scored by Stalling, both use the same melody for their "Jewish" gags:
"Khosn, Kale Mazl Tov," a song from the 1909 operetta BUmeie, written (in
102
America) by Sigmund Mogulesko and Joseph Lateiner.60 Henry Sapoznik
has shown that "Khosn, Kale Mazl Tov" was a huge hit among the Jewish
and gentile communities alike in New York, becoming identified before
long, as he put it, "as 'the' clearly identified Jewish tune." The cue sheet for
B etty Boop's Big Boss lists the song as "'Mazel Tov' - Traditional Jewish
Melody." It also lists the song as being in the public domain, which, after
only 21 years, was clearly a mistake. The song's popularity and association
with the Jewish community undoubtedly caused the cartoon's composer to
believe the song had a more extensive pedigree or was simply a generic
Jewish tune with no special provenance; as Sapoznik puts it, "'Khosn, Kale
Mazl Tov' soon became one of several token Jewish tunes, and its
60Henry Sapoznik, K/ezmer! Jewish Music from Old World to Our Wodd(New York:
Schirmer Books, 1999), 81. The 1909 premiere would place the song in the hands of
popular (and Yiddish) performers in the midst of vaudeville's heyday, explaining one
possible reason for its popularity, not to mention the thriving business that existed for
Yiddish popular music. The song's easily recognizable melody
'ft i 1*1' ' 1^ 1 I

Example 1
even showed up in semi-secular songs. Eddie Cantor's 1920 vocal version of an Original
Dixieland Jazz Band hit "(Lena is the Queen of) Palesteena" featured "a four-bar
paraphrase of Mogulesko's 'Khosn, Kale Mazl Tov' plopped into the middle of the
arrangement" as a "Jewish mile-marker." A reference to the song also appears in the 1942
song "The Sheik of Araby" by Spike Jones and His City Slickers. The cartoons Laundry
Blues, scored by Eugene Rodemich, and Bosko The Talk-Ink Kid, which has no composer
credit, also use "Khosn, Kale Mazl Tov."
103
authorship was quickly forgotten."61 Perhaps the long-standing perception
of Jews as an ethnic group and not a religion allowed them to be
categorized by their strange and unusual music, much like the
characterizations created of people with roots in Africa, Asia, or any other
stereotyped ethnic background.62
Race and gender also received special attention. A fairly limited
number of songs appeared as the musical indicators of scenes or cartoons
dealing with race and gender issues, mainly because comparatively few
cartoons would take on these topics. As I discussed in Chapter Two, music
for stereotypical black characters was usually drawn from jazz tunes (or at
least arranged in a jazz idiom). Such music reinforced perceived notions of
primitivism and hedonism that many associated with the African-American
population at the time. Songs such as "Sweet Georgia Brown," "Swing For
Sale," and "Nagasaki" appear often, performed by on-screen jazz bands or
underscoring a walk-on for an urban black character. For a depiction of the
old South, any song by Stephen Foster ("Old Folks at Home,""De
Camptown Races," and even "Massa's In De Cold, Cold Ground") as well as
61Sapoznik, K/ezmer!, 55-56.

62 Karl F. Cohen, Forbidden Anim ation: Censored Cartoons and Blacklisted Animators in
America (Jefferson, North Carolina: McFarland &. Company, Inc., 1997), 72.
104
Daniel Decatur Emmett's "Dixie" or "Jubilo (Kingdom Coming)" by Henry
Clay Work would suffice.
"Sweet Georgia Brown" serves double duty, as Stalling occasionally
employs it as an indicator of gender. Of course, throughout the Warner
Bros, cartoons, the de facto gender is male, so anything resembling a
female—in drag or in reality—receives special musical indication. The
appearance of "Oh, You Beautiful Doll," " It Had to Be You," or "The Lady in
Red" all help identify a typically brief female encounter, yet we cannot
overlook the irony Stalling might have been trying to create by using such
tunes in cross-dressing sequences, as opposed to a song like "An Angel in
Disguise" (a song he uses in two different cartoons in which characters
dress up to resemble angels).
Foreign nationalities were also identified with particular pop songs.
Particularly during World War II, America's foreign friends and foes alike
needed quick musical identification in the numerous cartoons that dealt
with wartime topics. German and Japanese characters were subjected to
complete and utter humiliation as often as was feasible in Warner Bros,
cartoons (and the cartoons of all other studios, for that matter). Stalling
scored Japanese soldiers—or any aspect of Oriental culture—most often
with stereotypical, pentatonic melodies, and occasionally with songs like
105
"Nagasaki" and "Chinatown, My Chinatown."® He provided the Nazis with
their own theme song, "Ach du lieber Augustin," often transforming the
chorus, with its "oom-pah-pah" feel, into a kind of ridiculous waltz, the
sound of which rendered the Nazis less menacing by making them look
(and sound) foolish. This song appears in seven different cartoons, each
one featuring Germans in some way.64 In The Fifth Column Mouse, a
captive mouse brokers a deal with the resident housecat so that the
mouse's rodent brethren will wait on the cat hand and foot in return for his
not eating them. As the cat explains this idea to the mouse, his dialogue
becomes unintelligible except for a series of hard consonants meant to
evoke German, followed by the cat momentarily growing large,
stereotypical oriental teeth and speaking in pidgin Japanese/English. During
the brief German interlude, the bass instruments play a menacing chorus of
"Ach du lieber Augustin," while Stalling scores the Japanese allusion with
the song "Japanese Sandman." Even though the German and Japanese-
63While several other cartoons deal with the Japanese during the war— The Ducktators
(McCabe, 1942), Tokio Jokio (McCabe, 1943), Bugs Bunny Nips the Nips (Freleng, 1944)—
Stalling did not venture too far musically in their scores. Two other Japan-oriented songs
Stalling used in the above cartoons include "Kimygayo" and "From Nippon Bridge."
106
sounding cat might escape some people's notice, Stalling tries to better the
chances of the audience getting the reference by using his stock Axis
music.65
As we have already seen, Stalling's sense of humor more than once
determined what song he might use for a specific visual gag; he often took
advantage of a unique moment in a cartoon's plot where he could slip in an
ironic reference to the narrative through the title of the song he used. Milt
Gray asked about this in the 1969 interview:
Gray: Many times, you used the music to tell the story. In
"Catch as Cats Can" (1947), Sylvester the cat swallowed a bar
of soap and was hiccuping bubbles, and the music was 'I'm
Forever Blowing Bubbles.' Did you make up those gags
yourself, or did the directors help you with that?
Stalling: It happened both ways.66
Just a handful of examples of other jokes in this vein include:
64The seven cartoons are: The Ducktators (McCabe, 1942), D affy—The Commando
(Freleng, 1943), Fifth Column Mouse (Freleng, 1943), Tokio Jokio (McCabe, 1943), Scrap
Happy Daffy (Tashlin, 1943), Russian Rhapsody (QarnpeXt, 1944), and Dumb Patrol
(Harman & Ising, 1931). Dumb Patroldoesn't refer to Nazis but to German soldiers in
general, as the cartoon takes place during an unspecified war, implied to be World War I.
Frank Marsales scored Dumb Patrol, showing that "Ach du lieber Augustin" represented
Germans for more musicians than just Carl Stalling; it also appears listed under "German"
in Rapee's Encyclopedia.
65Stalling does not use what I believe is an obvious choice—Beethoven's Fifth Symphony—
for the Nazis, probably because the main four note motive had been appropriated as a
musical signature for the Allied efforts. See Chapter Five for further discussion on Stalling's
use of classical music as signifying tool, in particular my discussion of Freleng's H err Meets
Hare regarding the appropriation of Viennese waltzes to represent German culture.
^Barrier, "An Interview With Carl Stalling," 27.
107
Porky's D uck H unt (Avery, 1936)—Uses "Listen to the
Mocking-Bird" when Porky is trying to shoot Daffy, and Daffy
is teasing Porky instead of trying to escape.
A ngel Puss (Jones, 1944)—Background music, and music
sung, is "Angel in Disguise," which fits right in with a cat
dressing up as a fake angel.
Booby H atched (Tashlin, 1944)—Uses "Am I Blue" for a
scene showing a hen and her unborn chicks freezing in cold
weather.
Mouse W reckers (Jones, 1949)—Uses "Sweet Dreams,
Sweetheart" when Claude Cat is looking at a book about
nightmares.
M utin y on th e Bunny (Freleng, 1950)—Uses "Put 'em in a
Box, Tie 'em With A Ribbon (And Throw 'em in the Deep Blue
Sea)" when Sam the Pirate kidnaps Bugs to work on his pirate
ship.
E arly to Ztef(McKimson, 1951)—Uses "Blues in the Night'
when the cat loses each card game, since we know he's going
to get punished for each loss.
L ittle R ed R odent Hood (Freleng, 1952)—Also uses "Angel
is Disguise" when Sylvester dresses up like an angel/fairy-
godmother.
H are W e Go (Freleng, 1953)—Uses the Dutchman leitmotif
from D er fliegende Hollanderfor Pirate Sam's ship.
Using the melody from a song to create a gag does not mean that the song
had no other use to the score—far from it. In most of the above examples,
Stalling had his way with the melody for more than just the five seconds it
took to set up and execute a gag; by choosing the proper meter, tempo,
and orchestration, he could make a song sound like anything from a dirge
to a foxtrot, fitting the tune he chose for the joke to the mood and relative
gravity of the scene at hand.
For instance, in High Diving Hare (Freleng, 1949), Bugs is the
proprietor of a carnival, featuring the spectacular diving of Fearless Freep.
Yosemite Sam, a huge Freep fan, enters the performance tent with his guns
blazing, yelling "Bring on Freep!" At that moment we hear a knock on the
stage door: it's a telegram from Freep, who has been delayed because of
rain. As Bugs reads the telegram, Stalling uses the chorus to the classic Tin
Pan Alley song "April Showers," played on a solo trombone. Rather than
ending the tune there and moving on, Stalling—switching to strings and
winds—plays through the majority of the chorus. Even though he has
already had his own joke, the tune can still serve as a implicitly comfortable
and familiar (harmonic and melodic) means of underscoring the scene,
especially since there is little action: Bugs is just explaining to the audience
that Freep will not appear. Once Sam barges onto the stage in anger, the
music changes.
A distinct part of Stalling's musical repertoire—unrelated to his film
accompanying days—was his interest in the music of bandleader Raymond
Scott. Born Harry Wamow, Scott led a small jazz ensemble (The Raymond
Scott Quintette) beginning in the mid-1930s. He appeared regularly on
radio shows, including the Lucky Strike Your H it Parade show on CBS,
where his brother, Mark Warnow, was the musical director. He and his
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group even appeared, playing their most famous tunes, in several
Hollywood features CRebecca o f Sunnybrook Farm and Sally, Irene and
Mary). What made the group unique were Scott's idiosyncratic instrumental
songs with titles that told the listener exactly what they were hearing: "New
Year's Eve In A Haunted House/'"Dinner Music For A Pack of Hungry
Cannibals," "In An 18th-Century Drawing Room," "Reckless Night On Board
An Ocean Liner," and "Pre-Festival Music For The Coming Merger of Two
Professional Marriage Brokers." The original Quintette recorded the majority
of their output between 1937 and 1939. At some point Scott's idiosyncratic
melodies and titles came to Carl Stalling's attention, because in 1941
Stalling convinced the powers that be at Warner Bros, to license the
synchronization rights to Scott's catalogue so Stalling could use the tunes in
his scores.67
The Scott piece that Stalling referred to more than any other is
probably the most famous piece the bandleader ever wrote, a song called
"Powerhouse."68 The song's title does give an inkling o f its intended
imagery: a power house, or the source of energy for the industrial and
technological boom during World War II. For Stalling, however, the
67Irwin Chusid, brochure notes for Raymond Scott, Reckless Nights and Turkish Twilights:
The Music o fRaymond Scott, The Raymond Scott Qunitette (Sony 53028), 2.
“ Schneider, That's A ll Folks!, 54.
110
melody's incessant progression represented more than just energy; it
became a musical metaphor for progress. In The Swooner Crooner
(Tashlin, 1944), Porky runs a farm producing eggs for the war effort and
has his hens producing their fruit on a belt-driven assembly line. Stalling
uses "Powerhouse"
Example 2
as the sound of industry, while also signifying the new machine age the
nation had been thrust into because of the war. Another kind of progress
that Stalling portrays with "Powerhouse" is the unstoppable hand of fate. In
Early To (McKimson, 1951), a cat bitten by the gambling bug loses in
cards repeatedly to the farm bulldog and must "pay the penalty" after each
loss. With the cat about to take a beating from the dog, Stalling uses
"Powerhouse" while the dog sets up any one of the cat's elaborate
penalties; in this case the melody's inexorable forward motion signals the
inescapable punishment the cat faces.
Ill
Stalling's Composite Scores
Now that we've looked at the gags individually, we can examine a
few examples of Stalling scores that approach the musical gag from
different angles. Surveying the music cue sheets for the cartoons produced
in his first three years at Warner Bros. (1936-1938), we can see a clear
transformation in Stalling's musical repertoire. For Porky's Poultry Plant
(Tashlin), Toytown H all (Freleng), MUk and Money (Avery), and Porky's
Moving Day (King; all 1936), he uses a large number of selections owned
by the Sam Fox publishing corporation, a sheet music house that published
a great deal of music for silent film accompanists, including the works of
prolific silent film composer J.S. Zamecnik, but n o t owned or controlled by
Warner Bros.69 The remaining published music he uses comes either from
public domain choices (Chopin, von Suppe, Bishop and Payne's "Home
Sweet Home," etc.) or from some of the older, more obscure titles of the
Harms-Witmark-Remick catalogue. One such song that appears in Toy
Town H all is "Merrily We Roll Along" (Harms, 1935), which became, within
a month, Stalling's choice for the new theme song for the Merrie Melodies
69Six of the ten published works Stalling uses in Porky's Moving Day are. by Zamecnik.
Stalling wasn't the only person to use Zamecnik, however; both Frank Marsales and
Bernard Brown (an interim composer in 1935 between the tenures of Marsales and
Stalling) use Zamecnik often. Buddy's Pony Express (Hardaway, 1935) consists almost
entirely of Zamecnik silent film cues, including one of Stalling's favorites for horse chases,
"In the Stirrups."
112
series, beginning with the cartoon Boulevardier From The Bronx (Freleng,
1936).
Stalling's first score for Warner Bros., Porky's Poultry Plant (whiclh
was Frank Tashlin's first director credit at Warner's as well), shows that
Stalling adapted quickly to having a large instrumental ensemble at his
disposal, although he did not take great advantage of the music afforded
him by his new position, using nothing from the Warner Bros, music
catalogue.70 The score makes use of the wind, brass, and string sections,
particularly noticeable at the cartoon's climax, when Porky battles a group
of buzzards for a hapless chick that the scavenging birds have stolen from
Porky's chicken farm. Stalling uses a Zamecnik cue, "Furioso # 2 /'
underscoring an air-battie sequence inspired by World War I flying aces -
By 1938 Stalling had fully integrated the music available to him
through Warner's publishing concerns; for instance, The Isle ofPingo-
Pongo (Avery, 1938) consists of 39 individual cues, which break down ais
follows:
Harms/Witmark/Remick song 18 cues
70For Disney and Iwerks, Stalling typically had no more than a dozen musicians to work
with, although the wind players typically doubled on one or more other instruments. A i
Warner's, he had anywhere from thirty to sixty players at any one time. Of course, he was
no doubt getting used to his new job and the sudden jump in output from his previous
employer; Iwerks produced ten cartoons in 1935, of which Stalling scored eight, compared
to the three dozen cartoons he would score in 1937, the year after he arrived at W arner
Bros. Maltin, O fMice and Magic, 407,422.
113
Public Domain piece 10 cues
Original Stalling underscore 8 cues
Ad lib drumming 3 cues
From this point until his retirement, Stalling would seldom write a score that
included fewer than twelve cues o f original and published music,
combined.71 Each director that Stalling worked with at Warner Bros.—Chuck
Jones, Friz Freleng, Bob Clampett, Tex Avery, Robert McKimson, Art Davis,
Frank Tashlin, Norman McCabe, Ben Hardaway &. Cal Dalton—had his own
approach to storytelling, making each cartoon a new experience for
Stalling. How he adapted to the particular idiosyncrasies of the directors
indicates both his skill and creativity as a composer.72
One of Chuck Jones' trademarks as a director involves his fondness
for pantomime, a stylistic trait we can trace back to his first days as an
71Judging from the extant materials, Stalling apparently constructed a rough cue sheet for
each score, listing the song's title, composer(s), and indicating if the song was in the public
domain or not; if it was an original cue, Stalling would write "Original," differentiating from
the last with successive letters: "Original A," "Original B," and so on. A cue sheet would be
typed up, to which Stalling would add names for the original cues (usually indicative of the
screen action), while someone (it's uncertain if Stalling did this himself) looked up and
indicated the publishers of the published songs.
72AII the Warner Bros, directors developed their own characters in addition to the more
universally renowned personalities (e.g., Bugs and Daffy) that everyone used. Chuck Jones
had the Road Runner and COyote, Hubie and Bertie the mice, Claude Cat, and Pepe LePew.
Robert McKimson had Foghorn Leghorn and Henery Hawk, as well Sylvester paired up with
his son. Friz Freleng had Tweety and Sylvester (although Bob Clampett developed Tweety,
following the director's departure from Warner's in 1946, Freleng put his spin on the
"innocent" little canary) and his animated doppelganger, Yosemite Sam. Michael Maltese,
who received a writer's credit on the first cartoon to feature Sam, Hare Trigger, recalled for
Mike Barrier that "he based Sam, who was short, red haired, and wore a mustache, partly
on Freleng himself, who was short, red haired, and wore a mustache." Barrier, Hollywood
Cartoons, 471.
114
animator in the mid-1930s. Admittedly influenced by Disney's character-
driven shorts o f the 1930s, Jones began his career as a director for Warner
Bros, with Sniffles, a super-cute mouse in the Disney style. Jones
emphasized facial expressions and physical reactions as much as (if not
more than) the dialogue. As he continued to experiment, Jones practically
became a physiognomist, telling entire stories through the character's
features and body language, eschewing any and all dialogue. Years later,
Jones stated: "In principle, we usually tried to tell our stories through action
rather than words. My first films as director were too wordy, but I learned
not to use dialogue when actions would suffice."73
All o f these shorts emphasize the visual narrative strictly as it occurs,
drawing a great deal of attention to facial expressions and reaction shots in
place of the dialogue. In cartoons that tend toward the pantomimic, the
music becomes even more important in its role as storyteller. Stalling gives
the audience information about the action at hand, providing a functional
replacement for the dialogue. The 1952 cartoon Mouse Warming offers a
perfect example of this technique. A boy and girl mouse, living in the same
human house, try to get to know each other while simultaneously trying to
73Chuck Jones, Chuck Reducks: Drawing From the Fun Side o f Life (New York: Warner
Books, 1996), 158.
115
avoid Claude, the housecat.74 The cartoon's opening sequence—in which
the girl mouse and her parents move into their new home—tells the story
through the cues alone. The music cue sheet for Mouse Warming reads as
follows; my description of the screen action is at the far right:
SELECTION COMPOSER HOW USED TIME ACTION

1. Reckless Night On Board Raymond Scott Bkg.Inst 0.32 Moving men
An Ocean Uner unload
furniture
2. In My Merry Oldsmoblle Gus Edwards- Bkg. Inst 0.08 Mouse family
Vincent Bryan drives up
3. Sweet Georgia Brown Kenneth Casey- Bkg. Inst 0.05 Shot of little
Maceo Pfnkard- girl carrying
Ben Bemfe phonograph
4. Home Sweet Home 3.H. Payne- Bkg.Inst 0.12 Shot of
H.R. Bishop mousehole
Arr. Carl Stalling with
"Welcome"
doormat
5. Aint She Sweet Milton Ager- Bkg.Inst 0.05 Girt mouse
Jack Yellen peers out her
window
6. Mouse-Warming Carl Stalling Bkg.Inst 0.02 Recognition
cue
7. Perpetual Motion Unknown p . Strauss] Bkg. Inst 0.10 Boy mouse In
Arr. Carl Stalling fast toy car
8. Trap Carl Stalling Bkg.Inst 0.07 Girl mouse
gazes out
9. L'AmourTouJours Rudolf Frlml- Bkg.Inst 0.08 Their eyes
L'Amour Catherine Chisholm Cushing lock—its love
LewBrown- at first sight
Ray Henderson
10. Aint She Sweet Milton Ager- Bkg.Inst 0.10 Boy hatches
Jack Yellen plan to meet
girl mouse
11. Love-Sick Carl Stalling Bkg.Inst 0.48 Cat swallows
boy mouse
Looking at the plot description and song titles, we can see that Stalling
scores roughly the first minute of the cartoon predominately with songs
whose titles describe the action. Since the cartoon has no dialogue, Stalling
could freely tell the story however he liked through his musical choices,
74While he is not formally named in this cartoon, the cat in Mouse Wanning is identical in
appearance and personality to several other Jones cartoons involving one Claude Cat
116
which the audience may or may not detect. His choice o f songs sets up the
love story, but once the cat interferes, Stalling can no longer rely just on
song titles. Stalling returns to "L'Amour Toujours L'Amour" later in the
cartoon as the boy and girl finally have their date (the boy having disposed
of the cat, with the help o f the family dog).
Jones eventually codified his preferred plot device rather effectively
with the Coyote and Road Runner series, starting in 1949. The series
became the closest thing Warner Bros, ever had to a recurring storyline
based solely on a chase. Jones alone directed the series until he left Warner
Bros, in 1962; his approach to the chase had far less variety in its setting
than Hanna-Barbera's Tom and Jerry cartoons. Jones' cartoons resemble
each other in many more ways than just the characters and the absence o f
dialogue. He states that "a//comedians obey rules consistent with their own
view of comedy." Thus, he developed strict rules limiting the boundaries in
the Road Runner series: no dialogue (they are only animals, after all); all
action must take place in the desert (the natural environment of the
animals in question); gravity is the coyote's worst enemy; and "the road
117
runner must stay on the road—otherwise, logically, he would not be called
road runner."75
The series consists mainly of "blackout" gags, as each successive
ploy or contraption the coyote devises inevitably disappoints him. Only very
occasionally will a gag from earlier in the story come back to haunt the
Coyote, although when it happens, it allows Jones to provide a sense of
continuity in the narrative—such as when a trap the Coyote sets up in an
early gag is not used, but still exists later in the cartoon for the Coyote to
unwittingly fall prey. Once again, in the lack of an extended story arc—
since the Coyote's last fall or explosion in the cartoon is always as
debilitating and painful as the first—the musical score reflects the digestible
chunks into which Jones breaks the story. Even with recurring characters
Stalling did not develop specific themes (nor would he ever, with but one
exception—the theme from Mendelssohn's "Rngal's Cave Overture" as a
walking melody for the mynah bird in the half-dozen "Inki" cartoons). He
did rely heavily upon a theme from Smetana's The Bartered Bride that
contained swift string passages capable of evoking the sense of unreal
speed Jones wanted to convey with the Road Runner. The majority of each
cartoon, however, consists not of actual chase sequences, but rather
75Chuck Jones, Chuck Amuck: The Life and Times o f an Animated C artoonist{Hew York:
118
shorter scenes involving the set-up and execution of the Coyote's various
Road Runner-killing devices. These brief scenes—there might be as many
as a dozen in a single eight-minute cartoon—did not seem to offer much
inspiration to Stalling, who mickey-mouses many of the Coyote's
movements, using inventive stingers at each impact or explosion. Only in
the occasional moments when the Coyote gives chase could Stalling make
use of popular or classical tunes.76
If a clear fondness for visual storytelling characterizes Jones'
cartoons, Friz Freleng's had a penchant for one gag after the next with
practically no dramatic build up.77 Whereas Clampett or Jones might drive
toward a grand finish—not necessarily a pulling-out-all-the-stops finale
every time, but something the audience would remember—Freleng's stories
move along very moderately. Barrier remarks that "the gags in Freleng's
cartoons tend to be of equal weight, so that a cartoon simply stops when its
time is up."78 Such an even-handed narrative approach meant that the
music would have to follow carefully and not overpower the on-screen
Avon Books, 1990), 224-225.

76I discuss the use of a precomposed melody during a chase or other stock comic moment
in more detail in Chapter Five.
77This is not to say that Freleng did not have his share of pantomimic stories; he just relied
much more on gags than on facial expressions. Particularly in his musical cartoons, in
which the score dominates the soundtrack almost entirely (Rhapsody in Rivets [1941], Pigs
In A Polka [1943], Rhapsody Rabbit [1946]), the visual humor greatly outweighs any
storytelling done with the characters' bodies.
119
action. In cases like this, Stalling approaches the score in much the same
way as with a silent comedy; because the story moves from one gag to the
next, the score can proceed similarly. With short, self-contained cues, he
could discreetly mirror the story as it moved, instead of coming up with an
encompassing score with a clearly defined exposition, climax, and
conclusion.
The 1948 cartoon Bugs Bunny Rides Again exemplifies Freleng's
approach. The music in this cartoon, instead of telling the story through the
song titles, does much more to evoke the mood of the old West. Because
Freleng has chosen to spoof the classic Western film, Stalling has an
additional set of genre-based musical codes he can use to maintain the
audience's expectations for such a film.
120
SELECTION COMPOSER HOW USED TIME ACTION
1. William Tell Overture Rossini Bkg.Inst 0.12 Title music
arr. Cart Stalling
2. Cheyenne Egbert Van Aistyne Bkg. Inst. 0.14 Estab. shot of rip-roaring Western
Harry Williams town
3. Navajo Egbert Van Aistyne Bkg. Inst. 0.11 Estab. shot of saloon, shot of
Harry Williams interior and cowboys drinking Inside
4. The Erl King Schubert Bkg. Inst. 0.20 Yosemite Sam enters
arr. Carl Stalling
5. Yosemite Sam Carl Stalling Bkg. Inst. 0.24 Bugs emerges as the only
one willing to fight Sam
6. Inflammatus Rossini Bkg. Inst. 0.27 Bugs and Sam begin a duel
arr. Carl Stalling
7. Sonata Pathetique Beethoven Bkg. Inst. 0.44 Sam tells Bugs 'This town ain t big
arr. Carl Stalling enough fbrthe two of us.'
8. Bugs Bunny Rides Again Carl Stalling Bkg.Inst 0.29 Sam challenges Bugs to dance, he
does, and then turns it over to Sam,
who takes up the dance
9. Wise Guy Carl Stalling Bkg.Inst 0.17 Sam falls down mine shaft
10. Die Gotterdammerung Wagner Bkg.Inst 0.12 Sam mad at Bugs for getting
arr. Carl Stalling him to fall down the shaft
11. Fighting Words Cart Stalling Bkg.Inst 0.43 Bugs leads Sam out of town
12. William Teli Overture Rossini Bkg.Inst 0.40 Sam and Bugs in a horse chase
13. The Loser Carl Stalling Bkg.Inst 0.18 Sam and Bugs agree to play cards
14. My Little Buckaroo Jack Scholl Bkg.Inst 0.30 Sam and Bugs play; the loser must
M.K. Jerome leave town
15. Cheyenne Egbert Van Aistyne Bkg.Inst 0.22 Bugs wins; he rushes Sam to the
Harry Williams train station
16. Oh, You Beautiful Doll Nat D. AyerBkg. Inst. 0.05 Bugs and Sam see the bathing
A. Seymour Brown beauties in the train car
17. Miami Spedal Carl Stalling Bkg.Inst 0.06 Bugs subdues Sam momentarily
18. Aloha Oe Queen Uluokalani Bkg.Inst 0.08 Bugs gets away In the train,
Arr. Carl Stalling leaving Sam behind
Songs such as "Cheyenne," "Navajo," "My Little Buckaroo," and, of
course, the "William Tell Overture," all musically place the action in the old
West—not because the music itself originated in that time and place but,
rather, because those pieces either are meant to signify cowboys and
cattle, or have been culturally resignified (the Rossini is the obvious
example of this). Because of this specific association, these pieces can work
as either source cues or underscoring. The song "Navajo," for instance, sets
the Western mood and works as the appropriate music for the old saloon
because Stalling plays it on a keyboard meant to sound like an old-time,
121
out-of-tune piano. Freleng reinforces this idea—we don't actually seethe
pianist playing— by showing the back of the piano and a beer glass on top,
which a mostly unseen man on the far side of the instrument takes hold of
and then replaces, empty, a second later. Some of the cues that don't have
an explicitly Western connotation— Rossini's "Inflammatus," the Schubert,
and the Beethoven—appear as generic music for drama (or "agitato" as
Rapee might classify them).
One of the more obviously generic Western moments occurs when
Bugs and Yosemite Sam ("the roughest, toughest, he-man hombre that's
ever crossed the Rio Grande—and I don't mean Mahatma Ghandi!") slowly
pace toward each other, spurs jingling, causing Bugs to comment on the
tension with "Huh—just like Gary Cooper!" Stalling uses part of a dramatic
Rossini overture for the emotional coding it brings into the scene, rather
than choosing a piece with a more explicit reference to Westerns.79
Stalling bases the original cue "Bugs Bunny Rides Again" not on the
classic film accompanying repertoire, but instead on a vaudeville tune. Sam
holds up Bugs Bunny at gunpoint and yells, "Dance!" Western film
convention would make us expect Bugs to begin hopping from one foot to
122
the next, "dancing" to avoid the shots Sam would inevitably be shooting at
Bugs' feet. Instead, Bugs lets his vaudevillian roots take over and does a
tap-dance routine in the middle of the street to the original Stalling tune.
When Bugs finishes his number, he yells, "Take it, Sam!" Yosemite Sam
forgets himself and mimics Bugs' performance with the same music. In this
environment, the dance music need not emanate from a specific source. It
instead appears at the appropriate moment to accompany Bugs' dance.
Those pieces that don't specifically evoke the old West still work to help
Stalling create the musical-narrative world that he wants.
The cartoon ends when Sam loses to Bugs in a card game and must
leave town on the next train. When the two arrive at the station, they find a
car full of "bathing beauties," women in swimsuits on the Miami Special,
which catches both the characters and the audience unawares. Stalling
matches our surprise with a striptease version of "Oh, You Beautiful Doll,"
completely changing the tone of the previous scene. Here again we see the
advantage of Stalling's cue-by-cue style, which easily allows him to follow
the unexpected plot twists and gags in the cartoon narrative.
79Practically the same scene of Bugs and Sam paring toward one another occurs in the
first Yosemite Sam cartoon, Hare Trigger(194S)) instead of using dramatic music,
however, Stalling leaves the scene (which takes place on a train) completely silent, so that
the sound of their spurs can be heard as they walk toward each other.
123
Conclusion
The feet that Carl Stalling composed cartoon music allowed him an
inestimable amount of creative freedom. Because short films (cartoons,
comedies, newsreels, short musicals) had practically no status compared to
features—because they w ere not of feature length, but only one or two-
reelers, resulting in smaller production budgets—they could justifiably play
with the conventions of Feature films; after all, the shorts "were not
necessarily governed by th e same aesthetic roles and conventions" as
features.80
In his discussion o f the creative power film accompanists had in the
days before sound, Tim Anderson raises an innovative notion regarding the
adherence to musical signifying codes:
Not only does music have the ability to reinforce meaning(s)

through the containment of semantic possibilities, but through
numerous musical tropes, techniques, and figurations music
and musicians can also offer narrative interruptions, disorder,
and sidetracks th at exhaustively investigate, discover, and
create new meanings and spectacles. In short, the hazard and
pleasure of improvisation lies in how the practice is precisely
not invested in preserving a standard set of meanings or
pleasures. As a result of this potential semiotic anarchy, those
persons invested in creating film music that held a specific
allegiance to the master narrative were forced to contain
signifying possibilities.81
80Neale and Krutnik, Popular Film and Television Comedy, 108.

81Anderson, "Jackass Music," 17.
124
With this in mind, Stalling's willingness to stretch the boundaries of
comprehensible humor in his scores makes sense. Since he had no
particular reason to uphold the "master narrative" of the story—if anything ,
the Warner Bros, cartoons did all they could to take the norms of generic
storylines, exemplified by Disney, and kept pushing them until everything
went topsy-turvy—he could create new meanings for the songs without
detracting from the cartoons.
Growing comfortable with the idea of matching an image with a song
meant that Stalling added more and more songs to his repertoire every
year. With the vast collection of popular songs owned by the Warner Bros,
publishing division, Stalling's scores suddenly enjoyed contemporary
cultural agency they had never before possessed. While not all the songs
he used were current, the songs from the 1930s and 1940s let Stalling use
several generations worth of material in his scores. It is no wonder that
people have claimed Stalling to be an early postmodernist, who built a new
125
system of musical meaning by taking pieces of an older system an
rearranging them.82
Steve Neale and Frank Krutnik relate that while jokes and gags can
occur within a narrative context, and can even use that context as a
referential source for creating humor, they can also exist independently of
the narrative. This state occurs all the time in the Warner Bros, cartoons,
which consistently refer to people, places, events, and ideas outside the
context of the narrative world established in the short.83 More than fifty
years later, these cartoons have become valuable historical documents
providing us with a unique view of popular culture and thought of the
1930s through the 1950s, an outlet for social critique as well as a place to
comment on ideas and fads of the time. Intertextuality became a trademark
of the Warner Bros, cartoons during their production, as they repeatedly
referred to all aspects of the real world, including themselves as cartoons.
82Composer John Zorn has probably been the most vocal of all of Stalling's supporters. In
the notes to The C arlStalling Project he states: "On first hearing, Stalling's immense
musical talents are immediately apparent, and certainly all these basic musical elements
are there—but they are broken into shards: a constantly changing kaleidoscope of styles,
forms, melodies, quotations, and of course the 'Mickey Mousing'. . . . Stalling developed
this technique while playing piano for silent films in Kansas City, honed it to a science with
Disney and elevated it to an art with Warner Bros." John Zom, "Carl Stalling: An
Appreciation," brochure notes for Carl Stalling, The Cart Stalling Project: Music From
W arner Bros. Cartoons 1936-1958(Warner Bros. Records 26027,1990), [np].
83Schneider, That's A llFolks!, 149. There also exists an on-line encyclopedia to the Warner
Bros, cartoons ("The Warner Bros. Cartoon Companion" by E.O. Costello), dedicated to
explaining all sorts of arcane information about the series. The majority of this
encyclopedia consists of entries describing the references I mention above.
126
In this light, we can read Stalling's musical choices as trying to work with
the cultural references the cartoons made. Jeff Smith indicates that using
songs as "ironic commentary may be viewed as a particular configuration of
postmodern culture, where a very self-conscious mode of textual address is
accompanied by or situated within a larger network of intertextual
references."84 For this reason, we should not consider Stalling's musical
allusions—and his popular music repertoire in general—separately from
those made through the dialogue or visuals. His scores work in the cartoons
as one of a tripartite set (visuals, dialogue, and music) of cultural signifiers.
Perhaps this explains why critics were so besotted with Stalling in the
1990s: the music of the Warner Bros, cartoons told the stories of modern
society behind an animated visage.
^Smith, "Popular Songs," 1-2
127
Chapter Four
Scott Bradley's (Violent) Music for M-G-M, or

"You Really Do Beat the Shit O ut of That Cat"
Before the release of The Car! Stalling Project, a surprising majority
of the limited scholarship available on music and cartoons concerned the
music of one composer: Scott Bradley.1 These articles (mostly dating from
1940s music periodicals) all revered Bradley's composing style, in particular
his preference for writing original music; at the same time, the articles
implicitly praised Bradley's disdain for using popular music instead of newly
composed cues. More than fifty years later, Bradley's once-venerated name
resides in the mire of forgotten film composers, while Carl Stalling has since
supplanted Bradley as the cartoon composer to be lauded and imitated.
This chapter examines some of Bradley's twenty-five year tenure at M-G-M.
More specifically, I trace the development of his technique for musically
describing and rendering violent physical action, a cornerstone of the
M-G-M cartoon narratives from the 1940s onward.
128
This chapter will go on to analyze in detail the stylistic and
ideological differences between Bradley and Stalling, but we may
summarize briefly their dissimilarities as follows. When scoring a chase
sequence-for instance, the Coyote chasing the Road Runner-Carl Stalling
would choose a piece that reinforced the preconceived rhythm of the scene.
If the chase moved quickly, then the music would move at an equal pace,
calculated so that the regular beats of the underscore emphasized the
visual/aural synchronicities. For his part, Scott Bradley would have none of
this. Particularly in the Tom and Jerry cartoons, every one of which involved
a chase of some sort, the action did not necessarily dictate musical pacing
or style—he refused to let the action shackle him creatively. Beyond
fulfilling its practical obligations of constantly feeding the cartoon's forward
movement, Bradley's scores provide a wide range of musical styles and
(often ironic) commentary on the narrative.
A characteristic chase cue appears in P uttin'on the Dog From 1943.
In this example we can detect a highly adaptable approach to underscoring.
chapter on music in animated films in Roy Prendergast's Film Musk:: A Neglected A rt

(New York: W.W. Norton & Company, 1977) looks at Bradley only as a representative
Hollywood cartoon composer. Other examples in this vein include John H. Winge,
"Cartoons and Modem Music," Sight and Sound 17:67 (Autumn 1948), 136-137; Ingolf
Dahl, "Notes on Cartoon Music," Film Music Notes 8:5 (May-June 1949): 3-13; and Jon
Newsom, "'A Sound Idea': Music for Animated Rims," The Quarterly Journalo f the Library
o f Congress 37:3-4 (Summer-Fall 1980), 279-309. R. Vernon Steele's, "Scoring for
Cartoons: An Interview with Scott Bradley," Pacific CoastMusician (May 15,1937: 12-13)
129
With the fast up-and-down scales, the viewer/listener "hears" the cue as
general romping/horseplay music, with the choppy eighth-rest-eighth
triplets imbuing a further sense of chaos. None of the downbeats explicitly
matches a footfall or any other visual actions; the broken triplets, set
against the constant eighth-notes of the cello, oppugn any simple rhythmic
audio-visual synchronization. Without a constant meter from a
precomposed piece dictating how the scene unfolds musically, each gesture
of the cue can connect to the action without remaining a slave to the beat.
The score then switches to triplets without any rests, causing the
momentum to intensify and seemingly speed up until it reaches complete
anarchy, with the instruments holding out a trilled stinger-style chord. (All
this for a chase that lasts less than 10 seconds.)
The M-G-M cartoons from 1934-1958 not only present us with the
musical exploits of a self-proclaimed modernist composer but also force us
to deal with the violence that pervades them. This penchant for violence
seems to have emanated originally from the M-G-M studio, in part during a
time that America-and the rest of the world-was involved in a global
conflict of unprecedented magnitude. One issue to examine here is how
Bradley, faced with ever more repetitious storylines, adapted his
is, indeed, an interview with Bradley, which can be added to the five artides Bradley
130
compositional style to complement the narrative without resorting to
"noisy" music for cartoon collisions. I shall also explore how the music
either confirmed or contradicted the audience's notions of the cartooni
world—for example, the assumption that the animated body is inviolable.
H appy Harmonies'. M-G-M's Early Years
Bradley recalled in a very late interview that he began his
professional life as a musician working as a composer and conductor im a
Houston theatre, and then moved to Los Angeles in 1926 and "went into
radio."2 Musicologist and composer Ingolf Dahl interviewed Bradley at
M-G-M in 1949:
METRO GOLDWYN MAYER. INTER-OFFICE COMMUNICATION.

TO: Dahl SUBJECT: Dis-a and dat-a FROM: Bradley. B om ..
Russelville, Arkansas (but not an "Arkie" I hasten to a d d )..
Studied piano, private instruction. . organ and harmony with
the English organist Horton C orbett.. Otherwise entirely self
taught in composition and orchestration. . fed large doses of
Bach, which I absorbed and asked for more. Conductor at KHJ
and KNX in the early thirties.. entered the non-sacred realm
of pictures in 1932 and started cartoon composing in 1934
with Harmon-Ising Co. [5/c] Joined MGM in 1937.. have so far
been able to hide from them the feet that I'm not much of a
composer. Personal: dislike bridge, slacks and mannish dress
on women, all chromatic and diatonic scales, whether written
by Beethoven or Bradley. Also, crowds and most people (and
especially biographers). Favorite composers: Brahms,
himself wrote throughout the 1940s and 1950s (see the BIBLIOGRAPHY).
2Michael Barrier and Milton Gray, unpublished personal interview with Scott Bradley (March
11,1977), 1. My thanks to Mike Barrier for making this interview available to me.
131
Stravinsky, Hindemith, Bartok. This will be boring to most
everyone, so cut it as short as you wish. Signed: Scott3
Bradley states here that his first foray into animation occurred in
1934.4 It was in this year that Hugh Harman and Rudy Ising began
producing a new cartoon series for M-G-M, having left the cartoon division
they helped to establish at Warner Bros, because o f a financial dispute with
3Ingolf Dahl, "Notes on Cartoon Music/' Film Music Notes VHI:5 (May-June 1949), 4 .1
have reprinted the "telegram" exactly as it appeared in the original. Parts of Dahl's article,
including this telegram, have also been reprinted in Jon Newsom's "'A Sound Idea': Music
for Animated Rims," The Q uarterly Journal o f the Library o f Congress 37:3-4 (Summer-Fall
1980), 279-309.
4This date unfortunately conflicts with another account of Bradley's early days, given by
Roy Prendergast in Film Music: A Neglected A rt (New York: W.W. Norton & Company,
1977), 170. Prendergast, who apparently interviewed Bradley in the early 1970s, states
that Bradley began his career in cartoons "by playing piano in the then tiny Walt Disney
Studios. . . Bradley worked for Disney during that short period when 'actual' recording, or
recording without benefit of postproduction dubbing, was still in use." This statement
contradicts an interview Bradley gave in the 1940s, in the context of which he would most
certainly have mentioned working for Disney in his past experience. Moreover, the Disney
archives have no record of Bradley working at the Disney studio in its earfy years, as a
pianist or in any other capacity. We do know conclusively, however, that Bradley wrote the
score for the 1938 Disney Silly Symphony Merbabies, which the Disney studio contracted
out to the financially struggling Harman-Ising studio. Michael Barrier, Hollywood Cartoons:
American Animation in its Golden Age (New York: Oxford University Press, 1999), 290.
Very early cue sheets (in the ASCAP cue sheet files) do place Bradley at the Iwerks
animation studio in late 1931 and throughout 1932, with his name associated with thirteen
cartoons. Recall that Carl Stalling also worked for Iwerks on and off from 1930 until 1936.
If, as Bradley asserted, he never met Stalling, it must have been through a tremendously
strange turn of events, as both apparently composed for the same studio at around the
same time! Bradley never mentioned working for Iwerks in any of his numerous
biographical blurbs or articles. Because he never ran the music department for Iwerks,
Bradley may have intentionally omitted this part of his history, feeling it was not as
significant as his work for Harman and Ising. He does mention in a 1937 interview that "I
was sort of'spewed' out of radio into pictures some seven years ago when I took up
composing and arranging in some of the major picture studios"; this would put him at
writing film music beginning in 1930, around the time he might have worked for Iwerks.
132
producer Leon Schlesinger.5 The Happy Harmonies series they created for
M-G-M took more than just its name from Disney's Silly Symphonies: as
former Disney employees who helped to develop the Silly Symphonies in
the late 1920s, Harman and Ising had an intimate familiarity with the story
structure and artistic look of Disney's cartoons, and, as Leonard Maltin
points out, they wanted to "rival Disney's award-winning series, with its
appealing characters, imaginative stories, and elaborate trappings." Their
overall style thus closely resembled the fantasy-based stories and
picturesque pastoral scenes that Disney favored. The M-G-M cartoons also
had few recurring characters in their fantasy series (the exceptions being
Bosko in the early days and Barney Bear beginning in the late 1930s).6
Bradley began composing for Harman-Ising on their first cartoon in
the Happy Harmony series, The Discontented Canary, apparently charging
only half his usual fee because he knew they had a tight music budget at
the time.7 When we look at the cartoon, we can understand another reason
5Barrier, Hollywood Cartoons, 188-189. Barrier argues that Harman and Ising most likely
stopped producing cartoons for Leon Schlesinger because he did not want to increase their
budget for each short Schlesinger's new contract with Warner Bros, in 1933 lowered his
operating budget by almost $4,000 from just two years before; thus, Schlesinger truly
could not afford to keep Harman and Ising on the payroll. Ironically, M-G-M offered to pay
Harman and Ising $12,500 per cartoon, still $500 short of the minimum the Disney studio
paid for any cartoon in 1933, with some of their budgets at the time reaching $20,000 per
cartoon.
6Leonard Maltin, O fMice and Magic: A History o fAmerican Animated Cartoons, 2nd Edition
(New York: Plume, 1987), 281.
7Barrier and Gray, Interview with Scott Bradley, 1.
133
why Bradley asked for only half his normal fee ($250 instead of $500):
popular songs comprise most of the score, including "La Marseillaise,"
Bishop and Payne's "Home! Sweet Hom e!/' and Septimus Winner's "Listen
to the Mocking Bird." The majority of the music, however, consists of
various arrangements of "The Man on the Flying Trapeze"; the cartoon
actually begins with an arrangement for women's voices singing the song,
which, in this case, refers to the canary of the film's title, who dreams of
the world outside of his cage and longs to fly free. Once he does gain his
liberty, he naturally encounters unexpected real-world dangers such as
lightning storms, rude hummingbirds (who literally hum "Listen to the
Mocking Bird"), and hungry cats. The villainy of the feline antagonist brings
out the only originally composed music in the cartoon: Bradley scores the
cat's skulking around the meadow with a solo bassoon and low strings,
which break just momentarily from the convention (and safety) of the
familiar melodies that dominate the soundtrack. Once the canary learns he
had a far less stressful life in captivity, he returns to his cage to a joyous
chorus of "Home! Sweet Home!"
Following The Discontented Canary, Bradley scored cartoons dealing
with a variety of topics for Harman and Ising, since one of the hallmarks of
the Happy Harmonies (again taking a cue from the Silly Symphonies) was a
134
continual stream of new stories with newly devised characters. Bradley
recalled:
From that time on, we [Bradley, Harman and Ising] continued

working together. They didn't work like I did in regards to
music. In fact, music in those days was more like just sound
effects, with a few chords here and there. I showed them
what could be done and they liked the idea.8
After three years Harman and Ising worked out a new contract with M-G-M
and moved to the M-G-M lot, taking Bradley with them. Bradley recalled the
move:
They liked what I was writing. They left the writing to me,
although we were working on a shoestring. Finally . . . we
moved out to MGM. Rudy [Ising] and Hugh [Harman]
specified to Mr. Quimby that they would continue at MGM only
on the condition that they bring their own composer. I
conducted the orchestra myself.9
Scott Bradley: Musical Modernist
Scott Bradley took great pride in the fact that he composed music for
animated films, and he expressed high hopes for the future of cartoon
music and animation in general. Few established composers of concert
music paid attention to cartoon music—Hindemith and Shostakovich being
notable exceptions, and their contributions surfaced in the earliest years o f
synchronized sound (1928 and 1934, respectively); yet Bradley, in his
8Barrier and Gray, 1.

135
position as the sole composer for one of the major Hollywood animation
studios, believed he could engender change in his small corner of the
industry. He had a rather highfalutin image of his music, unlike Carl
Stalling, who regarded his work for Disney and Warner Bros, strictly as
work, and never went out of his way to refer to it as art.10 He never
seemed to lose hope that the animated cartoon would eventually shed its
lowbrow trappings and ascend to the status of a more universally respected
art form. He felt that if he treated the music seriously, he would make
cartoons more enjoyable and cause the viewer to appreciate their artistry
more. He stated in 1937: " I set about to work out musical scores that
would add significance to the picture, that would be musically sound and
would be entertaining. How well we have succeeded is for the public to
say."11
Bradley also took every opportunity to predict the future of cartoon
music or, rather, the direction in which he felt cartoons should evolve in the
coming years. In a 1937 interview, Bradley said that "his ideal for cartoons
is the complete discarding of dialogue and the use of the orchestra as a
10Of course, the solitary interview with Stalling doesn't offer a complete picture of his
aesthetic befiefs in relation to animation; from that late-in-life biography, however, we can
at least began to see his attitude toward his work.
n R. Vernon Steele, "Scoring for Cartoons: An Interview with Scott Bradley," Pacific Coast
Musician (May 15,1937), 12.
136
means by which the desired sound effects are arrived at."12 Over the next
dozen years, Bradley persistently trumpeted his own concept of an
animated Gesamtkunstwerk, in which the story and music would have equal
narrative significance and in which they both developed simultaneously. His
first detailed description of this ideal situation appeared in a 1941 essay,
"Cartoon Music of the Future." Some of his requirements included the
exclusive use of music in the symphonic poem style, "written to a definite
program and recorded before a foot of animation is in production"; original
music written only for the specific story at hand, permanently called
"fantasies" instead of "cartoons"; the use of free tempi in recording
sessions as opposed to reliance on a click track; the development of a "new
type of orchestral tone color"; and, finally, a complete absence of dialogue,
so as not to obscure the music.13 In Film Music Notes three years later,
Bradley stated:
The animated fantasy of the future will, I hope, be adapted to

pre-composed music. We have only to imagine a Debussy
composing "The Afternoon of a Faun" as the basis of such a
picture, to visualize the importance of music in cartoons.14
12Steele, "Scoring for Cartoons," 13.

13Scott Bradley, "Cartoon Music of the Future," Pacific CoastMusician (June 21, 1941), 28.
14Scott Bradley, '"Music in Cartoons/ by Scott Bradley (M-G-M), Excerpts from a talk given
at The Music Forum October 28,1944," Film Music Notes N \3 (December 1944), [np]. The
one-page bio included with this "talk" echoed a similar sentiment (probably written by
Bradley himself): "His ambition is to score a feature-length cartoon, using an original, pre
composed score — the exact opposite of'Fantasia.'"
137
Optimistic as his essay seems, Bradley knew he faced an uphill
battle. The traditional production methods for animated cartoons—
developed and codified in the 1920s by the Disney and Fleischer studios—
mandated the creation of the underscoring music only after the completion
of the story, if not the basic animation.15
As his own music became more experimental and adventurous,
Bradley began to see cartoons as a site for more unorthodox approaches to
orchestration, and he seemed less intent on changing the entire animation
industry—just his corner of it.
If I have anything to say about it, cartoon music of 1946 will

be progressively modem . . . . orchestration in enlarged
chamber music style . . . . with a total elimination of the
Spring Song sort of cliche . . . . Cartoons are "made to order"
for modern music and may well prove to be an important
proving ground for this kind of scoring, thus becoming a
leader instead of the red-headed step-child of motion picture
music.16
And in 1948:
"Only cartoons give the picture composer a chance to hear a

composition of 6 to 7 minutes' length almost without
interruption", Bradley says. "I wish that our contemporary
masters would take interest in cartoon work. For men like
Copland, Bernstein, Britten, Walton, Kodaly, Shostakovich or
15This does not include Disney's Silly Symphonies or the Fleischers' Song Car-Tunes; in
these cases the cartoons would be prescored with a song around which the directors would
craft the animation.
16Nathaniel Shilkret, "Condensed from ‘Some Predictions for the Future of Rim Music7in
Music Publishers'Journal- Jan., Feb. 1946," Film Music NotesV:8 (April 1946), 14.
138
Prokoffieff it would be a very fruitful experience. Their
contributions would certainly advance the cartoon as a
genre.17
I read Bradley's rhetorical wish for help from a "master" as a means by
which he could justify and validate his own years of toil; if his own attempts
to raise the public's consciousness of cartoon music had failed, perhaps the
contributions of a big-name composer would work.18
All of these excerpts indicate that Bradley took his work very
seriously and that he wanted nothing more than for audiences to have a
greater awareness of and appreciation for cartoon music. Unfortunately, he
had to fight two cultural stigmas: he had to combat the impression that
cartoons could only be funny, never serious, combined with the widely
accepted notion that film music should be experienced and not "heard."
Although he actually achieved a few of his stated goals in the cartoons he
scored in the 1940s and 1950s, for the most part he had to satisfy himself
17John H. Winge, "Cartoons aqd Modem Music," Sight and Sound 17:67 (Autumn 1948),
137.
18By the time scores by modernist and/or avant-garde composers appeared in mainstream
cartoons—in the early 1950s, particularly the scores for the UPA cartoons, including music
by Gail Kubik, Dennis Famon, and others—the heyday of theatrical animation had already
begun to draw to a close. This does not include avant-garde cartoons (including those of
Oskar Rschinger and Norman McLaren), but only those cartoons produced in the
commercial Hollywood studio system. While the composers would probably like to think
otherwise, cartoons from this period with experimental scores would have been much more
difficult to sell to prospective exhibitors, particularly if, as in the period following the
breakup of the film industry monopolies in the 1950s, the theatres were under no
obligation to pay for and show the cartoons.
139
by writing music that was as evocative and interesting as possible for the
stories he was given.19
In his attempts to legitimize cartoon music, Bradley made himself
known as an innovative film composer in the Hollywood film community. He
took lessons with Mario Castelnuovo-Tedesco (most likely in orchestration
and counterpoint, the techniques for which the Jewish-Italian emigre
composer was well known), who worked on staff at M-G-M in the 1940s
and taught a host of other aspiring film composers, including Nelson Riddle,
Andre Previn, Jerry Goldsmith, and John Williams.20 According to bassoonist
Anthony Christlieb, a fifty-year veteran of Hollywood sound stages, Bradley
was an avid concert-goer. He liked to attend concerts of "music of every
sort. He was a regular member of the audience at the Monday Evening
Concerts, which was unusual for film composers except David Raksin and
19The 1941 cartoon Dance o f the Weedwas prescored and was written in the symphonic
poem style; as I will show, practically the entire run of the Tom and Jerry series had no
dialogue, which gave Bradley that much more sonic space to work in, having only to share
it with the sound effects.
Z0My information on Castelnuovo-Tedesco comes from James Westb/s 1994 dissertation,
Castelnuovo-Tedesco in America: The Film Music (Ann Arbor: UMI, 1995). Included in the
Bradley collection at USC are three short pieces—for piano only—entitled "Movie Sketches,"
written by Castelnuovo-Tedesco and signed by him to Bradley (the piece sub-titled "The
Sorcerer" is inscribed by Castelnuovo-Tedesco 'To Scott Bradley 'his apprentice sorcerer/")
Westby has informed me that these pieces were composed in 1941; my thanks to him for
information about Castelnuovo-Tedesco's other students and for confirming that he did
indeed work with Bradley.
140
Hugo Friedhofer."21 The concert series Christlieb mentions, known also as
the "Evenings on the Roof' series, featured the music of contemporary
composers, which made it perfect forum for someone like Bradley, who was
keen on staying informed of the latest musical innovations.
Having provided numerous examples of modernist musical practices
in cartoons, Bradley also decided to work the other side of the street: he
began writing cartoon-inspired suites for concert-going audiences. He
based several of these works directly on scores he wrote for M-G-M,
including a suite on his music for the 1941 Happy Harmony Dance o f the
Weed. His Cartoonia suite (1940) did not come from a cartoon, but rather
seems to have been inspired by the prevalent themes and motives he
encountered so often in his work. This piece received a fair amount of
public attention and was performed on numerous occasions by major
orchestras in San Francisco and Los Angeles—with no less than the original
21Anthony Christlieb and Carolyn Beck, eds. Recollections o fa First Chair Bassoonist: 52
Years in the Hollywood Studio Orchestras (Sherman Oaks, CA: Christlieb Products, 1996),
27. Christlieb also states the following: " I did ail Scott Bradley's TOM & JERRY cartoons at
MGM from 1936 to 1941. Scott was an elegant composer of music for cartoons, one of the
best anywhere. He was well schooled in his craft It seemed that at the conclusion of any
picture that was being scored, a cartoon was in the wings, waiting to be scored if a few
minutes were left over on the recording sessions.. . . Ingolf Dahl once did a treatise on
cartoon music [Dahl, "Notes on Cartoon Music," op cit.], detailing all the difficulties
involved. One such difficulty would be ways one has to contract or elongate a melodic line
to fit the action. His most quoted source was Scott Bradley. Scott once confided to me that
his contract to MGM amounted to $10,000 a year, a shocking revelation that to me only
denigrated the music department and at the same time revealed that the players were not
141
conductor for Le Sacre du Printem psand Daphnis e t Chloe, Pierre Monteux,
conducting the premiere—as well as close to sixty performances throughout
Southern California, "as part of the Los Angeles High School Music
Education Program." As the years went by, however, his concert output
dropped off almost altogether as he focused on his work at M-G-M.22
M-G-M and W arner Bros.
Since Bradley's biggest musical competitor was Carl Stalling, I'd like
to look at some of the similarities and differences between the techniques
employed at their respective studios.23 Like most cartoon composers
(except Stalling), Bradley initially had no involvement with a cartoon's plot
development, unless the cartoon dealt with a musical subject or featured a
musical performance as an integral part of the story. Entering the
production process at this stage meant that he had little input into the
cartoon's narrative, not to mention the timing, pacing, or other elements
the only ones being taken advantage of." My thanks to Neil Lemer for bringing this memoir
to my attention.
22Bradley, mMusic in Cartoons/" [np]. My thanks to Mike Barrier for first pointing out to me
the information about Monteux's involvement with Cartoonia. Immediately following his
retirement from M-G-M in 1958, Bradley seems to have renewed his interest in public
performance: the Scott Bradley collection at USC includes a copy of a program from a San
Fernando Valley Symphony concert that took place on Friday, 22 May 1959, at which
Carrtoonia was performed. In addition, the program notes indicate that the piece had been
performed the previous year by the Houston Symphony, under the direction of Leopold
Stokowski! USC Scott Bradley Collection, Box 2:2.
^Bradley stated: "I never met Carl Stalling. Which is odd, isn't it, because we were in the
business about the same time." Barrier and Gray, 2.
142
that might relate to the music. Ingolf Dahl saw Bradley's dilemma this way:
"The cartoon, being a very extrovert and direct form of entertainment
needs the reassuring directness of symmetrically constructed music. But
how to supply this when the direction has crystallized the form o f the film
entirely outside of musical considerations?"24
While this production process would seem like a disadvantage
(though typical for practically <?//film composers), Bradley made the best of
the situation: knowing the visual narrative was complete, he would create a
score that danced around the visuals, accentuating the action, adding to
the mood, and enhancing the story in any way he pleased, especially since
directors Harman and Ising, and later, Hanna and Barbera, seldom
interfered. Bradley could fill in the blanks in the narrative with the score,
interweaving the music as closely as possible with the action, undeterred by
predetermined notions of rhythm and pacing. When Hanna and Barbera
began directing, the scoring procedure changed: Joe Barbera's chief task in
any Tom and Jerry cartoon was to determine the timing for all the gags,
which he would write down on detail or "bar" sheets. This blueprint of the
cartoon had space not only for notes on the action, sound effects, and any
possible dialogue, but also included two music staves per page for scoring
24Dahl, "Notes on Cartoon Music," 6.
143
the scene. Once all the other pertinent information had been notated,
Bradley would receive the bar sheet and begin composing with it as his
guide. From the early 1940s onward then, Bradley's music became more
closely implicated with the actual genesis of each cartoon, as he worked on
each score earlier in the production process than he had with Harman and
Ising.
Mike Barrier articulates an important difference between the two
composers:
What truly set Bradley apart from Stalling was a cynical,

opportunistic streak in Bradley's scores. Stalling, when
confronted with a weak cartoon, had difficulty pretending it
was any better than it was, as when in his accompaniment for
some of Chuck Jones's cartoons of the late thirties and early
forties, he clearly marks time while waiting for something to
happen on the screen. Bradley was ever the brassy pitchman,
trying to drum up excitement even when a cartoon was a
stinker.25
As I showed in the previous chapter, Stalling's style, particularly in his
scores during his first decade at Warner Bros., tended to favor active
scenes with active music, while more moderately unfolding sequences
generally received a pop-melody chorus as underscore, without particular
synchronization to the action (or lack thereof) at hand. Bradley, however,
took opportunities for musical creativity in moments of visual flaccidity.
144
Recognizing moments when the story's pulse began to wane, Bradley
countered by livening up the music's level of activity, thereby enhancing its
prominence in the soundtrack. In this way he could maintain the intensity
of the cartoon's momentum.
Bradley's cartoons also featured fewer pre-existing melodies than the
Warner Bros, cartoons, in part because M-G-M owned far less sheet music
than their competitors. Bradley felt no pressure to use precomposed music
when he could write his own, which, in his opinion, would suit a situation in
a cartoon much better than a tune written possibly 25 years earlier.
Bradley had neither the same time constraints nor the same hectic
work schedule as Stalling. For instance, in 1941 Bradley scored 15 shorts
while Stalling scored three times that number. This might begin to explain
how Bradley found the time to craft his scores and write so much original
music.26 Stalling also had the advantage of having the Warner Bros, studio
orchestra at his disposal. As I pointed out earlier, Warner Bros, retained in
the 1930s and '40s a full orchestra of 60 to 70 players plus a chorus, which
Stalling could use to his heart's content. He generally did not use the full
complement of players, however, sticking to 30 to 40 instrumentalists, but
260 f course, most of the other major studios—Disney, Lantz, Columbia—only produced
between 15 and 20 cartoons a year as well, yet their music received far less praise from
contemporary critics.
145
this still qualified as a large number to have for a short, and an animated
short a t that. Once again, Bradley worked at an apparent disadvantage,
having usually 19 pieces in any one score. Rather than considering it a
handicap, however, he enjoyed the challenge of working with a smaller
ensemble: " I conducted the orchestra myself. I noticed in an article about
Carl Stalling that he used the big Warner orchestra, but you didn't need it. I
used twenty pieces—that's all I needed. That's all anyone needed. You
don't need a symphony orchestra for cartoons."27 Timbrally, Bradley's
scores varied from Stalling's not only because o f the number of pieces
used—the lack of a large string section is the most noticeable difference—
but also in how Bradley chose to employ the instruments he had. In an
1948 article titled "Cartoons and Modern Music," John Winge pointed out
that Bradley "treated the wood-winds individually, the strings as a quintet
and the piano as a solo instrument instead of a filler."28 Rather than relying
on the traditional romantic (that is, string-heavy) sound of films—which
27Barrier and Gray, 1-2. The standard complement of instruments for Bradley included 4
violins, 2 violas, cello, double bass, 2-3 trumpets, 2 trombones, flute and oboe (both
doubling on other woodwinds), 2-3 clarinets, piano, and a percussionist, occasionally
adding extra percussionists, a guitar, harp, and/or organ (a Novochord). My thanks to
Todd Doogan for making the recording logs for the M-G-M cartoons readily available to me.
28Winge, "Cartoons and Modem Music," 136. Bradley favored woodwinds in his scores not
only because he couldn't afford to hire more strings, however; his admiration for Hindemith
and espedaiiy Stravinsky seems far more influential on his explicit use of the woodwind
section, both as solo instruments and ensemble, rather than budgetary concerns. My
thanks to Leonard Maltin for helping me to track down this article.
146
Stalling often favored—Bradley made the very most of the musicians to
whom he did have access, compelling one violinist to comment, "Scott
writes the most blank-blank-blank difficult fiddle music in Hollywood, he is
yet going to break my fingers/'29
Perhaps the most fundamental difference between Stalling and
Bradley is the result of the differences between the two studios for which
they worked. M-G-M and Warner Bros, employed remarkably different
methods of narrative development. The M-G-M cartoons used far less
dialogue than Warner Bros/s, a practice begun with the Happy Harmonies.
Harman and Ising had more interest in the pretty fantasy worlds they
constructed for each cartoon, and allowed the narrative to unfold through
the visuals; therefore dialogue was not a major priority. When the Tom and
Jerry series emerged at M-G-M in the early 1940s as an obvious box-office
favorite, the studio's other series began to shift in order to emphasize the
same fight/chase/conflict style that Hanna and Barbera successfully
reiterated so often, while still retaining the dialogue-free environment,
inspired largely by slapstick and vaudeville comedy (which I discuss below).
This style stood in direct contrast with that of the Warner Bros, directors,
whose cartoons delighted in humorous and witty dialogue for every single
29Winge, "Cartoons and Modem Music," 137. Also quoted in Maltin, O fMice and Magic,
147
recurring character (except the Road Runner and Hippity-Hopper, the giant
mouse). Carl Stalling's music thus functioned as part of the traditional
tripartite mise-en-scene structure in the Warner Bros, cartoons—dialogue,
images, and music—while Bradley's music had only to share the stage with
the animation itself, thus affording the score a more privileged position.30
Even more impressive, however, was Bradley's ability to work with the
same basic plot line involving "the chase" and still create original music. He
wearily remarked in 1949, "It's fights, fights, fights for me . . and how I am
getting tired of them. A beautiful, developed tune—alas, that's never the
fate of Scott."31 Little did he know that he had yet another decade of
composing fight music ahead of him!
Tom and Jerry
Tom and Jerry did not begin life as a preconceived comic duo—in
fact, they originally existed only as a one-off storys. Producer Fred Quimby
practically gave newly named directors Bill Hanna and Joe Barbera
complete freedom to do whatever stories they wanted, mainly because the
M-G-M cartoon division had had problems with its directorial staff. The new
290. Maltin omits the word "yet" from the original quotation.
30I would lump sound effects into the music category. At least a third of the sound effects
for any Warner Bros, cartoon during Stalling's tenure were musically based; in many cases
the effects emanated entirely from the score, without a separate nonmusical sound effect
to double/supplement the action in question.
31Dahl, "Notes on Cartoon Music," 6.
148
animated duo Hanna and Barbera developed immediately showed
tremendous comic potential; the constant co-mmotion between the two
combatants only added to their success.
No doubt the never-ending cycle of chases, collapsing into one
another until they become virtually indistinguishable, aided in the
establishment of Tom and Jerry as the paradigmatic chase cartoon. Once it
became apparent that Tom and Jerry had succeeded as a popular comic
duo, Hanna and Barbera proceeded to create nothing but Tom and Jerry
cartoons for the next eighteen years, using ttie same basic plot each time,
until the cartoon chase formula became codified and solidified as its own
subgenre in animation. By the time the next most famous animated chase
duo—the Coyote and the Road Runner—appeared in 1949, the paradigm
was long since established, so that Chuck Jones and Mike Maltese,
respectively the director and primary writer o f the Coyote/Road Runner
series, had almost ten years of chases to refer to.
The problem with the Tom and Jerry series seemed not to lie with
the physical humor it borrowed from vaudeville, which apparently did not
engender too much public outcry; it was the degree of violence that
brought censure. Again, we can trace the extreme reactions Hanna and
Barbera used in the series back to vaudevillian days. Lutz wrote in 1920:
149
"In a boisterous low comedy it is always incumbent upon the victim of a
blow to reel around like a top before he falls. It never fails to bring
laughter."32 While the practice of exaggerated reactions or big "takes" had
been limited on stage and in films by the natural physical confines of the
human body, animation had no such boundaries and thus allowed for
entirely outlandish reactions. Rather than simply spinning around every
time he is hit, Tom reacts differently to each individual abuse, inevitably in
a larger-than-life way: screaming as he flies through the air (his pain
propelling him skyward), smiling like a simpleton as he collapses into pieces
after being hit on the head, and so on. As the story progresses, the gags
must also increase in size and intensity; as Lutz says, "To be sure, an
animated cartoon needs a good many more incidents than one calamitous
occurrence. It is indispensable . . . that it should have a succession of
distressing mishaps, growing in violence. This idea of a cumulative chain of
actions, increasing in force and resultant misfortune, is peculiarly adapted
to animated drawings."33 The cartoons work on the principle of increasing
reactions: as the story progresses, the takes get bigger and more
outrageous, until someone (or something) explodes (usually the dog).
32Lutz, Animated Cartoons, 230. The author also points out that "an effect like this is easy
to produce in animated cartoons."
33Lutz, Animated Cartoons, 225-226.
150
Director Tex Avery—whose particular fondness for such chains of
exaggerated gags made him the hero of (and major influence on) most
Hollywood animators, including Hanna and Barbera—discussed his fondness
for s ta k e s as a sure-fire means o f getting laughs: "We found out early
that if you did something with a character . . . that couldn't possibly be
rigged up in live action, why then you've got a guaranteed laugh.. . . If you
can take a fellow and have him get hit on the head and then he cracks up
like a piece of china, then you know you've got a laugh!"34 Since the Tom
and Jerry cartoons all boiled down to a chase, with various embellishments
(add a dog, maid, or baby elephant to the mix), inversions (Jerry chasing
Tom), or variations (Tom chasing another cat), extreme physical behavior
became the natural order of events—especially for a series so clearly based
on slapstick comedy—with constant mischief gags punctuating and directing
the narrative.
The extreme level of these "takes", however, compels us to consider
whether or not the directors actually considered the level of violence in
these cartoons at all threatening. Many critics thought that constantly
returning to the same story simply demonstrated that the directors failed to
consider the barbarity in their stories. For instance, Barrier writes, "Hanna
34Joe Adamson, Tex Avery: King o f Cartoons (New York: Da Capo, 1975), 190.
151
and Barbera never addressed the aesthetic issues that the violence in their
cartoons constantly raised; there's no reason to believe that they ever
recognized that such issues existed."35 Yet Bill Hanna responded directly to
such complaints:
Studio officials used to say things like, "You really do beat the
shit out of that cat." But they were joking. My argument
against our critics is that there are two kinds of violence.
There is violence just for violence's sake, presented in a
realistic form; and there is fantasy violence, done in comedy
form. I agree with critics who say that imitative violence is
bad. Now the psychologists and program practices people are
easing up on us because they have come to realize that our
type of fantasy violence is just for fun and is not imitative.36
Tex Avery also held that something so impossible could not be
perceived as truly dangerous. "We thought it was funny. I mean, a fellow
could get hit in the head and stand there and have his whole body crack
and fall in a pile and his own hands would get up and scoop it all up and
put himself back together again. We found that you can get a terrific laugh
out o f someone just getting demolished—as long as you clean him up and
bring him back to life again. It's exaggeration to the point where we hope
it's funny. Because we hope the audience will say, 'Well, it could never

36Eugene Siafer, "A Conversation with Bill Hanna," in The American Animated Cartoon,
Gerald and Danny Peary, eds. (New York: E.P. Dutton, 1980), 258.
152
happen to a guy like that. All this shit could never fall on a guy."'37 We can
see that both Hanna and Avery hoped\hd!t their audiences could read the
cartoons as (literally) outrageous fun, while at the same time admitting that
for them, the humor came from seeing a character "just getting
demolished."
John Culshaw traces true violence in animation to the cartoons
released during and especially after World War II, referring specifically to
Tom and Jerry (obviously without the knowledge of what levels cartoon
violence would achieve in the future). A rabid Disneyophile, Culshaw does
not believe that the Disney cartoons (which he uses as a benchmark) were
violent, but interprets all the violence propagated by Mickey Mouse himself
in the early 1930s as slapstick-style funning. The only violence that matters
for Culshaw is violence on the body, and even though in Tom and Jerry
cartoons the bodies are those of animals, he insists on the human basis of
the stories. Believing that violence for its own sake in the Warner Bros, and
M-G-M cartoons replaced the charm of the Disney cartoons (which then had
to match the violence of its competitors), Culshaw tries to show how, he
believes, our concept of what's funny has (d)evolved. "The nature of the
violence is shown exactly," he states, "because now it seems to have an
37Adamson, Tex Avery, 193.
153
entertainment value; tails are pulled off, legs broken, heads scalped, bodies
mangled."38 As Avery's quotation above attests, the barbarous extreme of a
take often became the joke and led the directors to push the limits of their
creativity with each new cartoon.
Jerry typically engages in the most extreme physical violence
possible, often using it even when less violent tactics might produce similar
results. The effects, as we have seen, can exist only in the animated
diegesis, thus conceding—albeit implicitly—their utter impossibility in the
real world. This may offer an insight into the cartoon universe: while some
directors retain a modicum of "reality" (usually regarding basic laws of
physics and thermodynamics), Hanna and Barbera—particularly under Tex
Avery's influence—do not, and thus they see nothing wrong with constantly.
going to extremes. The bigger the set-up for a violent act, the bigger the
laugh. Knowing that such violence cannot exist in our world, the excess
becomes humorous because of its outlandishness. For instance, art critic
Dave Hickey once recalled how he and his childhood companions perceived
the impotent violence portrayed in cartoons:
What we did not grasp was just exactly whyXhe blazing

spectacle of lawn-mowered cats, exploding puppies, talking
ducks, and plummeting coyotes was so important to us.
Today, it's clear to me that I grew up in a generation of
38John Culshaw, "Violence and the Cartoon," The Fortnightly 1020 (December 1951), 834.
154
children whose first experience of adult responsibility involved
the care of animals—dogs, cats, horses, parakeets—all of
whom, we soon learned, were breathlessly vulnerable, if we
didn't take care. Even if we did take care, we learned, these
creatures, whom we loved, might, in a moment, decline into
inarticulate suffering and die—be gone forever. And we could
do nothing about it. So the spectacle of ebullient, articulate,
indestructible animals—of Donald Duck venting his grievances
and Tom surviving the lawn mower—provided us a way of
simultaneously acknowledging and alleviating this anxiety,
since all of our laughter was premised on our new and terrible
knowledge that the creatures given into our care dwelt in the
perpetual shadow of silent suffering and extinction.39
For Hickey, then, the attraction of such violence was not only the fun
of watching animals taking a beating and bouncing right back, but it also
gave him, and his friends, an outlet for their fears and concerns about their
approaching responsibilities as adults, and the subsequent loss of their
youthful innocence. Whatever the reason, I have not tried to explain here
why Tom and Jerry are so violent nor to trace the aftermath of their
actions; rather, I hope to have pointed to some of their comedic
predecessors to show that the violence did not begin (or end) with them.
We can also see now that Hanna and Barbera had full cognizance of the
violence in their cartoons, which, after a while, became a trademark of the
series and eventually the studio.
39Dave Hickey, "Pontormo's Rainbow," in A ir Guitar: Essays on A rt & Democracy (Los

Angeles: Art issues. Press, 1997), 48.
155
Tom and Jerry and Bradley
From its inaugural episode in 1940, entitled Puss Gets the Boot, the
Tom and Jerry series must have been Bradley's dream come true—sort of.
Two of his stipulations for the perfect cartoon of the future made this series
as good as anything Bradley would ever get his hands on. First, the music
would not have to rely on a single rigid tempo, but would change and
fluctuate according to the needs of the cartoon (as the musical director saw
them, that is), a practice Bradley already seemed to have perfected with
early on. Second, Tom and Jerry did not speak ("fantasy is best portrayed
without the irritating presence of speaking voices"). However, the stories
did revel in the kind of slapstick-based physical violence that Bradley
disdained—he had hoped instead for "stories of great beauty and artistic
(not arty) value. Think of 'Pelleas and Melisande.. . Z"40 When asked if
either Hanna or Barbera ever evinced particular preferences for musical
styles, Bradley replied: "Yes, to a certain extent—Joe [Barbera] especially
liked contemporary music. Bill [Hanna] was the only director in the studio
who knew anything about music. I had no interference from Bill. As time
^Bradley, "Cartoon Music of the Future," 28.
156
went on, Bill and Joe let me have the complete say about what music to
write. Tom and Jerry never spoke a word.. . ."41
Probably the most useful tools for understanding Scott Bradley's
scores come from Audio-Vision, Michel Chion's exploration of film sound, in
which he takes special pains to dismantle the sound/image juggernaut into
graspable concepts. I would first mention his idea of rendering1

, "the use of
sounds to convey the feelings or effects associated with the situation on
screen—often in opposition to faithful reproduction of the sounds that
might be heard in the situation in reality."42 Essential to an evocative and
convincing soundtrack, Chion argues, is the ability of diegetic sounds to
"render (convey, express) the feelings associated with the situation," thus
fulfilling a latent expectation in the viewer-listener of how a physical
gesture would sound, and through that aural input, how it might possibly
feel.43 If we consider cartoon music (in addition to the sound effects) as
trying to fulfill this goal, suddenly Bradley's most idiosyncratic moments of
composition become clear-cut attempts at properly rendering an impact
that will last for only 8 frames—that is, about half a second—yet must
resonate enough in the viewer-listener's psyche to cause him or her to

42Michel Chion, Audio-Vision: Sound on Screen (New York: Columbia University Press,
1994), 224.
157
flinch a t the thought (and sound) of a painful injury. Chion reminds us:
"This is surely why, in most films that show falling, we are given to hear
. . . great crashes whose volume has the duty of'rendering7weight,
violence, and pain."44 The crash must make up for the fact that a falling
object in a cartoon has no weight or mass at all, and thus we must be
practically bludgeoned aurally into believing an impact occurred. In the M-
G-M shorts, where falling a great distance occurs as naturally as breathing,
the music provides all three o f the components Chion mentions: weight,
often through the register of the instruments; violence, conveyed by the
complexity and speed of the melodic line; and pain, often through a stinger
chord, typically the musical equivalent of a cattle prod. Looking in detail at
specific moments from the cartoons in question, we can see that each tool
Bradley used contributed to his larger task—giving the cartoons an innate
sense of vitality and motion through the music—while simultaneously
contributing to and even challenging the narrative in each cartoon, unlike
the uninspired, slavish scores (a t least as he perceived them) of his
colleagues, Carl Stalling included.
To focus my discussion of Bradley's technique, I will look at two
cartoons. The first, a 1946 cartoon titled Solid Serenade, involves a short
43Chion, Audio-S/ision, 109.
158
chase sequence in the middle of the story. The cartoon begins with Tom
singing to his cute kitty-cat girlfriend, having tied up the vicious bulldog
that lives in the same house as she does. Tom begins serenading his
girlfriend by playing on a double bass and singing "Is You Is Or Is You Ain't
My Baby?" Jerry, sleeping beneath the house, resolves to put an end to
Tom's caterwauling. After he hits Tom in the face with two pies, the singing
stops, and Tom chases Jerry through the house until Jerry unties the
bulldog, who then begins chasing Tom. This cartoon typifies Bradley's work
with the Tom and Jerry series, as it includes both original scoring and
popular melodies here, in the form of Tom's extensive on-screen vocal
performance.
One particular notion Bradley had in relating music to image involved
what he called "moving counterpoint," which he believed would allow him
to move away from the conventional use of "sustained harmony," that is,
using the chord changes in a popular song to move the action along.
Bradley tried not only to make the melodic lines themselves contrapuntally
valid and interesting, but he also strove to create a compelling relationship
between the music and the image, to circumvent the rudimentary idea of
mickey- (or Jerry-) mousing. To be sure, the traditional definition of
^Chion, Audio-Vision, 112.
159
mickey-mousing, the synchronization of sound and image, applies all too
well to Bradley's work in the literal sense. While he struggled to resist the
limitations o f synchronization by trying to write the music before the visuals
whenever possible, we now know that he had most often to write his music
after the fact. By not using songs with straightforward rhythmic pulses he
could a t least avoid the appearance of mickey-mousing (as mentioned in
Chapter Four, the synchronization o f the animated walking cycle with the
tempo o f a standard pop song led to double-accents on footfalls—that is,
both a visual and aural representation o f a character's movements).
Bradley also used musical gestures to register inner feelings. While
we can understand the thoughts of the characters by reading their facial
reactions—again, since these cartoons have little or no dialogue, the
expressions of the characters must be clear—Bradley magnifies these
thoughts musically. His cues give us a very brief glimpse into the
character's interiority, usually at moments of crisis, either physical (about to
be crushed, impaled, eaten, etc.), mental (fear of being crushed, impaled,
eaten, etc.), or empathetic (do I help my arch-rival who is himself about to
be crushed?, etc.). These subjectivity cues could easily fall into Chion’s
category of "internal sound," referring to "the physical and mental interior
160
of a character."45 Several o f the gestures from the chase sequence in Solid
Serenade illustrate these two techniques working together: as Jerry slides
onto a windowsill, we hear a glissando trombone line a moment before he
reacts to Tom, who we understand is giving chase off-screen. We then hear
a set of quick, syncopated chords before Jerry runs off, grabbing the
window support on his way so that it hits Tom square on the neck. For each
of Jerry's reactions—the first physical (sliding onto the sill), the second
mental (fleeing in terror)—Bradley created a musical expectation (through
the use of "internal sounds") that the visual action would fulfill, so that the
two elements of sound and vision together convey everything that happens
in a very rapid scene.
Bradley usually anticipated an impact or reaction by at least a second
or two so that the audience would hearthe action before seeing it. With the
rapid pace of each fight or chase sequence, Bradley could thereby prepare
the viewer for each impending gag before it occurred, also bridging the
occasional momentar ■breaks in the animation between one movement and
the next. Chion mentions that a prime role of music in cartoons is to "aid
the apprehension of visual movements.. . Z'46 Looking at the extant bar
sheets, we can see that each important hit or impact, whether a footfall or
45Chion, Audio-Vision, 76.
161
an anvil felling, came directly after, or in the midst of, some sort of musical
gesture.
A compositional technique with which Bradley experimented
involved, as he described it, "Sharp dissonances and so-called 'shock
chords/ usually associated with modern music . . . employed instead of
actual sound effects in many instances."47 Traditional film music
terminology would most likely call Bradley's shock chords by the name
"stinger" chords, which are defined by Claudia Gorbman as "a musical
sforzando used to illustrate sudden dramatic tension."48 Bradley did not
think highly of traditional sound effects, a device he believed was a cliche in
animated cartoons. He stated in 1937: " It seemed to me that almost
anybody could collect a lot of nursery jingles and fast moving tunes, throw
them together along with slide whistles and various noise makers and call
that a cartoon score, but that didn't satisfy me and, I felt sure, wouldn't
really satisfy the public."49 Coming up with musical analogues to
supplement or even obviate certain sound effects let Bradley manipulate an
“^Chion, Audio-Vision, 122.

47"News Items . . . . Comments," Film Music Notes 111:111 (Dec. 1943), [np].
^Claudia Gorbman, Unheard Melodies: Narrative Film Music (Bloomington: Indiana
University Press, 1987), 88.
162
unusually large portion of the soundtrack, while absorbing as many of the
sound effects as possible into the musical score enabled him to create an
even closer relationship between these two soundtrack elements. In Solid
Serenade, Jerry jumps into the kitchen sink and drains it, exposing the pile
of dishes. At the moment of recognition of the danger Tom is in, Bradley
hits a shock/stinger-style chord and holds it, with only a brief drum roll
further building the tension and driving us into the collision. Bradley lets
Tom's actual impact go without a sting, and instead repeats the same chord
immediately after he hits the dishes in a deliberately off-beat pattern,
conveying the pain of having broken the dishes with his head, rather than
mickey-mousing the impact itself- Chion's description of "the Punch" applies
well to Tom's c o l l i s i o n : . . the audiovisual point toward which everything
converges and out from which all radiates." By scoring around this obvious
point of synchronization, Bradley makes us hear an impact that occurs only
as an abstract downbeat; that is, we never hear a musical sting for the
actual impact, but with the chords coming just before and after the hit we
don't notice their absence. Bradley often employed this technique to add an
49steele, "Scoring for Cartoons," 12. Making a statement such as this, particularly in a
music/performance journal like Pacific Coast Musician, meant that Bradley had no qualms
about ruffling his colleagues in the cartoon music world, as he certainly would have been
referring to the cartoons produced by the Columbia, Lantz, and Terry studios, along with
Warner Bros.
163
additional "punch" to the already explicit musical effect he wrote for a
scene.
In the final moments of this scene, the rhythm comes to an abrupt
halt as Jerry threatens to free the bulldog, Killer. A syncopated duple string
pattern characterizes Tom's chasing Jerry across the yard; descending a
step each time it repeats, the melody moves us forward to an eventual
finish line, or, as Chion would say, the melody vectorizes the shot by
directing it toward an inevitable goal, allowing the audience to perceive that
the chase will end before it actually does.50 In order to slow Tom's pace,
Bradley makes a near-imperceptible metric shift: the upper strings play a
descending three-note pattern, while the /ewer strings take over the duple
pattern and continue th e ir descending line. Bradley thus uses a hemiola to
slow Tom down. As this happens, Bradley also foreshadows the
approaching danger—the dog—with the trombones, which first hit a chord
and then slide downward, another two-sided gesture; the slow glissando
helps to render the physical skidding to a halt, while the final chord, played
by the brass and woodwinds, alludes to the last time in our aural memory
that we heard that timbre—when Tom's performance abruptly ended. This
reminds us (and Tom) of the one bit of unfinished business that awaits him
50Chion, Audio-Vision, 13-14.
164
just off screen, and we get a sense of Killer's growing anger as the brass
and woodwinds suddenly appear on the soundtrack.
As mentioned above, Bradley was critical of using known melodies in
his scores. Mike Barrier states, "Bradley used a lot of familiar tunes . . . but
they tended to be more sophisticated songs than those Stalling used."51 He
did indeed use familiar melodies, drawing on the popular songs owned by
M-G-M from their years as the leading maker of musical films in Hollywood,
including "Over the Rainbow" and "We're O ff to See the Wizard" from The
W izard o f Oz, as well as other famous tunes, such as "The Trolley Song,"
"On the Atchison, Topeka, and Santa Fe," "All God's Chillun Got Rhythm,"
and "Manhattan Serenade." Although M-G-M did not hold the rights to as
much music as did Warner Bros., Bradley (like Stalling) had access to a
repertory of music useful for punctuating appropriate moments in the
narrative with an extra-musical gag. Bradley nevertheless greatly disliked
the practice of citing or incorporating pre-existing melodies or pieces. The
possible associations someone might make when hearing a familiar
melody—the same reactions Stalling tried to elicit in his scores—were
anathema to Bradley. Because he actively and intentionally sought to invest
his music with its own meaning as it related to the cartoon, he saw no
165
reason to rely on the musical knowledge of the audience. And since no one
in the 1940s foresaw the syndication and mass mediation of Hollywood
cartoons throughout the second half of the century, Bradley could not
assume that anyone would see or hear a Tom and Jerry cartoon more than
once or, at most, twice. The music had to get its point across on its first
hearing.
He therefore devised a compromise: he harnessed the comfort and
familiarity people associated with a recognizable "tune" but reserved its use
to signal a moment of narratological import—the appearance of a dramatic
"set" piece, usually a slapstick or gag routine. When Bradley's orchestra
plays a known tune in the big-band style, it almost always coincides with a
visual comic schtick.52 Again referring to anarchistic comedies, Henry
Jenkins states that they "do not create a fixed separation between narrative
space and performance space. The comic performers act within the
diegesis, entering narrative spaces so they may be transformed into an
impromptu stage for their clowning."53 As I discussed in earlier chapters, a ll
aspects of the narrative and mise-en-scene in cartoons can potentially
come to life in the diegesis; no formal transition occurs when the story goes
52One exception does exist, however: when a cartoon first begins (following the title
cards), Bradley often used a band arrangement of a popular tune to establish the playful or
boisterous mood that pervades these shorts.
166
into slapstick mode, as the generic expectations o f animated cartons
dictates that anything can happen. By incorporating a popular melody,
Bradley effectively creates an artificial performance space in the diegesis
where the characters can act out their schtick; the tune does not blur our
focus on the visual narrative but rather bubbles to the surface within the
story's emotional trajectory, thus informing us tacitly that a dramatic shift
lias occurred. (For an example, see my discussion below of Puttin'O n The
D og.)
Popular music never gains so much agency over these stories as to
bring the action to a halt, as often happens in musical theatre or number
operas with the appearance of a song or aria, unless the number actually
occurs within the narrative, such as the performances in Baby Puss (1943),
Z o o tC a t{1944), and Solid Serenade. In these cases, the song itself, in
being performed, governs the soundtrack; if for some reason control must
be wrested away from the song, it is not without great difficulty. Take S olid
Serenade, for instance: Tom's song begins with him strumming on the
double bass, with an off-screen (underscored) band playing along. The
plucked notes during the bass solo wake Jerry, literally moving him out o f
bed and onto the floor. Since the song controls the scene at this point, the
^Jenkins, What Made Pistachio Nuts?, 146.
167
action must follow the beat—thus Jerry gets bounced around his house in
time with the percussive bass line. The only way for Jerry to stop the abuse
is to stop the song, throwing two pies in Tom's face (the first containing an
iron). The break in mood comes abruptly, even rudely, as Barrier mentions:
"Jerry hits Tom with a cream pie that has a comically superfluous iron in it.
Although Tom's face is flattened momentarily, he looks not injured but
disturbed—his song has been interrupted, as if by a heckler, and th a t is
what bothers him."54 Strangely, the iron in the face does not stop Tom from
completing the song, but it is the second pie, which strikes Tom just as he
hits his last, high note with a final fanfare from the woodwinds, that angers
him enough to chase Jerry, with a noticeable shift from the song to the
underscore. This transitory moment exposes the cartoon narrative's
vulnerable underbelly; the split second of silence between the end of Tom's
song and Bradley's original chase music sounds hopelessly bereft of
direction, since the song that had once directed the scene is now halted.
Bradley did not (or would not) dovetail the cues together, perhaps because
he wanted to keep his music distinct from the songs he had to use.
Whatever the reason, we can see how hard Bradley worked to keep the two
styles separate.
168
Bradley often incorporated popular tunes as the basis for music in
certain chase scenes, those that explicitly evoked comedy routines through
the use of gag-driven choreography involving extreme physical takes. In
Solid Serenade this occurs just as Jerry unties Killer: the precise, visually
contrapuntal scoring segues—with a brief reference to Jerry's playful
"theme"—right into the song "Running Wild," which is far less descriptive
musically than that for the just-ended action sequence. It does give us a
sense of the pent-up aggression, released into a fit of energetic fury on
Killer's part, which is especially noticeable when, just as Killer's head blows
like a factory whistle, Bradley contributes a big swell from the brass section,
giving unusual intensity to his anger.
Recurrent melodic themes did not hold much interest for Bradley,
who seems to have preferred writing all-new material for each cartoon. In
the Happy Harmonies, specific themes for characters did not often come
up, as there were few recurring personalities. Bradley did comment on one
theme he used, however, in 1937:
When the studio decided to bring out our new star, "Little
Cheeser," I concluded to surround him with character themes
in much the same fashion as Humperdinck did in "Hansel and
Gretel.". . . With the appearance of any or all of these
characters, their musical themes are heard in the score. The
treatment varying, of course, as the situation demands. Often
all three characters are seen and their themes are then
169
worked out contrapuntally, but the themes are always In
evidence.55
Interweaving the melodic themes allowed Bradley to remain creative while
still using precomposed material. By the early 1940s, two cartoon series
had their own themes: Tom and Jerry and Barney Bear. Bradley usually
employed the themes at moments of general normalcy when nothing
seems to be wrong, just before all hell breaks loose. In the scene from
Solid Serenade mentioned above, the theme actually represents Jerry's
playfulness as he stands poised to free Killer. None of the themes lasted
long, however; as the 1940s progressed, Tom's and Jerry's themes
appeared less and less frequently, until Bradley finally abandoned them
altogether. As for Barney, he stopped appearing in cartoons in 1949, by
which point Bradley had given up themes.
In Puttin'on the Dog, Bradley practically conceals the chase music,
precisely because Tom himself must hide the feet that he is a cat in a yard
full of dogs and thus must avoid calling attention to himself. In order to
follow Jerry into the dog yard, Tom dons a dog mask taken from a
mannequin. Each time it seems that a dog knows Tom is just wearing a
disguise, Tom slips into one of several comic routines to confuse or distract
the dog long enough to get away, usually employing the kind of illogic
55Steele, "Scoring for Cartoons," 12.
170
typical of cartoons and reminiscent of vaudeville routines. For instance, the
song "That Old Feeling" begins as Tom tries to pull himself out from under
a huge St. Bernard, and when the dog sees his feline face, Tom does a
quick turnaround so that the dog only sees the dog mask—perched on
Tom's behind.56
Bradley did not balk at using time-proven scoring methods,
particularly a more simple version of the subjectivity cue; specifically, he
might use an instrumental line (often woodwind) to represent a character's
particular physical or mental gesture, the latter typically in the form o f a
"take." In P uttin'on the Dog, for instance, Bradley refers to the opening
motive from Wagner's Tristan und Isolde as Tom lifts off the head—the
questionable vitality of which eventually serves as the catalyst for the
story—of a dog mannequin. By using a solo instrument—in this case, a
clarinet—Bradley reinforces the implicit one-to-one relationship of music to
motion; he thus successfully creates a nexus between musical and physical
gestures that, though occurring simultaneously, wouldn't necessarily refer
to one another on their own. Chion, in discussing the work of Frangois
Delalande and Bernadette Celeste, refers to the creation of a visual/musical
56Adomo would say that the use a popular melody guarantees that well know how the
scene ends: being familiar with conventions of popular music, we know that a song
171
link as a process of "isomorphism, that is, by 'a similarity of movement
between the sound and the movement it represents/" Speaking of children
playing with toy cars, he also states: "The sound here conveys movement
and its trajectory rather than the timbre of the noise that supposedly issues
from a car."57 As long as the musical line created an aural mirror to the
action— not that this is easily accomplished, mind you—Bradley could write
anything he pleased. The isomorphic melody, as I discussed in Chapter
Four, became the standard musical gesture for cartoons, with idiosyncratic
bassoon or trombone melodies eventually coming to signify movement
without much effort.
One particular sequence—or rather, musical moment—in P uttin'on
the Dog clearly shows Bradley's attempts to reconcile the world of
contemporary (modernist) music with lowbrow animation. Bradley's
described the problem as follows:
A little mouse was running around with the mask of a dog

over his head—you saw only the little fellow's feet carrying
this big head, and it looked very grotesque and funny, but I
was stuck for a new way o f describing the action musically,
and for a whole day I worried about a two-measure phrase.
Everything I tried seemed weak and common. Finally, I tried
the twelve-tone scale, and there it was! This scene was
repeated five times within the next fifty seconds, and I had
eventually comes back to its beginning, just like Tom's pulling on the dog's head demands
an angry reaction from the dog.
^Chion, Audio-Vision, 121.
172
only to use my scale—played by the piccolo, oboe and
bassoon In unison. I hope Dr. Schoenberg will forgive me for
using his system to produce funny music, but even the boys
in the orchestra laughed when we were recording it.58
The 12-tone row used in this scene creates a new sound for chase
music, a chase in which something is definitely askew or not right, ironically
enough, as Bradley employs a highly ordered and organized compositional
process to convey a sense of confusion and bewilderment. The
disembodied head making its own way across the yard is by itself an
unsettling image. Bradley repeats the row immediately—moving it from the
piccolo to the bassoon—for the real dog following in the head's "foot" steps,
since this dog also knows something is amiss. Bradley denies both the head
and the audience the comfort and familiarity of a melody that fits into a
single key with an obvious periodicity; in the absence of a tonal center, we
don't know where the phrase begins or ends, an apt musical metaphor for a
head which, by ail accounts, should be lifeless without its supporting body,
yet still walks on its own. Rather than trying to make a point of having used
a row at all—which most people wouldn't appreciate anyhow—Bradley
throws it in as just another way to make a cue sound unique as well as
effective. Of course, when Tom thinks he's got the "right" head, his playful
tugging and pulling on the bulldog's head move us back into another comic
^Bradley, '"Music in Cartoons/" [np].
173
routine, and thus Bradley brings back the same tune as was used earlier,
"That Old Feeling."
The amount of violent action in these cartoons gave Bradley further
justification for his stylistic choices, as John Winge pointed out:
For years Bradley has been using [the Twelve-Tone System]

too, as probably the only composer in his field. "The Twelve-
Tone System', he says, 'provides the "out-of-this-world"
progressions so necessary to under-write the fantastic and
incredible situations which present-day cartoons contain.". . .
He has noticed, of course, that post-war cartoons are
displaying a particularly great amount of violent action, super
speed, and cruel, sadistic punishment, which virtually demand
the cacophonous harshness of modem composing.59
A "shock" chord—similar to that used in Solid Serenade—appears in P u ttin '
on the Dog: after Tom hits himself on the head (trying to get Jerry), the
inevitable bump on the noggin grows slowly. Bradley builds a chord entirely
of fourths and, in a sense, mickey-mouses the bump's upward growth.
When the bulldog finds Tom, the bump lifts the dog mask off of Tom's
head. The chord plays again, except this time Bradley alters the tones (so
that the new chord includes several tritones) because the trick doesn't
work; the chord now indicates the dog's slowly growing awareness and
anger at Tom's (literal) duplicity. Building the chord one note at a time lets
Bradley stretch a traditional stinger chord out to follow the visual path of
59Winge, "Cartoons and Modem Music," 136-137.
174
Tom's bump as it grows, while the bright trumpets convey not only the pain
but also Tom's inability to hide something so obvious from the dog.
Bradley clearly delighted in appropriating modernist techniques in his
scores, if only to challenge himself. For instance, when asked in an
interview how he dealt with scoring a troublesome character in an
upcoming picture, Bradley answered, "Oh, I just wadded up some whole
tone stuff and threw it at him /'50 If we reconsider his predilection for, as
Barrier called it, "trying to drum up excitement" in slow moments of a
cartoon, Bradley's experiments in modem music take on a different
meaning: they provided him with novel techniques to create the music
necessary to maintain the cartoon's pace, and they also sharpened his skills
as a composer as he tried to keep up with the recent developments in
composing. Employing such unusual musical strokes brings us back to
Bradley's self-proclaimed mission to raise the status of cartoon music in the
public eye: since, as Caryl Flinn points out, "modernism remained by and
large a European phenomenon," using music in cartoons that would evoke
thoughts of Western Europe (which, in turn, would elicit notions of
highbrow culture) might add a bit of class to the overall product.61 Bradley's
^Steele, "Scoring for Cartoons," 13.

61Caryl Flinn, Strains o f Utopia: Gender, Nostalgia, and Hollywood Film Music (Princeton,
NJ: Princeton University Press, 1992), 21.
175
use of the twelve-tone system fits this explanation quite well: although
Schoenberg had pioneered it in the 1920s, feature film composers did not
begin using the twelve-tone (or any serial) system until the 1950s. Thus
Bradley's use in the early 1940s makes him quite forward-thinking as a
composer.62 Whether anyone noticed how Bradley used such techniques,
other than Bradley himself, his musicians, and the people he spoke to at
various film music seminars, cannot be determined; even a practiced
musician, however, would have a difficult time picking up on a twelve-tone
row speeding by in a three-second burst from the soundtrack, and a typical
audience member would be unlikely to notice anything unusual at all in the
score. Bradley's aesthetic ambitions notwithstanding, some critics did not
find all of his music pleasing; Barrier sees little difference between Bradley's
scores and the music he often emulated or cited, stating, "Separate his
62Naturally, the question has came up, "Did Bradley ever meet or (even better) study with
Schoenberg?" Since he moved to Los Angeles in late 1933, Schoenberg certainly had the
opportunity to meet Bradley, yet no evidence exists to confirm that they ever met. By the
late 1930s, Schoenberg's reputation as a teacher for film composers had grown immensely,
and, according to Sabine Feisst, he eventually worked with Franz Waxman, David Raksin,
Alfred Newman, and Hugo Friedhofer, among others. Bradley's interest in Schoenberg's
music—he mentions Schoenberg in numerous articles and interviews—suggests that he
might have sought out the composer as a mentor (Schoenberg was not quite two decades
Bradley's senior) or at least out of curiousity. Sabine M. Feisst, "Arnold Schoenberg and the
Cinematic Art," The Musical Quarterly 83:1 (Spring 1999), 99. Ms. Feisst informed me that,
during her own research on Schoenberg, which included going through all of his old
address and date books, Bradley's name never appeared. If the two men ever met, it went
unplanned and unrecorded.
176
music from the cartoons and for some long stretches it could be confused
with a particularly cold and disagreeable contemporary classical score/'63
If no one noticed or appreciated Bradley's serial and whole tone
experiments or Stalling's references to pop melodies, did this ignorance
detract from the general potency of the scores? Once again, I would say
no, even more so for Bradley than Stalling. The latter sought to make intra
narrative puns by referring to unlikely musical sources, using songs that the
audience could occasionally recognize and appreciate on their own. Bradley,
however, had no reason to use the devices he did other than to make his
job and music more interesting; thus he did not seek for intersection
between the score and story except to have them support and complement
each other.
Clash of the Titans: Bradley vs. Avery
Bradley did not often disagree with the directors regarding music for
the Tom and Jerry cartoons—in fact, neither Hanna and Barbera nor
Bradley ever mention having problems working out scores. Bradley's
relationship with Tex Avery was another story, however, and I want to look
at it briefly, not only because of the dozens of cartoons Bradley scored for
^Barrier, Hollywood Cartoons, 421.
177
Avery but also because the tetter's fame as a director reached its height at
M-G-M. "Bradley and Avery—one o f the least cynical of directors—did not
get along," writes Mike Barrier. "T e x Avery didn't like my music/ Bradley
said. 'We disagreed a lot on what kind of music was appropriate for his
cartoons. His ideas on music were so bad that I had to put a stop to it. [In
every picture he wanted "Home Sweet Home" and all that corny music.] I
gave in to him for a while, but finally I went down to see Quimby in his
office and complained. ["I can't put my name on this stuff."] And Quimby
backed me up. [He said, "You write it the way you want to.'"] Exactly what
happened, or what it meant, is not clear; but Bradley's music was never as
obtrusive in Avery's cartoons as it was in many of the Tom and Jerry
cartoons."64 Indeed, Barrier's word "obtrusive" neatly sums up the conflict
between the two men: Bradley clearly wanted to use the same scoring style
he provided for the Tom and Jerry shorts, yet Avery's narrative style, as I
indicated in Chapter Four, consisted mostly of sequences of blackout or
spot gags, jokes that quickly came and went, held in place by only the
thinnest of storylines. His musical taste leaned toward shorter cues that
could properly highlight each gag, punctuating the punchline before moving
on to the next one. No doubt Avery's five years working with Carl Stalling at
64Barrier, Hollywood Cartoons, 421-422. Portions in brackets taken from the unedited
178
Warner Bros, fostered this musical preference, as Staliing's quick-cue
practice seemed perfectly matched for Avery's gag-upon-gag approach. The
director's supposed request for music like "Home Sweet Home" just
confirms that he had probably become used to Staliing's style of
coordinating the gag with the score by using popular tunes.
From the quote we are to understand that Bradley wrote what he
pleased for Avery's cartoons, with the tacit approval of producer Fred
Quimby. Bradley boasted of one such endeavor in 1948: "Tn a recent
cartoon, Out-foxed, I wrote a short four-voiced fugue on '3 [British]
Grenadiers' with the little tune 'Jonn/s Got a Nickel' serving merrily as the
counter subject. Cartoons usually do without fugue, but here it fits the
action. Musically spoken, you can get away with almost anything in pictures
if the score only captures the 'feeling' of the sequence."'65 By looking at the
Tex Avery M-G-M cartoons (and their respective cue sheets) we can see
that Bradley had to compromise in order to keep Avery happy: the
composer did occasionally make brief citations of familiar melodies ("Dixie,"
"Be My Love," "Sweet and Lovely"), yet for the most part, the music in the
latter Avery cartoons comes entirely from Bradley's own hand, carefully
constructed so as not to rouse the director's ire. In the above quotation
version of this interview, provided by the authors.
179
Bradley practically gloats over the thought of slipping a fugue into an Avery
cartoon, especially with his use of the phrase "you can get away with
almost anything." Yet he also reminds us that in order get away with
something, the music must fit well into the sequence to work at all. Of
course, even if the music fits, it is not necessarily discemable: with the
amount of dialogue in Avery's cartoons, the music has little chance to be
heard other than when it punctuates visual gags with brief cues or quick
stings.66
Avery's distaste for Bradley's music not only frustrated the composer,
but it also offered little reason for him to expand his musical vocabulary on
the director's behalf. This lack of understanding seems particularly tragic
because Avery's cartoons exuded decadence—when a gag might normally
call for a simple reaction, Avery always used the most exaggerated and
outrageous solution he could devise—and Bradley might have taken the
numerous opportunities to experiment with the portrayal of such fantastic
"takes." Norman Klein refers to Avery's cartoons as a place where "utter
impossibility is defied again and again. That is the key for an era of
65Winge, "Cartoons and Modem Music," 136.

66How much Avery had to do with determining the recording levels in his cartoons is not
known, although chances are the sound and film editors at M-G-M followed the traditional
hierarchy for soundtrack levels, with dialogue coming first, followed by effects, and then
finally music beneath everything else.
180
extremes."67 Indeed, both Avery and Bradley engaged with each cartoon ira
the hopes of breaking the industry's hegemony on stories and music for
animation, established by less adventurous studios; their ideas for change
seemed compatible, their personalities not. I f only they had possessed
similar ideas about music's role in cartoons, Avery might have had more
complementary music scores for his shorts, while Bradley might have
believed he had found a challenge finally worthy of his abilities.
The Future of Cartoon Music
Speaking in 1943 of his fondness for shock chords, Bradley made th e
following statement: "The success of these experiments leads me to believe
that when the hoped-for millennium arrives, music will be fully as important
as the picture—in fact, one will be entirely dependent on the other. It is
obvious that these animated fantasies will require a very progressive type
of composer, attuned to contemporary thought in music."68 When the
M-G-M cartoon division closed its doors 1958, Scott Bradley retired from
composing for cartoons. He continued composing on his own and lived to
the age of 85, dying in Chatsworth, in Southern California, on April 27,
67Norman M. Klein, 7 Minutes: The Life and Death o f the American Anim ated Cartoon (N ew
York: Verso, 1993), 199.
^ N ew s Items . . . Comments," [np].
181
1977.69 By the time of his death, Bradley would have noticed the obvious
decline over the last twenty years in the production of animated cartoons:
every major studio had shut down its animation department, and the only
cartoons being produced on a regular basis used library or stock music cues
written expressly for repeated use, exactly the opposite of Bradley's hopes
and predictions. At the turn of the millennium, little has changed, though a
few composers for cartoons—such as Richard Stone (Animaniacs) and Alf
Clausen ( The Simpsons)— have begun to take Bradley's techniques more
seriously, appropriating his ideas into their own scores. Carl Stalling became
known for writing quick, humorous cues; Bradley scores, on the other hand,
could at times be intentionally crafty and abstruse and at other times be
remarkably simple. The true complexity in Scott Bradley's music came from
how he placed his cues against the rest o f the cartoon diegesis, avoiding
the need to resort to "Jerry-mousing" while treating his music as seriously
as any composer could.
69My thanks to Mike Barrier for providing me with this date.
182
Chapter Five
Classical Music and the Animated Canon
There is a divergence o f opinion as to the use of Brahms and

Chopin to accompany the antics of the "Three Little Pias or
Andv Panda." The must-nots contend that this irreverent
approach to the masters is a cheapening influence that can
only end in contempt. In the other camp, the opinion is that
any medium is good that will break down the feeling that the
classics are sacrosanct and for the few and probably dull
besides. Just who is right, time will tell.1
Countless individuals can attribute their first conscious exposure to
classical music to a cartoon, and cannot even think of the culture of art
music in terms other than those depicted in animated performance spaces.
Through film, and then television, cartoons gave entirely new strata of
society access to classical music where such exposure, for whatever reason,
did not before exist. Indeed, the most compelling reason for writing this
chapter is the constant stream o f comments I hear, such as: "Cartoons are
where I learned all the classics," " I love that cartoon where Elmer sings 'Kill
the W abbit!/" or "I can't go to a concert without thinking of a Tom and
Jerry cartoon." Brothers Timothy and Kevin Burke confirm this in their book
on Saturday morning television when they state: "Certainly for both of us,
our first acquaintance with opera, particularly The Barber o f Seville, came
183
from Bugs Bunny. See, cartoons are educational."2 With the increasingly
limited attention given to classical music (and all the arts) in primary and
secondary education curricula, the presence of such music in cartoon scores
has managed to keep the classics in the public's ears, albeit with an entirely
different set of meanings.
In fact, the general topic of classical music in cartoons is much too
broad for a single chapter. Over the course of the next several pages,
however, I will raise a variety of topics regarding classical music's place in
animated cartoons, concentrating on two specific cartoons as my primary
examples. Rather than discussing how the canon of classical music in films
was first established, I will focus on how cartoons reduced this repertoire to
an even more limited set of works and how they made use of these pieces
and the cultural baggage they carried. I will also look at the culture of the
concert hall and how each facet—the conductor, the audience, the hall
itself—became a subject for parody and (occasionally) ridicule.
Repertoire and the Cartoon Canon
1Marie L. Hamilton, "Music and Theatrical Shorts," Film Music Notes Vl:2 (November 1946),
20 .
^Timothy & Kevin Burke, Saturday Morning Fever: Growing Up with Cartoon Culture (New
York: St. Martin's Griffin, 1999), 95.
184
The exploitation of 19th-century music as fodder for films and
cartoons relates directly to the practices o f silent film accompanists and
composers using familiar, often canonic melodies in their scores. Being in
the public domain, such music cost nothing and presented no copyright
restrictions to prevent its use in any score. Carl Staliing's background (and
that of many of his colleagues) in silent film accompanying provided a
thorough familiarity with—if not reliance on—incorporating classical pieces
into scores.
W hat, then, constitutes the cartoon canon? Wagner leads the pack
with both the largest number of references to his pieces in general as well
as the widest variety of specific pieces represented by a single composer.
The other favorites include Rossini, Mendelssohn, Liszt, Chopin, Franz von
Suppe, Brahms, Johann Strauss, Schubert, Schumann, Tschaikowsky, and
Beethoven (in roughly descending order by number of appearances).3 W hat
is missing? Beethoven's Fifth Symphony \s sometimes heard, but usually
only as a greatly abbreviated and recontextualized gesture meant to elicit
feelings o f patriotism during World War II.4 The opening four-note motive
to Chopin's Funeral March comprises the selection we hear most often from
3I have determined these statistics by surveying the composers used in the Warner Bros.,
M-G-M, Iwerks, Terry, and Fleischer cartoons.
185
the Polish composer. Cartoons did not always use the most famous works
of these composers; while familiar to the concert-going public, certain
pieces simply did not fulfill the needs of cartoon composers, who needed
short, easily digestible melodies to match the rapid-paced action that
dominated cartoon narratives.5 Because the core composers of the concert-
hall canon are underrepresented or not at all present in the cartoon canon,
the pieces that do appear fill the void and become—at least for a large
number o f viewers—representative of all classical music. Cartoons thus
elevate a somewhat strange assortment of classics to the level of canonic
works, often the lesser-known works of well-known composers, and
sometimes works of composers like Franz von Suppe and Alphons Czibulka,
4(The main "da-da-da-daaaaah" motif from Beethoven's fifth symphony was associated
with the slogan "V for Victory," as the letter "V" in Morse code is represented by dot-dot-
dot-dash, or short-short-short-long.
5The opposite selection process occurred in the spate of Hollywood feature films released
in the 1930s and 1940s that fetishized life in the concert hall. These showcased the
performance of famous works of music, predominantly on the piano; in such instances, the
more bombastic or intense the piece, the better, as it gave the featured soloists (from
Ignace Paderewski to Gracie Allen) the chance to show their skills at the keyboard. Thus
we find in these films longer works by composers like Beethoven and Rachmaninoff, as
well as opera excerpts by Mozart and Verdi, to name just a few. A detailed discussion of
this film sub-genre can be found in Ivan RaykofFs forthcoming dissertation, "Dreams of
Love: Mythologies of the 'Romantic' Pianist in Twentieth-Century Popular Culture."
186
who owe their continuing familiarity aimost entirely to their use in
cartoons.6
Lawrence Levine discusses a deliberate differentiation that occurred
in orchestra programming, dating back to the late 19th century, between
popular classical works (read: profitable for concert promoters) and
aesthetically superior works, usually involving symphonies and concertos by
Beethoven, Schubert, and the like. Certain orchestras would thus
mount a series of "popular concerts" for those who craved

hearing Strauss's waltzes, Brahms's Hungarian Dances, Liszt's
Hungarian Rhapsodies, and instrumental arrangements of
Wagner's Pilgrim 's Chorus anti Evening S tar or Verdi's arias,
and . . . arrange the regular programming for those who
preferred to have their culture unsullied by compromise.7
(Interestingly enough, the very pieces of "popular" music Levine mentions
show up over and over again in cartoons, both as underscore cues and as
frffie overtures to several of von Suppe's operas feature frequently in cartoon scores,
including "Morning, Noon, and Night," "Light Cavalry," "Beautiful Galatea," and "The Poet
and Peasant" Czibulka's best-known melody is "Wintermarchen," familiar as the
stereotypically weepy violin piece that one hears a t moments of mock tragedy.
7Lawrence W. Levine, Highbrow/Lowbrow: The Emergence o f CulturalHierarchy in America
(Cambridge: Harvard University Press, 1988), 130-131.
187
plot devices.8) Having been relegated to the more popular side of the
classical repertoire, these pieces became mined frequently for use by,
among others, narrative-minded film accompanists. Publishers such as Sam
Fox, Witmark, and Belwin produced collections or lists of songs to be used
in silent film houses, always including a significant number of pieces by
Romantic composers. One common factor pervades the pieces listed in
these books: gestural immediacy. When employed in shorter forms like
commercials or cartoons, in which the message has to be conveyed in mere
seconds, music must get its point across quickly. Using pieces with easily
identifiable motives gave cartoonists a simple means of connecting a tune
with a visual idea, giving a sense of completion to each audio/visual
gesture. Not surprisingly, most of those pieces of classical music considered
too serious or austere for use in other entertainment forms did not have
easily excerpted melodies in the first place.
Using the pieces mentioned above allowed the cartoon director to
isolate and focus on particular musical gestures, one at a time. Referring to
8Some examples of plots derived from the pieces Levine mentions: the first half of A Corny
Concerto (Warner Bros., 1943) is a Fantss/a-spoofing setting of Strauss' Blue Danube
Waltz, which is also the featured piece in The Blue Danube (M-G-M, 1939); several of the
"Hungarian Dances" are the only music used in Pigs in a Polka (Warner Bros., 1943); the
second of Liszt's Hungarian Rhapsodies is the featured work in Bars & Stripes (Columbia,
1931), Dipsy Gypsy (Paramount, 1941), Rhapsody in Rivets and Rhapsody Rabbit (Warner
Bros., 1941 and 1946), The Cat Concerto (M-G-M, 1947), and The Magic Fluke (UPA,
188
Liszt's second Hungarian Rhapsody, a piece that has appeared in numerous
cartoons, director Friz Freleng once commented: "It's one of my favorite
numbers. I know it and I can manipulate it. I can make it stop, like a
conductor. Or I can slow it down. That's one thing about the number: You
can use a phrase, you can repeat it, and it still works!"9 Having such a
grasp of the ins and outs of the work allowed Freleng to tear the music
apart and reassemble it as he saw fit. Such an ability gives the director
tremendous power, as he not only directs the newly devised visual story
but also manipulates the m usical narrative to suit his needs. Not all
gestures are created equal, however; certain passages of the Liszt
Rhapsody newer appear in Freleng's cartoons, possibly because the director
didn't like them, but more likely because he did not conceive of anything
interesting visually to accompany those moments. Those moments that did
spark his or his writers' interest, however, show up repeatedly.
For instance, this passage,
Example 3
1949). I discuss below, in the section concerning W hat's Opera, Doc?, the appearances of
the "Pilgrim's Chorus" from Wagner's opera Tannhauser.
9Quoted in Freleng and Weber, Animation: The A rt o f Friz Freleng, 127.
189
with its thirty-second note figures followed by a long glissandro, appears in
both Rhapsody in Rivets (1941) and Rhapsody Rabbit (1946). In the earlier
cartoon, which depicts the building of a skyscraper simultaneous to a
performance of the Liszt, a bricklaying octopus puts down four bricks in a
row for the thirty-second note figures, and then lays a long layer o f cement
over the bricks for the glissandro. In the latter cartoon, Freleng interprets
the music in a similar manner: Bugs Bunny (a concert pianist) picks up the
piano keys in bunches for the first half of the passage, and then lays them
all back down in a long row for the remainder of the passage. In both
cases, Freleng takes a single gesture out of a larger piece, gives it a unique
visual image for the cartoon, and then places it back in to the whole of a
series of such audio-visual gags. The independence of each gesture allows
for such a dissection of motives.
This reliance on gesture usually meant that modernist and avant-
garde music found no place in cartoon scores, except at times when
cartoons made fun of such music. The 1955 Warner Bros, cartoon Pizzicato
Pussycatfeatures a moment of such criticism. The plot: a mouse plays the
piano beautifully. The housecat catches the mouse, sparing its life on the
190
condition that the mouse play his mouse-sized piano inside of the grand
piano that the cat pantomimes playing, a deception for which the humans
fall. At the cat's Carnegie Hall debut (for which, we see on the street
posters, Leopold Stabowski's performance has been hastily cancelled), the
cat accidentally breaks the mouse's glasses, causing the tiny pianist to play,
as Will Friedwald describes the scene, "frightening Cecil Taylor-like thumps
which cause press and public alike to reject the miracle cat as a fraud (the
squares)."10 The disapproving faces of several music critics shown in the
audience as the mouse produces unusual tone clusters, and the critics'
hasty retreat from the auditorium, inform the cartoon's viewers that
modem music cannot and will not do at a nexus of high art like Carnegie
Hall. From a practical point of view, this example shows that such music
cannot succeed in a cartoon score, as it lacks the gestures that make the
music of the composers Levine mentions a film composer's best friend.11
10Jerry Beck and Will Friedwald, Looney Tunes and M errie Melodies: A Complete Illustrated
Guide to the Warner Bros. Cartoons {Hen York: Henry Holt and Company, 1989), 268-269.
11In his quest to use modernist music in cartoons, Scott Bradley defied the unwritten
requirement for catchy tunes, often using twelve-tone rows the way Stalling might have
used a phrase from Liszt or Rossini. Bradley's rows may be considered "gestures" in that
they are short, unique phrases matched specifically with a particular action, but they didn't
contain the cultural associations inspired by the melodies of Romantic composers typically
used in film scores and radio programs. Without this extra-musical resonance, audiences
probably did not identify the dodecaphonic phrases as anything other than unusual mickey-
mousing.
191
This leads us back to another requirement o f the repertoire: for films
and cartoons, the music chosen has always been something the audience
could either recognize or at least appreciate. The classical pieces promoted
by various film music compendiums (Rapee and others) usually had some
sort of social resonance, whether from their original sources (Wagner's
wedding march in Lohengrin as music for a wedding) or from a cultural
reassignment (Rossini's reincarnation in the early 1930s as cowboy music in
The Lone Ranger radio program).12 What these pieces have in common is
that their most famous gestures became independent of the pieces. The
gallop figure of the Rossini piece and the rapid scalar movement in the Liszt
Rhapsody can and do function outside the context of the works they come
from, and still make sense as musical gestures. The Rossini no longer
evokes ideas of opera; its resignification by The Lone Ranger had led most
listeners to identify it with that show or, more generally, with images of
horses or chases.
Director Chuck Jones foresaw the influence visual media would have
on younger generations of Americans who grew up with films, cartoons,
12Reginald M. Jones, Jr., The Mystery o f the Masked Man's Music: A Search For the Music
Used on "The Lone Ranger"Radio Program, 1933-1954(Metuchen, N.J.: The Scarecrow
Press, Inc., 1987), 5. The author describes how the Rossini overture was chosen for The
Lone Ranger. " It was actually a tossup between March o f the Light Brigade and the W illiam
Tei!with its inspiring fanfare and ominous galloping movement suggested by the storm
192
and eventually television. In a talk given at UCLA in 1944 Jones said, " It is
important at this time to remember that visual education has a head-start
on other educational methods in that we have a sympathetic audience to
start with."13 While Jones says that children appreciate, or are
"sympathetic" to learning through a visual medium more than from
textbooks, his phrase "sympathetic audience" evokes the very arguments
Adorno made (in the 1930s and '40s) about the commodification o f music
through the media, particularly the radio. Adorno decried the on-air music
education programs, such as the "NBC Music Appreciation Hour" led by
Walter Damrosch. Joseph Horowitz summarizes Adorno's main objections to
the flattening and general distortion of symphonic music by radio
transmission.
In short, far from wafting symphonic culture to an ever wider

audience, the radio voice fetishized the symphony. Deriding
apostles of radio enlightenment, Adomo concluded that th e
isolation of the main tune, and similar features, [make] a
symphony on the air [become] a piece of entertainment.
Consequently, it would be absurd to maintain that it could be
received by the listeners as anything but entertainment.'14
The repeated use of the same few melodies in film scores antagonized
Adomo just as much; Horowitz quotes Adorno as calling this process
scene. Of course, Rossini won out and the rumbling, ever-increasing cadence and roar of
the brewing storm became a gallop whether or not it was intended as such."
13Charies Jones, "Music and the Animated Cartoon," [np].
193
"'plugging': the tactic of redundantly programming certain popular tunes
until 'the most familiar is the most successful and is therefore played again
and again and made still more familiar/" As I've shown, the very things
about music in media that Adorno criticizes inform the entire system of film
and cartoon scoring, which in turn fetishizes the already limited symphonic
repertoire that he lamented.15 Neither he nor Jones, however, could have
predicted how films and television would displace a ll other methods of
imparting information to the masses; at the same UCLA lecture Jones also
asserted, "I want to make clear that I do not believe the animated cartoon
will ever quite replace the old-fashioned ballet." By now he must realize the
irony nature of this statement, since cartoons—including many that he
directed—have unintentionally become one of the primary places where
new generations of children receive their earliest exposure to classical
music.
Disney/ Fantasia
14Joseph Horowitz, Understanding Toscanini(New York: Alfred A. Knopf, 1987), 231-232.

15Horowitz, Understanding Toscanini, 232. Adomo elaborated on this notion in great detail
in the book he coauthored with composer Hanns Eisler, Composing For the Films.
194
Released In 1940, at the height of what Virgil Thomson called the
"music appreciation racket/'16 Fantasia is probably the most ambitious
attempt in the history of film—animated or otherwise—to look at classical
music, combined with a decidedly positive view of both the culture of the
concert hall and the people who make such music. I want to look very
briefly at the reception of Fantasia because of its singular position—to this
day—as the preeminent animated film about music and classical music
culture.
Joseph Horowitz says that a favorite topic for American and English
cinema in the early and mid-20th century was "suave or tempestuous
embodiments of charismatic longhairs," referring to films that idolize
composers, pianists, violinists, opera singers, the concert-hall life, and even
the music itself, in a sometimes not-too-oblique attempt at cinematic music
appreciation.17 Through the medium of animation, illustrated stories could
be created for each piece of music. In addition, Fantasies technological
achievements, particularly the Fantasound system, a multichannel recording
process and broadcasting system that predated surround-sound by a
decade, gave the Disney studio a new sense of prestige, having brought
16Horowitz, Understanding Toscanini, 245. Thomson originally made this statement in an

article for the New York Herald Tribune, reprinted soon after in The State o fMusic {New
York: W. Morrow and Co.), 1939.
195
the classics into the world of more mainstream entertainment with
impressive results.18 Yet it was the palpable attention to classical music's
place in society at the time—a clear manifestation of the beliefs of Walt
Disney and Leopold Stokowski, the two men (Robin Allen calls them "two
showmen with equally powerful egos"19) responsible for the pieces chosen
for Fantasia-^that alienated many viewers and, combined with other
circumstances, led to the film's near failure in its initial release.20 Disney
knew the risks in making classical music the film's focus, but proceeded
with the project because, as Mike Barrier states, "[Fantasia's] highbrow
associations . . . might bring him even greater prestige than Snow White
had."21
Audiences may have enjoyed Fantasia, in time making it a classic of
American animation, yet they never saw the film as any more than a
popular appropriation of classical music, in spite of its highbrow
"associations"—or perhaps aspirations. The animated medium, the
17Horowitz, Understanding Toscanini, 215.

18Stephen Handzo, "Appendix: A Narrative Glossary of Rim Sound Technology," in Film
Sound: Theory and Practice, Elisabeth Weis and John Belton, editors (New York: Columbia
University Press, 1985), 418-419.
19Robin Allen, W ait Disney and Europe (Bloomington: Indiana University Press, 1999), 93.
20Leonard Malb'n, O fMice and Magic: A History o fAmerican Anim ated Cartoons, Revised
Edition (New York: Plume Books, 1987), 63. Quoted in Nicholas COok, Analysing Musical
M ultim edia (Oxford: Clarendon Press, 1998), 175.
z lMichael Barrier, Hollywood Cartoons: American Animation in its Golden Age (New York:
196
"American art form, of animation" as Robin Allen calls it, brought down
upon the film scathing censure from music and film critics alike for
cheapening and popularizing the classics.22 Two important differences exist
between Fantasia, which took the featured music as the seed for an audio
visual ballet, and the animated shorts that used classical music as their
inspiration, which more often used the music as a point of comic departure,
exemplified by Warner Bros. With Disney's name attached to Fantasia, and
its feature-length duration (about two hours), reviewers had to take
Fantasia seriously as either an assault on or a good-natured tribute to the
canon. The majority of critics leaned toward the former. Animated shorts,
perceived largely as throwaway comic fillers to be shown or shelved in any
theatre across the country, did not have the same power or draw as a
Disney feature.23 This lack of both prestige and attention afforded animated
shorts—even those produced by the Disney studio, in what Kristin
Thompson has called "a trivialisation of the medium"—allowed these
22Not <?//film and music critics thought that animated representation would diminish the
cultural value of the classics, however. Harold Rawlinson comments: "Good music will
demand a good film. Do not vulgarize a masterpiece by fitting a frivolous idea. First-class
poetry requires first-class music—and we must not cheapen another man's work." For this
critic, Disney's explicit respect for the canon guaranteed a "good" film: "Such works as a
Beethoven Symphony and Moussorksg/s "A Night on a Bare Mountain" were not
cheapened biy being the inspiration of Disney's work." Harold Rawlinson, "Fitting a Rim to
Music," Film Music i\lotesV:8 (April 1946), 8.
197
cartoons to fly mostly under the radar of any cultural critics who might
otherwise have objected to the treatment the classics received.24 The
following review from a film exhibitor's daily represents the most coverage
any cartoon—spoofing the classics or not—would get:
Superb Fantasy
M-G-M's Academy Award-winning Tom and Jerry cartoon in
which Tom turns concert pianist. With a beautifully satiric
rendering of Liszt's 2nd Hungarian Rhapsody, Tom and Jerry
perform an assortment of didoes that are guaranteed to leave
the most phlegmatic moviegoer helpless in the aisles.
Beginning wonderfully straightlaced, the reel runs only a short
distance before Jerry booby-traps the piano into remarkably
clever situations. Rim winds up to a socko finish with Tom a
quivering wreck slumped shirtless over the keyboard, and the
victorious Jerry proudly taking bows from the top of the
piano.25
The anonymous reviewer sums up the cartoon's thrust in one word: satire.
Nothing more about the music is said, and for good reason: these cartoons
are meant to entertain, and the reviewer's commentary was intended to sell
the short to prospective customers (theatre owners or managers), nothing
more. Fantasia, on the other hand, received countless reviews and critical
essays in magazines from Ladies'Hom e Journals The Etude. The writers
Êven with only two feature-length films behind him {Snow Whits [1938] and Pinocchio
[1940]), Disney had long been the dominant figure in cartoons, and particularly (beginning
in the late 1930s) in animated films, with competition coming only from the Fleischer
studio, whose Gulliver's Travels appeared the year before Fantasia.
24Kristin Thompson, "Implications of the Cel Animation Technique," in The O nem abc
Apparatus, Teresa de Laurentis and Stephen Heath, eds. (New York: St. Martin's Press,
1980), 110-111.
198
commented on Disney's approach to the classics, his combining of music
and image, and even his dedication to children's entertainment. Disney an d
Stokowski, who felt very strongly about educating America's youth about
classical music, clearly took seriously the story each segment would tell,
even in "The Dance of the Hours" sequence, which features dancing
hippopotami and crocodiles. We can corroborate Disney's reverence for thes
canon through the fact that the studio almost never spoofed performances
of classical pieces, but instead developed thoughtfully artistic
interpretations for such works. He may also have hoped that Fantasia
would become a useful tool of the music appreciation supporters.
Combining animation—including the most famous cartoon character of the
time, Mickey Mouse, in his own musical sequence—with classical music
might very well have given the forces supporting music education the
^"Short Subject Reviews: 'Cat Concerto,"' The Film D aily (May 1, 1947), 7.
199
ammunition needed to strengthen their position against the ever-growing
interest in swing, race records, and other forms of popular music.26
Long-H aired H are
The most prevalent method of involving classical music in the
cartoon narrative is to make the setting some sort of performance space,
either formal (Carnegie Hall, the Hollywood Bowl, a multitude of
unidentified concert halls) or otherwise (a barn, a barber shop, a
bookstore). These cartoons have far more in common than just a
performance, however; from the similarities of the conductors depicted to
the behavior of the different audiences, they all follow a rigorous rubric as
to how the culture of the concert hall supposedly works. I want to focus my
discussion on Chuck Jones' 1949 cartoon Long-Haired Hare as a
prototypical example. This cartoon satirizes all aspects of concert
performances, culminating in Bugs Bunny taking control of a concert at the
Hollywood Bowl, while also bringing into play issues of high and low art in
26While Disney apparently tried in Fantasia to protect classical music from degradation by
popular culture (a contradiction unto itself, as animation, no matter what high-art aesthetic
it aspired to, would never be seen by the public as anything but pop culture), his later films
use more flexible—if not downright satirical—presentations of the classics. Harry Benshoff
points out with respect to Make Mine Music (1946) and M ekxiy Time (1948), "these films
turn away markedly from classical music to embrace more popular musical modes such as
jazz and big band. When classical music is used, it is tempered with voice-over narration
(as in Prokofiev's "Peter and the Wolf") or burlesqued outright (hear Nelson Eddy as "Willie
the Whale"—both examples from Make Mine Music)." Harry M. Benshoff, "Heigh-Ho, Heigh-
200
relation to music, particularly the struggle of classical music versus
contemporary "popular" music.
The Battle of Opera vs. Swing
Like so many of his other adventures, Bugs Bunny begins Long-
Haired Hare singing and minding his own business.27 In this case, he sings
"A Rainy Night in Rio" without a care in the world, accompanying himself on
the banjo in the woods of the Hollywood Hills. The music carries—the
camera panning slowly across the terrain while Bugs' voice fades, without
disappearing altogether—to the studio of a large, blond tenor, one Giovanni
Jones, rehearsing Figaro's aria "Largo al Factotum" from Rossini's The
Barber o fSeville. W e can still hear Bugs singing off in the distance when,
suddenly, Jones switches from the Rossini and begins singing Bugs' song—
"What do they do in Mississippi when skies are drippy?"—retaining his
operatic vocal style. Quickly realizing he inadvertently has switched genres,
Jones finds Bugs, smashes his banjo to bits, and then resumes his
rehearsal. He succumbs to another of Bugs' melodies (this time "My Gal"),
Ho, Is Disney High or Low? From Silly Cartoons to Postmodern Politics," Animation Journal
1:1 (Fall 1992), 64.
201
which not only derails Jones from his aria but even compels him to dance
around the room, singing "one and two and three and four, she dances all
day long." As before, Jones silences Bugs and his instrument, now a full-
sized double harp. Not one to give up easily, Bugs tries one more time,
playing "When Yuba Plays the Rhumba on the Tuba" as a tuba solo. Jones
abuses Bugs a third time (tying the rabbit by his long ears to a tree
branch), bringing from the latter the dreaded rejoinder, "Of course you
realize, this means WAR!"
Within two minutes Jones has established a key issue at stake in this
cartoon and many others that deal with classical music: the struggle
between popular music, which was gaining acceptance by a wider
audience, and classical music, holding tightly onto its predominant position
in the cultural hierarchy.28 The first time Jones silences Bugs, the rabbit
only replies "Music hater! Oh, well." Implying that the tenor hates music,
when in fact Jones acts as if he alone protects the world of good music
from the ignorant masses (of which Bugs obviously is a member), the
27A few examples of cartoons that begin with Bugs singing: "Someone's Rocking My
Dreamboat," Bugs Bunny Nips the Nips (Freleng, 1944); "Go Get the Ax," Hare Trigger
(Freleng, 1945); "Trade Winds," Gorilla My Dreams (McKimson, 1948); "If I Could Be With
You (One Hour Tonight)," Hare Splitter (Freleng, 1948); "Massa's In the Cold, Cold
Ground," A-Lad-In His Lamp (McKimson, 1948); and "It's Magic," Rabbit Every Monday
(Freleng, 1951).
28Some other cartoons in this vein include The Band Concertand Music Land (Disney,
1935), I Love to Singa (Warner Bros., 1936), and Dixieland Droopy (M-G-M, 1954).
202
cartoon immediately brings up the struggle between, as Levine describes
the high-low split, the "aesthetic and the Philistine, the worthy and the
unworthy, the pure and the tainted."29 Philip Brophy specifically remarks on
the heart o f this conflict:
What is most interesting is how Bugs' singing generates a

musicological discourse which infects the refined lineage of
the operatic arias of the tenor. This clash is in effect a
metaphor for the "infectious" quality of simple pop/folk
melodies and how they are regarded as disease by a musical
establishment which takes pride in its sanitary measures.30
Jones' reactions each time he unwittingly assumes one of Bugs' songs
confirms this: the look of shock, then infuriation, that overcomes Jones
shows that he cannot believe he would succumb to such music. The
separation o f popular and classical music must remain intact: the highbrow
opera singer and his music live safely inside a modem, sanitized bungalow,
while the uneducated, uncouth woodland creature partakes of more plebian
pleasures in the wild.31 His anger at Bugs comes not only from his having
been distracted by the rabbit's music but for his having wasted his precious
voice, reserved only for the finest of music, on less refined stuff.
29Levine, Highbrow/Lowbrow, 232.

30Philip Brophy, "The Animation of Sound," in The Illusion o f Life: Essays on Animation,
edited by Alan Cholodenko (Sydney: Power Publications, 1991), 97.
31On doser inspection, I noticed that on the wall inside Giovanni Jones's apartment hangs
a reproduction (or the original—who knows what director Jones intended?) of Henri
Rousseau's 1897 painting "The Sleeping Gypsy" showing that Jones (both the singer and
the cartoon's director) is firmly entrenched in the highbrow world which he represents.
203
Long-Haired Hare does not stand alone in this regard; opera
narratives in cartoons almost always involve some element of the ongoing
cultural wrangling between highbrow opera and more base popular music
forms. Writing on the Hollywood film musical, Jane Feuer refers to this
recurring plot motive as the "'opera vs swing' narrative," which she
describes this way:
The particular syntax opposing popular and elite elements

arises out of the genre's overall rhetoric of affirming itself by
applauding popular forms. When classical music comes to be
used in a Hollywood musical (which by definition already
contains popular music) the logic o f the genre, which always
uses cultural prejudices to its own benefit, dictates the war of
musical styles.32
Hank Sartin has shown that cartoons o f the 1930s share numerous traits
with musical films, with the Warner Bros, cartoons having an additional coat
of authenticity, since practically all the songs featured in those early shorts
came from famous film musicals. With such a foundation laid for each
32Jane Feuer, The Hollywood Musical, Second Edition (Bloomington: Indiana University
Press, 1993), 55-56. The most famous example of this plot type is the assimilation of music
of the new world presented in the 1927 Al Jolson film The Jazz Singer, ironically enough
the film that helped to usher in the sound era. Cartoons that use this same generic plot
include Music Land (Disney, 1935), The Oompahs (UPA, 1952), and the animated version
of The Jazz Singer, I Love To Singa (Warner Bros., 1936). See also my discussion of I Love
To Singa in Chapter Two.
204
cartoon before the animation had even begun, classical music presented, as
Feuer says, not only an obvious target for these shorts, but a logical one.33
Let me take Feuer's separation one step further. The fact that
animation is not an elite form of media (nor are anyf\\m forms) grounds
the entire cartoon spectacle more firmly as popular culture. Such a poor
footing on the cultural hierarchy ladder means that any and all forms of
high culture stand as potential targets for humor. Cartoons always went
further than live action films, however, simply because the medium allowed
it. I f the Hollywood musical's "opera vs swing" plot archetype poked fun at
the traditions associated with classical music, the cartoon narrative violently
rent such traditions, taking each individual component of the concert hall as
a source for humor. We might also see such animated parodies—
particularly the Warner Bros, shorts, which so gleefully stood opposed to
societal and cultural norms—as a popular extension of Mikhail Bakhtin's
concept of the carnival. Discussing the relationship between carnival and
comedy, Andrew Horton makes this assertion: "Clearly the Marx Brothers
work, joke and destroy in a carnivalesque freedom and frenzy as well. For
them, every day is a holiday, uncontrolled by society's schedules and
33Hank Sartin, "From Vaudeville to Hollywood, from Silence to Sound: Warner Bros.
Cartoons of the Early Sound Era," in Reading the Rabbit: Explorations in Warner Bros.
205
norms."34 The same is true for animated cartoons which, once again, have
the additional power to critique and parody popular forms through the
endless possibilities of the medium.
Cartoons juxtapose popular and classical music to different degrees.
In Rhapsody R abbit and The Cat Concerto, cartoons that feature
performances o f the second Hungarian Rhapsody by Liszt, the music only
momentarily slips into a boogie-woogie or jazz reference, respectively,
before returning to the "proper" music for the setting. In The Band Concert
(Disney: Jackson, 1935), Donald Duck continually interrupts the efforts of
Mickey and his group by interjecting "The Turkey in the Straw" on his flute.
Returning to Long-Haired Harer. constructing Bugs as an anti
aesthete took only three outward characteristics: his music, his instrument,
and his home in the "country." Playing the banjo places Bugs at a great
ideological distance from a classically trained opera singer accompanied by
piano; it not only portrays Bugs as a truly rustic (and therefore uncultured)
musician but also places him in direct opposition to the tenor and the
aesthetic values he holds dear. Placing him in the "back woods" behind
Jones' bungalow magnifies the image of Bugs as a yokel. He also sings his
Animation, Kevin Sandler, editor (New Brunswick, New Jersey: Rutgers University Press,
1998), 67-85.
206
song from memory, using no music notation at all; Bugs has no musical
training per se, implying that, while he may sing well, his is an unskilled
performance. On the other hand, the tenor uses scores and his
(understood) years of training to reproduce faithfully the notes of a time-
tested aria. While the cartoon proceeds to satirize viciously the world of
classical music, it also implicitly communicates several stereotypical notions
about classical music: professional singers, while stuffy and ridiculous, are
trained artists, while popular singers may have character or charm, but
have no such training. Bugs sings American popular songs, while Jones'
music comes from the Western European repertoire, further separating the
two ideologically. Levine has shown that the sacralization process that
occurred in America in the 19th century strengthened the belief that works
of "divine inspiration" came not just from the heavens, but from Europe.35
In this cartoon, Jones serves as the sole representative of all European art
music, thus becoming Bugs' prime target.
Leopold! The Mvthic Conductor Figure
For Bugs, the most annoying way to revenge himself upon the singer
is "hitting him where he lives." Bugs thus enters the tenor's universe to
34Andrew Horton, "Introduction," in Comedy/Q'nema/Theory, edited by Andrew Horton

(Berkeley: University of California Press, 1991), 13.
207
fight him on his own turf. Bugs can take on any of the stereotypes of the
music world—or all of them at once for truly outrageous results—and show
to the audience, both diegetic and non, how ridiculous he thinks they look.
The remainder of the story thus takes place at the Hollywood Bowl during
what would have been Jones' solo performance with orchestra. Bugs hits
the shell of the Bowl with a sledgehammer (while Jones sings a solo version
of the sextette from Lucia), the reverberations of which cause Jones to fall
off the stage, face first into a tuba; Bugs sprays Jones' throat with liquid
alum, causing the singer's head to shrink to a tenth of its normal size while
he is singing on stage; Bugs dresses as a teenage bobby-soxer (female,
naturally), looking for an autograph from her favorite singer ("F ra n k ie and
Perry just aren't in it. You're my dreamboat, loverboy, ooh-hoo-hoo-
hooooo!"), but uses a stick of dynamite in place of a pen, which blows up in
Jones' face. None of these gags work much on stereotypes of the concert
hall. The final scene more than compensates, however.
Jones, intent on making it through at least one aria uninterrupted,
has a look of determination on his face as the orchestra launches into a
furious overture (von Suppe's "Morning, Noon, and Night"). Bugs suddenly
appears at the stage door in the orchestra pit, wearing white tie, tails, and
208
sporting a white wig. As he begins to walk slowly to the podium, two of the
musicians, at once surprised and horrified, begin whispering to themselves,
"Leopold!" "Leopold!" The rest of the orchestra catches on, and the music
dies away instrument by instrument until everything is hushed. The
conductor looks at Bugs and stammers, "Le-Le-Leopold!" before retiring
from the podium, stepping down backwards so as not to turn his back on
"Leopold." Bugs doesn't even give him a hard time; instead, he assumes
and subverts the conductor's position to further humiliate Jones, now from
a hierarchical vantage point within the classical music world. Instead, Bugs
takes the baton, snaps it into two, and launches into a vocalese for Jones
that has the singer spanning his entire range and exercising all of his
technical skills. Bugs then has Jones hold an eternally long high "G," which
goes on so long that Bugs has to get a pair of earmuffs to deaden the
sound. The ceaseless tone actually brings the Bowl crashing down on
Jones, while Bugs receives thunderous applause.
From the moment Bugs appears in the orchestra pit (also in Baton
Bunny, a Jones cartoon from 1959), he assumes every stereotype ever
attributed to a conductor. Christopher Small enumerates some of these
characteristics: "He . . . may appear flamboyant or reticent, dictatorial or
209
amiable, affable or arrogant."36 Bugs embodies all of these, personifying
exactly what the audience expects from a famous conductor of the time. By
wearing white tie and tails, Bugs acknowledges one o f the more universally
recognized symbols of the traditional performance space: the adherence to
a strict code o f attire and conduct that preserves the idea of sanctity in the
concert hall. W e would probably not even notice if Bugs led the concert in
his usual state of dishabille, yet he explicitly adopts the culturally accepted
practice of wearing evening attire to a concert. He dons a tux because he
wants to identify himself as a performer (one of the several different
perspectives Small discusses regarding why musicians have retained the
use of evening wear); the fact that he is posing as the concert's leader, the
conductor, further mandates his traditional attire. Mike Barrier notes that by
dressing as the conductor, Bugs can take control of the performance, while
before he had only disrupted it.37 Bugs also cannot help but to surrender
part of his will to the power and history his uniform represents; while he
cannot, or will not, perform as a "normal" conductor (his goal on the
podium being, after all, to torment the tenor), he also cannot be himself—
his costume prohibits it. "People in uniform are behaving not as
36Christopher Small, Musicking: The Meanings o fPerforming and Listening (Hanover and
London: Wesleyan University Press, 1998), 78.
210
themselves," Small points out, "but as representatives of the organization
whose uniform it is . . . Z'38 Bugs the conductor thus becomes an uneven
mixture. Naturally, more of his inherent wackiness and mischief
overshadows his desire to conduct, yet he still leads the concert to a
successful conclusion that literally brings down the house.
Levine raises another salient point: "More and more it was asserted
that it was only the highly trained professional who had the knowledge, the
skill, and the will to understand and carry out the intentions of the creators
of the divine art."39 Because Bugs is so clearly ensconced in the world of
popular music, his switch to classical music would be that much more ironic
and funny if he went to the greatest possible extreme, becoming the
embodiment of that which he has been trying to subvert all along. By
assuming Stokowski's persona Bugs can confidently carry the performance
on personality alone; his conducting of Jones has much more attitude than
it does any notion o f skill. Since Bugs only pretends to be a professional (at
least in this cartoon), he eventually leads the performance into chaos. (In
37Barrier, Hollywood Cartoons, 490. We know this must be the cartoon's finale because
Bugs cannot get any higher in the hierarchy of concert hail culture by impersonating
Stokowski unless he pretends he is a composer.
38Small, Musicking, 65.
211
Baton Bunny, Bugs is characterized as a re a l conductor, and thus the comic
confusion occurs in spite of Bugs' efforts to the contrary.)
Why pick on Leopold Stokowski? As one of the most famous
conductors in the country at the time, his very visible place in the media,
particularly in films, made him a target for the Warner Bros, cartoons long
before Fantasia so explicitly associated him with animation. For instance,
She Was An Acrobat's Daughter (Warner Bros., 1937), which takes place in
an contemporary movie palace, features Stokowski as a goofy, thick-
accented organist and conductor named "Stickoutski."40 Fantasia only
served to reconfirm the image of Stokowski as the quintessential longhair,
especially since he does not say anything during the entire two-hour
picture, allowing his gestures and posturing to speak for him. Perhaps
Adorno was thinking of such images of Stokowski when he wrote:
[A conductor] is an imago, the imago of power, visibly

embodied in his prominent figure and striking gestures.. . .
Impressed by his medicine-man gestures, the listener thinks it
takes just such an attitude to make the players give their
^Stokowski makes a canine cameo as the conductor Bowowski in Hollywood Canine

Canteen (Warner Bros.: McKimson, 1946). Other "cameos" in Warner Bros, cartoons
include Porky a t the Crocadero (Tashlin, 1938), in which Porky briefly imagines himself as
the great conductor; Hollywood Steps Out(Avery, 1941), a cartoon set at the famous
Hollywood nightclub Ciro's, where Stokowski leads a conga from inside a jukebox; and
Stage Door Cartoon (Freleng, 1944), a typical Elmer-chasing-Bugs plot through a vaudeville
theatre, ending with Elmer being thrown out of the theatre while Bugs, dressed as
Stokowski, looks on from the conductor's podium.
212
artistic best—a best that will be taken for something like the
setting of a physical record.41
To better understand this final sequence, I have found Adorno's
writings particularly helpful. While I am reading against the grain by using
Adorno to discuss cartoon music, many of his thoughts on the role of the
conductor apply well in this particular discussion, especially because neither
he nor this cartoon's creators seem to have viewed conductors, or many
other components of the modem concert hall, in a positive light.42 Director
Chuck Jones takes these very images of Stokowski to task, making them
the essence of Bugs' performance as "Leopold," instead o f anything to do
with music or actual conducting. Once Bugs' masquerade begins, the
mystification of the classical performance becomes much more explicit.
It begins when Bugs snaps the baton in two, throws it away, and
glares menacingly at the tenor, who, in a nervous sweat, smiles weakly.
Bugs sends two related messages when he breaks the baton. First, he lets
Jones know that he will not be constricted by a conventional conductor's
tool, and second, that he will get the music that he wants out of the singer.
41Theodor W. Adorno, Introduction to the Sociology o fMusic (flew York: Continuum,

1976), 104-105.
42Adomo did write on both animation (referring to Disney and Mickey Mouse) and film
music (his book Composing For the /v/mswith Hanns Eisier being the most significant
example)—he just never put the two together. For more on the former topic, see Miriam
Hansen, "Of Mice and Ducks: Benjamin and Adorno on Disney," South A tlantic Quarterly
92:1 (Winter 1993), 34.
213
With the break, Bugs in effect calls Jones out, practically threatening him
for the earlier abuses he endured at Jones' hand.
In taking on another persona, Bugs appropriates a ll of Stokowski's
idiosyncrasies, including, as Barrier reminds us, "Stokowski's habit of
conducting only with his hands/'43 By casting off the baton, Bugs raises the
very objections to it that Stokowski made in real life, thus enacting much
more of Stokowski's being than simply his appearance. Rather than just
mocking Stokowski, this portrayal attributes superhuman qualities to his
capabilities as a conductor. The final extended gag—in which Bugs' ever-
beckoning glove forces the tenor into an unceasing high note, the sound
becoming so bad that Bugs leaves the stage to send away for earmuffs,
while leaving the disembodied glove floating in midair, still beckoning for
more from the tenor—lampoons the fixation with Stokowski's hands as
instruments unto themselves, a public fascination that arose in the early
1930s, not long after he had mostly given up the use of a baton.44
Bugs shows that the music is really not as important as the
performance, in what Adorno referred to as "histrionics at the podium."45
Through his performance as conductor, and specifically with his hand

^Preben Opperby, Leopold Stokowski(New York: Midas Books, 1982), 130.
45Adomo, Introduction to the Sociology o fMusic, 106.
214
motions, Bugs can "play" Jones, bringing out an improvised and yet
virtuoso performance from the tenor. We don't even know what piece
Jones would have sung had Bugs not interrupted the concert, but it doesn't
matter; Jones' abilities as a singer and performer allow him somehow to
decode Bugs' gestures sufficiently well that he can follow along. Barrier also
points out that Bugs' power extends to the audience: "When the
concertgoers respond with applause, Bugs conducts them , too, instantly
silencing their applause with a gesture."46 Jones thus presents us another
extreme stereotype of conductors, one whose ability to govern his
surroundings is so great that he can control the orchestra and the audience
equally well.
"The conductor's figure comes to be the one that acts directly on the
audience; at the same time his own music-making too is necessarily
estranged from the audience, since he himself is not playing. He thus
becomes an actor who plays a musician, and precisely that conflicts with a
proper performance." Adorno's unabashed attack on the charlatanism of
conductors here is clear; it also brings to the surface the very noticeable
distance maintained between the musicians, the conductor, and the
audience. As a conduit between the musicians and the audience, Bugs the
215
conductor wields a tremendous amount of power. Small puts it another
way: "The line of communication from the composer to each member of the
audience runs through the conductor; it is he who takes the sounds made
by all the individuals in the orchestra, coordinates them into a unity,
focuses them and passes them on."47 As the leader of a performance, Bugs
becomes the locus of power and creativity, the path through which the
sensibilities—anarchy and wackiness—of his world invade the more staid
concert environment.
An extreme example of the conductor's creative contribution occurs
in Magical Maestro (M-G-M: Avery, 1952), another cartoon built around
"Largo al Factotum." A lowly magician seeks a part in the recital of a
famous opera singer (Poochini). Rejected by the singer, the magician
replaces the true conductor—stealing his tux, bouffant/Stokowski-styled
hair, and red nose with three waves of his magic wand—and proceeds to
wreak havoc on Poochini's performance. We recall in Long-Haired Hare
that, while Bugs unintentionally compels Giovanni Jones to sing popular
music, the singer maintains some of his composure as a performer by not
breaking character. Rhapsody Rabbit, likewise, has a boogie-woogie
interlude during the Hungarian Rhapsody, but Bugs quickly squelches it
216
before it continues on too long. But the magician/conductor in M agical
Maestro retaliates against Poochini's rejection by disrupting the singer's
performance, with the wand/baton he wields becoming the site of Shis
power.48 Every time the magician points his wand (i.e., asserts his power),
something happens: either the magician's rabbit assistants appear
magically with the singer, or the singer is transformed into a costumed
performer singing a completely different song. In this case, instead of than
letting the music pass through him to the audience, the conductor takes the
upper hand and repeatedly forces the musician to perform against his will.
Part of what allows Bugs to assume control of the performance in
Long-Haired Hare is the fact that he does /wtfknow what should b e
happening and does not adhere to a "program." Without a commitment to a
48As in Lang-Haired Hare, the antics of the magician/conductor in Magical M aestro bring up
a serious class struggle, playing out in the songs that keep appear throughout th e cartoon.
An entire musical review and magic show passes before the audience as they watch the
singer bounce from classical to blues to classical to country and back again to classical.
Some of the songs include "A Tiskit, A Tasket" (with the singer dressed in a little: bo/s
sailor suit, complete with red balloon), "Mama yo quiero" (sung in a Carmen Miranda voice,
outfit, and headdress), "My Dartin' Clementine" (performed in a square-dance caller's
outfit, complete with chaps), as well as several ethnic interludes (Chinese, Polynesian).
Like Long-Haired Hare, then, the superiority of classical music is constantly being
challenged, except in this instance, it is being challenged inside the concert hall, where it
should reign supreme. While popular music had long since invaded this particular high-art
stronghold (the 1938 and 1939 gospel/jazz/blues reviews "From Spirituals to Swing" in
Carnegie Hall come to mind), this cartoon comments on how popular music was appearing
more regularly in such venues. We unfortunately don't see the reaction of the audience to
the various songs (except for one man, who seems to hate Poochini, whether he:'s singing
opera or anything else). The voice of Poochini was provided by Carlos Ramirez, a contract
singer for M-G-M, while the Mary Kaye Trio, among others, sang the parts of the- magically
transformed Poochini. My thanks to Keith Scott for providing this information.
217
"script or a routinized social situation" as Simon Frith puts it, cartoon
characters are not bound to the roles of the concert-hall.49 Viewers realize
this immediately—seeing a cartoon character in the concert hail creates an
immediate incongruity, and since we don't typically feel embarrassment for
cartoon characters, we instead wait for the fugitive element, implicit in
every animated personage, to break free and somehow derail the
performance.
The conductor may lead the performance but, judging from Magical
Maestro, he is not immune to any of the slapstick behavior occurring
elsewhere in the hall. His position as leader and occasional disciplinarian
makes him all the more ripe for ridicule. The M ad Maestro (M-G-M, 1939),
Tom and Jerry in d ie Hollywood Bow! (M-G-M, 1950), and Baton Bunny
(Warner Bros., 1959)—as well as parts of Pigs In A Polka (Warner Bros.,
1943), A Corny Concerto (Warner Bros., 1943), and Carmen G et It !
(M-G-M:, 1962)—all make the conductor's stand the point from which chaos
and entropy flow.
Instrumentalists and Auditoriums
49Simon Frith, Performing Rites: On the Value o f Popular Music (Cambridge: Harvard
University Press, 1996), 206.
218
While I have spent a great deal of time on the conductor, we cannot
forget about the musicians. The orchestral musicians Jones shows in
cartoons including The Rabbit o fSeville, Long-Haired Hare, and Baton
Bunny (1959) have little or no personality; their instruments become their
identity. Indeed Jones often shows us only the instruments, fingered by
faceless automatons. Small discusses a general tendency in concert hall
culture to allow such anonymity to occur: " .. . my saying 'first flute' and
not 'first flutist' in itself suggests the extent to which players become
nonpersons on the orchestral platform, as if the instruments were playing
themselves."50 Jones avoids the task of characterizing each individual
musician by only showing a portion of their bodies or none at all. Practically
speaking, showing only certain parts of the players reduces the amount of
work spent on less important parts of a cartoon: the fewer human bodies
shown, the less work for the animators, in-betweeners, and cel painters.
Because the orchestra itself offers an enormous variety of possible
gags, however, other cartoons do just the opposite of Jones', showing each
and every musician onstage, and typically allowing them each a moment of
solo performance in which they show their musical skill (or lack thereof).
Each instrument's idiosyncrasies offers a new throwaway gag: its shape,
219
size, or sound; how it is played, held, fingered, or blown; any possible
similarities that might be drawn between the appearance of the instrument
and its player are also emphasized (tall players for double basses, fat men
for tuba players, etc.). Many of the cartoons from Lantz, Columbia, and
Terry, as well as Warners and M-G-M, consist almost entirely of such
characterizations coordinated with the music.51
Widening our critical frame even further, we can perceive another
site for ridicule: the concert hall itself. There is a fairly even split between
those cartoons that place concerts in conventional performance spaces
(concert halls, opera houses, outdoor amphitheatres) and those that use
less traditional locations (barns or barnyards, steamboats, construction
sites). For the former, the stories often revel in the opulence of the
locations, especially if they go to the trouble of setting the cartoon in a
well-known space and not just a generic concert hall. The Hollywood Bowl
is featured in Long-Haired Hare, Hollywood Bowl (Lantz, 1938), and Tom
and Jerry in the Hollywood Bow!(M-G-M, 1950); the concert in Pizzicato
Pussycat (Warner Bros., 1955) takes place in Carnegie Hall. In all these
cases, the famous venues appear in some detail; Tom and Jerry in the
51Some examples are The Mad Maestro (M-G-M, 1939), Concerto in B -H at Minor
(Columbia, 1942), in addition to most of Walter Lantz's "Musical Miniatures" series,
220
Hollywood Bowl, for instance, faithfully depicts the art moderne sculpture at
the entrance to the site as faithfully as the famous half-dome itself. These
cartoons often involve the entropy narrative that I described earlier, making
the disintegration into chaos that much more heinous (or hilarious) for its
vaunted location.
Christopher Small points out that, "one can observe similar patterns
o f behavior in other grand ceremonial buildings . . . All have their initiates
and their outsiders, and from their behavior as they move around the
building it is generally not too difficult to tell who are insiders and who
outsiders, who are privy to its rituals and who are not."52 In The Rabbit o f
Seville (Warner Bros., 1949), Elmer shows his lack of culture-sawy by his
unfamiliarity with concert hall rituals. Elmer wanders into an opera house
while pursuing Bugs, and when the curtain rises with him onstage, he
stands there in complete bewilderment. True, most anyone would lose
composure if they suddenly and unexpectedly found themselves onstage in
front of thousands of people. Bugs the performer naturally adapts to the
situation immediately, rushing out dressed as the proverbial "barber" of
Seville. Elmer's ignorance of operatic conventions works against him here,
including The Poet and Peasant (1946), Overture to William 7e//(1947), and Kiddie Koncert
(1948), all directed by Dick Lundy.
221
turning him into a perfect foil for Bugs, since the rabbit clearly "knows"
opera.
The incongruous juxtaposition of less traditional sites with serious
"highbrow" music naturally allows numerous opportunities for satire. Even
in the unconventional venues, however, the audience typically treats the
occasion with as much respect as (if not more than) if it were in a concert
hall. Rhapsody in Rivetstek&s place at a construction site, yet all the male
spectators applaud the foreman respectfully as he steps out with the
blueprints, just as if he was a conductor walking to the podium with the
score under his arm. It does not seem to matter whether the location is
inside or outside, modern or provincial; the attitude (of the audience, at
least) remains serious. While Small calls the concert hall a "sacred space,"
the different settings afforded by the various shorts shows that the
performance rituals associated with the music convey the sense o f holiness,
not necessarily the structure.53 Those buildings that already conform to
what society expects of concert halls have their status regardless of what
takes place in them.
An O peratic Interlude
222
Opera offered almost too easy a target for Hollywood cartoons. The
combination of music and drama, featuring characters—often dressed in
outlandish costumes—who sang in other languages about mythical places
and/or ultra-romantic situations, presented perfectly fertile material for
satire. The cartoons could simply import the dramatic situations and music
and then commence with the comedic treatment, leaving only a lattice of
the original form intact. The public's familiarity with operatic stereotypes
ensured that audiences would "get" the gags when presented with them,
since the cartoons drew their humor from generalizations about opera and
opera singers. Friz Freleng stated: "The reason I used it all the time is that
people are familiar with it. So when you play with it and do something
different with it, they laugh."54 Placing opera within an animated medium
could be funny unto itself; with the (sometimes not-so) gentle commentary
on operatic conventions that cartoons made, the almost ridiculously serious
nature of the dramatic form became indescribably funny.
^Freleng and Weber, Anim ation: The A rt o fFriz Freleng, 127.
223
Operatic parody dates back almost as far as the medium itself55;
probably the most successful large-scale spoof on opera in this century
would have to be the Marx Brothers71935 film A Night a t the Opera, which
not only showed onstage performances juxtaposed with what happens
behind the curtain, but also gave viewers an image—albeit a very skewed
and biased image—of what people involved in operas, from divas and
impresarios to lowly set hands, did in their spare time. The constant
parodies of cultural ideals in such comedies created, as Levine says, "a
rapport with their audiences that generated a sense of complicity in their
common stand against the pretensions of the patrons of high culture."
Levine cites a moment in A N ight a t th e Opera when the Marx Brothers
"created havoc in the opera house—which ironically had become the very
citadel of high culture in the popular imagination—by tricking the orchestra
into playing Take Me Out to the Ball Game' in the middle of the overture to
/ / Trovatore. . . Z'56 Like the Marx Brothers, cartoon characters that enter
the opera house bring along the outside world, and thus similar intrusions
55Examples indude Joseph Addison's essays in The Spectator and Benedetto Marcello's I!
teatro alia moda, both examples of caustic writing from the early 18th-century discussing
the extremes to which opera had gone in England and Italy, respectively. John Gay took
the spoofing of English opera further than just words with The Beggar's Opera, an entire
production consisting of songs taken from other sources and meant to parody the vogue
for Italian opera at the time as typified by Handel. Oliver Strunk, editor, Source Readings in
Music History: From ClassicalAntiquity through the Romantic Era (New York: W.W. Norton
& Company Inc., 1950), 511-531.
224
or injections of popular culture regularly occur during performances,
creating the same kinds o f humorous culture clashes as those I just
discussed in Long-Haired Hare. (A notable exception to this is What's
Opera, Doc? As I will discuss below, Jones'cartoon takes place within an
understood universe of Wagnerian opera, and thus the only music that
exists for anyone—including Bugs, he who we expect to transgress the
highbrow distinction of the story—is Wagner's.
Unlike film parodies, which often made references to very specific
operas and arias, and could even have actual opera stars play themselves
(or fictitious roles), practically all cartoons promoted a more general
overview of opera, in part because many of the writers and directors had
only a superficial knowledge of the subject.57 Bill Hanna, Joe Barbera, and
Chuck Jones have all stated in their respective biographies that they had
little background in music and often left such decisions to their writers or
even the composers. This lack of topical familiarity actually fits well with the
kind of stereotyped humor that pervades cartoons; rather than focusing on
details, the director could create more humorous situations by evoking
familiar references and making broad, sweeping generalizations. Consider
225
Jeremy Tambling's statement that, "where opera is only very imprecisely
known about, its myth-making powers seem further ensured in terms of
promoting images o f taste and the good life."58 For Warner Bros, cartoons
in particular does Tambling's statement ring true, as their cartoons that
involve opera almost always take place in the concert hall, and thus create
an image of the opera house as a sacred space—one which must be
assaulted—while the music itself does not really matter. . . so long as it's
Italian.
The predominance of Italian opera over other nationalities or styles
marks another idiosyncrasy of opera in cartoons. Tambling's discussion also
helps to explain this occurrence: films o f the 1930s privileged Italian opera,
he states, because of the tunefulness o f their arias, duets, and choruses.
These same films eschewed Wagner because his arias lacked such catchy
tunes. To be sure, Wagner's music receives overwhelming use, in cartoons
as well as films, for underscore cues, but not for vocal melodies. We can
think of the division of labor between the two operatic styles at the micro
level of gesture. Wagner's leitmotifs typically epitomize gesture, yet the
sung material in his operas does not have the melodic ease usually
Ôccasional references to specific stars of the opera world do occur in cartoons, the most
frequent being an image of Caruso as Pagliacd, dressed in a white clown outfit with black
226
associated with operatic songs. Italian arias—specifically those by Rossini
and Donizetti59—have singable, memorable phrases that make for good
arias, but are no match for Wagner when it comes to creating short motifs.
Cartoon characters always sing in the opera's original language, if for
no other reason than the inherent humor created when we see a cartoon
animal singing opera. This is the case in One Froggy Evening (Warner
Bros., 1955): the main character, Michigan J. Frog, sings the beginning of
"Largo al Factotum" in a public park for his owner, who cannot seem to
convince anyone that the frog can sing at all. A majestic, even brassy
voice—far from what we would have expected—comes out of the frog's
mouth. This enormous voice becomes one of the fundamental comedic
devices in this short. Joe Adamson describes a similar scene in a Woody
Woodpecker cartoon, Barber o f Seville (Lantz: Culhane, 1944): "Woody just
launches straight into the "Largo al factotum" from The Barber o f Seville—
no translation, no motivation, no explanation. He suddenly becomes a
tassels and pointed hat; the Warner Bros, cartoons usually complete this caricature by
having the clown sing the refrain of "Laugh, Clown, Laugh," a song by Joseph Fiorito.
58Jeremy Tambling, Opera, Ideology and Film (New York: St. Martin's Press, 1987), 42.
scrambling, Opera, Ideology and Film , 47. Rossini's "Largo al Factotum" aria from The
Barber o f Seville shows up nine times in Warner Bros, cartoons, and Donizetti's sextet from
Lucia d i Lammermoorsix times; the pieces appear twice each in the M-G-M cartoons.
When the Donizetti is sung by an ensemble, it usually involves some kind of gag involving
those singing; for instance, in Back A lley £?p/oa/-(Warner Bros., 1948), the cartoon ends
with the death of caterwauling Sylvester, whose nine lives all ascend to heaven singing the
sextet. (The entire cartoon is actually a remake of Notes to You (Freleng, 1941), which also
ends with the same gag.)
227
musical purist. . . and the effect is funny."60 By singing in the original
foreign tongue, the cartoon also points out the vast cultural distance
between the music and the cartoon itself. A "serious" performance of an
aria in a cartoon, that is, sung in Italian and overdubbed by a professional
opera singer (as in the case of One Froggy Evening anti Tex Avery's M agical
Maestro), sets up a situation that inevitably disintegrates. By treating the
music so respectfully—such veneration o f the original cannot go
untouched—the possibility for the performance to go awry seems to
increase exponentially.
The rare occasions when an opera performance occurs in English
means that the humor can come from the words sung by the characters. If
the audience will understand the language, why not make them replete
with witticisms and contemporary references? This attitude toward
translating foreign operas into English certainly existed in the 19th century
and earlier, when such practices abounded in American concert halls. While
musical purists decried such bowdlerization, Levine points out that most
audience members associated Italian-sung opera with "Old World
pretensions and effete snobberies," which, combined with the fact that they
simply wished to comprehend what the actors said or sang, meant that
^Joe Adamson, The W alter Lantz Story (New York: G.P. Putnam's Sons, 1985), 144.
228
English translations became increasingly common. As some critics might
have predicted and/or feared, the effect of such translations led "opera,
and especially arias from opera, [to] become popular culture."61 Horowitz
provides an example of such parody when he states that, "four months
after mounting the premiere of Tannhausenn 1859, the Stadttheater [the
Bowery] mounted a Tannhduser burlesque. "62 A more contemporary
example can be found in an early episode of the television show The
Simpsons, "Bart the Genius''; erroneously believing that Bart is a
wunderkind, Marge buys tickets for the family to attend a performance of
Carmen. When the melody of the Toreador Song occurs during the
overture, Bart sings along with lyrics that Susan McClary jokes must be "as
old as the original": "Toread-or, don't spit on the floor—use the cuspidor,
that's w hat it's fo r/'63
Speaking of Carmen, the role of women in Hollywood animated
cartoons is limited at best, and the use of opera and opera narratives did
nothing to create new roles for female characters, even with the easily
spoofed images of the loud female opera singers, or the proverbial "fat
lady." The Rossini and Donizetti examples mentioned above both feature
61Levine, Highbrow/Lowbrow, 93-94.

62Horowitz, Wagner Nights, 301.
229
(or consist entirely of) male voices; no such famous aria for women
appears in cartoons. Those women that do appear singing opera are usually
a hybrid form, wearing the costume associated with Wagner's
Rhinemaidens but singing Italian words. We do occasionally see someone
performing as Carmen, as in Chile Con Carmen (Lantz, 1930) and Carmen
Get It ! {M-G-M, 1962). This absence was not intended as a statement about
women in opera or women in general; it is more likely that the directors
simply did not consider using female characters. Chuck Jones once
commented on the general absence of female starring characters in
Hollywood cartoons by saying, "This always comes u p . . . . It's a pity. I can
only beat my breast and say that I should be nailed to the wall. But I didn't
[consider having any female characters]. So I don't know how to answer
that [question] except to say I'm sorry."64 Jones neglects to mention the
host of instances when male characters dress in drag, a device he uses in
all three of his opera cartoons, Long-Haired Hare, The Rabbit o f Seville,
and, most extensively, in What's Opera, Doc?
W hat's O pera, Doc?
63Qted in Susan McClary, George Bizet: Carmen (Cambridge: Cambridge University Press,
1992), 130.
230
My final discussion concerns Jones7take on Wagner's operatic
universe, which surpasses all other cartoons in notoriety and which
exceeded any possible expectations held by the director or the studio
regarding its ongoing feme. Even more than the other cartoons I've
discussed, W hat's Opera, Doc? draws on a very complicated collection of
cultural assumptions and musical conventions; in short, all of the gags and
stereotypes that I've discussed in this chapter come into play in some form
within this cartoon. I conclude my discussion regarding classical music here
because I want to discuss how and why this short, more than any other,
should have resonated so strongly with audiences over the last forty years.
In spite of the feet that he was producing a cartoon, Jones, along
with the cartoon's writer, Michael Maltese, approached Wagner very
carefully. Jones in particular always claims that he took a completely
serious approach to the cartoon; he once stated: "Many cartoons using
classical music have failed because they don't take the music seriously
enough. I always felt that Bugs and Elmer were trying to do the opera
right."65 Jones also asserted that
^Chuck Jones, "'What's Up, Down Under?' Chuck Jones Talks at The Illusion o fLife
Conference,* in The Illusion o fLife: Essays on Animation, edited by Alan Cholodenko
(Sydney, Australia: Power Publications, 1991), 64.
65Chuck Jones, Chuck Reducks: Drawing From the Fun Side o fLife (New York: Warner
Books, 1996), 157. Jones made a similar comment regarding both What's Opera, Doc?and
The Rabbit o fSeville in a telephone interview, 14 September 1994.
231
We didn't w ant people to laugh at the music, we wanted them
to laugh at w hat was interpreted by Bugs and Elmer.. . . It
seemed to m e that we were paying great respect to the music
itself, but w e're saying that if you put a bunch of clowns in
front of it, it will be a lot different.66
As we will see, W hat's Opera, Doc? represents what Jones felt he knew of
Wagner. Dramatically and musically, Jones established a specific set of
criteria that he felt needed to be met in order to have a complete opera: a
dramatic overture, a heroic tenor, a love duet, a scene involving magic, and
a tragic death. Assembling a hodge-podge of famous tunes with these plot
devices to construct the cartoon, Jones took the most familiar parts of
Wagner from the whole of the composer's dramatic oeuvre and poured
them into the shell o f his single most famous work ( The Ring) to create a
short that could present everything one needed to know about Wagner in
under ten minutes.
Waoner as subject for satire
If Jones had it in his mind that he wanted to create a complete
operatic satire, then he needed to go no further than Richard Wagner,
whose reputation as the most important opera composer in America, as
Joseph Horowitz has shown in Wagner Nights, maintained its place for
decades, dating back into the 19th century. The most prominent excerpt
te le p h o n e interview, 14 September 1994.
232
from among the half-dozen operas cited in W hats Opera, Doc?comes from
Tannhauser, in the guise of the love duet and ballet interlude between
Bugs and Elmer. Horowitz explains that while Wagner's music in general
reached almost cult-like proportions in the United States beginning in the
late 19th-century, Tannhauser enjoyed a particular distinction: its "finale"
was the first-known piece of Wagner's music to be performed in America, in
November of 1852; seven years later it was the first Wagner opera to
receive a complete staging, at the Bowery in New York on 4 April 1859.67
As for the overture, like many operas it was singled out as the ideal piece
to excerpt from the whole (being short, tuneful, and not requiring vocalists
or even instrumental soloists). Horowitz states that by 1885 its overture
and choruses were practically the only pieces anyone knew from the opera.
He goes on to write: "At Brighton Beach, [the TannhauserQNerture] was
'the most widely liked piece of music/ heard ten times a season and more.
Elsewhere, too, the TannhauserOverture was Wagner's most frequently
performed composition—possibly the most frequently performed symphonic
composition by any composer."68 John Mueller, in his survey of American
musical tastes over the last 150 years, calls the overture "the 'William Tell'
67Joseph Horowitz, Wagner Nights: An American History (Berkeley: University of California

Press, 1994), 39-41.
“ Horowitz, Wagner Nights, 213.
233
of the subscription repertoire.'"69 With such publicly respected arbiters of
good taste as Toscanini and Stokowski both championing Wagner in the
concert hall, we can easily see how Wagner not only became a solid part of
the canonic concert repertoire, but dominated it for much of the first half of
the twentieth century; Horowitz shows how Wagner comprised more than a
third of the Metropolitan Opera's repertoire for the 1936-1937 season.70
Even if Wagner's position in the hierarchy of classical composers had
changed when W hat's Opera, Doc? was released (1957), the popularity of
his music in concert halls had not: Wagner was still among the top six
composers performed by American symphony orchestras (after Beethoven,
Brahms, Tchaikowsky, Mozart, and Strauss), while the TannhauserOverture
was still the most frequently heard piece of Wagner's music.71
Wagner's entry into American popular culture, however, occurred
largely because of two contemporaneous entertainment sources. Horowitz
demonstrates that Wagner's presence in band music and film scores
"disseminated Wagner to millions of Americans without disseminating high-
cultural uplift."72 The end of the nineteenth century saw bands modeled
69Mueller, The American Symphony Orchestra, 193.

71Kate Hevner Mueller, Twenty-Seven M ajorAmerican Symphony Orchestras: A History
and Analysis o f Their Repertoires, Seasons 1842-43 Through 1969-1970(Bloomington:
Indiana University Press, 1973), 380; Mueller, The American Symphony Orchestra, 188.
72Horowitz, Wagner Nights, 301-302.
234
after military bands in "virtually every city, town and village . . . with
membership drawn from the community," all of whom looked up to the
most famous and admired bandleader in the country, John Philip Sousa, for
repertoire suggestions; what Sousa played, the country played.73 Wagner
topped Sousa's list of favorite composers, and the bandleader boasted a
tremendous collection of arrangements o f Wagner's works in his band's
repertoire, including the Tannhauser Overture, among others.74 In the case
of film scores, Horowitz shows how Wagner's music, in being excerpted for
use by the film accompanist, was excised from its interdependent place
withing the Gesamtkunstweric, this appropriation "removed Wagner from
the pedestal on which [eminent conductor Anton] Seidl had placed him,"
and put him into the movie palace.75 In film accompanying manuals, like
those compiled by Erno Rapee, selections from Wagner operas come up
repeatedly, each able to convey a different mood or emotion through
music. Although only two excerpts appear in Rapee's Motion Picture Moods,
in the Encyclopedia, Wagner's name shows up throughout for all sorts of
descriptive categories, from neutral andantes to wedding music. In both
band and film music, the listener/viewer received exposure to a wide
73Charles Hamm, Music in the New WoridQA&N York: W.W. Norton and Company, 1983),
294.
235
variety o f composers and musical genres, but without the culturally stifling
associations of the concert hall.
Wagner's presence in cartoons does not begin with W hat's Opera,
Doc?, but appears in various guises from the beginning of the sound era.
Wagner's music constituted a significant portion of the classical repertoire
Carl Stalling used in his scores, especially in the Warner Bros, cartoons.
Over a period of approximately 25 years, 120 Wagner cues appear in
different cartoons; the specific selections can be broken down as follows:76
Lohengrin [Bridal Chorus] 22 times

/?/e/72/Overture 21 times
TannhauserOverture 16 times
Gotterdammerung Overture 16 times
D ie Waikure 15 times
D er fliegende Hollander Overtu re 10 times
Das Rhinegoid 8 times
Parsifal 4 times
Siegfried 4 times
D ie M eistersinger Overtu re 2 times
One idiosyncrasy of the above list should be obvious: the music by
Wagner that appears in cartoons, while operatic in origin, is largely

76Infomnation from cartoon cue sheets. This tally does not include the use of Wagner in
the Pvt. Snafu series, although Wagner's music does appear regularly there as well—the
Lohengrin "Bridal Chorus" and several selections from Das Rhinego/d-^Yiich we would
expect since those cartoons deal expressly with World War II. Another interesting
collection of Wagner appears in the collection of sheet music and band arrangements in
Stalling's possession at the time of his death and now held at the University of Wyoming.
Practically all the music contained in the collection, which includes more than a dozen
Wagner selections, dates back to Stalling's days as a film accompanist in Kansas City.
236
symphonic in nature, referring only occasionally to sung material. David
Huckvale explains that "the predominantly recitative style of Wagner's vocal
lines is of less instant appeal than the more straightforward aria structures
of Verdi and Rossini, whereas the melodic aspect of Wagner's music is far
more dominant in his interludes, preludes, and descriptive music. The
appeal of Wagner's nonvocal or orchestrally arranged music has always
been considerable."77 Compared with the Italian operas I mentioned earlier
in this chapter, from which film composers typically excerpted famous arias
with instantly recognizable melodies, Wagner's vocal solos were not nearly
as useful to film composers as the symphonic-based tunes. Such melodies
would usually be taken from the operas' overtures, in which many of the
important melodies typically appear. The music Carl Stalling used from
Rienzi, Tannhauser, Gotterdammerung, D er fliegende Hollander, and Die
M eistersingenn his Warner Bros, cartoons all come from those operas'
overtures. We can assume that Stalling's experience playing and/or leading
such overtures in concert in his film-accompanying days, in addition to their
^David Huckvale, "The Composing Machine: Wagner and Popular Culture," in A Night in a t
the Opera: Media Representations o f Opera, Jeremy Tambling, editor (London: John Libbey
&. Company Ltd., 1994), 134.
237
inclusion in the Rapee accompanying books, led to his frequent use of them
for dramatic purposes in later years.7*
While pondering why Wagner has not appeared more explicitly in
film scores, Huckvale quotes Jean-Dominique Serra: "[Wagner's] absence
seems pretty inexplicable. Perhaps Wagnerism is still too entrenched for
anyone to dare to seize the works of the Bayreuth god for adaptation to the
mumbling and subordinate style of film music. Perhaps the creators of the
cinema consider the music as too famous, running the risk of distracting the
audience's attention."79 In spite of such possible risks—which were
considerably less in practically all cartoons, which used only brief references
to Wagner—Stalling often drew on the music's cultural significance tell the
story on his behalf, having learned to do so in his film accompanying days.
When Stalling used the main motif from Die fliegende Hoiiandenn Captain
Harebiow er(Warner Bros.: Freleng, 1954), for instance, it was meant to
create a notion of danger on the high seas, not just through the illustrative
nature of the music itself, but also by evoking the Wagner opera through its
78Scott Bradley lists Wagner only once on a cue sheet: the 1944 cartoon M-G-M produced
for the U.S. Army, provisionally titled Weapon o f War. Among the pieces listed are "Magic
Fire Music," "Hagen's Motive," "Excerpt Gotterdammerung," and "Excerpt Siegfried."
Knowing Bradley's history not as a film accompanist, but as a bandleader, in addition to his
oft-stated aversion to using anything pre-existing in his scores, such a paucity of Wagner
cues—or any classical cues—is not surprising.
79Jean-Dominique Serra, "Musique et horreur dans le cinema muet," in Vibrations, vol. iv
(Jan. 1987), 182. Quoted in Huckvale, "The Composing Machine," 134-135.
238
main melody. Just as J.C. Breil used "The Ride of the Valkyries" to
accompany the "heroic" ride of the Ku Klux Klan in D.W. Griffith's The Birth
o fa Nation (1915), Stalling brings up Wagner knowing well the familiarity
audiences have with such music and uses it to his advantage. In the case
of the more than two dozen cartoons Warner Bros, produced that focused
on World War II, Stalling often used Wagner to represent Nazis, who
naturally had a prominent part in these shorts. (Along with Wagner, Stalling
represented the Germans, as we might expect, with stereotypically German
music: the 18th-century popular tune "Ach du Lieber Augustin," and
selections from Johann Strauss.)80
Jones acknowledged, years before W hat's Opera, Doc?appeared,
that such familiarity with music was important; for Jones, this familiarity
aided the audience in understanding when a pun (or an extended satirical
situation) was being presented: "In this field of satire, one factor
constitutes a limitation of sorts: The piece selected should have a certain
amount of familiarity, because this adds anticipatory enjoyment for the
80Of all the selections from Wagner's operas to appear, however, the one least familiar to
today's opera fans appeared the most often after the famous Lohengrin "Bridal March":
music from the overture to Wagner's second opera, Rienzi. Stalling used this piece fairly
often for particularly intense moments; Rapee's Encyclopedia appropriately classifies this
overture as "heavy" dramatic. Once again, as with von Suppe and Czibuika, we see how
cartoon scores become the last haven for formerly popular concert pieces that have fallen
out of favor or vogue. Rapee, Encyclopedia o fMusic fo r Motion Pictures, 387. The
239
audience."81 In light o f this comment, we can presume that Jones and
writer Michael Maltese, along with Stalling and Milt Franklyn (Stalling's
orchestrator and the primary composer for W hat's Opera, Doc?), picked
selections from Wagner based on whether they believed the audience
would recognize the melodies. This attitude begins to explain the musical
choices for this film: very distinguishable selections from D erfliegende
Hollander, Rienzi, Tannhauser, D ie Waikure, and Siegfried. Instead of trying
to make a literal presentation of any one of Wagner's operas, Jones
appropriates what is most powerful or widely recognized, knowing such
tunes will get an audience reaction. It is unlikely Jones knew much about
the true sources of the music being used; he repeatedly states in his two
autobiographical books and in interviews that he knew little of music, or
Wagner, outside of his favorite quote of Twain's on the subject, "Wagner is
better than it sounds." Greg Ford has stated that, for years, Jones had no
idea that the music that accompanied his Road Runner and Coyote cartoons
to such great success was actually "The Dance of the Comedians" from
Smetana's The B artered Bride, not an original Stalling composition. What
this means is that the music used in What's Opera, Doc? was what Jones
accounting, of how many times Rienziand other Wagner pieces appear is drawn from my
research on the cue sheets for these cartoons.
81Jones, "Music and the Animated Cartoon," [np].
240
believed constituted Wagner's most popular melodies. (This is not to say he
did not know how to present the music appropriately; on the contrary/ the
production purposely played up the idea of "grand" opera, as Jones
recalled: "To keep Wagnerian opera's sense of grandeur, we used a huge
eighty-piece orchestra. It would have been less majesty [s/cj to do anything
unfair to the music. Although when I visited Wagner's grave, I did hear a
whirring sound."82)
While I have already discussed the eminence of Tannhauserand
why it features so prominently in W hat's Opera, Doc?, there can be no
melody more familiar in this short than the Valkyrie leitmotif, appropriated
and then fused with Elmer's hunting cry of "Kill the Wabbit!" It is in the
briefest of scenes that Elmer makes this declaration, yet this phrase has
lasted more clearly than any other in the collective memory of countless
cartoon viewers. The phrase "Kill the Wabbit" encapsulates almost two
decades of struggle for Elmer (he began hunting Bugs in 1940), and the
Valkyrie leitmoif onto which it is grafted offers an example of a perfect
Wagnerian motive: short, distinct, unique, and thus easy to identify. Uniting
the epitome of Wagner with the essence of Elmer is, no doubt, a brilliant
combination; it is so effective, in fact, that those who see the cartoon seem
82Jones, Chuck Reducks, 157.
241
unable to tear the two Icons—one visual, one aural—apart. (Recall the
quotation earlier from Levine: "In English translation, opera, and especially
arias from opera, become popular culture."83) Rather than taking on a new
life* this musical gesture still signifies Wagner, except it is Wagner as
portrayed by Bugs and Elmer.
The irony of the mundane Elmer expressing his desires through
music, and better yet, through W agner, makes for an endlessly comic
moment; Philip Brophy states: " It is almost as if this is actually a serious
cartoon—which is precisely what makes it so comical."84 Of all the serious
moments in W hat's Opera, Doc?, none is more so than this one, making it
also the funniest moment as well. Part of the scene's gravity, however,
comes from Elmer's expression o f murderous lust. By 1957 the meetings
between Bugs Bunny and Elmer Fudd had moved well beyond predictable.
As an adversary, Elmer did not offer much of an opponent for Bugs; the
man's biggest problem was that he was just too gullible. In order to
revftalize the feeling of conflict fo r W hat's Opera, Doc?, the stakes between
hunter and hunted had to increase. For the first time, then, Elmer audibly
states that he wants to k ill Bugs. In earlier cartoons Elmer proclaims "I'm
hunting wabbits," or "Ooooh, III get you for this, you, you . . . wabbit!"
^Levine, Highbrow/Lowbrow, 93-94.
242
Prior to this, Jones' cartoons—starring Bugs or anyone else—seldom (if
ever) dealt with issues of mortality. True, other directors had characters
"die" on screen (Clampett, in Hare Ribbin* Freleng, in Back A lley Oproaf),
and attempted murder and involuntary manslaughter occur in almost every
cartoon. For Jones, however, W hat's Opera, Doc? marked his first real
exploration of these ideas. The safety of the operatic diegesis allows Jones
to deal with death almost lightly: the comic juxtaposition between the
opera and cartoon worlds predisposes the audience to ignoring issues of
mortality—after all, how do you kill a cartoon character? At the same time,
however, Elmer's hunt and Bugs' subsequent death suggest that, in Jones'
mind, a death is a natural, if not essential part of an operatic narrative,
confirmed by Bugs' closing remark, "Well, what did you expect in an opera?
A happy ending?"
History of the production
Fifteen years before W hat's Opera, Doc?, which became the first and
only cartoon dedicated to Wagner, the Disney studio had devised an
animated scene from Die Wa/kure. (Disney had originally planned to update
Fantasia every year following its original release by constantly replacing
sections of the film with new musical sequences.) Robin Allen describes the
^Brophy, "The Animation of Sound," 99.
243
more than 100 sketches created in 1941 for an animated sequence on "The
Ride of the Valkyries" as "showing the descent of the Valkyries from the
clouds and their conducting of slain warriors to Valhalla." Disney planned to
address the music seriously; in a story conference he stated, "You'll get
embarrassing animation if you get Brunnhilde up there mugging, or one of
those things." The director of the sequence, Sam Armstrong, had intended
to base the sequence on the imagery o f traditional Norse mythology as
opposed to a purely Germanic/Wagnerian approach.85
Another precursor to W hat's Opera, Doc?, and a source for much of
its visual imagery—particularly the ballet sequence featuring Bugs in drag—
is from the cartoon's own studio. During World War II, all the major
Hollywood animation studios (Warner Bros., Disney, M-G-M, Lantz)
produced cartoons for the United States government for use in the war
effort, from training films to entertainment for the soldiers overseas.
Practically all the cartoons Warner Bros, produced from 1941 to 1945 had
some reference to the war and to the conditions it created in the United
States. More than a dozen cartoons from this period went much farther,
85Allen, W alt Disney and Europe, 264-265. The existing material on these unproduced
sequences indudes a basic list of possible works to animate in the future as well as
inspirational sketches on some of the pieces that went into early stages of production.
Some of these works induded Debussy's O aird e Lune, The Swan ofTuonefa by Sibelius,
and the Wagner, among others. While Disney's plan never came to fruition, several of the
244
and were specifically intended to make the Axis powers—mostly Germany
and Japan, less so Italy—look ridiculous in every possible way, depicting
them as bumbling, disagreeable, shifty, and in general the enemies of
good.86 H err M eets Hare told the story of one of Bugs' inevitable "wrong
tum[s] at Albuquerque," this time landing him in Germany's Black Forest,
where he meets none other than Hermann Goring, taking a break from the
war by going hunting (in lederhosen, in case we forgot he was German).
Bugs disguises himself as Hitler, but when Goring realizes the subterfuge,
Bugs runs off, only to reenter the scene wearing a wig (yellow hair with
long braids down the back), a Viking-style helmet, and riding a positively
Rubenesque (Clydesdale-inspired) white steed, accompanied by the main
melody of the "Pilgrims Chorus" from Tannhauser. Seeing this Bugs-
Brunnhilde, Goring zips off screen and rushes back dressed in a long brown
loincloth and Viking helmet (the horns of which grow in size, becoming
quite erect, as the Nazi eyes his companion lecherously). The two then
dance, not to a piece of Wagner's, but instead to music perceived as even
more quintessential^ German: two Viennese waltzes by Johann Strauss
("Vienna Life" and "Du und Du," the latter from D ie Ffedermaus).
pieces and artistic concepts that had been formulated to this end found their way into
Fantasia 2000.
245
Bugs' entry onto the scene on a large white horse and dressed as
Brunnhilde will show up fundamentally unchanged in What's Opera, Doc?.
the music stays the same, as well as most of the staging. When Bugs and
Goring dance together, we can see that they don't dance ballet— like Bugs
and Elmer in W hat's Opera, Doc?—but instead waltz in an almost slapstick
manner. A dance between Bugs and an admirer appears in both films, but
with radically different motivations: Goring, lost in the moment, is simply
following Bugs' lead , while Elmer and Bugs,, in the midst of an artistic
performance, are enacting part of the cultural expectations for such an
event. Jones has not formally acknowledged the influence H err M eets Hare
had on his own Wagnerian exploration, but the Warner Bros, directors often
borrowed ideas or expanded upon storylines they saw in the work of their
colleagues. Critic Jaime Weinman prefers the earlier version, stating: '\H e rr
Meets Hare\ is less strikingly designed and staged than Jones', but it's also
funnier, reveling in the absurdity of Bugs' drag routine and his adversary's
Siegfried costume. Jones, by contrast, almost seems to take the while thing
seriously."87 Perhaps partially to distance himself from Freleng's earlier
short, but also injecting his own sense of pomp into the story, Jones
86Wamer Bros/ biggest contribution to this effort came through a special series of shorts
starring an inept Army private, "Pvt. Snafu," who did everything wrong; the moral was
whatever you do, do n 't60 what Snafu does.
246
created a parody of the opera world itself in his cartoon, focusing only on
the performers and the performance, foregoing any references to the
composer, conductor, musicians (except for the tuning at the beginning), or
audience.
Because this cartoon appeared in 1957, we must consider the
possibility that Jones may have intended some sort of latent criticism
against Germany, in addition to the undisguised satire on opera and high
art music. Through its association with Hitler and Nazi Germany, Wagner's
music had become something to fear, something to hate. Horowitz notes
that Hitler, who "befriended Winifred Wagner" and "patronized Bayreuth,"
had forever "altered the meaning of Wagner"; in the United States,
however, he claims that "Wagner was less tainted by Hitler," the latter
having "no appreciable impact on orchestral programming." He lists
numerous conductors who led performances of Wagner's works during the
years the United States fought in World War II.88 In H err M eets Hare, the
director intended a ll of the German references as a comment against Hitler,
the Nazis, and Germany as a whole, with Stalling using Wagner as the
suitable musical backdrop for such criticism. Even before the war, film
composers had used tunes by Wagner and other German (and Austrian)
87Jaime Weinman, "What's Up, Chuck?," www.Saton.com (6 June, 2000).
247
composers to identify German characters or Viennese settings. The war did
not change the music Stalling and his colleagues used, but it complicated
the associations people had when hearing such pieces, adding a political
and emotional charge at a time when practically everything \v\ the media
referred to the war in one way or another. The comedic elements inherent
in what Jones retained from Freleng's cartoon (Bugs in drag and the ballet
sequence) does little to evoke World War I I directly; Jones' cartoon instead
takes on Wagner directly and only implicitly mocking German culture.
Probably the most obvious sign that Jones viewed What's Opera,
Doc?as more than just a regular cartoon is the amount of extra time and
attention that went into the film's actual production. Mike Barrier mentions
several of the unique elements of the film:
W hat's Opera, Doc? was unusual in any number of respects. .

. . Jones said, "it was one of the few times that we actually
corrected a storyboard before I did all the [character]
layouts." [Layout artist Maurice] Noble made extensive
inspirational sketches because, as Jones said, "a lot of the
story had to be told in graphics. . .the imagination of the
environment was important."89
Correcting the storyboard beforehand means that Jones and writer Maltese
wanted the story to be completely worked out before animation began,
while the inspirational sketches Noble created gave the animators a
88 Horowitz, Wagner Nights, 313.
248
tangible model upon which they could Base their work. Noble's role as
layout artist was therefore essential to the film's overall "look/' as he
visually constructed the mythic world for Elmer and Bugs' interactions.
Leonard Maltin calls Noble's designs "bold and forceful, with vibrant colors
and shadows." Noble recalled:
They thought I was bats when I put that bright red on Elmer
with those purple skies. I had the Ink and Paint Department
come in and say, "You really m ean you want that magenta
red on that?"90
Critic Philip Brophy writes that Noble created "incredible set designs, which
do not simply replicate the gaudy excesses of Wagner's music but stylize
even further conventional opera set design already replicating such formal
extremes."91 These details, when the entire production ended, added up to
a truly unique-looking cartoon both in detail and artistic approach. In order
to find the extra time to put so much work into a single cartoon, sacrifices
had to be made. For Jones' production unit, this meant giving less time to a
Road Runner cartoon, the series of formulaic cartoons created and
89 Barrier,Hollywood Cartoons, 542.

^Maltin, O fMice and Magic, 268. In this quotation Noble is referring to the scene where
Elmer becomes infuriated with Bugs and calls down the elements on his enemy; as he yells
out "III KILL the wabbit," the once normally colored scene is suddenly flushed with bright
magenta on Elmer and deep purple for the background, making for a truly dramatic
change of direction.
91Brophy, "The Animation of Sound," 99-100.
249
maintained by Jones and his group.9* The director and several of his unit
have recalled forging their time cards so that they appeared to be giving
equal attention to the Road Runner short, when in reality it was Wagner
that occupied their tim e.93
Barrier also notes that the soundtrack for the cartoon was completely
recorded before animation began. Recording the singing parts is a
necessary step in any cartoon, so that the animators have the final vocal
tracks, which they listen to when they animate the mouth movements of
each character. Jones' concept for W hat's Opera, Doc? required that, if the
characters were going to move in a choreographed fashion, let alone do a
ballet number together, a//the music be in its final form for the animation
to proceed.94
The production emulates not only the sound of opera, but also its
form, specifically in its use of ballet. Having Bugs and Elmer dance during
the Venusberg music adds another performance dimension to the cartoon,
which includes singing, instrumental music, dramatic acting, and now ballet
(even though ballet is not an inherent part of any Wagner opera, except for
92 Bamer, Hollywood Cartoons, 543. Jones told Barrier that he could "lay out a Road
Runner in two weeks or less because I was so familiar with the characters."
93Jerry Beck, editor, The 50 Greatest Cartoons: As Selected b y 1,000Animation
Professionals (Atlanta: Turner Publishing, Inc., 1994), 31.
94 Barrier, Hollywood Cartoons, 542.
250
the Venusberg sequence in Tannhauser). Ever vigilant about realistic
portrayals of such performances, Jones researched the scene thoroughly:
"When we were making the film, Titania Riabachinska and David Lichine of
the Ballet Rusee de Monte Carlo were working on the Warner Bros, lot, and
we went to the studio where they were rehearsing to sketch them before
creating the W hat's Opera, Doc?scene."95 Rather than copying the exact
movements o f the ballet dancers by rotoscoping them,96 Jones and his
animators instead used their studies to create a more realistic duet between
Bugs and Elmer, thus staying clear of the farcical dance in H err M eet Hare.
Storvtellino in W hat's Opera. Doc?
As Weinman's quotation above suggests, Jones takes his subject
matter very seriously. In addition to presenting an abbreviated form of The
Ring, W hat's Opera, Doc?also allowed director and composer alike to
exploit Wagner's cultural significance to its fullest. The cartoon embraces
public perceptions about opera in general, specifically those associated with
Wagnerian opera (women with golden braids singing while wearing
cuirasses in fantastic, otherworldly settings). The score cites Wagner's most
famous melodies from more than a half-dozen different operas, played out
95Jones, Chuck Reducks, 159.

96Recali that rotoscoping is an animators tool in which live action film is traced, one frame
at a time, to provide a more realistic animated reproduction of real-life motion.
251
through a screenplay consisting o f rapidly changing plot points that
represent the most important narrative motivations for all of Wagner's
dramas combined. In this sense, Jones maneuvered Wagner's concept of
Gesamtkunstwerk into a modem—or, rather, postmodern—perspective. The
cartoon represents not only a total work of art, but aspires to sum up the
totality of Wagner's artworks in a single serving, preserving only the most
important ideas, musical and dramatic. Animation historian Steve Schneider
states:
[ W hat's O pera, Doc?\ provides a singular example of why

these [cartoon] characters are loved in the first place—
because their actions and personalities, whether sassy or
sophisticated, pull us into intimate touch with them, and
thereby provide the pleasure of breaking down our sense of
the cold remoteness of mythic figures. Indeed, the film almost
invites us to serve as coconspirators with its characters
against the bombast and intimidation of the Wagnerian
universe. With artful adroitness, What's Opera, Doc? blurs
some of the boundaries between spectacle and spectator.
High and low are here deliciously intermixed.97
What makes the success of W hat's Opera, surprising is that most
people who see the film have little or no knowledge about Wagner, The
Ring, or his notion of Gesamtkunstwerk. Expecting this of their audience,
Jones and Maltese drew on the most typical, if not stereotypical, scenes
from Wagner's narrative arsenal, in the hopes that viewers would have at
97 Beck, The 50 Greatest Cartoons, 35.
252
least enough familiarity with the standard plot points of operas to get the
idea. The main episodes they use, with their accompanying Wagner cues,
are:
1. Overture
D erfliegende Hollander
2. The mighty warrior (Elmer/Siegfried) on display as warrior/hunter
Valkyire and Siegfried leitmotifs
3. Love duet between hero and heroine (Bugs/Brunnhilde)
Tannhauser {Pilgrims Chorus)
4. Magical power of the gods/battle sequence
Valkyrie leitmotif
5. Tragic death scene
Tannhauser overture
Linking these different dramatic moments up to each other prevents the
cartoon from achieving any level of narrative continuity or progression; the
general nature of each scene would have allowed for any order, so long as
the tragic death scene came at the end. A particularly noticeable shift
occurs when Elmer, chasing Bugs on foot across the countryside
(accompanied by a brief excerpt from the R ienziOverture), stops abruptly
when he spies Bugs, in drag as Brunnhilde, riding down to greet him; the
music marks this drastic change in direction (and attire) by switching to the
beginning o f the Tannhauser Overture, replete with bold trombones to
properly illustrate the majesty of Bugs7descent from on high. In Wagner's
world such a scene never happens, yet Bugs (or, rather, Jones) resolves
the conflict with Elmer by reverting momentarily from the rules of dramatic
253
opera and instead appropriating the narrative logic (or lack thereof) that he
normally deals with, thereby enabling his cross-dressing subterfuge to
succeed (inspired, of course, by H err Meets Hare) .
Thus we encounter the other shaping force behind this story, the
one that allows Jones and Maltese to bring two worlds into conflict: the
metanarrative of the animated cartoon which, in this case, is the chase
between hunter and hunted. Fundamental to this type o f storyline is
expecting the unexpected, since Bugs has every right to use any means at
his disposal to keep Elmer from catching and/or killing him. Cartoons that
fall into this sub-genre usually consist of disparate scenes in rapid
succession. What's Opera, Doc?contains the expected and reassuring story
details that any Wagner opera should have, while still containing the
unpredictability for which the Warner Bros, cartoons had become famous.
By putting the two styles together, Jones can appeal to the cartoon and
opera fan at the same time. Seeing Elmer and Bugs in the same story is
enough for any cartoon fan to fathom the implicit narrative—Elmer hunting
Bugs—of the cartoon. (In case some of us do not get it immediately,
however, Jones clearly indicates the chase subplot with the opening
words/arioso: "Be vewy quiet—I'm hunting wabbits!") The subplot exists
not merely as motivation for the story itself; the ongoing conflict between
254
Bugs and Elmer binds the gaps between the four operatic episodes. Elmer's
consuming desire to catch Bugs transcends time, place, or setting. As with
all previous confrontations, Elmer states "Be vewy quiet, I'm hunting
wabbits," Bugs verbally toys with Elmer, and then mentally and physically
abuses him until a critical moment when somebody gets "hurt." Knowing
that all this will unfold gives the cartoon fan a sense of security in the
cartoon's outcome, very similar to the expectations a devotee of opera
would have coming from a very different perspective.
But the story must also end in accordance with the audience's
expectations (as perceived by Jones) for an opera. Christopher Small points
out that all stories "partake of the nature of myth," and that even the
conventional "happy" ending leaves us wondering, "What makes people
happy?"98 In this case, Elmer triumphs over Bugs, for Jones' notion of
Wagner's universe dictates that the story must involve a tragic death, yet
this confounds the archetypal Warner Bros, chase, which has Bugs
prevailing. As Elmer/Siegfried carries the lifeless Bugs/Brunnhilde off into
the distance (perhaps to an altar or a funeral pyre), Bugs—lest we forget
we are watching a cartoon—breaks character and the fourth wall to address
the audience with: "Well what did you expect in an opera? A happy
98 SmalI, Musicking, 101.
255
ending?" A death provides the audience with what they "expect" from a
dramatic opera, while Bugs'trickery at not being nsa/Zydead fulfills our
desires that he should outsmart Elmer the hunter. Everybody is happy.
When the thrust of the opera narrative weakens momentarily, the
characters' personalities as cartoon characters reenergize the scene. The
humor comes from their established personalities as cartoons functioning in
the fantastic and yet straitlaced world of Wagner, not from the pratfalls and
explosions typical to cartoons, especially the vaudeville-based style of the
Warner Bros, shorts. Jones apparently felt some such respect toward the
composer was necessary: "There are no gagsin the film. We believed that
a rabbit and a hunter working with that grand music in a fully Wagnerian
environment would be funny enough in itself. But with the humor coming
from personality rather than from gags, the need to play the music properly
and to make the action logical became more emphatic."99
Saying that there are absolutely no gags in W hat's Opera, Doc? is
not quite accurate; what Jones probably meant is that there are no cartoon-
basedgags in the film. In his quest to preserve Wagner's dramatic integrity,
Jones refrains from the physical or verbal-based humor that usually
pervades his cartoons. Instead, he allows the seeming misalignment of high
"Jones, Chuck Reducks, 157.
256
and low art forms to create a comedic tension, out o f which comes the
humor of the cartoon. As Mike Barrier put it, "Jones obviously respects both
his principal ingredients, Bugs Bunny and Richard Wagner. He invites his
audience to sneer at neither one, but to enjoy the incongruity of Bugs
Bunny in a Wagnerian setting instead."100 Gags do occur in the cartoon,
however; they just do not occur as explicitly or gratuitously as in normal
cartoon plots. For instance, when Elmer states he is going to "Kill the
Wabbit!," Bugs rises from his hole, rhetorically repeats "Kill the Wabbit?,"
and then blinks his eyes rapidly several times with a distressed look on his
face. The gag comes from the rhythm of the blinking: it is exactly in sync
with a quick bit of the "Kill the WabbitTValkyrie motif on the flute, so that
Bugs' gesture looks momentarily comic and distraught. Likewise, when
Elmer conjures the forces of nature to "strike the Wabbit," the final and
most vehement Earthly power he calls down is "Smog!," which he yells at
the top of his lungs. The reference to smog, a common joke about the
pollution in Los Angeles (especially by the 1950s), briefly startles the
audience out o f the opera's universe with a bit of topical humor.
When Elmer destroys the mountains around him in retaliation for
Bugs' turn in drag, using all the powers of nature ("Arise, storms! Lightning!
100 Barrier, Hollywood Cartoons, 542.
257
Earthquakes! Hurricanes! SMOG!") at his disposal with his "magic helm et/'
Jones puts the narrative perspective o f the short into question. As the
mountains come crashing down, the audience wonders, "Is this taking place
on the stage o f an opera house or in a world of animated make-believe?"
We can see the falling mountains as either a stage's backdrop crumbling, or
proof that Elmer indeed has the powers he claims to wield in Wagner's
universe. Thinking back to the beginning of the cartoon further complicates
the situation: the cartoon begins with a title card and credits, while the
sounds of a tuning orchestra are heard, complete with bits of "The Ride of
the Valkyries" and other motifs. Layout artist Maurice Noble recalled, "We'd
had a production designer that wanted to have the proscenium arch right
on stage all the time. [Jones] said, well, to hell with that, you know, I
wanted to have super grand opera. [Jones] threw away the arch completely
and immediately began writing on a grand scale/'101 Jones has also stated
repeatedly th at with What's Opera, Doc? he hoped he could take two
unpredictable elements (Bugs and Elmer), drop them into the ordered world
that Wagner created in his operas, and see what happened.102 The
audience understands that they are seeing an animated spoof on opera and
101Maurice Noble, interview by Greg Ford and Margaret Selby, "Chuck Jones: Extremes and
Inbetweens, A Life in Animation," Public Broadcasting System, 22 November 2000.
258
all the stereotyped situations associated with it; whether or not they believe
the story takes place in the Rhineland where The Ring takes place does not
matter as long as Bugs and Elmer play out their parts to the fullest, which
they do.
Incidentally, one stereotype that Bugs does n o t embody is the
prototypical operatic woman. Jones injects his characters into an unusual
performance space, but he only compels them to adopt the attire of their
environment and not the physical form of the indigenous persons. For
Bugs, this means assuming the costume of a Wagnerian diva, but not her
stereotypical size. The horse Bugs rides while posing as Brunnhilde,
however, more than makes up for it. Taking the horse from Herr Meets
Hare as a starting point—which itself appears to have been influenced by
the centaurs in the Pastoral Symphony section of Fantasia, which in turn
were inspired by classic Greek vase paintings—Jones exaggerates Bugs'
steed to the point of absurdity, allowing the bunny as Brunnhilde to make a
truly grand entrance. In his autobiography Chuck Amuck Jones explains:
"Missing the great pink, busty quality of the proverbial Wagnerian diva, we
invested all the fat curves we owned in Briinnhilde's charger." He restates
the case slightly in Chuck Reducks: "Since we didn't have a voluptuous
102In addition to discussing this in "Chuck Jones: Extremes and Inbetweens," Jones also
259
soprano at hand, I designed a voluptuous horse as a stand-in."103 Jones'
prejudices for Wagnerian opera come out clearly here; because he cannot
change Bugs physically, he has the horse serve as surrogate instead. Jones
even gives the horse a bit of personality: when Bugs and Elmer dance their
ballet together, one move has Bugs hiding coyly behind the horse and
Elmer giving chase playfully, while the horse looks on at their capering
about with a clearly perceptible sneer.
In his discussion of storytelling and the use of myth, Christopher
Small states that "the historical accuracy of a myth is more or less irrelevant
to its power as paradigm .. . ."104 As opposed to striving for complete
historical accuracy—using a scene directly from a Wagner opera with the
music originally written for it—Jones and Maltese instead go for a more
entertaining approach, creating a cartoon that is culturally accurate; that is,
it provides audiences with the most familiar parts of Wagner's drama and
music, fulfilling our expectations about what Wagner's operas should look
and sound like. For most people in the 1950s, as Horowitz shows, Wagner
represented "Opera" both musically and stylistically; this cartoon gives
those who never had the opportunity to see an opera a glimpse o f what it's
stated this to me during a telephone interview on 14 September, 1994.

103Chuck Jones, Chuck Amuck: The Life and Times o fan Anim ated Cartoonist{New York:
Avon Books, 1989), 207; Jones, Chuck Reducks, 165.
260
like and levels some satire at some of the sacred icons of the spectacle.
This cartoon also fulfills all the archetypal criteria (as Jones saw it)
necessary for having an opera, letting Jones take "14 hours of The Ring o f
the Niebeiungen and reduce it to six minutes."105 This may begin to explain
the short's success: instead of trying to present a novel or even modernized
way of looking at a piece of classical music (as in Fantasia), What's Opera,
Doc?shows us exactly what we expect. For those unassociated with opera,
the cartoon confirms everything stereotype.. For Jones, opera could be
represented through a certain vocabulary of icons, musical and visual; as
long as the overall gesture worked, it didn't matter what road he traveled to
get there.
Conclusion
Having looked at both Fantasia and W hat's Opera, Doc?, we can
begin to see how the two very different films have created equally diverse
followings. After its release in 1940, Fantasia was rereleased in theatres
every few years until the 1980s, when it first became available on home
video. W hat's O pera, Doc? appeared in theatres in 1957, and almost
104Smail,Musicking, 101.
105Jones, "What's Up, Down Under?/' 39.
261
immediately began appearing on syndicated television shows.106 Fantasia's
scope (eight composers) and its extraordinary length (two hours) makes for
a drawn-out viewing experience, particularly for young children. At six
minutes-plus, W hat's Opera, Doc? offers a brief survey of Wagner's
"greatest melodies"; as in his other takes on classical music {The Rabbit o f
Seville, Baton Bunny, High Note), Jones limited his subject to one
composer, allowing him the luxury o f saying as much as he could in the
time allowed about a single musical style. Because its agenda as a vehicle
for music appreciation could not be more explicit, Fantasia remains firmly
grounded as a film celebrating the canon of the concert hall, a difficult
argument to make as classical music becomes less and less self-sufficient
among other cultural forms. Robert Fink claims: "The classical masterwork
canon has always been firmly on the side of selling art as serious moral
endeavor."107 Fantasia was one of the few cartoons using classical music
that made such claims; perhaps modem audiences no longer wish to be
told what music is good for them. W hat's Opera, Doc?did not have the
same lofty goals as Fantasia, and thus it could be seen as a cartoon and not
as a learning device. By making Wagner more significant for modern
ioejhe original Bugs Bunny Show began in 1960, and some program showing the Warner
Bros, cartoons has been on the air ever since. Beck and Friedwald, Looney Tunes and
Merrie Melodies, 373.
262
viewers through its use in modern media, perhaps Jones did not do a
disservice to Wagner's spirit but instead helped to sustain it with a new
significance heretofore unimagined, a significance that explains its
continued popularity.
Part of what makes these cartoons especially valuable is that they
render a brutally honest view of the idiosyncrasies of concert halls and
other performance spaces. Much of the humor comes from the anbcs of the
characters involved, but usually the depictions of the halls, the audience,
and the musicians are very faithful, almost to a fault. When Bugs,
attempting to perform on the piano, shoots a coughing audience member,
we laugh at the extremes to which the rabbit goes to remedy the annoying
situation, yet we also know that the same aggravations happen all the time
in real life.
The bulk of these cartoons appeared when the classical music
(commodity) industry was at its productive peak and the concert hall canon
was at its strongest level, defined and redefined with every new season of
Toscanini and Damrosch, who informed radio listeners countrywide of the
music they needed to be hearing for cultural fulfillment. The canon and its
supporters could defend themselves from the explicit narrativization of
107Robert Rnk, "Elvis Everywhere: Musicology and Popular Music Studies at the Twilight of
263
classical music in cartoons simply by ignoring them altogether. From the
1950s onward, the same cartoons began to receive heavy exposure
through syndication on American television, exposing new generations to a
slanted view of classical music and opera. The main problem was that at
this point, the power o f the culture industry had begun to diminish slowly.
The definition of the canon became less secure, and music programs in
schools could no longer instill the same sense of reverence around it; its
supporting facilities—radio, in-class study guides, and, of course, Toscanini
and Damrosch—had begun fading away.
The role of classical music in cartoons has gone from parody to, in
the last twenty years, a form of music appreciation, since many people
claim to have their first exposure to classical music specifically from
cartoons. These cartoons, with their constant aural/visual presence in
children's television programming, are the new foundation for classical
music learning in the minds of children. Many would argue that such
exposure renders Beethoven, Mendelssohn, and Wagner nameless (in
cartoons, there is no tim e to mention the names of those spoofed
composers), and that their respective works are chopped up and reduced,
like a stockpot of classical melodies, until only the most essential essence of
the Canon," American Music 16:2 (Summer 1998), 143.
264
the now-defunct canon remains—the same short melodies that found their
way into silent film underscores only decades earlier. Whiie this may be
true for some, the music in cartoons still serves as its own form of
inspiration to learn more about the composers caricatured and parodied in
all cartoons, particularly because the form is animated. These cartoons not
only entertain, but they also inform us of how people considered classical
music when that was a dominant form of popular culture.
265
Epilogue
In the opening pages of this dissertation I stated that I would not
ask "What is cartoon music supposed to do?" yet everything I have
explored relates in some way to this question. Cartoon music, like
traditional film music, is meant to enhance the overall feeling of the picture,
providing a musical analogue to the action that can tell the audience what
to feel and when to feel it. Music for cartoons has the additional role of
supplying an implicit sense of timing through the rhythm of the music. All of
these tasks are meant to make the cartoon enjoyable to watch, and I have
shown through various examples how the music does just that: it enriches
the viewing/listening experience. At the same time, I have been building a
case as to why we should study music for cartoons at all. Cartoon music's
relevance lies in the connection it provides to the ideas and beliefs—about
culture, class, comedy, and even music itself—that circulated in America
more than a half-century ago.
I began this project wanting to investigate the relationship between
classical music and cartoons. When I probed the cartoon scores more
discriminately, jazz and classical music repeatedly surfaced as dominant
musical presences, as a source of both melodic and narrative inspiration. I
266
also wanted to discuss the legacies of Carl Stalling and Scott Bradley,
names that have been associated with music for cartoons for some time.
They quickly emerged as the primary figures in the creation of cartoon
music as its own compositional form, yet the lack of any substantive work
on either composer compelled my further research. Thus, my project
became a case of interrelated case studies, each providing a different angle
of the same picture.
I also stated in Chapter One that no single discipline had taken up
the cause of cartoon music, and that my work would have to draw on
several areas of study simultaneously. What I did not mention was the
distinct advantage of such an arrangement: situating myself among
numerous disciplines let me combine different methodologies and
approaches to come up with the best possible means of grappling with this
topic. The theoretical framework of film historians such as Henry Jenkins
and Rick Altman, combined with models for musical analysis by Martin
Marks and Susan McClary, allowed me to engage with different levels of
discourse simultaneously. The questions raised by historians and cultural
theorists such as Michel Chion and Joseph Horowitz enabled me to envision
issues and ask questions I would not have seen before.
267
Although I investigated several key topics of production and
reception of cartoon music, I had to shelve others, at least for this project.
Differences in directorial approach likewise presented far too vast a subject
to discuss in detail. I did briefly mention a few of the stylistic idiosyncrasies
of Tex Avery, Chuck Jones, Friz Freleng, and William Hanna and Joseph
Barbera, but much more work can be done regarding how each of these
directors-and dozens of others, including those who worked for studios
other than Warner Bros, or M-G-M-used music in their films. For a more
complete picture of the creative process in each studio, we need to know
how much musical training these men had, what role they felt music should
play in a cartoon, and what kind of relationships they had with their
respective composers.
I have tried to reconstruct, in part, the methods of composition and
production that Carl Stalling and Scott Bradley employed in their daily work.
By examining their music in detail, taking into account the production
process they followed for each cartoon, we have a clearer idea of the craft
and skill that went into cartoon-music composition. People have tended to
dismiss cartoons for the reasons I discussed in the Introduction-all cartoons
are seen as generic, shoddily produced knock-offs that have no cultural
value. Yet if we just scratch the surface we can see a host of complex
268
mechanisms present in the films in question: storylines that sometimes rival
Hollywood films in complexity, character personalities (fictitious cartoon
characters, no less!) that draw on notions of Hollywood stardom and fame,
and of course, ridiculously complex complicated music, usually composed
specifically for each scene in which it appeared.
With increased knowledge concerning the amount of compositional
talent necessary to write scores, we can better understand Scott Bradley's
struggle for recognition. He did not seek personal fame, but
acknowledgement for the discipline in which he was so vested. When
Bradley mentions how carefully he crafts each score and the strict
guidelines he uses for every cartoon, he echoes Stravinsky's own thoughts
on composing from Poetics o f Music.
My freedom will be so much the greater and more meaningful

the more narrowly I limit my field of action and the more I
surround myself with obstacles. Whatever diminishes
constraint diminishes strength. The more constraints one
imposes, the more one frees one's self of the chains that
shackle the spirit.1
Bradley's bravura-laden statements take on an entirely different meaning in
this light. We can think about the stigma attached to cartoons as the
ultimate in "obstacles," and thus a point of inspiration and stimulation for
1Igor Stravinsky, Poetics o f Music (New York: Vintage Books, 1956), 68.
269
Bradley, who always pushed the boundaries of his chosen form of
expression.
This project has also provided a clearer picture of the repertory of
familiar melodies that circulate within popular culture. These tunes, drawn
from every stylistic genre and historical era imaginable (represented here in
Appendix B), form a modern-day music compendium, not unlike Rapee's
Motion Picture Moods. This body of music has become a reference point for
musicians and mass audiences alike, who can identify melodies by Stephen
Foster or Richard Wagner as music heard, among other places, in cartoons.
Songs like "De Camptown Races," large-scale pieces such as Tannhauser,
or even silent-film mood pieces like J.S. Zamecnik's "In The Stirrups,"
receive renewed vitality after being used in cartoons, resonating for us
years later even when they have come to signify something completely
unrelated to their original significance or meaning. Having an awareness of
this music thus helps us better understand our (pop) cultural heritage.
A glance at the industry in our own time reveals that a great deal
has changed. With the demise of the animation units run by and/or for
major Hollywood companies, the power shifted to independent animation
studios, who could supply the seemingly insatiable demand for children's
television programming, featured both weekdays after school and Saturday
270
mornings. Studios including Hanna-Barbera, Filmation, DIC, Ruby-Spears,
and others paid little attention-or money-in the 1970s and 1980s on such
luxuries as unique sound effects or original music. The stock music they
typically used is a topic for future investigation. In short, both the
animation (the photocopying of cels and repetition of backgrounds ad
infinitum) and the music (the use of stock cue libraries and hyper-generic
mood music) simultaneously regressed in originality and creativity, while
exceeding their predecessors in consumer popularity.
A resurgence of interest in the now-classic Warner Bros, cartoons in
the late 1980s, led by the Steven Spielberg-produced Tiny Toon
Adventures, brought about a renaissance in cartoon production. Networks
and cable channels commissioned entirely new series, including Ren &
Stimpy, Rugrats, Animaniacs, Batm an, and Doug, many of which went out
of their way to identify themselves-through storylines, design
characteristics, voice actors, and music-with the animation styles of their
animated progenitors. The Warner Bros. Classic Animation group, producers
of Tiny Toon Adventures, Animaniacs, and Pinky & The Brain, among
others, were especially interested in reviving the sound and feel of Carl
Stalling's music, which had been reintroduced to the public with the release
of the first C ar!Stalling P rojected. Composers like Richard Stone helped to
271
re-introduce audiences to Stalling's style of composing, making people
aware of the complexities and subtle humor that pervades all of the Warner
Bros, cartoon scores. The popularity of the C arl Stalling Project and Stone's
revival and supplementation of the melodic arsenal Stalling established (by
adding new tunes, many of which came into the public domain after Stalling
stopped working) compels us to reexamine the modem cartoon score,
which has reclaimed its role, abandoned during the 1970s and 1980s, as a
link between popular culture of the present and years past.
But that's not all—folks. While I have brought up some significant
points for discussion, the discourse on cartoon music has yet to be
established. Practically no research has been done on music for cartoons
prior to 1928, nor does any significant information exist on the music of
Terrytoons, Columbia Cartoons, or UPA shorts, to name just a few. Further
study of the intertextual relationships between animation and other
entertainment forms—vaudeville, musical theatre, and every possible genre
of film—is needed to clarify further the varying roles music takes in
cartoons. I do not see Happy Harmonies as the definitive work in the field,
but rather just the first of many critical studies on the art and craft of
cartoon music.
272
Appendix 1A
A CARTOON-BY-CARTOON RECORD OF POPULAR SONGS USED IN

WARNER BROS. CARTOONS
This is a condensed version of the information that appears on the
music cue sheets for the Warner Bros, cartoons, provided by the Warner
Bros. Archive at USC. The information about the cartoons—title, release
date, and credited composer—comes from Jerry Beck and Will Friedwald's
filmography, Looney Tunes and M errie Melodies: A Complete Illu strated
Guide to the W arner Bros. Cartoons.
Each cartoon has its own record, which includes the title, a sequence
number that corresponds with Appendices 1A and 1C, the cartoon's
composer, the date the cartoon was released, and the date that appears on
the original cue sheet, which often comes many months a fte rth e cartoon's
release. Each song listed has a cue number (the order in which it appeared
in the cartoon), the title, the composers, how it was used (background or
visual, instrumental or vocal), and how long that particular cue lasted.
Because this database was created to help examine the borrowed
melodies in the Warner Bros, cartoons, I have chosen to omit both original
music by the cartoon's composers (except in certain circumstances, as
when there is a song written especially for the cartoon), as well as any
273
listing of a song that appears more than once. What this leaves is a
condensed list of the music referred to or cited outright within each
cartoon. Because I have narrowed down the entries on each sheet, the
number assigned to each song is not sequential from the last.
These cue sheets were compiled over four decades by numerous
individuals, and therefore many inconsistencies exist, particularly between
the names of composers. I have remained faithful to the original cue sheet
in reprinting these names, although for the sake of consistency in the song
index I have "cleaned up" some of the song titles.
Appendix IB is an alphabetical list of all the cartoon titles with
sequence numbers, provided so that a specific cartoon in Appendix 1A can
be found without the release date. Appendix 1C is an index of every song
catalogued in Appendix IB , listed alphabetically by song title and with the
corresponding cartoon sequence number(s).
274
#1 S inkin' In The Bathtub Frank Marsales
Released 9/1/1930_______ Cue Sheet Date_3/15/1930_________
1 Singin* in the Bathtub M.deary, H.Magidson, N.Washington
2 Spring Song F.Mendelssohn
3 Chicken Reel Unk.
4 Tlp-Toe Through the Tulips With Me Burke, Dubin
S Lady Luck R.Perkins
6 Hearts and Rowers Tobani
7 Painting the Clouds With Sunshine Burke, Dubin
8 I'm Forever Blowing Bubbles Keilette, Kenbrovin
9 Reuben Reuben I've Been Thinking Rachel, Ruben
11 Jolly Robbers Overture F.von Suppe
12 Mammy Berlin
#2 Congo Jazz Frank Marsales

Released 10/1/1930 Cue Sheet Date
1 Hot Time in the Old Town Tonight Metz
2 Around the Mulberry Bush Unk.
3 Battle Hymn of the Republic, The Unk.
4 I'm Crazy For Cannibal Love A.Bryant, E.Ward
5 When the Roses Get the Blues For You Burke, Dubin
6 Giving It This and That M.Gotder, Meyer
#3 Hold Anything Frank Marsales

Released 11/1/1930 Cue Sheet Date 7/18/1930
1 Dance of the Wooden Shoes deary, Magidscn
2 Yankee Doodle Unk.
3 If I'm Dreaming Burke
4 H'llo Baby deary, Magidson
5 Don't Hold Everything Brown, DeSytva, Henderson
#4 The Booze Hangs High Frank Marsales

1 Harvest Song H.Akst
2 Little Street in Honolulu A.Sherman
3 By Heck 5-R.Henry
4 One Little Drink H.Akst (Vocal)
5 Turkey in the Straw Unk.
6 Sweet Adeline Unk. (Vocal)
7 Hot Time in the Old Town Tonight Brockton
#5 Box Car Blues Frank Marsales

1 Alabama Bound Brown, DeSytva, Henderson
2 Cryin' For the Carolines H.Warren (Vocal)
3 Chinnln’ and Chatdn' With May B.Reids, S.Simons
4 Highway to Heaven Burke
5 Head Start Herzberg
275
#6 The Big Man From The N orth Frank Marsales
Cue Sheet Date
1 Looking For the Lovelfght in the Dark Burke, Dubin
2 Chinnin’ and Chattin’ With May B.Fields, S-Simons (Vocal)
3 Man From the South, The R.Bloom (Vocal)
4 Tm Needin' You J.LitUe
#7 A in 't Nature Grand Frank Marsales

1 Piccolo Pete J.Baxter
2 Telling It To the Daisies Lewis, Warren
3 Kiss Waltz Burke, Dubin (Vocal)
4 Under the Sweetheart Tree Green, Stept
5 Don't Teii Her What Happened To Me Brown, DeSytva, Henderson
#8 Ups'n Downs Frank Marsales

1 Lady Luck Perkins
2 Reuben Reuben I ’ve Been Thinking Unk.
3 Dutch Warbler Unk.
4 Sonny Boy Brown, DeSytva, Henderson
5 Tiger Rag Walker
6 Nobody Cares If Tm Blue H-Akst, Clarke
#9 Dumb Patrol Frank Marsales

1 Merry Go Round Broke Down C.Friend, D.Franklln Background Instrumental 0.13
1 Get Happy Koehler Orchestra and Vocal
2 Madelon Robert Vocal
3 There's a Long Long Trail S.KIng, Z.Elliott Background Instrumental 0.17
3 Under the Moon Its You White Orchestra
4 Mademoiselle from Armentieres Unk. Background Instrumental 0.13
4 Shuffle Your Feet McHugh Orchestra
5 Living a Life of Dreams Cowan Orchestra
6 Nine Little Miles From Ten-Ten-Tennessee Conrad Orchestra
7 Here Comes My Blackbird McHugh Orchestra
8 Watch on the Rhein, The Unk. Background Instrumental 0.11
9 When Love Comes In the Moonlight Burke, Dubin Orchestra and Vocal
14 Ach du Ueber Augustin Unk. Background Instrumental 0.10
#10 Yodeling Yokels Frank Marsales

1 I Miss My Swiss Baer Vocal
2 Maybe Its Love Gottler, Meyer, Mitchell
3 Leave a Little Smile J.Burke, A Dubin
4 Spending and Evening With You M.Mencher
6 Laughing At Life Todd
276
#11 Bosko's Holiday Frank Marsales
Released 7/1/1931_______ Cue Sheet Date___________________
1 I Cant Give You Anything But Love Baby McHugh
2 Funny Little You Robinson
3 Doing the Sigma Chi Lewis
4 Hullabaloo Dolan Vocal
6 Tie a Lithe String Around Your Finger Simons Vocal
#12 Trees Knees Frank Marsales

1 Trees Rasbach
2 Bowery, The Unk.
3 In Memory of You J.Burke, A.Dubin
4 Rock-a-Bye Baby Unk. Vocal
5 Dancing With Tears In My Eyes J.Burke, A.Dubin
7 We're Friends Again Ahlert, Turk
8 Walking My Baby Back Home Ahlert, Turk
9 Lazy Lane Rubens
#13 Lady Play Your Mandolin Abe Lyman 81 Orch.

1 Lady Play Your Mandolin Levant Vocal
2 Gay Caballero Crumlt
3 Get Happy Koehler
4 Qeiito Undo Fernandez
#14 Smile Dam Ya Sm ile Abe Lyman & Califs

1 Smile Dam Ya Smile Rich Vocal
2 Good Morning To You Aiken Vocal
4 Kingdom Coming (Jubilo) Unk.
5 Pomp and Circumstance E.E!gar
#15 Bosko's Shipwreck Frank Marsales

2 Mysterloso No. 2 J.S.Zamecnlk
3 Storm Music No. 10 J.S.Zamecnik
4 Happy Little Tune Rich
#16 One More Tim e Abe Lyman &. Orch.

1 One More Time LBrown, B.G.DeSytva, R.Henderson Orchestra
3 Dancing With the Daffodils J.Uttie Orchestra
277
#17 Bosco the Doughboy Frank Marsales
Released 10/17/1931 Cue Sheet D a te__________________
1 Hot Time In the Old Town Tonight Metz
2 Ooh Hoo You Hoo Woods
4 Yankee Doodle Unk.
6 Am I Blue H.Akst, G.CJarke
8 Fury No. 8 J-S.ZamecruSk
10 When the Night is Young Greer
14 Hearts and Flowers Tobani
15 That's the Time a Fellow Needs a Girl Friend Slept
#18 You D on't Know W hat You're D fiin g Gus Amheim's Orch.
Released 10/21/1931 Cue Sheet D ate
1 You Don't Know What You're Doing Meyer
3 Keep Kissable Russell
4 Silver Threads Among the Gold Unk.
#19 Bosco's Soda Fountain Frank Marsales

1 Hot Time in the Old Town Tonight T.Metz
2 It Looks Like Susie Friend
4 You Cant Do That To Me Goodhart, Nielson, Nelson
7 Singing Lesson, The Bemie
8 Yankee Doodle Doll Hoffman
9 Cant You Read Between the Unes Meyer
#20 H ittin ' the Trail For H allelujah Land Frank Marsales
1 Get Happy Arlen, KoehHer
2 Hittin' the Trail For Hallelujah Land Bloom
3 De Camptown Races S.Foster
9 Just a Blue Eyed Blond Rortto
#21 Bosco's Fox Hunt Frank Marsales

1 Hot Time In the Old Town Tonight T.Metz
3 Many Happy Returns of the Day J.Burke, A.D u bln
4 It Aint Gonna Rain No More W.Hall
6 I Cant Write the Words Fields
8 Waiting For a Call From You Simons
#22 Red Headed Baby Frank Marsales

1 Get Happy Koehler
2 Red Headed Baby Coots
278
#23 Bosko A t The Zoo Frank Marsales
1 Ta-Ra-Ra-Ra-Boom-Oe-Ay Unk. Vocal
2 Looney Tune Step, The Frank Marsales 0.00
3 There’s A Blue Note In My Love Song Shapiro
5 I Got To Settle This Tonight Or Never Henderson
7 I'm Happy When You're Jealous Ruby
#24 Pagan Moon Frank Marsales

1 Get Happy Koehler
2 Pagan Moon Burke, Dubin Vocal
12 When The Bell In The Lighthouse Tower Solomon Vocal
#25 Battling Bosco Frank Marsales

I Turkey In the Straw Unk.
7 Battling Boses Frank Marsales Vocal
9 Settln' By The Fire Robinson
II A Hot Dog A Blanket And You Newman
13 In The Shanty Where Santy Claus Lives Woods
#26 Freddy The Freshman Frank Marsales

1 Get Happy Koehler
2 Yale Boola Feist Vocal
3 Freddy the Freshman (The Freshest Kid In Oppenhelm
6 It Looks Uke A Big Time Tonight E-Van Alstyne, H.Willlams
10 Fight On FOr U.S.C Melrose Brothers
13 Rambling Wreck From Georgia Tech. Unk.
#27 Big Hearted Bosco Frank Marsales

I Hot Time in the Old Town Tonight Metz
3 Am I Blue Akst
4 When The Shepherd Leads The Sheep Back Warren
6 Temporarily Blue Fain
8 Rock-a-Bye Baby Unk.
9 Nardssus Nevln
II He Walked Right In And Turned Right Silver
13 Girl I Left Behind Me, The S.Lover
14 rm Crying For The Carolines Lewis, Young Vocal
16 CJngalee Lemare, Whiting
#28 Crosby Colombo and Vallee Frank Marsales

1 Get Happy Koehler
3 Crosby, Columbo and Vallee Burke, Dubin
6 Pale Moon Logan
8 Many Happy Returns of the Day Burke, Dubin
11 This Is My Love Song Burke, Dubin
279
#29 Bosko's Party Frank Marsales
Released 4/2/1932_______ Cue Sheet Date__________________
2 It Ain't Gonna Rain No More Hall Vocal
3 Pale Moon Logan
6 London Bridge is Falling Down Unk. Vocal
7 Where Were You Last Night Woods
13 So Grateful Ruby
16 Good Morning To You Unk. Vocal
17 Put The Sun Bade In The Sky Meyer
22 Sugar Young Vocal
#30 Goopy Geer Frank Marsales

1 Get Happy Koehler
2 Goopy Geer H.Hupfeld
7 Sidewalks O f New York Lawtor
9 12th Street Rag Bowman
12 I Need Lovin Johnson Vocal
14 Spring Song F.Mendelssohn
#31 Bosko & Bruno Frank Marsales

1 Hot Time In the Old Town Tonight Metz
2 Warbler's Serenade Perry
4 Moonlight For Two Burke
5 What Will Tomorrow Bring Charig
#32 It's G ot Me Again Frank Marsales

1 Get Happy Koehler 0.18
3 Three Blind Mice Unk. 0.15
5 Looks Uke It's Got Me Again Stept 0.42
8 Yankee Doodle Unk. 0.06
10 Sailor's Hornpipe Unk. 0.10
13 Apache Dance J.Offenbach 0.15
#33 M oonlight For Two Frank Marsales

2 She'll Be Cornin' 'Round the Mountain Unk. 0.17
5 Moonlight For Two Burke Vocal 0.24
6 Spring Song F.Mendeissohn 0.03
12 Arkansas Traveler Unk. 0.05
14 Reuben Reuben I've Been Thinking Unk. 0.05
280
#34 Bosko's Dog Race Frank Marsales
Released 6/25/1932 Cue Sheet Date__________________
1 Hot Time In the Old Town Tonight Metz 0.21
2 Are You From Dixie Cobb Vocal 0.42
4 Whistle And Blow Your Blues Away Lombardo 0.40
6 How Can You Say No Burke 0.27
7 A Hot Dog A Blanket And You Newman 0.06
9 Neck and Neck Galop Sabathll 0.S5
11 Stop It Kaufman 0.28
#35 The Queen Was In The Parlor Frank Marsales

3 When Johnny Comes Marching Home Unk. 0.10
7 Queen Was In The Parlor Meyers Vocal 0.47
10 Softly Sings The Donkey Unk. 0.08
11 Old King Cble Unk. Vocal 0.09
12 Crosby/ COIumbo and Vallee Burke, Dubin Vocal 0.04
14 For You Burke, Dubin Vocal 0.11
#36 Bosko At The Beach Frank Marsales

1 Hot Time in the Old Town Tonight Metz 0.23
2 Cutting Paper Dollies White 0.23
6 With My Sweetie In The Moonlight TInturtn 0.25
7 Ain’t We Got Fun Whiting Vocal 0.15
14 I’m Making Hay In The Moonlight Greer 0.56
#37 I Love A Parade Frank Marsales

2 Circus Day Monaco 0.19
3 I Love A Parade Aden 0.46
7 In The Land Of Buddha Grau 0.08
9 Pretty Baby Alstyne 0.05
#38 Bosko's Store Frank Marsales

1 Hot Time in the Old Town Tonight Metz 0.21
2 There's A Rainbow On The River Stept Vocal 0.15
3 Turkey in the Straw Unk. 0.07
4 Doggone I've Done It Franklin 0.31
8 Having A Good Time Wish You Were Here Fain 1.00
10 In The Hills Of Old Missouri Sanders 0.33
16 I Love To See The Evenin’ Sun Go Down Palmer 0.50
281
#39 Bosko The Lum berjack Frank Marsales
1 Hot Time In the Old Town Tonight Metz 0.20
4 With My Sweetie In The Moonlight Tlnturin 0.35
6 Turkey In the Straw Unk. 0.1S
10 I Wish I Had Wings Woods 0.25
12 What A Life Alter 0.30
18 Tm Making Hay In The Moonlight Greer 0.27
19 La Marseillaise Unk. 0.06
#40 You're Too Careless W ith Your Kisses Frank Marsales

2 We W ont Get Home Until Morning Unk. 0.08
6 You're Too Careless With Your Kisses Woods Vocal 0.51
14 Assembly Call Unk. 0.06
#41 I W ish I Had Wings Frank Marsales

2 Sleep Lebieg 0.49
3 Ach du Ueber Augustin Unk. 0.10
5 I Wish I Had Wings Woods 0.27
6 Rodc-a-Bye Baby Unk. 0.30
#42 Bosko The Drawback Frank Marsales

1 Whistle And Blow Your Blues Away C Lombardo, J.Young 0.20
2 Fight On (U.S.C.) Grant Sweet 0.28
S Turkey in the Straw Unk. 0.23
13 Save A Rainy Day For Me Collins, Fields 0.33
15 She Went To Old S t Mary's Bryan, Meyer 0.20
18 All For The Love Of A Lady Cottier, Gay 0.39
22 In A Shanty In Old Shanty Town Little, Young 0.30
23 One Step Ahead Of My Shadow Fain 0.13
24 Victory March (Notre Dame) Unk. 0.25
26 America Unk. 0.04
#43 A G reat Big Bunch O f You Frank Marsales

2 Old Gray Mare, The Unk. 0.06
3 A Great Big Bunch Of You Warren 0.44
9 Where Did You Get That Hat Sullivan 0.03
12 Assembly Cad Unk. Bugle 0.04
16 Happy Days Are Here Again Ager 0.18
282
#44 In The Shanty W here Santy Claus Lives Frank Marsales
2 Silent Night F.Gruber Vocal 0.41
3 Jingle Bells Pterpont 0.13
8 In The Shanty Where Santy Claus Lives Woods Vocal 0.35
16 Cuban Ice Man Meyer 0.35
18 Shine On Harvest Moon Bayes Vocal 0.14
#45 Ride Him Bosko Frank Marsales

1 Hot Time In the Otd Town Tonight Metz 0.20
3 When The Bloom Is On The Sage Vincent Vocal 0.10
4 Shell Be Cornin’ 'Round the Mountain Body Background Instrumental 0.16
10 Around the Mulberry Bush Unk. 0.03
1Z Doggone I've Done It Franklin 0.29
16 ril Be Much Obliged To You Fields, Marks 0.40
Z0 How Dry I Am Unk. 0.10
#46 Three's A Crowd Frank Marsales

3 Traumerel R.Schumann 0.42
5 Three's A Crowd Warren Vocal 0.39
11 Old Black Joe Unk. Vocal 0.11
1Z Got The South In My Soul Wiley Vocal 1.06
17 Funeral March F.Chopin 0.04
#47 One Step Ahead O f My Shadow Frank Marsales

3 Chinatown My Chinatown Schwartz 0.27
8 One Step Ahead Of My Shadow Fain Vocal 0.37
#48 Bosko's Dizzy D ate Frank Marsales

1 Whistle And Blow Your Blues Away C Lombardo, J.Young 0.22
Z In the Shade of the Old Apple Tree EVan Aistyne, H.Williams 0.07
7 Leave A Little Love Dream H.Goodman, L Robin 1.15
8 By a Rippling Stream EPetkere 0.16
9 Peter, Peter, Pumpkin Eater Unk. 0.06
12 Put The Sun Back In The Sky I.Kahal, J.Meyer 0.08
17 Trees Rasbach 0.06
18 Singing Lesson, The EBemle, W.HIrsch, LRabfn, P.Zandberg 0.24
20 It Ain’t Gonna Rain No More W.Hall 0.11
283
#49 Young And H ealthy Frank Marsales
2 Young and Healthy A.Dubin, H.Warren 0.08
12 Dont Go To Sleep Levant Vocal 0.16
13 Let's Put Out The Lights H.Hupfeld 0.16
15 Am I Blue Akst 0.21
16 Under My Umbrella Wendling 0.30
#50 Bosko in Dutch F.Marsales

l Whistle And Blow Your Blues Away GLombardo, J.Young 0.22
2 Dutch Warbler Unk. 0.05
4 Goopy Geer H.Hupfieid 0.08
10 Dont Go To Sleep Levant 035
11 Dutch Kiddles Trinkaus 0.40
12 Ach du Lieber Augustin Unk. 0.15
15 It's Tulip Time in Holland Whiting Vocal 030
18 rm Happy When You’re Jealous Ruby 0.25
#51 Bosko The Speed king Frank Marsales

1 Whistle And Blow Your Blues Away GLombardo, J.Young 0.21
3 In My Merry Oidsmobiie Edwards 03 0
5 Young and Healthy A.Oubin, H.Warren 0.18
8 Under My Umbrella Wendling 0.20
10 My Fraternity Pin Bennett; Klein 0.30
14 Me-ow Kaufman 030
#52 Bosko's W oodland Daze Frank Marsales

1 Whistle And Blow Your Blues Away GLombardo, J.Young 0.23
3 When I Kissed That Girl Goodbye Little 03 3
13 My Isle of Golden Dreams Blaufuss Vocal 0.54
16 Black Diamond Rag Lodge 03 0
#53 Bosko In Dutch Frank Marsales

1 Whistle And Blow Your Blues Away GLombardo, J.Young 032
2 Dutch Warbler Unk. 0.05
4 Goopy Geer H.Hupfeld 0.08
10 Dont Go To Sleep Levant 035
11 Dutch Kiddies Trinkaus 0.40
12 Ach du Ueber Augustin Unk. 0.15
15 irs Tulip Time In Holland Whiting Vocal 03 0
18 rm Happy When You're Jealous Ruby 0.25
284
#54 The Organ Grinder Frank Marsales
Released 4/8/1933 _______ Cue Sheet Date__________________
1 Get Happy Koehler Background Instrumental 0.18
3 Organ Grinder Stept Background Instrumental 0.21
15 Sailor’s Hornpipe Unk. Background Instrumental 0.03
17 Kbotch Dance Unk. Background Instrumental 0.03
21 I Uke Mountain Music Weldon Background Instrumental 0.16
25 Forty Second Street Warren Background Instrumental 0.30
#55 Bosko In Person Frank Marsales

1 Whistle And Blow Your Blues Away CLombardo, J.Young 0.24
3 H'llo Baby deary Vocal 0.15
4 Save A Rainy Day For Me Fields, Marks 0.14
11 Was That The Human Thing To Do Fain Vocal 0.15
14 Home Sweet Home H.R.Bishop, J.H.Payne 0.05
17 Sweet Georgia Brown B.Bemie, ICCasey, M.PInkard 0.35
20 America Unk. 0.15
#56 W ake Up The Gypsy In Me Frank Marsales

3 Kamarinska Unk. Visual Instrumental 0.24
7 Song Of The Volga Boatman Unk. Visual Vocal 0.14
10 Wake Up The Gypsy In Me Lehr, Pollock Visual Vocal 0.39
#57 Bosko's Knightmare Frank Marsales

1 Whistle And Blow Your Blues Away CLombardo, J.Young Background Instrumental 0.18
3 Let’s Put Out The Ughts H.Hupfeld Background Instrumental 0.21
6 Warriors Bold Adams Visual Vocal 0.26
7 Young and Healthy A.Dubin, H.Warren Visual Vocal 0.12
11 Cuban Ice Man Meyer Background Instrumental 0.10
15 Forty Second Street A.Dubin, H.Warren Background Instrumental 0.16
#58 I Like Mountain Music Frank Marsales

3 Meet Me In The Gloaming Hoffman Background Instrumental 0.21
10 Turkey In the Straw Unk. Background Instrumental 0.03
12 Kingdom Coming (Jublio) Unk. Background Instrumental 0.08
16 It's Time To Sing Sweet Adeline Again Fain Background Vocal 0.24
20 Forty Second Street A.Dubin, H.Warren Visual Whistled 0.04
23 Garibaldi Hymn Unk. Background Instrumental 0.05
27 America Unk. Background Instrumental
285
#59 Bosko The Sheep-Herder Frank Marsales
Released 6/14/1933______ Cue Sheet Date___________________
2 Straw Ride, The Aldrich Background Instrumental 0.20
14 Dish Ran Away With The Spoon, The Unk. Background Instrumental 0.33
20 Seven Little Steps To Heaven Gensier Background Instrumental 0.16
23 Main Street Erickson Background Instrumental 0.24
#60 Beau Bosko Frank Marsales

3 American Reveille Unk. Visual Instrumental 0.12
5 Good Moming To You Unk. Visual Vocal 0.07
9 La Marseillaise Unk. Background Instrumental 0.08
#61 Shuffle O ff To Buffalo Frank Marsales

2 Shuffle Off to Buffalo A.Dubin, H.Warren Background Instrumental 1.12
10 When Fm The President Lewis, Sherman Visual Vocal 0.04
#62 W e're In The Money Frank Marsales

3 We're in the Money A.Dubin, H.Warren Background Instrumental 0.32
11 Headin'For A Weddin' Lane Background Instrumental 0.15
#63 Buddy's Day O ut N.Spencer, B.Brown

1 Buddy's Day Out N.Spencer Background Instrumental 0.25
2 My Buddy Donaldson Background Instrumental 0.06
3 Pretty Baby E.Van Aistyne Background Instrumental 0.07
4 Young and Healthy A.Dubin, H.Warren Background Instrumental 0.06
5 Oh Where Has My Little Dog Gone Unk. Background Instrumental 0.06
7 One Step Ahead Of My Shadow Fain Background Instrumental 0.35
10 ril Pin Another Petal On The Daisy Fain Visual Vocal 1.35
#64 Bosko The M usketeer Frank Marsales

2 I’ll Pin Another Petal On The Daisy Fain Visual Vocal 0.08
8 Swordsman Bold F.Marsales Visual Vocal 0.16
12 Crosby, Columbo and Vallee Burke Visual Vocal 0.05
18 Main Street Erickson Background Instrumental 0.30
21 Neck and Neck Sabathil Background Instrumental 0.48
286
#65 Bosko's Picture Show Frank Marsales
Released 9/18/1933______ Cue Sheet Date__________________
1 Whistle And Blow Your Blues Away GLombardo, J.Young Background Instrumental 0.23
2 Forty Second Street Warren Background Instrumental 0.23
4 We're in the Money A.Dubin, H.Warren Visual Vocal 0.32
8 California Here I Come B.G.De Sytva, AJolson, J.Meyer Background Instrumental 0.06
10 Old Blade Joe Unk. Background Instrumental 0.08
12 Maker Of Dreams Solman Background Instrumental 0.04
17 Turkey in the Straw Unk. Background Instrumental 0.14
21 Bicycle Built For Two Daere Visual Vocal 0.15
24 Coasting Ring-Hager Background Instrumental 0.41
#66 I'v e Got To Sing A Torch Song N.Spencer, B.Brown

1 I Think You're Ducky G.Marks Background Instrumental 0.21
3 Little Annie Rooney Nolan Background Instrumental
4 IVe Got To Sing A Torch Song Warren Background Instrumental
5 Turkey in the Straw Unk. Background Instrumental
6 Stars And Stripes J.P.Sousa Background Instrumental
7 Shadow Waltz Warren Background Instrumental
8 Pettin’ In The Park Warren Background Instrumental
10 Rule Brittania Unk. Background Instrumental 0.05
13 Why Can’t This Night Go On Forever Jones Visual Vocal 0.52
IS Headin’ For A Weddln’ Lane Background Instrumental 0.13
23 Dixie D.Emmett Background Instrumental 0.04
#67 The Dish Ran Away W ith The Spoon Frank Marsales
2 Dish Ran Away With The Spoon, The Unk. Background Instrumental 0.08
3 Dish Ran Away With The Spoon, The Bsler Visual Vocal 0.59
9 I’ll Take An Option On You Rainger Visual Vocal 0.12
10 Shuffle Off To Buffalo Warren Background Instrumental 0.24
13 Am I Blue Akst Visual Vocal 0.08
14 Young and Healthy Warren Visual Vocal 0.16
18 We’re On The March Downey Background Instrumental 0.43
#68 Bosko's Mechanical Man Frank Marsales

3 One Step Ahead Of My Shadow Fain Background Instrumental 0.30
6 Aint We Got Fun Whiting Visual Vocal 0.32
8 Merrily We Roll Along Unk. Background Instrumental 0.08
10 From Me To You Andre, Gonney, King Background Instrumental 0.32
11 Yankee Doodle Unk. Background Instrumental 0.08
19 Let’s Put Out The Lights H.Hupfeld Background Instrumental 0.13
287
#69 Buddy's Beer Garden Norman Spencer
Released 11/11/1933 Cue Sheet Date____________________
3 Ach du Ueber Augustin Unk. Visual Vocal 0.05
4 Auf Wiedersehn Greenberg Background Instrumental 1.03
7 It’s Time To Sing Sweet Adeline Again Fain Visual Vocal 1.05
10 HI-Le Hi-Lo Unk. Visual Whistled 0.15
#70 Buddy's Showboat Bernard Brown

1 Original Staff Background Instrumental 0.24
2 8am Bam Bammy Shore Henderson Background Instrumental 0.24
3 Swanee Smiles Hager-Ring Visual Vocal 0.47
7 There is a Happy Land Akst Background Instrumental 0.35
9 Sweet Georgia Brown B.Bemie, K.Casey, M.Pfnkard Visual Vocal 0.52
12 Under My Umbrella Wendling Visual Vocal 0.48
14 And So I Married The Girl Stept Visual Vocal 0.40
#71 S ittin' On A Backyard Fence Norman Spencer

1 Original N.Spencer Background Instrumental 0.22
2 Sittin' On A Backyard Fence Fain Background Instrumental 0.47
3 Am I Blue Akst Background Instrumental 0.11
4 Why Cant This Night Go On Forever Jones Background Instrumental 0.14
5 Hail Hail The Gang's All Here Sullivan Background Instrumental 0.05
6 By the Ught of the Silvery Moon Edwards Background Instrumental 0.09
8 Home on the Range Unk. Background Instrumental 0.29
12 I’m Making Hay In The Moonlight Greer Background Instrumental 0.45
#72 Buddy th e Gob Norman Spencer

1 Original N.Spencer Background Instrumental 0.27
2 Columbia the Gem of the Ocean Unk. Background Instrumental 0.10
3 Nancy Lee Unk. Background Instrumental 0.25
5 Shanghai U! A.Dubin, H.Warren Background Instrumental 0.25
8 Chinese Moon Nussbaum Background Instrumental 1.05
#73 Pettin' In The Park Norman Spencer

3 You Meyer Background Instrumental 0.37
4 Pettin' In The Park A.Dubin, H.Warren Visual Vocal 0.30
9 Ah The Moon Is Here Fain Background Instrumental 0.40
11 Under the Lamp of Love Fain Background Instrumental 0.50
288
#74 Honeymoon Hotel Bernard Brown
Released 2/17/1934 Cue Sheet Date ______________
2 Honeymoon Hotel Warren Background Vocal 1.16
4 By a Waterfall Fain Background Instrumental 0.20
5 Wedding March F.Mendelssohn Background Instrumental 0.08
6 In My Merry Oldsmoblle Edwards Background Instrumental 0.11
9 You're Getting To Be A Habit With Me Warren Background Instrumental 0.07
14 Ah The Moon Is Here Fain, Kahal Background Vocal 0.16
16 Summer Is Over Burke, Friend Background Instrumental 0.51
#75 Buddy and Towser Norman Spencer

1 Beauty and the Beast B.Kaimar, H.Ruby Background Instrumental 0.21
3 There’s A Ring Around the Moon Green Background Instrumental 0.42
5 It’s Wonderful Weather For Love Lewis, Sherman Background Instrumental 1.10
7 Perfect Dream, The Baskette Background Instrumental 0.42
#76 B eauty And The Beast Norman Spencer

1 I Think You’re Ducky G.Marks Background Instrumental 0.16
4 Beauty and the Beast B.Kaimar, H.Ruby Visual Vocal 0.35
S Poor Uttle Doll Barry, Pollack Background Instrumental 0.21
-•
#77 Buddy's Garage Bernard Brown
3 Puddin' Head Jones Handman Visual Whistled
7 By a Waterfall Fain, Kahal Background Instrumental 0.10
8 Easy To Love Fain Background Instrumental 0.40
#78 Those W ere W onderful Days Norman Spencer

3 Auld Lang Syne Unk. Visual Vocal 0.11
4 Those Were Wonderful Days M.Mencer, CTobias Visual Vocal 1.09
5 Oh You Beautiful Doll N.D-Ayer, A.S.Brown Background Instrumental 0.25
6 Put On Your Old Grey Bonnet P.Wenrlch Background Instrumental 0.15
8 In the Shade of the Old Apple Tree E.Van AJstyne Background Instrumental 0.27
11 Dreaming Daily Background Instrumental 0.09
12 Bedelia Schwartz Background Instrumental 0.06
14 Hi Nellie Wrubei Background Instrumental 0.42
#79 Buddy's Trolley Troubles Norman Spencer

3 Early To Bed Kent Background Instrumental 0.40
4 I'm A Motorman On the Urban Une Spencer Visual Vocal 1.15
7 Puddin' Head Jones LHandman Background Instrumental 0.17
8 Why Do I Dream Those Dreams Warren Background Instrumental 0.30
12 Two Little Flies On A Lump of Sugar Rain Background Instrumental 1.25
289
#80 Goin' To Heaven On A Mule Norman Spencer
Released 5/19/1934______ Cue Sheet Date____________________
1 I Think You're Duck/ G.Marks Background Instrumental 0.16
2 Mississippi Holiday Lampl Visual Hummed 1.40
4 Goin' To Heaven On A Mule A.Dubin, H.Warren Visual Vocal 0.56
9 Shuffle Off to Buffalo A.Dubln, H.Warren Background Instrumental 0.06
#81 Buddy O f The Apes Bernard Brown

3 My Old Man Hanighen Background Instrumental 0.40
7 Peek-a-Boo Unk. Background Instrumental 0.17
14 Bo-La-Bo Fairman Background Instrumental 0.18
#82 How Do I Know It's Sunday Bernard Brown

2 How Do I Know It's Sunday Fain, Kahal Background Instrumental 0.21
8 Those Were Wonderful Days Schol, Tobias Background Instrumental 0.16
10 By a Waterfall Fain, Kahal Visual Vocal 0.29
12 Chatterer, The G.Trinkaus Background Instrumental 0.25
13 Russian Dance Unk. Background Instrumental 0.12
17 Humming Bird, The G.Trinkaus Background Instrumental 1 .5 5 *
#83 Buddy's Bearcats Norman Spencer

2 The Drum Major Ellis Background Instrumental 0.50
4 Out For No Good A.Dubin, H.Warren Background Instrumental 0.36
5 Campbells are COmlng, The Unk. Background Instrumental 0.19
10 Hit Me Again A.Wrubel Background Instrumental 0.45
#84 W hy Do I Dream Those Dreams Norman Spencer

2 Why Do I Dream Those Dreams Warren Background Instrumental 0.23
4 Home Sweet Home H.R.Bishop, J.H.Payne Background Instrumental 0.10
7 Nothing Worries Me N.Spencer Visual Vocal 1.30
#85 The Girl A t The Iro n in g Board Bernard Brown

2 Girl At The Ironing Board A.Dubln, H.Warren Visual Vocal 1.33
3 Dames A.Dubin, H.Warren Background Instrumental 0.14
8 Shake Your Powder Puff Fain, Kahal Background Instrumental 0.47
290
#86 The M iller's Daughter Norman Spencer
Released 10/13/1934 Cue Sheet Date 8/20/1934__________
i I Think You're Ducky G.Marks Background Instrumental 0.18
2 Miller's Daughter, The Bryan, Handman Background Instrumental 0.08
6 I Only Have Eyes For You A.Dubin, H.Warren Background Instrumental 0.55
10 Cuban Cabaret Childs, Kaplan Background Instrumental 0.25
12 Blue Danube, The J.Strauss Visual Instrumental 0.40
#87 Shake Your Powder Puff Bernard Brown

Released 10/17/1934 Cue Sheet Date 10/5/1934________
2 Shake Your Powder Puff Fain, Kahal Background Instrumental 0.20
5 William Tell Overture G.Rossini Visual Instrumental 0.20
6 Poet and Peasant F.von Suppe Visual Instrumental 0.4S
8 Wal I Swan Burt Background Instrumental 0.40
#88 Buddy th e Detective Bernard Brown

2 Prelude in C# Minor Rachmaninoff Visual Piano 0.33
3 Shake Your Powder Puff Fain, Kahal Visual Plano 0.10
6 Amarillis Unk. Visual Plano 0.15
8 Executioner's Dream Perry Background Instrumental 0.08
15 Hey Sailor Fain, Kahal Visual Plano 0.06
18 Funeral March For A Puppet G.Trinkaus Background Instrumental 0.35
21 Evil Plotter J.S.Zamecnik Background Instrumental 1.10
#89 Buddy The Woodsman Bernard Brown

2 Song of the Northwest Spencer Background Instrumental 1.11
3 Til String Along With You Warren Visual Whistled 0.45
9 We W ont Get Home Until Morning Unk. Visual Vocal 0.25
#90 Buddy's Circus Norman Spencer

1 Beauty and the Beast B.Kalmar, H.Ruby Background Instrumental 0.23
3 Whip, The Holzman Background Instrumental 0.55
4 Original N.Spencer Visual Instrumental 0.25
5 Why Do I Dream Those Dreams A.Dub!n, H.Warren Background Instrumental 0.06
7 What Do The Animals Do Goering Background Instrumental 0.34
8 No Horse-No Wife-No Mustache Dixon, Wrubel Visual Vocal 1.00
#91 Those Beautiful Dames Bernard Brown

2 Dames A.Dubln, H.Warren Background Instrumental 1.05
11 Cupid's Patrol Moret Background Instrumental 0.20
291
#92 Pop Goes Your H eart Norman Spencer
Released 12/8/1934______ Cue Sheet Date 11/30/1934_________
2 Pop Goes Your Heart Dixon, Wrubei Background Instrumental 0.10
4 Butterfly Dance Miles Background Instrumental 0.45
5 Queer Antics J.S.Zamecnik Background Instrumental 0.25
10 Tingles J.S.Zamecnik Background Instrumental 0.25
11 Parade of the Teenie Weenies Darewski Background Instrumental 0.35
#93 Viva Buddy Norman Spencer

2 Madrid DeFrancesco Visual Vocal 1.35
3 Original N.Spencer Visual Vocal 0.45
4 La Fiesta J.S.Zamecnik Background Instrumental 1.25
6 Famabella Grimm Background Instrumental 030
#94 Mr. and Mrs. Is The Name Bernard Brown

2 Mr. and Mrs. Is the Name M.Dixon, A.Wrubei visual Vocal 2.10
4 Danse Fantasdque Reynard Background Instrumental 0.47
5 COp, The Ewing Background Instrumental 0.42
13 Fate J.S.Zamecnik Background Instrumental 0.11
15 Perilous Pursuit DeFrandsco Background Instrumental 1.30
#95 Rhythm In The Bow Norman Spencer

2 Rhythm in the Bow GHess Background Instrumental 1.08
8 Kingdom Coming (Jubilo) Unk. Background Instrumental 0.15
10 Traumerei R.Schumann Visual Instrumental 035
11 Sngin’ in the Bathtub M.CIeary, H.Magfdson, N.Washington Visual Vocal 0.09
12 There’s a Long Long Trail Elliott Background Instrumental 0.07
#96 Country Boy Norman Spencer

3 Country Boy JJerome, W.Kent Visual Vocal 2.55
4 I'm Going Shopping With You Warren Background Instrumental 0.22
#97 Buddy's Adventures Bernard Brown

4 March of the Spiders Marco Background Instrumental 0.22
7 Hey Sailor Fain, Kahal Background Vocal 0.30
11 When Veronica Plays the Harmonica McCarthy Background Instrumental 0.45
292
#98 Buddy th e Dentist Norman Spencer
Released 3/5/1935_______ Cue Sheet Date 11/30/1934_________
3 Whimsical Dance Ewing Background Instrumental 2.30
5 He’s a Humdinger Sigler Background Instrumental 1.00
#99 I H aven't Got A H at Bernard Brown

2 I Haven't Got a Hat Emmerick Background Instrumental 0.08
5 Ught Cavalry Overture F.von Suppe Background Instrumental 0.04
6 Girl I Left Behind Me, The Unk. Background Instrumental 0.04
10 Storm on the Keys Spencer Visual Plano 0.30
11 Poet and Peasant F.von Suppe Visual Piano 0.33
#100 Buddy’s Pony Express Bernard Brown

2 Oklahoma Joe Bryan, Ward Background Instrumental 0.07
3 In the Stirrups J.S.Zamecnik Background Instrumental 0.3S
6 Hunting Scene J.S.Zamecnik Background Instrumental 0.10
7 Sabre and Spurs J.P.Sousa Background Instrumental 1.00
8 Comedy Excitement J.S.Zamecnik Background Instrumental 0.10
10 Disturbance J.S.Zamecnik Background Instrumental 0.50
#101 Buddy's Theatre Norman Spencer

1 Beauty and the Beast B.Kaimar, H.Ruby
2 How High Can A Little Bird Ply Dietz, Schwartz
6 Anything That’s Part of You Wrubei
8 Italian National Hymn Unk.
9 War Biros N.Brown
17 Hey Sailor Fain, Kahal
18 Nancy Lee Unk.
19 Mr. and Mrs. Is the Name Wrubei
#102 Buddy o f the Legion Bernard Brown

2 Window Cleaners B.Kaimar, H.Ruby Background Instrumental 0.51
3 Were You Foolin' Ahlert, Leslie Background Instrumental 0.45
5 Oriental Atmosphere J.S.Zamecnik Background Instrumental 0.12
6 Arabia Green Visual Vocal 0.30
8 On the Prowl Ewing Background Instrumental 0.25
12 EgypCa J.S.Zamecnik Background Instrumental 0.14
293
#103 Along Flirtation W alk Norman Spencer
Released 4/6/1935_______ Cue Sheet Date 3/22/1935___________
2 Flirtation Walk Dixon, Wrubei Background Instrumental 0.04
3 Dont GO On A Diet Fain, Kahal Background Instrumental 0.39
5 University of Nebraska J.P.Sousa Background Instrumental 0.15
6 Frat J.F.Barth Background Instrumental 0.10
7 Student Days R-B.Breweh Background Instrumental 0.05
10 Fare Thee Well Annabelle Dixon, Wrubei Background Instrumental 0.15
14 Vermont Academy CDoerr Background Instrumental 0.10
#104 My Green Fedora Bernard Brown

2 I'm Wearin' My Green Fedora Lewis, Meyer Background Instrumental 0.30
7 Stealthy Escape J.S-Zamecnlk Background Instrumental 0.35
11 Traffic J.S.Zamecnik Background Instrumental 2.00
#105 Buddy's Lost W orld Norman Spencer

4 On the Prowl M.Ewing Background Instrumental 0.03
11 Lullaby of Broadway A.Dubin, H.Warren Background Instrumental 0.19
16 Amarillis Unk. Background Instrumental 0.21
#106 In to Your Dance Norman Spencer

2 Go Into Your Dance A.Dubln, H.Warren Background Instrumental 0.08
7 William Tell Overture G.Rossini Background Instrumental 1.05
8 Dinorah G.Meyerbeer Visual Vocal 0.21
#107 Buddy's Bug H unt Norman Spencer

3 You're Walking In My Sleep Russell Background Instrumental 1.03
6 Treacherous Knave J.S.Zamecnik Background Instrumental 0.50
#108 Buddy In Africa Norman Spencer

3 Marchln' Toward Ya' Georgia Lombardo Background Instrumental 0.30
7 Indian Whoop R.B.Brewer Background Instrumental 0.25
10 Yankee Doodle Unk. Visual Vocal 1.20
#109 The Country Mouse Bernard Brown

1 Country Mouse N.Spencer Background Instrumental 0.16
3 Reuben Reuben I've Been Thinking Unk. Background Instrumental 0.24
8 La Cucaracha Unk. Background Instrumental 0.29
294
#110 Buddy Steps Out Bernard Brown
Released 7/20/1935 Cue Sheet Date 7/17/1935_________
2 About A Quarter to Nine A.Dubin, H.Warren Visual Vocal 1.02
8 London On A Rainy Night Washington Background Instrumental 0.12
11 Avalon Jolson, Rose Background Instrumental 0.08
13 Tm Forever Blowing Bubbles Kenbrovfn Visual Vocal 0.05
#111 M erry Old Soul Norman Spencer

2 Old King Cole Was A Merry Old Soul Unk. Visual Vocal 1.05
3 Bridal Chorus R.Wagner Background Instrumental 0.30
8 Easter Bunnies N.Chase, E.Heyman Background Instrumental 0.55
12 Rock-a-Bye Baby Unk. Background Instrumental 0.18
#112 Buddy The Gee Man Norman Spencer

2 Lulu's Back In Town A.Dubin, H.Warren Background Instrumental 0.51
8 She's a Latin From Manhattan A.Dubin, H.Warren Background Instrumental 0.43
10 London Bridge is Falling Down Unk. Background Instrumental 1.00
#113 The Lady In Red

2 Lady in Red, The M.DIxon, A.Wrubel Background Instrumental 0.25
7 South American Joe I.Caesar, GFriend Background Instrumental 0.03
11 Neapolitan Nights Kerr, J.S.Zamecnlk Visual Vocal 0.25
12 Sweet Music A.Dubin, H.Warren Visual Vocal 1.00
17 Comedy Excitement J.S.Zamecnik Background Instrumental 0.43
#114 Cartoonist's Nightm are Bernard Brown

2 Teddy Bears' Picnic J.W.Bratton Background Instrumental 0.30
6 Shadowed J.S.Zamecnik Background Instrumental 0.27
#115 The Little Dutch Plate Norman Spencer

2 Girl On the Little Blue Plate LAlter, J.Scholl Visual Vocal 2.25
4 Puppchen B.Kalmar, H.Ruby Background Instrumental 0.08
13 Evil Plotter J.S.Zamecnik Background Instrumental 0.11
295
#116 Hollywood Capers Norman Spencer
2 I Saw A Robin B.Russell Background Instrumental 0.52
4 Coney Island A-Dubln, H.Warren Background Instrumental 0.36
6 Sweet Flossie Farmer M.DIxon, AWrubel Visual Vocal 0.26
10 Air Flight J.S.Zamecnik Background Instrumental 0.15
#117 Billboard Frolics Bernard Brown

2 Merrily We Roll Along £ Cantor, CTobias, M.Mencher Visual Vocal 1.04
6 You're An Eyeful of Heaven M.DIxon, A.Wrubel Background Instrumental 0.24
7 Oriental Atmosphere J.S.Zamecnik Background Instrumental 0.28
#118 Flowers For M adam e Norman Spencer

2 Flowers For Madame CNewman, M.Mencher, CTobias Visual Vocal 1.15
4 Oh You Beautiful Doll N.D.Ayer, A.S.Brown Background Instrumental 0.30
9 Campbells are Coming,. T h e Link. Background Instrumental 0.10
11 Powder My Back M.DIxon, A.Wrubei Background Instrumental 0.13
#119 Gold Diggers o f '49 Carf Stalling

2 Rural Rhythm J.cavanaugh, D.Sanford, F.Weldon Background Instrumental 0.15
10 Western Scene J.S.Zamecnik Background Instrumental 0.30
12 Sweet Adeline H.Armstrong, R.Gerard Visual Vocal 0.06
17 Sweet and Slow A.Dubfn, H.Warren Background Instrumental 0.05
21 Hubby Hobby J.S.Zamecnlk Background Instrumental 0.50
#120 I Wanna P la y House Bernard Brown

2 I Wanna Play House With Vou M.DIxon, A.Wrubel Background Instrumental 0.35
6 Outside of You A.Dubln, H.Warren Background Instrumental 0.07
#121 The Phantom Ship Bernard Brown

2 You've Got What It Takes T.Powell, W.G.Samuels, LWhltcup Background Instrumental 0.40
3 Lullaby of Broadway A.Dubln, H.Warren Background Instrumental 0.05
5 Guy From the Isle of Capri, The CAbbot, D.WImbrow Background Instrumental 0.20
6 Black Coffee A.Goodhart, A.Hoffman, M.SIgler Background Instrumental 0.40
8 You Let Me Down ADubln, H.Warren Background Instrumental 1.20
296
#122 The C at Came Back
2 Cat Came Back, The E.Breuer, J.Cavenaugh, D.Sanford Visual Vocal 0.43
9 Quicker Than You Can Say Jack Robinson M.DavkJ, G.W.Meyer, P.Wendling Background Instrumental 0.24
20 A lnt We Got Fun R.Egan, G.ICahn, R.Whiting Background Instrumental 0.20
#123 Boom Boom Norman Spencer

2 When a Great Love Comes Along J.Burke, E.Leslie Background Instrumental 0.20
5 A Trip to the North Pole J.S.Zamecnik Background Instrumental 0.55
8 Black Horse Troop, The J.P.Sousa Background Instrumental 0.36
11 You're In the Army Now Unk. Background Instrumental 0.06
13 Riders For the Flag J.P.Sousa Background Instrumental 1.20
14 Defense of Honor J.S.Zamecnik Background Instrumental 0.50
#124 Miss Glory

2 Page Miss Glory A.Dubin, H.Warren Background Instrumental 0.07
4 Rural Rhythm J.Cavanaugh, D.Sanford, F.Weldon Background Instrumental 0.25
6 Lullaby of Broadway A.Dub<n, H.Warren Background Instrumental 0.08
12 Rhythm Step LHoltzer, R.Metzger Background Instrumental 1.00
#125 Alpine Antics Norman Spencer

2 She Was an Acrobats Daughter B.Kalmar, H.Ruby Background Instrumental 0.08
5 We Agree Perfectly J.F.Coots, M.Davfd Background Instrumental 0.30
7 What a Little Moonlight Can Do H.Woods Background Instrumental 1.25
#126 The Fire Alarm Norman Spencer

4 One In a Million LAIter, J.Scholl Background Instrumental 0.25
#127 The Blowout Bernard Brown

2 Fella With the Fiddle, The CAbbott Background Instrumental 0.04
6 Mutiny J.S.Zamecnik Background Instrumental 0.14
297
#128 I'm A Big Shot Now Bernard Brown
Rplm^Pd 4/11/1936 Cue Sheet Date 3/16/1936_________
2 rm A Little Big Shot Now M.DIxon, A-Wmbel Background Instrumental 0.06
3 Hoy/d Ya Uke To Be a Little Birdie H.Hupfeld Background Instrumental 0.50
6 Sweet and Slow A.Dubin, H.Warren Background Instrumental 0-32
#129 W estward Whoa Norman Spencer

2 Oh Susanna S.Foster Background Instrumental 0.04
3 Covered Wagon Days JJasmyn, M.KJerome Background Instrumental 0.04
10 Indian War Dance J.S.Zamecnik Background Instrumental 0.35
#130 Plane Dippy Bernard Brown

2 Td Love to Take Orders From You A.Dubin, H.Warren Background Instrumental 0.15
3 You're in the Army Now Unk. Background Instrumental 0.06
4 Nancy Lee S.Adams Background Instrumental 0.10
11 When I Yoo-Hoo in the Valley M.Mardn, H.Russell Background Instrumental 1.26
12 Allegro con brio aemens-Schmalstlch Background Instrumental 0.40
13 You and You J.Strauss Background Instrumental 0.15
16 Aeroplane J.Hager, F.Ring Background Instrumental 1.21
#131 Let I t Be Me
2 Let It Be Me M.Dixon, A.Wrubei Visual Vocal 0.58
5 I Wanna Woo A.Swanstrom, M.Wayne Background Instrumental 0.27
10 You Can Be Kissed A.Dubin, H.Warren Background Instrumental 0.27
11 I've Got My Eye on You B.Green, S.Stept Visual Vocal 0.55
#132 I'd Love To Take Orders From You Norman Spencer

2 Td Love to Take Orders From You A.Dubin, H.Warren Background Instrumental 0.05
3 Air Flight J.S.Zamecnik Background Instrumental 0.24
11 Dear Little Boy of Mine E-R-Ball Background Instrumental 0.51
#133 Fish Tales Norman Spencer

2 I Dont Have to Dream Again A.Dub(n, H.Warren Background Instrumental 0.07
3 Guy From the Isle of Capri, The CAbbott, D.WImbrow Background Instrumental 0.22
5 Tempest, The J.S.Zamecnik Background Instrumental 1.10
7 Girl Who Keeps the Goats M.KJerome, J.Scholl . Background Instrumental 0.42
298
#134 Bingo Crosbyana Norman Spencer
2 Bingo Crosbyana S.Green, I.Kahal Background Instrumental 0.08
4 William Tell Overture G.Rossinl Background Instrumental 0.35
5 La Golondrina Serradeii Visual Vocal 0.16
7 In Caliente M.Dixon, A.Wrubel Background Instrumental 1.23
12 Storm Music J.S.Zamecnik Background Instrumental 1.10
#135 Shanghaied Shipmates Norman Spencer

2 Dont Give Up the Ship A.Dubin, H.Warren Background Instrumental 0.09
3 Old Tar, The J.S.Zamecnik Background Instrumental 0.08
4 Sailor's Hornpipe Unk. Background Instrumental 0.20
10 Comedy Excitement J.S.Zamecnlk Background Instrumental 0.34
20 Violence J.S.Zamecnik Background Instrumental 0.17
#136 W hen I Yoo Hoo Norman Spencer

2 When I Yoo-Hoo in the Valley M.Martln, H.Russell Visual Vocal 1.25
4 Perilous Pursuit De Francesco Background Instrumental 1.05
9 William Tell Selection G.Rossinf Background Instrumental 0.15
10 Poet and Peasant F.von Suppe Background Instrumental 0.40
#137 P orky'sP et Norman Spencer

2 You’re the Cure For What Alls Me H.Arlen, E.Y.Harburg Background Instrumental 0.08
4 Casino de Paree A.Dubin, H.Warren Background Instrumental 0.25
#138 I Love to Singa Norman Spencer

2 I Love to Singa H.Arien, EY.Harburg Background Instrumental 0.20
3 Drink to Me Only With Thine Eyes Unk. Background Instrumental 0.10
9 Sextette from Luda G.DonizettJ Visual Vocal 0.10
11 Traumerei R.Schumann Visual Instrumental 0.08
12 Bye Lo Bye Lullaby T.Shand Background Instrumental 0.06
13 Spring Song F.Mendeissohn Visual Instrumental 0.08
31 Listen to the Mocking Bird Unk. Background Instrumental 0.03
32 Hungarian Rhapsody No. 2 F.Uszt Visual Instrumental 0.02
34 Nola F.Amdt Background Instrumental 0.03
37 Laugh Clown Laugh T.Rorito, S.Lewis, J.Young Visual Vocal
39 Tm Forever Blowing Bubbles J.W.Kellette, J.Kenbrovin Visual Vocal 0.03
299
#139 Porky th e Rainm aker Norman Spencer
Reteased 8/1/1936_______ Cue Sheet Date 7/29/1936___________
2 When the arcus Comes to Town CTobias, H.Tobias, H.Tobias Background Instrumental 0.08
5 On the Nodaway Road C Bates, J.Mercer Background Instrumental 0.06
7 March of the Spiders E.Marco Background Instrumental 0.17
9 Rhythm in the Bow CHess Background Instrumental 1.04
11 April Showers B.G.DeSylva, LSIvers Background Instrumental 0.20
14 Old Gray Mare, The Unk. Background Instrumental 0.15
#140 Sunday Go To M eetin' Tim e Norman Spencer

2 Sunday Go To Meetin’ Time V.Lawnhurst, T.Seymour Visual Vocal 0.47
5 Save Me Sister HJVrien, E.Y.Harburg Background Instrumental 1.03
6 I Got Shoes Unk. Visual Vocal 0.20
#141 Porky's Poultry Plant Carl Stalling

5 Kootch Dance Unk. Background Instrumental 0.07
6 Funeral March F.Chopin Background Instrumental 0.09
7 Traumerei R.Schumann Background Instrumental 0.17
9 Furioso No. 2 J.S.Zamecnik Background Instrumental 1.11
13 College Stunts J.S.Zamecnik Background Instrumental 0.19
#142 A t Your Service M adam e Norman Spencer

2 At Your Service, Madame A.Dubin, H.Warren Background Instrumental 0.34
4 Danse Fantastique J.Reynard Background Instrumental 0.15
6 How'd Ya Uke To Be a Little Birdie H.Hupfeld Background Instrumental 1.03
7 Flowers For Madame M.Mencher, CNewman, CTobias Background Instrumental 1.01
10 Aeroplane, The RIng-Hager Background Instrumental 0.54
#143 Toy Town Hall Carl Stalling

2 Sweet Music A.Dubin, H.Warren Background Instrumental 0.25
4 Cradle Song J.Brahms Background Instrumental 0.16
6 Short and Sweet S.Fa!n, CTobias Background Instrumental 0.16
10 Let It Be Me M.Dixon, A.Wrubei Visual Vocal 0.24
12 Merrily We Roll Along CTobias, M.Mencher, E.Cantor Visual Vocal 0.18
15 Lady in Red, The M.Dixon, A.Wrubei Background Instrumental 0.56
16 Tm Wearin' My Green Fedora A.Lewis, J.Meyer, A.Sherman Visual Vocal 0.50
17 When the Orcus COmes to Town CTobias, H.Tobias, H.Tobias Background Vocal 0.16
18 Where Am I A.Dubin, H.Warren Background Instrumental 0.18
300
#144 M ilk and Money Carl Stalling
Released 10/3/1936 Cue Sheet Date 9/23/1936_______
1 Beauty and ttie Beast B.Kalmar, H.Ruby Background Instrumental 0.19
2 We're In the Money A.Dubin, H.Warren Background Instrumental 0.07
3 Home Sweet Home H.R.BIshop, J.H.Payne Background Instrumental 0.10
4 Boy of Mine E.R.Ball, E.Weslyn Background Instrumental 0.08
10 When the Grcus Comes to Town CTobias, H.Tobias, H.Tobias Background Instrumental 0.32
14 Pretty Baby G.Kahn, TJackson, E.Van Alstyne Background Instrumental 0.12
16 Lullaby of Broadway A-Dubln, H.Warren Background Instrumental 0.34
22 Memories G.Kahn, E.Van Alstyne Background Instrumental 0.05
26 In the Stirrups J.S.Zamecnik Background Instrumental 0.15
#145 Porky's Moving Day Carl Stalling

2 Let the Rest of the World Go By ER.Ball, J.K.Brennan Background Instrumental 0.31
4 down. The J.S.Zamecnik Background Instrumental 1.10
5 Morning, Noon, and Night in Vienna F.von Suppe Background Instrumental 0.40
11 COmedy Exdtement J.S.Zamecnik Background Instrumental 0.20
14 Short and Sweet S.Fain, CTobias Background Instrumental 0.10
#146 The Boulevardier From the Bronx Carl Stalling

1 Merrily We Roll Along CTobias, M.Mencher, E.Cantor Background Instrumental 0.16
2 Boulevardier From the Bronx A.Dubfn, H.Warren Background Instrumental 0.20
3 I t Looks Uke a Big Night Tonight E.Van Alstyne, H.Wllliams Visual Instrumental 0.10
8 Don't Give Up the Ship A.Dubln, H.Warren Background Instrumental 0.10
11 Collegiana M.KJerome, J.Scholl Background Instrumental 1.15
17 Shuffle Off to Buffalo A.Dubfn, H.Warren Background Instrumental 0.14
#147 D on't Look Now Carl Stalling

2 Sweethearts Forever I.Caesar, C Friend Background Instrumental 0.25
4 While We're Young J.F.Coots, H.GIIIespie Background Instrumental 1.20
6 Black Coffee A.Goodhart, A-Hoffman, M.SIgler Background Instrumental 0.35
14 Spring Song F.Mendelssohn Background Instrumental 0.07
15 Am I Blue H.Akst, G.CIarke Background Instrumental 0.13
24 Wedding March R.Wagner Background Instrumental 0.42
25 Pretty Baby G.Kahn, TJackson, E.Van Alstyne Background Instrumental 0.05
26 Aloha Oe Queen Ulluokalani Background Instrumental 0.04
301
#148 Little Beau Porky Carl Stalling
2 Toy Soldiers Parade Ring-Hager Background Instrumental 0.18
5 Marche Dignitaire Walt Background Instrumental 1.02
6 Fella With the fiddle. The CAbbott Background Instrumental 0.08
12 Samarkand J.S.Zamecnlk Background Instrumental 0.49
16 Am I Blue H.Akst, G.darke Background Instrumental 0.06
18 Maharajah, The J.S.Zamecnik Background Instrumental 0.04
25 Jabberwocky J.Brockman, J.Kendis, LWeslyn Background Instrumental 0.57
26 Mutiny J.S.Zamecnik Background Instrumental 0.51
#149 Coo-Coo Nut Grove Cad Stalling

2 Thru the Courtesy of love M.KJerome, J.Scholl Background Instrumental 1.36
3 About a Quarter to Nine A.Dubln, H.Warren Background Instrumental 0.16
5 Rhythm Step LHolzer, R.Metzger Background Instrumental 0.31
7 Lady in Red, The M.Dixon, A-Wrubel Background Instrumental 0.18
11 What's the Matter With Father E-Van Alstyne, H.Williams Background Instrumental 0.03
12 My Old Man B.Hanighan, J.Mercer Visual Vocal 0.10
15 Little Things You Used To Do, The A.Dubin, H.Warren Visual Vocal 0.43
#150 The Village Smithy Cad Stalling

3 In the Shade of the Old Apple Tree E.Van Alstyne, H.Williams Background Instrumental 0.23
6 Light Cavalry Overture F.von Suppe Background Instrumental 0.06
8 Horsey Keep Your Tail Up W.Hirsch, B.Kaplan Background Instrumental 0.08
9 All God's Chillun Got Shoes Unk. Background Instrumental 0.32
10 If You Cant Sing Whistle T.BIIght, J.Hart Background Instrumental 0.20
13 Hi-LeHi-Lo Unk. Background Instrumental 0.10
17 My Pony Boy CO'Donnell, B.Heath Background Instrumental 0.30
19 Levee Song Unk. Background Instrumental 0.05
20 Put On Your Old Grey Bonnet S.Murphy, P.Wenrich Background Instrumental 0.05
#151 Porky In the Northwoods Cad Stalling

1 North Woods M.KJerome Background Instrumental 0.20
2 Winter A.Bryan, A.Gumble Background Instrumental 0.25
4 Grief J.S.Zamecnik Background Instrumental 0.23
5 Canadian Capers E.Burtnett, G.Chandler, H.Cohen, B.Whlte Background Instrumental 0.07
10 Little Man You've Had a Busy Day A.Hoffman, M.Sgler, M.Wayne Background Instrumental 0.40
14 Tramp, Tramp, Tramp (The Boys are Unk. Background Instrumental 0.06
18 Black Coffee A.Goodhart, A.Hoffman, M.Stgler Background Instrumental 0.55
19 Athalie Overture F.Mendetssohn Background Instrumental 0.25
302
#152 He Was Her Man Carl Stalling
Released 1/2/1937_______ Cue Sheet Date________________
2 He Was Her Man M.Dixon, A.Wrubel Background Instrumental 1.03
3 Fancy Meeting You H-Arten, E.Y.Harburg Background Instrumental 0.35
4 When Little Bo-Peep Saw Her Little Beau A.Bryan, LJ.Uttle Background Instrumental 0.31
6 I'd Love to Take Orders From You A.Dubln, H.Warren Background Instrumental 0.24
9 Grandfather's Clock H.CWork Background Instrumental 0.04
12 Apache Dance J.Offenbach Background Instrumental 0.06
#153 Porky th e W restler Carl Stalling

1 Porky the Wrestler M.KJerome Background Instrumental 0.19
2 Puddin’ Head Jones A.Bryan, LHandman Background Instrumental 0.06
3 Gladiator's Tournament J.demandh Background Instrumental 0.09
5 Waiting For the Wagon Unk. Background Instrumental 0.20
8 We’re in the Money A.Dubin, H.Warren Background Instrumental 0.08
9 Song of the Volga Boatman Unk. Background Instrumental 0.32
10 Parade of the Animals Unk. Background Instrumental 0.32
16 Guy From the Isle of Capri, The CAbbott, D.Wimbrow Background Instrumental 0.17
17 One Two Three O’Leary Unk. Visual Vocal 0.07
#154 Pigs is Pigs Carl Stalling

1 Merrily We Roll Along CTobias, M.Mencher, E-Cantor Background Instrumental 0.18
2 When My Dreamboat Comes Home D.Franklin, CFriend Background Instrumental 1.14
9 Dangerous Rhythm M.KJerome, J.Scholl Background Instrumental 1.00
10 Illusions RJng-Hager Background Instrumental 0.55
12 Half of Me (Wants to Be Good) P.De Rose, S.M.Lewfs Background Instrumental 1.00
#155 Porky’s Road Race Carl Stalling

1 Poric/s Road Race CStalling Background Instrumental 0.20
2 Thru the Courtesy of Love M.KJerome, J.Schol! Background Instrumental 0.13
4 In My Merry Oldsmoblle V.Bryan, G.Edwards Background Instrumental 0.45
6 How Dry I Am Unk. Background Instrumental 0.13
7 We W ont Get Home Until Morning Unk. Background Instrumental 0.06
8 Where Am I A.Dubln, H.Warren Background Instrumental 0.04
9 A Life on the Ocean Wave H.Russell, E.Sargent Background Instrumental 0.10
15 Old Black Joe S.Foster Background Instrumental 0.07
16 All’s Fair In Love and War A.Dubin, H.Warren Background Instrumental 0.08
17 Dancing Toys E.Van Alstyne, T.Weems Background Instrumental 0.05
22 I’ll Sing You a Thousand Love Songs A.Dubin, H.Warren Background Instrumental 0.06
27 Walt For the Wagon R.B.Buddey Background Instrumental 0.15
303
#156 Picador Porky Carl Stalling
Released 2/27/1937 Cue Sheet Date 2/23/1937______
1 Picador Porky CStalling Background Instrumental 0.19
3 La Paloma S.Yradier Background Instrumental 0.20
4 La Cucaracha Unk. Visual Vocal 1.06
5 Jose O'Neill- The Cuban Heel M.KJerome, J.Scholl Background Instrumental 0.17
7 Hootchy Kootchy Dance Unk. Background Instrumental 0.11
8 Muchacha A.Dubin, H.Warren Background Instrumental 0.07
12 We Won't Get Home Until Morning Unk. Background Instrumental 0.10
13 Goodnight Ladies Unk. Background Instrumental 0.08
17 Lady of Spain, The Evans Background Instrumental 0.15
#157 I Only Have Eyes For You Carl Stalling

1 Merrily We Roll Along CTobias, M.Mencher, ECantor Background Instrumental 0.17
2 I Only Have Eyes For You A.Dubln, H.Warren Background Instrumental 0.20
3 I Wanna Bounce Around With You A.Kassel Background Instrumental 0.48
6 Soubrette on the Police Gazette, The M.KJerome, J.Schol! Background Instrumental 0.15
9 Let It Be Me M.Dixon, A.Wrubel Visual Vocal 0.10
11 Uebestraum F.Liszt Background Instrumental 0.30
17 Put On Your Old Grey Bonnet S.Murphy, P.Wenrich Visual Instrumental 0.14
18 All's Fair in Love and War A.Dubin, H.Warren Background Instrumental 0.14
#158 The Fella With the Fiddle Carl Stalling

2 Fella With the Hddle, The CAbbott Background Instrumental 0.10
3 Dancing Toys E.Van Alstyne, T.Weems Background Instrumental 0.53
6 With Plenty of Money and You A.Dubln, H.Warren Background Instrumental 0.40
8 All's Fair in Love and War A.Dubin, H.Warren Background Instrumental 0.35
#159 Porky's Romance Carl Stalling

1 Three Men on Horse M.KJerome Background Instrumental 0.20
3 Oh You Beautiful Doll N.DJkyer, A.S.Brown Background Instrumental 0.35
4 I Wanna Woo A-Swanstrom, M.Wayne Background Vocal 1.04
9 Little Things You Used To Do, The A-Dubln, H.Warren Background Instrumental 0.25
13 In My Merry Oidsmobile V.Bryan, G.Edwards Background Instrumental 0.08
14 Honeymoon Hotel A-Dubln, H.Warren Background Instrumental 0.15
16 When My Dreamboat Comes Home D.Franklln, GFriend Background Instrumental 0.08
19 Little House That Love Built, The A.Dubin, H.Warren Background Instrumental 0.22
304
#160 She Was An Acrobat's Daughter Carl Stalling
2 She Was an Acrobat's Daughter B.Kalmar, H.Ruby Background Instrumental 0.45
3 Parade of the Animals RIng-Hager Background Instrumental 1.26
4 Boulevardier From the Bronx A.Dubln, H.Warren Background Instrumental 0.10
5 A Game of Tag G.L.Trtnkaus Background Instrumental 0.19
9 Unfinished Symphony F.Schubert Background Instrumental 0.09
12 Thru the Courtesy of Love M.KJerome, J.Scholl Background Instrumental 0.15
13 Puddin' Head Jones A.Bryan, LHandman Background Instrumental 0.15
15 Nagasaki M.Dixon, H.Warren Background Instrumental 1.20
#161 Porky's Duck Hunt Carl Stalling

1 Porky's Duck Hunt M.KJerome Background Instrumental 0.20
2 A Hunting We Will GO Unk. Background Instrumental 0.23
3 Sing Me a Song of Nonsense S-Adams, H.Carmichael Background Instrumental 0.30
4 Boulevardier From the Bronx A.Dubin, H.Warren Background Instrumental 0.15
11 Lets Put Our Heads Together H.Arien, EY.Harburg Background Instrumental 0.07
14 When My Dreamboat Comes Home D.Franklin, CFrfend Background Instrumental 0.13
15 Moonlight Bay E Madden, P.Wenrtch Visual Vocal 0.40
20 Hi-Ho the Merrio (As Long as She Loves Me) L Brown, CConrad, B.Davts Background Instrumental 0.10
21 Streamlined Greta Green T.Berwick, F.Rose Background Instrumental 0.27
26 Gee But You're Swell A.Baer, CTobias Background Instrumental 0.19
#162 Ain’t W e G ot Fun Carl Stalling

2 Ain't We Got Fun R-Egan, G.Kahn, R.Whiting Background Instrumental 0.05
3 Memories G.Kahn, EVan Alstyne Background Instrumental 0.45
10 Pop Goes the Weasel Unk. Background Instrumental 0.08
13 Gee But You’re Swell A.Baer, CTobias Background Instrumental 0.15
15 Me-ow M.Kaufman Background Instrumental 0.20
19 Sentimental and Melancholy J.Mercer, R.Whiting Background Instrumental 0.08
21 All's Fair In Love and War A.Dubin, H.Warren Background Instrumental 0.23
#163 Porky and Gabby Carl Stalling

1 Porky and Gabby M.KJerome Background Instrumental 0.19
3 Now That Summer Is Gone S.Smons Background Instrumental 0.55
4 Speaking of the Weather H-Arten, EY.Harburg Background Instrumental 1.48
5 Black Coffee A.Goodhart, A-Hoffman, M.Slgler Background Instrumental 1.10
6 Coasting Rlng-Hager Background Instrumental 0.20
305
#164 Clean Pastures Carl Stalling
2 Save Me Sister H_Arlen, E.Y.Harburg Background Vocal 0.12
3 Sweet Georgia Brown B.Bemle, K.Casey, M.PInkard Background Instrumental 0.40
5 Half of Me (Wants to Be Good) P.De Rose, S.M.Lewts Background Vocal 0.40
14 Swanee River (The Old Folks at Home) S.Foster Background Instrumental 0.18
15 I Love to Singa KArlen, E.Y.Harburg Visual Vocal 0.09
19 Swing For Sale S.Cahn, S.Chaplin Visual Vocal 2.00
21 Oh Dem Golden Slippers Bland Visual Vocal 0.53
#165 U n d e Tom's Bungalow Carl Stalling

1 Merrily We Roll Along CTobias, M.Mencher, CCantor Background Instrumental 0.17
2 Dixie D.Emmett Background Vocal 0.06
3 Swanee River (The Old Folks at Home) S.Foster Background Vocal 0.20
4 Too Marvelous For Words J.Mercer, R.Whihng Background Instrumental 0.40
5 Sweet Georgia Brown B.Bemle, ICCasey, M.PInkard Background Instrumental 0.10
6 Old Blade Joe S.Foster Background Instrumental 0.06
7 Are You From Dixie G.LCobb, J.Yeilen Background Instrumental 0.30
9 My Little Budcaroo M.KJerome, J.Scholl Background Instrumental 0.15
20 Jingle Bells Unk. Background Instrumental 0.04
#166 Porky's Building Carl Stalling

1 Porky's Building M.KJerome Background Instrumental 0.20
2 Woods are Full of Cuckoos, The J.F.Coots, CNewman Background Instrumental 0.14
3 Fifty Second Street S.Cahn, S.Chaplin Background Instrumental 2.07
4 Boulevardier From the Bronx A.Dubln, H.Warren Background Instrumental 0.36
5 Lets Put Our Heads Together H.Arien, E.Y.Harburg Background Instrumental 0.03
7 Night-Time in Rio CFriend, H.Sosnik Background Instrumental 0.23
8 You're the Cure FOr What Ails Me HJkrlen, E.Y.Hart)urg Background Instrumental 0.16
10 On the Rue de la Paix W.R. Heymann, T. Koehler Background Instrumental 0.30
#167 Stream lined Greta Green Carl Stalling

8 Lithe Man You've Had a Busy Day A.Hoffman, M.SIgler, M.Wayne Background Instrumental 0.10
13 Shuffle O ff to Buffalo A.Dubin, H.Warren Background Instrumental 0.25
14 Rural Rhythm J.Cavanaugh, D.SanfOrd, F.Wekkxi Background instrumental 0.25
306
#168 Sw eet Sioux Cart Stalling
2 Indian Dawn J.S.Zamecnik Background Instrumental 0.11
7 Freddy the Freshman (The Freshest Kid in CFriend, D.Oppenheim Visual Vocal 0.11
11 Sun Dance L.Friedman Background Instrumental 0.47
13 Goombay Drum S-Adams, S.Knowtton, CLofthouse Visual Vocal 1.08
17 Merry Go Round Broke Down CFriend, D.Franklln Background Instrumental 0.15
18 Freddy the Freshman (The Freshest Kid in CFriend, D.Oppenheim Background Instrumental 0.13
19 Indian Wedding Feast GJ.Trinkaus Background Instrumental 0.13
#169 Porky's Super Service Carl Stalling

1 Porky M.KJerome Background Instrumental 0.20
2 I'm Hatin' This Waitin' Around A.Lewis, M.Mencher, CTobias Background Instrumental 2.23
4 Little Old Fashioned Music Box G-W.Meyer, P.Wendling Background Instrumental 0.46
7 Gee But You’re Swell A.Baer, CTobias Background Instrumental 1.03
8 'Cause My Baby Says It's So A.Dubfn, H.Warren Background Instrumental 0.48
#170 Egghead Rides Again Carl Stalling

2 When a Cowboy Takes a Wife M.KJerome, J.Scholl Background Instrumental 0.58
3 Yodel Unk. Visual Vocal 0.10
7 Along the Old Frontier M.KJerome, J.Scholl Background Instrumental 0.20
10 Song of the Circle Bar M.KJerome, J.Scholl Background Instrumental 0.32
#171 Porky's Badtime Story Carl Stalling

1 Awakening, The M.KJerome Background Instrumental 0.19
3 When My Dreamboat Comes Home D.Franklln, C Friend Background Instrumental 0.24
9 How Could You A.Dubin, H.Warren Background Instrumental 0.50
11 By the Light of the Slvery Moon G.Edwards, EMadden Background Instrumental 1.04
13 September In the Rain A.Dubin, H.Warren Background Instrumental 0.58
17 Up With the Dawn M.KJerome Background Instrumental 0.17
#172 Plenty o f Money and You Carl Stalling

1 Merrily We Roil Along CTobias, M.Mencher, ECantor Background Instrumental 0.18
2 With Plenty of Money and You A.Dubin, H.Warren Background Instrumental 0.10
3 Grand Central H.Roemheld Background Instrumental 1.22
7 Lucky Duck CWarren, H.Whitney Background Instrumental 0.12
17 On the Rue de la Pabe W.R. Heymann, T . Koehler Background Instrumental 1.25
307
#173 Porky's Railroad Carl Stalling
Released 8/7/1937_______ Cue Sheet D ate 10/18/1937
1 Porky's Railroad M.KJerome Background Instrumental 0.19
3 California Here I Come B.G.De Syfva, AJolson, J.Meyer Background Instrumental 1.12
4 rve Been Working on tfie Railroad Unk. Background Instrumental 0.05
15 Auld Lang Syne Unk. Background Instrumental 0.06
22 I Wish I Was in Dixie Unk. Background Instrumental 0.03
24 Frankie and Johnnie Leighton, Shields Background Instrumental 0.04
28 Dont Give Up the Ship A.Dubin, H.Warren Visual Vocal 0.08
#174 A Sunbonnet Blue Carl Stalling

1 Merrily We Rofl Along CTobias, M.Mencher, E.Cantor Background Instrumental 0.19
2 Put On Your Ok! Grey Bonnet S.Murphy, P.Wenrich Background Instrumental 0.08
3 Japanese Sandman R.Egan, R.Whiting Background Instrumental 1.13
4 Little Old Fashioned Music Box M.Davfd, G.Meyer, P.Wendling Background Instrumental 0.30
5 Sunbonnet Bkie (And a Yellow Straw Hat) S.Faln, I.Kahal Visual Vocal 1.05
7 I Havent Got a Hat B.Bemler, B.Emmerich Visual Vocal 0.40
S Lady In Red, The M.Dixon, A.Wrubei Visual Vocal 0.09
IS On the Rue de la Paix W.R. Heymann, T . Koehler Background Instrumental 0.04
19 Freddy the Freshman (The Freshest Kid In CFriend, D.Oppenheim Background Instrumental 0.08
21 Yankee Doode Unk. Background Instrumental 0.09
22 Three Blind Mice Unk. Background Instrumental 0.08
27 Bridal Chons R.Wagner Background Instrumental 0.20
#175 Get Rich Quick Porky Carl Stalling

1 Oil Shark M.KJerome Background Instrumental 0.20
2 When My Oreamboat Comes Home D.Franklln, C Friend Background Instrumental 0.17
9 You're the O re For What Ails Me HJkrien, EY.Harburg Background Instrumental 0.08
15 rve Been Working on the Railroad Unk. Background Instrumental 0.04
19 We're In the Money A.Dubln, H.Warren Background Instrumental 0.35
22 Partners M.KJerome Background Instrumental 0.07
#176 Speaking o f th e W eather Carl Stalling

308
#177 Porky's Garden Cart Stalling
1 Porky's Garden M.KJerome Background Instrumental 0.21
2 HI Ho the Memo L Brown, C Conrad, B.Davts Background Instrumental 0.07
4 Pretty Baby G.Kahn, TJackson, EVan Alstyne Background Instrumental 0.07
5 Animal Fair Unk. Background Instrumental 0.17
7 Chicken Reel Unk. Background Instrumental 0.02
10 Carolina in the Morning W.Donaldson, G.Kahn Background Instrumental 039
12 Song of the Marines A.Dubin, H.Warren Background Instrumental 0.15
13 In the Shade of the Old Apple Tree EVan Alstyne, H.Williams Background Instrumental 0.17
18 Guy From the Isle of Capri, The CAbbott, D.WImbrow Background Instrumental 03 4
IS Am I Blue HJkkst, G.darke Background Instrumental 0.18
21 Merry Go Round Broke Down C Friend, D.Franldfn Background Instrumental 1.14
#178 Dog Daze Carl Stalling

2 They Gotta Quit Kickin' My Dog Around W.M.Oungst, CPerklns Background Instrumental 0.28
3 Oh Where Has My LItUe Dog Gone Unk. Background Instrumental 0.06
S Oh You Beautiful Doll N.D-Ayer, A.S.Brown Background Instrumental 0.15
12 Soubrette on the Police Gazette, The M.KJerome, J.Scholl Background Instrumental 0.19
14 Campbells are Coming, The Unk. Background Instrumental 0.15
14 Campbells are COming, The Unk. Background Instrumental 0.15
15 Russian National Anthem, The Unk. Background Instrumental 0.06
15 Russian National Anthem, The Unk. Background Instrumental 0.06
16 Hungarian Dance No. 5 J.Brahms Background Instrumental 0.11
19 Young Man You've Had a Busy Day M.SIgler, M.Wayne Background Instrumental 0.03
19 Little Man You've Had a Busy Day A.Hoffman, M.Sigler, M.Wayne Background Instrumental 0.03
21 My Utde Buckaroo M.KJerome, J.Scholl Visual Vocal 1.00
21 My Little Buckaroo M.KJerome, J.Scholl Visual Vocal 1.00
#179 I W anna Be A Sailor Carl Stalling

3 We're Working Our Way Through College J.Mercer, R.Whttlng Background Instrumental 0.50
5 My Isle of Golden Dreams W.BIaufuss, G.Kahn Background Instrumental 0.55
7 rm the Captain's Kid M.KJerome, J-Scholl Background Instrumental 1.03
9 A Ufe on the Ocean Wave H.Russeil, ESargent Background Instrumental 0.33
11 William Tell Overture G.Rosslnl Background Instrumental 1.30
12 Old Black Joe S.Foster Visual Vocal 0.05
309
#180 Rover's Rival Carl Stalling
1 Merry Go Round Broke Down CFriend, D.Franklin Background Instrumental 0.21
2 Bulldog on the Bank Unk. Background Instrumental 0.08
5 Old Blade Joe S.Foster Background Instrumental 0.15
6 Old Dog Tray S.Foster Background Instrumental 0.12
16 'Cause My Baby Says It's So A.Dubin, H.Warren Background Instrumental 0.26
35 All's Fair in Love and War A.Dubin, H.Warren Background Instrumental 0.1S
#181 The Lyfn' Mouse Carl Stalling

2 How Could You A.Dubln, H.Warren Background Instrumental 0.54
3 Save Me Sister H-Arlen, E.Y.Hartxirg Background Instrumental 0.08
4 Uttie Old Fashioned Music Bax M.Davfd, G.Meyer, P.Wendling Background Instrumental 0.40
5 Congo M.KJerome, J-Scholl Background Instrumental 0.37
17 Too Marvelous For Words J.Mercer, R.Whiting Background Instrumental 0.27
21 Parade of the Animals Ring-Hager Background Instrumental 0.27
22 Am I Blue KAkst, G.Oarke Background Instrumental 0.07
23 Old King COle J.Mercer, R.Whlting Background Instrumental 0.29
#182 The Case o f th e Stuttering Pig Carl Stalling

4 Grandfather’s dock H.CWork Background Instrumental 0.18
6 Puddln’ Head Jones A.Bryan, LHandman Background Instrumental 0.16
7 Half of Me (Wants to Be Good) P.De Rose, S.M.Lewis Background Instrumental 0.10
10 Massa's In the Cold Cold Ground S.Foster Background Instrumental 0.29
11 Cowboy's Lament Unk. Background Instrumental 0.07
#183 Little Red W alking Hood Carl Stalling

2 Have You Got Any Castles Baby J.Mercer, R.Whiting Background Instrumental 0.31
3 Old King Cole J.Mercer, R.Whiting Background Instrumental 0.20
7 Uebestraum F.Uszt Background Instrumental 0.17
10 You're the Cure For What Ails Me HArlen, EY.Harburg Visual Whistled 0.06
12 Gee But You're SweH A.Baer, CTobias Visual Vocal 0.35
310
#184 Porky's Double Trouble Carl Stalling
1 Merry Go Round Broke Down CFriend, D.Franklln Background Instrumental
3 Turtadency Bath Background Instrumental 0.41
4 Love Is On the Air Tonight J.Mercer, R.Whltfng Background Instrumental 0.43
5 Franlde and Johnnie Unk. Background Instrumental 0.14
7 He Was Her Man M.Dixon, A.Wrube! Background Instrumental 0.10
8 Puddln' Head Jones A.Bryan, L Handman Background Instrumental 0.09
14 I Know Now A.Dubfn, H.Warren Background Instrumental 0.20
22 Furloso J-S.Zamecnlk Background Instrumental 0.12
#185 Porky's Hero Agency Carl Stalling

i Merry Go Round Broke Down CFriend, D.Franklln Background Instrumental 0.20
2 March Dignataire EJ.Walt Background Instrumental 0.50
3 Have You Got Any Castles Baby J.Mercer, R.Whiting Background Instrumental 0.46
4 Old tang Cole J.Mercer, R.Whiting Background Instrumental 1.15
6 Love Is On the Air Tonight J.Mercer, R.Whiting Background Instrumental 0.19
7 You've Got Something There J.Mercer, R.Whitlng Background Instrumental 0.40
8 Am I In Love A.Dubin, H.Warren Visual Vocal 0.28
11 He Was Her Man M.Dixon, A.Wrubel Background Instrumental 0.37
#186 The Woods Are Full o f Cuckoos Carl Stalling

i Merrily We Roll Along CTobias, M.Mencher, E.Cantor Background Instrumental 0.19
2 Woods are Full of Cuckoos, The J.F.COots, CNewman Background Instrumental 0.43
3 Shine On Harvest Moon N.Bayes, J.Norworth Background Instrumental 0.16
6 Are You From DMe G.L.Cobb, J.YeHen Background Instrumental 0.27
7 On the Rue de la Patx W.R. Heymann, T . Koehler Visual Vocal 0.08
9 Swanee River (The Old Folks at Home) S.Foster Visual Vocal 1.15
11 Rocked in the Cradle of the Deep J.Knlght, E-WIUard Background Instrumental 0.18
13 I'm Wearin' My Greet Fedora A.Lewis, J.Meyer, A.Sherman Visual Vocal 0.13
14 How Could You A.Dubln, H.Warren Visual Vocal 0.18
16 Lady Who Cduldnt Be Kissed, The A.Dubtn, H.Warren Background Instrumental 0.19
17 Lady in Red, The M.Dixon, A.Wrubel Background Instrumental 0.04
19 She'll Be Cornin' 'Round the Mountain Unk. Background Instrumental 0.11
22 Here Comes the Sandman A.Dubin, H.Warren Background Instrumental 0.17
#187 Septem ber in the Rain Carl Stalling

l Merrily We Rod Along CTobias, M.Mencher, E-Cantor Background Instrumental 0.19
3 Am I Blue H.Akst, G.Oarke Visual Vocal 0.12
4 You're the Cure For What Ails Me H.Aden, E.Y.Harburg Background Instrumental 0.10
12 By a Waterfa* S.Fafn, I.Kahal Visual Vocal 0.25
14 My Old Kentucky Home S.Foster Visual Vocal 1.03
17 Nagasaki M.Dixon, H.Warren Visual Vocal 0.59
311
#188 Daffy Duck & Egghead Carl Stalling
Released 1/1/1938_______ Cue Sheet Date 12/28/1937
2 'Cause My Baby Says Its So A.Dubin, H.Warren Background Instrumental 0.08
3 Around the Mulberry Bush Unk. Background Instrumental 0.06
4 A Hunting We Will Go Unk. Background Instrumental 0.07
5 Just Before the Battle Mother Unk. Background Instrumental 0.11
21 Traumerei R^chumann Background Instrumental 0.09
22 Merry Go Round Broke Down CFriend, D.Franklin Visual Vocal 0.47
26 Bob White (Whatcha Gonna Swing Tonight) B.Hanighen, J.Mercer Background Instrumental 0.53
#189 Porky's Poppa Carl Stalling

3 Old McDonald Had a Farm Unk. Visual Vocal 1.55
6 Lullaby of Broadway A.Dubfn, H.Warren Background Instrumental 0.20
13 Howdy Ted-Josh Background Instrumental 0.40
#190 My Little Buckaroo Carl Stalling

3 Erf King, The F.Schubert Background Instrumental 0.13
5 Jose O'Neilt-The Cuban Heel M.KJerome, J.Scholl Background Instrumental 0.17
10 Song of the Circle Bar M.KJerome, J.Scholl Background Instrumental 0.06
32 Here Comes the Sandman A.Dubin, H.Warren Background Instrumental 0.14
#191 Porky a t th e Crocadero Carl Stalling

2 Remember Me A.Dubin, H.Warren Background Instrumental 0.11
4 Little Man You've Had a Busy Day A.Hoffman, M.Sigler, M.Wayne Background Instrumental 0.03
S In the Shade of the Old Apple Tree E.Van Alstyne, H.WUilams Background Instrumental 0.04
6 Lady In Red, The M.Dixon, AWrubei Background Instrumental 0.09
7 We're Working Our Way Through College J.Mercer, R.Whiting Background Instrumental 0.17
8 Poet and Feasant F.von Suppe Background Instrumental 0.08
9 Vleni Vlenl G.Roger, V.Scotto, R.Vallee Background Instrumental 0.09
10 Sweet Georgia Brown B.Bemle, M.PInkard Background Instrumental 0.15
12 Sentimental and Melancholy J.Mercer, R.Whiting Background Instrumental 0.14
15 You Cant Ship Me From Dreaming D.Franklln, CFriend Background Instrumental 0.30
19 Woods are Full of Cuckoos, The J.F.Coots, C Newman Background Instrumental 0.09
24 Avalon AJolson, V.Rose Visual Instrumental 0.30
25 Summer Night A.Dubln, H.Warren Background Instrumental 0.10
28 Chinatown My Chinatown WJerome, J.Schwartz Visual Vocal 0.57
312
#192 Jungle Jitters Carl Stalling
2 Too Marvelous For Words J.Mercer, R.Whiting Background Instrumental 0.08
3 Goombay Drum S-Adams, S.Knowtton, CLofthouse Background Instrumental 039
4 Merry Go Round Broke Down CFriend, D.Franklin Background Instrumental 030
10 Vieni Vienl G.Roger, V.Scotto, R.Vallee, H.Vama Visual Vocal 0.05
#193 W hat Price Porky Carl Stalling

2 Hinky Dinky Parley-Voo Unk. Background Instrumental 0.05
17 Boy Meets Girl S.Fain, CTobias Background Instrumental 0.52
19 Hurry No. 3 J.S.Zamecnlk Background Instrumental 0.20
20 We're Working Our Way Through College J.Mercer, R.Whiting Background Instrumental 0.16
21 Battle Music No. 9 J.S.Zamecnik Background Instrumental 1.20
#194 The Sneezing W easel Carl Stalling

10 All's Fair In Love and War A.Dubin, H.Warren Background Instrumental 0.37
11 Funeral March F.ChopIn Background Instrumental 0.03
15 You Cant Stop Me From Dreaming D.Franklin, CFriend Background Instrumental 0.09
#195 Porky's Phoney Express Carl Stalling .

2 Cheyenne EVan Alstyne, H.Williams Background Instrumental 0.06
4 When a Cowboy Takes a Wife M.KJerome, J.Scholl Background Instrumental 0.38
9 Ridin' the Mail M.KJerome, J.Scholl Background Instrumental 0.34
10 My Lithe Buckaroo M.KJerome, J.Scholl Background Instrumental 0.04
13 San Antonio EVan Alstyne, H.Williams Background Instrumental 0.09
14 Song of the Qrde Bar M.KJerome, J.Scholl Background Instrumental 0.17
313
#196 A S tar is Hatched Carl Stalling
Released 4/2/1938_______ Cue Sheet Date 3/^16/1938
1 Merrily We Roll Along CTobias, M.Mencfner, E-Cantor Background Instrumental 0.17
2 rve Hitched My Wagon to a Star J.Mercer, R.Whitin<g Background Instrumental 0.18
3 Arkansas Traveler Unk. Background Instrumental 0.12
7 Bel Mir Bist du Schon S.Cahn, S.Chapiin, S.Secunda Background Instrumental 1.02
8 California Here I Come B.G.De Sylva, AJoJson, J.Meyer Background Instrumental 0.35
9 Hooray for Hollywood J.Mercer, R-Whitirwg Background Instrumental 0.36
10 For You W.Heymann, T.Ko«ehler Background Instrumental 0.55
11 You Oughta Be in Pictures EHeyman, D.Suesse Background Instrumental 0.05
12 Frankie and Johnnie Unk. Background Instrumental 0.06
13 Titina LDaniderff, W .COuncan, etal. Background Instrumental 0.05
15 All's Fair in Love and War A.Dubln, H.Warrerw Visual Vocal 0.16
16 Don't Give Up the Ship A.Dubfn, H.Warreni Visual Vocal 0.05
17 Song of the Marines A.Dubin, H.Warrera Visual Vocal 0.18
18 VieniVieni G.Roger, V.Scotto,_ RVallee, H.Vama Background Instrumental 0.18
20 Remember Me A.Dubln, H.Warren* Background Instrumental 0.11
21 Home Sweet Home H.R.Bishop, J.H.Paiyne Background Instrumental 0.16
#197 Porky's Five and Ten Carl Stalling

Released 4/16/1938 Cue Sheet Date 3/^11/1938
1 Merry GO Round Broke Down CFriend, D.Franldim Background Instrumental 0.20
2 Let That Be a Lesson to You J.Mercer, R.Whiting Background Instrumental 0.32
3 Farewell My Love H.Busse, LHoizer, H.Kogen' Background Instrumental 0.17
4 rm Like a Fish Out of Water J.Mercer, R.Whiting Background Instrumental 0.52
6 How Many Rhymes Can You Get D.Franklin, CFriemd Background Instrumental 0.22
7 Sing You Son o f a Gun J.Mercer, R.Whiting Background Instrumental 0.17
9 Happiness Ahead M.Dixon, A-Wrubeli Background Vocal 0.30
10 Hooray for Hollywood J.Mercer, R.Whldng Background Vocal 0.45
15 Bel Mir Bist du Schon S.Cahn, S.Chaplin, S.Secunda Background Instrumental 0.06
17 Nagasaki M.Dixon, H.Warrern Background Instrumental 0.26
#198 Penguin Parade Carl Stalling

Released 4/16/1938 Cue Sheet Date 3r21/1938
1 Merrily We Roll Along CTobias, M.Menctwer, ECantor Background Instrumental 0.17
2 Penguin Parade B.Gay, R.Whiting Visual Vocal 1.45
4 Sing You Son of a Gun J.Mercer, R.Whiting Background Instrumental 0.39
6 On the Rue de la Paix W.R. Heymann, T . Koehler Visual Instrumental 0.24
8 When My Dreamboat Comes Home D.Franklin, CFriened Background Instrumental 0.23
11 Bei Mir Bist du Schon S.Cahn, S.Chaplin, S.Secunda Background Instrumental 0.14
13 Merry Go Round Broke Down CFriend, D.Franklhn Visual Instrumental 0.05
#199 Porky's Hare Hunt Carl Stalling

Released 4/30/1938 Cue Sheet Date 4r5/1938
1 Merry Go Round Broke Down CFriend, D.Franklim Background Instrumental 0.21
8 In Callente M.Dixon, A.Wrubel Background Instrumental 0.11
9 Muchacha A.Dubln, H.Warren Background Instrumental 0.31
12 Hooray for Hollywood J.Mercer, R.Whiting Background Instrumental 1.20
14 What's the Matter With Father EVan Alstyne, H.WWIIIlams . Background Instrumental 0.05
IS Coasting Ring-Hager Background Instrumental 0.30
17 Old Pal G.Kahn, EVan Alstyne Background Instrumental 0.10
314i
#200 Now T h at Sum m er Is Gone Carl Stalling
2 Now That Summer Is Gone S.Slmons Background Instrumental 0.05
4 September in the Rain A.Dubin, H.Warren Background Vocal 0.12
S Just a Simple Melody S.Cahn, S.Chaplin Background Instrumental 0.05
7 What's the Matter With Father EVan Alstyne, H.Williams Background Instrumental 0.07
8 Dear Little Boy of Mine ER.Ball, J.K.Brennan Background Instrumental 0.24
16 Home Sweet Home H.R.Blshop, J.H.Payne Background Instrumental 0.10
#201 In ju n Trouble Carl Stalling

5 Kingdom Coming (Jubilo) H.CWork Background Instrumental 0.50
7 Old Apple Tree, The M.KJerome, J.Scholl Background Instrumental 0.47
8 London Bridge Is Falling Down Unk. Background Instrumental 0.11
14 Indian Wedding Feast G.Trinkaus Background Instrumental 1.00
#202 The Is le o f Pingo Pongo Carl Stalling

4 Columbia the Gem of the Ocean TA .Beckett, D.T.Shaw Background Instrumental 0.06
5 My Bonnie Ues Over the Ocean Unk. Background Instrumental 0.04
9 Vleni Vieni G.Roger, V.Scotto, R.ValIee, H.Vama Background Instrumental 0.08
11 ril Sing You a Thousand Love Songs A.Dubin, H.Warren Background Instrumental 0.04
12 You're the Cure For What Ails Me H.Arien, EY.Harburg Background Instrumental 0.04
22 Farewell My Love H.Busse, LHolzer, H.Kogen Background Instrumental 0.12
27 Shell Be COmin’ 'Round the Mountain Unk. Visual Vocal 0.23
29 Congo M.KJerome, J.Scholl Background Instrumental 0.39
31 We're Working Our Way Through College J.Mercer, R.Whltlng Background Instrumental 0.14
33 Minuet in G Lvan Beethoven Background Instrumental 0.15
34 Sweet Georgia Brown B.Bemle, ICCasey, M.PInkard Visual Vocal 1.01
36 Aloha Oe Queen Uliuokalanl Background Instrumental 0.15
#203 Porky the Fireman Carl Stalling

4 It Looks Like a Big Night Tonight EVan Alstyne, H.Williams Background Instrumental 0.25
7 Old King Cole J.Mercer, R.Whitlng Background Instrumental 0.30
12 Funeral March F.Chopln Background Instrumental 0.03
315
#204 Katnip Kollege Carl Stalling
2 We're Working Our Way through College J.Mercer, R.Whiting Background Instrumental 0.51
4 Let That Be a Lesson to You J.Mercer, R.Whitfng Visual Vocal 0.19
6 You're an Education A.Dubin, H.Warren Background Instrumental 0.46
7 As Easy As Rolling Off a Log M.KJerome, J.Scholl Visual Vocal 0.07
9 No Name Stomp D.Monahan Visual Vocal 1.16
11 Scatdn' With Mister Bear M.KJerome, J.Scholl Visual Instrumental 0.19
#205 Porky's Party Carl Stalling

5 Sissy J.Fasdnata, I.Kahal, LPandno Background Instrumental 0.40
6 Gavotte F.GOssec Background Instrumental 0.17
15 Joseph Joseph S.Cahn, N.Casman, S.Chaplin Background Instrumental 1.03
#206 Have You Got Any Castles Carl Stalling

2 Have You Got Any Castles Baby J.Mercer, R.Whfting Background Instrumental 0.08
6 Gavotte F.Gossec Background Instrumental 0.16
9 Vieni Vieni H.Koger, VScotto, R-Vallee, H.Vama Background Instrumental 0.26
10 Swing For Sale S.Cahn, S.Chaplin Visual Vocal 0.37
13 You're the Cure For What Ails Me H.Arlen, E.Y.Harburg Background Instrumental 0.08
14 Old King Cole J.Mercer, R.Whiting Visual Vocal 1.15
#207 Love and Curses Carl Stalling

3 Erl King, The F.Schubert Background Instrumental 0.13
6 In My Merry Oldsmobile V.Bryan, G.Edwards Background Instrumental 0.16
8 Love Me and the World Is Mine EBall, D.Reed Jr. Background Instrumental 0.14
11 All That Glitters Is Not Gold J.Casey, G.Norton Visual Vocal 0.18
14 Morning, Noon, and Night In Vienna F.von Suppe Background Instrumental 1.35
18 Old Black Joe S.F0ster Visual Vocal 0.06
316
#208 Cinderella Meets Fella Carl Stalling
2 Boy Meets Girl S.Faln, CTobias Background Instrumental 0.20
3 About a Quarter to Nine A.Dubin, H.Warren Background Instrumental 0.12
4 Ittstdt Itaskit Unk. Background Vocal 0.0G
7 Please Be Kind S.Cahn, S.Chaplin Background Instrumental 0.18
9 You're an Education A.Dubln, H.Warren Background Instrumental 0.09
13 (Css Waltz J.Burfce, A.Dubin Background Instrumental 0.06
22 Blue Danube, The J.Strauss Background Instrumental 0.08
24 Shell Be Cornin' 'Round the Mountain Unk. Visual Vocal 0.08
27 When the Pussy Willow Whispers to the CFriend Background Instrumental 0.11
32 Hurry No. 1 J.S.Zamecnik Background Instrumental 0.29
#209 Porky's Spring Planting Carl Stalling

2 Just a Simple Melody S.Cahn, S.Chaplln Background Instrumental 0.54
3 Little Man You've Had a Busy Day A.Hoffman, M.SIgler, M.Wayne Background Instrumental 0.17
5 April Showers B.G.DeSylva, LSIvers Background Instrumental 0.18
6 Daddy's Boy G.Watts Background Instrumental 0.50
9 Bob White (Whatcha Gonna Swing Tonight) B.Hanlghen, J.Mercer Background Instrumental 0.33
12 Let That Be a Lesson to You J.Mercer, R.Whltlng Background Instrumental 0.31
#210 Porky and Daffy Cad Stalling

2 Hillbilly From Tenth Avenue M.KJerome, J.Scholl Background Instrumental 1.12
3 Slnglri in the Bathtub M.deary, H.Magidson, N.Washlngton Background Instrumental 0.24
4 Feelin' High and Happy R.Bloom, T. Koehler Background Instrumental 1.57
5 Joseph Joseph S.Cahn, N.Casman, S.Chaplin Background Instrumental 0.54
7 Something Tells Me J.Mercer, H.Warren Background Instrumental 1.35
9 Sing You Son of a Gun J.Mercer, R-Whiting Background Instrumental 0.33
#211 The M ajor Lied T il Dawn Cad Stalling

2 March Dignitaire EJ.Walt Background Instrumental 0.45
3 Vieni Vieni G.Koger, V.Scotto, R.Vallee, H.Vama Background Instrumental 0.06
4 Congo M.KJerome, J.Scholl Visual Vocal 0.55
5 Bel Mir Bist du Schon S.Cahn, S.Chaplln, S.Secunda Background Instrumental 0.08
10 Mosquitoe's Parade H.Whttney Background Instrumental 0.11
11 Remember Me A.Dubin, H.Warren Background Instrumental 0.12
14 Sissy J.Fasdnato, I.Kahal, LPanlco Background Instrumental 0.10
18 Inflammatus G.Rossini Background Instrumental 0.15
317
#212 W holly Sm oke Carl Stalling
3 Little Old Church in the Valley G.Kahn, EVan Alstyne Background Vocal 0.09
7 Columbia the Gem of the Ocean T.A.Beckett, D.T.Shaw Background Instrumental 0.08
10 Sweet Music A.Dubin, H.Warren Background Instrumental 0.12
14 Mysterious Mose W.Doyle, T.Weems Visual Vocal 2.06
16 Daydreaming (All Night Long) J.Mercer, H.Warren Background Instrumental 0.08
#213 A -Lad-In Bagdad Carl Stalling

3 I Wanna Go Back to Ball A.Dubin, H.Warren Background Instrumental 1.08
4 Half of Me (Wants to Be Good) P.DeRose, S.M.Lewis Background Instrumental 0.23
6 Jezebel J.Mercer, H.Warren Background Instrumental 0.12
7 Dervisher T.Bendix Background Instrumental 0.19
9 Something Tells Me J.Mercer, H.Warren Background Instrumental 0.34
12 Bei Mir Bist du Schon S.Cahn, S.Chaplin, S-Secunda Visual Vocal 0.48
16 Ruy Bias Overture F.Mendelssohn Background Instrumental 0.26
#214 Cracked Ic e Cad Stalling

3 Jingle Bells Unk. Background Instrumental o.os
4 Blue Danube, The J.Strauss Background Vocal 0.19
11 Little Brown Jug Unk. Background Instrumental 0.55
14 Sissy J.Fasdnato, I.Kahal, L-Panlco Background Instrumental 036
#215 A Feud There W as Cad Stalling

4 Yodel Unk. Background Vocal 0.32
6 Jesse James Unk. Visual Vocal 0.14
13 Old MacDonald Had a Farm Unk. Background Instrumental 0.06
IS Chicken Reel Unk. Background Instrumental 0.16
#216 Porky in W ackyland Cad Stalling

2 Feelin' High and Happy R.Bloom, T.Koehler Background Instrumental 0.50
5 Around the Mulberry Bush Unk. Visual Vocal 0.06
10 Octoroon H.Warren Background Instrumental 0.18
318
#217 Little Rancho V anilla Carl Stalling
1 Merrily We Roll Along C-Tobias, M.Mencher, ECantor Background Instrumental 0.19
2 Lady of Spain, The T.Evans Background Vocal 0.14
3 La Cucaracha Unk. Background Instrumental 035
8 Jose O’Neill- The Cuban Heel M.KJerome, J.Scholl Background Instrumental 0.54
11 When Yuba Plays Rhumba on His Tuba H.Hupfeld Background Instrumental 0.22
17 Lady of Havana S.Bemie, J.Val, P.Van Loan Background Instrumental 0.40
#218 Porky's Naughty N ephew Carl Stalling

4 In a Little Dutch Kindergarten (Down by the Rosenstock Background Instrumental 1.06
10 Coasting Ring-Hager Background Instrumental 1.20
12 Dear Little Boy of Mine ER.Ball, J.ICBrennan Background Instrumental 0.06
13 Latin Quarter, The A.Dubin, H.Warren Background Instrumental 0.56
#219 Johnny Smith and Poker-Huntas Carl Stalling

15 My Old Kentucky Home S.Foster Background Instrumental 0.04
19 Aloha Oe Queen Uliuokalanf Background Instrumental 0.12
#220 Porky in Egypt Carl Stalling

2 Spirit of the Nile Vargas Background Instrumental 0.30
3 Vision of Salome J.B.Lampe Background Instrumental 2.29
7 Campbells are Coming, The Unk. Visual Instrumental 0.19
10 Garden of the Moon A.Dubin, J.Mercer, H.Warren Background Instrumental 0.22
319
#221 You're an Education Carl Stalling
2 You're an Education A.Dubln, H.Warren Background Instrumental 0.12
3 Let the Rest of the World GO By E.R.Ball, J.lCBrennan Background Vocal 0.15
4 Have You Got Any Castles Baby J.Mercer, R.Whiting Background Vocal 0.06
5 Aloha Oe Queen Uliuokalani Background Vocal 0.05
6 We’re Working Our Way Through College J.Mercer, R.Whiting Background Vocal 0.05
7 Blue Danube, The J.Strauss Background Vocal 0.05
8 Hooray for Hollywood J.Mercer, R.Whiting Background Vocal 0.06
9 Campbells are Coming, The Unk. Background Vocal 0.03
10 Avalon AJoIson, V.Rose Background Vocal 0.05
11 Airs Fair in Love and War A.Dubin, H.Warren Background Vocal 0.09
13 Wearing of the Green, The Unk. Visual Vocal 0.03
14 Bel Mir Bist du Schon S.Cahn, S.Chaplln, S.Secunda Visual Vocal 0.05
15 La Cucaracha Unk. Background Vocal 0.04
16 On the Rue de la Paix W.R. Heymann, T. Koehler Background Vocal 0.06
18 I Love a Parade HJtrlen, T.Koehler Background Vocal 0.06
19 Isle of Capri W.Grosz, J.Kennedy Background Vocal 0.08
20 Night Over Shanghai J.Mercer, H.Warren Background Vocal 0.06
21 Volga Boatman Unk. Background Vocal 0.06
22 Russian Dance Unk. Background Vocal 0.05
23 Puppchen B.Kalmar, H.Ruby Background Vocal 0.04
25 When Yuba Plays Rhumba on His Tuba H.Hupfeid Visual Vocal 1.14
26 Lady in Red, The M.Dixon, A.Wrubel Visual Vocal 0.04
#222 The N ight W atchm an Carl Stalling

i Merrily We Roll Along CTobias, M.Mencher, ECantor Background Instrumental 0.19
2 All Through the Night Unk. Background Instrumental 0.13
3 I Cant Face the Music (Without Slngln’ the R.Bloom, T.Koehler Background Instrumental 0.52
7 In the Shade of the Old Apple Tree EVan Alstyne, H.Williams Visual Vocal 1.07
#223 The D affy Doc Carl Stalling

i Merry Go Round Broke Down CFriend, D.Franklln Background Instrumental 0.20
4 Dramadc Tension J.S.Zamecnlk Background Instrumental 1.02
8 There's a Brand New Picture in My Picture D.Franklln, CFriend Background Instrumental 0.12
9 You Go To My Head J.F.Goots, H.GIIIesple Background Instrumental 0.31
13 Something Tells Me J.Mercer, H.Warren Visual Vocal 0.40
320
#224 D affy Duck in Hollywood Carl Stalling
9 Kiss Waltz J.Burke, A.Dubln Background Instrumental 0.28
13 Ole Walkure R.Wagner Background Instrumental 0.21
17 Sweet Georgia Brown B.Bemie, ICCasey, M.PInkard Background Instrumental 0.12
19 Garden of the Moon A.Dubln, J.Mercer, H.Warren Background Instrumental 0.20
#225 Porky the Gob Carl Stalling

6 My Bonnie Ues Over the Ocean Unk. Background Instrumental 0.16
20 Old Pal G.Kahn, E-Van Alstyne Background Instrumental 0.13
#226 Count Me Out Carl Stalling

2 Let That Be a Lesson to You J.Mercer, R.Whltlng Background Instrumental 0.45
7 Hooray for Hollywood J.Mercer, R.Whltfng Background Instrumental 0.30
10 There's a Brand New Picture In My Picture D.Franklin, CFriend Background Instrumental 0.34
12 You Go To My Head J.F.Coots, H.Gillespie Background Instrumental 0.36
#227 The Mice W ill Play Carl Stalling

4 Rainbow 'Round the Moon W.Donaidson, B.Rose Background Instrumental 0.15
11 Garden of the Moon A.Dubln, J.Mercer, H.Warren Background Instrumental 0.15
15 So Help Me (If I Dont Love You) EDe Lange, J.Van Heusen Background Instrumental 0.31
16 Illusions Ring-Hager Background Instrumental 0.18
321
#228 The Lone Stranger and Porky Carl Stalling
Released 1/7/1939_______ Cue Sheet Date 1/6/1939________
5 Ride Tenderfoot Ride J.Mercer, R.Whiting Background Instrumental 0.44
11 Boy Meets Girl S.Fain, CTobias Background Instrumental 0.14
#229 Dog Gone Modem Carl Stalling

2 Oh Where Has My Little Dog Gone Unk. Background Instrumental
3 Home Sweet Home H.R.Bishop, J.H.Payne Background Instrumental
4 At Your Service, Madame A.Dubln, H.Warren Background Instrumental
12 Little Old Fashioned Music Box M.Davfd, G.W.Meyer, P.Wendllng Visual Vocal
13 Rainbow 'Round the Moon W.Donaldson, B.Rose Background Instrumental
#230 It's An III W ind Carl Stalling

3 There’s a Brand New Picture in My Picture D.Franklln, CFriend Background Instrumental 1.09
8 Illusions F.Hager, J.Ring Background Instrumental 1.08
#231 Ham ateur N ight Carl Stalling

2 So Help Me (If I Dont Love You) E.De Lange, J.Van Heusen Background Instrumental 0.12
3 What's the Matter With Father E-Van Alstyne, H.Williams Background Instrumental 0.08
4 It Looks Uke a Big Night Tonight E.Van Alstyne, H.Williams Background Instrumental 0.08
6 Confidentially A.Dubin, J.Mercer, H.Warren Background Instrumental 0.06
7 She'll Be Cornin' 'Round the Mountain Unk. Visual Vocal 0.05
9 Die Walkure R.Wagner Background Instrumental 0.06
11 You Must Have Been a Beautiful Baby J.Mercer, H.Warren Background Instrumental 0.11
14 You Go To My Head J.F.COots, H.GIllespie Background Instrumental 0.10
16 Girl Friend of the Whirling Dervish, The A.Dubln, J.Mercer, H.Warren Background Instrumental 03 1
22 Columbia the Gem of the Ocean T.A.Beckett, D.T-Shaw Background Instrumental 0.16
#232 Robin Hood Makes Good Cart Stalling

2 Song Without Words F.Mendelssohn Background Instrumental 0.26
3 Midsummer Nights Dream F.Mendelssohn Background Instrumental 1.04
5 For You W.Heymann, T.Koehler Visual Vocal 1.09
14 Turbulency Hubert Bath Background Instrumental 0.37
322
#233 Porky's Tire Trouble Carl Stalling
2 Monday Morning F.Worrell Background Instrumental 1.09
3 Mutiny in the Nursery J.Mercer Background Instrumental 2.02
#234 Gold Rush Daze Carl Stalling

4 Reuben Reuben rve Been Thinking Unk. Background Instrumental 0.11
6 Howdy Stranger J.Mercer, R.Whitlng Background Instrumental 0.24
10 Old Apple Tree, The M.KJerome, J.Schol! Visual Vocal 1.03
11 How Dry I Am Link. Background Instrumental 0.10
#235 Porky's Movie M ystery Carl Stalling

2 Jeepers Creepers J.Mercer, H.Warren Background Instrumental 0.08
#236 A Day a t the Zoo Carl Stalling

4 Eri King, The F.Schubert Background Instrumental 0.05
8 For He's a Jolly Good Fellow Unk. Background Instrumental 0.11
11 Confidentially A.Dubln, J.Mercer, H.Warren Background Instrumental 0.08
16 Itlskit Itaskit Unk. Background Instrumental 0.17
17 Am I Blue H.Akst, G.aarke Background Instrumental 0.14
IS Old Black Joe S.Foster Background Instrumental 0.12
24 Bob White (Whatcha Gonna Swing Tonight} B.Hanighen, J.Mercer Background Instrumental 0.45
29 Auld Lang Syne Unk. Background Instrumental 0.10
30 Girl Friend of the Whirling Dervish, The A.Dub(n, J.Mercer, H.Warren Background Instrumental 0.11
323
#237 Prest-o Change-o Carl Stalling
3 Umbrella Man, The J.Cavanaugh, V.Rose, LStock Background Instrumental 0.35
8 Blade Coffee A.Goodhart, AHoffman, M.SIgler Background Instrumental 0.41
#238 Chicken Jitters Carl Stalling

7 You Must Have Been a Beautiful Baby J.Mercer, H.Warren Background Instrumental 039
9 Girt Friend of the Whirling Dervish, The A.Dubin, J.Mercer, H.Warren Visual Instrumental 0.11
11 Rock-a-Bye Baby Unk. Visual Vocal 0.08
15 Hurry No. 1 J-S-Zamecnik Background Instrumental 031
17 A Trip to the North Pole J.S.Zamecnik Background Instrumental 0.10
#239 Bars and Stripes Forever Carl Stalling

3 Gamblers' Blues Unk. Background Instrumental 0.41
13 Daydreaming (All Night Long) J.Mercer, H.Warren Visual Vocal 1.10
16 Furioso J.S.Zamecnik Background Instrumental 0.52
#240 Daffy Duck and The Dinosaur

4 Oh Where Has My Uttle Dog Gone Unk. Background Instrumental 0.09
6 Umbrella Man, The J.Cavanaugh, V.Rose, L Stock Background Instrumental 0.08
#241 Porky and Teabiscuit Carl Stalling

3 Rural Rhythm J.Cavanaugh, D.Sanfbrd, F.Weldon Background Instrumental 1.09
6 Ride Tenderfoot Ride J.Mercer, R.Whitlng Background Instrumental 0.19
12 In the Stirrups J.S.Zamecnlk Background Instrumental 1.16
324
#242 Thugs W ith D irty Mugs Carl Stalling
Released 5/6/1939_______ Cue Sheet Date________________
1 Meatfly We Roll Along CTobias, M.Mencher, ECantor Background Instrumental 0.19
2 Yota Must Have Been a Beautiful Baby J.Mercer, H.Warren Background Instrumental 0.08
3 Sincg You Son of a Gun J.Mercer, R.Whiting Background Instrumental 0.08
5 Jeerpers Creepers J.Mercer, H.Warren Background Instrumental 0.18
7 It Ljooks Uke a Big Night Tonight EVan Alstyne, H.Williams Background Instrumental 0.13
11 IttsW t Itaskit Unk. Visual Vocal 0.08
14 Gruesome Tale J.S.Zamecnik Background Instrumental 0.12
22 WilBiam Tell Overture G.Rossini Visual Instrumental-Radio 0.09
24 Furweral March F.Chopin Background Instrumental 0.10
#243 Kristopher Kolumbus Jr. Carl Stalling

Released 5/13/1939 Cue Sheet Date_5/3/1939_______
1 Merrry Go Round Broke Down CFriend, D.Franklln Background Instrumental 0.20
2 Let That Be a Lesson to You J.Mercer, R.whitfng Background Vocal 0.18
3 Lorag Long Ago T.H.Bayly Background Instrumental 0.12
4 M inuet L.Boccherini Background Instrumental 0.25
7 Yarakee Doodle Unk. Background Instrumental 0.04
10 Blow* the Man Down Unk. Background Instrumental 0.16
12 H a il Columbia Fayles, J.Hopkfnson Background Instrumental 0.24
13 All TThrough the Night Unk. Background Instrumental 0.10
14 DixBe D.Emmett Background Instrumental 0.11
16 HnQai'sCave F.Mendelssohn Background Instrumental 1.06
17 Coluumbia the Gem of the Ocean T.A.Beckett, D.T.Shaw Background Instrumental 0.04
19 Put On Your Old Grey Bonnet S.Murphy, P.Wenrlch Background Instrumental 0.10
22 Sorag of the Marines A.Dubfn, H.Warren Background Instrumental 0.12
#244 Naughty But Nice Carl Stalling

1 M ertfly We Roll Along CTobias, M.Mencher, ECantor Background Instrumental 0.19
2 Deeep In a Dream EDe Lagne, J.Van Heusen Background Instrumental 0.08
5 You* Go To My Head J.F.Coots, H.GIIIespfe Background Instrumental 1.28
8 H ow Dry I Am Unk. Visual Vocal 0.34
14 WillHam Tell Overture G.Rossini Background Instrumental 0.16
#245 Polar Pals Cad Stalling

1 Merrry Go Round Broke Down CFriend, D.Franklln Background Instrumental 0.20
5 Dee=p In a Dream EDe Lange, J.Van Heusen Background Instrumental 0.29
8 SnglrY In the Bathtub M.Oeary, H.Magidson, N.Washlngton Visual Vocal 0.08
11 Lef-s Rub Noses (Like the Esklmoses) J.Meyer, A.3lverman Background Vocal 0.57
13 Old Tar, The J.S.Zamecnik Background Instrumental 0.13
325
#246 Hobo Gadget Band Carl Stalling
X Merrily We Roll Along CTobias, M.Mencher, E.Cantor Background Instrumental 0.18
2 Junk Town Gadget Band P.COhreg Background Instrumental 0.09
3 Deep in a Dream EDeLange, J.Van Heusen Background Instrumental 0.30
4 Carolina in the Morning W.Donaldson, G.Kahn Background Instrumental 1.14
6 Kingdom Coming (Jubiio) H.CWork Visual Instrumental 03 5
7 Com Pickin' J.Mercer, H.Warren Background Instrumental 034
10 Old Apple Tree, The M.KJerome, J.Scholl Visual Instrumental 036
11 I've Been Working on the Railroad Unk. Background Instrumental 03 7
#247 Scalp Trouble Carl Stalling

1 Merry Go Round Broke Down CFrlend, D.Franklln Background Instrumental 0.19
2 You Go To My Head J.F.Coots, H.Gillespie Background Instrumental 0.15
17 Ten Uttie Indians Unk. Visual Vocal 0.10
19 Battle Music J.S.Zamecnik Background Instrumental 0.54
#248 Believe I t O r Else Car! Stalling

1 Merrily We Roll Along CTobias, M.Mencher, E Cantor Background Instrumental 0.19
8 Yoo-Hoo B.G.DeSytva, AJolson Visual Vocal 0.12
9 Long Long Ago T.H.Bayiy Background Instrumental 0.16
11 Over the Waves J.Rosas Background Instrumental 0.42
14 DieWalkure R.Wagner Background Instrumental 0.37
18 Sweet Genevieve G.Cooper, n Tucker Visual Vocal 0.18
25 Ten Lithe Indians Unk. Background Instrumental 0.08
#249 Old Glory Cari Stalling

2 Columbia the Gem of the Ocean T A . Beckett, D.T.Shaw Background Instrumental 0.15
3 Rag of Our Union Forever, The Unk. Background Instrumental 0.53
4 Battle Cry o f Freedom G.F.Root Background Instrumental 0.49
6 America Unk. Background Instrumental 0.33
7 Die Gotterdammerung R.Wagner Background Instrumental 0.14
10 Athalie Overture F.Mendeissohn Background Instrumental 1.35
11 Yankee Doodle Unk. Background Instrumental 03 2
17 Oh Susanna S.Foster Background Vocal 0.33
18 America the Beautiful SJLWard Background Instrumental 0.13
19 Battle Hymn of the Republic, The Unk. Background Vocal 0.50
326
#250 Porky's Picnic Carl Stalling
1 Merry Go Round Broke Down C Friend, D.Franklin Background Instrumental 0.20
2 Are There Any More At Home Like You LJ.Littfe, D.Oppenheim Background Instrumental 0.09
3 Sticks and Stones A-Goodhart, A.HolTman, M.Kurtz Background Instrumental 0-33
4 Good For Nothin’ (But Love) E.DeLange, J.Van Heusen Background Instrumental 0.54
6 Concert In the Park D.Franklin, CFriend Background Instrumental 0.18
13 Deep In a Dream E.DeLange, J.Van Heusen Background Instrumental 0.42
15 Itiskit Itaskit Unk. Visual Vocal 0.21
#251 Dangerous Dan McFoo Carl Stalling

3 Quilting Party, The Unk. Visual Vocal 0.59
5 Heaven Can Wait E.DeLange, J.Van Heusen Background Instrumental 0.13
7 You Oughta Be in Pictures E.Heyman, D.Suesse Background Instrumental 0.32
14 Umbrella Man, The J.Cavanaugh, V.Rose, L.Stock Background Instrumental 0.18
19 Adieu F.Schubert Background Instrumental 0.19
#252 Snowman's Land Carl Stalling

2 Song of the Mounted Police M.KJerome, J.Scholl Background Vocal 0.29
#253 W ise Quacks Carl Stalling

2 Chopsticks Unk. Background Instrumental 0.08
8 Happiness Ahead M. Dixon, A-Wrubel Background Instrumental 0.27
9 You Dont Know How Much You Can Suffer D.Franklin, CFriend Background Instrumental 0.08
10 Uttle Brown Jug Unk. Background Instrumental 0.14
14 Concert in the Park D.Franldfn, CFriend Background Instrumental 0.14
18 This Is the Way We Wash Our Clothes Unk. Visual Vocal 0.15
#254 Hare-Um Scare-Um Carl Stalling

2 Then Came the Rain O.Levant, CTobias Background Instrumental 0.44
9 Com Pickin' J.Mercer, H.Warren Background Instrumental 0.46
10 Are There Any More At Home Uke You LJ.Litde, D.Oppenheim Background Instrumental 0.43
14 Tears From My Inkwell M.Dixon, H.Warren Background Instrumental 0.44
327
#255 Detouring America Carl Stalling
X Merrily We Roll Along CTobias, M.Mencher, ECantor Background Instrumental 0.18
3 Cany Me Back to Old Vtrglnny J.BIand Background Instrumental 0.06
10 San Antonio E.Van Alstyne, H.Willlams Background Instrumental 0.21
14 Pilgrims' Chorus R.Wagner Background Instrumental 0.38
16 Oh Bury Me Not on the Lone Prairie Unk. Background Instrumental 0.26
#256 Porky's Hotel Carl Stalling

2 Honeymoon Hotel A.Dubin, H.Warren Background Instrumental 0.08
6 Girl I Left Behind Me, The S.Lover Background Instrumental 0.05
8 You Don't Know How Much You Can Suffer D.Franklin, CFriend Background Instrumental 0.10
9 Concert in the Park D.Franklin, CFriend Background Instrumental 0.14
14 Grandfather's dock H.CWork Background Instrumental 0.21
#257 Little Brother Rat Carl Stalling

3 Deep in a Dream EDe Lange, J.Van Heusen Background Instrumental 0.20
5 I’m Happy About the Whole Thing J.Mercer, H.Warren Background Instrumental 0.48
7 Prelude F.Chopin Background Instrumental 1.44
#258 Sioux Me Carl Stalling

3 I Want My Share of Love S.Cahn, S.Chaplln Background Instrumental 0.20
10 William Tell Overture G.Rosstnl Background Instrumental 0.06
11 April Showers B.G.DeSytva, LSivers Background Instrumental 0.26
#259 Jeepers Creepers Carl Stalling

4 Storm Music J.S.2amecnlk Background Instrumental 0.32
9 A Hunting We Will Go Unk. Visual Vocal 0.06
328
#260 Land o f the M idnight Fun Carl Stalling
6 Flying Dutchman, The R.Wagner Background Instrumental 0.16
7 Heaven Can Wait EDeLange, J.Van Heusen Background Instrumental 0.06
17 Believe Me If All Those Endearing Young T.Moore Background Instrumental 0.27
20 While Strolling Through the Park One Day EHaley Background Instrumental 0.19
23 Kiss Waltz J.Burke, A.Dubln Background Vocal 0.50
26 Aloha Oe Queen Uliuokalani Background Instrumental 0.15
#261 Naughty Neighbors Carl Stalling

5 When I Yoo-Hoo in the Valley M.Martfn, H.Russeil Background Vocal 0.48
8 Would You Like to Take a Walk M.Dixon, B.Rose, H.Warren Visual Vocal 1.26
#262 L ittle Lion Hunter Carl Stalling

2 FIngal's Cave F.Mendeissohn Background Instrumental 3.33
#263 The Good Egg Carl Stalling

2 (Ho-dle-ay) Start the Day Right A.Lewis, M.Spitalrty, CTobias Background Instrumental 0.27
13 Marche Militaire F.Schubert Background Instrumental 0.18
17 Dont Give Up the Ship A.Dubln, H.Warren Background Instrumental 0.12
329
#264 Fresh Fish Carl Stalling
2 A Life on the Ocean Wave H.Russell, ESargerrt Background Instrumental 0.19
5 My Isle of Golden Dreams W.Blaufuss, G.Kahn Background Instrumental 0.14
7 Rocked in the Cradle of the Deep Unk. Background Instrumental 0.12
8 Over the Waves j.Rosas Background Instrumental 0.10
9 Ten Little Indians Unk. Background Instrumental 0.07
13 Let the Rest of the World Go By E.R.Ball, J.IOBrennan Background Instrumental 0.05
15 You Oughta Be in Pictures E.Heyman, D.Suesse Background Instrumental 0.14
24 Hngal'sCave F.Mendelssohn Background Instrumental 0.18
29 You Must Have Been a Beautiful Baby J.Mercer, H.Warren Visual Vocal 0.14
32 Coasting F.Ring, J.Hager Background Instrumental 0.22
36 I've Been Working on the Railroad Unk. Background Instrumental 0.05
38 A.B.C Nursery Rhyme Unk. Background Instrumental 032
40 Itiskit Itaskit Unk. Background Instrumental 0.03
42 DleWalkure R.Wagner Background Instrumental 0.35
#265 Pied Piper Porky Carl Stalling

2 Violin Concerto, Opus 64 F.Mendelssohn Background Instrumental 1.14
3 Lazy Mary, Will You Get Up Unk. Background Vocal 0.25
5 Umbrella Man, The J.Cavanaugh, V.Rose, LStock Visual Instrumental 0.26
8 Melancholy Mood V.Knlght, W.Schumann Background instrumental 1.06
#266 Fagin's Freshman Carl Stalling

2 We’re Working Our Way Through College J.Mercer, R.Whidng Background Instrumental 0.09
4 Three Little Kittens Unk. Visual Vocal 0.36
8 Deep in a Dream EDeLange, J.Van Heusen Background Instrumental 0.48
9 Melancholy Mood V.Knlght, W.Schumann Background Instrumental 1.40
#267 Porky the Giant K iller Carl Stalling

3 March Tannhauser R.Wagner Background Instrumental 0.46
9 A.B.C. Nursery Rhyme Unk. Visual Vocal 0.18
330
#268 Sniffles and the Bookworm Carl Stalling
2 Rosamunde F.Schubert Background Instrumental 0.13
3 Moment Musicale F.Schubert Background Instrumental 1.10
8 Mutiny in the Nursery J.Mercer Visual Vocal 0.1S
12 DasRhelngold R-Wagner Background Instrumental 0.32
#269 Screwball Football Carl Stalling

6 College Stunts J.S.Zamecn!k Background Instrumental 0.18
8 We're in the Money A.Dubln, H.Warren Background Instrumental 0.03
26 Kiss Waltz J.Burke, A.Dubin Background Instrumental 0.05
#270 Film Fan, The Carl Stalling

1 Merry Go Round Broke Down C Friend, D. Franklin Background Instrumental 0.19
2 fou Oughta Be In Pictures D. Suesse, E. Heyman Background Instrumental 0.11
3 There's a Brand New Picture In My Picture C Friend, D. Franklin Background Vocal 0.30
5 Thru the Courtesy Of Love J. Scholl, M.K. Jerome Background Instrumental 0.33
7 Sticks and Stones A. Hoffman, A. Goodhart, M. Kurtz Background Instrumental 0.36
9 Sailor's Homplpe Unk. Background Instrumental 0.10
11 Frat J.F. Barth Background Instrumental 0.19
12 We're in the Money A. Dubin, H. Warren Background Instrumental 0.33
14 What's New B. Haggart, J. Burke Background Instrumental 0.10
15 Dixie Emmett Background Instrumental 0.06
16 William Tell Overture Rossini Background Instrumental 0.39
17 Loch Lomond Unk. Visual Vocal 0.14
19 Home Sweet Home J.H. Payne [H.R. Bishop] Background Instrumental 0.08
#271 The Curious Puppy Carl Stalling

3 Oh You Crazy Moon J.Burke, J.Van Heusen Background Instrumental 0.45
10 Dancing Toys EVan Alsytne, T.Weems Background Instrumental 0.38
#272 Porky's Last Stand Carl Stalling

2 (Ho-dle-ay) Start the Day Right A.Lewis, M.Spitalny, CTobias Visual Vocal 1.13
3 I'd Love to Take Orders From You A.Dubln, H.Warren Visual Vocal 1.31
7 All In Favor Say "Aye" CFriend Background Instrumental 1.31
331
#273 The Early W orm Gets the Bird Carl Stalling
Released 1/13/1940______ Cue Sheet Date 1/8/1940_______
3 Swanee River (The Old Folks a t Home) S.Foster Background Instrumental 0.21
6 Mammy's Little Coal Black Rose R-Egan, R.Whitfng Background Instrumental 0.06
8 Erl King, The F-Schubert Background Instrumental 0.17
13 Ain't We Got Fun R.Egan, G.Kahn, R.Whiting Background Instrumental 0.12
25 Auld Lang Syne R-Bums Background InSrumental 0.03
#274 Africa Squeaks Carl Stalling

1 Merry Go Round Broke Down CFriend, D.Franklini Background Instrumental 0.20
3 Congo M.KJerome, J.SchoJI Visual Vocal 0.42
6 Ballet Barbarian J.S.Zamecnik Background Instrumental 0.31
15 We’re Working Our Way Through College J.Mercer, R.Whlting Background Instrumental 0.24
16 You’re the Greatest Discovery (Since 1492) M.David, T.Shand Visual Vocal 0.40
18 California Here I Come B.G.De Sytva, AJolson, J.Meyer Visual Vocal 0.07
#275 The M ighty Hunters Carl Stalling

2 Indian Dawn CO.Roos, J.S.Zamecnik Background Instrumental 0.12
4 Sun Dance L Friedman Background Instrumental 0.28
#276 Busy Bakers Carl Stalling

2 Jolly Bakers P.Colveg Background Instrumental 0.08
3 Melancholy Mood V.Knlght; W.Schumann Background Instrumental 1.53
5 In an Old Dutch Garden (By an Old Dutch M.Gordon, W.Grosz Background Instrumental 1.47
#277 AliBaba Bound Carl Stalling

2 Maharajah, The J.S.Zamecnik Background Instrumental 0.08
5 Girl Friend of the Whirling Dervish, The ADubin, J.Mercer, H.Warren Visual Vocal 0.24
8 In My Merry Oldsmobile V. Bryan, G.Edwards Background Instrumental 0.13
332
#278 Elm er's Candid Camera Carl Stalling
3/2/1940_______ Cue Sheet Date 2/28/1940______
2 What’s New J.Burke, B.Haggart Background Instrumental 0.41
3 Sticks and Stones A.Goodhart, A.Hoffman, M.Kurtz Visual Whistled 0.08
5 Lullaby J.Brahms Background Instrumental 0J 2
7 Piggy Wlggy Woo A.Baer, P.Cunningham, I.Schuster Background Instrumental 1.11
#279 Pilgrim Porky Cari Stalling

3 Long Long Ago T.H.Bayley Background Instrumental 0.16
5 Song o f the Marines A.Dubln, H.Warren Background Instrumental 1.10
6 A Life on the Ocean Wave H.Russell, ESargent Visual Vocal 0.30
8 My Bonnie Lies Over the Ocean Unk. Background Instrumental 0.22
12 Tempest; The J.S.Zamecnik Background Instrumental 0.41
15 Rngal'sCave F.Mendelssohn Background Instrumental 0.12
17 Columbia the Gem of the Ocean Unk. Background Instrumental 0.08
19 There’s a Long Long Trail Z.B IIott S.King Background Instrumental 0.06
#280 Cross Country Detours Carl Stalling

2 There’s A Long Long Trail Z.Elliott, S.King Background Instrumental 0.12
3 Indian Dawn J.S.Zamecnlk Background Instrumental 0.13
6 Tramp, Tramp, Tramp (The Boys are G.F.Root Background Instrumental 0.20
14 Old Black Joe EFoster Background Instrumental 0.06
18 California Here I Come B.G.De Syhra, AJolson, J.Meyer Background Instrumental 0.07
20 Nocturne F.ChopIn Background Instrumental 0.12
25 It Had To Be You IJones, G.Kahn Background Instrumental 0.53
28 A.B.C. Nursery Rhyme Unk. Background Instrumental 0.16
29 Pilgrims'Chorus R.Wagner Background Instrumental 0.27
33 Tve Been Working on the Railroad Unk. Background Instrumental 0.14
36 Love Me and the World is Mine ER.Bali, D.Reed Jr. Background Instrumental 0.16
333
#281 Confederate Honey Carl Stalling
4 Am I Blue H.Akst, G.Oarke Visual Vocal 0.10
S Old Black Joe S.Foster Visual Vocal 0.44
6 Beautiful Dreamer S.Foster Background Instrumental 0.18
9 Ught Cavalry Overture ■F.von Suppe Background Instrumental 0.09
19 Battle Cry of Freedom G.F.Root Background Instrumental 0.36
28 We're Tenting Tonight J.W.Tumer Background Instrumental 0.08
29 Are You From Dixie G.L-Cobb, J.Yellen Background Instrumental 0.06
37 When Johnny Comes Marching Home L-Lambert Background Instrumental 0.08
#282 Slap Happy Pappy Carl Stalling

i Merry Go Round Broke Down CFriend, D.Franklin Background Instrumental 0.19
2 What's the Matter With Father EVan Alstyne, H.Wllliams Background Instrumental 0.08
4 Arkansas Traveler Unk. Visual Whistled 0.41
S Chicken Reel Unk. Background Instrumental 0.23
7 Heaven Can Wait EDe Lange, J.Van Heusen Background Instrumental 0.08
9 Dear UtBe Boy of Mine ER.Ball, JXBrennan Background Instrumental 0.20
13 Am I Blue HJVkst, G.aarke Background Instrumental 0.07
15 If I Could Be With You (One Hour Tonight) H.Creamer, JJohnson Visual Vocal 0.09
18 Confidentially A.Dubln, J.Mercer, H.Warren Visual Vocal 0.35
#283 The Bear's Tale Carl Stalling

l Merrily We Roll Along CTobias, M.Mencher, ECantor Background Instrumental 0.19
2 Bear Went Over the Mountain, The Unk. Background Instrumental 0.08
6 Home Sweet Home H.R.BIshop, J.H.Pay-e Background Instrumental 0.05
9 That Wonderful Mother of Mine W.Goodwin, CHager Background Instrumental 0.05
24 Itisklt Itaskit Unk. Background Instrumental 0.05
44 Lady In Red, The M.Dtxon, A.Wrubel Background Instrumental 0.05
59 In an Ok) Dutch Garden (By an Old Dutch M.Gordon, W.Grosz Background Instrumental 0.14
61 California Here I Come B.G.De Sylva, AJolson, J.Meyer Background Instrumental 0.06
334
#284 The Hardship of Miles Standish Carl Stalling
2 Drink to Me Only With Thine Eyes link. Background Instrumental 0.16
4 Old Oaken Bucket, The Unk. Background Instrumental 0.16
S Long Long Ago T.H.Baytey Background Instrumental 0.27
10 Apple Blossoms and Chapel Bells A-Hoffman, W.Kent, M.Kurtz Background Instrumental 1.04
12 You Must Have Been a Beautiful Baby J.Mercer, H.Warren Visual Vocal 038
14 Cornin' Thru the Rye R.Bums Background Instrumental 0.11
#285 Porky's Poor Fish Carl Stalling

2 Girl With the Pigtails In Her Hair, The S.Cahn, S.Chaplin Visual Whistled 1.14
3 You You Dartin' M.KJerome, J.Scholl Background Instrumental 0.29
4 Oh Dear! What Can the Matter Be Unk. Visual Vocal 0.57
7 Parade o f the Animals F.Hager, J.Rlng Background Instrumental 0.11
#286 You Ought To Be In Pictures Carl Stalling

2 You Oughta Be In Pictures E.Heyman, D.Suesse Background Instrumental 0.44
6 I'm Forever Blowing Bubbles J.W.Kellette, J.Kenbrovfn Background Instrumental 0.48
7 Aloha Oe Queen Uliuokalanl Background Instrumental 0.14
12 Where Was I A.Dubfn, W.F.Harllng Background Instrumental 0.22
16 Concert In the Park D.Franklin, CFriend Visual Vocal 031
17 Barber o f Seville G.Rossini Visual Vocal 0.22
#287 Sniffles Takes A Trip Carl Stalling

2 Let the Rest of the World Go By E.R-Ball, J.K.Brennan Background Instrumental 0.10
10 consolation F.Mendelssohn Background Instrumental 0.28
12 Tm Forever Blowing Bubbles J.W.Kellette, J.Kenbrovln Background Instrumental 0.12
14 Prelude F.Chopin Background Instrumental 1.22
335
#288 A Gander A t M other Goose Carl Stalling
2 Mutiny in tlie Nursery J.Mercer Background Instrumental 0.15
3 Memories G.Kahn, EVan Alstyne Background Instrumental 0.17
5 Humpty Dumpty Unk. Background Instrumental 0.17
6 IHskit Itaskit Unk. Background Instrumental 0.26
9 Little Bo-Peep Unk. Background Instrumental 0.09
11 Upidee Unk. Background Instrumental 0.09
19 Rodc-a-Bye Baby Unk. Background Instrumental 0.11
20 What’s the Matter With Father EVan Alstyne, H.Williams Background Instrumental 0.06
22 Silent Night F.Gruber Background Instrumental 0.45
#289 The Chewin' Bruin Carl Stalling

2 Bear Went Over the Mountain, The Unk. Background Instrumental 0.12
3 Little Old Sod Shanty, The Unk. Background Instrumental 1.17
#290 Tom Thumb In Trouble Carl Stalling

2 Vienna Life J.Strauss Background Instrumental 2.39
3 In a Little Dutch Kindergarten (Down By the A.Bryan, LRosenstock Visual Vocal 0.43
5 Agitation F.Mendelssohn Background Instrumental 0.57
#291 Circus Today Carl Stalling

13 Sleep Baby Sleep Unk. Background Instrumental 0.12
IS Congo M.KJerome, J.Scholl Background Instrumental 0.20
17 Blade Horse Troop, The J.P.Sousa Background Instrumental 0.15
24 Sweet Georgia Brown B.Bemie, ICCasey, M.Pinkard Background Instrumental 0.09
336
#292 Policy's Baseball Broadcast Carl Stalling
Released 7/6/1940_______ Cue Sheet Date 6/18/1940______
2 Sing You Son of a Gun J.Mercer, R.Whidng Background Instrumental 0.24
3 Frat J.F.Barth Background Instrumental 038
6 Loch Lomond Unk. Background Instrumental 0.11
#293 Little Blabbermouse Carl Stalling

3 Apple Blossoms and Chapel Bells A.Hoffman, W.Kent, M.Kurtz Background Instrumental 032
5 (Ho-dle-ay) Start the Day Right A.Lewfs, M.Spitalny, CTobias Background Instrumental 1.09
8 You’re the Cure For What Alls Me HJVrlen, EY.Harburg Background Instrumental 0.09
9 All in Favor Say "Aye- CFriend Background Instrumental 0.12
11 Singin' in the Bathtub M.deary, H.Magidson, N.Washington Background Instrumental 0.05
13 fm Just Wild About Harry E Blake, N.Sissle Background Instrumental 0.14
14 It Looks Like a Big Night Tonight EVan Alstyne, H.Williams Visual Instrumental 0.16
17 Fd Love to Take Orders From You A.Dubin, H.Warren Visual Vocal 0.09
19 Shake Your Powder Puff S.Fa!n, I.Kahal Visual Vocal 0.07
23 Half of Me (Wants to Be Good) P.DeRose, S.Lewis Visual Vocal 0.22
26 HowD'YeDo Unk. Background Instrumental 0.11
30 In an Old Dutch Garden (By an Old Dutch M.Gordon, W.Grosz Background Instrumental 039
#294 The Egg Collector Carl Stalling

3 Rosamunde F.Schubert Background Instrumental 1.30
4 Prelude Opus 28, No. 20 F.Chopin Background Instrumental 1.38
S Nocturne F.Mendelssohn Background Instrumental 03 2
6 Siegfried R.Wagner Background Instrumental 0.37
#295 The W ild Hare Carl Stalling

2 I’m Just Wild About Harry E Blake, N.Sissle Background Instrumental 0.10
4 While Strolling Through the Park One Day E.Haley Background Instrumental 0.03
6 Till We Meet Again R.Egan, R.WhlHng Background Instrumental 0.40
7 Laugh Qown Laugh T.Ftorlto, S.Lewls, J.Young Background Instrumental 0.29
#296 Ghost W anted Carl Stalling

3 Nocturne No. 6 F.Chopin Background Instrumental 03 2
337
#297 Ceiling Hero Cari Stalling
Released 8/24/1940______ Cue Sheet Date 8/1/1940________
I Merrily We Roll Along CTobias, M.Mencher, ECantor Background Instrumental 0.19
2 Parade o f the Animals F.Hager, J.Ring Background Instrumental 0.36
3 Head of the Parade J.S.Zamecnik Background Instrumental 0.11
13 Chinatown My Chinatown WJerome, J.Schwartz Background Instrumental 0.08
16 Umbrella Man, The J.Cavanaugh, V.Rose, H.Stock Background Instrumental 0.04
18 California Here I Come B.G.De Sytva, AJolson, j.Meyer Background Instrumental 0.06
19 Southern Roses j.Strauss Background Instrumental 0.24
20 You're the Cure For What Ails Me H.Arien, E.Y.Harburg Background Instrumental 0.04
#298 Patient Porky Carl Stalling

2 You Don’t Know How Much You Can Suffer D.Franklin, CFriend Background Instrumental 0.20
6 (Ho-dle-ay) Start the Day Right A Lewis, M.Spitalny, CTobias Background Instrumental 0.34
10 Devil May Care J.Burke, H.Warren Background Instrumental 0.35
12 Melancholy Mood V.Knlght W.Schumann Background Instrumental 0.14
18 We’re Working Our Way Through College J.Mercer, R.Whiting Visual Vocal 0.37
#299 M alibu Beach Party Carl Stalling

2 Avalon AJolson, V.Rose Background Instrumental 0.33
4 I Love the Name of Mary ER.Ball, G-GrafT Jr., COfcott Background Instrumental 0.30
10 Heaven Can Wait EDeLange, J.Van Heusen Background Instrumental 0.29
12 Melancholy Mood V.Knlght W.Schumann Background Instrumental 0.11
17 Artist's Life J.Strauss Background Instrumental 0.19
18 Where Was I ADubin, W.F.Harilng Visual Instrumental 0.37
19 Devil May Care J.Burke, H.Warren Background Instrumental 0.27
20 Carissfma AAPenn Visual Vocal 1.05
338
#300 Calling Dr.Porky Carl Stalling
4 Parade of the Animals F.Hager, J.RIng Background Instrumental 0.10
#301 Stage Fright Carl Stalling

1 Stage Fright Carl Stalling Background Instrumental 7.58
#302 Prehistoric Porky Carl Stalling

3 Those Were Wonderful Days M.Mencher, J.Scholl, CTobias Visual Vocal 0.26
5 You Hit My Heart With a Bang A.Goodhart, EG.Nelson, H.Pease Background Instrumental 0.24
6 Restless Events E.Kllenyl Background Instrumental 0.41
#303 Holiday Highlights Carl Stalling

3 Ain't We Got Fun R.Egan, G.Kahn, R.Whiting Background Instrumental 0.09
4 Auld Lang Syne R-Bums Background Instrumental 0.43
5 Where Was I A.Dubln, W.F.Harllng Background Instrumental 0.46
19 Dear Little Boy of Mine J.ICBrennan, ER-Ball Background Instrumental 0.18
21 Amid Unk. Background Instrumental 0.28
22 Hail to the Chief Unk. Background Instrumental 0.18
24 Shine On Harvest Moon N.Bayes, J.Norworth Background Instrumental 0.07
27 Largo G.F.Hande! Background Instrumental 0.17
32 Moonlight Bay EMadden, P.Wenrtch Background Instrumental 0.13
#304 Good N ight Elmer Carl Stalling

2 Goodnight Ladles Unk. Background Instrumental 0.08
339
#305 The Sour Puss Carl Stalling
1 Mary Go Round Broke Down CFriend, D.Franklin Background Instrumental
2 Me-ow M.B.Kaufman, H.D.Kerr Background Instrumental
3 where Was I A.Dubin, W.F.Harting Background Instrumental
4 When the Swallows Come Back to LRene Background Instrumental
5 Chicken Reel Unk. Background Instrumental
8 Rock-a-Bye Baby Unk. Background Instrumental
11 All This and Heaven Too E.De Lange, J.Van Heusen Background Instrumental
12 All in Favor Say "Aye" CFriend Background Instrumental
14 You Hit My Heart With a Bang A.Goodhart, EG.Nelson, H.Pease Background Instrumental
#306 W acky W ild U fe Carl Stalling

6 How DTe Do Unk. Background Instrumental 0.12
9 Listen to the Mocking Bird A.Hawthorne Visual Whistled 0.22
11 Parsifal R.Wagner Background Instrumental 0.12
17 Pilgrims'Chorus R.Wagner Background Instrumental 0.14
18 Chopsticks Unk. Background Instrumental 0.05
22 If I Could Be With You (One Hour Tonight) H.Creamer, JJohnson Background Instrumental 0.06
23 Vision of Salome J.B.Lampe Background Instrumental 032
#307 Bedtim e For Sniffles Carl Stalling

2 Joy to the World G.W.Handel, I.Watts Background Vocal 0.46
3 Jingle Bells Unk. Visual Vocal 0.23
6 Southern Roses J.Strauss Visual Instrumental 0.49
7 Sleep Baby Sleep Unk. Background Vocal 0.42
14 Grandfather's dock H.CWork Background Instrumental 0.11
#308 Porky's Hired Hand Carl Stalling

2 Puddin' Head Jones A.Btyan, LHandman Background Instrumental 1.04
#309 O f Fox and Hounds Carl Stalling

11 Let the Rest of the World Go By ER.Ball, J.ICBrennan Background Instrumental 0.10
340
#310 The Tim id Toreador Carl Stalling
2 Gaucho Serenade J.Cavanaugh, J.Redmond, N.Simon Background Instrumental 0.25
5 Make Love With a Guitar M.Grever, R.Leveen Background Instrumental 0.32
8 Muchacha M.Dixon, H.Warren Background Instrumental 0.39
#311 Shop, Look and Listen Carl Stalling

2 Now I Lay Me Down to Dream T.FTorito, EHoward Background Instrumental 1.09
7 She’ll Be Cornin’ 'Round the Mountain Unk. Visual Whistled 0.16
10 In the Shade of the Old Apple Tree EVan Alstyne, H.Williams Background Instrumental 0.05
19 Piggy WIggy Woo A.Baer, P.Cunnlngham, I.Schuster Background Instrumental 1.00
#312 Elm er's P et Rabbit Carl Stalling

2 While Strolling Through the Park One Day E Haley Background Vocal 030
3 Angel In Disguise K.Gannon, P.Mann, S.Weiss Background Instrumental 0.25
7 Apple Blossoms and Chapel Bells A.Hoffman, W.Kent, M.Kurtz Background Instrumental 0.24
8 Where Was I A.Dubln, W.F.Hariing Visual Instrumental 0.16
9 Mi Caballero M.KJerome, J.Scholl Background Instrumental 0.26
#313 Porky's Snooze Reel Carl Stalling

3 March Dlgnatalre EJ.Walt Background Instrumental 0.21
5 Allegiance J.S.Zamecnik Background Instrumental 0.03
8 Triumphal March J.S.Zamecnlk Background Instrumental 0.24
12 Deep River Unk. Background Instrumental 0.11
16 Head of the Parade J.S.Zamecnik Background Instrumental 0.20
18 Song of the Marines A.Dubln, H.Warren Background Instrumental 0.08
23 When the Swallows Come Back to LRene Background Instrumental 0.05
24 Pride of the Wolverines J.P.Sousa Background Instrumental 0.08
28 Make It Snappy SJ.FIoyd Background Instrumental 0.22
30 Trade Winds CFriend, CTobias Background Instrumental 0.17
341
#314 The Fighting 69th 1 /2 Carl Stalling
2 You’re In the Army Now Unk. Background Instrumental 0.08
3 Warum R.Schumann Background Instrumental 038
7 Garry Owen Unk. Background Instrumental 0.23
#315 Sniffles Beils the Cat Carl Stalling

2 Three Blind Mies Unk. Background Instrumental 0.43
4 You're a Lucky Guy S.Cahn, S.Chaplin Background Instrumental 0.26
6 Jimmy Valentine G.Edwards, EMadden Background Instrumental 0.24
#316 The Haunted Mouse Carl Stalling

3 Alnt We Got Fun R.Egan, G.Kahn, R.Whitlng Background Instrumental 0.11
6 Angel in Disguise ICGannon, P.Mann, S.Welss Background Instrumental 0.21
#317 The Crackpot Quail Carl Stalling

4 They Gotta Quit Kickin' My Dog Around W.M.Oungst, CPerkins Background Instrumental 0.20
6 In the Shade of the Ok) Apple Tree E.Van Alstyne, H.Williams Background Instrumental 0.05
17 Umbrella Man, The J.Cavanaugh, V.Rose, (-Stock Background Instrumental 0.13
#318 The Cat's Tale Carl Stalling

2 M ew M.B.Kaufman, H.D.Kerr Background Instrumental 0.09
#319 Joe Glow, th e Firefly Carl Stalling

2 Midsummer Night's Dream F.Mendelssohn Background Instrumental 0.09
#320 Tortoise Beats Hare Carl Stalling

3 Ten Little Indians Unk. Background Instrumental 0.08
10 Athalie Overture F.Mendelssohn Visual Hummed 0.29
342
#321 Porky's Bear Facts Carl Stalling
1 M ary Go Round Broke Down CFriend, D.Franklin Background Instrumental 0.18
2 Girl With the Pigtails in Her Hair, The S.Cahn, S.Chaplin Background Instrumental 0.09
6 Heaven Can Wait EDe Lange, J.Van Heusen Visual Vocal 1.04
7 Etude F.Chopin Background Instrumental 0.16
8 Then Came the Rain O.Levant, CTobias Background Instrumental 0.20
10 All This and Heaven Too EDe Lange, J.Van Heusen Background Instrumental 0.22
#322 Goofy Groceries Carl Stalling

7 Concert in the Parte D.Franklin, CFriend Background Instrumental 0.16
11 By a Waterfall S.Faln, I.Kahal Background Vocal 0.14
12 Ail This and Heaven Too EDe Lange, J.Van Heusen Background Vocal 0.29
13 I'm Just Wild About Harry E Blake, N.Sissle Visual Vocal 0.34
19 Das Rheingold R.Wagner Background Instrumental 0.30
25 You’re in the Army Now Unk. Background Instrumental 0.06
26 Battle Music J.S.Zamecnik Background Instrumental 0.25
33 lola CLJohnson, J.O'Dea Background Instrumental 0.10
#323 Toy Trouble Cad Stalling

2 lola CJ Johnson, J.O'Dea Background Instrumental 0.12
4 All This and Heaven Too EDe Lange, J.Van Heusen Background Instrumental 0.25
6 'Cause My Baby Says Its So A.Dubin, H.Warren Background Instrumental 0.17
#324 Porky's Preview Carl Stalling

2 You Oughta Be In Pictures EHeyman, D.Suesse Background Instrumental 0.09
3 lola CJohnson, J.O'Dea Background Instrumental 0.35
5 Parade of the Teddy Bears J.Bratton, S.Cahn, S.Chapiin Background Instrumental 0.16
9 Parade of the Animals F.Hager, J.Rlng Background Instrumental 0.20
11 Frat J.F.Barth Background Instrumental 0J 2
17 Latin Quarter, The A.Dubln, H.Warren Background Instrumental 0.11
343
#325 The Trial o f M r.W o lf Carl Stalling
2 Upldee Unk. Background Instrumental 0.07
6 Little Old ChurtJi in the Valley G.Amold, G.Kahn, EVan Alstyne Background Instrumental 0.09
10 Oh Dear! What Can the Matter Be Unk. Background Instrumental 0.24
#326 Porky's A nt Carl Stalling

4 Sweet Georgia Brown B.Bemie, iCCasey, M.PInkard Background Instrumental 0.17
#327 Farm Frolics

2 Rebecca of Sunnybrook Farm S.Brown, A.Gumble Background Vocal 0.26
6 rm Happy About the Whole Thing J.Mercer, H.Warren Visual Vocal 0.06
11 Tola CJohnson, J.O'Dea Background Instrumental 0.10
16 Home Sweet Home H.R.Bishop, J.H.Payne Visual Vocal 0.05
20 Uttle Brown Jug Unk. Background Instrumental 0.03
#328 Hollywood Steps O ut Carl Stalling

2 El Mostacho LRoJo Background Instrumental 0.47
3 Where Was I A.Dubln, W.F.Harling Background Instrumental 0.45
5 Oh You Beautiful Doll N.D>yer, A^.Brown Background Instrumental 0.12
12 Lady In Red, The M.Dixon, A.Wrubel Background Instrumental 0.11
18 Tm Forever Blowing Bubbles J.W.Kellette, J.Kenbrovln Background Instrumental 1.33
344
#329 The Coy Decoy Carl Stalling
Released 6/7/1941_______ Cue Sheet Date 6/3/1941_______
3 Moonlight Sonata Lvan Beethoven Background Instrumental 0.31
4 Rkle Tenderfoot Ride J.Mercer, R.Whiting Visual Vocal 0.21
5 I Cant Get Along Little Doggie M.KJerome, J.Scholl Visual Vocal 0.15
9 We’re In the Money A.Dubin, H.Warren Background Instrumental 0.04
#330 H iaw atha's Rabbit Hunt Carl Stalling

Released 6/7/1941_______Cue Sheet Date 5/23/1941
3 When the Swallows Come Back to LRene Visual Vocal 0.20
#331 Porky's Prize Pony Carl Stalling

10 Shooting the Chutes LEDeFTancesco Background Instrumental 1.03
#332 The W acky Worm Carl Stalling

4 Daydreaming (All Night Long) J.Mercer, H.Warren Visual Vocal 0.41
11 How Dry I Am Unk. Background Instrumental
#333 M eet John Doughboy Carl Stalling

13 Girl I Left Behind Me, The S.Lover Background Instrumental 030
21 Traffic J.S-Zamecnlk Background Instrumental 0.25
24 Star Spangled Banner F.S.Key Background Instrumental 0.04
345
#334 The Heckling Hare Cari Stalling
8 Fm Forever Blowing Bubbles J.W.Kellette, J.Kenbrovin Background Instrumental 0.11
#335 In k i and th e Lion Carl Stalling

3 Rngal's Cave F.Mendelssohn Background Instrumental 0.06
#336 Aviation Vacation Carl Stalling

5 April Showers B.G.DeSytva, LSiivers Background Instrumental 0.11
6 Fve Been Working on the Railroad Unk. Background Instrumental 0.15
8 Battle Hymn of the Republic, The J.W.Howe Background Instrumental 0.11
9 You’re in the Army Now Unk. Background Instrumental 0.07
11 A Life on the Ocean Wave H.Russell, ESargent Background Instrumental 0.05
14 Wearing of the Green, The Unk. Background Instrumental 0.10
15 When Irish Eyes are Smiling EBall, G-GratT Jr., COIcott Visual Vocal 0.54
#337 W e the Anim als Squeak Carl Stalling

4 Keep Cod Fool J.Myrow, D.Rhythm Background Instrumental 0.20
6 Come Back To Erin Claribei Background Instrumental 0.11
7 When Irish Eyes are Smiling ER.Ball, G.GraiT Jr., COIcott Background Instrumental 0.10
9 Wedding March R-Wagner Background Instrumental 0.07
11 Irish Washerwoman Unk. Background Instrumental 0.15
12 Sweet and Low J.Bamby, A.Tennyson Background Instrumental 0.18
14 Traffic J.S.Zamecnlk Background Instrumental 0.30
15 lola CJohnson, J.O’Dea Visual Vocal 1.35
346
#338 Sport Chumpions Carl Stalling
4 Sidewalk Serenade J.Cavanaugh, J.Redmond, F.Weldon Background Instrumental 0.28
5 Merry Carousel, The ICGannon, F.Weldon Background Instrumental 0.08
14 College Stunts J-S.Zamecnik Background Instrumental 0.23
18 Shooting the Chutes LEDeFrancesco Background Instrumental 0.22
#339 The Henpecked Duck Carl Stalling

7 Reproach J.S.Zamecnik Background Instrumental 0.46
11 Muffin Man, The EFitzgerald Background Instrumental 0.10
#340 Snow Tim e For Comedy

7 What’s Your Story Morning Glory J.Lawrence, P.Webster, M.L.Williams Background Instrumental 1.05
8 Keep Cool Fool J.Myrow, D.Rhythm Background Instrumental 0.18
#341 All This and R abbit S tew Carl Stalling

10 What's Your Story Morning Glory J.Lawrence, P.Webster, M.LWIIIIams Background Instrumental 0.24
#342 Notes to You Carl Stalling

4 Me-ow M.B.Kaufman, H.D.Kerr Visual Vocal 0.11
6 Barber of Seville G.Rosstnl Visual Vocal 0.35
8 When Irish Eyes are Smiling ER-Ball, G.Graff Jr., COIcott Background Vocal 0.09
18 Umbrella Man, The J.Cavanaugh, V.Rose, L Stock Visual Vocal 0.14
19 Jeepers Creepers J.Mercer, H.Warren Visual Vocal 0.09
21 Make Love With a Guitar M.Grever, R-Leveen Visual Vocal 0.22
23 Aloha Oe Queen Uliuokalani Visual Vocal 0.17
25 Sextette from Lucia G.Donizeth Visual Vocal 0.36
347
#343 The Brave U ttfe Bat Carl Stalling
3 In a Little Dutch Kindergarten (Down by the A.Bryan, LRasenstodc Visual Vocal 0.17
#344 The Bug Parade Carl Stalling

6 How DYe Do Unk. Background Instrumental 0.19
10 Kingdom Coming (Jubllo) H.CWork Background Instrumental 0.08
12 Columbia the Gem of the Ocean T A . Beckett, D.T.Shaw Background Instrumental 0.05
14 Rve O'clock Whistle K.Gannon, G.lrwln, J.Myrow Background Instrumental 0.15
#345 Robinson Crusoe Jr Carl Stalling

1 Merry Go Round Brake Down CFriend, D.Franklin Background Instrumental 0.18
3 Blow the Man Down Unk. Background Instrumental 0.16
8 Java Jive M.Drake, B.Oakland Visual Vocal 1.07
10 In Waikiki J.Mercer, A-Schwartz Background Instrumental 0.26
13 Goombay Drum SJVdams, S.Knowlton, CLofthouse Background Instrumental 033
#346 Rookie Revue Cad Stalling

16 Long Long Ago T.Bayiey Background Instrumental 0.08
20 We Watch the Skyways G.Kahn, M-Steiner Background Instrumental 0.29
21 Sdewalk Serenade J.Cavanaugh, J.Redmond, F.Weldon Background Instrumental 0.08
#347 Saddle Silly

8 College Stunts J.S.Zamecnik Background Instrumental 0.54
348
#348 The Cagey Canary Carl Stalling
5 You're a Natural J.Mercer, A^chwartz Background Instrumental 0.31
6 Honey Bunny Boo LDavid, ICGannon Background Instrumental 0.12
8 Voices of Spring J.Strauss Background Instrumental 0.45
#349 Porky's M idnight M atinee Carl Stalling

2 You Oughta Be in Pictures EHeyman, DSuesse Background Instrumental 0.15
5 Java Jive M.Drake, B.Oakiand Background Instrumental 0.22
#350 Rhapsody in Rivets Carl Stalling

3 Hungarian Rhapsody No. 2 F.Uszt Background Instrumental 0.18
#351 W abbit Twouble Carl Stalling

3 Says Who? Says You, Says I HJtrien, J.Mercer Background Instrumental 0.15
6 Angels Came Thru, The A.Dubfn, ELecuona Background Instrumental 1.18
13 Am I Blue H.Akst, G.Oarke Background Instrumental 0.23
#352 Porky's Pooch Carl Stalling

5 We’re in the Money A.Dub!n, H.Warren Background Instrumental 0.43
6 Sngln' In the Bathtub M.deary, H.Magldson, N.Washlngton Background Instrumental 0.14
11 Mi Caballero M.KJerome, J.Scholl Visual Vocal 0.15
13 Laugh Clown Laugh T.Fforito, S.Lewts, J.Young Background Instrumental 0.22
15 Dear Little Boy of Mine J.ICBrennan, ER.Ball Background Instrumental 0.07
#353 Hop, Skip and A Chump

1 Merrily We Rofl Along CTobias, M.Mencher, ECantor Background Instrumental 0.18
3 You're the Cure For What Ails Me H.Arien, EY.Harburg Background Instrumental 0.06
4 Com Pickin' J.Mercer, H.Warren Background Instrumental 0.42
16 Poet and Peasant F.von Suppe Visual Instrumental 0.29
20 In a Uttie Dutch Kindergarten (Down by the A.Bryan, LRosenstodc Background Instrumental 0.08
349
#354 Porky's Pastry Pirates
3 You Hit My Heart With a Bang A.Goodhart, E.G.Nelson, H.Pease Background Instrumental 0.32
5 Are There Any More At Home Like You LJ.Littie, D.Oppenheim Visual Whistled 0.16
#355 The Bird Came C.O.D. Carl Stalling

2 Says Who? Says You, Says I H.Arlen, J.Mercer Background Instrumental 1.19
#356 Aloha Hooey Cad Stalling

6 Wlly-Ka-Lee M.Dixon, J.Greer Background Instrumental 0.27
#357 W ho's W ho in th e Zoo Cad Stalling

4 You Oughta Be In Pictures E.Heyman, D.Suesse Visual Vocal 0.04
13 Sddcs and Stones A.Goodhart, A.Hoffman, M.Kurtz Visual Vocal 0.07
17 When the Swallows come Back to LRene Visual Vocal 0.20
19 What's the Matter With Father E.Van Alstyne, H.Williams Background Instrumental 0.04
22 Merry Carousel, The K.Gannon, F.Weldon Background Instrumental 0.38
#358 Porky's Cafe Cad Stalling

4 (Ho-dle-ay) Start the Day Right A.Lewis, M.Spltalny, CTobias Visual Vocal 0.10
9 TTca Tl-Tka Ta LPrima Background Instrumental 0.53
#359 Conrad th e Sailor Cad Stalling

2 Song of the Marines A.Dubin, H.Warren Visual Vocal 1.14
350
#360 Crazy Cruise Carl Stalling
2 Someone's Rocking My Dreamboat LRene, O.Rene, E.Scott Background Instrumental 0.10
3 Swanee River (The Old Folks at Home) S.Foster Background Vocal 0.43
4 Gaucho Serenade J.Cavanaugh, J.Redmond, N.Smon Background Instrumental 0.09
6 Columbia the Gem of the Ocean T-A.Beckett, D.T.Shaw Background Instrumental 0.06
7 Just a Waterfall Unk. Background Instrumental 0.25
8 Oh Where Has My Uttle Dog Gone Unk. Background Instrumental 0.08
13 Tumbling Tumbleweeds B.Nolan Background Instrumental 0.21
16 Goombay Drum SAdams, S.Knowtton, CLotthouse Background Instrumental 0.15
18 We Did It Before (And We Can Do It Again) CFriend, CTobias Background Instrumental 0.06
#361 The W abbit W ho Came to Supper Carl Stalling

S We're in the Money A.Dubln, H.Warren Background Instrumental 0.29
6 Angel in Disguise K.Gannon, p.Mann, S.Wetss Visual Vocal 0.41
13 Auld Lang Syne R.Bums Visual Vocal 0.12
15 TIca TI-Tica Ta LPrima Background Instrumental 0.18
#362 Horton Hatches th e Egg

2 Humpty Dumpty Unk. Background Instrumental 0.12
5 Hut Sut Song, The L.V.WIKon, T.Macmichael, J.Owen Visual Vocal 0.10
17 Song of the Volga Boatman Unk. Visual Vocal 0.08
19 It Looks Like a Big Night Tonight E.Van Alstyne, H.Williams Background Instrumental 0.16
#363 Saps in Chaps Carl Stalling

1 Merry Go Round Broke Down CFriend, D.Franldln Background Instrumental 0.18
2 Cheyenne E.Van Alstyne, H.Williams Background Instrumental 0.12
3 Oh Susanna S.FOster Background Instrumental 0.18
9 I Cant Get Along Little Doggie M.KJerome, J.Scholl Background Instrumental 0.26
11 Ride TenderfOot Ride J.Mercer, R.Whiting Background Instrumental 0.23
351
#364 Dog Tired Cart Stalling
4 Tlca Ti-Tka Ta LPrima Background Instrumental 0.35
5 Love Me and the World is Mine E.R.Bal!, D.Reed Jr. Background Instrumental 0.46
8 Laugh down Laugh T.Horito, S.Lewis, J.Young Background Instrumental 0.08
#365 Daffy's Southern Exposure Carl Stalling

4 Hang Onto Your Uds Kids (Here We Go H-Arten, j.Mercer Background Instrumental 0.53
8 Shoo Fly Don't Bother Me F.Campbell, B.Reeves Visual Vocal 0.05
9 Tempest, The J.S.Zamecnlk Background Instrumental 2.01
11 Latin Quarter, The A.Dubin, H.Warren Visual Vocal 0.45
16 Gaucho Serenade J.Cavanaugh, J.Redmond, N.SImon Visual Vocal 0.21
#366 The W acky W abbit Carl Stalling

2 Piggy Wtggy Woo A.Baer, P.Cunningham, I-Schuster Background Instrumental 0.11
4 Oh Susanna S.Foster Visual Vocal 1.04
10 rve Been Working on the Railroad Unk. Visual Vocal 0.16
14 Oh Bury Me Not on the Lone Prairie Unk. Visual Vocal 0.11
#367 The D raft Horse Carl Stalling

5 Columbia the Gem of the Ocean TA . Beckett, D.TShaw Background Instrumental 0.12
12 It Had To Be You IJones, G.ICahn Background Instrumental 0.10
352
#368 N utty News Carl Stalling
1 Merry Go Round Broke Down CFriend, D.Franldin Background Instrumental 0.18
7 Tales From the Vienna Woods J.Strauss Background Instrumental 031
10 I’ll Pray For You AAltman, ICGannon Background Instrumental 0.14
11 Fifth Symphony Lvan Beethoven Background Instrumental 0.06
12 Always In My Heart ICGannon, ELecuona Background Instrumental 0.33
13 Says Who? Says You, Says I H-Arlen, J.Mercer Background Instrumental 0.24
16 Maryland My Maryland Unk. Background Instrumental 0.06
18 Minuet In G Lvan Beethoven Background Instrumental 0.22
23 (Ho-dle-ay) Start the Day Right A.Lewis, M.Spitalny, CTobias Background Instrumental 0.19
28 California Here I Come B.G.De Syfva, AJolson, J.Meyer Background Instrumental 0.05
#369 Lights Fantastic Carl Stalling

5 Chinatown My Chinatown WJerome, J.Schwartz Background Instrumental 035
8 My Wild Irish Rose CCHcott Visual Vocal 0.41
9 Laugh Gown Laugh T.Forito, S.Lewis, J.Young Visual Vocal 0.53
12 Anabella E.Durant Background Instrumental 0.57
#370 Hobby-Horse Laffs

1 Merry GO Round Broke Down CFriend, D.Franklin Background Instrumental 0.18
2 Rig-a-JIg Unk. Background Instrumental 0.12
5 Happy Farmer R.Schumann Background Instrumental 0.14
8 Oh Dear! What Can the Matter Be Unk. Background Instrumental 0.05
15 She Was an Acrobats Daughter B.Ka!mar, H.Ruby Background Instrumental 0.27
17 Blues in the Night HJLrien, J.Mercer Background Instrumental 0.05
18 Java Jive M.Drake, B.Oakland Background Instrumental 0.22
19 Keep COd FOol J.Myrow, D.Rhythm Background Instrumental 0.17
353
#371 Hold th e Lion, Please Carl Stalling
Released 6/13/1942 Cue Sheet Date 6/1Q/1942______
3 T ain t No Good AJacobs, G.Wood Background Instrumental 1.33
4 Always in My Heart ICGannon, ELeaiona Background Instrumental 0.20
6 Blues In the Night H.Arien, J.Mercer Background Instrumental 1.12
8 When the Swallows Come Back to L.Rene Visual Vocal 0.21
#372 Gopher Goofy Carl Stalling

1 Merry Go Round Broke Down CFriend, D.Frankiln Background Instrumental 0.18
4 Hey Doc ICGannon, ESampson Background Instrumental 0.08
10 I'm Forever Blowing Bubbles J.W.Keltette, J.Kenbrovin Background Instrumental 0.28
#373 Double Chaser Carl Stalling

3 Me-ow M.B.Kaufman, H.D.Kerr Background Instrumental 0.04
6 Girl Friend of the Whirling Dervish, The A.Dubin, J.Mercer, H.Warren Background Instrumental 0.15
#374 W acky Blackout Carl Stalling

7 Listen to the Mocking Bird A.Hawthome Background Instrumental 0.16
11 Sweet and Low J.Bamby, A.Tennyson Background Instrumental 0.08
20 Puddin' Head Jones A.Byran, LHandman Background Instrumental 0.15
23 When the Swallows Come Back to LRene Background Vocal 0.22
25 My Bonnie Ues Over the Ocean Unk. Visual Vocal 0.10
26 When You and I Were Young Maggie J.Butterfleld Background Instrumental 0.15
29 We Did It Before (And We Can Do It Again) CFriend, CTobias Visual Vocal 0.11
354
#375 Bugs Bunny Gets the Boid Carl Stalling
2 Honey Bunny Boo LDavid, ICGannon Background Instrumental 0.44
8 Blues In the Night H.Arien, J.Mercer Visual Vocal 0.04
21. Long Long Ago T.H.Bayley Background Instrumental 0.22
#376 Foney Fables Carl Stalling

2 Mutiny In the Nursery J.Mercer Background Instrumental 0.14
5 Lazy Mary Unk. Background Instrumental 0.08
6 Dear Little Boy of Mine EBall, J.K.Brennan Background Instrumental 0.22
9 Heaven can Wait EDe Lange, J.Van Heusen Visual Vocal 0.18
11 Columbia the Gem of the Ocean T.A.Beckett, D.T.Shaw . Background Instrumental 0.06
17 Spirit of the Nile Vargas Background Instrumental 0.09
18 Jeanie With the Light Brown Hair S.Foster Visual Vocal 0.17
24 We Did It Before (And We can Do I t Again) CFriend, CTobias Background Instrumental 0.10
27 Cradle Song J.Brahms Background Instrumental 038
#377 The Ducktators Carl Stalling

3 Tales From the Vienna Woods J.Strauss Background Instrumental 0.23
6 Bartered Bride, The B.Smetana Background Instrumental 0.44
7 Barber of Seville G.Rossini Background Instrumental 0.17
9 Blues In the Night H.Arlen, J.Mercer Background Instrumental 0.03
14 Japanese Sandman R.Egan, (LA.Whiting Visual Vocal 0.16
#378 The S q u aw kin 'H aw k

2 Someone's Rocking My Dreamboat LRene, O.Rene, E.Scott Background Instrumental 1.43
8 T a in t No Good AJacobs, G.Wood Background Instrumental 0.19
355
#379 Eatin' On the C uff Cart Stalling
X Merry Go Round Broke Down CFriend, D.Franklin Background Instrumental 0.18
2 Mary, You’re a Uttte Bit Old-Fashioned H.Marshall, M.Sunshlne Background Instrumental 0.13
3 Moth and His Flame, The M.Ford Visual Vocal 0.51
5 Bridal Chorus R.Wagner Visual Vocal 0.15
8 Shortenin' Bread Unk. Background Instrumental 0.11
10 Oh Where Has My Little Dog Gone Unk. Background Vocal 0.07
#380 Fresh Hare Carl Stalling

1 Merrily We Roil Along CTobias, M.Mencher, E.Cantor Background Instrumental 0.18
2 Song of the Mounted Police M.KJerome, J.Scholl Background Instrumental 0.29
4 Oh You Beautiful Doll N.DJVyer, A.S.Brown Background Instrumental 0.06
7 Rhythm Appassionato CRybner Background Instrumental 033
11 You Hit My Heart With a Bang A.Goodhart, E-G.Nelson, H.Pease Background Instrumental 0.39
18 Dixie D.Emmett Visual Vocal 0.03
19 De Camptown Races S.Foster Visual Vocal 0.16
#381 The Im p a tie n t Patient Carl Stalling

8 Hey Doc ICGannon, E.Sampson Background Instrumental 0.06
10 You Hit My Heart With a Bang A-Goodhart, E-G.Neison, H.Pease Background Instrumental 0.15
12 In the Stirrups J.S.Zamecn!k Background Instrumental 0.12
#382 Fox Pop

2 Tica n-Tlca Ta LPrima Background Instrumental 0.12
4 Shortenin' Bread Unk. Visual Hummed 0.08
5 I'll Pray For You A.Altman, ICGannon Visual Instrumental 0.37
9 Always in My Heart ICGannon, E-Lecuona Background Instrumental 0.27
13 Reproach J.S.Zamecnlk Background Instrumental 0.16
#383 Dover Boys a t Pimento University, The Carl Stalling

1 Merrily We Roll Along C Tobias, M. Mencher, E. Cantor Background Instrumental 0.19
2 Annie Lisle Unk. Background Instrumental 0.12
3 Sweet Genevieve Tucker Background Vocal 0.22
4 While Strolling Through the Park One Day Ed Haley Background Instrumental 0.07
5 Sweet Genevieve Tucker Background Vocal 1.19
8 In the Shade o f the Old Apple Tree Egbert Van Alstyne, Harry Williams Background Instrumental 0.50
11 In My Merry Oldsmobile Gus Edwards, Vincent Bryan Background Instrumental 03 5
20 Sonata Op. 13 Beethoven Background Instrumental 0.20
356
#384 The Hep Cat Carl Stalling
1 Merry Go Round Broke Down CFriend, D.Frank!in Background Instrumental 0.18
2 Five O'CIock Whistle ICGannon, G.Irwin, J.Myrow Background Instrumental 0.28
S Java Jive M.Drake, B.Oaldand Visual Vocal 0.33
7 Always in My Heart ICGannon, ELecuona Background Instrumental 0.15
#385 Sheepish W olf, The Carl Stalling

1 Merrily We Roll Along C Tobias, M. Mencher, E Cantor Background Instrumental 0.19
4 Ruy Bias Overture Mendelssohn Background Instrumental 0.32
7 Spring Song Mendelssohn Background Instrumental 0.08
15 Stephanie Gavotte Alphons Czlbuika Background Instrumental 0.43
#386 The Daffy Duckaroo Carl Stalling

2 I Cant Get Along Little Doggie M.KJerome, J.Scholl Background Instrumental 0.13
4 My UttJe Buckaroo M.KJerome, J.Scholl Visual Vocal 0.53
6 Would You Uke to Take a Walk M.Dixon, B.Rose, H.Warren Visual Vocal 0.12
7 Always in My Heart ICGannon, ELecuona Background Instrumental 0.21
8 She's a Latin From Manhattan A.Dubin, H.Warren Background Instrumental 0.23
11 Iola CJohnson, J.O'Dea Background Instrumental 0.28
12 Sun Dance LFriedman Background Instrumental 0.15
15 Who Calls D.LHill, J.Marks Background Instrumental 0.11
#387 The Hare-Brained Hypnotist Car: Stalling

Released 10/31/1942 Cue Sheet Date 10/16/IS *2
5 Rienzi Overture R.Wagner Background Instrumental 0.17
7 Listen to the Mocking Bird A. Hawthorne Background Instrumental 0.08
13 I'll Pray For You AJUtman, ICGannon Background Instrumental 0.11
357
#388 The Tale o f Tw o Kitties Carl Stalling
2 Three Little Kittens Unk. Background Instrumental 0.11
4 ril Pray For You AAltman, ICGannon Background Instrumental 0.16
6 Keep COol Fool J.Myrow, D.Rhythm Background Instrumental 0.41
10 Someone's Rocking My Dreamboat L-Rene, O.Rene, EScott Background Instrumental 0.37
12 California Here I Come B.G.De Sylva, AJolson, J.Meyer Background Instrumental 0.18
14 A.B.G. Nursery Rhyme Unk. Background Instrumental 0.14
IS Hang Onto Your Lids Kids (Here We Go . H-Arien, J.Mercer Background Instrumental 0.22
16 We Did It Before (And We Can Do It Again) CFriend, CTobias Visual Whistled 0.02
19 Dont Give Up the Ship ADubin, H.Warren Background Instrumental 0.22
#389 My Favorite Duck Carl Stalling

2 Moonlight Bay E.Madden, P.Wenrich Visual Vocal 0.42
5 Blues in the Night HArien, J.Mercer Visual Vocal 0.13
8 Deep River Unk. Background Instrumental 0.07
#390 Ding Dog Daddy Carl Stalling

3 When the Swallows Come Bade to LRene Background Instrumental 0.16
6 Would You Like to Take a Walk M.Dixon, B.Rose, H.Warren Background Instrumental 0.16
8 Blues in the Night H.Arien, J.Mercer Background Instrumental 0.15
9 I'm Happy About the Whole Thing J.Mercer, H.Warren Background Instrumental 0.09
26 Columbia the Gem of the Ocean T.A Beckett, D.T.Shaw Background Instrumental 0.02
#391 The Case o f th e Missing H are Carl Stalling

2 Girl Friend of the Whirling Dervish, The A.Dubln, J.Mercer, H.Warren Background Instrumental 0.46
4 Plano Concerto in B Flat Minor P.Tschaikowsky Visual Hummed 0.18
5 Under a Strawberry Moon A Lewis, M.Wayne Background Instrumental 0.50
6 Latin Quarter, The A Dubln, H.Warren Background Instrumental 0.04
19 Aloha Oe Queen Ulluokalanl Visual Vocal 0.06
358
#392 Coal Black and De Sebben Dwarfs Carl Stalling
3 We’re In the Money ADubin, H.Warren Background Instrumental 0.05
7 Blues In the Night H.Arien, J.Mercer Visual Vocal 0.12
9 Long Long Ago T.H.Bayiey Background Instrumental 0.25
10 Nagasaki M.DIxon, H.Warren Background Instrumental 0.11
16 You're In the Army Now Unk. Visual Vocal 0.09
20 Five O'Clodc Whistle G.Irwin, J.Myrow Visual Vocal 0.41
#393 Confusions o f a N utzy Spy Carl Stalling

2 Hey Doc ICGannon, E.Sampson Background Instrumental 1.18
3 (Ho-dle-ay) Start the Day Right A Lewis, M.Spitalny, CTobias Background Instrumental 0.16
#394 Pigs in a Polka Carl Stalling

#395 Tortoise W ins By a Hare Carl Stalling

4 Blade Coffee A Goodhart, A Hoffman, M.Sigler Background Instrumental 0.41
4 T a in t No Good AJacobs, G.Wood Background Instrumental 1.00
20 This Is Worth Fighting For E.De Lange, S.H.Stept Background Instrumental 0.17
#396 To Duck or N o t To Duck Carl Stalling

4 Why Dont You Fall In Love With Me A.Lewis, M.Wayne Visual Vocal 0.21
8 Song of the Mounted Police M.KJerome, J.Schoil Background Instrumental 0.24
16 Romance a la Mode AAltman, ICGannon Background Instrumental 0.31
18 Captains of the Clouds H.Arien, J.Mercer Background Instrumental 0.25
359
#397 The Fifth-Colum n Mouse Carl Stalling
3 AintWeGotFun R.Egan, G.Kahn, R.Whiting Visual Vocal 1.04
5 Under a Strawberry Moon A.Lewis, M.Wayne Background Instrumental 0.14
6 Ach du Lfeber Augustin Unk. Background Instrumental 0.04
10 Blues in the Night H.Arlen, J.Mercer Visual Vocal 0.45
11 Girt Friend of the Whirling Dervish, The A.Dubin, J.Mercer, H.Warren Background Instrumental 1.02
13 All in Favor Say "Aye" CFriend Visual Vocal 0.14
16 Perpetual Motion J.Strauss Background Instrumental 0.39
#398 Flop Goes the Weasel Carl Stalling

2 Mammy's Little Coal Blade Rose R.Egan, °_Whiting Visual Vocal 0.34
6 Aint We Got Fun R.Egan, G.Kahn, R.Whiting Background Vocal 0.18
8 Rodc-a-6ye Baby Unk. Background Instrumental 0.30
10 Shortenin’ Bread Unk. Background Instrumental 0.06
21 Uttfe Brown Jug Unk. Background Instrumental 0.12
#399 Hop and Go Cart Stalling

2 GkJdap Mule LW.Ware Background Instrumental 0.39
13 Singin’ In the Bathtub M.CJeary, H.Magldson, N.Washlngton Visual Vocal 0.25
#400 Super Rabbit Carl Stalling

11 Freddy the Freshman (The Freshest Kkl in CFriend, D.Oppenhelm Background Instrumental 0.26
15 Marine's Hymn, The Unk. Visual Vocal 0.18
#401 The Unbearable Bear Carl Stalling

2 Big Fat Mama LMlliiner, S.Smon Background Instrumental 0.13
7 Jolly Robbers Overture F.von Suppe Background Instrumental 0.13
13 Goodnight Ladles Unk. Background Instrumental 0.08
360
#402 The W ise-Quacking Duck Carl Stalling
1 Mercy Go Round Broke Down CFriend, D.Franklin Background Instrumental 0.18
2 Why Don’t You Fall in Love With Me A.Lewis, M.Wayne Background Instrumental 0.33
3 Jeanie With the Ught Brown Hair S.Foster Visual Vocal 0.16
6 Java Jive M.Drake, B.Oakland Background Instrumental 0.28
7 Shortenin' Bread Unk. Visual Vocal 0.04
15 It Had To Be You Uones, G.Kahn Background Instrumental 0.42
16 GIddap Mule LW.Ware Background Instrumental 0.14
#403 Greetings Bait Carl Stalling

3 Who Calls D.L.HIII, J.Marks Visual Vocal 0.25
5 Memories G.Kahn. EVan Alstyne Visual Vocal 0.10
7 Make Love With a Guitar M.Grever, R.Leveen Visual Vocal 0.11
10 Romance a la Mode A.Attman, ICGannon Background Instrumental 0.25
11 Trade Winds CFriend, CTobias Visual Vocal 0.25
13 Dinner Music for a Pack of Hungry Cannibals R.Scotl Background Instrumental 0.06
IS Ught Cavalry Overture F.von Suppe Background Instrumental 0.09
#404 Tokio Jokio Carl Stalling

1 Mercy Go Round Broke Down CFriend, D.Franklin Background Instrumental 0.18
2 Kimygayo Unk. Background Instrumental 0.12
3 FOu-so-ka Unk. Background Instrumental 0.05
6 Waiting Unk. Background Instrumental 0.25
11 Home Sweet Home H.R.Btshop, J.H.Payne Background Instrumental 0.10
16 Rabbit and The Turtle, The Unk. Background Instrumental 0.10
21 Rlenzl Overture R.Wagner Background Instrumental 0.04
25 Barber of Seville G.Rosslni Background Instrumental 0.12
31 From Nippon Bridge Unk. Background Instrumental 0.07
32 Idskit Itasklt Unk. Background Instrumental 0.05
#405 Jack-W abbit and th e B eanstalk Carl Stalling

6 Says Who? Says You, Says I H.Arien, J.Mercer Background Instrumental 0.12
11 Grandfather's dock H.CWoric Background Instrumental 0.06
13 It Cant Be Wrong ICGannon, M.Stelner Background Instrumental 0.44
16 COngo M.KJerome, J.Schoil Background Instrumental 0.25
19 TWillght In Turkey R.Scott Background Instrumental 0.15
361
#406 The A rista C at Cart Stalling
2 For You W.Heymann, T.Koehler Background Instrumental 0.12
3 In an Eighteenth Century Drawing Room R^cott Visual Vocal 1.16
5 Inflammatus G.Rossinl Background Instrumental 0.41
6 Prelude Opus 28, No. 20 F.ChopIn Background Instrumental 0.30
15 Twilight in Turkey R-Scott Background Instrumental 0.08
#407 Yankee Doodle Daffy Carl Stalling

4 Penguin, The R.Scott Background Instrumental 0.17
5 Hang Onto Your Uds Kids (Here We Go H.Arlen, J.Mercer Background Instrumental 0.36
6 Puddln' Head Jones A.Bryan, l_ Handman Background Instrumental 0.12
8 Fm Just Wild About Harry E.Blake, N.Sissle Visual Vocal 0.42
9 Frat J.F.Barth Visual Instrumental 0.07
11 Gaucho Serenade J.Cavanaugh, J.Redmond, N.Simon Visual Vocal 0.27
13 Laugh Clown Laugh T.Rortto, S.Lewis, J.Young Visual Vocal 0.09
15 Cheyenne EVan Alstyne, H.Williams Visual Vocal 0.09
17 We Watch the Skyways G.Kahn, M.Stelner Visual Vocal 0.12
19 Angel in Disguise ICGannon, P.Mann, S.Welss Visual Vocal 0.12
20 William Tell Overture G.Rossinl Visual Vocal 0.12
22 Orpheus Overture J.Offenbach Background Instrumental 0.12
25 In the Garden o f My Heart EBall, CRoma Visual Vocal 0.17
#408 W ackiki W abbit Carl Stalling

3 Asleep In the Deep AJ.Lamb, H.W.Petrle Background Instrumental 0.50
7 Orare Orare A.Goupil Visual Vocal 0.26
9 Itiskit Itasklt Unk. Visual Vocal 0.10
16 Aloha Oe Queen Ulluokalanl Background Instrumental 0.23
#409 Porky Pig’s Feat Carl Stalling

2 Muffin Man, The EFttzgerald Background Instrumental 0.21
5 Gtddap Mule LW.Ware Background Instrumental 0.17
10 Penguin, The RScott Background Instrumental 0.11
13 Power House R-Scott Background Instrumental 0.20
14 Twilight In Turkey RScott Background Instrumental 0.26
20 Perpetual MoUon J.Strauss Background Instrumental 0.08
22 Oh You Beautiful Dol N.DJtyer, A.S.Brown Background Instrumental 0.04
28 Merrily We RoU Along CTobias, M.Mencher, ECantor Background Instrumental 0.50
362
#410 Tin Pan Alley Cats Carl Stalling
1 Merrtty We Roll Along CTobias, M.Mencher, ECantor Background Instrumental 0.19
2 Right Kind or Love, The ICGoell, M.Wayne Background Instrumental 0.14
3 By the Light of the Silvery Moon G.Edwards, E Madden Background Vocal 1.00
4 Old Time Refigfon Unk. Visual Vocal 1.06
5 Nagasaki M.Dixon, H.Warren Visual Vocal 1.09
6 Swing for Sale S.Cahn, S.ChapHn Visual Vocal 0.44
8 William Tell Overture G.Rossini Visual Instrumental 0.08
11 Dinner Music for a Pack of Hungry Cannibals R.Scott Background Instrumental 0.09
12 Russian Folk Dance Unk. Background Instrumental 0.09
#411 Scrap Happy Daffy Carl Stalling

2 This Is Worth Fighting For EDeLange, S.H.Stept Background Instrumental 0.29
4 We’re in to Win M.Orenstein Visual Vocal 0.32
10 Rienzi Overture R.Wagner Background Instrumental 03 4
17 Why Dont You Fall in Love With Me A.Lewis, M.Wayne Background Instrumental 0.16
22 Battle Hymn o f the Republic, The J.Howe Visual Vocal 0.13
#412 Hiss and Make Up Carl Stalling

2 It Cant Be Wrong ICGannon, M.Steiner Background Instrumental 0.12
4 Humoresque, Opus 10, No. 2 P.Tschaikowksy Background Instrumental 0.42
6 As Time Goes By H.HupMd Background Instrumental 0.07
7 Carolina in the Morning W.Donaldson, G.Kahn Visual Vocal 0.10
8 Angel In Disguise ICGannon, P.Mann, S.Weiss Background Instrumental 0.09
12 Huckleberry Dude J.Lawrence, R-Scott Background Instrumental 0.18
24 Mammy's Little Coal Black Rose R-Egan, R.Whiting Background Instrumental 0.14
29 William Tell Overture G.Rossini Background Instrumental 03 1
#413 A Corny Concerto Carl Stalling

1 Merrily We Rod Along CTobias, M.Mencher, ECantor Background Instrumental 0.18
2 Plano Concerto In B Flat Minor P.Tschaikowksy Background Instrumental 0.25
5 Blue Danube, The J.Strauss Visual Vocal 3.40
#414 Fln'N’C atty Carl Stalling

1 Merrfly We Rofl Along CTobias, M.Mencher, ECantor Background Instrumental 0.19
2 Tm Rkfln* For a Fafl F.Loesser, A.Schwartz Background Instrumental 1.12
4 I t Cant Be Wrong ICGannon, M.Steiner Background Instrumental 0.15
8 Twilight In Turkey R-Scott Background Instrumental 0.09
10 Over the W avs J.Rosas Background Instrumental 0.27
363
#415 Falling Hare Carl Stalling
2 Walt For Me Mary N.Simon, CTobias, H.Tobias Background Instrumental 0.12
3 We're in to Win M.Orensteln Background Instrumental 0.41
11 Dark Eyes Unk. Background Instrumental 0.26
#416 In k i and th e Minah Bird Carl Stalling

1 MerTlly We Roll Along CTobias, M.Mencher, E-Cantor Background Instrumental 0.18
2 Goombay Drum S-Adams, S.Knowtton, CLofthouse Background Instrumental 0.25
#417 D affy-The Commando Carl Stalling

2 Toy Trumpet R.Scott Background Instrumental 0.13
9 It's the Syme the Whole World Over Unk. Visual Vocal 0.15
#418 An Itc h in Tim e

2 As Time Goes By H.Hupfeid Background Instrumental 0.12
3 Under a Strawberry Moon A.Lewis, M.Wayne Background Instrumental 1.14
7 Cradle Song J.Brahms Visual Vocal 0.24
9 Power House R.Scott Background Instrumental 0.21
#419 Puss N'Booty Carl Stalling

2 How Sweet You Are F.Loesser, A-Schwartz Background Instrumental 1.01
5 Aloha Oe Queen Ulluofcalani Background Instrumental 0.14
7 HI Pray For You AJUtman, ICGannon Background Instrumental 0.25
8 Wait For Me Mary N.Simon, CTobias, H.Tobias Background Instrumental 0.12
21 Dinner Musk: for a Packof Hungry Cannibals R-Scott Background Instrumental 0.11
364
#420 Little Red Riding Rabbit Carl Stalling
Released 1/4/1944_______ Cue Sheet Pate 12/6/1943______
2 Lady in Red, The M.Dtxon, A.Wrubei Background Instrumental 0.10
3 HveO'Oodc Whistle ICGannon, GJrwin, J.Myrow Visual Vocal 0.21
4 Oh You Beautiful Doll N.DJVyer, A.5.Brown Background Instrumental 0.06
9 Fm Ridln' For a Fall F.Loesser, AJSchwartz Background Instrumental 0.15
10 They're Either Too Young or Too Old F.Loesser, A-Schwartz Background Instrumental 0.40
13 Put On Your Old Grey Bonnet S.Murphy, P.Wenrlch Visual Vocal 0.10
16 A Cup of COfTee, A Sandwich and You A-Dubin, J.Meyer, B.Rose Background Instrumental 0.10
#421 W h a fs Cookin' Doc? Carl Stalling

2 A Cup of Coffee, A Sandwich and You A.Dubin, J.Meyer, B.Rose Background Instrumental 0.13
3 You Oughta Be In Pictures EHeyman, D.Suesse Background Instrumental 037
7 How Sweet You Are F.Loesser, A.Schwartz Visual Instrumental 0.50
11 I'm Rldin' For a Fall F.Loesser, A.Schwartz Background Instrumental 0.40
12 They’re Either Too Young or Too Old F.Loesser, A.Schwartz Background Instrumental 0.06
14 In an Eighteenth Century Drawing Room R.Scott Background Instrumental 0.09
17 Hootchy Kootchy Dance Unk. Background Instrumental 0.03
20 Sun Dance LFrfedman Background Instrumental 0.05
22 When the Swallows Come Bade to LRene Visual Vocal 0.20
27 Dear Little Boy of Mine ER.BaH, J.ICBrennan Background Instrumental 0.12
#422 M eatless Flyday Carl Stalling

2 They're Either Too Young or Too Old F.Loesser, A.Schwartz Background Instrumental 0.13
3 Siberian Sleigh Ride R.Scott Background Instrumental 0.06
4 Huckleberry Dude J.Lawrence, R-Scott Background Instrumental 0.29
7 Umbrella Man, The J.Cavanaugh, V.Rose, (-Stock Background Instrumental 1.02
22 Would You Uke to Take a Walk M.Dtxon, B.Rose, H.Warren Visual Vocal 0.22
#423 Tom Turk and D affy Cad Stalling

2 Ice Cold Katy F.Loesser, A.Schwartz Background Instrumental 0.26
3 Jingle Beds Unk. Visual Vocal 0.08
5 Angel In Disguise ICGannon, P.Mann, S.Weiss visual Vocal 0.07
8 Old Time Religion Unk. Background Instrumental 0.08
13 It Cant Be Wrong ICGannon, M.Steiner Background Instrumental 0.08
365
#424 Bugs Bunny and The Three Bears Carl Stalling
2 Muffin Man, The E.Fitzgerald Background Instrumental 0.12
3 In an Bghteenth Century Drawing Room R.Scott Background Instrumental 0.16
7 Mutiny In the Nursery J.Mercer Background Instrumental 0.40
10 Goodnight Ladles Unk. Visual Vocal 0.14
12 Vision of Salome 1 J.B.Lampe Background Instrumental 0.26
14 King For a Day T.Fiorito, S.Lewis, J.Young Visual Vocal 0.16
20 Autumn Nocturne ICGannon, J.Myrow Background Instrumental 0.10
#425 I Got Plenty o f M utton Carl Stalling

2 This is Worth Fighting For E.De Lange, S.H.Stept Background Instrumental 0.12
4 Huckleberry Dude J.Lawrence, R.Scott Background Instrumental 0.13
20 She Was an Acrobats Daughter B.Kaimar, H.Ruby Background Instrumental 0.05
22 Penguin, The R-Scott Background Instrumental 0.10
23 In an Eighteenth Century Drawing Room R-Scott Background Instrumental 0.47
26 How Sweet You Are F.Loesser, A.Schwartz Background Instrumental 0.31
#426 The W eakly R eporter Carl Stalling

4 California Here I Come B.G.DeSytva, AJolson, J.Meyer Background Instrumental 0.08
9 All God's Children Got Wings Unk. Background Instrumental 0.07
12 A Cup of Coffee, A Sandwich and You A.Dubln, J.Meyer, B.Rose Background Instrumental 0.12
15 Oh You Beautiful Doll N.D-Ayer, A-S.Brown Background Instrumental 0.19
19 Ice Cold Katy F.Loesser, A.Schwartz Background Instrumental 0.10
21 Captains of the Clouds H-Arlen, J.Mercer Background Instrumental 0.17
23 Prelude No. 4 ■ • F.ChopIn Background Instrumental 0.21
28 Hail Columbia Fayles, Hopklnson Background Instrumental 0.15
#427 Tick Tock Tuckered Carl Stalling

6 How Could You A.Dubin, H.Warren Background Instrumental 0.45
7 By the Ught of the Silvery Moon G.Edwards, EMadden Background Instrumental 0.49
366
#428 Bugs Bunny Nips the Nips Carl Stalling
2 Someone’s Rocking My Dreamboat l_Rene, O.Rene, E5cott Visual Vocal 0.51
8 Kimygayo Unk. Background Instrumental 0.14
15 Magic Flute, The W.A.Mozart Background Instrumental 0.52
17 Die Walkure R-Wagner Background Instrumental 0.13
18 Columbia the Gem of the Ocean T_A.Beckett, D.T.Shaw Background Instrumental 0.07
20 Love Song of Kalua M.KJerome Background Instrumental 0.09
#429 Swooner Crooner Carl Stalling

2 As Time Goes By H.Hupfeld Background Instrumental 0.12
5 Power House RScott Background Instrumental 0.26
12 It Cant Be Wrong ICGannon, M.Steiner Visual Vocal 1.04
19 September in the Rain A.Dubln, H.Warren Visual Vocal 0.15
20 Lullaby of Broadway A.Dubin, H.Warren Visual Vocal 0.13
21 Blues in the Night H.Arien, J.Mercer Visual Vocal 0.10
23 When My Dreamboat Comes Home D.Franklin, CFriend Visual Vocal 0.38
24 m Pray For You AJUtman, ICGannon Visual Vocal 0.05
25 Trade Winds D.Franklin, CFriend Visual vocal 0.16
26 Always in My Heart ICGannon, E.Lecuona Visual Vocal 0.07
#430 Russian Rhapsody Carl Stalling

4 Adi du Lieber Augustin Unk. Background Instrumental 1.25
6 Dark Eyes Unk. Visual Vocal 0.09
#431 Duck Soup to Nuts Carl Stalling

3 Plano Concerto in B Flat Minor P.Tschaikowksy Visual Vocal 0.15
5 Laugh Clown Laugh T.Fkxlto, A.Lewis, J.Young Visual Vocal 0.04
6 How Sweet You Are F.Loesser, A-Schwartz Background Instrumental 0.34
8 rm Rldln' For a Fall F.Loesser, A.Schwartz Background Instrumental 0.14
10 They're Other Too Young or Too Old F.Loesser, A.Schwartz Background Instrumental 0.09
13 rm Forever Blowing Bubbles J.W.Kellette, J.Kenbrovin Visual Vocal 0.07
17 Traumere! R-Schumann Background Instrumental 1.00
367
#432 Angel Puss Carl Stalling
2 Angel in Disguise ICGannon, P.Mann, S.Weiss Background Instrumental 0.13
3 Shortenin' Bread Link. Visual Vocal 0.20
#433 Slightly Daffy Carl Stalling

2 You Go To My Head J.F.Coots, H.Gillespfe Background Instrumental 0.12
7 As Time Goes By H.Hupfeld Visual Whistled 0.10
21 Ten Little Indians Unk. Visual Vocal 0.17
#434 Hare Ribbin' Cad Stalling

7 It Cant Be Wrong ICGannon, M.Steiner Visual Vocal 0.25
17 Latin Quarter, The A.Dub(n, H.Warren Background Instrumental 0.30
23 You Hit My Heart With a Bang A.Goodhart, EG.Nelson, H.Pease Background Instrumental 0.13
#435 Brother Brat Cad Stalling

17 British Grenadiers Unk. Background Instrumental 0.12
#436 Hare Force Cad Stalling

2 Dont Sweetheart Me CFriend, CTobias Background Instrumental 0.12
10 As Time Goes By H.Hupfeld Visual Vocal 0.08
368
#437 From Hand to Mouse Cart Stalling
2 Dickory Dickory Dock Unk. Background Instrumental 0.13
3 I'll Pray For You AJUtman, ICGannon Background Instrumental 1.10
#438 Birdy and th e Beast Carl Stalling

2 Bye Bye Blackbird M.Dixon, R.Henderson Background Instrumental 0.14
11 Oh Where Has My Little Dog Gone Unk. Background Instrumental 03 7
19 Tm Happy About the Whole Thing J.Mercer, H.Warren Background Instrumental 0.06
#439 Buckaroo Bugs Carl Stalling

2 My LitUe Buckaroo M.KJerome, J3choll Background Instrumental 0.12
6 Arkansas Traveler Unk. Visual Vocal 0.44
14 Kingdom COming (Jubllo) H.CWork Background Instrumental 0.06
18 I Cant Get Along Uttfe Doggie M.KJerome, J.Scholl Background Instrumental 0.05
#440 Goldilocks and th e Jivin ' Bears Carl Stalling

2 Long Long Ago T.H.Bay1ey Background Instrumental 0.12
7 Twilight in Turkey R.Scott Visual Instrumental 0.51
8 Puddln' Head Jones A.Bryan, L-Handman Background Instrumental 0.16
20 Little Brown Jug Unk. Visual Instrumental 0.59
369
#441 Plane Daffy Carl Stalling
2 Don't Sweetheart Me CFriend, CTobias Background Instrumental 0.12
3 Das Rheingold R-Wagner Background Instrumental 0.45
4 It Cant Be Wrong ICGannon, M.Stelner Background Instrumental 0.16
6 Puddln' Head Jones A.Bryan, LHandman Background Instrumental 0.08
20 Captains of the Clouds H-Arien, J.Mercer Background Instrumental 0.15
#442 Lost and Foundling Carl Stalling

2 Time Waits For No One CFriend, CTobias Background Instrumental 0.11
4 Rock-a-Bye Baby Unk. Background Instrumental 0.1S
11 Pathehque P.Tschaikowksy Background Instrumental 1.43
#443 Booby Hatched Carl Stalling

2 She Broke My Heart in Three Places M.Drake, A.Hoffman Background Instrumental 0.12
4 Am I Blue H.Akst, G.darke Background Instrumental 0.21
9 I t Looks Uke a Big Night Tonight E.Van Alstyne, H.Williams Background Instrumental 0.10
15 Fingal'sCave F.Mendelssohn Background Instrumental 0.54
#444 The Old Gray Hare Carl Stalling

4 Les Preludes F.Uszt Background Instrumental 038
7 Put On Your Old Grey Bonnet S.Murphy, P.Wenrlch Background Instrumental 0.13
9 Dear Lithe Boy of Mine E-Ball, J.K.Brennan Background Instrumental 0.36
13 Ihsktt Itaskit Unk. Background Instrumental 0.08
27 Memories G.Kahn, E.Van Alstyne Visual Vocal 0.12
28 Traumerel R.Schumann Visual Vocal 0.43
370
#445 The Stupid Cupid
3 Voices of Spring J.Strauss Visual Whistled 0.37
5 Let the Rest of the World Go By ER.Ball, J.K.Brennan Background Instrumental 0.10
10 Someday I'll Meet You Again M.Steiner, N.Washington Background Instrumental 0.14
20 Pathetfque P.Tschaikowsky Background Instrumental 038
21 Humoreske P.Tschaikowsky Background Instrumental 0.10
#446 Stage Door Cartoon Cart Stalling

3 Latin Quarter, The A-Dubin, H.Warren Background Instrumental 0.20
7 Ruy Bias Overture F.Mendelssohn Visual Instrumental 0.08
8 Plano Concerto in B Rat Minor P.Tschaikowsky Visual Instrumental 0.22
14 Eugene Onegin P.Tschaikowksy Background Instrumental 0.14
#447 Odor-Able K itty Carl Stalling

6 Angel In Disguise ICGannon, P.Mann, S.Weiss Visual Vocal 0.06
8 War Dance for Wooden Indians R-Scott Background Instrumental 0.25
22 Tm Happy About the Whole Thing J.Mercer, H.Warren Background Instrumental 0.21
#448 H err Meets Hare Carl Stalling

3 Marine’s Hymn, The Unk. Background Instrumental 0.15
6 Rying Dutchman, The R.Wagner Background Instrumental 0.08
7 Tannhauser R.Wagner Background Instrumental 0.09
12 Die Meisterslnger R.Wagner Background Instrumental 0.27
15 You and You J.Strauss Background Instrumental 0.18
16 Vienna Life J.Strauss Background Instrumental 0.15
371
#449 D raftee D affy Carl Stalling
2 You’re In the Army Now Unk. Background Instrumental 0.12
3 Marine's Hymn, The Unk. Background Instrumental 0.10
4 Red, White, and Blue, The Unk. Visual Vocal 0.10
11 It Had To Be You IJones, G.Kahn Visual Vocal 0.39
29 Morning, Noon, and Night in Vienna F.von Suppe Background Instrumental 0.23
#450 The Unruly Hare Carl Stalling

3 I've Been Working on the Railroad Unk. Visual Vocal 0.22
10 Every Lithe Movement O.Harbach, ICHoschna Background Instrumental 0.13
#451 Trap Happy Porky Carl Stalling

2 How Many Hearts Have You Broken A.Kaufman, M.Symes Background Instrumental 0.13
3 Velvet Moon E.De Lange, J.Myrow Background Instrumental 0.17
14 For He's a Jolly Good Fellow Unk. Visual Vocal 0.10
17 Old Oaken Bucket, The Unk. Visual Vocal 0.19
19 When Irish Eyes are Smiling E.Ball, G.GrafT Jr., COIcott Visual Vocal 0.54
#452 Life W ith Feathers Carl Stalling

3 Merry Wives of Windsor Unk. Background Instrumental 0.07
S How Sweet You Are F.Loesser, A.Schwartz Background Instrumental 0.11
6 None But the Lonely Heart P.Tschaikowsky Background Instrumental 0.19
7 They're Either Too Young or Too Old F.Loesser, A.Schwartz Visual Vocal 0.11
9 Les Preludes F.Uszt Background Instrumental 0.16
10 When the Swallows Come Back to LRene Visual Vocal 0.05
16 Pathetlque P.Tschaikowsky Background Instrumental 0.27
18 Twilight In Turkey R.Scott Background Instrumental 0:09
372
#453 Behind th e M eat-Ball Carl Stalling
3 Too-Ra-Loo-Ra-Loo-Ral, That's an Irish J.R.Shannon Background Instrumental 0.43
7 Tm Ridin’ For a Fall F.Loesser, A.Schwartz Background Instrumental 0.22
12 Boy Scout In Switzerland R-Scott Background Instrumental 0.10
#454 Hare Trigger Carl Stalling

3 Little Old Sod Shanty, The Unk. Background Instrumental 0.13
5 GO Get the Ax Unk. Visual Vocal 0.20
12 Jesse James Unk. Background Instrumental 0.24
16 De Camptown Races S.Foster Background Instrumental 0.08
19 Oh Bury Me Not on the Lone Prairie Unk. Visual Vocal 0.16
21 Sweet Georgia Brown B.Bemie, ICCasey, M.Pinkard Visual Vocal 0.03
#455 A in't T h a t Ducky Carl Stalling

2 I Go For You ICGannon, M.KJerome Background Instrumental 0.15
3 Every Little Movement O.Harbach, ICHoschna Visual Vocal 0.15
S Too-Ra-Loo-Ra-Loo-Ral, That's an Irish J.R.Shannon Background Instrumental 0.20
12 Huckleberry Duck J.Lawrence, R.Scott Background Instrumental 0.25
15 While Strolling Through the Park One Day E.Haley Visual Whistled 0.06
#456 Gruesome Twosome Carl Stalling

2 She Broke My Heart in Three Places M.Drake, A-Hoffman, J.LMngston Background Instrumental 0.15
6 I Go For You M.KJerome, ICGannon Background Instrumental 0.27
#457 Tale o f Tw o Mice Carl Stalling

4 So Dumb But So Beautiful ICGannon, M.KJerome Background Instrumental 0.24
5 A Little on the Lonely Side J.Cavanaugh, D.Robertson, F.Weldon Background Instrumental 0.20
6 Boy Scout In Switzerland R-Scott Background Instrumental 0.10
373
#458 Wagon Heels Cari Stalling
12 London Bridge Is Falling Down Unk. Visual Vocal 0.08
27 Indian Wedding Feast G.Trinkaus Background Instrumental 0.45
#459 Hare Conditioned Carl Stalling

5 Sweet Dreams Sweetheart M.KJerome, T.Koehler Background Instrumental 030
7 You Oughta Be in Pictures EHeyman, D.Suesse Background Instrumental 031
10 Itisklt Itasklt Unk. Background Instrumental 0.04
11 Hootchy Kbotchy Dance Unk. Background Instrumental 0.03
13 Aint We Got Fun R.Egan, G.Kahn, R.whiting Background Instrumental 0.05
16 Bartered Bride, The B.Smetana Background Instrumental 037
17 So Dumb But So Beautiful ICGannon, M.KJerome Background Instrumental 0.39
#460 Fresh Airedale Carl Stalling

2 They Gotta Quit Kickin' My Dog Around W.M.Oungst, CPerkins Background Instrumental 0.10
3 Old Pal G.Kahn, E.Van Alstyne Background Instrumental 0.16
9 A Little on the Lonely Side J.Cavanaugh, D.Robertson, J.Weldon Background Instrumental 0.08
#461 Bashful Buzzard Carl Stalling

2 Honey Bunny Boo L.David, ICGannon Background Instrumental 0.49
3 Arkansas Traveler Unk. Visual Vocal 0.47
20 It Looks Like a Big Night Tonight E.Van Alstyne, H.Willlams Background Instrumental 0.08
374
#462 Peck Up Your Troubles Carl Stalling
2 I Go For You ICGannon, M.KJerome Background Instrumental 0.16
10 Sweet Dreams Sweetheart M.KJerome, T.Koehler Background Instrumental 0.10
14 A Little on the Lonefy Side J.Cavanaugh, D.Robertson, F.Weldon Visual Whistled 0.18
15 Agitato No. 4 J.S.Zamecnik Background Instrumental 0.15
#463 Hare Tonic Carl Stalling

2 Corns For My Country J.Barry, D.Charies, L-Worth Background Instrumental 0.16
8 SO Dumb But So Beautiful ICGannon, M.KJerome Background Instrumental 0.12
#464 Nasty Quacks Carl Stalling

3 What's the Matter With Father E.Van Alstyne, H.Williams Background Instrumental 0.04
4 Idskit Itaskit Unk. Background Instrumental 0.04
5 Pretty Baby TJackson, G.Kahn, EVan Alstyne Background Instrumental 0.12
16 Auld Lang Syne Bums Background Instrumental 0.07
18 Who Calls D.LHIII, J.Marks Background Instrumental 0.16
19 Girt Friend of the Whirling Dervish, The A.Dubln, J.Mercer, H.Warren Background Instrumental 0.13
#465 Book Revue Carl Stalling

2 She Broke My Heart in Three Places M.Drake, A.Hoffman, J.Uvfngston Background Instrumental 0.13
4 Gruen Watch Time Signal Jingle Unk. Visual Vocal 0.06
5 Grandfather's Clock H.CWork Visual Instrumental 0.18
6 It Had To Be You G.Kahn, IJones Visual Instrumental 0.31
8 Dark Eyes Unk. Background Instrumental 0.38
10 Carolina in the Morning W.Donaldson, G.Kahn Visual Vocal 0.44
13 In the Shade of the Old Apple Tree Evan Alstyne, H.Williams Background Instrumental 0.09
15 Sextette from Luda G.Donizetti Visual Vocal 0.16
375
#466 Baseball Bugs Carl Stalling
X Merry Go Round Broke Down CFriend, D.Franklln Background Instrumental 0.15
3 When You and I Were Young Maggie Unk. Background Instrumental 0.07
6 Ahi Viene La Gonga R.Vakiespi Background Instrumental 0.28
9 Oh You Beautiful Doll N.D.Ayer, A.S.Brcwn Background Instrumental 0.09
#467 Holiday for Shoestrings Carl Stalling

1 Merrily We Roll Along CTobias, M.Mencher, £ Cantor Background Instrumental 0.14
3 Waltz Opus 34, No. 2 F.ChopIn Background Instrumental 0.18
4 Danse de la Fee-Dragee P.Tschaikowksy Background Instrumental 0.15
5 Grand Galop Cromatlque F.Liszt Background Instrumental 1.03
7 Humoresque, Opus 10, No. 4 P.Tschaikowsky Background Instrumental 0.24
8 Danse Chinolse P.Tschaikowsky Background Instrumental 0.40
9 Minute Waltz F.ChopIn Background Instrumental 0.26
11 Grand Valse Brillante F.ChopIn Background Instrumental 0.25
12 Danse Arabe P.Tschaikowsky Background Instrumental 0.22
15 Trepak, Danse Russe P.Tschaikowsky Background Instrumental 0.38
#468 Quentin Quail Carl Stalling

2 Woods are Full of Cuckoos, The J.F.COots, GNewman Background Instrumental 0.14
4 Howd Ya Like To Be a Little Birdie H.Hupfetd Background Instrumental 0.58
8 I'm Ridin' For a Fall F.Loesser, A-Schwartz Background Instrumental 0.14
12 Pretty Baby TJackson, G.Kahn, Evan Alstyne Background Instrumental 0.31
#469 Baby Bottleneck Carl Stalling

2 Buzz Buzz Buzz J.Lunceford, A.SIms, A.Trace Background Instrumental 0.11
5 What’s the Matter With Father Evan Alstyne, H.Williams Background Instrumental 0.06
6 You Must Have Been a Beautiful Baby J.Mercer, H.Warren Background Instrumental 032
12 Keep Your Powder Dry S.Cahn, J.Styne Background Instrumental 0.22
#470 Hare Remover Carl Stalling

2 Gotta Be This or That S.Skyiar Background Instrumental 0.11
13 Wish That I Wish Tonight; The M.KJerome, J.Scholl Background Instrumental 0.28
376
#471 D affy Doodles Carl Stalling
2 All the Time S.Skyiar Background Instrumental 0.14
5 Fm Just Wild About Harry E Blake, N.Sissle Visual Vocal 0.04
9 Silent Night F.Gtuber Background Instrumental 0.04
11 Forty Second Street A.Dubin, H.Warren Background Instrumental 03 7
13 You Oughta Be in Pictures E-Heyman, D.Suesse Background Instrumental 0.10
14 Shortenin'Bread Unk. Background Instrumental 0.04
18 She Was an Acrobat's Daughter B.Kalmar, H.Ruby Visual Vocal 0.11
24 Time Waits For No One C Friend, CTobias Background Instrumental 0.35
#472 Hollywood Canine Canteen Carl Stalling

2 COms For My Country J.Barry, D.Charies, L-Worth Background Instrumental 0.14
5 How DYe Do Unk. Background Instrumental 0.16
6 Lady in Red, The M.Dbton, A-Wrubel Background Instrumental 0.11
7 Buzz Buzz Buzz J.Lunceford, A-Sms, A-Trace Background Instrumental 0.09
13 Hungarian Dance No. 5 J.Brahms Visual Instrumental 0.40
20 When My Dreamboat Comes Home D.Franklln, CFriend Visual Vocal 0.19
21 Trade Winds CFrfend, CTobias Visual Vocal 0.35
23 Avalon B.G.Desyiva, AJolson, V.Rose Background Instrumental 0.42
25 Swing for Sale S.Cahn, S.Chapiin Visual Instrumental 0.41
#473 Hush My Mouse Carl Stalling

2 Tippin’ In B.Smith, M.Symes Background Instrumental 0.14
3 When Irish Eyes are Smiling EBall, G.Graff Jr., COIcott Background Instrumental 0.53
5 Slngln* Down the Road R.Scott, CTobias Background Instrumental 0.13
#474 Hair Raising Hare Carl Stalling

3 Sweet Dreams Sweetheart M.KJerome, T. Koehler Background Vocal
5 Oh You Beautiful Doll N.D-Ayer, A.S.8rown Background Instrumental
11 California Here I Come B.G.Desytva, AJolson, J.Meyer Background Instrumental
13 Shuffle Off to Buffalo A.Dubin, H.Watren Background Instrumental
15 Wish That I Wish Tonight, The M.KJerome, J.Scholl Background Instrumental
17 Tannhauser R.Wagner Background Instrumental
18 Light Cavalry Overture F.von Suppe Background Instrumental
377
#475 K itty Komered Carl Stalling
1 Merry Go Round Broke Down CFriend, D.Frankiin Background Instrumental
2 But I Did AJacobs, J.Meyer Background Instrumental
3 Nocturne Opus 9, No. 2 F.ChopIn Background Instrumental
4 Goodnight Ladles Unk. Background Instrumental
6 Three Little Kittens Unk. Background Instrumental
12 Home Sweet Home H.R.Bishop, J.H.Payne Visual Vocal
14 Three Blind Mice Unk. Background Instrumental
18 Blues in the Night H.Aden, J.Mercer Background Instrumental
19 Frat J.F.Barth Background Instrumental
22 Wish That I Wish Tonight, The M.KJerome, J.Scholl Background Instrumental
24 Yankee Doodle Unk. Background Instrumental
#476 Hollywood Daffy Carl Stalling

2 California Here I Come B.G.Desyfva, AJolson, J.Meyer Background Instrumental 0.13
8 Minute Waltz F.ChopIn Background Instrumental 0.10
11 When My Dreamboat Comes Home D.Franklln, CFriend Visual Vocal 0.05
#477 Acrobatty Bunny Cart Stalling

3 Sng You Son of a Gun J.Mercer, R.Whiting Background Instrumental 1.04
9 Itlskit Itaskit Unk. Visual Vocal 0.04
11 Dietary Dickory Dock Unk. Background Instrumental 0.06
13 Laugh down Laugh T.Fiorito, S.Lewis, J.Young Visual Vocal 0.37
20 Love Song of Kaiua M.KJerome Visual Vocal 0.15
#478 The Eager Beaver

10 Hungarian Rhapsody No. 2 F.Liszt Background Instrumental 0.08
12 William Tell Overture G.Rosslnf Background Instrumental 0.28
378
#479 The G reat Piggy Bank Robbery Cart Stalling
2 Mysterious Mose W.Doyle, T.Weems Background Instrumental 0.18
9 I GO For You M.KJerome, ICGannon Background Instrumental 0.50
#480 Bacall to Arm s Carl Stalling

4 Tlppin' In B.Smith, M.Symes Background Instrumental 0.10
6 Fantasie Impromptu No. 4 F.ChopIn Background Instrumental 0.16
11 Baltimore Oriole H.Carmlchael, P.F.Webster Background Instrumental 0.16
18 It Looks Like a Big Night Tonight Evan Alstyne, H.Williams Background Instrumental 0.04
#481 O f Thee I Sting

5 Boy Scout in Switzerland R.Scott Background Instrumental 0.10
6 Song of the Marines A.Dub!n, H.Warren Visual Instrumental 0.12
7 Marine's Hymn, The Unk. Visual Vocal 0.10
8 March Dfgnftalre EJ.Walt Background Instrumental 0.14
10 Athalle Overture F.Mendelssohn Background Instrumental 0.55
#482 W alky Talky Hawley Carl Stalling

2 Buzz Buzz Buzz J.Lunceford, A.Sims, A.Trace Background Instrumental 0.19
4 Blues In the Night HJLrlen, J.Mercer Background Instrumental 0.40
6 Huckleberry Duck J.Lawrence, R-Scott Background Instrumental 0.08
379
#483 R acketeer Rabbit Carf Stalling
9 In My Merry CXdsmoblle V.Btyan, G.Edwards Background Instrumental 0.12
11 Allegro VIgoroso No. 8 J.S.Zamecnik Background Instrumental 0.26
#484 Fair and W orm er Carl Stalling

2 Some Sunday Morning R-Heindorf, M.KJerome, T. Koehler Background Instrumental 0.15
3 In the Shade o f the Old Apple Tree E.Van Alstyne, H.Williams Background Instrumental 0.12
#485 The Big Snooze Car Stalling

2 Some Sunday Morning R.Heindorf, M.KJerome, T.Koehler Background Instrumental 0.15
3 William TeO Overture G.Rossini Background Instrumental 0.36
7 Flower Song G.Lange Background Instrumental 0.32
9 Beautiful Dreamer S.Foster Visual Vocal 0.35
10 Someone's Rocking My Dreamboat L-Rene, O.Rene, E.Scott Visual Vocal 0.25
11 Dinner Music for a Pack of Hungry Cannibals R-Scott Background Instrumental 0.10
12 Campbells are Coming, The Unk. Background Vocal 0.18
16 September in the Rain A-Dubin, H.Warren Visual Vocal 0.06
#486 The Mousemerized Cat Carl Stalling

8 Trade Winds CFriend, CTobias Visual Vocal 0.07
9 Lullaby of Broadway A.Dubin, H.Warren Visual Vocal 0.05
11 Chicken Red Unk. Background Instrumental 0.22
#487 Mouse Menace

3 Waltz Opus 64, No. 2 F.ChopIn Background Instrumental 0.25
5 Singln' Down the Road R-Scott, CTobias Background Instrumental 0.10
13 Home Sweet Home H.R-B&iop, J.H.Payne Background Instrumental 0.10
380
#488 Rhapsody Rabbit Carl Stalling
3 Hungarian Rhapsody No. 2 F.Uszr Visual Instrumental 1.20
7 Chopsticks Unk. Visual Instrumental 0.07
#489 Roughly Squeaking Carl Stalling

2 Hey Doc E Sampson, K. Gannon Background Instrumental 0.14
3 While Strolling Through the Park One Day E Haley Visual Vocal 0.07
S Someone's Rocking My Dreamboat 0 . Rene, E Scott, L. Rene Background Instrumental 0.18
#490 One M eat Brawl

2 Chltterlinswltch B.Belle, A.Leonard, LMIIIInder Background Instrumental 0.17
3 Velvet Moon EDeLange, J.Myrow Background Instrumental 0.33
7 Furfoso No. 2 J.S.Zamecnik Background Instrumental 0.06
14 Am I Blue H-Akst, G.darke Background Instrumental 0.06
#491 Goofy Gophers

2 Let's Sing a Song About Susie M.GOrdon, W.Grosz Background Instrumental 0.14
6 Wish That I Wish Tonight, The M.KJerome, J.Scholl Background Instrumental 0.34
8 Mysterious Mose W.Doyle, T.Weems Background Instrumental 0.37
14 Minuet In G Lvan Beethoven Background Instrumental 0.30
#492 The Gay Anties Carl Stalling

3 Movie Rag J.S.Zamecnik Background Instrumental 0.33
4 Cuddle Up a Uttle Closer, Lovey Mine O.Harbach, ICHoschna Background Instrumental 0.14
10 Alnt We Got Fun R.Egan, G.Kahn, R.Whiting Background Instrumental 0.13
13 Time Waits For No One CFriend, CTobias Visual Vocal 1.00
381
#493 Birth o f a Notion
3 When My Dreamboat Comes Home D.Franklin, CFriend Visual Vocal 0.11
4 Bye Bye Blackbird M.Dbccr, R.Henderson Background Instrumental 0.21
6 Rower Song G.Lange Background Instrumental 0.09
#494 Tw eetie Pie

#495 Scent-Im ental Over You

3 Some Sunday Morning R.Helndorf, M.KJerome, T.Koehler Background Instrumental 0.33
9 La Marseillaise DeUsle Background Instrumental 0.10
10 Hungarian Dance No. l J.Brahms Background Instrumental 0.18
17 Baltimore Oriole H.Carmlchaei, P.F.Webster Background Instrumental 0.21
#496 Rabbit Transit Carl Stalling

3 Keep Your Powder Dry S.Cahn, J.Styne Background Instrumental 0.14
11 Make it Snappy SJ.Royd Background Instrumental 0.31
#497 Hobo Bobo

2 Star of India J.W. Bratton Background Instrumental 0.41
8 Hngal's Cave F.Mendelssohn Background Instrumental 0.30
11 Rocked In the Cradle of the Deep Unk. Background Instrumental 0.04
13 My Country TTs of Thee Unk. Background Instrumental 0.12
382
#498 A Hare Grows in Manhatten Carl Stalling
3 Daughter of Rosie O’Grady, The M.CBrfce, W.Donaldson Background Instrumental 0.15
4 Hoorayfor Hollywood J.Mercer, R.Whiting Background Instrumental 0.33
6 Hallelujah I'm a Bum Unk. Background Instrumental 0.05
9 Bowery, The P.Gaunt, CHoyt Background Instrumental 0.12
15 Itlskit Itaskit Unk. Visual Vocal 0.12
18 Ahi Vfene La Conga R.Valdespi Background Instrumental 0.23
#499 Along Cam e D affy

2 I’d Be Lost Without You S.Skylar Background Instrumental 0.14
8 Freddy the Freshman (The Freshest Kid In D.Oppenhelm, CFriend Background Instrumental 0.12
14 Black Coffee A.Goodhart, A.Hcffman, M.SIgler Background Instrumental 0.20
16 AintW eGotFun R.Egan, G.Kahn, R.Whltlng Background Instrumental 0.18
#500 In k i a t th e Circus
4 Mammy's Little Coal Black Rose R.Egan, R.Whiting Background Instrumental 0.12
10 Flngal’s Cave F.Mendelssohn Background Instrumental 0.25
#501 Easter Yeggs Carl Stalling

3 Some Sunday Morning R.Heindorf, M.KJerome, T.KOehler Background Instrumental 1.07
12 Sweet Dreams Sweetheart M.KJerome, T.KOehler Background Instrumental 0.18
13 Southern Roses J.Strauss Background Instrumental 0.32
#502 Crowing Pains Carl Stalling

3 Time Walts For No One CFriend, CTobias Background Instrumental 0.16
10 Gotta Be This or That S.Skytar Background Instrumental 0.25
14 Itisklt Itaskit Unk. Background Instrumental 0.12
383
#503 The Upstanding S itte r Carf Stalling
2 Pretty Baby TJackson, G.Kahn, EVan Alstyne Background Instrumental 0.16
IS Umbrella Man, The J.Cavanaugh, V.Rose, L.Stock Background Instrumental 0.25
17 William Tell Overture G.Rossfni Background Instrumental 0.17
#504 A Pest in th e House Carl Stalling

4 Gotta Be This or That S.Skytar Background Instrumental 0.16
6 It Looks Like a Big Night Tonight EVan Alstyne, H.WIIIiams Background Instrumental 0.24
11 Too-Ra-Loo-Ra-Loo-Ral, Thats an Irish J.R.Shannon Background Instrumental 0.23
14 How Dry I Am Unk. Visual Vocal 0.20
17 Time Walts For No One CFriend, CTobias Visual Vocal 0.18
19 Laugh down Laugh T.FIortto, S.Lewis, J.Young Background Instrumental 1.02
21 Make it Snappy SJ.Ftoyd Background Instrumental 0.22
#505 Foxy Duckling

2 Sing a Song of Sixpence Unk. Background Instrumental 0.12
7 I'd Be Lost Without You S.Skyiar Background Instrumental 0.30
11 William Tell Overture G.Rossfnl Background Instrumental 0.28
IS Swanee River (The Old Folks at Home) S.Foster Background Instrumental 0.11
19 Symphony No. 8 F.Schubert Background Instrumental 0.02
#506 Little Orphan Airedale Carl Stalling

6 Singln' Down the Road R.Scott, CTobias Background Instrumental 0.35
8 For You W.Heymann, T.Kbehler Background Instrumental 0.16
10 rd Be Lost Without You S.Skyiar Background Instrumental 0.19
12 Hungarian Dance No. 7 J.8rahms Background Instrumental 0.10
16 Oh But I Do L Robin, A.Schwartz Background Instrumental 0.22
20 Home Sweet Home H.R.Blshop, J.H.Payne Background Instrumental 0.06
384
#507 Doggone Cats
6 You Never Know Where You're Goln’ Till S.Cahn, J.Styne Background Instrumental 0.11
8 Eres Mujer J.Foms, J.Melis Background Instrumental 0.21
9 Freddy the Freshman (The Freshest Kid In CFriend, D.Oppenhelm Background Instrumental 0.12
#508 Slick Hare Carl Stalling

3 But I Did AJacobs, J.Meyers Background Instrumental 0.15
4 Oh But I Do L Robin, A.Schwartz Background Instrumental 0.14
S Nagasaki A.Dubin, H.Warren Background Instrumental 0.08
6 A Gal In Calico L Robin, A.Schwartz Background Instrumental 0.31
14 Sambalana N.Amaral, H.Herrera Visual Vocal 139
#509 Mexican Joyride Cart Stalling

2 Gaucho Serenade J.Cavanaugh, J.Redmond, N.Slmon Visual Vocal 0.42
3 Ahi VIene La Cbnga R.Veldesp< Background Instrumental 0.06
5 Jarabe Tapatio Unk. Background Instrumental 0.15
9 In Caliente M.DIxon, A.Wrubei Background Instrumental 0.48
11 Muchacha A.Dubln, H.Warren Background Instrumental 0.20
19 Jose O'Neill- The Cuban Heel M.KJerome, J.Scholl Background Instrumental 0.28
#510 Catch as Cats Can Carl Stalling

2 A Gal In Calico L Robin, A.Schwartz Background Instrumental 0.15
S Too-Ra-Loo-Ra-Loo-Ral, That's an Irish J.R.Shannon Background Instrumental 0.31
6 It Cant Be Wrong ICGannon, MSteiner Visual Vocal 0.20
11 Tm Forever Blowing Bubbles J.W.KeHette, J.KenbrovIn Background Instrumental 0.10
13 A Little on the Lonely Side J.Cavanaugh, D.Robertson, F.Weklon Visual Vocal 0.45
385
#511 Gorilla My Dream s Carl Stalling
1 Merry Go Round Broke Down CFriend, D.Franklin [Background Instrumental 0.14
3 Trade Winds CFriend, CTobias 'Visual Vocal 0.27
5 Danube Waves Ivanovid Background Instrumental 0.25
7 Someone's Rocking My Dreamboat LRene, O.Rene, EScott "Visual Vocal 034
11 Hey Doc K.Gannon, CSampson Background Instrumental 0.43
14 Ahi VIene La Conga R-Valdespl •Visual Hummed 0.19
15 Goombay Drum S.Adams, S.Knowrun. CLofthouse Background Instrumental 0.20
17 Dinner Music for a Pack of Hungry Cannibals R.Scot£ Background Instrumental 0.26
#512 A Feather in His Hare

3 Who Calls D.L.HIII, J.Marks Background Instrumental 0.15
5 Indian Dawn CO.Roos, J.S.Zamecnlk Background Vocal 0.21
7 Indian War Dance J.S.Zamecnik Background Instrumental 03 6
14 Around the Mulberry Bush Unk. •Visual Vocal 0.06
#513 W hat Makes D affy Duck Carl Stalling

5 King For a Day T.Rortto, S.Lewts, J.Young Visual Vocal 0.30
10 You Oughta Be in Pictures EHeyman, D.Suesse Background Instrumental 036
#514 W hat's B rew in'B ruin' Carl Stalling

2 A Solid Citizen of the Solid South L.Robin, A.Schwartz Background Instrumental 0.15
4 Sweet Dreams Sweetheart M.KJerome, T.Koehler Background Instrumental 13 2
9 Columbia the Gem of the Ocean T.Beckett, D.T.Shaw Background Instrumental 0.05
386
#515 D affy Duck Slept Here Carl Stalling
5 Home Sweet Home H.R.Bishop, J.H-Payne Background Instrumental 0.19
7 Swanee River (The Old Polks at Home) S.Foster Background Instrumental 0.08
9 Too-Ra-Loo-Ra-Loo-Ral, That's an rrish J.RJjhannon Background Instrumental 0.18
10 I’m Just Wild About Harry E.BIake, N.Sssie Visual Vocal 0.09
11 For He’s a Jolly Good Fellow Unk. Visual Vocal 0.02
17 Blues In the Night HJVrien, J.Mercer Background Instrumental 1.14
20 April Showers B.G.DeSytva, (-Silvers Background Instrumental 0.17
23 (Ho-dle-ay) Start the Day Right A.Lewfs, M.Spltalny, CTobias Background Instrumental 0.07
24 Bugle Call Unk. Visual Vocal 0.03
26 California Here I Come B.G.Desytva, AJolson, J.Meyer Background Instrumental 0.22
#516 Back A lley Oproar Carl Stalling

6 Hungarian Rhapsody No. 2 F.Uszt Visual Vocal 0.19
7 Some Sunday Morning R.Heindorf, M.KJerome, T.Koehler Background Vocal 0.29
9 You Never Know Where You're Gdn' Till S.Cahn, J.Styne Visual Vocal 0.24
11 Carissima A.Penn Visual Vocal 0.43
21 Angel In Disguise KGannon, P.Mann, S.Weiss Visual Vocal 0.25
23 Sextette from Lucia G.Donizetti Visual Vocal 0.26
#517 I T aw A P utty T a t Carl Stalling

2 Wish That I Wish Tonight, The M.KJerome, J.Scholl Background Instrumental 0.47
4 Slngln’ In the Bathtub M.deary, H.Magfdson, N.Washington Background Instrumental 0.14
8 Ain't We Got Fun R.Egan, G.Kahn, R-Whiting Background Instrumental 0.10
#518 R abbit Punch Cad Stalling

6 Agitato J.S.Zamecnlk Background Instrumental 0.36
12 Voices o f Spring J.Strauss Background Instrumental 0.19
16 Confidentially A.Dubin, J.Mercer, H.Warren Background Instrumental 0.14
387
#519 Hop, Look and Listen
Released 4/17/1948______ Cue Sheet Date 6/13/1947
2 You Never Know Where You're Goln' Till S.Cahn, J.Styne Background Instrumental 0.15
3 Tannhauser R-Wagner Background Instrumental 0.12
4 Laugh down Laugh T.Rorito, S.Lewfs, J.Young Background Instrumental 0.06
8 All the Time S.Skylar Background Instrumental 0.19
#520 Nothing But The Tooth Carl Stalling

6 California Here I Come B.G.Desytva, AJolson, J.Meyer Visual Vocal 0.06
#521 Buccaneer Bunny Carl Stalling

3 Pirate Song Unk. Visual Vocal 0.15
7 Down Among the Dead Men Unk. Background Instrumental 0.08
IS Asleep in the Deep AJ.Lamb, H.W.Petrie Background Instrumental 0.08
17 When My Dreamboat Comes Home D.Franklln, CFriend Background Instrumental 0.20
#522 Bone Sweet Bone

2 All the Time S.SWyar Background Instrumental 0.15
24 Busybody CFoster, l_Moraine, H.Pruden Background Instrumental 0.18
388
#523 Bugs Bunny Rides Again Cari Stalling
3 Cheyenne E.van Alstyne, H.Williams Background Instrumental 0.14
4 Navajo Evan Alstyne, H.WIIIIams Background Instrumental 0.11
7 Inflammatus G.Rossinl Background Instrumental 0.27
8 Sonata Pathetfque Lvan Beethoven Background Instrumental 0.44
IS My Little Buckaroo M.KJerome, J.Scholl Background Instrumental 0.30
17 Oh You Beautiful Doll N.DJVyer, A.S.Brown Background Instrumental 0.05
19 Aloha Oe Queen Utuokalani Background Instrumental 0.08
#524 The Rattled Rooster Cari Stalling

7 Alphabet Song Unk. Background Instrumental 0.03
9 I'm Forever Blowing Bubbles J.W.Kellette, J.Kenbrovin Visual Vocal 0.05
#525 The Shell Shocked Egg Carl Stalling

2 Rip Van Winkle G.Handy, H.Leeds, B.Levlnson Background Instrumental 0.14
3 Arkansas Traveler Unk. Visual Hummed 0.37
11 I’ve Been Working on the Railroad Unk. Visual Vocal 0.06
15 Oh Where Has My little Dog Gone Unk. Visual Vocal 0.05
18 Billy Boy Unk. Visual Vocal 0.12
#526 Haredevil Hare Carl Stalling

3 Rough Riders March H.Riesenfeld Background Instrumental 0.12
5 Die Gotterdammerung R.Wagner Background Instrumental US
8 Bugle Call Unk. Visual Instrumental 0.06
13 Uttie Brown Jug Unk. Background Vocal 0.10
15 Tannhauser RWagner Background Instrumental 0.12
#527 You W ere Never Duckier Carl Stalling

3 Parade of the Animals F.Hager, J.Ring Background Instrumental 0.37
4 I Do Do Do Like You A-Wrubei Background Instrumental 0.13
7 Wish That I Wish Tonight; The M.KJerome, J.Schoil Background Instrumental 0.36
8 When the arcus Comes to Town CTobias, H.Toblas, H.Tobias Background Instrumental 0.42
10 T a in t No Good G.Wood, AJacobs Background Instrumental 0.57
389
#528 Dough Ray M e-O w Carl Stalling
U On the 5:15 H.Marshall, S.Murphy Background Instrumental 0.10
13 You You Dartin’ M.KJerome, J.Scholl Background Instrumental 0.42
#529 Hot Cross Bunny Cari Stalling

2 Muffin Man, The EFitzgerald Background Instrumental 0.17
5 Carolina in the Morning W.Donaldson, G.Kahn Visual Instrumental 0.38
13 We're Tenting Tonight Unk. Visual Vocal 0.06
15 Laugh Clown Laugh T.Rortto, S.Lewis, J.Young Background Instrumental 0.22
#530 The Pest T h at Cam e to Dinner Carl Stalling

8 Mammy's Little Coal Black Rose R.Egan, EA.Whiting Visual Vocal 0.12
10 A Solid Citizen of the Solid South L.Robin, A.Schwartz Background Instrumental 0.33
16 Singin’ in the Bathtub M.CJeary, H.Magldson, N.Washington Background Instrumental 0.28
18 By a Waterfall S.Fain, I.Kahal Visual Vocal 0.11
#531 Hare S plitter Carl Stalling

2 Don't Take Your Love From Me H.Nemo Background Instrumental 0.17
8 Cuddle Up a Little Closer, Lovey Mine O.Harbach, iCHoschna Background Instrumental 0.46
12 All in Favor Say "Aye" CFriend Background Instrumental 0.10
14 WhatchaSay? T.KOehler, B.Lane Background Instrumental 0.22
#532 Odor o f th e Day Carl Stalling

4 Teddy Bears’ Picnic J.W.Bratton Background Instrumental 0.16
390
#533 House Hunting Mice Carl Stalling
3 Some Sunday Morning R.Hefndorf, M.KJerome, T.Koehler Background Instrumental 0.27
5 Southern Roses J.Strauss Visual Instrumental 0.19
#534 The Foghorn Leghorn Carl Stalling

2 I Do Do Do Like You A.Wrubel Background Instrumental 0.18
7 Columbia the Gem of the Ocean T.Beckett, D.T.Shaw Background Instrumental 0.04
#535 D affy D iliy •

Cari Stalling
2 rm Looking Over a Four Leaf Clover M.Dixon, H.Woods Background Instrumental 1.11
4 We’re In the Money A.Dubfn, H.Warren Background Instrumental 0.18
7 Laugh Clown Laugh T.Rortto, S.Lewis, J.Young Background Instrumental 0.28
8 Slngin' in the Bathtub M.deary, H.Magfdson, N.Washlngton Visual Vocal 0.05
#536 A -L ad -In His Lamp Carl Stalling

2 Vision o f Salome J.B.Lampe Background Instrumental 0.19
3 Massa's In the Cold Cold Ground S.Foster Background Vocal 0.13
4 Puddln' Head Jones A.Bryan, LHandman Background Instrumental 0.27
6 In a Pagoda J.W.Bratton Background Instrumental 0.52
8 Spirit of the Nile G.Vargas Background Instrumental 0.07
15 Blue Beard and Fatima T.Bendbc Background Instrumental 0.18
20 Star of India J.W.Bratton Background Instrumental 0.46
#537 K it For Cat Carl Stalling

2 Busybody CFoster, LMoralne, H.Pruden Background Instrumental 0.16
6 You Don't Know How Much You can Suffer D.Franklin, CFriend Background Instrumental 0.19
18 Canadian Capers EBurtnett, G.Chandler, H.Cohen, B.White Background Instrumental 0.26
391
#538 R iff Raffy Daffy Cari Stalling
2 Don't Take Your Love From Me H.Nemo Background Instrumental 0.15
3 While Strolling Through the Park One Day E.Haley Visual Whistled 0.06
7 Home Sweet Home H.R.Bishop, J.H.Payne Visual Hummed 0.11
9 Every Little Movement O.Harbach, ICHoschna Background Instrumental 0.28
15 A Hunting We Wilt Go Unk. Background Instrumental 0.16
17 Baby Face H-Akst, B.Davis Background Instrumental 0.16
#539 The Stupor Salesman Cari Stalling

2 Whatcha Say? T.KOehler, B.Lane Background Instrumental 0.16
4 Athatie Overture F.Mendelssohn Background Instrumental 0.46
7 TTppin’ In B.Smith, M-Symes Background Instrumental 0.24
#540 A Horse Fly Fleas Carl Stalling

12 Sun Dance LFriedman Visual Instrumental 0.18
13 Indian War Dance J.S.Zamecnlk Background Instrumental 0.33
28 Toy Trumpet R-Scott Background Instrumental 0.16
31 Cheyenne Evan Alstyne, H.Williams Background Instrumental 0.04
#541 My Bunny Lies O ver the Sea Cari Stalling

2 My Bonnie Ues Over the Ocean Unk. Background Instrumental G.18
7 Scottish Dance Unk. Background Instrumental 0.05
9 Highland Fling Unk. Background Instrumental 0.02
12 Come Under My Pfaldle Unk. Background Instrumental 0.11
16 Wl A Hundred Pipers Unk. Background Instrumental 0.10
392
#542 Scaredy C at Carl Stalling
16 Waltz Opus 34, No. 2 F.Chopin Background Instrumental 0.12
20 Dinner Music For a Pack of Hungry R-Scott Background Instrumental 0.08
#543 A Hick, A Slick and A Chick Cari Stalling

2 Rural Rhythm J.Cavanaugh, D.Sanf0rd, F.Weldon Visual Vocal 0.35
S Arkansas Traveler Unk. Background Instrumental 0.17
9 Turkey In the Straw Unk. Visual Instrumental 0.04
12 Oh But I Do LRobin, A.Schwartz Background Instrumental 0.16
20 Why Don't You Fall In Love With Me A.Lewis, M.Wayne Background Instrumental 0.44
#544 Two Gophers From Texas Carl Stalling

2 My Texas Home M.KJerome, J.Scholl Background Instrumental 0.15
3 Ride of the Valkyries R.Wagner Background Instrumental 0.43
4 Merry Carousel, The K.Gannon, F.Weldon Background Instrumental 0.10
15 Ballade, Opus 3 F.Chopin Background Instrumental 0.20
17 Sweet Georgia Brown B.Bemle, K.Casey, M.PInkard Visual Instrumental 0.29
#545 W ise Quackers Carl Stalling

2 You Never Know Where You're Goin' Till S.Cahn, J.Styne Background Instrumental 0.15
3 Captains of the Clouds H.Arfen, J.Mercer Background Instrumental 0.25
8 Slngln’ in the Bathtub M.aeary, H.Magidson, N.Washington Visual Vocal 0.08
10 Busybody CFoster, LMoraine, H.Pruden Background Instrumental 0.10
12 Barber of Seville G.Rossinl Background Instrumental 0.13
14 Seventh Symphony Lvan Beethoven Background Instrumental 0.11
18 Battle Hymn of the Republic, The Unk. Background Instrumental 0.10
19 Battle G y of Freedom G.F.Root Visual Instrumental 0.05
#546 Hare Do Carl Stalling

2 Don't Sweetheart Me CTobias, CFriend Background Instrumental 0.19
10 Tancredi Overture G.Rossinl Background Instrumental 0.06
393
#547 Holiday For Drum sticks Carl Stalling
2 All the Time SJSkylar Background Instrumental 0.16
7 Tm Looking Over a Four Leaf Clover M.Dixon, H.Woods Background Instrumental 0.10
13 A Cup of Coffee, A Sandwich and You A-Dubin, J.Meyer, B.Rose Background Instrumental 0.18
15 A Rainy Night in Rio L Robin, ASchwartz Background Instrumental 0.15
16 Aloha Oe Queen liluokalani Background Instrumental 0.13
#548 Awful Orphan Carl Stalling

3 Forty Second Street ADubin, H.Warren Background Instrumental 0.06
5 Listen to the Mocking Bird A.Hawthorne Background Instrumental 0.10
11 Danube Waves Ivanovid Background Instrumental 0.16
19 Puddin' Head Jones A Bryan, L Handman Background Instrumental 0.06
22 Les Preludes F.Liszt Background Instrumental 0.13
23 Let the Rest of the World GO By E.Ball, J.K.Brennan Background Instrumental 0.11
#549 Porky Chops Carl Stalling

2 Piggy Wiggy Woo A.Baer, P.Cunningham, I.Schuster Background Instrumental 0.18
4 Under a Strawberry Moon A Lewis, M.Wayne Background Instrumental 0.11
#550 Mississippi Hare Carl Stalling

2 Are You From Dixie G.LCobb, J.Yellen Background Instrumental 0.18
3 Dixie D.Emmett Visual Vocal 0.26
5 A Solid Citizen of the Solid South 1_Robin, A Schwartz Background Instrumental 0.26
7 Ring de Banjo S.Foster Background Instrumental 0.15
21 Jeanie With the Light Brown Hair S.Foster Background Instrumental 0.12
23 Minuet LBoccherlnl Background Instrumental 0.20
394
#551 Paying the Piper Carl Stalling
4 Rienzl Overture R.Wagner Background Instrumental 1.02
6 Little Brown Jug Unk. Visual Instrumental 0.07
#552 D affy Duck Hunt Carl Stalling

9 You You Dartin' M.KJerome, J-Scholl Background Instrumental 0.14
12 Russian and Ludmilla M.GIInka Background Instrumental 0.10
#553 Rebel Rabbit Carl Stalling

5 Shuffle O ff to Buffalo A-Dubin, H.Warren Background Instrumental 0.33
13 Lullaby o f Broadway A.Dubin, H.Warren Background Instrumental 0.05
16 Muchacha A-Dubin, H.Warren Background Instrumental 0.10
17 Navajo E.van Alstyne, H.WIIilams Background Instrumental 0.10
#554 Mouse Wreckers Carl Stalling

2 Hickory Dickory Dock Unk. Background Instrumental 0.17
6 Warum R.Schumann Background Instrumental 0.04
10 Gypsy Rondo J.Haydn Background Instrumental 0.10
#555 High Diving Hare Carl Stalling

2 Parade o f the Animals Ring-Hager Background Instrumental 0.57
7 April Showers B.G.DeSytva, (.Silvers Background Instrumental 0.26
395
#556 The Bee-Deviled Bruin Carl Stalling
2 Be My Little Baby Bumblebee H.Marshall, S-Murphy Background Instrumental 0.20
3 Long Long Ago T.H.Baytey Background Instrumental 0.04
#557 Curtain Razor Carl Stalling

2 Lohengrin R.Wagner Visual Vocal 0.41
9 April Showers B.G.DeSytva, LSIIvers Visual Vocal 0.54
17 Frat J.Barth Visual Vocal 0.12
#558 Bowery Bugs Carl Stalling

4 Bowery, The P.Gaunt, CHoyt Background Instrumental 0.32
6 In the Shade of the Old Apple Tree Evan Alstyne, H.WIIIfams Background Instrumental 0.09
7 All That Glitters is Not Gold Unk. Visual Vocal 0.12
10 Tammany V.Bryan, G.Edwards Background Instrumental 0.19
#559 Mouse Mazurka Carl Stalling

2 One Heart One Mind Mazurka J.Strauss Background Instrumental 0.16
3 TWO Guitars Unk. Background Instrumental 0.39
4 Gosatchoque A.DargomiJsfcy Background Instrumental 0.36
13 Pizzicato Polka J.Strauss Background Instrumental 0.21
396
#560 Long-Haired Hare Carl Stalling
2 Largo Al Factotum G.Rossin! Background Instrumental 0.17
3 A Rainy Night in Rio (-Robin, A.Scfiwartz Visual Instrumental 0.51
7 My Gal is a High Bom Lady B.Fagan Visual Vocal 0.22
10 When Yuba Plays Rhumba on His Tuba H.Hupfeld Visual Instrumental 0.05
12 Sextette from Lucia G.DonizetU Background Instrumental 0.30
16 Lohengrin R-Wagner Background Instrumental 0.27
17 Beautiful Galathea Overture F.von Suppe Visual Vocal 0.18
22 Morning, Noon, and Night in Vienna F.von Suppe Visual Vocal 0.10
#561 Henhouse Henery Carl Stalling

#562 Knights M ust Fall Cari Stalling

1 Merrily We Roll Along CTobias, M.Mencher, ECantor Background Instrumental , 0.12
2 War March o f the Priests F.Mendelssohn Background Instrumental 1.09
3 Pride of the Wolverines J.P.Sousa Background Instrumental 0.20
6 Frat J.Barth Visual Instrumental 0.11
12 Pique Dame Overture F.von Suppe Background Instrumental 0.2B
13 On the 5:15 H.Marshall, S.Murphy Background Instrumental 0.15
#563 Bad O l'P u tty T at Carl Stalling

2 Baby Face H-Akst, B.Davts Background Instrumental 0.18
8 Freddy the Freshman (The Freshest Wd In CFriend, D.Oppenhelm Background Instrumental 0.51
n Russian and Ludmilla M.GIInka Background Instrumental 0.16
#564 The Greyhounded Hare Carl Stalling

3 Parade of the Animals ' ' Ring-Hager Background Instrumental 0.13
4 Make It Snappy SJ.Ftoyd Background Instrumental 0.12
6 I Go For You tCGannon, M.KJerome Background Instrumental 0.42
7 To the Post Unk. Background Instrumental 0.05
12 IntheSUrrups J.EZamecnik Background Instrumental 0.37
17 Ibsklt Itaskit Unk. Visual Hummed 0.03
397
#565 Often an Orphan
3 In My Merry Oldsmobtle V.Bryan, G.Edwards Background Instrumental 0.06
4 A lnt We Got Fun R.B.Egan, G.Kahn, R.WhitIng Background Instrumental 0.35
6 Old MacDonald Had a Farm Unk. Visual Vocal 0.17
10 Klilamey M.Balfe Background Instrumental 0.04
14 Rock-a-Bye Batry Unk. Visual Vocal 0.11
16 My Buddy W.Donaldson, G.Kahn Background Instrumental 0.41
21 W IA Hundred Pipers Unk. Background Instrumental 0.00
#566 The Windblown Hare Carl Stalling

5 Just a Cottage Small (By a Waterfall) B.G.Desytva, J.Hanley Background Instrumental 0.37
12 Lady In Red, The M.Dtxon, A.Wrubel Visual Vocal 0.11
20 Artist's Life J.Strauss Background Instrumental 0.07
#567 Dough For the Do-Do Carl Stalling

2 Peelin' High and Happy R.Bloom, T.Koehler Background Instrumental 0.09
3 Captains of the Clouds HJtrien, J.Mercer Background Instrumental 0.16
#568 Fast and Furry-ous Carl Stalling

9 Winter A.Bryan, A.Gumbie Background Instrumental 0.20
11 Jingle Beils Unk. Background Instrumental 0.04
17 Tm Looking Over a Four Leaf Clover M.DIxon, H.Woods Background Instrumental 0.22
#569 Each Dawn I Crow Carl Stalling

5 Great Western dog Unk. Background Instrumental 0.24
24 Carolina In the Morning W.Donaldson, G.Kahn Background Instrumental 0.32
398
#570 Frigid H are Cari Stalling
5 There's Music In the Land S.Cahn, J.Styne Background Instrumental 0.18
14 Coasting Rlng-Hager Background Instrumental 0.31
#571 Sw allow th e Leader Carl Stalling

14 Athalie Overture F.Mendelssohn Background Instrumental 0.29
#572 Bye Bye Bluebeard Cari Stalling

2 Bye Bye Blackbird M.Dtxon, R.Henderson Background Instrumental 0.16
3 Kaiser Waltz J.Strauss Background Instrumental 0.22
9 War Dance for Wooden Indians RScott Background Instrumental 0.29
13 Parsifal R-Wagner Background Instrumental 0.16
#573 For S cent-Im ental Reasons Carl Stalling

1 Meny Go Round Broke Down CFriend, D.Franklln Background Instrumental 0.15
2 Ev*ry Day I Love You (lust a Little Bit More) S.Cahn, A.DuUn Background Instrumental 0.17
4 Alouette Unk. Background Instrumental 0.14
6 Time Walts For No One CFriend, CTobias Visual Vocal 0.26
8 Its Magic S.Cahn, J.Styne Background Instrumental 0.30
#574 Hippety-Hopper Cari Stalling

2 You Never Know Where You're Goin' Till S.Cahn, J.Styne Background Instrumental 0.13
3 You Dont Know How Much You Can Suffer D.Franldin, CFriend Background Instrumental 0.26
#575 Which is W itch Carl Stalling

1 Merry Go Round Broke Dawn CFriend, D.Franklin Background Instrumental 0.14
3 Goombay Drum S.Adams, S.Knowiton, CLofthouse Background Instrumental 0.45
5 Dont Sweetheart Me CFriend, CTobias Visual Hummed 0.27
6 Dinner Musk: for a Pack of Hungry Cannibals R-Scott Background Instrumental 0.13
12 Slngln' In the Bathtub M.Oeary, H.Magidson, N.Washlngton Background Instrumental 0.19
20 Aloha Oe Queen Uluokalani Background Instrumental 0.08
399
#576 Bear Feat Carl Stalling
4 Shepherd’s Song ftom Tannhauser R.Wagner Background Instrumental 0.06
6 Puddln' Head Jones A.Bryan, L.Handman Background Instrumental 0.21
7 What's the Matter With Father E.van Alstyne, H.Williams Background Instrumental 0.25
10 Perpetuum Mobile J.Strauss Background Instrumental 0.45
18 Father Dear Father Come Home With Me H.CWork Background Instrumental 0.25
#577 A Ham in A Role Cari Stalling

2 Love Me and the World Is Mine ER.Ball, D.Reed Jr. Background Instrumental 0.19
7 I’m Forever Blowing Bubbles J.W.Kellette, J.Kenbrovfn Background Instrumental 0.15
9 Consolation F.Mendelssohn Background Instrumental 0.15
12 There's Music in the Land S.Cahn, J.Styne Background Instrumental 033
15 By a Waterfall S.Faln, I.Kahal Background Instrumental 0.10
18 Seventh Symphony l_van Beethoven Background Instrumental 0.20
19 Goblins In the Steeple L-Carr, A.Roberts Background Instrumental 0.10
#578 Rabbit Hood Cari Stalling

4 Das Rhelngold R.Wagner Background Instrumental 0.14
12 Rule Brittania Unk. Background Instrumental 0.22
15 I'm Looking Over a Four Leaf Clover M.Dixon, H.Woods Background Instrumental 0.14
32 London Bridge is Falling Down Unk. Visual Vocal 0.16
#579 Home Tw eet Home Cari Stalling

1 Merrily We Roll Along C Tobias, M. Mencher, E Cantor Background Instrumental 0.13
3 fm Looking Over a Four Leaf Clover M.Dixon, H.Woods Visual Vocal 0.30
7 It Cant Be Wrong M.Steiner, ICGannon Background Instrumental 0.09
9 Pretty Baby Evan Alstyne, TJackson, G.Kahn Background Instrumental 0.17
11 Peek-a-Boo Scanlan Background Instrumental 0.18
400
#580 Hurdy-Gurdy Hare Carl Stalling
Released 1/21/1950______ Cue Sheet Date 4/11/1949______
3 Animal Fair link. Background Instrumental 0.13
5 Minuet Lvan Beethoven Background Instrumental 0.04
6 Cradle Song J. Brahms Background Instrumental 0.03
7 Toccata in D Minor J.S.Bach Background Instrumental 0.01
8 Artist's Life J.Strauss Visual Vocal 030
18 She Was an Acrobat's Daughter B.Kalmer, H.Ruby Background Instrumental 0.09
#581 Boobs In th e Woods Cart Stalling

2 There's Music in the Land S.Cahn, J.Styne Background Instrumental 0.16
3 Merry Go Round Broke Down C.Friend, D.Franklln Visual Vocal 0.28
5 Put 'em In a Box, Tie 'em with a Ribbon S.Cahn, J.Styne Background Instrumental 0.33
7 She'll Be Cornin' 'Round the Mountain link. Background Instrumental 0.09
9 A Hunting We Will GO link. Background Instrumental 0.07
11 Indian Dawn J.S.Zamecnik, CRoos Background Instrumental 0.22
12 Indian War Dance J.S.Zamecnlk Background Instrumental 0.10
14 Singin' Down the Road R.Scott, CTobias Background Instrumental 0.38
16 Freddy the Freshman (The Freshest IGd In CFriend, D.Oppenheim Background Instrumental 0.22
#582 M untiny on th e Bunny Carl Stalling

6 Put 'em in a Box, Tie ’em with a Ribbon S.Cahn, J.Styne Background Instrumental 0.09
9 Aloha Oe Queen Uluokalanl Background Instrumental 0.13
10 Columbia the Gem of the Ocean T.A.Beckett, D.T^haw Background Instrumental 0.03
13 Sailor’s Hornpipe link. Background Instrumental 0.24
17 We’re in the Money A.Dubln, H.Warren Background Instrumental 0.28
27 Below the Equator C Friend, CTobias Background Instrumental 0.14
28 A Rainy Night in Rio LRobin, A.Schwartz Background Instrumental 0.04
#583 Lion's Busy, The Carl Stalling

5 When Irish Eyes are Smiling E.Ball, G.GrafT Jr., COicott Background Instrumental 0.20
8 Believe Me I f All Those Endearing Young T. Moore Background Instrumental 0.06
13 Hllamey M.W.Balfe Background Instrumental 0.04
29 That's an Irish Lullaby J.R.Shannon Background Instrumental 0.20
401
#584 Scarlet Pum pernickel, The Carl Stalling
1 Merry Go Round Broke Down C-Friend, D.Franklln Background Instrumental 0.14
5 Semlramide Overture G.Rossini Background Instrumental 0.06
6 Rower Song G.Lange Background Instrumental 0.09
13 Minuet L.Boccherini Background Instrumental 0.22
16 Hooray for Hollywood J.Mercer, R.Whitfng Background Instrumental 0.07
17 In an Hghteenth Century Drawing Room R.Scott Background Instrumental 0.16
23 Bridal Chorus R-Wagner Background Instrumental 0.06
#585 Homeless Hare Cad Stalling

4 Dinner Music for a Pack o f Hungry Cannibals R.Scott Background Instrumental 0.28
12 Grand Galop Cromatique F.LiSZt Background Instrumental 0.07
18 This Is Worth Rghtlng For E.DeLange, S.H.Stept Background Instrumental 0.20
#586 S trife W ith Father Carl Stalling

2 What's the Matter With Father H.WIIIIams, Evan Alstyne Background Instrumental 0.16
5 Rock-a-Bye Baby Unk. Visual Vocal (Hummed) 0.11
11 Country Gardens Unk. Background Instrumental 0.17
#587 Hypo-Condri-Cat, The Cad Stalling

2 Blues in the Night H-Arien, J.Mercer Background Instrumental 0.16
10 Melancholy Mood V.Knfght, W.Schumann Background Instrumental 1.23
15 Goblins in the Steeple LCarr, A. Roberts Background Instrumental 0.20
402
#588 Leghorn Blows a t Midnight; The Carl Stalling
2 Put 'em in a Box, Tie ’em with a Ribbon S.Cahn, J.Styne Background Instrumental 0.16
10 Maiden's Prayer, The T.Badarzewska Background Instrumental 0.24
12 A Hunting We Will Go Unk. Visual Hummed 0.06
18 Yankee Doodle Unk. Visual Whistled 0.05
#589 His B itter H alf Carl Stalling

2 E /ry Day I Love You Oust a Little Bit More) S.Cahn, J.Styne Background Instrumental 0.16
3 I'm Looking Over a Four Leaf Clover M.Dfxon, H.Woods Background Instrumental 0.20
5 It's Magic S.Cahn, J.Styne Background Instrumental 0.08
7 Bridal Chorus R-Wagner Background Instrumental 0.03
15 Dear Little Boy of Mine ER.Bafl, J.ICBrennan Background Instrumental 0.10
19 Canadian Capers H.COhen, G.Chandler, B.White, EBurtnett Background Instrumental 0.45
21 What's the Matter With Father H.WIIIIams, Evan Alstyne Background Instrumental 0.03
24 Taps Unk. Background Instrumental 0.05
#590 Big House Bunny Carl Stalling

3 Down In the Valley Unk. Background Instrumental 0.15
5 Sing a Song of Sixpence Unk. Background Instrumental 0.06
19 Jimmy Valentine G.Edwards, E Madden Background Instrumental 0.18
#591 An Egg Scramble Carl Stalling

2 Chicken Reel Unk. Background Instrumental 0.1S
403
#592 W hat’s Up, Doc? Carl Sta lling
3 Hooray for Hollywood J.Mercer, R.Whiting Background Vocal 038
6 Hungarian Rhapsody No. 2 F.liszt Visual Instrumental 0.06
11 Whafs the Matter With Father H.WIIIiams, Evan Alstyne Background Instrumental 0.04
16 Daughter of Rosie O'Grady, The M.GBrice, W.Donaldson Background Instrumental 0.03
21 April Showers B.G.DeSytva, LSItvers Background Instrumental 0.15
22 Study No. 1 R.Kreutzer Visual Instrumental 0.07
23 AintWeGotFun R-B.Egan, G.Kahn, R.Whiting Visual Vocal 0.06
29 Forty Second Sheet A.Dubin, H.Warren Background Instrumental 0.09
#593 All A -B ir-r-r-d Carl Stalling

#594 8 Ball Bunny Carl Stalling

4 Kiss Me Sweet M.Drake Background Instrumental 0.25
9 Home Sweet Home H.R.BIshop, j.H.Payne Background Instrumental 0.22
14 All Aboard for Dixieland G.Cobb, J.Yellen Background Instrumental 0.20
17 Hallelujah I'm a Bum Unk. Background Instrumental 0.11
#595 It's Hummer Tim e Carl Stalling

3 I'm Looking Over a Four Leaf Clover M.Dixon, H.Woods Visual Hummed 0.25
6 Power House RScott Background Instrumental 0.22
10 AintWeGotFun R.B.Egan, G.Kahn, R.Whiting Visual Hummed 0.20
24 Baby Face HJUcst, B.Davis Background Hummed 034
404
#596 Golden Yeggs Carl Stalling
X Merrily We Roll Along CTobias, M.Mencher, E.Cantor Background Instrumental 0.12
4 We’re In the Money A.Dub(n, H.Warren Background Instrumental 0.16
12 Waltz No. 2 F.Chopin Background Instrumental 0.12
17 To the Post Unk. Background Instrumental 0.11
#597 H illybilly Hare Carl Stalling

5 I Like Mountain Music J.Cavanaugh, F.Weldon Visual Vocal 0.16
7 Jesse James Unk. Background Instrumental 0.15
11 Sourwood Mountain Unk. Background Instrumental 0.30
15 Pop Goes the Weasel Unk. Visual Vocal 0.03
19 Love Somebody, Yes I Do Unk. Background Instrumental 0.44
21 Skip to My Lou Unk. Visual Vocal 0.07
#598 Dog Gone South Carl Stalling

2 (Ho-dle-ay) Start the Day Right A.Lewis, M.Spttalny, CTobias Background Instrumental 0.16
9 Are You From Dbde G.LCbbb, J.Yellen Background Instrumental 031
21 Just Before the Battle Mother G.F.Root Background Instrumental 0.22
28 Jeanie With the Ught Brown Hair S.Foster Background Instrumental 0.13
#599 Ducksters, The Carl Stalling

2 rm In Love S.Cahn, J.Styne Background Instrumental 0.17
9 Girl Friend of the Whirling Dervish, The A.Dubin, J.Mercer, H.Warren Background Instrumental 0.04
17 Sextette from Luda G.DonizetU Visual Instrumental 0.14
18 Prize Song from Die Meistersinger R.Wagner Background Instrumental 0.08
19 All I Want for Christmas (Is My Front Two D.Gardner Background Instrumental 0.09
405
#600 Fractured Leghorn, A Carl Stalling
2 A Solid Citizen of the Solid South (_Robin, A.Schwartz Background Instrumental 0.15
#601 Bunker Hill Bunny Carl Stalling

8 Hail Columbia Fayles, J.Hopkinson Background Instrumental 0.02
21 Bugle Call Unk. Background Instrumental 0.02
27 Girl I Left Behind Me, The S.Lover Visual Instrumental 0.06
#602 Canary Row Carl Stalling

6 When Irish Eyes are Smiling EBall, G.Graff Jr., COicott Visual Vocal 0.14
10 Alouette Unk. Visual Instrumental 0.12
11 You're the Cure For What Ails Me H.Ar1en, EY.Harburg Background Instrumental 0.06
#603 Stooge For a Mouse Carl Stalling

#604 Pop'em Pop Carl Stalling

3 Put On Your Old Grey Bonnet S.Murphy, P.Wenrkh Background Instrumental 0.44
#605 Bushy Hare Carl Stalling

3 Reckon Tm In Love M.DavId, A.Hoffman, J.Uvfngston Background Instrumental 0.11
4 California Here I Come B.G.Desytva, AJolson, J.Meyer Background Vocal 0.14
6 While Strolling Through the Park One Day EHaley Visual Vocal 0.15
406
#606 Caveman In k! Carl Stalling
Released 11/25/1950 Cue Sheet Date 11/25/1949_____
4 Rlenzf Overture R-Wagner Background Instrumental 0.22
#607 Rabbit o f Seville Carl Stalling

3 Madrid LE. DeFrancesco, J.Danieison, F.VImont Background Instrumental 0.14
4 Barber of Seville Overture G.Rossini Visual Instrumental 0.51
#608 Tw o's A Crowd Carl Stalling

2 Put ’em in a Box, Tie 'em with a Ribbon S.Cahn, J.Styne Background Instrumental 0.15
6 Laugh down Laugh T.FIorito, J.Young, S.Lewis Background Instrumental 0.18
14 rm Forever Blowing Bubbles J.W.Kellette, J.Kenbrovin Background Instrumental 0.05
18 Der Freischutz Overture CM . von Weber Background Instrumental 0.12
#609 Hare W e Go Carl Stalling

3 Don't Give Up the Ship A.Dubin, H.Warren Background Instrumental 0.12
4 Amorita J.S.Zamecnfk, H.D.Kerr Background Instrumental 0.38
6 Santa Luda Unk. Background Instrumental 0.23
7 Lady of Spain, The T.Evans, E.Reaves Background Instrumental 0.07
12 Sailor’s Hornpipe Unk. Background Instrumental 0.10
19 Let That Be a Lesson to You R.Whiting, J.Mercer Visual Vocal 0.20
#610 A Fox in a Fix Carl Stalling

2 Hddle Dee Dee S.Cahn, J.Styne Background Instrumental 0.15
407
#611 Canned Fued Carl Stalling
2 Huckleberry Duck R.Scott, j.Lawrence Background Instrumental 0.16
5 This is Worth Fighting For E.DeLange, S.H.Stept Background Instrumental 0.10
#612 Rabbit Every M onday Carl Stalling

3 It's Magic S.Cahn, J.Styne Visual Vocal 0.35
7 Fm Forever Blowing Bubbles J.W.Kellette, J.Kenbrovin Background Instrumental 0.05
9 Cuddle Up a Uttie Closer, Lovey Mine O.Harbach, ICHoschna Background Instrumental 0.52
11 Auld Lang Syne R.Bums Background Instrumental 0.14
#613 Putty T a t Trouble Carl Stalling

#614 Com Plastered Carl Stalling

3 Old Apple Tree, The M.KJerome, J.Scholl Visual Vocal 0.35
#615 Bunny Hugged Carl Stalling

3 Washington Post March J.P.Sousa Background Instrumental 0.48
12 Cuddle Up a Little Closer, Lovey Mine O.Harbach, ICHoschna Background Instrumental 0.08
15 Every Uttie Movement O.Harbach, ICHoschna Background Instrumental 0.10
18 Little Brown Jug Unk. Visual Vocal 0.12
#616 Scent-Im ental Romeo Carl Stalling

2 April In Paris V.Duke, EY.Harburg Background Instrumental 0.28
7 L’AmourTouJOurs L'Amour CCCushlng, R.Friml Background Instrumental 0.35
9 While Strolling Through the Park One Day EHaley Visual Vocal 0.21
13 Cherie, I Love You LRosedale Goodman Background Instrumental 0.22
15 La Marseillaise Unk. Background Instrumental 0.06
17 Baby Face H.Akst, B.Davts Visual Vocal 0.25
19 Valse des Rayons J.Offenbach Background Instrumental 0.21
408
#617 A Bone For A Bone Carl Stalling
2 That Was a Big Fat Lie S.Cahn, J.Styne Background Instrumental 0.15
4 Twenty-Four Hours of Sunshine P.DeRose, CSigman Background Instrumental 0.27
#618 Fair-H aired Hare, The Carl Stalling

3 Home on the Range Link. Visual Vocal 0.24
6 I Cant Get Along Little Doggie M.KJerome, J.Scholl Visual Vocal 0.08
14 This is Worth Fighting FOr EDeLange, S.H.Stept Background Instrumental 0.14
17 Twenty-Four Hours of Sunshine P.DeRose, CSigman Background Instrumental 0.24
#619 A Hound For Trouble Carl Stalling

2 Attsa Matta FOr You M.Maitese Background Instrumental 0.16
3 Santa Lucia Unk. Background Instrumental 0.30
5 Vieni Sul Mar Unk. Background Instrumental 0.21
12 La Danza G.Rossinl Background Instrumental 0.53
17 ONene A.Franchetti, T.Koehler, EW.Komgold Background Instrumental 0.21
20 Itiskit Itaskit Unk. Visual Vocal 0.05
#620 Early To Bet Carl Stalling

4 There is a Tavern in the Town Unk. Background Instrumental 0.18
10 Bugle call Unk. Background Instrumental 0.04
14 Blues In the Night H-Arlen, J.Mercer Background Instrumental 0.18
16 I'm Forever Blowing Bubbles J.W.Kellette, J.Kenbrovin Background Instrumental 0.09
21 William TeU Overture G.Rossini Background Instrumental 0.21
#621 R abbit Fire Cad Stalling

8 Angel In Disguise ICGannon, P.Mann, S.Weiss Background Instrumental 0.24
13 Oh You Beautiful Doll N.DAyer, A-S.Brown Background Instrumental 0.16
409
#622 Room and Bird Eugene Poddany
Released 6/2/1951 Cue Sheet Date 8/25/1950___________
2 Fiddle Dee Dee S.Cahn, J.Styne Background Instrumental 0.16
9 L’Amour Toujours L'Amour CCCushing, R.Ffiml Background Instrumental 0.24
22 La Danza G.Rossini Background Instrumental 1.01
#623 Chow Hound Carl Stalling

2 Its A Great Feeling S.Cahn, J.Styne Background Instrumental 0.15
7 Baby Face H-Akst, B.Davfs Background Instrumental 0.24
23 Am I Blue H.Akst, G.CJarke Background Instrumental 0.13
#624 French R arebit Eugene Poddany

10 Alouette Unk. Visual Vocal 0.06
12 Stranger in Paree A.Dubfn, H.Warren Background Instrumental 0.25
#625 W earing o f th e Grin Eugene Poddany

5 Come Back To Erin Unk. Background Instrumental 0.15
#626 Leghorn Swoggled Eugene Poddany

5 I Uke Mountain Music J.Cavanaugh, F.Weldon Background Instrumental 0.14
8 Some Sunday Morning R.Helndorf, M.KJerome, T.Koehler Visual Vocal 0.16
10 Huckleberry Duck R.Scott, J.Lawrence Background Instrumental 0.05
12 Cheyenne E.van Alstyne, H.WIIIiams Background Instrumental 0.04
17 I’ve Been Working on the Railroad Unk. Visual Vocal 0.06
410
#627 His Hare Raising Tale Carl Stalling
3 Long Long Ago T.Bayly Background Instrumental 0.16
6 Blade Horse Troop, The J.P.Sousa Background Instrumental 0.36
12 To Arms Unk. Background Instrumental 0.06
16 Rienzf Overture R.Wagner Background Instrumental 0.15
#628 Cheese Chasers Carl Stalling

4 Melancholy Mood V.Khlght; W.Schumann Background Instrumental 0.17
7 WIntermarchen A.Czibulka Background Instrumental 0.22
9 Warum R-Schumann Background Instrumental 0.04
#629 Lovelorn Leghorn Carl Stalling

2 Chicken Reel Unk. Visual Hummed 0.35
3 Wedding March R-Wagner Visual Hummed 0.09
#630 Tw eety's S.O.S. Carl Stalling

2 I Didnt Slip, I Wasnt Pushed, I Fell G.Wyie, E-Pola Background Instrumental 0.16
6 Melancholy Mood V.Khlght; W.Schumann Background Instrumental 0.12
9 Listen to the Mocking Bird A.Hawthorne Background Instrumental 0.06
15 Sweet and Low Unk. Background Instrumental 0.08
21 Stephanie Gavotte A.Czibulka Background Instrumental 0.15
27 Columbia the Gem of the Ocean TJL Beckett, D.T.Shaw Background Instrumental 0.04
411
#631 Ballot Box Bunny Carl Stalling
3 King Chanticleer N.D.Ayer, A ^. Brown Background Instrumental 0.35
6 It Looks Like a Big Night Tonight Evan Aistyne, H.Wllliams Background Instrumental 0.14
12 Baby Face H-Akst, B.Davis Background Instrumental 0.20
27 Believe Me If All Those Endearing Young T.Moore Visual Instrumental 0.28
#632 A Bear For Punishm ent Carl Stalling

2 It's A Great Feeling S.Cahn, J.Styne Background Instrumental 0.16
9 What's the Matter With Father H.Wllliams, E.van Aistyne Background Instrumental 0.04
13 A Cup of Coffee, A Sandwich and You A.Dub(n, J.Meyer, B.Rose Background Instrumental 0.14
21 COme Home Father H.CWoric Background Instrumental 0.19
22 My Buddy W.Donaldson, G.Kahn Visual Instrumental 0.48
23 I'm Just Wild About Harry E Blake, N.Sissle Visual Vocal 0.30
25 Frat J.F.Barth Visual Vocal 0.48
26 Red, White, and Blue, The Unk. Background Instrumental 0.06
#633 Sleepy Tim e Possum Carl Stalling

2 Lullaby Unk. Background Instrumental 0.15
#634 Drip-Along D affy Carl Stalling

4 Cheyenne Evan Aistyne, H.Wllliams Background Instrumental 0.13
8 San Antonio Evan Aistyne, H.Williams Background Instrumental 0.05
10 Hearse Song, The Unk. Background Instrumental 0.06
13 King Chantldeer N.DJtyer, A.S.Brown Background Instrumental 1.08
20 You're the Cure For What Alls Me HJVrien, EY.Harburg Background Instrumental 0.05
412
#635 Dog Collared Carl Stalling
2 Fiddle Dee Dee S.Cahn, JXtyne Background Instrumental 0.17
3 Its A Great Feeling S.Cahn, J.Styne Background Instrumental 0.47
7 In My Merry Oldsmcbile V.Bryan, G.Edwards Visual Vocal 034
11 When You and I Were Young Maggie Unk. Background Instrumental 0.06
14 Sun Dance L-Friedman Background Instrumental 0.02
15 Chinatown My Chinatown W Jerome, J.Schwartz Background Instrumental 0.10
IS Oh Where Has My Little Dog Gone Unk. Background Instrumental 0.25
#636 Big Top Bunny Carl Stalling

#637 T w eet Tw eet Tw eety Carl Stalling

2 A lnt She Sweet M.Ager, J.Yellen Background Instrumental 0.15
7 That Wonderful Mother of Mine W.GOodwin, CHager Background Instrumental 0.18
#638 The Prize Pest Carl Stalling

2 Lucky Day L.Brown, 8.G.Desytva, R.Henderson Background Instrumental 0.36
10 La Vie en Rose Louiguy, EPIaf Background Instrumental 0.09
12 King For a Day T.Rortto, S.Lewis, J.Young Background Instrumental 0.16
14 Goblins in the Steeple LCarr, A.Roberts Background Instrumental 0.10
#639 W ho's Kitten Who Carl Stalling

2 Me-ow M.B.Kaufiman, H.D.Kerr Background Instrumental 0.14
3 Kingdom Coming (lubilo) H.CWork Background Instrumental 0.16
12 What's the Matter With Father H.Wllliams, Evan Aistyne Background Instrumental 0.04
26 Wlntermarchen A.Czibulka Background Instrumental 0.11
413
#640 Operation:Rabbit Carl Stalling
1 Merry Go Round Broke Down CFriend, D.FranklIn Background Instrumental 0.13
12 I’m Looking Over a Four Leaf Clover M.Dixon, H.Woods Visual Vocal 0.06
20 La Vie en Rose Louiguy, E.Pfaf Background Instrumental 0.18
21 Bridal Chorus R.Wagner Visual Vocal 0.04
#641 Feed the K itty Carl Stalling

2 Chitterilnswitch B.Belle, A.Leonard, LMilllnder Background Instrumental 0.14
3 Alnt She Sweet M.Ager, J.Yellen Background Instrumental 0.29
18 Stephanie Gavotte A.Czfbulka Background Instrumental 0.04
26 Maiden's Prayer, The T.Badarzewska Background Instrumental 0.10
#642 Fourteen C arrot Rabbit Carl Stalling

6 King Chantideer N.D.Ayer, A.S.Brown Background Instrumental 0.24
8 We're in the Money A-Dubln, H.Warren Background Instrumental 0.28
9 Rddle Dee Dee S.Cahn, J.Styne Visual Vocal 0.10
#643 G ift Wrapped Carl Stalling

3 First Noel, The Unk. Background Instrumental 0.30
4 Deck the HaH With Boughs of Holly Unk. Background Instrumental 0.14
12 Hark the Herald Angels Sing F.Mendelssohn Background Instrumental 0.14
20 Cheyenne E.van Aistyne, H.Wllliams Background Instrumental 0.08
#644 Foxy By Proxy Carl Stalling

4 A Hunting We Will Go Unk. Visual Instrumental 0.41
414
#645 Thum b Fun Carl Stalling
2 AintW eGotFun R.B.Egan, G.Kahn, R.Whiting Background Instrumental 0.16
3 Are You From Dixie G.L.Cbbb, J.Yellen Background Instrumental 0.24
10 In My Merry Oldsmobile V.Btyan, G.Edwards Background Instrumental 0.35
12 Oh Where Has My Uttie Dog Gone Unk. Background Instrumental 0.10
16 Blues in the Night HJVrien, J.Mercer Background Instrumental 0.34
18 Lucky Day LBrown, B.G.Desylva, R-Henderson Background Instrumental 0.31
#646 L ittle Beau Pepe Cad Stalling

4 Spirit o f the Nile G.Vargas Background Instrumental 0.08
9 Stranger in Paris A.Dub(n, H.Warren Background Instrumental 0.25
11 Baltimore Oriole H.Carmichael, P.Webster Background Instrumental 0.33
17 La Vie en Rose Louiguy, E.PIaf Background Instrumental 0.54
20 L'AmourTouJoursL’Amour CCCushing, R.Frlml Background Instrumental 0.18
21 Vision o f Salome J.B.Lampe Visual Vocal 0.2S
#647 Klddin'the Kitten Cad Stalling

2 Peterfcfn Plllowby S.Marcus, ESeiler Background Instrumental 0.1S
6 Someone's Rocking My Dreamboat O.Rene, EScott Background Instrumental 0.25
8 Rlenzi Overture R.Wagner Background Instrumental 0.12
12 Gaudeamus Igitur Unk. Background Instrumental 0.08
13 Lucky Day LBrown, B.G.Desylva, R.Henderson Background Instrumental 0.18
#648 W ater, W ater Every Hare Cad Stalling

3 Prelude Opus 28, No. IS F.Chopin Background Instrumental 0.23
12 Wish That I Wish Tonight; The M.KJerome, J.Scholl Background Instrumental 0.44
#649 L ittle Red Rodent Hood Cad Stalling

9 Angel in Disguise K.Gannon, P.Mann, S.Welss Background Instrumental 0.40
415
#650 Sock A Doodle Doo Carl Stalling
3 It’s A Great Feeling S.Cahn, J.Styne Background Instrumental 0.16
14 Woblfn'Goblin, The G.Marks, M.Pascal Background Instrumental 0.20
17 Around the Mulberry Bush Unk. Visual Hummed 0.06
19 Tyroler Sind Lustfg Unk. Background Instrumental 0.06
21 A Solid Citizen of the Solid South L Robin, ASchwartz Background Instrumental 037
2S Parade of the Animals Ring-Hager Background Instrumental 0.10
#651 Beep, Beep Cad Stalling

3 Grand Galop Cromatique F.Liszt Background Instrumental 0.06
9 Dinner Music for a Pack of Hungry Cannibals RScott Background Instrumental 0.26
#652 The Hasty Hare Cad Stalling

11 Rddle Dee Dee S.Cahn, J.Styne Visual Vocal 0.13
16 California Here I Come B.G.Desylva, AJolson, J.Meyer Background Instrumental 0.18
20 Asleep in the Deep AJ.Lamb, H.W.Petrfe Background Instrumental 0.11
#653 A in 't She T w eet Cad Stalling

4 Fiddle Dee Dee S.Cahn, J.Styne Visual Vocal 0.09
6 Sonata No. 3 W.A.Mozart Background Instrumental 0.35
#654 The Tum -Tale W olf Cad Stalling

2 Upldee Unk. Background Instrumental 0.15
6 Wlntermarchen AXzibulka Background Instrumental 0.26
7 Stephanie Gavotte ACdbulka Background Instrumental 0.09
12 AintW eGotFun R.B.Egan, G.Kahn, R.Whltlng Background Instrumental 0.17
16 King For a Day T.Rorito, S.Lewis, J.Young . Background Instrumental 0.15
416
#655 Cracked Quack Carl Stalling
2 Down In Nashville Tennessee B.Hilllard, D.Mann Background Instrumental 0.15
6 I'm Just Wild About Harry EBIake, N.Slssle Background Instrumental 0.05
10 Carolina in the Morning W.Donaldson, G.Kahn Background Instrumental 0.21
12 Charleston JJohnson, GMack Background Instrumental 0.13
#656 O ily Hare Carl Stalling

3 My Uttie Buckaroo M.KJerome, J.Scholl Background Instrumental 0.10
4 Lone Star Trail, The Unk. Background Instrumental 0.07
5 Home on the Range Unk. Visual Vocal 0.18
6 Cheyenne Evan Aistyne, H.Williams Background Instrumental 0.21
7 Red River Valley Unk. Background Instrumental 0.13
16 Angel in Disguise ICGannon, P.Mann, S.Welss Background Instrumental 0.13
#657 Hoppy-Go-Lucky Carl Stalling

3 Lucky Day L.Brown, B.G.Desylva, R.Henderson Background Instrumental 0.13
4 I Cover the Waterfront J.W.Green, EHeyman Background Instrumental 0.36
9 Freddy the Freshman (The Freshest Wd In CFriend, D.Oppenheim Background Instrumental 0.18
#658 Going! Going! Gosh! Cad Stalling

3 Reckon I'm In Love M.Davtd, A.Hoffman, J.LMngston Background Instrumental 0.10
8 Carry Me Back to Old Vlrglnny J.BIand Background Instrumental 0.04
12 Rlenzi Overture R.Wagner Background Instrumental 0.46
#659 A Bird in a Guilty Cage Cad Stalling

13 Tip-Toe Through the Tulips With Me J. Burke, A.Dubin Background Instrumental 0.13
417
#660 The Eggcited Rooster Carl Stalling
25 In the Stirrups J.S.Zamecnlk Background Instrumental 0.13
#661 Mouse W arm ing Carl Stalling

3 Reckless Night on Board an Ocean Uner R-Scott Background Instrumental 032
11 L'AmourTouJours L'Amour CCCushfng, R.Friml Background Instrumental 0.08
#662 Rabbit Seasoning Cad Stalling

#663 Tree For Two Cad Stalling

2 Love Ya P.DeRose, CTobias Background Instrumental 0.15
4 Bowery, The P.Gaunt; CW.Hoyt Background Instrumental 0.48
5 Charleston JJohnson, CMack Visual Vocal 0.28
#664 The Super Snooper Cad Stalling

12 Hearse Song, The Unk. Background Instrumental 0.13
14 It Had To Be You G.Kahn, IJones Background Instrumental 0.30
418
#665 Rabbit's Kin Carl Stalling
6 Barney Google CConrad, B.Rose Background Instrumental 0.20
15 A Cup o f Coffee, A Sandwich and You A.Dubln, j.Meyer, B.Rose Background Instrumental 0.11
#666 T errie r Stricken Carl Stalling

1 Merrily W e Roll Along CTobias, M.Mencher, ECantor Background Instrumental 0.13
3 All the Time S.Skylar Background Instrumental 0.10
6 Slngin' in the Bathtub M .aeary, H.Magidson, N.Washington Background Instrumental 0.34
#667 Fool Coverage Carl Stalling

3 Hl-Ho the Merrio (As Long as She Loves Me) L.Brown, C Conrad, B.Davis Background Instrumental 0.27
15 Columbia the Gem of the Ocean T.A. Beckett, D.TShaw Background Instrumental 0.05
17 w e're in the Money A.Dubin, H.Warren Background Instrumental 0.04
#668 H are Lift Carl Stalling

3 Captains o f the Clouds H.Arien, J.Mercer Background Instrumental 0.52
9 Reckless Night on Board an Ocean Uner R.Scott Background Instrumental 0.16
#669 D o n 't Give Up the Sheep Carl Stalling

2 Baa Baa Black Sheep Unk. Background Instrumental 0.14
11 Tannhauser R-Wagner Background Instrumental 0.16
19 Five O'CIock Whistle K.Gannon, G.Irwin, J.Myrow Background Instrumental 0.24
419
#670 Snow Business Carl Stalling
1 Merry GO Round Broke Down CFriend, D.Franklln Background Instrumental 0.14
7 Song of the Marines A.Dubin, H.Warren Visual Vocal 0.12
#671 A Mouse Divided Carl Stalling

3 Charleston JJohnson, CMack Background Instrumental 0.14
7 Wlntermarchen A.Czibulka Background Instrumental 0.08
12 Pretty Baby Evan Aistyne, TJackson, G.Kahn Background Instrumental 0.12
16 Baby Face H-Akst, B.Davfs Background Instrumental 0.07
18 Seep Baby Seep Unk. Background Instrumental 0.16
23 While Strolling Through the Park One Day E Haley Background Instrumental 0.08
#672 Forward March Hare Carl Stalling

10 You Never Know Where You're Goln' Till S.Cahn, J.Styne Background Instrumental 0.11
12 I Only Have Eyes FOr You A.Dubin, H.Warren Background Instrumental 0.26
19 Reveille-Bugle Call Unk. Background Instrumental 0.12
22 Sngin' In the Bathtub M.deary, H.Magldson, N.Washlngton Visual Vocal 0.08
24 rm Forever Sowing Bubbles J.W.Kellette, J.Kenbrovin Background Instrumental 0.04
30 This is Worth Fighting For EDeLange, S.H.Stept Background Instrumental 0.38
#673 Kiss Me Cat Carl Stalling

420
#674 Duck Amuck Cart Stalling
1 Merrily We Roll Along C-Tobias, M.Mencher, ECantor Background Instrumental 0.12
8 Aloha Oe Queen Uliuokalani Visual Vocal 0.08
13 Song of the Marines A.Dubtn, H.Warren Visual Vocal 0.17
17 Cant We Talk it Over N.Washington, V.Young Background Instrumental 0.17
20 Captains of the Gouds H-Arten, J.Mercer Background Instrumental 0.17
#675 Upswept Hare Carl Stalling

8 Home Sweet Home H.R.Bishop, J.H.Payne Visual Vocal 0.37
12 Stephanie Gavotte A-Czibulka Background Instrumental 0.19
20 Q ri I Left Behind Me, The S.Lover Background Instrumental 0.05
#676 A Peck OTrouble Carl Stalling

2 That Was a Big Fat Ue S.Cahn, J.Styne Background Instrumental 0.14
7 M eow M.B.Kaufman, H.D.Kerr Background Instrumental 0.15
12 War Dance for Wooden Indians R.Scott Background Instrumental 0.15
17 Blues in the Night H-Arien, J.Mercer Background Instrumental 0.09
18 Woods are Full of Cuckoos, The J.F.Coots, CNewman Background Instrumental 0.16
#677 Fowl W eather Carl Stalling

2 In a Little Red Bam (On a Farm Down in M.Ager, J.Schwartz, J.Young Background Instrumental 0.24
3 Down in Nashville Tennessee B.HIIIIard, D.Mann Visual Vocal 0.29
4 Goin' Home CTobias, M.Steiner Background Instrumental 0.06
5 Kiss Me Sweet M.Drake Visual Vocal 0.07
9 Gypsy Rondo Haydn Background Instrumental 0.38
12 Columbia the Gem of the Ocean T.A. Beckett, D.T.Shaw Background Instrumental 0.20
421
#678 Muscle Tussle Carl Stalling
6 Tica T7-Ttca Ta LPrima Background Instrumental 0.58
8 Down In Nashville Tennessee B.Hilllard, D.Mann Visual Vocal 0.21
12 Parade of the Animals F.Hager, J.Ring Background Instrumental 0.13
#679 Southern Fried R abbit Carl Stalling

2 Are You From Dixie G.L.C0bb, J.Yellen Background Instrumental 0.17
7 Swanee River (The Old Folks a t Home) S.Foster Background Instrumental 0.12
8 Old Black Joe S.Foster Visual Vocal 0.07
12 Massa's in the Cold Cold Ground S.Foster Background Instrumental 0.06
15 My Old Kentucky Home S.Foster Visual Vocal 0.06
20 Hail to the Chief Unk. Background Instrumental 0.10
28 Jeanie With the Ught Brown H air S.FOster Background Instrumental 0.57
29 Just Before the Battle Mother G.F.Root Background Instrumental 0.08
#680 A nt Pasted Carl Stalling

3 It’s A Great Fueling S.Cahn, J.Styne Background Instrumental 0.20
5 Columbia the Gem of the Ocean T.A.Bedcett, D.T.Shaw Background Instrumental 0.09
7 This is Worth Fighting For E.DeLange, S.H.Stept Background Instrumental 0.24
#681 Much Ado A b o u t Nutting Carl Stalling

3 While Strolling Through the Parle One Day E.Haley Background Instrumental 0.18
422
#682 There Auto Be A Law Carl Stalling
1 Merry GO Round Broke Down CFriend, D.Franklln Background Instrumental 0.14
2 Grand Central Station J.Cavanaugh, J.Redmond, F.Weldon Background Instrumental 0.15
3 Put On Your Old Grey Bonnet S.Murphy, P.Wenrich Background Instrumental 034
6 Baby Face H.Akst, B.Davts Background Instrumental 0.05
8 Tm Looking Over a Four Leaf Clover M.Dixon, H.Woods Background Instrumental 0.25
18 (Ho-dle-Ay) Start the Day Right A Lewis, M.Spftalny, CTobias Background Instrumental 0.46
21 Memories G.Kahn, EVan Aistyne Background Instrumental 0.08
22 A Cup of Coffee, A Sandwich and You ADubin, J.Meyer, B.Rose Background Instrumental 0.09
#683 H are Trim m ed Carl Stalling

1 Mem'iy We Roll Along CTobias, M.Mencher, ECantor Background Instrumental 0.13
S We're In the Money ADubln, H.Warren Background Instrumental 0.08
7 L'AmourToujoursL'Amour CCCushing, R.Friml Background Instrumental 0.14
9 Sonata No. 3 W .A Mozart Background Instrumental 0.11
10 La Vie en Rose Louiguy, EPIaf Background Instrumental 0.09
11 Sweet Georgia Brown B.Bemle, ICCasey, M.Plnkard Visual Instrumental 0.04
19 Lucky Day LBrown, B.G.Desytva, R.Henderson Background Instrumental 0.26
25 Wlntermarchen ACzlbulka Background Instrumental 0.05
#684 Tom Tom Tomcat Carl Stalling

2 Sun Dance L.Friedman Background Instrumental 0.1S
3 Oh Susanna S.Foster Visual Vocal 0.34
10 Ten Little Indians Unk. Visual Vocal 0.19
16 War Dance for Wooden Indians R3cott Background Instrumental 0.46
#685 W ild O ver You Carl Stalling

3 Latin Quarter, The H. Warren, A Dubin Background Instrumental 0.28
7 Billy Boy Unk. VisualVocal 0.17
8 Cherle, I Love You Lillian Rosedale Goodman Background Instrumental 0.43
13 Its Magic J. Styne, S. Cahn Background Instrumental 0.17
14 Oh Dear! What Can the Matter Be Unk. Visual Vocal 0.27
16 Don Giovanni Mozart Background Instrumental 0.21
#686 Duck Dodgers in the 24 1 /2 Century Carl Stalling

3 Egyptian Bam Dance R-Scott Background Instrumental 0.10
423
#687 Bully For Bugs Carl Stalling
12 la Cucaracha Unk. Background Instrumental 0.13
16 Chiapanecas Unk. Background Instrumental 0.29
#688 Plop Goes the W easel Carl Stalling

7 Happy Farmer Unk. Background Instrumental 0.07
#689 Cat-Tails For Two Carl Stalling

2 Piano, Bass and Drums P.DeRose, CTobias Background Instrumental 0.14
3 Moonlight Bay EMadden, P.Wenrich Background Instrumental 0.25
8 Jarabe Tapatio Unk. Background Instrumental 0.28
17 Chiapanecas Unk. Background Instrumental 030
19 Power House R.Scott Background Instrumental 03 8
#690 A S treet C at Named Sylvester Carl Stalling

2 Spring Has Sprung P.DeRose, CTobias Background Instrumental 0.19
#691 Zipping Along Carl Stalling

#692 Duck! Rabbit! Duck! Cad Stalling

5 La Vie en Rose loufguy, EPiaf Visual Hummed 0.13
424
#693 Easy Pecfcln's Carl Stalling
18 Blue Tail Fly Unk. Background Instrumental 0.17
27 Velvet Moon EDeLange, J.Myrow Background Instrumental 055
#694 C atty Cornered Cad Stalling

2 If Someone Had Told Me P.DeRose, CTobias Background Instrumental 0.16
9 America Speaks B.Machan Background Instrumental 0.11
#695 O f Rice and Hen Cad Stalling

2 Old Hound Dog W.FOster Background Instrumental 0.17
4 A UtUe on the Lonely Side J.Cavanaugh, D.Robertson, F.Weldon Background Instrumental 0.32
7 L'AmourTouJours L'Amour CCCushing, R.Friml Background Instrumental 0.22
11 Lady of Spain, The T.Evans, E.Reaves Background Instrumental 0.09
15 Frankie and Johnnie Unk. Visual Vocal 0.28
#696 Cats A-Weigh Cad Stalling

1 Merrily We Ron Along CTobias, M.Mencher, ECantor Background Instrumental 0.12
3 I COver the Waterfront J.W.Green, EHeyman Background Instrumental 0.10
6 Song of the Marines A.Dubln, H.Warren Background Instrumental 0.09
13 What's the Matter With Father EVan Aistyne, H.Wllliams Background Instrumental 0.27
17 Ride of the Valkyries R.Wagner Background Instrumental 0.08
#697 Robot Rabbit Cad Stalling

3 In a Uttie Red Bam (On.a Farm Down In J.Ager, J.Schwartz, J.Young Visual Vocal 0.24
6 Wintermarchen A.Czibulka Background Instrumental 0.07
8 IUskit Itasklt Unk. Visual Vocal 0.11
11 Huckleberry Duck R-Scott Background Instrumental 0.22
20 L'AmourTouJours L'Amour CCCushing, R.Ft1ml Background Instrumental 0.15
22 Ifs Magic S.Cahn, J.Styne Visual Vocal 0.07
425
#698 Punch Trunk Carl Stalling
2 I Cover the Waterfront J.W.Green, E.Heyman Background Instrumental 0.40
5 Congo M.KJerome, J.Scholt Background Instrumental 0.07
9 Around the Mulberry Bush link. Background Instrumental 0.18
15 FOr He's a Jolly Good Fellow Unk. Background Instrumental 0.30
20 Yoo-Hoo B.G.Desyfva, AJolson Background Instrumental 0.10
#699 Dog Pounded Carl Stalling

1 Merry Go Round Broke Down CFriend, D.FtankUn Background Instrumental 0.13
2 Piano, Bass and Drums P.DeRose, CTcbias Background Instrumental 0.17
20 L'Amour Toujours L'Amour GCCushlng, R.Friml Background Instrumental 0.17
#700 I Gopher You Milt Frankiyn

3 In a Lithe Red Bam (On a Farm Down In M.Ager, J.Schwartz, J.Young Background Instrumental 0.25
6 Power House R^cott Background Instrumental 0.53
#701 Feline Fram e-Up Carl Stalling

2 So Dumb But So Beautiful K.Gannon, M.KJerome Background Instrumental 0.15
#702 Captain H areblow er Carl Stalling

3 Blow the Man Down Unk. visual Vocal 0.10
11 Flying Dutchman, Tire R.Wagner Background Instrumental 0.25
426
#703 W ild W ife Carl Stalling
1 Merrily We Roll Along CTobias, M.Mencher, E Cantor Background Instrumental 0.11
2 Cant We Talk It Over N.Washington, V.Young Background Instrumental 0.16
7 AintW eGotFun R.B.Egan, G.Kahn, R.Whiting Background Instrumental 0.31
12 Spring Has Sprung P.DeRose, CTobias Background Instrumental 0.18
IS At Your Service, Madame A.Dubin, H.Warren Background Instrumental 0.12
#704 No Barking Carl Stalling

#705 Bugs and Thugs Milt Franklyn

5 While Strolling Through the Park One Day Unk. Background Instrumental 0.03
9 Spring Song F.Mendetssohn Background Instrumental 0.08
17 Lazy Mary Unk. Background Instrumental 0.08
#706 The Cat's Bah Carl Stalling

2 O Nene A.Franchetti, T.Koehler, EW.Komgold Background Instrumental 0.17
3 Cherle, I Love You LRosedaie Goodman Visual Vocal 0.30
7 Spirit of the Nile G.Vargas Background Instrumental 0.24
8 Stranger in Paree A.Dubin, H.Warren Background Instrumental 0.24
#707 Design For Leaving Carl Stalling

2 Dont Sweetheart Me CFriend, CTobias Background Instrumental 0.15
3 Twenty-Four Hours of Sunshine P.DeRose, CSIgman Background Instrumental 0.08
4 dap Hands Here Comes Charlie B.MacDonakl, J.Meyer, B.Rose Background Instrumental 0.31
6 Hand Me Down My Walking Cane Unk. Background Instrumental 0.06
427
#708 Bell Hoppy Carl Stalling
2 That Was a Big Fat Ue S.Cahn, J.Styne Background Instrumental 0.15
3 Bowery, The P.Gaunt, CH.Hoyt Background Instrumental 0.11
4 Amicf Unk. Background Instrumental 0.23
15 Goblins In the Steeple LCarr, A.Roberts Background Instrumental 0.09
#709 No Parking Hare Carl Stalling

Released 5/1/1954_______Cue Sheet Date 4/30/1954______
11 Hole in the Ground S.Marcus, B.Mddmson Visual Vocal 0.20
#710 D rJerkyl's Hide Cad Stalling

3 All the Time S.Skytar Background Instrumental 0.10
4 Plough Boy Unk. Background Instrumental 0.09
#711 Claws For Alarm Car) Stalling

3 Oh Bury Me Not on the Lone Prairie link. Background Instrumental 030
11 Home on the Range Unk. Visual Vocal 0.15
#712 Little Boy Boo Carl Stalling

2 DeCamptown Races S.Foster Background Instrumental 0.17
3 September in the Rain A.Dubin, H.Warren Background Instrumental 0.24
4 Just a Cottage Small (By a Waterfall) B.G.Desytva, j.F.Hanley Background Instrumental 0.09
7 Dear Little Boy of Mine E.R.Bali, JXBrennan Background Instrumental 0.26
9 Ain't We Got Fun R.B.Egan, G.Kahn, R.Whiting Background Instrumental 0.29
16 Captains of the Clouds H.Arlen, J.Mercer Background Instrumental 0.12
428
#713 Devil M ay Hare Carl Stalling
3 Tales From the Vienna Woods J.Strauss Visual Hummed 0.12
6 Cherfe, I Love You LRosedale Goodman Background Instrumental 0.12
S Chicken Reel Unk. Background Instrumental 0.06
12 Asleep in the Deep AJ.Lamb, H.W.Petrle Background Instrumental 0.04
21 Massa's in the Cold Cold Ground S.Foster Background Instrumental 0.04
#714 M uzzle Tough Carl Stalling

1 Menlly We Roll Along CTobias, M.Mencher, E.Cantor Background Instrumental 0.12
2 That Was a Big Fat Ue S.Cahn, TStyne Background Instrumental 0.17
3 Happy Farmer R.Scott Background Instrumental 0.18
S Sonata No. 3 WJLMozart Background Instrumental 0.12
13 It Had To Be You I Jones, G.Kahn Background Instrumental 0.09
14 Valse des Rayons J.Offenbach Background Instrumental 0.17
#715 The O ily American Carl Stalling

2 Wooden Indian P.DeRose, CTobias Background Instrumental 0.16
3 From an Indian Pueblo W.W.Neison Background Instrumental 0.24
5 We're In the Money ADubfn, H.Warren Background Instrumental 0.02
7 Minuet L Boccherini Background Instrumental 0.23
9 Who Calls D.LHIII, J.Marks Background Instrumental 0.16
14 Indian Dawn J.S.Zamecnlk Visual Instrumental 0.14
18 Hunting Song F.Mendelssohn Background Instrumental 0.16
19 Sun Dance LFrfedman Background Instrumental 0.21
#716 Bewitched Bunny Carl Stalling

4 IHskit Itaskit Unk. Visual Vocal 0.08
15 Rlenzi Overture R-Wagner Background Instrumental 0.09
16 Symphony No. 8 F.Schubert Background Instrumental 0.10
19 It Had To Be You G.Kahn, I Jones Background Instrumental 0.20
#717 Stop, Look, and Hasten!! Carl Stalling

2 Grand Central Station J.Cavanaugh, J.Redmond, F.Weldon Background Instrumental 0.16
5 A Cup of Coffee, A Sandwich and You A Dubln, J.Meyer, B.Rose Background Instrumental 0.04
429
#718 Satan's W a itin ' Carl Stalling
6 Die Gotterdamnnerung R.Wagner Background Instrumental 0.12
#719 Yankee Doodle Bugs Milt Franklyn

11 Lullaby of Broadway A.Dubfn, H.Warren Background Instrumental 0.04
15 Battle Hymn of the Republic, The J.W.Howe Background Instrumental 0.04
19 Columbia the Gem of the Ocean TVA-Beckett, D.T.Shaw Background Instrumental 0.04
#720 Gone B atty Cad Stalling

7 Parade of the Animals F.Hager, J.RJng Background Instrumental 0.30
#721 Goo Goo G oliath Cad Stalling

2 Pretty Baby E. Van Alstyne, T. Jackson, G. Kahn Background Instrumental 0.15
4 For He's A Jolly Good Fellow Unk. Background Instrumental 0.34
8 Cradle Song Brahms Background Instrumental 0.06
10 You Must Have Been a Beautiful Baby H. Warren, J. Mercer Background Instrumental 0.13
15 Home Sweet Home J. H. Payne, H. R. Bishop Background Instrumental 0.06
#722 By W ord o f Mouse Milt Franklyn

430
#723 From A to Z -Z -Z -Z Carl Stalling
S Voices of Spring J.Strauss Background Instrumental 0.04
7 Rlenzi Overture R-Wagner Background Instrumental 0.24
10 Tndian W ar Dance J.S.Zamecnik Background Instrumental 0.14
16 Rngal’sCave F.Mendelssohn Background Instrumental 1.00
#724 Q uack Shot Carl Stalling

7 Song of the Marines A.Dub!n, H.Warren Background Instrumental 0.20
13 Dont Give Up the Ship A.Dubln, H.Warren Background Instrumental 0.15
19 Sweet Dreams Sweetheart T.Koehler, M.KJerome Background Instrumental 0.20
#725 Lum ber Jack-Rabbit Carl Stalling

4 Blue Tail Fly Unk. Visual Vocal 0.42
#726 M y L ittle Duckaroo Milt Franklyn

9 Jarabe Ta patio Unk. Background Instrumental 0.08
#727 Sheep Ahoy Carl Stalling

8 Fingal’s Cave F.Mendelssohn Background Instrumental 0.24
#728 Baby Buggy Bunny Milt Franklyn

4 We're In the Money A.Dubln, H.Warren Visual Vocal 0.06
6 Wlntermarchen A.Cdbulka Background Instrumental 0.22
431
#729 Pizzicato Pussycat Milt Franklyn
8 Minute Waltz F.ChopIn Visual Instrumental 0.55
14 Crazy Rhythm I.Caesar, R-W.Kahn, J.Meyer Visual Instrumental 0.53
#730 Feather Dusted Milt Franklyn

4 Oe Camptown Races S.Fcster Background Instrumental 0.24
S Alphabet Song Unk. Background Instrumental 0.19
10 Fifteen Men on a Dead Man's Chest Unk. Visual Vocal 0.16
17 Rocked in the Cradle o f the Deep Unk. Background Instrumental 0.03
#731 Pest fo r Guests Milt Franklyn

2 Gathering Nuts in May Unk. Background Instrumental 0.18
#732 Beanstalk Bunny Carl Stalling

3 For You W.R.Heymann, T.KOehler Background Instrumental 0.17
#733 All Fowled Up Carl Stalling

#734 Stork Naked Milt Franklyn

5 We Wont Get Home Until Morning Unk. Background Instrumental 0.04
7 April In Paris V.Duke, E.Y.Harburg Background Instrumental 0.17
20 Good Morning To All MJ.HIII, P.S.HIII Background Instrumental 0.04
#735 Lighthouse Mouse Milt Franklyn

5 Flying Dutchman, The R-Wagner Background Instrumental 0.18
432
#736 Sahara Hare Milt Franklyn
9 Singin' in the Bathtub M.CIeary, H.Magidson, N.Washington Visual Vocal 0.05
#737 Sandy Claws Carl Stalling

2 Love Ya P.DeRose, CTobias 0.54
16 Happy Farmer R.Scott Background Instrumental 0.31
#738 The Hole Idea Milt Franklyn

15 King Chanticleer N.D-Ayer, A.S.Brown Background Instrumental 0.08
#739 Ready,Set,Zoom!
2 Bartered Bride, Trie B.Smetana Background Instrumental 0.15
6 Columbia trie Gem of the Ocean T.A. Beckett, D.T.Shaw Background Instrumental 0.03
14 It Had To Be You G.Kahn, rJones Background Instrumental 0.11
#740 Hare Brush Milt Franklyn

Released 5/7/1955_______Cue Sheet Date 3/29/1955____________________________
3 Forty Second Street A.Dubfn, H.Warren Background Instrumental 0.13
#741 Past Perfumance Milt Franklyn

#742 Tw eety's Circus Milt Franklyn

Released 6/11/1955 Cue Sheet Date 4/8/1955_____________________________
433
#743 R abbit Ram page Milt Franklyn
7 Rocked in the Cradle of the Deep Unk. Background Instrumental 2.00
#744 Lumber Jerks Milt Franklyn

4 Gathering Nuts in May Unk. Background Instrumental 0.06
#745 This is a Life? Milt Franklyn

#746 Double or M utton Milt Franklyn

2 Mary Had a Little Lamb Unk. Background Instrumental 0.14
7 Little Bo-Peep Unk. Background Instrumental 0.06
#747 Jum pin'Jupiter Carl Stalling

6 Reckless Night on Board an Ocean Liner R-Scott Background Instrumental 0.29
#748 A Kiddies K itty Milt Franklyn

#749 Hyde and Hare Carl Stalling

7 Minute Waltz F.ChopIn Visual Instrumental 0.26
434
#750 Dim e to Retire Milt Franklyn
5 AintW eGotFun R.B.Egan, G.Kahn, R.Whiting Visual Vocal 0.10
#751 Speedy Gonzales Carl Stalling

2 Jarabe Tapatlo Unk. Background Instrumental 0.16
10 InCaliente M.Dixon, A.Wrube) Background Instrumental 0.18
#752 K night-M are Hare Milt Franklyn

#753 Tw o Scent's W orth Milt Franklyn

6 Aiouette Unk. Background Instrumental 0.07
8 La Vie en Rose Loulguy, EPiaf Background Instrumental 0.20
#754 Red Riding Hoodwinked Milt Franklyn

#755 Roman Legion Hare Milt Franklyn

3 Taps Unk. Visual Instrumental 0.09
#756 Heir-Conditioned Milt Franklyn

2 We're in the Money A.Dubin, H.Wanen Background Instrumental 0.15
9 For He's a Jolly Good Fellow Unk. Visual Vocal 0.08
15 Long Long Ago T.Bayly Background Instrumental 0.16
#757 Guided M usde Cad Stalling

435
#758 Pappy's Puppy Cari Stalling
12 AintWeGotFun R.B.Egan, G.Kahn, R.WhitIng Background Instrumental 0.12
#759 One Froggy Evening Milt Franklyn

4 Hello Ma Baby LEmerson, J.EHoward Visual Vocal 0.18
12 Come Bade To Erin Unk. Visual Vocal 0.14
13 Tm Just Wild About Harry E Blake, N.SIssle Visual Vocal 0.13
14 Throw Him Down McQoskey Unk. Visual Vocal 0.13
16 W ont You COme Over to My House Evan Alstyne, H.Williams Visual Vocal 0.27
18 Barber of Seville G.Rossini Visual Vocal 0.20
20 Please DontTalk About Me When Tm Gone S.CIare, S.H.Stept Visual Vocal 0.32
#760 Bugs Bonnets Milt Franklyn

9 Turkey in the Shaw Unk. Background Instrumental 0.05
#761 Too Hop to Handle Milt Franklyn

#762 Weasel Stop Milt Franklyn

#763 The High and The Flighty Cari Stalling

#764 Broom-Stick Bunny Milt Franklyn

3 A Cup of Coffee, A Sandwich and You A.Dubin, J.Meyer, B.Rose Visual Vocal 0.20
5 Oh You Beautiful Doll N.DJtyer, A.S.Brown Background Instrumental 0.04
436
#765 Rocket Squad Milt Franklyn
6 Mother Machree E.R.Ball, COIcott, RJ.Young Visual Instrumental 0.15
#766 T w e e t and Sour Milt Franklyn

2 Aint She Sweet M.Ager, J.Yellen Background Instrumental 0.18
6 Funeral March F.Chopin Visual Vocal 0.13
#767 Heaven Scent Milt Franklyn

3 Au Clair de la Lune Unk. Visual Vocal 0.27
7 While Strolling Through the Park One Day E.Haley Visual Vocal 0.38
9 Band Played On, The J.F.Palmer, CB.Ward • Visual Vocal 0.11
11 La Vie en Rose Louiguy, E.Piaf Background Instrumental 0.08
15 Cherle, I Love You LRosedale Goodman Background Instrumental 0.09
#768 M ixed M aster Milt Franklyn

#769 Rabbitson Crusoe Milt Franklyn

14 Secret Love S.Fain, P.F.Webster Visual Vocal 0.20
20 California Here I Come B.G.Desytva, AJolson, j.Meyer Background Instrumental 0.04
#770 G e e W h iz-z-z Milt Franklyn

7 Columbia the Gem of the Ocean T.A. Beckett, D.TShaw Background Instrumental 0.04
#771 Tree Cornered Tw eety Milt Franklyn

437
#772 The Unexpected Pest Cari Stalling
#773 Napoleon Bunny-Part Milt Franklyn

3 On the Rue de la Paix W.R. Heymann, T . Koehler Background Instrumental 0.15
4 La Marseillaise CR.DeUsle Background Instrumental 0.04
20 Grand Central Station J.Cavanaugh, J.Redmood, F.Weldon Background Instrumental 0.14
#774 Tugboat Granny Milt Franklyn

#775 Stupor Duck Carl Stalling

6 America Speaks B.Machan Background Instrumental 0.08
#776 B arbary Coast Bunny Carl Stalling

2 California Here I Come B.G.Desylva, AJolson, J.Meyer Background Instrumental 0.16
6 Oh My Darling Clementine P.Montrose Visual Vocal 0.04
9 Mysterious Mose W.Doyle Background Instrumental 0.07
#777 Rocket-Bye Baby Milt Franklyn

5 What's the Matter With. Father H.Wiillams, E.van Aistyne Background Instrumental 0.09
7 Aint She Sweet MJtger, J.Yellen Background Instrumental 0.06
#778 H alf Fare Hare Carl Stalling

4 Sleepy Valley J.Hanley, A.B.Sterllng Background Instrumental 0.12
438
#779 Raw! Raw! Rooster Carl Stalling
3 Sometime T.Rortto, G.Kahn Visual Instrumental 0.22
9 Freddy the Freshman (The Freshest Kid In CFriend, D.Oppenheim Visual Vocal 0.32
#780 The Slap-Hoppy Mouse Carl Stalling

#781 Yankee Dood I t Milt Franklyn

#782 A S tar is Bored Milt Franklyn

11 Captains of the Clouds H.Ar1en, J.Mercer Background Instrumental 0.32
#783 W ideoW abbit Carl Stalling

3 Lucky Day LBrown, B.G.Desytva, R-Henderson Visual Vocal 0.11
8 Hooray for Hollywood J.Mercer, R.Whlting Background Instrumental 0.33
11 Pop Goes the Weasel Unk. Visual Instrumental 0.10
#784 Deduce, You Say Milt Franklyn

9 Country Gardens Unk. Background Instrumental 0.08
13 For He’s a Jolly Good Fellow Unk. Background Instrumental 0.07
15 That Wonderful Mother of Mine W.Goodwin, C Hager Background Instrumental 0.06
439
#785 There They Go-Go-Go Cari Stalling
Released 11/10/1956 Cue Sheet Date 11/9A1956
#786 Tw o Crows From Tacos Milt Franklyn

Released 11/24/1956 Cue Sheet Date 11/1Z/1956
14 IUstdt ItasWt Unk. Visual Vocal 0.07
#787 The Honey-Mousers Milt Franklyn

6 Forty Second Street A.Dubln, H.Warren Background Instrumental 0.39
8 Aint We Got Fun R.B.Egan, G.Kahn, R.WTIting Background Instrumental 0.20
#788 To Hare is Human Milt Franklyn

1 Merrily We Roll Along CTobias, M.Mencher, ELCantor Background Instrumental 0.13
2 Wintermarchen A.Czibulka Background Instrumental 0.19
5 Sweet Georgia Brown B.Bemie, ICCasey, M.Pimkard Visual Vocal 0.06
7 (Ho-dle-ay) Start the Day Right A.Lewis, M.Spltalny, CTobias Visual Vocal 0.15
#789 Three Little Bops Shorty Rodgers

3 Charleston JJohnson, CMack Visual Instrumental 0.15
5 Dont Give Up the Ship A.Dubin, H.Warren Visual Instrumental 0.05
#790 Tw eet Zoo Milt Franklyn

Released 1/12/1957 Cue Sheet Date l/2 5 /T1957
#791 Scrambled Arches Stalling 8 t Franklyn

Released 1/26/1957 Cue Sheet Date 2/4/L957
#792 A liB aba Bunny Stalling 8 t Franklyn

Released 2/9/1957 Cue Sheet Date 2/4/L957
1 Merrily We Roll Along CTobias, M.Mencher, ELCantor Background Instrumental 0.13
9 Blue Beard and Fatima T.Bendbc Background Instrumental 1.06
440
#793 Go Fly a K it Milt Franklyn
Released 2/23/1957 Cue Sheet Date 2/14/1957____________________________
#794 Bedevilled R abbit Milt Franklyn

Released 4/13/1957 Cue Sheet Date_4/3/1957________
1 Merrily We Roll Along CTobias, M.Mencher, B.Cantor Background Instrumental 0.11
11 Attsa Matta For You M.Maltese visual Vocal 0.20
14 Oh You Beautiful Doll N.DJVyer, AJi.Brown Background Instrumental 0.03
#795 Cheese I t , The Cat Stalling & Franklyn

3 My Wild Irish Rose COIcott Visual Vocal 0.16
6 Sweet Georgia Brown B.Bemie, K-Casey, M.PInkard Background Instrumental 0.13
#796 Fox Terror Stalling &. Franklyn

12 Grandfather's Clock H.CWork Background Instrumental 0.10
16 Lucky Day L.Brown, B-G.Desytva, R.Henderson Background Instrumental 0.26
#797 Tw eety and The Beanstalk Milt Franklyn

#798 Piker’s Peak Stalling 8 l Franklyn

3 When I Yoo-Hoo In the Valley M.Martin, H.Russell Background Instrumental 0.14
5 Bartered Bride, The B.Smetana Visual Instrumental 0.35
7 Sleep Baby Sleep Unk. Visual Hummed 0.11
#799 Steal Wool Milt Franklyn

2 Baa Baa Black Sheep Unk. Background Instrumental 0.19
441
#800 Tabasco Road Stalling & Franklyn
Released 6/20/1957 Cue Sheet Date 5/17/1957____________
#801 Boston Quackie Milt Franklyn

8 La Marseillaise CR.DeUsle Background Instrumental 0.02
9 Tea for Two I.Caesar, V.Youmans Background Instrumental 0.12
#802 W tia fs Opera, Doc? Milt Franklyn

4 Ride of the Valkyries R.Wagner Visual Vocal 0.28
5 Siegfried R-Wagner Background Instrumental 0.47
7 Rlenzf Overture R.Wagner Background Instrumental 0.09
8 Tannhauser R.Wagner Visual Vocal 1.27
9 Return My Love R.Wagner, M.Maltese Visual Vocal 0.54
#803 Birds Anonymous Milt Franklyn

5 Tlp-Toe Through the Tulips With Me J.Burke, A.Dubin Visual Hummed 0.22
8 Bye Bye Blackbird M.Dbcon, R.Henderson Background Instrumental 0.13
#804 Ducking the Devil Milt Franklyn

5 Sweet Georgia Brown B.Bemie, K.Casey, M.Pinkard Background Instrumental 0.07
10 L'Amour Toujours L'Amour CCCushlng, R.Friml Visual Vocal 0.06
11 I'm Looking Over a Four Leaf Clover M.Dbcon, H.Woods Visual Vocal 0.08
12 Carolina In the Morning W.Donaldson, G.Kahn Visual Vocal 0.05
13 When Irish Eyes are Smiling EBail, G.GralT Jr., COIcott Visual Vocal 0.10
14 Moonlight Bay EMadden, P.Wenrtch Visual Vocal 0.08
#805 Bugsy and Mugsy Stalling 8i Franklyn

7 Lullaby J.Brahms Background Instrumental 0.05
#806 Zoom 8 l Bored Stalling & Franklyn

8 Bartered Bride, The B.Smetana Background Instrumental .0.42
442
#807 Boyhood Daze Milt Franklyn
6 Captains of the Clouds H.Arlen, J.Mercer Background Instrumental 0.46
8 Columbia the Gem of the Ocean T.A.Beckett, D.TShaw Background Instrumental 0.10
#808 Greedy for Tweety Milt Franklyn

#809 Touche and Go Milt Franklyn

2 I've Been Working on the Railroad Unk. Visual Vocal 0.27
4 Alouette Unk. Visual Vocal 0.10
#810 Show Biz Bugs Milt Franklyn

3 Fm Looking Over a Four Leaf Clover M.Dbcon, H.Woods Background Instrumental 0.12
4 Tea for Two I.Caesar, v.Youmans Background Instrumental 0.29
12 Believe Me If All Those Endearing Young T. Moore Background Instrumental 0.25
#811 Mouse-Taken Id en tity Stalling & Franklyn

#812 Gonzales'Tamales Stalling & Franklyn

2 Chiapanecas Unk. Background Instrumental 0.16
5 La Paloma S.Yradler Visual Vocal 0.09
7 Muchacha . . A.Dubin, H.Warren Background Instrumental 0.44
11 La Cucaracha Unk. Background Vocal 0.11
15 Jarabe Tapado Unk. Background Instrumental 0.10
#813 Rabbit Romeo M.Franklyn

1 Menlly We Roll Along CTobias, M.Mencher, E.Cantor Background Instrumental 0.13
5 Oh You Beautiful Doll N.DJtyer, A.S.Brown Background Instrumental 0.03
13 In an Bghteenth Century Drawing Room R-Scott Background Instrumental 0.07
16 Cosatchoque A.DargomiJsky Background Instrumental 0.06
443
#814 D on't Axe Me Milt Franklyn
#815 Tortilla Flaps Milt Franklyn

Released 1/18/1958 Cue Sheet Date 12/23/1957___________________________
3 Muchacha ADubin, H.Warren Background Instrumental 0.25
7 Chiapanecas Unk. Visual Vocal 0.08
#816 Hare-less W olf Milt Franklyn

Released 2/1/1958_______ Cue Sheet Date 12/23/1957___________________________
#817 A Pizza Tw eety Pie Milt Franklyn

Released 2/22/1958 Cue Sheet Date 12720/1957___________________________
5 Santa Lucia Unk. Visual Vocal 0.09
#818 Robin Hood D affy Milt Franklyn

2 Come lasses 8lLads Unk. Visual Vocal 1.05
5 Barbara Allen Unk. Visual Vocal 0.12
#819 Hare-W ay to the Stars Milt Franklyn

2 Twinkle Twinkle Uttle Star Unk. Background Instrumental 0.19
#820 W hoa Be-Gone! Milt Franklyn

#821 A W ag g ilyT aie Milt Franklyn

Released 4/26/1958 Cue Sheet Date 2/14/1958_____________________________
13 Seven Long Years In State Prison Traditional Visual Instrumental 0.17
444
#822 Feather Bluster Franklyn &. Stalling
#823 Now Hare This Milt Franklyn

10 Jeepers Creepers J.Mercer, H.Warren
#824 To Itc h His Own Carl Stalling

I Merrily We Roll Along CTobias, M.Mencher, E-Cantor Background Instrumental 0.13
I I For He's a Jolly Good Fellow Unk. Background Instrumental 0.08
#825 Dog Tales Milt Franklyn

1 Merry Go Round Broke Down CFriend, D.Franklin
5 Alouette Unk. Background Instrumental 0.04
IS Wearing of the Green, The Unk. Background Instrumental 0.02
#826 W easel W hile You W ork John Seely

#827 Knighty Knighty Bugs Milt Franklyn

#828 A Bird in a Bonnet John Seely

#829 Hook, Line and Stinker John Seely

445
#830 Pre-Hysterical Hare John Seely
#831 Gopher Broke John Seely

#832 H ipH ip-H urry John Seely

#833 Cat Feud Milt Franklyn

#834 Baton Bunny Milt Franklyn

3 Morning, Noon, and Night In Vienna F.von Suppe Background Instrumental 1.07
#835 Mouse-Placed Kitten Milt Franklyn

4 Rock-a-Bye Baby Unk. Background Vocal 0.12
#836 China Jones Milt Franklyn

#837 Hare-Abian Nights Milt Franklyn

3 Sweet Georgia Brown B.Bemle, ICCasey, M.PInkard Visual Instrumental 0.24
13 Wish That I Wish Tonight; The M.KJerome, J.Schdl Background Instrumental 0.44
#838 Trick or Tw eet Milt Franklyn

446
#839 The Mouse Th at Jack Built Milt Franklyn
2 Study No. 1 R.Kreutzer Background Instrumental 0.24
3 We're in die Money A.Dubln, H.Warren Background Instrumental 0.03
5 Spring Song F.Mendelssohn Visual Instrumental 0.13
7 Oh You Beautiful Doll N.DJLyer, A.S.Brown Background Instrumental 0.06
17 Tea for Two LCaesar, V.Youmans Visual Instrumental 0.16
#840 Apes o f W rath Milt Franklyn

#841 Hot Rod and Reel! Milt Franklyn

#842 A M utt in a Rut Milt Franklyn

11 Old Pal G.Kahn, E.van Alstyne Background Instrumental 0.08
#843 Backwoods Bunny Milt Franklyn

12 Tm Looking Over a Four Leaf Clover M.Dixon, H.Woods Visual Vocal 0.10
#844 Really Scent Milt Franklyn

1 Merrily We Rod Akxig CTobias, M.Mencher, E.Cantor Background Instrumental 0.13
7 Blow the Man Down Unk. Visual Vocal 0.10
9 Cherle, I Love You LRosedale Goodman Background Instrumental 03 7
11 L'Amour Toujours L'Amour CCCushlng, R-Frlml Background Instrumental 0.19
447
#845 Mexicali Shmoes Milt Franklyn
1 Meny Go Round Broke Down CFriend, D.Franklin Background Instrumental 0.13
#846 Tw eet and Lovely Milt Franklyn

3 SIngin' In the Bathtub M.CJeary, H.Magldson, N.Washington Visual Vocal 0.32
#847 W ild and W ooly H are Milt Franklyn

3 Cheyenne Evan Alstyne, H.Williams Background Instrumental 0.14
7 On the 5:15 J.Marshall, S.Murphy Background Instrumental 0.04
#848 Cat's Paw Milt Franklyn

#849 Here Today, Gone Tam ale Milt Franklyn

#850 Bonanza Bunny Milt Franklyn

5 Sunshine of Paradise Alley, The J.W.Bratton, W.H.FOrd Background Instrumental 0.08
6 There Is a Tavern In the Town Unk. Background Instrumental 0.11
#851 A Broken Leghorn Milt Franklyn

11 Freddy the Freshman (The Freshest KM In CFriend, D.Oppenheim Background Instrumental 0.05
#852 W ild About H urry Milt Franklyn

1 Merrily We RoO Along CTobias, M.Mencher, ECantor Background Instrumental 0.13
3 Tm Just Wild About Harry EBIake, N.Sissle Background Instrumental 0.18
448
#853 A W itch's Tangled Hare Milt Franklyn
S Lullaby J.Brahms Background Instrumental 0.12
7 Singln’ in the Bathtub M.deary, H.Magidson, N.Washington Background Instrumental 0.09
#854 Unnatural History Milt Franklyn

IS Oh Where Has My Uttle Dog Gone Unk. Background Instrumental 0.04
#855 T w eet Dream s

15 Cheyenne Evan Alstyne, H.Wllllams Background Instrumental 0.09
#856 People are Bunny Milt Franklyn

#857 Fastest W ith th e Mostest Milt Franklyn

3 Audition A.Kbty Background Instrumental 0.17
#858 W est o f th e Pesos Milt Franklyn

6 Muchacha A.Dubinr H.Warren Background Instrumental 0.24
#859 Horse H are Milt Franklyn

3 Cheyenne Evan Alstyne, H.Wllllams Background Instrumental 0.12
8 Ten Uttie Indians Unk. Visual Vocal 0.16
14 Battle Cry of Freedom G.Root Background Instrumental 0.16
449
#860 W ild W ild W orld Milt Franklyn
4 Dinner Music for a Pack of Hungry Cannibals R-Scott Background Instrumental 0.40
6 Hooray for Hollywood J.Mercer, R-Whltlng Background Instrumental 0.15
#861 Goldimouse and the Three Cats Milt Franklyn

5 While Strolling Through the Park One Day E-Haley Background Instrumental 0.16
#862 Person to Bunny Milt Franklyn

3 Hooray for Hollywood J.Mercer, R-Whltlng Background Instrumental 0.26
6 Escapade G.Wood Background Instrumental 0.20
#863 W ho Scent You? Milt Franklyn

3 April in Paris V.Duke, EY.Harburg Background Instrumental 0.14
4 On the Rue de la Pafx W.R. Heymann, T. Koehler Background Instrumental 0.18
7 Band Played On, The CB.Ward, J.F.Palmer Visual Vocal 0.16
#864 Hyde and Go Tw eet Milt Franklyn

7 A Cup of Coffoe, A Sandwich and You A-DuWn, J.Meyer, B.Rose Background Instrumental 0.15
#865 Rabbit's Feat Milt Franklyn

5 A Cup of Coffee, A Sandwich and You A-Dubin, J.Meyer, B-Rose Background Instrumental 0.14
#866 Crockett-Doodle-Doo Milt Franklyn

3 Ok! MacDonald Had a Farm Unk. Background Instrumental 0.06
450
#867 Mouse and Garden Milt Franklyn
#868 Ready Woolen and Able Milt Franklyn

5 Five O'clock Whistle K.Gannon, G.Irwin, J.Myrow Background Instrumental 0.16
#869 Mice Follies Milt Franklyn

3 Bowery, The P.Gaunt, GH.Hoyt Background Instrumental 0.09
4 Ain't We Got Fun R.8.Egan, G.Kahn, R.Whiting Background Instrumental 035
#870 From Hare to H eir Milt Franklyn

10 Jeanle With the Light Brown Hair S.Foster Visual Vocal 0.11
12 Lullaby J.Brahms Visual Vocal 0.10
14 Singln' In the Bathtub M.deary, H.Magldson, N.Washington Background Vocal 0.06
#871 The Dixie Fryer Milt Franklyn

2 De Camptown Races S.FOster Background Instrumental 0.17
5 Are You From Dixie G.LCobb, J.Yeilen Background Instrumental 0.12
#872 Hopalong Casualty Milt Franklyn

6 Peter, Peter, Pumpkin Eater Unk. Background Instrumental 0.09
#873 Trip fo r T at Milt Franklyn

3 April in Paris V.Duke, E.Y.Harburg Background Instrumental 0.06
451
#874 Dog Gone People Milt Franklyn
4 We're in the Money A-Dubin, H.Warren Background Instrumental 0.53
5 Cheerful Little Earful I.Gershwin, B.Rose, H.Warren Background Instrumental 0.12
7 Cant We Be Friends PJames, IGSwift Background Instrumental 0.14
9 I Want to be Happy I.Caesar, V.Youmans Background Instrumental 0.16
#875 High Note Milt Franklyn

#876 Lighter Than Hare Milt Franklyn

4 Cheerful Little Earful I.Gershwin, B.Rose, H.Warren Background Instrumental 0.06
#877 Cannery Woe Milt Franklyn

11 In Caliente M.Dbcon, A-Wrubel Background Instrumental 0.21
#878 Zlp’n'Snort Milt Franklyn

#879 HoppyDaze Milt Franklyn

#880 The Mouse on 5 7th S tre et Milt Franklyn

4 Show Me the Way to Go Home I.King Background Instrumental 0.28
452
#881 Strangled Eggs Milt Franklyn
3 Oe Camptown Races S.Foster Background Instrumental 030
4 TTp-Toe Through the Tulips With Me J.Burke, A.Dubin Background Instrumental 0.10
6 Dear Little Boy of Mine E.R.Ball, J.K-Brennan Background Instrumental 0.20
#882 Birds o f a Feather Milt Franklyn

#883 D'Fightin' Ones Milt Franklyn

2 Red River Valley Unk. Visual Instrumental 0.36
#884 The Abominable Snow Rabbit Milt Franklyn

3 California Here I Come B.G.Desytva, AJoison, J.Meyer Background Instrumental 0.24
#885 Lickety Splat Milt Franklyn

#886 A Scent o f the M atterhorn Milt Franklyn

4 Tlp-Toe Through the Tulips With Me J.Burke, A.Dubin Visual Vocal 0.53
#887 A Rebel W ithout Claws Milt Franklyn

6 Rally Round the Rag Boys Unk. Background Instrumental 0.07
453
#888 Compressed Hare Milt Franklyn
Rp|pa<^d 7/29/1961 Cue Sheet Date 7/26/1961_______
3 Singin' in the Bathtub M.Geary, H.Magidson, N.Washington Background Vocal 0.16
5 Cheerful Lithe Earful I.Gershwin, B.Rose, H.Warren Background Instrumental 038
#889 The Pied Piper o f Guadalupe Milt Franklyn

6 Jarabe Tapatfo link. Background Instrumental 0.12
#890 Prince Violent Milt Franklyn

#891 Daffy's In n Trouble Milt Franklyn

3 My Little Buckaroo M.KJerome, J.Scholl Background Instrumental 0.24
6 Latin Quarter, The A.Dubin, H.Warren Visual Vocal C.20
8 Ride Tenderfoot Ride 3.Mercer, R.Whiting Background Instrumental 037
#892 W hat's My Lion Milt Franklyn

I Merry Go Round Broke Down CFriend, D.Franklin Background Instrumental 0.14
I I Animal Fair Unk. Background Instrumental 0.15
#893 Beep Prepared Milt Franklyn

I Merrily We Roll Along CTobias, M.Mencher, E.Cantor Background Instrumental 0.14
I I Twinkle Twinkle Little Star Unk. Background Instrumental 0.05
#894 The Last Hungry Cat Milt Franklyn

I Merrily We Roll Along CTobias, M.Mencher, E-Cantor Background Instrumental 0.12
I I Lucky Day l_Brown, B.G.Desytva, R.Henderson Background Instrumental 0.12
#895 Nelly's Folly Milt Franklyn

3 Voices of Spring J.Strauss Visual Vocal 0.24
9 Auld Lang Syne Unk. Visual Vocal 0.24
18 Then You'll Remember Me M.W.Balke Visual Vocal 0.46
454
#896 W e t H are M ilt Franklyn
3 Singfn' in the Bathtub M.CJeary, H.Magidson, N.Washlngton Background Instrumental 0.12
5 April Showers B.G.DeSylva, LSIvers Visual Vocal 0.41
#897 A Sheep in th e Deep Milt Franklyn

4 Power House R.Scot£ Background Instrumental 0.21
8 A Cup of COffee, A Sandwich and You ADubln, J.Meyer, B.Rose Background Instrumental 0.11
#898 Fish and Slips Milt Franklyn

Released 3/10/196 2 Cue Sheet Date 1/4/1962
#899 Q uackodile Tears Milt Franklyn

14 You Must Have Been a Beautiful Baby J.Mereer, H.Warren Background Instrumental 0.10
#900 Crow's F e a t Milt Franklyn

Released 4/21/196 2 Cue Sheet Date 2/12/1962
3 La Paloma S.Yradler Background Instrumental 0.30
#901 M exican Boarders Milt Franklyn

2 Jarabe TapaUo Unk. Background Instrumental 0.17
11 Ml Sueno Unk. Background Instrumental 0.22
#902 Bill o f H a re Milt Franklyn

Released 6 /9 /1 9 6 2 Cue Sheet Date 3/30/1962
5 L'Amour Toujours L'Amour CCCushlng, R.Friml Visual Vocal 0.04
#903 Zoom a t th e Top Milt Franklyn

455
#904 The Slick Chick Milt Franklyn
8 Twinkle Twinkle Little Star Unk. Background Instrumental 0.13
#905 Louvre Come Back to Me Milt Franklyn

3 Aupres de ma Blonde Unk. Background Vocal 0.24
#906 Honey's Money Milt Franklyn

3 In A Shanty In Old Shanty Town J.UtUe, J.Sras, J.Young Background Instrumental 0.14
S Lucky Day L_Brown, B.G.Desytva, R.Henderson Background Instrumental 0.12
14 Aint We Got Fun R.B.Egan, G.Kahn, R.Whiting Background Instrumental 0.36
#907 The J e t Cage Milt Franklyn

17 Spirit of Independence A.Holzmann Background Instrumental 0.10
#908 M other Was A Rooster Milt Franklyn

7 Dear Little Boy of Mine ER-Ball, J.ICBrennan Background Instrumental 0.06
#909 Good Noose William Lava

6 Blow the Man Down Unk. Visual Vocal 0.19
#910 Shishkabugs William Lava

2 Coronation March G.Meyerbeer Background Instrumental 0.20
456
#911 M artian Through Georgia Bill Lava
#912 I Was a Teenage Thumb William Lava

2 Greensleeves Unk. Background Instrumental 0.17
3 A-Roving Unk. Background Instrumental 0.24
7 Barbara Allen Unk. Visual Vocal 0.12
#913 Devil's Feud Cake Milt Franklyn

#914 Fast Buck Duck William Lava

#915 The Million Hare William Lava

#916 Mexican Cat Dance William Lava

#917 Now Hear This William Lava

6 Rule Brlttania Unk. Background Instrumental 0.12
8 Yankee Doodle G.Morris Background Instrumental 0.05
#918 Woolen Under W here William Lava

1 Merrily We Roil Along CTobias, M.Mencher, E-Cantor Background Instrumental 0.12
2 Mountain Greenery LHart, R.Rodgers Background Instrumental 0.20
#919 Hare-Breadth H urry William Lava

457
#920 Banty Raids William Lava
4 Gee Whlzz-Whilikens-Golly Gee M.David!, J.Uvlngston Visual Vocal 0.07
IS Wedding March R.Wagner Background Instrumental 0.13
#921 Chili W eather William Lava

#922 The Unmentionables William Lava

3 Charleston JJohnson, CMadc Background Instrumental 0.16
8 Sweet Georgia Brown B.Bemte, K.Casey, M.Pfnkard Background Instrumental 035
#923 Aqua Duck William Lava

#924 Mad as a Mars Hare William Lava

9 Yankee Doodle G.Morrls Background Instrumental 0.12
#925 Claws in the Lease William Lava

Released 11/9/1963 Cue Sheet iDate 5/20/1963
2 Home Sweet Home H.R.Bish«p, J.H.Payne Background Instrumental 0.25
7 Uttle Brown Jug Unk. Background Vocal 0.11
9 Home on the Range Unk. Background Vocal 0.23
#926 Transylvania 6 -5 00 0 William Lava

5 It's Magic S.Cahn, J.Styne Visual Vocal 0.30
#927 To Beep or Not To Beep William Lava

1 Merrily We Roll Along CTobias^ M.Mencher, ECantor Background Instrumental 0.12
458
#928 Dumb Patrol William Lava
1 Get Happy Koehler Orchestra and Vocal
2 Madelon Robert Vocal
3 There's a Long Long Trail S.King, Z.Elliott Background Instrumental 0.17
3 Under the Moon Its You White Orchestra
4 Mademoiselle from Armentieres Unk. Background Instrumental 0.13
4 Shuffle Your Feet McHugh Orchestra
5 Living a Life of Dreams COwan Orchestra
6 Nine Little Miles From Ten-Ten-Tennessee COnrad Orchestra
7 Here Comes My Blackbird McHugh Orchestra
8 Watch on the Rhein, The Unk. Background Instrumental 0.11
9 When Love Comes In the Moonlight Burke, Dubin Orchestra and Vocal
14 Ach du Lieber Augustin Unk. Background Instrumental 0.10
#929 A Message to Gracias William Lava

#930 Bartholom ew Versus the W heel William Lava

#931 Freudy C at Robert McKimson

4 Kingdom Coming (Jubilo) H.Work Visual Whistled 0.13
#932 Dr.Devil and M r.H are William Lava

4 By a Waterfall S.Faln, I.Kahal Visual Vocal 0.16
#933 Nuts and Volts William Lava

#934 The Icem an Ducketh William Lava

6 Baby Face H-Akst, B.Davis Background Vocal 0.05
#935 W ar and Pieces William Lava

459
#936 Hawaiian Aye Aye William Lava
2 My Isle of Golden Dreams W.BIaufirss, G.Kahn Background Instrumental 0.16
4 In Waikiki J.Mercer, A.Schwartz Background Instrumental 0.16
6 Hula Lou M.Charles, W.KIng, J.Yellen Visual Vocal 0.43
#937 False Hare William Lava

#938 Senorella and The Glass Huarache Milt Franklyn

10 Jarabe TapaUo Unk. Background Instrumental 0.42
#939 Pancho's Hideaway William Lava

#940 Road to Andalay William Lava

#941 It's Nice to Have a Mouse Around the William Lava

1 Merry Go Round Broke Down CFriend, D.Franklin Background Instrumental 0.:
#942 Cats and Bruises William Lava

5 delito Undo Unk. Visual Vocal 0.30
#943 The W ild Chase William Lava

#944 Moby Duck William Lava

#945 Assault and Peppered William Lava

460
#946 W ell Worn Daffy William Lava
Released S/22/1965 Cue Sheet Date 5/20/1965_______
#947 Suppressed Duck William Lava

#948 Com on the Cop William Lava

#949 Rushing Roulette William Lava

6 Believe Me If All Ttiose Endearing Young T.Moore Visual Instrumental 0.29
#950 Run, Run, Sweet Road Runner William Lava

#951 Tease fo r Two William Lava

#952 Tired and Feathered William Lava

1 Merry Go Round Broke Down CFriend, D.Franklin Background Instrumental o.:-;
#953 Boulder Wham William Lava

#954 Chili Com Corny William Lava

#955 Just Plane Beep William Lava

#956 Hairied and Hurried William Lava

461
#957 Go Go Amigo William Lava
6 Jarabe Ta patio Unk. Background Instrumental 0.04
13 La Raspa Unk. Visual Instrumental 0.15
#958 Highway Runnery William Lava

#959 Chaser on the Rocks William Lava

#960 The Astroduck William Lava

#961 Shot and Bothered William Lava

#962 O ut and Out Rout William Lava

#963 Muchos Locos Herman Stein

8 Rule Bdttania Unk. Background Instrumental 0.10
9 Jarabe Tapado Unk. Background Instrumental 0.12
#964 Mexican Mousepiece William Lava

#965 The Solid Tin Coyote William Lava

#966 Clippety Clobbered William Lava

462
#967 A-Haunting W e W ill Go William Lava
8 Aloha Oe Queen Uluokalani Visual Vocal 0.08
#968 D affy Rents Irving Gertz

#969 Snow Excuse William Lava

#970 A Squeak in the Deep Walter Greene

6 Hawaiian W ar Chant R.Freed, J.Noble, Leleiohaku Background Instrumental 0.08
7 Aloha Oe Queen Uluokalani Visual Vocal 0.08
8 Hula Lou M.Charies, W.KIng, J.Yellen Visual Vocal 0.10
#971 Feather Finger Walter Greene

6 I'm An Old Cowhand (From the Rio Grande) J.Mercer Visual Vocal 0.03
II La Paloma S.Yradler Background Instrumental 0.06
#972 Swing Ding Amigo Walter Greene

#973 Sugar and Spies Walter Greene

#974 A Taste o f Catnip Walter Greene

#975 D affy's D iner Walter Greene

1 Meny Go Round Broke Down CFriend, D.Franklin Background Instrumental 0.15
463
#976 Quacker Tracker William Lava
#977 Music M ice-Tro William Lava

#978 The Spy S w atter William Lava

#979 Speedy Ghost To Town William Lava

2 Red River Valley Unk. Background Instrumental 0.20
#980 Rodent To Stardom William Lava

#981 Go Away Stow aw ay William Lava

3 La Cucaractia Unk. Visual Vocal 0.08
#982 Cool Cat William Lava

#983 Merlin th e Magic Mouse William Lava

#984 Fiesta Fiasco William Lava

8 April Showers B.G.DeSytva, L.Silvers Background Instrumental 0.35
10 Painting the Clouds With Sunshine A.Dubin, J.Burke Background Instrumental 0.21
464
#985 Hocus Pocus Pow W ow William Lava
#986 Norman Normal William Lava

Released 2/3/1968_______Cue Sheet Date_2/23/1968_______
1 Norman Normal PaulStockey Visual Vocal 0.46
#987 Big Game Haunt William Lava

#988 Skyscraper Caper William Lava

#989 Hippydrome Tiger William Lava

6 April in Paris V.Duke, E-Y.Harburg Background Instrumental 0.11
12 Paree Je Takne W.Hendricks, W.Roemhetd Background Instrumental 0.15
#990 A Feud W ith A Dude William Lava

2 I Like Mountain Music J.Cavanaugh, F.Weldon Background Instrumental 0.20
14 Chicken Reef Unk. Background Instrumental 0.32
#991 See Ya Later Gladiator William Lava

#992 3 Ring W ing Ding William Lava

7 Over the Waves J.Rosas Background Instrumental 031
#993 Flying Circus William Lava

2 Mademoiselle from Armentleres Unk. Background Instrumental 0.33
4 Charge (Bugle Call) Unk. Background Instrumental 0.08
9 American Patrol F.W.Meacham Background Instrumental 0.37
465
#994 Chimp and Zee William Lava
#995 Bunny and Claude William Lava

#996 The G reat Carrot Train Robbery William Lava

#997 Fistic Mystic William Lava

#998 Rabbit Stew and Rabbits Too William Lava

1 Happy Song W.Hendrfcks, W.Lava Background Instrumental 0.12
#999 Shamrock and Roll William Lava

1 Happy Song W.Hendricks, W.Lava Background Instrumental 0.11
#1000 Bugged By A Bee William Lava

5 We're Working Our Way Through College J.Mercer, R.Whiting Visual Vocal 0.12
#1001 In ju n Trouble [1 9 6 9 ] Bill Lava

466
Appendix IB
ALPHABETICAL LIST OF THE WARNER BROS. CARTOONS

PRODUCED FROM 1930-1968
3 Ring Wing Ding 992 A Waggily Tale 821

8 Ball Bunny 594 A Witch’s Tangled Hare 853
A Bear For Punishment 632 A-Haunting We Will Go 967
A Bird in a Bonnet 828 A-Lad-In Bagdad 213
A Bird in a Guilty Cage 659 A-Lad-In His Lamp 536
A Bone For A Bone 617 Aerobatty Bunny 477
A Broken Leghorn 851 Africa Squeaks 274
A COmy Concerto 413 Ain't Nature Grand 7
A Day a t the Zoo 236 Ain't She Tweet 653
A Feather in His Hare 512 Ain't That Ducky 455
A Feud There Was 215 Ain't We Got Fun 162
A Feud With A Dude 990 Ali Baba Bound 277
A Fox in a Fix 610 Ali Baba Bunny 792
A Gander At Mother Goose 288 All A-Bir-r-r-d 593
A Great Big Bunch Of You 43 All Fowled Up 733
A Ham in A Role 577 All This and Rabbit Stew 341
A Hare Grows in Manhatten 498 Aloha Hooey 356
A Hick, A Slick and A Chick 543 Along Came Daffy 499
A Horse Fly Reas 540 Along Flirtation Walk 103
A Hound For Trouble 619 Alpine Antics 125
A Kiddies Kitty 748 An Egg Scramble 591
A Message to Gracias 929 An Itch in Time 418
A Mouse Divided 671 Angel Puss 432
A Mutt in a Rut 842 Ant Pasted 680
A Peck OTrouble 676 Apes of Wrath 840
A Pest in the House 504 Aqua Duck 923
A Pizza Tweety Pie 817 Assault and Peppered 945
A Rebel Without Claws 887 At Your Service Madame 142
A Scent of the Matterhorn 886 Aviation Vacation 336
A Sheep in the Deep 897 Awful Orphan 548
A Squeak in the Deep 970 Baby Bottleneck 469
A Star is Bored 782 Baby Buggy Bunny 728
A Star is Hatched 196 Bacall to Arms 480
A Street Cat Named Sylvester 690 Back Alley Oproar 516
A Sunbonnet Blue 174 Backwoods Bunny 843
A Taste of Catnip 974 Bad 01'Putty Tat 563
467
Bosko The Drawback 42
Ballot Box Bunny 631 Bosko The Lumberjack 39
Banty Raids 920 Bosko The Musketeer 54
Barbary Coast Bunny 776 Bosko The Sheep-Herder 59
Bars and Stripes Forever 239 Bosko The Speedking 51
Bartholomew Versus the Wheel 930 Bosko's Dizzy Date 48
Baseball Bugs 466 Bosko's Dog Race 34
Bashful Buzzard 461 Bosko's Holiday 11
Baton Bunny 834 Bosko's Knightmare 57
Battling Bosco 25 Bosko's Mechanical Man 68
Beanstalk Bunny 732 Bosko's Party 29
Bear Feat 576 Bosko's Picture Show 65
Beau Bosko 60 Bosko's Shipwreck 15
Beauty And The Beast 76 Bosko's Store 38
Bedevilled Rabbit 794 Bosko's Woodland Daze 52
Bedtime For Sniffles 307 Boston Quackie 801
Beep, Beep 651 Boulder Wham 953
Beep Prepared 893 Bowery Bugs 558
Behind the Meat-Ball 453 Box Car Blues 5
Believe It Or Else 248 Boyhood Daze 807
Bell Hoppy 708 Broom-Stick Bunny 764
Bewitched Bunny 716 Brother Brat 435
Big Game Haunt 987 Buccaneer Bunny 521
Big Hearted Bosco 27 Buckaroo Bugs 439
Big House Bunny 590 Buddy and Towser 75
Big Top Bunny 636 Buddy In Africa 108
Bill of Hare 902 Buddy Of The Apes 81
Billboard Frolics 117 Buddy of the Legion 102
Bingo Crosbyana 134 Buddy Steps Out 110
Birds Anonymous 803 Buddy the Dentist 98
Birds of a Feather 882 Buddy the Detective 88
Birdy and the Beast 438 Buddy The Gee Man 112
Birth of a Notion 493 Buddy the Gob 72
Bonanza Bunny 850 Buddy The Woodsman 89
Bone Sweet Bone 522 Buddy's Adventures 97
Boobs In the Woods 581 Buddy's Bearcats 83
Booby Hatched 443 Buddy's Beer Garden 69
Book Revue 465 Buddy's Bug Hunt 107
Boom Boom 123 Buddy's Circus 90
Bosco the Doughboy 17 Buddy's Day Out 63
Bosco's Fox Hunt 21 Buddy's Garage 77
Bosco's Soda Fountain 19 Buddy's Lost World 105
Bosko At The Beach 36 Buddy's Pony Express 100
Bosko At The Zoo 23 Buddy's Showboat 70
Bosko & Bruno 31 Buddy's Theatre 101
Bosko in Dutch 50 Buddy's Trolley Troubles 79
Bosko In Dutch 53 Bugged By A Bee 1000
Bosko In Person 55 Bugs and Thugs 705
468
Bugs Bonnets 760 Cbngo Jazz 2
Bugs Bunny and The Three Bears 424 Conrad the Sailor 359
Bugs Bunny Gets the Boid 375 Coo-Coo Nut Grove 149
Bugs Bunny Nips the Nips 428 Cool Cat 982
Bugs Bunny Rides Again 523 Com on the Cop 948
Bugsy and Mugsy 805 Corn Plastered 614
Bully For Bugs 687 Count Me Out 226
Bunker Hill Bunny 601 Country Boy 96
Bunny and Claude 995 Cracked Ice 214
Bunny Hugged 615 Cracked Quack 655
Bushy Hare 605 Crazy Cruise 360
Busy Bakers 276 Crockett-Doodle-Doo 866
By Word of Mouse 722 Crosby Colombo and Vallee 28
Bye Bye Bluebeard 572 Cross Country Detours 280
Calling Dr.Porky 300 Crow's Feat 900
Canary Row 602 Crowing Pains 502
Canned Fued 611 Curtain Razor 557
Cannery Woe 877 D'Fightin' Ones 883
Captain Hareblower 702 Daffy Dilly 535
Cartoonist's Nightmare 114 Daffy Doodles 471
Cat Feud 833 Daffy Duck and The Dinosaur 240
Cat's Paw 848 Daffy Duck & Egghead 188
Cat-Tails For Two 689 Daffy Duck Hunt 552
Catch as Cats Can 510 Daffy Duck in Hollywood 224
Cats A-Weigh 696 Daffy Duck Slept Here 515
Cats and Bruises 942 Daffy Rents 968
Catty Cornered 694 Daffy's Diner 975
Caveman Inki 606 Daffy's Inn Trouble 891
Ceiling Hero 297 Daffy's Southern Exposure 365
Chaser on the Rocks 959 Daffy-The Commando 417
Cheese Chasers 628 Dangerous Dan McFOo 251
Cheese It, The Cat 795 Deduce, You Say 784
Chicken Jitters 238 Design For Leaving 707
Chili Com Corny 954 Detouring America 255
Chili Weather 921 Devil May Hare 713
Chimp and Zee 994 Devil's Feud Cake 913
China Jones 836 Dime to Retire 750
Chow Hound 623 Ding Dog Daddy 390
Cinderella Meets Fella 208 Dog Collared 635
Circus Today 291 Dog Daze 178
Gaws For Alarm 711 Dog Gone Modem 229
Gaws in the Lease 925 Dog Gone People 874
Clean Pastures 164 Dog Gone South 598
Clippety Clobbered 966 Dog Pounded 699
Coal Black and De Sebben Dwarfs 392 Dog Tales 825
Compressed Hare 888 Dog Tired 364
Confederate Honey 281 Doggone Cats 507
Confusions of a Nutzy Spy 393 Don't Axe Me 814
469
Don't Give Up the Sheep 669 Rowers For Madame 118
Don't Look Now 147 Flying Circus 993
Double Chaser 373 Foney Fables 376
Double or Mutton 746 Fool Coverage 667
Dough For the Do-Do 567 For Scent-Imental Reasons 573
Dough Ray Me-Ow 528 Forward March Hare 672
Dover Boys, The 383 Fourteen Carrot Rabbit 642
Dr.Devil and Mr.Hare 932 Fowl Weather 677
DrJerkyl's Hide 710 Fox Pop 382
Draftee Daffy 449 Fox Terror 796
Drip-Along Daffy 634 Foxy By Proxy 644
Duck Amuck 674 Foxy Duckling 505
Duck Dodgers in the 24 1/2 Century 686 Fractured Leghorn, A 600
Duck! Rabbit! Duck! 692 Freddy The Freshman 26
Duck Soup to Nuts 431 French Rarebit 624
Ducking the Devil 804 Fresh Airedale 460
Ducksters, The 599 Fresh Rsh 264
Dumb Patrol 928 Fresh Hare 380
Dumb Patrol 9 Freudy Cat 931
Each Dawn I Crow 569 Frigid Hare 570
Early To Bet 620 From A to Z-Z-Z-Z 723
Easter Yeggs 501 From Hand to Mouse 437
Easy Peckin's 693 From Hare to Heir 870
Eab'n' On the Cuff 379 Gee Whiz-z-z 770
Egghead Rides Again 170 Get Rich Quick Porky 175
Elmer's Candid Camera 278 Ghost Wanted 296
Elmer's Pet Rabbit 312 Gift Wrapped 643
Fagin's Freshman 266 Go Away Stowaway 981
Fair and Wormer 484 Go Fly a Kit 793
Fair-Haired Hare, The 618 Go Go Amigo 957
Falling Hare 415 Goin' To Heaven On A Mule 80
False Hare 937 Going! Going! Gosh! 658
Farm Frolics 327 Gold Diggers of '49 119
Fast and Furry-ous 568 Gold Rush Daze 234
Fast Buck Duck 914 Golden Yeggs 596
Fastest With the Mostest 857 Goldilocks and the Jivin' Bears 440
Feather Bluster 822 Goldimouse and the Three Cats 861
Feather Dusted 730 Gone Batty 720
Feather Finger 971 Gonzales' Tamales 812
Feed the Kitty 641 Goo Goo Goliath 721
Feline Frame-Up 701 Good Night Elmer 304
Fiesta Fiasco 984 Good Noose 909
Rim Fan, The 270 Goofy Gophers 491
Rn'N'Catty 414 Goofy Groceries 322
Rsh and Slips 898 Goopy Geer 30
Rsh Tales 133 Gopher Broke 831
Rsb'c Mystic 997 Gopher Goofy 372
Flop Goes the Weasel 398 Gorilla My Dreams 511
470
Greedy for Tweety 808 Hobo Gadget Band 246
Greetings Bait 403 Hocus Pocus Pow Wow 985
Gruesome Twosome 456 Hold Anything 3
Guided Musde 757 Hold the Lion, Please 371
Hair Raising Hare 474 Holiday For Drumsticks 547
Hairied and Hurried 956 Holiday for Shoestrings 467
Half Fare Hare 778 Holiday Highlights 303
Hamateur Night 231 Hollywood Canine Canteen 472
Hare Brush 740 Hollywood Capers 116
Hare Conditioned 459 Hollywood Daffy 476
Hare Do 546 Hollywood Steps Out 328
Hare Force 436 Home Tweet Home 579
Hare Lift 668 Homeless Hare 585
Hare Remover 470 Honey's Money 906
Hare Ribbin' 434 Honeymoon Hotel 74
Hare Splitter 531 Hook, Line and Stinker 829
Hare Tonic 463 Hop and Go 399
Hare Trigger 454 Hop, Look and Listen 519
Hare Trimmed 683 Hop, Skip and A Chump 353
Hare We Go 609 Hopalong Casualty 872
Hare-Abian Nights 837 Hoppy Daze 879
Hare-Breadth Hurry 919 Hoppy-Go-Lucky 657
Hare-less Wolf 816 Horse Hare 859
Hare-Um Scare-Um 254 Horton Hatches the Egg 362
Hare-Way to the Stars 819 Hot Cross Bunny 529
Haredevil Hare 526 Hot Rod and Reel! 841
Have You Got Any Castles 206 House Hunting Mice 533
Hawaiian Aye Aye 936 How Do I Know It's Sunday 82
He Was Her Man 152 Hurdy-Gurdy Hare 580
Heaven Scent 767 Hush My Mouse 473
Heir-Conditioned 756 Hyde and Go Tweet 864
Henhouse Henery 561 Hyde and Hare 749
Here Today, Gone Tamale 849 Hypo-Condri-Cat, The 587
Herr Meets Hare 448 I Gopher You 700
Hiawatha's Rabbit Hunt 330 I Got Plenty of Mutton 425
High Diving Hare 555 I Haven't Got A Hat 99
High Note 875 I Like Mountain Music 58
Highway Runnery 958 I Love A Parade 37
Hillybilly Hare 597 I Love to Singa 138
Hip Hip-Hurry 832 I Only Have Eyes For You 157
Hippety-Hopper 574 I Taw A Putty Tat 517
Hippydrome Tiger 989 I Wanna Be A Sailor 179
His Bitter Half 589 I Wanna Play House 120
His Hare Raising Tale 627 I Was a Teenage Thumb 912
Hiss and Make Up 412 I Wish I Had Wings 41
Hitrin' the Trail For Hallelujah Land 20 I'd Love To Take Orders From You 132
Hobby-Horse Laffs 370 I'm A Big Shot Now 128
Hobo Bobo 497 I've Got To Sing A Torch Song 66
471
In The Shanty Where Santy Claus 44 Little Red Riding Rabbit 420
Lives Little Red Rodent Hood 649
Injun Trouble 201 Little Red Walking Hood 183
Injun Trouble [1969] 1001 Long-Haired Hare 560
Inki and the Lion 335 Lost and Foundling 442
Inki and the Minah Bird 416 Louvre Come Back to Me 905
Inki at the Circus 500 Love and Curses 207
Into Your Dance 106 Lovelorn Leghorn 629
It's An III Wind 230 Lumber Jack-Rabbit 725
It’s Got Me Again 32 Lumber Jerks 744
It's Hummer Time 595 Mad as a Mars Hare 924
I f s Nice to Have a Mouse Around 941 Malibu Beach Party 299
the House Marta'an Through Georgia 911
Jack-Wabbit and the Beanstalk 405 Meatless Flyday 422
Jeepers Creepers 259 Meet John Doughboy 333
Joe Glow, the Firefly 319 Merlin the Magic Mouse 983
Johnny Smith and Poker-Huntas 219 Merry Old Soul 111
Jumpin' Jupiter 747 Mexicali Shmoes 845
Jungle Jitters 192 Mexican Boarders 901
Just Plane Beep 955 Mexican Cat Dance 916
Katnip Kollege 204 Mexican Joyride 509
Kiddin'the Kitten 647 Mexican Mousepiece 964
Kiss Me Cat 673 Mice Follies 869
Kit For Cat 537 Milk and Money 144
Kitty Komered 475 Miss Glory 124
Knight-Mare Hare 752 Mississippi Hare 550
Knights Must Fall 562 Mixed Master 768
Knighty Knighty Bugs 827 Moby Duck 944
Kristopher Kolumbus Jr. 243 Moonlight FOr Two 33
Lady Play Your Mandolin 13 Mother Was A Rooster 908
Land of the Midnight Fun 260 Mouse and Garden 867
Leghorn Blows at Midnight, The 588 Mouse Mazurka 559
Leghorn Swoggled 626 Mouse Menace 487
Let It Be Me 131 Mouse Warming 661
Lickety Splat 885 Mouse Wreckers 554
Life With Feathers 452 Mouse-Placed Kitten 835
Lighter Than Hare 876 Mouse-Taken Identity 811
Lighthouse Mouse 735 Mr. and Mrs. Is The Name 94
Lights Fantastic 369 Much Ado About Nutting 681
Lion's Busy, The 583 Muchos Locos 963
Little Beau Pepe 646 Muntiny on the Bunny 582
Little Beau Porky 148 Muscle Tussle 678
Little Blabbermouse 293 Music Mice-Tro 977
Little Boy Boo 712 Muzzle Tough 714
Little Brother Rat 257 My Bunny Lies Over the Sea 541
Little Lion Hunter 262 My Favorite Duck 389
Little Orphan Airedale 506 My Green Fedora 104
Little Pancho Vanilla 217 My Little Buckaroo 190
472
My Little Duckaroo 726 Pizzicato Pussycat 729
Napoleon Bunny-Part 773 Plane Daffy 441
Nasty Quacks 464 Plane Dippy 130
Naughty But Nice 244 Plenty of Money and You 172
Naughty Neighbors 261 Plop Goes the Weasel 688
Nelly's Folly 895 Polar Pals 245
No Barking 704 Pop Goes Your Heart 92
No Parking Hare 709 Pop'em Pop 604
Norman Normal 986 Porky and Daffy 210
Notes to You 342 Porky and Gabby 163
Nothing But The Tooth 520 Porky and Teabiscuit 241
Now Hare This 823 Porky at the Crocadero 191
Now Hear This 917 Porky Chops 549
Now That Summer Is Gone 200 Porky in Egypt 220
Nuts and Volts 933 Porky In the Northwoods 151
Nutty News 368 Porky in Wackyland 216
Odor of the Day 532 Porky Pig's Feat 409
Odor-Able Kitty 447 Porky the Fireman 203
Of Fox and Hounds 309 Porky the Giant Killer 267
Of Rice and Hen 695 Porky the Gob 225
Of Thee I Sting 481 Porky the Rainmaker 139
Often an Orphan 565 Porky the Wrestler 153
Oily Hare 656 Pork/s Ant 326
Old Glory 249 Pork/s Badtime Story 171
One Froggy Evening 759 Porky's Baseball Broadcast 292
One Meat Brawl 490 Pork/s Bear Facts 321
One More Time 16 Pork/s Building 166
One Step Ahead Of My Shadow 47 Pork/s Cafe 358
Operation:Rabbit 640 Pork/s Double Trouble 184
Out and Out Rout 962 Pork/s Duck Hunt 161
Pagan Moon 24 Pork/s Five and Ten 197
Pancho's Hideaway 939 Pork/s Garden 177
Papp/s Puppy 758 Pork/s Hare Hunt 199
Past Perfumance 741 Pork/s Hero Agency 185
Patient Porky 298 Pork/s Hired Hand 308
Paying the Piper 551 Pork/s Hotel 256
Peck Up Your Troubles 462 Pork/s Last Stand 272
Penguin Parade 198 Pork/s Midnight Matinee 349
People are Bunny 856 Pork/s Movie Mystery 235
Person to Bunny 862 Pork/s Moving Day 145
Pest for Guests 731 Pork/s Naughty Nephew 218
Pettin' In The Park 73 Pork/s Party 205
Picador Porky 156 Pork/s Pastry Pirates 354
Pied Piper Porky 265 Pork/s Pet 137
Pigs in a Polka 394 Pork/s Phoney Express 195
Pigs is Pigs 154 Pork/s Picnic 250
Piker's Peak 798 Pork/s Pooch 352
Pilgrim Porky 279 Pork/s Poor Rsh 285
473
Pork/s Poppa 189 Road to Andalay 940
Porky's Poultry Plant 141 Robin Hood Daffy 818
Porky's Preview 324 Robin Hood Makes Good 232
Pork/s Prize Pony 331 Robinson Crusoe Jr. 345
Pork/s Railroad 173 Robot Rabbit 697
Pork/s Road Race 155 Rocket Squad 765
Pork/s Romance 159 Rocket-Bye Baby 777
Pork/s Snooze Reel 313 Rodent To Stardom 980
Porky's Spring Planting 209 Roman Legion Hare 755
Pork/s Super Service 169 Rookie Revue 346
Porky's Tire Trouble 233 Room and Bird 622
Pre-Hysterica! Hare 830 Roughly Squeaking 489
Prehistoric Porky 302 Rover's Rival 180
Prest-o Change-o 237 Run, Run, Sweet Road Runner 950
Prince Violent 890 Rushing Roulette 949
Punch Trunk 698 Russian Rhapsody 430
Puss N'Booty 419 Saddle Silly 347
Putty Tat Trouble 613 Sahara Hare 736
Quack Shot 724 Sandy Gaws 737
Quacker Tracker 976 Saps in Chaps 363
Quackodile Tears 899 Satan's Waitin' 718
Quentin Quail 468 Scalp Trouble 247
Rabbit Every Monday 612 Scaredy Cat 542
Rabbit Fire 621 Scarlet Pumpernickel, The 584
Rabbit Hood 578 Scent-Imental Over You 495
Rabbit of Seville 607 Scent-Imental Romeo 616
Rabbit Punch 518 Scrambled Arches 791
Rabbit Rampage 743 Scrap Happy Daffy 411
Rabbit Romeo 813 Screwball Football 269
Rabbit Seasoning 662 See Ya Later Gladiator 991
Rabbit Stew and Rabbits Too 998 Senorella and The Glass Huarache 938
Rabbit Transit 496 September in the Rain 187
Rabbit's Feat 865 Shake Your Powder PufF 87
Rabbit's Kin 665 Shamrock and Roll 999
Rabbitson Crusoe 769 Shanghaied Shipmates 135
Racketeer Rabbit 483 She Was An Acrobat's Daughter 160
Raw! Raw! Rooster 779 Sheep Ahoy 727
Ready,Set,Zoom! 739 Sheepish Wolf, The 385
Ready Woolen and Abie 868 Shishkabugs 910
Really Scent 844 Shop, Look and Listen 311
Rebel Rabbit 553 Shot and Bothered 961
Red Headed Baby 22 Show Biz Bugs 810
Red Riding Hoodwinked 754 Shuffle Off To Buffalo 61
Rhapsody in Rivets 350 Sinkin' In The Bathtub 1
Rhapsody Rabbit 488 Sioux Me 258
Rhythm In The Bow 95 Siftin' On A Backyard Fence 71
Ride Him Bosko 45 Skyscraper Caper 988
Riff Raffy Daffy 538 Slap Happy Pappy 282
474
Sleepy Time Possum 633 The Booze Hangs High 4
Slick Hare 508 The Bouievardier From the Bronx 146
Slightly Daffy 433 The Brave Little Bat 343
Smile Dam Ya Smile 14 The Bug Parade 344
Sniffles and the Bookworm 268 The Cagey Canary 348
Sniffles Bells the Cat 315 The Case of the Missing Hare 391
Sniffles Takes A Trip 287 The Case of the Stuttering Pig 182
Snow Business 670 The Cat Came Back 122
Snow Excuse 969 The Cat's Bah 706
Snow Time For Comedy 340 The Cat's Tale 318
Snowman's Land 252 The Chewin' Bruin 289
Sock A Doodle Doo 650 The Country Mouse 109
Southern Fried Rabbit 679 The Coy Decoy 329
Speaking of the Weather 176 The Crackpot Quail 317
Speedy Ghost To Town 979 The Curious Puppy 271
Speedy Gonzales 751 The Daffy Doc 223
Sport Chumpions 338 The Daffy Duckaroo 386
Stage Door Cartoon 446 The Dish Ran Away With The Spoon 67
Stage Fright 301 The Dixie Fryer 871
Steal Wool 799 The Draft Horse 367
Stooge For a Mouse 603 The Ducktators 377
Stop, Look, and Hasten! 717 The Eager Beaver 478
Stork Naked 734 The Early Worm Gets the Bird 273
Strangled Eggs 881 The Egg Collector 294
Streamlined Greta Green 167 The Eggcited Rooster 660
Strife With Father 586 The Fella With the Fiddle 158
Stupor Duck 775 The Fifth-Column Mouse 397
Sugar and Spies 973 The Fighting 69th 1/2 314
Sunday Go To Meefa'n' Time 140 The Rre Alarm 126
Super Rabbit 400 The Foghorn Leghorn 534
Suppressed Duck 947 The Gay Anties 492
Swallow the Leader 571 The Girl At The Ironing Board 85
Sweet Sioux 168 The Good Egg 263
Swing Ding Amigo 972 The Great Carrot Train Robbery 996
Swooner Crooner 429 The Great Piggy Bank Robbery 479
Tabasco Road 800 The Greyhounded Hare 564
Tale of Two Mice 457 The Hardship of Miles Standish 284
Tease for Two 951 The Hare-Brained Hypnotist 387
Terrier Stricken 666 The Hasty Hare 652
The Abominable Snow Rabbit 884 The Haunted Mouse 316
The Aristo Cat 406 The Heckling Hare 334
The Astroduck 960 The Henpecked Duck 339
The Bear's Tale 283 The Hep Cat 384
The Bee-Deviled Bruin 556 The High and The Flighty 763
The Big Man From The North 6 The Hole Idea 738
The Big Snooze 485 The Honey-Mousers 787
The Bird Came C.O.D. 355 The Iceman Ducketh 934
The Blowout 127 The Impatient Patient 381
475
The Isle of Pingo Pongo 202 The Wacky Worm 332
The Jet Cage 907 The Weakly Reporter 426
The Lady In Red 113 The Wild Chase 943
The Last Hungry Cat 894 The Wild Hare 295
The Little Dutch Plate 115 The Windblown Hare 566
The Lone Stranger and Porky 228 The Wise-Quacking Duck 402
The Lyin' Mouse 181 The Woods Are Full of Cuckoos 186
The Major Lied Til Dawn 211 There Auto Be A Law 682
The Mice Will Play 227 There They Go-Go-Go 785
The Mighty Hunters 275 This is a Life? 745
The Miller's Daughter 86 Those Beautiful Dames 91
The Million Hare 915 Those Were Wonderful Days 78
The Mouse on 57th Street 880 Three Little Bops 789
The Mouse That Jack Built 839 Three's A Crowd 46
The Mousemerized Cat 486 Thugs With Dirty Mugs 242
The Night Watchman 222 Thumb Fun 645
The Oily American 715 Tick Tock Tuckered 427
The Old Gray Hare 444 Tin Pan Alley Cats 410
The Organ Grinder 54 Tired and Feathered 952
The Pest That Came to Dinner 530 To Beep or Not To Beep 927
The Phantom Ship 121 To Duck or Not To Duck 396
The Pied Piper of Guadalupe 889 To Hare is Human 788
The Prize Pest 638 To Itch His Own 824
The Queen Was In The Parlor 35 Tokio Jokio 404
The Rattled Rooster 524 Tom Thumb In Trouble 290
The Shell Shocked Egg 525 Tom Tom Tomcat 684
The Slap-Hoppy Mouse 780 Tom Turk and Daffy 423
The Slick Chick 904 Too Hop to Handle 761
The Sneezing Weasel 194 Tortilla Raps 815
The Solid Tin Coyote 965 Tortoise Beats Hare 320
The Sour Puss 305 Tortoise Wins By a Hare 395
The Spy Swatter 978 Touche and Go 809
The Squawkin' Hawk 378 Toy Town Hall 143
The Stupid Cupid 445 Toy Trouble 323
The Stupor Salesman 539 Transylvania 6-5000 926
The Super Snooper 664 Trap Happy Porky -451
The Tale of Two Kitties 388 Tree Cornered Tweety 771
The Timid Toreador 310 Tree For Two »663
The Trial of Mr.Wolf 325 Trees Knees 12
The Tum-Tale Wolf 654 Trick or Tweet 338
The Unbearable Bear 401 Trip for Tat 373
The Unexpected Pest 772 Tugboat Granny 774
The Unmentionables 922 Tweet and Lovely 346
The Unruly Hare 450 Tweet and Sour 766
The Upstanding Sitter 503 Tweet Dreams 355
The Village Smithy 150 Tweet Tweet Tweety 337
The Wabbit Who Came to Supper 361 Tweet Zoo 790
The Wacky Wabbit 366 Tweetie Pie -494
476
Tweety and The Beanstalk 797 Wild Over You 685
Tweety's Circus 742 Wild Wife 703
Tw eet/s S.O.S. 630 Wild Wild World 860
Two Crows From Tacos 786 Wise Quackers 545
Two Gophers From Texas 544 Wise Quacks 253
Two Scents Worth 753 Woolen Under Where 918
Two's A Crowd 608 Yankee Dood It 781
Uncle Tom's Bungalow 165 Yankee Doodle Bugs 719
Unnatural History 854 Yankee Doodle Daffy 407
Ups'n Downs 8 Yodeling Yokels 10
Upswept Hare 675 You Don't Know What You’re Doing 18
Viva Buddy 93 You Ought To Be In Pictures 286
Wabbit Twouble 351 You Were Never Duckier 527
Wackiki Wabbit 408 You're an Education 221
Wacky Blackout 374 You're Too Careless With Your 40
Wacky Wild Life 306 Kisses
Wagon Heels 458 Young And Healthy 49
Wake Up The Gypsy In Me 56 Zip'n'Snort 878
Walky Talky Hawky 482 Zipping Along 691
War and Pieces 935 * Zoom at the Top 903
Water, Water Every Hare 648 Zoom & Bored 806
We the Animals Squeak 337
We're In The Money 62
Wearing of the Grin 625
Weasel Stop 762
Weasel While You Work 826
Well Worn Daffy 946
West of the Pesos 858
Westward Whoa 129
Wet Hare 896
What Makes Daffy Duck 513
What Price Porky 193
Whats Brewin' Bruin' 514
Whats Cookin' Doc? 421
Whats My Lion 892
Whats Opera, Doc? 802
Whats Up, Doc? 592
When I Yoo Hoo 136
Which is Witch 575
Who Scent You? 863
Who's Kitten Who 639
Who's Who in the Zoo 357
Whoa Be-Gone! 820
Wholly Smoke 212
Why Do I Dream Those Dreams 84
Wideo Wabbit 783
Wild About Hurry 852
Wild and Wooly Hare 847
477
Appendix 1C
INDEX OF SONGS USED IN WARNER BROS. CARTOONS
12th Street Rag 30
A.B.C. Nursery Rhyme 264, 267, 280, 368, 374, 388, 435, 444, 451
About a Quarter to Nine 110, 149, 208, 508, 661
Ach du Lieber Augustin 9, 41, 50, 53, 65, 66, 69, 82, 377, 397, 404, 411,
430, 928
Adieu 251
Aeroplane 130
Aeroplane, The 142
Agitation 290
Agitato 518
Agitato No. 4 462, 464, 513
Ah The Moon Is Here 73, 74
Ahi Viene La Conga 466,498, 509, 511
Ain’t She Sweet 637, 641, 653, 659, 661, 703, 743, 766, 777
Ain't We Got Fun 36, 68, 122, 162, 273, 303, 316, 397, 398, 459, 492, 499,
517, 565, 592, 595, 645, 654, 703, 712, 750, 758, 787, 869, 906
Air Flight 11 6,1 32
Alabama Bound 5
All Aboard for Dixieland 594
All For The Love O f A Lady 42
478
All God's Children Got Wings 426
All God's Chiliun Got Shoes 150
All I Want for Christmas (Is My Front Two Teeth) 599
All In Favor Say "Aye" 272, 293, 305, 397, 531
All That Glitters is Not Gold 207,558
All the Time 471, 47 2,4 77 , 508,519, 522, 547, 666, 710
All This and Heaven Too 305, 321, 322, 323
All Through the Night 222, 243, 260, 274
Allegiance 313
Allegro con brio 130
Allegro Vigoroso No. 8 483
All's Fair in Love and War 155, 157, 158, 162, 180, 194, 196, 221
Aloha Oe 147, 194, 202, 211, 219, 221, 260, 286, 297, 299, 313, 324, 336,
342, 356, 391, 408, 419, 523, 547, 575, 582, 587, 590, 605, 630,
636, 674, 827, 873, 895, 936, 967, 970
Along the Old Frontier 170
Alouette 573, 602, 624, 753, 809, 825
Alphabet Song 524, 610, 647, 673, 676, 692, 712, 723, 730, 747, 866
Always in My Heart 368, 371, 382,384, 386,429
Am I Blue 17, 27, 49, 67, 71, 147, 148,177, 181, 187, 236, 281, 282, 351,
443, 490, 623
Am I In Love 185
Amarillis 88 ,10 5
America 42, 55, 58, 249, 255, 299, 303, 333, 336, 368, 411, 426, 435, 450,
458, 599, 601, 722
479
America Speaks 694, 775
America the Beautiful 249
American Patrol 993
American Reveille 60
Amici 303, 708
Amorita 609
Anabella 369
And So I Married The Girl 70
Angel in Disguise 312, 316, 361, 407, 412, 423, 432, 447, 462, 475, 516,
621, 622, 649, 656,
Angels Came Thru, The 351,
Animal Fair 177, 181, 218, 236, 291, 313, 357, 519, 580, 636, 639, 685,
698, 708, 761, 790, 811, 854, 892
Annie Lisle 383
Anything That's Part of You 101
Apache Dance 3 2 ,1 5 2
Apple Blossoms and Chapel Bells 284, 293, 312, 336, 671
April in Paris 616, 734, 863, 873, 989
April Showers 139, 209, 258, 336, 515, 555, 557, 592, 896, 984
Arabia 102
Are There Any More At Home Like You 250, 254, 354
Are You From Dixie 34, 165, 186, 281, 550, 592, 598, 626, 645, 679, 778,
871
Arkansas Traveler 3 3 ,1 9 6 , 211, 215, 226, 248, 255, 256, 282, 313, 327,
356, 370, 374, 375, 423, 437, 439, 461, 479, 496, 525, 543, 547,
480
558, 583, 586, 597, 618, 623, 633, 683, 776, 843
Around the Mulberry Bush 2 ,4 5 , 188, 216, 236, 261, 298, 320, 333, 345,
367, 385, 434, 435, 512, 533, 567, 595, 645, 650, 698, 763, A-
Roving, 912
Artist's Life 299, 566, 580
As Easy As Rolling Off a Log 204
As Time Goes By 412, 418, 429, 433, 436, 438, 450, 510, 706
Asleep in the Deep 408, 521, 652,713
Assembly Call 40, 43
At Your Service, Madame 142, 155, 184, 229, 665, 694, 703, 707
Athalie Overture 151, 249, 320, 481, 539, 571, 584, 637, 668, 680
Attsa Matta For You 619, 794
Au Clair de la Lune 767
Audition 857
Auf Wiedersehn 69
Auld Lang Syne 78, 173, 236, 273, 303, 361, 464, 612, 895
Aupres de ma Blonde 905
Autumn Nocturne 424
Avalon 110, 191, 221, 2 9 9 ,4 7 2
Awakening, The 171
Baa Baa Black Sheep 669, 799
Baby Face 538, 563, 564, 565, 591, 595, 616, 623, 631, 671, 682, 934
Ballade, Opus 3 544
Ballet Barbarian 274
481
Baltimore Oriole 48 0 ,4 9 5 , 646
Bam Bam Bammy Shore 70
Band Played On, The 767,863
Barbara Allen 818, 912
Barber of Seville 286, 342, 377, 404, 516, 545, 609, 759
Barber of Seville Overture 607
Barney Google 665
Bartered Bride, The 377, 393, 459, 537, 551, 568, 642, 647, 651, 658, 739,
770, 798, 806, 820
Battle Cry of Freedom 249, 281, 374, 545, 601, 859
Battle Hymn of the Republic, The 2, 249, 336, 411, 545,719
Battle Music 247, 322
Battle Music No. 9 193, 225, 285, 367, 433, 483
Battling Bosco 25
Be My Little Baby Bumblebee 556
Bear Went Over the Mountain, The 283, 289
Beautiful Dreamer 281, 307, 327, 376, 485, 489, 550
Beautiful Galathea Overture 560
Beauty and the Beast 75, 76, 79, 81, 83, 88, 89, 9 0 ,9 3 ,9 7 ,9 8 , 100, 101,
102, 105, 107, 108, 110, 112, 114, 116, 119, 121, 123, 125, 126,
127, 129, 130, 133, 135, 137, 139, 141, 144,145,148, 150
Bedelia 78
Bei Mir Bist du Schon 196, 197,198, 199, 205, 211, 213, 221
Believe Me I f All Those Endearing Young Charms 260, 583,631, 810, 949
482
Below the Equator 582
Bicycle Built For Two 65
Big Fat Mama 401
Billy Boy 525, 685
Bingo Crosbyana 134
Black Coffee 1 2 1,1 47 ,1 51 , 163, 237, 395, 499
Black Diamond Rag 52
Black Horse Troop, The 123, 291, 446, 518, 564, 627
Blow the Man Down 243, 345, 370, 521, 582, 582, 609, 689, 696, 702,
713, 735, 844, 909
Blue Beard and Fatima 536, 792
Blue Danube, The 86, 208, 214, 221, 271, 338, 371, 413, 413, 557, 592,
875, 915
Blue Tail Fly 693, 725
Blues in the Night 370, 371, 374, 375, 377, 389, 390, 392, 397, 401, 409,
429, 444, 475, 482, 515, 587, 594, 620, 645, 676
Bob White (Whatcha Gonna Swing Tonight) 188, 189, 193, 194, 202, 209,
236
Bo-La-Bo 81
Boulevardier From the Bronx 146, 160, 161, 166, 203, 206, 480
Bowery, The 12, 498, 558, 663, 708, 745, 787, 869
Boy Meets Girl 193, 208, 228
Boy of Mine 144
Boy Scout in Switzerland 453, 457, 481, 526, 652
Bridal Chorus 111, 174, 192, 213, 227, 228, 379, 584, 589, 640, 683, 695,
713, 787, 813, 912
483
British Grenadiers 435, 578, 586
Buddy's Day Out 63
Bugle Call 515, 526, 578, 583, 601, 604, 620, 646, 652, 701, 719
Bulldog on the Bank 180
Busybody 522, 537, 545
But I Did 475, 508
Butterfly Dance 92
Buzz Buzz Buzz 469, 472, 482
By a Rippling Stream 48
By a Waterfall 74, 77, 82, 187, 322, 530, 577, 595, 600, 932
By Heck 4
By the Light of the Silvery Moon 7 1 ,1 7 1 , 4 1 0 ,4 2 7
Bye Bye Blackbird 438, 493, 572, 594, 598, 803
Bye Lo Bye Lullaby 138
California Here I Come 65, 77, 153, 173, 196, 202, 224, 235, 236, 246,
255, 260, 269, 274, 280, 283, 297, 299, 303, 324, 336, 363, 368,
386, 388, 426, 444, 474, 476, 482, 515, 520, 541, 605, 611, 652,
769, 776, 825, 884
Campbells are Coming, The 83,118, 178, 178, 184,187, 220, 221, 236,
485, 541, 565, 587, 804, 825
Canadian Capers 151, 537, 589
Can't We Be Friends 874
Can't We Talk It Over 674,703
Can't You Read Between the Lines 19
Captains of the Clouds 396, 399, 4 0 2 ,4 2 6 , 441, 461, 481, 545, 553, 567,
484
668, 674, 680, 712, 782, 807
Carissima 299, 516
Carolina in the Morning 177, 246, 412, 465, 529, 569, 595, 598, 655, 778,
804, 871
Carry Me Back to Old Virginny 255, 658
Casino de Paree 137
Cat Came Back, The 122
'Cause My Baby Says Its So 169, 180, 186, 187, 188, 323
Charge (Bugle Call) 993
Charleston 655, 663, 671, 789, 922
Chatterer, The 82
Cheerful Little Earful 874, 876, 888
Cherie, I Love You 616, 685, 706, 713, 741, 767, 825, 844, 863
Cheyenne 195, 208, 291, 299, 306, 322, 329, 363, 400, 407, 409,454,
523, 540, 626, 634, 643, 656, 847, 855, 859
Chiapanecas, 687,689, 812, 815
Chicken Reel 1, 177, 178, 178, 193, 209, 215, 227, 238, 260, 264, 282,
305, 322, 333, 373, 378,429,438, 482, 485, 486, 502, 524,527,
529, 534, 557, 586, 591,596,610, 629, 638, 660, 672, 677,688,
693, 695, 713, 733, 766,848,851, 854, 881, 904, 908, 990
Chinatown My Chinatown 47, 191, 297, 369, 377, 635, 642
Chinese Moon 72
Chinnin' and Chattin' With May 5, 6
Chitterlinswitch 490, 641
Chopsticks 253, 306, 488
Cielito Undo 13, 942
485
Cingalee 27
Circus Day 37
Clap Hands Here Comes Charlie 707
Clown, The 145
Coasting 6 5 ,1 6 3 , 199, 218, 264, 570
College Stunts 141, 269, 338, 347
Collegiana 146
Columbia the Gem of the Ocean 72, 202, 212, 219, 225, 231, 243, 249,
279, 333, 344, 345, 360, 367, 374, 376, 390, 426, 428, 514, 534,
582, 583, 588, 589, 601, 630, 667, 677, 680, 689, 719, 722, 723,
739, 770, 807, 895
Come Back To Erin 337, 625, 759
Come Home Father 632
Come Lasses & Lads 818
Come Under My Plaidie 541
Comedy Excitement 1 0 0 ,1 1 3 ,1 3 5 , 145
Cornin' Thru the Rye 284
Concert in the Park 250, 253, 256, 258, 271, 286, 293, 311, 322, 372, 396,
493
Coney Island 116
Confidentially 231, 236, 282, 518
Congo 181, 202, 211, 221, 224, 274, 291, 326, 328, 405, 511, 567, 575,
623, 698
Consolation 287, 577
Cop, The 94
486
Com Pickin' 246, 254, 353
Corns For My Country 463, 472
Coronation March 910
Cosatchoque 559, 813
Country Boy 96
Country Gardens 586, 784
Country Mouse 109
Covered Wagon Days 129
Cowboy's Lament 182
Cradle Song 143, 147, 202, 248, 253, 255, 263, 273, 290, 336, 342, 376,
396, 418, 435, 442, 464, 480, 486, 503, 504, 505, 509, 516, 522,
580, 594, 610, 623, 632, 648, 649, 671, 701, 703, 721, 750
Crazy Rhythm 729
Crosby, Columbo and Vallee 28, 35, 64
Cryin' For the Carolines 5
Cuban Cabaret 86
Cuban Ice Man 44, 57
Cuddle Up a Little Closer, Lovey Mine 492, 531, 612, 615, 813, 827
Cupid's Patrol 91
Cup of Coffee, A Sandwich and You, A 4 2 0 ,4 2 1 , 4 2 6 ,4 3 4 ,4 4 0 , 44 3 ,4 5 2 ,

464, 472, 499, 508, 547, 630, 632, 659, 665, 671, 682, 717, 764,
864, 865, 870, 871, 897
Cutting Paper Dollies 36
Daddy's Boy 209, 212, 218
Dames 85, 91
487
Dance of the Wooden Shoes 3
Dancing Toys 155, 158, 271
Dancing With Tears in My Eyes 12
Dancing With the Daffodils 16
Dangerous Rhythm 154, 192, 302
Danse Arabe 467
Danse Chinoise 467
Danse de la Fee-Dragee 467
Danse Fantastique 9 4 ,1 4 2
Danube Waves 511, 548
Dark Eyes 415, 430, 465
Das Rheingold 268, 322, 441, 442, 448, 578, 628
Daughter of Rosie O'Grady, The 498, 592
Daydreaming (All Night Long) 212, 213, 239, 332, 515
De Camptown Races 20, 380, 454, 550, 561, 588, 620, 626, 629, 650, 660,
688, 712, 730, 733, 762, 763, 779, 796, 822, 826, 851, 866, 871,
881, 904, 908
Dear Little Boy of Mine 132, 200, 218, 282, 291, 303, 352, 376,421, 444,
461, 589, 639, 696, 712, 807, 881, 908
Deck the Hall With Boughs of Holly 643
Deep in a Dream 244, 245, 246, 250, 257, 266
Deep River 313, 389
Defense of Honor 123
Der Freischutz Overture 608
488
Dervisher 213
Devil May Care 298, 299
Dickory Dickory Dock 437, 477, 603, 649
Die Gotterdammerung 249, 265, 268, 278, 281, 294, 448, 449, 488, 523,
526, 627, 638, 640, 675, 718
Die Meistersinger 448
Die Walkure 224, 231, 248, 260, 264, 290, 297, 370, 428, 551, 652, 730
Dinner Music for a Pack of Hungry Cannibals 403, 4 1 0 ,4 1 9 ,4 4 5 ,4 6 0 , 485,

511, 542, 544, 575, 585, 615, 651, 682, 859, 860
Dinorah 106
Dish Ran Away With The Spoon, The 59, 67, 67
Disturbance 100, 113, 389
Dixie 66, 165, 189, 219, 236, 243, 247, 255, 261, 270, 281, 322, 357, 365,
368, 380, 392, 398, 433, 550, 598, 649, 679, 719, 887
Doggone I've Done It 3 8 ,4 5
Doing the Sigma Chi 11
Don Giovanni 685
Don't Give Up the Ship 135, 146, 155, 161, 173, 196, 263, 388, 582, 609,
724, 737, 789
Don't Go On A Diet 103
Don't Go To Sleep 49, 50, 53
Don't Hold Everything 3
Don't Sweetheart Me 436, 441,445, 546, 575, 594, 707
Don't Take Your Love From Me 531, 538
Don't Tell Her W hat Happened To Me 7
489
Down Among the Dead Men 521
Down in Nashville Tennessee (Chick-a-Ling-Bone) 655, 677, 678
Down in the Valley 590
Dramatic Tension 223
Dreaming 78
Drink to Me Only With Thine Eyes 138, 231, 284, 385, 441, 584
Dutch Kiddies 50, 53
Dutch Warbler 8, 19, 29, 50, 53
Early To Bed 79
Easter Bunnies 111
Easy To Love 77
Egyptia 102
Egyptian Barn Dance 686
El Mostacho 328
Eres Mujer 507
Erl King, The 190, 207, 208, 225, 236, 266, 273, 280, 357, 402, 439, 454,
523, 555, 577, 596, 642, 664
Escapade 862
Etude 321
Eugene Onegin 446
Every Little Movement 4 5 0 ,4 5 5 ,5 3 8 ,6 1 5
Evil Plotter 88, 115
Ev'ry Day I Love You (Just a Little Bit More) 573, 589
490
Executioner's Dream 88
Famabella 93
Fancy Meeting You 152
Fantasie Impromptu No. 4 480
Fare Thee Well Annabelle 103
Farewell My Love 197, 202
Fate 9 4 ,1 8 2 , 346, 454, 513, 575
Father Dear Father Come Home With Me Now 576
Feelin' High and Happy 210, 216, 567
Fella With the Fiddle, The 127, 148, 158
Rddle Dee Dee 610, 622, 635, 642, 652, 653
Fifteen Men on a Dead Man's Chest 730
Fifth Symphony 368, 376, 390, 397, 411
Fifty Second Street 166
Fight On (U.S.C.) 42
Fight On For U.S.C. 26
Fingal's Cave 2 4 3 , 262, 264, 279, 335, 416, 443, 497, 500, 606, 723, 727
First Noel, The 643
Five O’Clock Whistle 344, 384, 392, 420, 669, 868
Flag of Our Union Forever, The 249
Flirtation Walk 103
Flower Song 4 8 5 , 493, 506, 556, 584, 594
491
Flowers For Madame 118,1 42
Flying Dutchman, The 260, 26 4,4 48 , 609, 630, 702, 735, 802, 820, 873
For He's a Jolly Good Fellow 236, 243, 303, 325, 451, 460, 501, 515, 578,
631, 671, 698, 721, 756, 779, 784, 824, 922
For You 35, 196, 232, 406, 506, 732
Forty Second Street 54, 57, 58, 65, 2 6 4 ,3 7 2 ,4 7 1 , 497, 548, 553, 565,
580, 592, 627, 740, 787, 978
Fou-so-ka 404
Frankie and Johnnie 173, 184, 196, 379,383, 558, 695, 850
Frat 103, 219, 223, 248, 269, 270, 292, 297, 313, 324, 338, 342, 395, 400,
401, 407, 442, 450, 475, 477, 478, 497, 500, 516, 519, 522,541,
557, 562, 576, 609, 620, 631, 632, 692, 720, 723
Freddy the Freshman (The Freshest Kid in Town) 26, 168, 168, 174, 177,
400, 484, 499, 507, 522, 547, 563, 581, 596, 599, 647, 657,675,
779, 851
From an Indian Pueblo 715
From Me To You 68
From Nippon Bridge 404
Funeral March 46 ,14 1, 173, 188, 194, 203, 224, 231, 239, 242, 248, 280,
283, 291, 311, 335, 352, 404, 441, 522, 542, 569, 587, 634, 664,
705, 766
Funeral March For A Puppet 88
Funny Little You 11
Furioso 184, 239, 253, 507
Furioso No. 2 141, 490, 513, 540
Fury No. 8 17
Gal in Calico, A 508, 510
492
Gamblers' Blues 239
Game of Tag, A 160
Garden of the Moon 220, 224, 227, 344, 370
Garibaldi Hymn 58
Garry Owen 314, 346, 625
Gathering Nuts in May 731,744
Gaucho Serenade 310, 360,365, 407, 509
Gaudeamus Igitur 647
Gavotte 205, 206, 284, 325, 347, 358
Gay Caballero 13
Gee But You're Swell 161,162, 163, 169, 183, 224
Gee Whizz-Whilikens-Golly Gee 920
Get Happy 9, 13, 20, 22, 24, 26, 28, 30, 32, 33, 35, 37, 40, 41, 43, 44, 46,
47, 49, 54, 56, 58, 61, 62, 67, 928
Giddap Mule 3 9 9 ,4 0 2 ,4 0 9
Girl At The Ironing Board 85
Girl Friend of the Whirling Dervish, The 231, 236, 238, 277, 373, 391, 397,
464, 599
Girl I Left Behind Me, The 27, 99, 199, 249, 256, 295, 313, 333, 601, 675,
859, 887
Girl On the Little Blue Plate 115
Girl Who Keeps the Goats 133
Girl With the Pigtails in Her Hair, The 285,321
Giving It This and That 2
493
Gladiator's Tournament 153
Go Get the Ax 454
Go Into Your Dance 106
Goblins in the Steeple 577, 587, 638, 640, 708, 711
Goin' Home 677
Goin' To Heaven On A Mule 80
Good FOr Nothin' (But Love) 250
Good Morning To All 734
Good Morning To You 14, 29, 60
Goodnight Ladies 156, 283, 304, 3 7 2 ,4 0 1 ,4 2 4 ,4 7 5 ,7 5 0
Goombay Drum 168, 192, 345, 360, 416, 511, 575
Goopy Geer 30, 50, 53
Got The South In My Soul 46
Gotta Be This or That 470, 482, 502, 504, 541, 548
Grand Central 172
Grand Central Station 682, 717, 773
Grand Galop Cromatique 467, 585, 651
Grand Valse Brillante 467
Grandfather's Clock 152, 182, 256, 3 0 7 ,4 0 5 ,4 6 5 , 7 9 6
Great Big Bunch Of You, A 43
Great Western Clog 569
Greensleeves 912
494
Grief 151
Gruen Watch Time Signal Jingle 465
Gruesome Tale 242
Guy From the Isle of Capri, The 121, 133, 153, 177
Gypsy Rondo 554, 677
Hail Columbia 243, 426, 601
Hail Hail The Gang's All Here 71
Hail to the Chief 303, 679
Half of Me (Wants to Be Good) 154, 164, 182, 213, 293
Hallelujah I'm a Bum 498, 594
Hand Me Down My Walking Cane 707
Hang Onto Your Lids Kids (Here We Go Again) 365, 388, 407
Happiness Ahead 197, 253
Happy Days Are Here Again 43
Happy Farmer 370, 688, 714, 737
Happy Little Tune 15
Happy Song 998, 999, 1000, 1001
Hark the Herald Angels Sing 643
Harvest Song 4
Have You Got Any Castles Baby 183, 185, 206, 221
Having A Good Time Wish You Were Here 38
Hawaiian War Chant 970
495
He Walked Right In And Turned Right Around And... 27
He Was Her Man 15 2 ,1 8 4 ,1 8 5
Head of the Parade 297, 313
Head Start 5
Headin' For A Weddin162, 66
Hearse Song, The 634, 664
Hearts and Flowers 1 ,1 7
Heaven Can Wait 251, 260, 282, 299, 321, 376
Hello Ma Baby 759
Here Comes My Blackbird 9, 928
Here Comes the Sandman 186,190
He's a Humdinger 98
Hey Doc 372, 373, 381, 387, 393, 489, 511
Hey Sailor 88, 97, 101
Hi Ho the Merrio 177
Hi Nellie 78
Hickory Dickory Dock 554, 623, 628
Highland Fling 541
Highway to Heaven 5
Hi-Ho the Merrio (As Long as She Loves Me) 161, 667
Hi-Le Hi-Lo 69,150
Hillbilly From Tenth Avenue 210
496
Hinky Dinky Parley-Voo 193, 277, 624
Hit Me Again 83
Hittin' the Trail For Hallelujah Land 20
H'llo Baby 3, 55
(Ho-dle-ay) Start the Day Right 263, 272, 293, 298, 358, 368, 393,469,
515, 588, 598, 682, 788
Hole in the Ground 709
Home on the Range 71, 540, 549, 618, 656, 656, 711, 723, 925
Home Sweet Home 55, 84, 131, 132, 144,182, 196, 200, 219, 229, 253,
260, 270, 283, 286, 291, 311, 312, 327, 339,374, 404, 440,452,
459, 472, 475, 484, 487, 493, 498, 504, 506,515, 518, 530,537,
538, 540, 547, 548, 554, 556, 578, 579, 585,587, 589, 594,603,
632, 661, 662, 664, 669, 671, 675, 698, 703,707, 709, 714,718,
721, 722, 729, 734, 738, 744, 748, 754, 772,781, 797, 813,816,
825, 842, 862, 874, 881, 906, 925
Honey Bunny Boo 348,3 75 ,4 61
Honeymoon Hotel 74, 159, 256
Hooray for Hollywood 196, 197, 199, 221, 226, 386, 421, 472, 476, 498,
584, 584, 592, 782, 783, 854, 860, 862, 977
Hootchy Kootchy Dance 156, 421,459
Horsey Keep Your Tail Up 150
Hot Dog A Blanket And You, A 2 5 ,3 4
Hot Time in the Old Town Tonight 2 ,4 , 15, 17, 19, 21, 27, 29, 31, 34, 36,
38, 39, 45
How Can You Say No 34, 38, 39
How Could You 171, 181, 186, 427
How Do I Know It's Sunday 82
497
How Dry I Am 45, 155, 156,161, 178, 178, 205, 234, 244, 253, 306, 332,
360, 504, 605, 840, 850, 863, 874, 875
How DYe Do 293, 306, 344, 472
How High Can A Little Bird Fly 101
How Many Hearts Have You Broken 4 5 1 ,4 5 3 , 480
How Many Rhymes Can You Get 197
How Sweet You Are 419, 421, 425, 431, 438, 442, 447, 452, 476, 480, 553
How'd Ya Like To Be a Little Birdie 128, 142,468
Howdy 189, 313, 543
Howdy Stranger 234
Hubby Hobby 119
Huckleberry Duck 412, 422, 425, 455, 482, 611, 626, 697
Hula Lou 936, 970
Hullabaloo 11
Humming Bird, The 82
Humoreske 445
Humoresque, Opus 10, No. 2 412
Humoresque, Opus 10, No. 4 467
Humpty Dumpty 288, 362
Hungarian Dance No. 1 495
Hungarian Dance No. 17 394, 559
Hungarian Dance No. 5 178,178, 3 9 4 ,4 7 2
Hungarian Dance No. 6 394,451
498
Hungarian Dance No. 7 374, 39 4 ,4 9 5 , 506, 559
Hungarian Rhapsody No. 2 138, 350, 478, 488, 516, 545, 592, 631, 729,
783
Hunting Scene 100, 126, 232
Hunting Song 715
Hunting We Will Go, A 161, 188, 199, 202, 254, 259, 273, 302, 306, 309,
311, 317, 334, 337, 368, 387, 396, 431, 4 3 4 ,4 4 4 , 448, 455, 470,
490, 501, 512, 513, 538, 546, 552, 569, 578, 581, 586, 588, 621,
633, 644, 652, 692, 715, 724, 740, 744, 760, 780, 782, 783, 784,
796, 816, 842, 848, 856, 866, 882, 892, 965, 976
Hurry No. 1 208, 238, 253, 454
Hurry No. 3 193
Hut Sut Song, The 362
I Can't Face the Music (Without Singin' the Blues), 222
I Can't Get Along Little Doggie, 329, 363, 38 6 ,4 3 9 , 618
I Can't Give You Anything But Love Baby, 11
I. Can't Write the Words, 21
I Cover the Waterfront, 657, 696, 698, 735, 867, 879
I Didn't Slip, I Wasn't Pushed, I Fell, 630
I Do Do Do Like You, 527, 534
I Don't Have to Dream Again, 133
I Go For You, 455, 456, 462, 479, 564
I Got Shoes, 140
I Got To Settle This Tonight Or Never, 23
I Haven't Got a Hat, 9 9 ,1 7 4
499
I Know Now, 184
I Like Mountain Music, 54, 58, 59, 64, 68, 597, 626,990
I Love a Parade, 37, 221
I Love the Name of Mary 299
I Love To See The Evenin' Sun Go Down 38
I Love to Singa 138,164
I Miss My Swiss 10
I Need Lovin 30
I Only Have Eyes For You 86, 157, 161, 369, 672, 698, 747, 886
I Saw A Robin 116
I Think You're Ducky 66, 73, 76, 78, 80, 82, 84, 85, 86, 87, 91,92, 94, 95,
96, 99, 103, 104,106, 111, 113, 115, 117, 118, 120, 122,124, 128,
1 3 1 ,1 3 2 ,1 3 4 ,1 3 6 ,1 3 8 ,1 4 0 ,1 4 2 ,1 4 3
I Wanna Bounce Around With You 157
I Wanna Go Back to Bali 213,
I Wanna Play House With You 120
I Wanna Woo 131,159
I Want My Share of Love 258
I Want to be Happy 874,
I Wish I Had Wings 39 ,41 ,
I Wish I Was in Dixie 173,
Ice Cold Katy 42 3,4 26 ,
I'd Be Lost Without You 499, 505, 506, 527, 548,
500
I'd Love to Take Orders From You 130, 132,152, 272, 293,
If I Could Be With You (One Hour Tonight) 282, 306, 322, 344, 446,449,
504, 520, 531
If I'm Dreaming 3
If Someone Had Told Me 694
If You Can't Sing Whistle 150
I'll Be Much Obliged To You 45
I'll Pin Another Petal On The Daisy 6 3 ,6 4
I'll Pray For You 368, 382, 387, 388, 419, 429, 437
I'll Sing You a Thousand Love Songs 155, 202
I ’ll String Along With You 89
I'll Take An Option On You 67
Illusions 154, 227, 230
I'm A Little Big Shot Now 128
I'm A Motorman On the Urban Line 79
I'm An Old Cowhand (From the Rio Grande) 971
I'm Crazy For Cannibal Love 2
I'm Crying For The Carolines 27
I'm Forever Blowing Bubbles 1, 110, 138, 286, 287, 328, 334, 37 2,431,
510, 524, 577, 608, 612, 620, 672
I'm Going Shopping With You 96
I'm Happy About the Whole Thing 257, 32 7,3 9 0 ,4 3 8 , 447
I'm Happy When You're Jealous 23, 50, 53
I'm Hatin' This Waitin' Around 169
501
I'm In Love 599
I ’m Just Wild About Harry 293, 295, 322, 407, 471, 515, 632, 655, 759,
852
I'm Like a Fish Out of Water 197
I'm Looking Over a Four Leaf Clover 535, 547, 568, 578, 579, 589, 595,
620, 640, 650, 682, 804, 810, 843
I'm Making Hay In The Moonlight 36, 39, 71
I'm Needin' You 6
I'm Ridin' For a Fall 414, 420,421, 431, 453, 468
I'm the Captain's Kid 179
I'm Wearin' My Green Fedora 104, 143, 186
In a Little Dutch Kindergarten (Down By the Zuider Zee) 218, 290, 343, 353
In a Little Red Bam (On a Farm Down in Indiana) 677, 697, 700 »
In a Pagoda 536
In A Shanty In Old Shanty Town 4 2 ,90 6
In an Eighteenth Century Drawing Room 4 0 6 ,4 2 1 ,4 2 4 ,4 2 5 , 500, 584,

635, 643, 784, 813, 85
In an Old Dutch Garden (By an Old Dutch Mill) 276, 282, 283, 288, 293,
323, 329
In Caliente 134, 156, 199, 217, 310, 509, 687, 751, 837, 877
In Memory of You 12
In My Merry Oldsmobile 51, 74,155, 159, 207, 277, 297, 368, 374, 383,
426, 483, 515, 565, 568, 577, 581, 635, 645, 661, 736, 868
In the Garden of My Heart 407
In The Hills Of Old Missouri 38
In The Land O f Buddha 37
502
In the Shade of the Old Apple Tree 48, 78 ,15 0, 1 5 1 ,1 7 7 ,1 8 7 , 191,207,
222, 311, 317, 383, 465, 484, 558
In The Shanty Where Santy Claus Lives 2 5 ,4 4
In the Stirrups 100,144, 146,170, 241, 381, 395, 439, 444, 449, 564, 660,
703, 711
In Waikiki 345, 936
Indian Dawn 168, 275, 280, 306, 439, 512, 581, 715
Indian War Dance 129, 219, 247, 386,433, 512, 540, 581, 589, 723
Indian Wedding Feast 168, 201, 275,458, 637, 647
Indian Whoop 108
Inflammatus 211, 235, 260, 280, 406, 523
Iola 322, 323, 324, 327, 337, 386
Irish Washerwoman 337, 583, 592, 625, 768, 834
Isle of Capri 221
It Ain't Gonna Rain No More 21, 29, 48
It Can't Be Wrong 405, 412, 414, 423, 429, 434, 441, 510, 579
It Had To Be You 280, 306, 367, 402, 447, 449, 450, 465, 476, 490, 495,
664, 703, 712, 714, 716, 739
It Looks Like a Big Night Tonight 26, 146, 203, 231, 242, 291, 293, 322,
323, 332, 362, 421, 443, 461, 480, 504, 631
It Looks Like Susie, 19
Italian National Hymn 101
Itiskit Itaskit 208, 236, 242, 250, 264, 283, 288, 293, 303, 311, 404,408,
434, 444, 459, 464, 477, 498, 502, 504, 506, 564, 619, 634, 697,
716, 786
It's A Great Feeling 623, 632, 635, 650, 680
503
It's Magic 573, 589, 596, 612, 685, 697, 741, 804, 886, 926, 983
It's Time To Sing Sweet Adeline Again 58, 69
Ifs Tulip Time in Holland 50, 53
It's Wonderful Weather For Love 75
I've Been Working on the Railroad 173, 175, 227, 246, 264, 269, 280, 303,
336, 366, 376, 415, 450, 525, 553, 562, 590, 626, 664, 809, 852
I've Got My Eye on You 131
I've Got To Sing A Torch Song 66
I've Hitched My Wagon to a Star 196
Jabberwocky 148
Japanese Sandman 174, 218, 235, 377, 397
Jarabe Tapatio 509, 689, 726, 751, 800, 812, 889, 901, 938, 957, 963, 971
Java Jive 345, 349, 370, 384, 402
Jeanie With the Ught Brown Hair 376, 402, 550, 598, 679, 839, 840, 870
Jeepers Creepers 235, 235, 236, 241, 242, 243, 259, 279, 300, 325, 342,
344, 472, 487, 680, 810, 823, 862
Jesse James 215, 454, 597
Jezebel 213, 221, 236, 441
Jimmy Valentine 315, 328, 483, 538, 590, 596, 657, 805
Jingle Bells 44, 165, 208, 214, 260, 298,303, 307, 322, 365, 380, 399,
404, 418, 423, 452, 496, 512, 514, 532, 552, 568, 613, 643, 671,
674, 701, 743, 855, 872, 903, 981
Jolly Bakers 276
Jolly Robbers Overture 1 ,4 0 1 ,4 0 5 ,4 3 8 , 566, 576, 584, 585
Jose O'Neill- The Cuban Heel 156, 190, 217, 509
504
Joseph Joseph 205, 210
Joy to the World 307
Junk Town Gadget Band 246
Just a Blue Eyed Blond 20
Just a Cottage Small (By a Waterfall) 566, 712
Just a Simple Melody 200s, 209
Just a Waterfall 360
Just Before the Battle Mother 188, 598, 679
Kaiser Waltz 572
Kamarinska 56
Keep Cool Fool 337, 340, 358, 370, 388,403, 507, 667
Keep Kissable 18
Keep Your Powder Dry 4 6 9 ,4 9 6
Killarney 565, 583
Killy-Ka-Lee 356
Kimygayo 404,428
King Chanticleer 631, 6 3 4 ,6 4 2 , 738
King For a Day 424, 513, 638, 654
Kingdom Coming (Jubilo) 14, 58, 95, 201, 246, 344, 347, 439, 450,454,
458, 520, 550, 6 3 9 , 719, 931
Kiss Me Sweet 594, 604, 608, 673, 677
Kiss Waltz 7, 208, 224, 260, 269, 329, 368, 794, 886
Kootch Dance 54, 141, 27 7, 322, 536, 575
505
La Cucaracha 109, 156,190, 199, 217, 221, 310, 324, 465, 509, 687, 689,
800, 812, 815, 825, 845, 877, 900, 971, 981
La Danza 6 1 9 ,6 2 2
La Fiesta 93
La Golondrina 134
La Marseillaise 39, 60 ,49 5, 616, 773, 801
La Paloma 156, 812, 900,971
La Raspa 957
La Vie en Rose 638, 640, 646, 683, 692, 753, 767
Lady in Red, The 113,143, 149, 156, 174, 186, 188,191, 221, 283, 328,
420, 472, 566
Lady Luck 1, 8
Lady of Havana 217
Lady of Spain, The 156, 217, 609, 695
Lady Play Your Mandolin 13
Lady Who Couldn't Be Kissed, The 186
L'Amour Toujours L'Amour 616, 622, 646, 661, 683, 695, 697, 699, 804,
844, 902
Largo 303
Largo Al Factotum 560
Latin Quarter, The 218, 222, 324, 365, 369, 391, 409, 434, 446, 479, 552,
573, 616, 624, 646, 685, 891
Laugh Clown Laugh 138, 295, 352, 364, 369, 407, 431,477, 504, 519, 529,
535, 608
Laughing At Life 10
Lazy Lane 12
506
Lazy Mary 376, 705
Lazy Mary/ Will You Get Up 265
Leave A Little Love Dream 48
Leave a Little Smile 10
Les Preludes 444, 452, 506, 514, 520, 548, 591, 634, 642, 676, 696, 737
Let It Be Me 13 1,1 43 ,1 57
Let That Be a Lesson to You 197, 204, 205, 209, 212, 226, 236, 243, 609
Let the Rest of the World Go By 145, 221, 264, 287, 309, 445, 548
Let's Put Our Heads Together 161,166
Lets Put Out The Lights 49, 57, 68
Let's Rub Noses (Like the Eskimoses) 245
Lets Sing a Song About Susie 491
Levee Song 150
Liebestraum 157, 183, 577, 729
Life on the Ocean Wave, A 155, 179, 264, 279,336, 345, 497, 582, 609,
630, 873, 909, 981
Light Cavalry Overture 99, 106, 150, 188, 202, 208, 264, 281, 327, 347,
363, 367, 379, 403, 444, 445, 465, 474, 482, 486, 553, 584, 667
Listen to the Mocking Bird 138, 157, 161, 178, 178, 202, 306, 313, 374,
387, 452, 548, 630, 882
Little Annie Rooney 66
Little Bo-Peep 288, 746
Little Brown Jug 214, 253, 288, 327, 360, 398,440, 526, 551, 615, 654,
664, 784, 798, 850, 875, 925
Little House That Love Built, The 159
507
Little Man You’ve Had a Busy Day 151, 167, 178, 191, 209
Little Old Church in the Valley 212, 325
Little Old Fashioned Music Box 169,174, 181, 229
Little Old Sod Shanty, The 289,454
Little on the Lonely Side, A 457,459, 460, 462, 495, 497, 510, 587, 695
Little Street in Honolulu 4
Little Things You Used To Do, The 149,159
Living a Life of Dreams 9, 928
Loch Lomond 270, 292, 352, 368, 370, 399, 541, 587, 635, 773
Lohengrin 557, 560
London Bridge is Falling Down 29, 112, 201, 360, 458, 578, 682, 932
London On A Rainy Night 110
Lone Star Trail, The 656
Long Long Ago 243, 248, 279, 283, 284, 346, 375, 392, 405, 440, 556,
627, 756
Looking For the Lovelight in the Dark 6
Looks Like It's Got Me Again 32
Looney Tune Step, The 23
Love Is On the Air Tonight 184, 185, 186, 197, 223
Love Me and the World Is Mine 207, 280, 364, 577
Love Somebody, Yes I Do 597, 599, 635
Love Song of Kalua 428, 477
Love Ya 663, 678, 700, 737
508
Lucky Day 638, 645, 647, 656, 657, 661, 672, 683, 783, 796, 894, 906
Lucky Duck 172
Lullaby 278, 633, 805, 824, 853, 865, 870, 874, 875, 897, 899, 908, 980
Lullaby of Broadway 105, 121, 124, 144, 167, 189, 323, 369, 370, 429,
486, 497, 553, 558, 659, 675, 719
Lulu's Back In Town 112
Madelon 9, 928
Mademoiselle from Armentieres 9, 928, 993
Madrid 93, 607
Magic Flute, The 428
Maharajah, The 148, 277
Maiden's Prayer, The 588, 641
Main Street 59, 64
Make It Snappy 313,496, 504, 564
Make Love With a Guitar 310, 342,403
Maker Of Dreams 65
Mammy 1
Mammy's Little Coal Black Rose 273, 398, 412, 500, 530
Man From the South, The 6
Many Happy Returns of the Day 21, 28
March Dignataire 185, 313
March Dignitaire 211,481
March of the Spiders 97,139
509
March Tannhauser 267
Marche Dignitaire 148
Marche Militaire 263
Marchin' Toward Ya' Georgia 108
Marine's Hymn, The 4 0 0 ,4 4 8 ,4 4 9 ,4 8 1
Mary Had a Little Lamb 746
Mary, You're a Little Bit Old-Fashioned 379
Maryland My Maryland 368
Massa's in the Cold Cold Ground 182, 536, 679, 713
Maybe It's Love 10
Meet Me In The Gloaming 58
Melancholy Mood 265, 266, 276, 298, 299, 499, 535, 587, 628, 630, 699
Memories 144, 162, 288, 403, 426, 444, 682, 698
Me-ow 51, 162, 305, 318, 342, 373, 456, 623, 639, 657, 676, 729, 742
Merrily We Roll Along 6 8 ,1 1 7 , 143, 146, 147, 149, 152, 154, 157,158,
160,162, 164, 165, 167, 168, 170, 172, 174, 178, 179, 181, 183,
186, 187,188, 192,194, 196, 198, 200, 202, 204, 206, 207, 208,
211, 213, 214, 215, 217, 219, 221, 222, 224, 226, 227, 229, 231,
234, 236, 237, 239, 240, 242, 244, 246, 248, 249, 251, 252, 254,
255, 257, 258, 260, 262, 263, 264, 266, 268, 269, 271, 273, 275,
276, 278, 280, 281, 283, 284, 287, 288, 290, 291, 293, 294, 295,
296, 297, 299, 303, 304, 306, 307, 309, 311, 312, 314, 315, 317,
318, 320, 322, 323, 325, 327, 328, 330, 332, 334, 335, 336, 338,
340, 341, 343, 344, 346, 347, 348, 350, 351, 353, 355, 356, 359,
360, 361, 362, 364, 366, 367, 369, 371, 373, 375, 376, 378, 380,
382, 383, 385, 387, 388, 390, 391, 392, 394, 395, 397, 398, 400,
401, 403, 405, 406, 408, 409, 410, 412, 413, 414, 415, 416, 418,
420, 421, 421, 422, 424, 426, 428, 430, 434, 435, 436, 438, 440,
442, 444, 446, 447, 448, 450, 452, 454, 456, 458, 460, 462, 464,
467, 468, 470, 472, 474, 476, 478, 480, 482, 484, 486, 488, 490,
491, 492, 494, 497, 498, 500, 504, 505, 507, 508, 510, 515, 516,
517, 518, 520, 522, 523, 525, 527, 528, 529, 531, 534, 535, 541,
542, 543, 544, 546, 547, 550, 553, 556, 558, 559, 562, 563, 565,
567, 569, 570, 572, 574, 577, 578, 579, 580, 581, 585, 586, 587,
589, 591, 592, 596, 597, 598, 600, 601, 602, 603, 609, 610, 614,
615, 616, 620, 622, 624, 626, 628, 630, 631, 633, 634, 635, 636,
641, 644, 646, 647, 649, 651, 654, 655, 656, 658, 660, 662, 663,
665, 666, 671, 674, 675, 677, 678, 681, 683, 684, 686, 689, 691,
692, 694, 696, 700, 702, 703, 704, 708, 711, 714, 715, 717, 721,
724, 726, 727, 728, 729, 730, 731, 732, 734, 735, 740, 741, 742,
745, 747, 748, 751, 752, 753, 758, 759, 760, 763, 765, 767, 771,
772, 773, 774, 777, 778, 780, 781, 783, 786, 788, 790, 792, 794,
796, 797, 802, 803, 804, 806, 807, 809, 811, 813, 814, 816, 818,
820, 822, 824, 826, 828, 832, 833, 835, 837, 838, 839, 840, 843,
844, 846, 850, 852, 854, 856, 858, 860, 862, 864, 866, 868, 870,
871, 873, 874, 876, 878, 880, 881, 883, 888, 893, 894, 895, 897,
899, 900, 902, 903, 908, 909, 912, 913, 914, 918, 920, 921, 922,
923, 924, 925 926, 927, 930, 932, 936, 985, 998
Merry Carousel, The 338, 357, 370, 500, 544, 580
Merry Go Round Broke Down, The 9 168 175, 177, 178, 180, 182, 184*,
185,188, 189, 190, 191, 192 193 195, 197, 198, 199, 201, 203*.
205, 209, 210, 212, 216, 218 220 223, 225, 228, 230, 231, 2 3 2 ,
233, 235, 238, 241, 243, 245 247 250, 253, 256, 259, 261, 2 6 4 ,
265, 267, 270, 272, 274, 277 279 282, 285, 286, 289, 292, 2 9 8 ,
300, 302, 305, 308, 310, 313 316 319, 321, 324, 326, 329, 3 3 1 ,
333, 336, 337, 339, 342, 345 349 352, 354, 357, 358, 363, 3 6 5 ,
368, 370, 372, 374, 377, 379 381 384, 386, 389, 393, 396, 3 9 9 ,
402, 404, 407, 409, 411, 419 423 425, 427, 429, 431, 432, 4 3 3 ,
437, 439, 441, 443, 445, 447 449 451, 453, 455, 457, 459, 4 6 1 ,
463, 465, 466, 469, 471, 473 475 477, 479, 481, 483, 485, 4 8 7 ,
489, 491, 493, 495, 496, 499 501 502, 503, 506, 509, 511, 5 1 2 ,
513, 514, 519, 521, 524, 526 530 532, 533, 536, 537, 538, 5 3 9 ,
540, 545, 548, 549, 550, 551 552 554, 555, 557, 560, 561, 5 6 4 ,
566, 568, 571, 573, 575, 576 577 581, 582, 583, 584, 588, 5 9 0 ,
592, 593, 594, 595, 599, 604 605 606, 607, 608, 611, 612, 6 1 3 ,
617, 618, 619, 620, 621, 623 625 627, 629, 632, 637, 638, 6 3 9 ,
640, 642, 643, 645, 648, 650 652 653, 657, 659, 661, 664, 6 6 7 ,
668, 669, 670, 672, 673, 676 679 680, 682, 685, 687, 688, 6 9 0 ,
693, 695, 697, 698, 699, 701 705 706, 707, 709, 710, 712, 7 1 3 ,
716, 718, 719, 720, 722, 723 725 733, 736, 737, 738, 739, 7 4 3 ,
744, 746, 749, 750, 754, 755 756 757, 761, 762, 764, 766, 7 6 8 ,
769, 770, 775, 776, 779, 782 784 785, 787, 789, 791, 793, 7 9 5 ,
798, 799, 800, 801, 805, 808 810 812, 815, 817, 819, 821, 8 2 3 ,
825, 827, 829, 830, 831, 834 836 841, 842, 845, 847, 848, 8 4 9 ,
851, 853, 855, 857, 859, 861 863 865, 867, 869, 872, 875, 8 7 7 ,
879, 882, 884, 885, 886, 887 889 890, 891, 892, 896, 898, 9 0 1 ,
904, 905, 906, 907, 910, 911 915 916, 917, 919, 928, 929, 9 3 1 ,
933, 934, 935, 937, 938, 939 940 941, 942, 943, 944, 945, 9 4 6 ,
947, 948, 949, 950, 951, 952 953 954, 955, 956, 957, 958, 9 5 9 ,
960, 961, 962, 963, 963, 964 965 966, 967, 968, 969, 970, 9 7 1 ,
972, 973, 974, 975, 976, 977 978 979, 980, 981, 982, 983, 9 8 4 ,
987, 988, 989, 990, 991, 992 993 994, 995, 996, 997, 999, 1000,
1001
Merry Wives of Windsor 452
Mi Caballero 312, 352
Mi Sueno 901
512
Midsummer Night's Dream 232, 294, 319, 343, 387, 400, 467, 478, 665
Miller's Daughter The 86
Minuet 243, 550, 580, 584, 715
Minuet in G 202, 368, 491
Minute Waltz 467, 476, 729, 749
Mississippi Holiday 80
Moment Musicale 268
Monday Morning 233, 238, 239, 261
Moonlight Bay 161, 303, 389, 451, 516, 689, 699, 804, 867
Moonlight For Two 31, 33
Moonlight Sonata 329, 368,465
Morning, Noon, and Night in Vienna Overture 145, 207,449, 560, 834
Mosquitoe's Parade 211
Moth and His Flame, The 379
Mother Machree 765
Mountain Greenery 918
Movie Rag 492
Mr. and Mrs. Is the Name 94,101
Muchacha 156, 199, 217, 310, 332, 349, 509, 553, 687, 751, 812, 815, 858
Muffin Man, The 339, 409, 424, 529
Mutiny 127,148
Mutiny in the Nursery 233, 236, 268, 288, 376, 424, 435
513
My Bonnie Lies Over the Ocean 202, 225, 279, 279,370, 374, 497, 541
My Buddy 63, 565, 570, 608, 615, 619, 632, 635, 642, 655, 673.
My Country Tis of Thee 497
My Fraternity Pin 51
My Gal is a High Bom Lady 560
My Isle o f Golden Dreams 52, 179, 202, 235, 264, 362, 650, 936
My Little Buckaroo 165,167, 169, 178, 178, 190, 195, 386, 439, 523, 656,
891
My Old Kentucky Home 187, 219, 281, 283, 297, 540, 679
My Old Man 8 1 ,1 4 9
My Pony Boy 150
My Texas Home 544
My Wild Irish Rose 369, 795
Mysterioso No. 2 15
Mysterious Mose 212,479, 491, 776
Nagasaki 160, 180, 187,197, 345, 371, 392, 404, 410, 508
Nancy Lee 7 2 ,1 0 1 ,1 3 0
Narcissus 27
Navajo 523, 553
Neapolitan Nights 113
Neck and Neck 64
Neck and Neck Galop 34
Night Over Shanghai 221
514
Night-Time in Rio 166
Nine Little Miles From Ten-Ten-Tennessee 9, 928
No Horse-No Wife-No Mustache 90
No Name Stomp 204
Nobody Cares If I'm Blue 8
Nocturne 280, 294
Nocturne No. 6 296
Nocturne Opus 9, No. 2 475
Nola 138
None But the Lonely Heart 452
Norman Normal 986
North Woods 151
Nothing Worries Me 84
Now I Lay Me Down to Dream 311
Now That Summer Is Gone 163, 200
O Nene 619, 706
Octoroon 216, 237, 567
Oh Bury Me Not on the Lone Prairie 255, 280, 288, 306, 363, 366,439,
454, 675, 711, 717
Oh But I Do 506, 508, 543
Oh Dear! What Can the Matter Be 285, 325, 370, 685
Oh Dem Golden Slippers 164
Oh My Darling Clementine 776
515
Oh Susanna 129, 168, 190, 201, 234, 249, 255, 281, 347, 363, 366, 458,
520, 684
Oh Where Has My Little Dog Gone 63, 160, 178,178, 180, 202, 214, 229,
231, 240, 264,271, 280, 293, 297, 303, 313, 327, 328, 352, 360,
364, 373, 374,376, 379, 390, 425, 438, 461, 472, 486, 506, 522,
525, 565, 619,635, 645, 699, 704, 707, 738, 750, 758, 796, 814,
821, 825, 842,854, 855, 875
Oh You Beautiful Doll 78,118, 122, 159, 178, 178, 280, 328, 380, 409,
420, 426, 459, 466, 474,487, 523, 558, 621, 640, 659, 743, 764,
787, 794, 813, 836, 839, 843, 877
Oh You Crazy Moon 271
Oil Shark 175
Oklahoma Joe 100
Old Apple Tree The, 201, 203, 234, 238, 246, 261,458, 614
Old Black Joe 46, 65, 155, 165, 179, 180, 207, 236, 280, 281, 339, 545,
679
Old Dog Tray 180, 327,460, 768, 854, 871
Old Gray Mare The, 4 3 ,1 3 9 ,1 4 4 ,1 9 0 ,1 9 5 , 215, 241, 251, 281, 311, 324,
327, 328, 331, 344, 346, 367, 426, 444, 456, 459, 482, 752
Old Hound Dog 695
Old King Cole 35, 181, 183, 185, 203, 206
Old King COle Was A Merry Old Soul (Nursery Rhyme), 111
Old MacDonald Had a Farm, 215, 238, 258, 306, 321, 374, 38 2,4 43 , 461,
464, 479, 522, 524, 534, 561, 565, 588, 591, 614, 674, 679, 707,
814, 822, 851, 866, 881, 900, 904
Old McDonald Had a Farm 189
Old Oaken Bucket, The 2 8 4 ,3 7 6 ,4 5 1 , 571
Old Pal 199, 220, 225, 244, 245, 309, 312, 455, 460, 842
Old Tar The 135, 245
516
Old Time Religion 4 1 0 ,4 2 3
On the 5:15 528, 562, 563, 593,. 778, 847
On the Nodaway Road 139
On the Prowl 102,105
On the Rue de la Paix 166, 172, 174,186, 194, 198, 221, 288, 495, 530,
624, 646, 741, 773, 863
One Heart One Mind Mazurka 559
One in a Million 126
One Little Drink 4
One More Time 16
One Step Ahead Of My Shadow 4 2 ,4 6 ,4 7 , 52, 63, 68
One Two Three O'Leary 153
Ooh Hoo You Hoo 17
Orare Orare 408
Organ Grinder 54
Oriental Atmosphere 102,117
Original 70, 71, 72, 74, 77, 90, 93
Orpheus Overture 407
Out For No Good 83
Outside of You 120
Over the Waves 248, 260, 264, 279, 291, 336, 339, 355, 362, 370, 375,
391, 405, 414, 418, 438, 443, 462, 471, 497, 507, 522, 556, 557,
582, 586, 602, 666, 670, 675, 678, 687, 702, 724, 753, 778, 837,
992
Page Miss Glory 124
517
Pagan Moon 24
Painting the Clouds With Sunshine 1, 984
Pale Moon 28, 29
Parade of the Animals 153, 160,181, 224, 285, 297, 300, 324, 527, 555,
557, 564, 636, 650, 678, 720
Parade of the Teddy Bears 324
Parade of the Teenie Weenies 92
Paree Je Taim e 989
Parsifal 306, 572, 577, 686
Partners 175
Pathetique 4 4 2 ,4 4 5 ,4 5 2
Peek-a-Boo 81, 31 5,4 62 ,4 72 , 579, 657, 703,708, 712
Penguin Parade 198
Penguin, The 407, 408, 409, 425, 436, 449, 453,477, 525, 640, 672, 674
Perfect Dream The, 75
Perilous Pursuit 94,136
Perpetual Motion 3 9 7 ,4 0 9 ,4 5 0 ,6 4 1 , 661, 666
Perpetuum Mobile 576, 585, 629, 671, 691
Peter, Peter, Pumpkin Eater 48, 872
Peterkin Pillowby 647
Pettin1In The Park 66, 73
Piano Concerto in B Flat Minor 391, 41 3 ,4 3 1 ,4 4 6
Piano, Bass and Drums 689,699
518
Picador Porky 156
Piccolo Pete 7
Piggy Wiggy Woo 278, 311, 366, 372, 469, 549
Pilgrims' Chorus 255, 280, 306
Pique Dame Overture 562
Pirate Song 521
Pizzicato Polka 559
Please Be Kind 208, 226, 236
Please Don’t Talk About Me When I'm Gone 759
Plough Boy 710
Poet and Peasant 87, 99, 136, 150, 151, 155, 186, 191, 206, 211, 251,
291, 353, 377, 479, 480, 577, 601, 696
Pomp and Circumstance 14
Poor Little Doll 76
Pop Goes the Weasel 162, 199, 398, 504, 597, 688, 762, 783
Pop Goes Your Heart 92
Porky 169
Porky and Gabby 163
Porky the Wrestler 153
Porky's Building 166
Porky's Duck Hunt 161
Porky's Garden 177
Porky's Railroad 173
519
Porky's Road Race 155
Powder My Back 118
Power House 40 9 ,4 1 2 , 415, 418, 419, 420, 425, 42 9,4 44 , 451, 469, 479,
486, 503, 533, 589, 595, 618, 620, 652, 656, 686, 689, 700, 738,
747, 765, 770, 781, 785, 880, 888, 897
Prelude 257, 287
Prelude in C # Minor 88
Prelude No. 4 426
Prelude Opus 28, No. 14 522
Prelude Opus 28, No. 15 493, 610, 648
Prelude Opus 28, No. 20 29 4,4 06 , 648
Prelude Opus 28, No. 6 425
Pretty Baby 37, 63, 144,147, 177, 219, 288, 464, 468, 503, 579, 671, 721
Pride of the Wolverines 313, 562
Prize Song from Die Meistersinger 599
Puddin' Head Jones 77, 79, 153, 160, 182, 184, 308, 316, 374, 376, 407,
440, 441, 471, 536, 548, 556, 576, 626, 632, 657, 866
Puppchen 115, 154,178, 178, 221
Put On Your Old Grey Bonnet 78, 150, 157,174, 183, 207, 243, 283, 404,
420, 444, 461, 504, 540, 604, 682, 760
Put The Sun Back In The Sky 2 9 ,4 8
Put 'em in a Box, Tie 'em with a Ribbon 581, 582, 588, 608
Queen Was In The Parlor 35
Queer Antics 92, 105,150, 175, 235
Quicker Than You Can Say Jack Robinson 122
520
Quilting Party, The 251
Rabbit and The Turtle, The 404
Rainbow 'Round the Moon 227, 229
Rainy Night in Rio, A 547, 560, 582
Rally Round the Flag Boys 887
Rambling Wreck From Georgia Tech. 26
Rebecca of Sunnybrook Farm 327
Reckless Night on Board an Ocean Liner 661, 6 6 8 ,7 4 7
Reckon I'm In Love 605, 658
Red Headed Baby 22
Red River Valley 656, 883, 979
Red, White, and Blue, The 449, 632
Remember Me 1 9 1 ,1 9 6 , 211
Reproach 339,382
Restless Events 302
Return My Love 802
Reuben Reuben I've Been Thinking 1, 8, 3 3 ,1 0 9 , 149, 234, 374
Reveille-Bugle Call 672
Rhythm Appassionato 380
Rhythm in the Bow 9 5 ,1 3 9
Rhythm Step 124,149
Ride of the Valkyries 5^4, 696, 802
521
Ride Tenderfoot Ride 228, 234, 241, 329, 347, 363, 891
Riders For the Flag 123
Ridin' the Mail 195
Rienzi Overture 387, 404, 411, 430, 457, 526, 551, 583, 606, 627, 634,
647, 658, 674, 676, 687, 702, 716, 723, 802
Rig-a-Jig 370
Right Kind of Love, The 410
Ring de Banjo 550
Rip Van Winkle 525
Rock-a-Bye Baby 12, 2 7 ,4 1 , 111, 132, 238, 247, 253, 255, 263, 266, 267,
269, 274, 279,283, 288, 298, 299, 305, 337, 338, 342, 361, 374,
381, 384, 388,398, 419, 433, 438, 442, 444, 445, 458, 468, 469,
486, 491, 494,498, 502, 503, 505, 512, 542, 548, 556, 565, 579,
585, 586, 592,622, 667, 673, 707, 716, 721, 728, 734, 743, 745,
833, 835, 839,840,894, 899, 912, 980
Rocked in the Cradle of the Deep 186, 264, 497, 730, 743, 771, 817
Romance a la Mode 396,403
Rosamunde 268, 294
Rough Riders March 526
Rule Brittania 66, 5 7 8 ,9 1 7 ,9 6 3
Rural Rhythm 119, 124, 146,167, 173,192, 241, 370, 543, 614, 665, 693
Russian and Ludmilla 552, 563
Russian Dance 82 ,16 8, 214, 2 2 1 ,4 3 0 ,4 6 3 ,4 9 2
Russian Folk Dance 41 0,4 85 , 548, 559
Russian National Anthem, The 178,178
522
Ruy Bias Overture 213, 235, 238, 267, 274, 335, 385, 446, 529, 584, 752
Sabre and Spurs 10 0 ,1 4 4 , 241, 291,297, 313, 336,466, 500, 576, 720
Sailor's Hornpipe 32, 54, 13 5,1 73 ,1 79 , 207, 248, 263, 264, 270, 356, 516,
521, 582, 609, 696, 909, 970
Samarkand 148
Sambalana 508
San Antonio 195, 255, 291, 448, 634
Santa Lucia 609, 619, 817
Save A Rainy Day For Me 42, 55
Save Me Sister 140, 164,181
Says Who? Says You, Says 1 351, 3 5 5 ,3 6 8 ,4 0 5
Scattin' With Mister Bear 204
Scottish Dance 541
Secret Love 769
Semiramide Overture 584
Sentimental and Melancholy 162,191
September in the Rain 171, 187,194, 200, 32 4,4 27 , 429, 485, 587, 712
Settin' By The Fire 25
Seven Little Steps To Heaven 59
Seven Long Years in State Prison 821
Seventh Symphony 545, 577
Sextette from Lucia 138, 342,465, 516, 560, 599
Shadow Waltz 66
523
Shadowed 114
Shake Your Powder Puff 85, 87, 88, 293
Shanghai Lii 72
She Broke My Heart in Three Places 4 4 3 ,4 5 6 ,4 6 5
She Was an Acrobat's Daughter 125,160, 161, 175, 208, 236, 241, 370,
425, 471, 477, 500, 503, 517, 576, 580, 636, 651, 699, 741
She Went To Old St. Mary's 42
She'll Be Cornin' 'Round the Mountain 3 3 ,4 5 , 186, 202, 208, 231, 269, 311,
439, 581
Shepherd's Song from Tannhauser 576,
She's a Latin From Manhattan 112, 386
Shine On Harvest Moon 44, 186, 303
Shoo Fly Don't Bother Me 365
Shooting the Chutes 331, 338
Short and Sweet 143,145
Shortenin' Bread 379, 382, 392, 398,402, 404, 423, 429, 432, 452,463,
471, 480, 499, 517, 530, 537, 556, 598, 608, 621, 641, 651, 655,
660, 666, 670, 688, 713, 762, 814
Show Me the Way to Go Home 880
Shuffle O ff to Buffalo 61, 67, 80, 95, 146, 167, 341, 442, 457, 474, 476,
553, 592, 602, 615, 617, 696
Shuffle Your Feet 9 ,9 2 8
Siberian Sleigh Ride 422
Sidewalk Serenade 338, 340, 346,401, 718
Sidewalks O f New York 30
Siegfried 29 4,6 40 , 718, 802
524
Silent Night 44, 288, 303, 471, 552
Silver Threads Among the Gold 18
Sing a Song of Sixpence 505, 590
Sing Me a Song of Nonsense 161
Sing You Son of a Gun 197, 198, 203, 210, 221, 242, 292, 477
Singin' Down the Road 47 3 ,4 8 7 , 506, 581
Singin' in the Bathtub 1, 95, 210, 245, 293, 352, 399, 517, 530, 535, 545,
575, 666, 672, 736, 846, 853, 870, 888, 896
Singing Lesson, The 19,48
Sissy 205, 211, 214
Siftin' On A Backyard Fence 71
Skip to My Lou 597
Sleep 41
Sleep Baby Sleep 291, 293, 307, 308, 412, 436, 641, 671, 721, 798
Sleepy Valley 778
Smile Dam Ya Smile 14
So Dumb But So Beautiful 4 5 7 ,4 5 9 ,4 6 3 , 701
So Grateful 29
So Help Me ( If I Don't Love You) 227, 231
Softly Sings The Donkey 35
Solid Citizen of the Solid South, A 514, 530, 550,600,650
Some Sunday Morning 48 4,4 85 , 495, 501, 516, 529, 533, 569, 589, 626,
676, 682
Someday I'll Meet You Again 445
525
Someone's Rocking My Dreamboat 360, 378, 38 8,4 28 , 485,489, 511, 647
Something Tells Me 210, 213, 223
Sometime 779
Sonata No. 3 653, 683, 690, 703, 714
Sonata Op. 13 383
Sonata Pathetique 523
Song of the Circle Bar 170, 190, 195
Song of the Marines 177,179, 193,196, 202, 225, 243, 260, 279, 297,
313, 322, 359, 481, 642, 670, 674, 696, 704, 724
Song of the Mounted Police 252, 380, 396
Song of the Northwest 89
Song Of The Volga Boatman 56,153, 1 8 8 ,3 6 2 ,4 3 0 ,4 4 8 , 519, 548, 559
Song Without Words 232
Sonny Boy 8
Soubrette on the Police Gazette The 157, 178, 178, 234, 363, 492, 577
Sourwood Mountain 597
South American Joe 113
Southern Roses 297, 307, 501, 533
Speaking of the Weather 163
Spending and Evening With You 10
Spirit of Independence 907
Spirit of the Nile 220, 376, 536, 646, 706
Spring Has Sprung 690, 703
526
Spring Song 1, 30, 33, 138, 147, 240, 283, 289, 297, 303, 321, 334, 355,
362, 384, 385, 390, 434, 485, 490, 518, 654, 669, 705, 736, 768,
839, 844, 868, 886, 893, 917
Stage Fright 301
Star of India 497, 536
Star Spangled Banner 333
Stars And Stripes 66
Stealthy Escape 104
Stephanie Gavotte 385, 630, 641, 654, 675
Sticks and Stones 250, 270, 278, 357
Stop It 34
Storm Music 134, 139, 228, 259
Storm Music No. 10 15
Storm on the Keys 99
Stranger in Paree 624, 706
Stranger in Paris 646
Straw Ride, The 59
Streamlined Greta Green 161,167,173
Student Days 103
Study No. 1 592 839
Sugar 29
Summer Is Over 74
Summer Night 191
527
Sun Dance 168, 201, 275, 386, 421, 458, 520, 540, 635, 643, 660, 684,
715
Sunbonnet Blue (And a Yellow Straw Hat) 174
Sunday Go To Meetin' Time 140
Sunshine of Paradise Alley, The 850
Swanee River (The Old Folks at Home) 164,165, 186, 260, 273, 360,432,
505, 515, 550, 674, 679, 825
Swanee Smiles 70
Sweet Adeline 4 119
Sweet and Low 337, 374, 630
Sweet and Slow 119, 128
Sweet Dreams Sweetheart 459, 462, 474, 501, 511, 514, 516, 542, 549,
554, 618, 628, 693, 724
Sweet Flossie Farmer 116
Sweet Genevieve 248, 383, 383
Sweet Georgia Brown 55, 70, 164,165,191, 202, 224, 291, 326, 454, 544,
661, 683, 788, 795, 804, 837, 839, 922
Sweet Music 113, 143, 212
Sweethearts Forever 147
Swing For Sale 164, 206, 410, 472
Swordsman Bold 64
Symphony No. 8 505, 716
Tain't No Good 371, 378, 395, 527
Tales From the Vienna Woods 368, 377, 413,421, 467, 598, 713, 923
Tammany 558
528
Tancredi Overture 546
Tannhauser 448, 474, 519, 526, 555, 628, 668, 669, 691, 802
Taps 589, 737, 755, 887
Ta-Ra-Ra-Ra-Boom-De-Ay 23
Tea for Two 801, 810, 839
Tears From My Inkwell 254
Teddy Bears' Picnic 114, 532, 566, 595
Telling It To the Daisies 7
Tempest, The 133, 279, 365
Temporarily Blue 27
Ten Little Indians 247, 248, 264, 320, 433, 684, 859
That Was a Big Fat Lie 617, 676, 708, 714
That Wonderful Mother of Mine 283, 327, 605, 632, 637, 660, 665, 671,
776, 784
That's an Irish Lullaby 583, 610, 625
That's the Time a Fellow Needs a Girl Friend 17
The Drum Major 83
Then Came the Rain 254, 321
Then You'll Remember Me 895
There is a Happy Land 70
There is a Tavern in the Town 620, 850
There's A Blue Note In My Love Song 23
There's a Brand New Picture in My Picture Frame 223, 226, 230, 270
529
There's a Long Long Trail 9, 95, 279, 280, 928
There's A Rainbow On The River 38
There's A Ring Around the Moon 75
There's Music in the Land 570, 577, 581
They Gotta Quit Kickin' My Dog Around 178, 178, 180,317, 460
They're Either Too Young or Too Old 420,421, 4 2 2 ,4 3 1 ,4 5 2
This Is My Love Song 28
This Is the Way We Wash Our Clothes 253
This Is Worth Fighting For 395, 411, 425, 585, 601, 611, 618, 672, 680,
703
Those Were Wonderful Days 78, 82, 302
Three Blind Mice 32, 174, 227, 257, 292, 297, 315, 337, 373, 397, 425,
457, 475, 486, 533, 661, 673, 780, 790, 811, 835
Three Little Kittens 266, 388, 439,475, 623, 641
Three Men on Horse 159
Three's A Crowd 46
Throw Him Down McCloskey 759
Thru the Courtesy of Love 149, 155, 160, 270
Tica Ti-Tica Ta 358, 361, 364, 382, 678
Tie a Little String Around Your Finger 11
Tiger Rag 8
Till We Meet Again 295
Time Waits For No One 442, 447, 471, 492, 496, 502, 504, 573
Tingles 92
530
Tippin' In 473, 480, 539
Tip-Toe Through the Tulips With Me 1, 659, 803, 881, 886
Titina 196
To Arms 627
To the Post 564, 596
Toccata in D Minor 580
Too Marvelous For Words 1 6 5 ,1 8 1 ,1 9 2
Too-Ra-Loo-Ra-Loo-Ral That's an Irish Lullaby, 453, 455, 504, 510, 515
Toy Soldiers Parade 148
Toy Trumpet 443, 481, 532, 540, 553, 634, 795
Trade Winds 313, 318, 336, 345, 356, 360, 403, 408, 428, 429, 447, 472,
486, 511, 553, 566, 605, 769, 794, 884, 898
Traffic 104, 118, 144, 203, 225, 333, 337, 415, 515, 647
Tramp, Tramp, Tramp (The Boys are Marching), 151, 280, 33 3,6 80 , 887
Traumerei 46, 95, 138, 141, 159, 188, 290, 299, 431, 434, 444, 683
Treacherous Knave 107, 127, 144, 165
Trees 12, 48
Trepak, Danse Russe 467
Trip to the North Pole, A 123, 238
Triumphal March 313
Tumbling Tumbleweeds 360
Turbulency 184, 232
Turkey in the Straw 4, 25, 38, 39, 42, 58, 65, 66, 79, 80, 138, 543, 597,
531
652, 743, 760, 843
Twenty-Four Hours o f Sunshine 617, 618, 707
Twilight in Turkey 405, 406, 409, 414, 440, 452
Twinkle Twinkie Little Star 819, 893, 904
Two Guitars 559
Two Little Flies On A Lump of Sugar 79
Tyroler Sind Lustig 650
Umbrella Man, The 237, 239, 240, 248, 251, 255, 260, 263, 265, 297, 317,
342, 422, 462, 466, 503, 605, 676, 712
Under a Strawberry Moon 391, 397,418, 549
Under My Umbrella 49, 51, 70
Under the Lamp o f Love 73
Under the Moon Its You 9, 928
Under the Sweetheart Tree 7
Unfinished Symphony 160, 171, 232, 250, 280, 427
University of Nebraska 103
Up With the Dawn 171
Upidee 288, 325, 376, 566, 649, 654
Valse des Rayons 616, 714
Velvet Moon 451, 490, 693
Vermont Academy 103
Victory March (Notre Dame) 42
Vieni Sul Mar 619
532
Vieni Vieni 191, 192, 196, 202, 206, 211
Vienna Life 290,448
Violence 135
Violin Concerto, Opus 64 265, 369, 478, 479, 551
Vision of Salome 220, 248, 277, 291, 306, 360, 424, 480, 536, 558, 629,
646, 741
Voices of Spring 348, 369, 445, 467, 518, 529, 574, 592, 615, 723, 895
Volga Boatman 221
W ait For Me Mary 415, 419
Wait For the Wagon 155
Waiting 404
Waiting For a Call From You 21
Waiting For the Wagon 153
Wake Up The Gypsy In Me 56
Wal I Swan 87
Walking My Baby Back Home 12
Waltz No. 2 596
Waltz Opus 34, No. 2 467, 542, 709
Waltz Opus 64, No. 2 487, 608
War Birds 101
War Dance for Wooden Indians 447, 572, 676, 684
War March of the Priests 562
Warbler's Serenade 31
533
Warriors Bold 57
Warum 314, 554, 628
Was That The Human Thing To Do 55
Washington Post March 615, 636, 679, 688, 694, 698, 720
Watch on the Rhein, The 9 , 928
We Agree Perfectly 125
We Did It Before (And W e Can Do It Again) 360, 363, 365, 367, 374, 376,
377, 388, 395, 396, 397, 426, 441, 672
We Watch the Skyways 3 4 6 ,4 0 7
We Won't Get Home Until Morning 40, 89, 155, 156, 361, 401, 734
Wearing o f the Green, The 221, 336, 337, 592,625, 705, 768, 825, 836
Wedding March 74, 147, 157, 159, 213, 227, 337, 339, 358, 422, 445, 589,
607, 629, 664, 695, 713, 760, 787, 906, 920
We're Friends Again 12
We're in the Money 62, 6 5 , 144,153, 175, 236, 264, 269, 270, 293, 303,
308, 313, 329, 331, 352, 361, 370, 392, 409, 527, 528, 535, 551,
578, 580, 582, 596, 599, 620, 623, 642, 656, 664, 667, 683, 703,
715, 722, 728, 738, 750, 753, 756, 776, 781, 792, 804, 813, 836,
839, 856, 870, 874, 906
We're in to Win 411, 415
We're On The March 67
We're Tenting Tonight 281, 529
We're Working Our Way Through College 179, 191, 193, 202, 204, 221,
266, 274, 298, 1000
Were You Foolin' 102
Western Scene 119, 219, 241, 286, 386
What A Life 39
534
What a Little Moonlight Can Do 125
What Do The Animals Do 90
What Will Tomorrow Bring 31
Whatcha Say? 531, 539
What's New 270, 278
What's the Matter With Father 149, 199, 200, 231, 282, 283, 288, 329,
357, 464, 469, 576, 586, 589, 592, 632, 639, 696, 777
W haf s Your Story Morning Glory 340, 341
When a Cowboy Takes a Wife 170,195
When a Great Love Comes Along 123
When I Kissed That Girl Goodbye 52
When I Yoo-Hoo in the Valley 130, 136, 261, 798
When I'm The President 61
When Irish Eyes are Smiling 336, 337, 342, 451, 473, 583, 602, 804
When Johnny Comes Marching Home 35, 281
When Little Bo-Peep Saw Her Little Beau Peep 152
When Love Comes In the Moonlight 9 ,9 2 8
When My Dreamboat Comes Home 154, 159, 161, 171, 175, 198, 304,427,
429, 472, 476, 493, 521, 682, 988
When The Bell In The Lighthouse Tower Rings 24
When The Bloom Is On The Sage 45
When the Circus Comes to Town 139, 143,144, 527
When the Night is Young 17
When the Pussy Willow Whispers to the Catnip 208
535
When the Roses Get the Blues For You 2
When The Shepherd Leads The Sheep Back Home 27
When the Swallows Come Back to Capistrano 305, 313, 330, 332, 357, 365,
371, 374, 390, 421, 452, 571, 623
When Veronica Plays the Harmonica 97
When You and I Were Young Maggie 374, 466, 635
When Yuba Plays Rhumba on His Tuba 217, 221, 560
Where Am 1 143,155
Where Did You Get That Hat 43
Where Was I 286, 299, 303, 305, 312, 328
Where Were You Last Night 29
While Strolling Through the Park One Day 260,280, 295, 312, 334, 382,
383, 426, 440, 455, 489, 492, 538, 592, 605, 616, 665, 671, 681,
705, 767, 861
While We're Young 147
Whimsical Dance 98
Whip, The 90
Whistle And Blow Your Blues Away 34, 42, 48, 50, 51, 52, 53, 55, 57, 59,
60, 64, 65, 68, 69
Who Call, 386, 403, 406, 464, 496, 512, 715
Why Can't This Night Go On Forever 66, 71
Why Do I Dream Those Dreams 79, 84, 90
Why Don't You Fall in Love With Me 396, 402, 411, 494, 543, 629
Wi A Hundred Pipers 541, 565
William Tell Overture 87,106, 134, 161, 179, 182, 188, 193, 208, 216, 228,
536
230, 240, 242, 244,248, 250, 258, 260, 269, 270, 273, 2 8 0 , 289,
297, 303, 309, 314,317, 325, 329, 347, 351, 367, 383, 3 8 5 , 396,
407, 410, 412, 428, 429, 439, 442, 454, 456,478, 485, 4186, 502,
503, 505, 513, 515,523, 528, 534, 540, 546, 552, 555, 5567, 569,
589, 593, 620, 623,631, 632, 634, 636, 644, 648, 654, S 6 7 , 669,
675, 693, 704, 723,726, 727, 825, 840, 846, 847, 897, 9106
William Tell Selection 136
Window Cleaners 102
Winter 151, 214, 540, 568, 570, 670, 692, 768
Wintermarchen 628, 639, 654, 671, 683, 697, 728, 788
Wish That I Wish Tonight, The 470, 474, 475, 491, 517, 527, 6 4 8 , 837
With My Sweetie In The Moonlight 36, 39
With Plenty of Money and You 158,165, 17 2,1 75 ,1 84 , 191, 20*0, 272, 915
Woblin' Goblin The, 650
Won't You Come Over to My House 759
Wooden Indian 715
Woods are Full of Cuckoos, The 166, 186, 191, 468,676
Would You Like to Take a Walk 261, 386, 390,422
Yale Boola 26
Yankee Doodle 3, 17, 32, 37,43, 51, 68, 108, 123,152, 174, 1881, 222,
238, 243, 249, 255, 279, 280, 281, 292, 303, 306, 322, 3 * 5 , 346,
348, 368, 374, 379, 407, 411, 421, 422, 426, 449, 454, 4-64, 475,
542, 588, 589, 598, 599, 601, 609, 619, 627, 631, 679, 6*93, 719,
723, 773, 781, 807, 917, 924
Yankee Doodle Doll 19
Yodel 170, 215
Yoo-Hoo 248, 698
537
You 73
You and You 130,448
You Can Be Kissed 131
You Can't Do That To Me 19
You Can't Stop Me From Dreaming 191,194
You Don't Know How Much You Can Suffer 253, 256, 263, 298, 537, 574,
577
You Don't Know What You're Doing 18
You Go To My Head 223, 226, 231, 244, 247, 433
You Hit My Heart With a Bang 302, 305, 354, 380, 381, 434
You Let Me Down 121
You Must Have Been a Beautiful Baby 231, 233, 235, 236, 238, 240, 242,
248, 250, 253, 264, 267, 282, 284, 328, 390, 425, 429, 435, 469,
486, 493, 548, 570, 592, 624, 662, 678, 721, 764, 899
You Never Know Where You're Goin' Till You Get There 507, 516,519, 545,
574, 672
You Oughta Be in Pictures 196, 224, 251, 264, 270, 283, 286, 297, 324,
349, 357, 407, 421, 459, 471, 476, 513, 575, 577, 775, 782, 839,
841, 980
You You Darlin' 285, 297, 298, 322, 357, 442, 528, 552, 565
Young and Healthy 49, 51, 57, 63, 67
Young Man You've Had a Busy Day 178
You're a Lucky Guy 315
You're a Natural 348
You're an Education 204, 208, 221
You're An Eyeful of Heaven 117
538
You're Getting To Be A Habit With Me 74
You're in the Army Now 123, 130, 193, 247, 281, 314, 322, 329, 333, 336,
346, 367, 392, 425, 433, 449, 672, 679, 680, 760
You're the Cure For What Ails Me 137, 166, 175,183, 187, 202, 206, 293,
297, 353, 602, 634
You're the Greatest Discovery (Since 1492) 274
You're Too Careless With Your Kisses 40
You're Walking In My Sleep 107
You've Got Something There 185
You've Got What It Takes 121
539
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INFORMATION TO USERS

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Daniel Ira Goldmark

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Daniel Ira Goldmark

Susan McClary, Committee Chair

University of California, Los Angeles

Evelyn Bronski Kredenser

Who Instilled in me a love and appreciation for music

Who fostered my sense of creativity and interest in art

Who taught me to keep my head on my shoulders

Who was wiser than anyone ever knew

LIST OF MUSICAL EXAMPLES......................................................................... vii

AND SWING CULTURE ............................................................................... 16

The 1940s: Race and Rhythm.............................................................54

CARL STALLING AND POPULAR MUSIC IN THE WARNER BROS.

Stalling and the Silent F ilm ................................................................. 66

Warner Bros. Scores, the Practical S ide.............................................. 76

Stalling's Composite Scores......................................................... . . . 112

SCOTT BRADLEY'S (VIOLENT) MUSIC FOR M-G-M, OR "YOU REALLY DO

Happy Harmonies: M-G-M's Early Y ears..................................« . . . 131

Tom and Jerry and Bradley....................................................... 156

Clash of the Titans: Bradley vs. A very..............................................177

W hat's Opera, Doc?................................................................... 230

WARNER BROS. CARTOONS.......................................................................... 273

FROM 1930-1968 ........................................................................................... 467

Example 1: "Khosn, Kale Mazl Tov" melody .......................................... 103

Example 2: "Powerhouse" melody................................................................ I l l

Example 3: Passage from Franz Liszt's Second Hungarian Rhapsody. . . 189

My earliest musical influences—outside the home, that is—were my

expressed an interest in learning a particular piano piece of Mozart's at an

been continually supportive and encouraging in my ongoing musical

explorations. Several years later, I found in Ron Perry as positive a musical

influence as I could have hoped for in high school. He provided me with a

always advised me with great care.

The faculty and staff at UC Riverside, where I began this project,

was always very supportive of my work, as strange as it may have seemed

to some o f them at the time. This includes Lea Appleton, Ed Clinkscale,

Fred Gable, Anthony Ginter, Ethan Nasreddin-Longo, and especially Barbara

Bennett, Byron Adams, and Philip Brett. Besides listening to my earliest

to overrun her home one afternoon in a frenzy of "name-that-tune" cartoon

watching. Both Byron and Philip pushed me continually to expand my ways

McHugh first interested me in film studies as an undergraduate, and I owe

in the spring of 1992, was my instructor for a Romantic-20th century music

encouraged me to pursue my curiosity, in part by putting me in contact

with a colleague of hers from UCLA, Jim Westby.

While this undertaking began as an archival research project, I

Goldberg created the original database through which I chronicled the

questions about the system, while Kris Cassias provided essential

I was lucky that my introduction to the animation world was made

through a series of phone calls, each of which introduced me to a different

Keith Scott, David Gerstein, Linda Simensky, and Stephen Schneider, to

invaluable to this project; he showed me extremely rare footage, shared

numerous stories about the history of Hollywood animation, and just

Mike Barrier cheerfully provided me with direction on aspects of animation

history, as well as sending one-of-a-kind interview materials from his own

encouragement. As the only person I knew who would be up and working

at 2 am, he also introduced me to Leonard Maltin and J.B. Kaufman.