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15 Pieces of Classical Music That Showed Up in Looney Tunes

Bugs Bunny: smart aleck, dynamite enthusiast … Chopin fan? Sit the kids down for a Looney Tunes and Merrie Melodies marathon, and they’ll be humming classical refrains before you can say “Th-th-that’s all, folks!” The shorts incorporated everything from light opera to German symphonies. And this wasn’t all idle background noise. Warner Brothers, who produced both Looney Tunes and its equally influential (and far less famous) sibling Merrie Melodies, actively relied on music to help pull off some of the funniest gags in cartoon history. So, kick back, pass the carrots, & let’s enjoy a few comedy classics.

1. Tales from the Vienna Woods, Op. 325 by Johann Strauss II (1868)

As Heard In: A Corny Concerto (1943)

On occasion, director Bob Clampett had some fun at Disney’s expense. "A Corny Concerto" riffs Fantasia (1940) and doesn’t miss a joke. At “Corny-gie Hall,” Elmer Fudd introduces segment number one, emphasizing the "wythm of the woodwinds.” Cut to Porky Pig and his faithful pointer dog in hot pursuit of Bugs, accompanied all the way by the Waltz King’s playful hit. 

2. The Blue Danube by Johann Strauss II (1866)

As Heard In: A Corny Concerto (1943)

Act II sees a mother swan leading her cygnets in a birdsong-based cover of this concert hall staple. When young Daffy Duck paddles over with his off-key honking, she’s none too thrilled—until he saves the day, that is. It’s a hilarious take on Strauss’ best-known offering, though '90s kids will probably still prefer The Simpsonslow-gravity rendition.

3. Dance of the Comedians from The Bartered Bride by Bedrich Smetana (1866)

As Heard In: Zoom and Bored (1957)

As always, Wile E. Coyote matches wits with his hated Road Runner nemesis. This time around, the climax is set to what’s quite possibly the most beloved Czech opera ever written.

4. Minute Waltz in D-Flat by Frédéric Chopin (1847)

As Heard In: Hyde and Hare (1955)

Bugs spots a piano inside Dr. Jekyll’s house and, being the cultured lagomorph that he is, starts playing away like a pro. Too bad Mr. Hyde shows up to ruin everything.

5. Morning, Noon, and Night in Vienna by Franz von Suppé (1844)

As Heard In: Baton Bunny (1959)

Apparently taking a break from his typical antics, Bugs does an impressive job of conducting Morning, Noon, and Night in Vienna. Like most composers, von Suppé himself was also a conductor—however, unlike a certain buck-toothed character, he wasn’t noted for tearing after obnoxious flies mid-performance.

6. The Barber of Seville Overture by Gioachino Rossini (1816)

As Heard In: The Rabbit of Seville (1950)

Elmer chases Bugs across some local stage when, suddenly, the curtain rises on a production of Rossini’s operatic masterpiece. Without missing a beat (or breaking tempo), that wascaly wabbit assumes the title role and humiliates Fudd in one fell swoop.

7. Beethoven’s 7th by Ludwig van Beethoven (1811-12)

As Heard In: A Ham in a Role (1949)

A well-spoken dog yearns for Shakespearean theatre, but, alas, the two Goofy Gophers spoil his plans via mean pranks. At 1:26 in this clip, one of them dons a skeleton costume as our oblivious pooch—who’s been reciting non-stop—reaches an eerie ghost scene in Hamlet. Listen closely, and you’ll hear a snippet from the symphony that was strange enough to make 19th-century critics wonder if Beethoven had gotten drunk while writing it.

8. Träumerei (“Dreaming”) by Robert Schumann (1838)

As Heard In: Hare Ribbin’ (1944)

A quick, 38 seconds’-worth of Schumann’s gentle theme plays while Bugs’ latest tormentor—an oafish canine—mistakes him for dead. The ensuing punchline proved so dark that censors had it removed, forcing a severe edit which was shown during its theatrical release. But even that ending has been deemed too much for modern audiences, and hasn't been shown outside of a 2000 episode of The Bob Clampett Show on Cartoon Network. Now the original pre-multiple-censors release is available on the DVD set.

9. Largo al Factotum from The Barber of Seville by Gioachino Rossini (1816)

As Heard In: The Long-Haired Hare (1949)

In The Long-Haired Hare, big-shot opera star Giovanni Jones rehearses at home with this song (best remembered for its famous “Figaro! Figaro!” lines). Meanwhile, Bugs loudly strums his ole banjo off in the distance. An annoyed Jones proceeds to destroy the bunny’s banjo, then harp, and finally tuba and then strings him up by his long, pointy ears. Three seconds later, Bugs declares war, and we all know that Hell hath no fury like a rabbit scorned.

10. Johannes Brahms’ Hungarian Dances (1869)

As Heard In: Pigs in a Polka (1943)

Brahms wrote 21 separate dances based on Hungarian folk music, finishing the lot in 1869. This slapstick take on the “Three Little Pigs” fable is set to assorted highlights from them.

11. The William Tell Overture by Gioachino Rossini (1829)

As Heard In: Bugs Bunny Rides Again (1948)

Even though Rossini lived to be 76, he stopped writing operas at 37. His last was William Tell, which came with one of the most instantly recognizable overtures ever composed. 119 years later, Warner Brothers used the tune in a horseback chase sequence featuring the anger-prone Yosemite Sam (at 1:55 in this clip).  

12. Hungarian Rhapsody No. 2 by Franz Liszt (1847)

As Heard In: Rhapsody Rabbit (1946)

Now here’s a ditty whose comedic potential sure didn’t go unnoticed. Rhapsody Rabbit finds Bugs playing it before an adoring crowd only to get rudely interrupted when a rodent decides to help by dancing on the keys. At various points in their careers, Mickey Mouse, Woody Woodpecker, and Tom & Jerry all did similar routines with this exact same piece of music. Hungarian Rhapsody No. 2 even appears in 1988's Who Framed Roger Rabbit?—it’s the song Daffy and Donald Duck crank out during their piano face-off.

13. The Overture from The Flying Dutchman by Richard Wagner (1843)

As Heard In: What’s Opera, Doc? (1957)

What’s Opera, Doc? is an undisputed classic. The Library of Congress says as much: in 1992, it became the very first animated short film to be selected for preservation by the National Film Registry. Our story begins with the opening of The Flying Dutchman, which—more than any other work—put Wagner on the map. As his music swells, a diminutive Viking warrior who looks suspiciously like Elmer Fudd conjures up a mighty tempest, evoking Fantasia’s Night on Bald Mountain sequence.    

14. “Pilgrim’s Chorus” from Tannhäuser by Richard Wagner (1845)

As Heard In: What’s Opera, Doc? (1957)

Later on, Elmer shares a duet with the fair maiden Brünnhilde (or rather, Bugs in drag). “Oh, Bwünnhilde,” he swoons, “you’re so wovely!” “Yes, I know it,” quips the Bunny, “I can’t help it!” Their whole exchange takes its music from a highlight from Tannhäuser in which travelers headed for Rome reflect on heavenly forgiveness.

15. Ride of the Valkyries from Die Walküre by Richard Wagner (1870)

As Heard In: What’s Opera, Doc? (1957)

Die Walküre is the second installment in Wagner’s Ring cycle: a set of four operas which combine to tell an epic, 15-hour fantasy about gods, men, and power. For a prelude, Act III gets “Ride of the Valkyries,” wherein divine immortals let loose their mighty battle cry. In What’s Opera, Doc?, Elmer Fudd adds some brand new lyrics, namely, “Kill da wabbit, Kill Da Wabbit, KILL DA WABBIT!

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10 Far-Out Facts About Futurama
20th Century Fox Home Entertainment
20th Century Fox Home Entertainment

In 1999, Matt Groening followed-up the monumental success of The Simpsons with an idea for a sci-fi comedy that he’d been tinkering around with for years. With influences ranging from groundbreaking sci-fi movies like Blade Runner to shows like The Jetsons and pulpy ‘50s comics like Weird Science, Futurama proved to be yet another winner for the cartoonist. Characters like Fry, Bender, and Leela quickly became fan favorites, rivaling Homer, Marge, and the rest of Springfield for quotability. The show was also a hit with the critics, winning plenty of Annie and Emmy Awards along the way.

Never a ratings juggernaut to a larger audience, the show only lasted four seasons on Fox before being cancelled in 2003. Neither the production staff nor the series’ loyal fan base would give up on Futurama, though, and the series was revived for an additional three seasons on Comedy Central from 2008 through 2013. Here are 10 things you might not know about Futurama

1. THE SHOW’S NAME COMES FROM AN EXHIBIT AT THE 1939 NEW YORK WORLD’S FAIR.

Though Matt Groening’s Futurama takes a comedic look at what the future might hold for us, the name is based on a very real-world version of the world of tomorrow. At the 1939 New York World’s Fair in Queens, GM built a mammoth attraction called Futurama, which was a scale-model city showing off the predicted wonders of 1960.

The model was the brainchild of industrial designer Norman Bel Geddes and his team of hundreds of artists and builders. It spanned an impressive 35,000 square feet, and gave audiences a glimpse at what a city might look like in the next 20 years, with the highlight being a monolithic utopia peppered with mountainous skyscrapers and a web of superhighways for futuristic GM cars to travel on. Visitors would sit in chairs that moved on a conveyer belt around the model, showing off all the wonders they could look forward to.

To pay homage to its namesake, the first thing Fry hears when he’s defrosted in the future during the pilot episode is the bellowing sound of a lab worker proclaiming “Welcome to the World of Tomorrow,” which was one of the heavily advertised themes of the fair.

2. THE THEME SONG WAS INSPIRED BY A TUNE CALLED “PSYCHE ROCK.”

Futurama’s main theme, composed by Christopher Tyng, bears a striking resemblance to the song “Psyché Rock" by French electronic artist Pierre Henry. The songs are so similar that the Futurama theme basically acts as a remix to Henry’s work. The song has also been remixed by Fatboy Slim, which is even closer to the Futurama version. 

3. GETTING THE SHOW ON THE AIR WAS A DIFFICULT PROCESS FOR MATT GROENING.

Though Matt Groening and the team over on The Simpsons have the freedom to mostly govern themselves, getting Futurama off the ground was a different story. When asked by Mother Jones in 1999 about getting the show on the air, Groening said, “It has been by far the worst experience of my grown-up life.”

He further explained that, “The second they ordered it, they completely freaked out and were afraid the show was too dark and mean-spirited, and thought they had made a huge mistake and that the only way they could address their anxieties was to try to make me as crazy as possible with their frustrations.”

Despite the battles with the network, Groening and his team didn’t cave, saying, “I resisted every step of the way. In one respect, I will take full blame for the show if it tanks, because I resisted every single bit of interference."

4. CO-CREATOR DAVID X. COHEN IS A MATH WHIZ.

When Groening was developing Futurama into a pitch, he had one key Simpsons writer in mind to collaborate with: David S. Cohen. Cohen (who is credited as David X. Cohen for Futurama) was known for some of the most popular Simpsons episodes of the mid-‘90s, including "Itchy & Scratchy & Poochie," "Lisa The Vegetarian," and "Much Apu About Nothing."

“After I assembled a few hundred pages of ideas, I got together with David Cohen, one of the writers and executive producers on The Simpsons, who is also a lover of science fiction and has a great knowledge of science and mathematics,” Groening told Mother Jones.

The emphasis on mathematics may sound odd, but it became a hallmark of the series. Dealing with sci-fi plots allowed Cohen to bring a certain authenticity to some of the more complex episodes; he was also able to sneak in all sorts of esoteric mathematical jokes for the like-minded viewers. This is similar to how math played a role on The Simpsons for years without ever becoming distracting to casual viewers. 

Cohen’s mathematical background goes far beyond the norm. He graduated from Harvard with a degree in physics, and from the University of California, Berkeley, with an M.S. in computer science. This knowledge gave way to plenty of in-jokes, including the creation of a numerical-based alien language and countless background gags that only the brainiest viewers would have a shot at deciphering.

5. ZAPP BRANNIGAN WAS GOING TO BE VOICED BY PHIL HARTMAN.

The character of Zapp Brannigan was originally written with actor Phil Hartman in mind for the voice, but he was tragically killed before he would have begun recording. The role then went to Billy West, who also voices Fry and Professor Farnsworth. In an interview with The New York Times, West says he based his Brannigan on disc jockeys from the ‘50s and ‘60s. There's also a bit of Hartman's signature, Troy McClure-esque sound in there. 

6. JOHN DIMAGGIO ORIGINALLY AUDITIONED FOR PROFESSOR FARNSWORTH USING BENDER’S VOICE.

Figuring out what Bender would sound like wasn’t an easy task for the folks in charge of Futurama. Would it be a human voice, or something more synthesized like Robby the Robot from Forbidden Planet? The crew auditioned dozens and dozens of voice actors in an attempt to find the perfect Bender, with no luck.

At the same time, voice actor John DiMaggio was auditioning for a role on the show against his agent’s wishes, who worried about both the money and contract being offered. At first he auditioned for the role of Professor Farnsworth, using a boorish, drunken voice he partially based on Slim Pickens. The voice didn’t work for the professor, but according to the DVD commentary for the show’s pilot, the producers asked him to try it out for Bender. The voice instantly clicked, leading to the creation of the show’s breakout character.

7. THE NIXON LIBRARY EVENTUALLY CAME AROUND TO HIS HEAD BEING IN A JAR.

Richard Nixon famously proclaimed that the media wouldn’t have him to “kick around anymore” back in 1962; little did he know the jabs would keep coming for decades in the real world, and centuries into the fictional future as a nightmarish version of the former president with his head preserved in a jar was proclaimed President of Earth in Futurama.

With Billy West providing the jowly voice of the former Commander-in-Chief, Nixon became a villain for a whole new generation. And the Richard Nixon Library wasn’t very happy about it at first.

“[E]arly on in the show the network got a letter from the Richard Nixon Library saying they weren’t pleased with his portrayal and would we consider not doing it,” Cohen told WIRED.

But a few years later, things changed.

“We didn’t really stop, however, because we liked it, but the strange thing is that … a few years later we got another letter from the Nixon Library saying can we provide some materials because they’re going to do an exhibit about Nixon in popular culture and they’d like to include Futurama, so they came around.”

8. WRITER KEN KEELER INVENTED A NEW THEOREM JUST FOR THE SHOW.

In addition to Cohen, Futurama is staffed by a roster of Ivy League graduates with backgrounds in science and math. But while writing one episode, the staff had created a plot so complex that the crew soon found itself stumped.

The episode was “The Prisoner of Brenda” from the sixth season, and it involved a brain-switching machine that could swap the minds of any two people that stepped into it. There was only one problem: once used, the machine couldn’t be used twice to swap the same two minds back to normal. This means numerous pairs of other characters would have to use the machine in a roundabout plan to restore everyone’s mind to their proper body.

Though the idea sounded like a winner to the writers, Cohen recalled that they soon realized they had to create a mathematical explanation that could get everyone’s mind back. It was like a nightmarish SAT problem for the staff. That is until writer Ken Keeler, who has a PhD in mathematics, created a completely unique theorem that proved this plot was possible.

“Ken comes in the next morning with a stack of paper and he said, ‘I’ve got the proof,’ and he had proven that no matter how mixed up people’s brains are, if you bring in two new people who have not had their brains switched, then everybody can always get their original brain back, including those two new people,” Cohen told WIRED. “So I was very excited about this, because you rarely get to see science, let alone math, be the hero of a comedy episode of TV.”

In the episode, the mathematical heroes that solve the problem are none other than the Harlem Globetrotters, who are among Earth’s elite intellectuals in the 31st century.

9. THE SHOW’S USE OF FORESHADOWING IS INTENSE.

Futurama touts more than just science and math cred; the show is also one of the more intricately plotted animated series of the past 20 years. The show is notorious for leaving morsels of foreshadowing in episodes that pay off weeks, months, or even years down the road.

Plot points like Fry being his own grandfather and Leela’s mutant heritage were all hinted at before they became reality, but the most obscure piece of foreshadowing came right in the pilot episode. It happens right as Fry is leaning back in the chair that would “accidentally” topple over and send him into the cryogenic chamber, leaving him thawed out in the 31st century. For a brief moment, a shadow flashed across the screen with no explanation—at the time, it likely went unnoticed by many viewers.

Fast forward to the season 4 episode “The Why of Fry,” and we learn that the shadow belonged to Nibbler, who had traveled back in time to 1999 to push Fry into the chamber because he was the key to stopping an alien invasion in the 31st century. It's just one example of the type of intricate world-building that the writers of the show poured into every episode.

10. EACH EPISODE TOOK ABOUT A YEAR TO COMPLETE.

Every episode of Futurama is a labor of love, with each joke and frame of animation put under intense scrutiny. Because of this, there is a lot of work involved in the show—about a year’s worth for each episode.

“It's usually somewhere in the vicinity of a year from the beginning of a Futurama episode to the day when you can see it on TV,” David Cohen told The Atlantic.

This starts with a story idea, which is then assigned to a writer for an outline and first draft. From there, the first draft is dissected in the writers’ room on a “word-by-word, scene-by-scene basis.”

Then it’s recorded by the actors—like an old-timey radio show, according to Cohen—and then it’s given to the animators. That process involves animatics and final animation, which can take around six months to finalize. 

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12 Facts About Disney's The Jungle Book
Walt Disney Studios
Walt Disney Studios

It may not have followed Rudyard Kipling's book exactly—in fact, Walt Disney preferred that scriptwriters not read the book—but The Jungle Book was a toe-tapping box office success. Here are a few "bare necessities" you should know about the 1967 animated classic, which was released in theaters across America 50 years ago.

1. WALT DISNEY THOUGHT THE FIRST VERSION OF THE SCRIPT WAS TOO DARK.

Writer Bill Peet was brought on to script the first version of the movie, but Disney believed it was too dark. It’s not clear whether Peet left or was booted from the project; either way, a new team was brought in for rewrites. Floyd Norman, one of the new writers, said Walt wanted the film to have more laughs and more personality, and—true to Disney form—he also wanted sign off on every little detail.

2. MOST OF THE SONGS WERE DEEMED TOO DARK AS WELL.

Composer Terry Gilkyson was hired to write songs for the movie, but as with the script, Disney felt they lacked a sense of fun. Though the Sherman brothers (Richard and Robert) were brought in to write a new soundtrack, one of Gilkyson’s songs did remain in the movie: "The Bare Necessities." We'd say he got the last laugh: Not only is “The Bare Necessities” one of the best tunes in Disney history, it was also nominated for an Oscar (the film's sole nomination).

3. IT WAS THE LAST ANIMATED FEATURE WALT DISNEY OVERSAW.

When Disney died on December 15, 1966, the studio closed for a single day. Then they got back to business working on the last animated feature Disney had a hand in. It was released on October 18, 1967.

4. A RHINOCEROS CHARACTER GOT CUT.

Rocky the Rhino was intended to be a dim-witted, bumbling, near-blind character that would provide some comic relief. His scenes were completely storyboarded before he got the boot: He was supposed to appear after King Louie’s scene, but Walt didn’t want to put the funny sequences back-to-back.

5. THEY WANTED THE BEATLES TO VOICE THE VULTURES.

The Sherman brothers wrote the vultures’ song “That’s What Friends Are For” with The Beatles in mind, even giving the characters similar accents. But the Fab Four turned them down. “John was running the show at the time, and he said [dismissively] ‘I don’t wanna do an animated film.’ Three years later they did Yellow Submarine, so you can see how things change,” Richard Sherman said.

Here’s what the version of “That’s What Friends Are For” would have sounded like, as well as a glimpse of Rocky the Rhino:

6. THERE ARE MAJOR MISPRONUNCIATIONS IN THE MOVIE.

According to a guide written by Kipling, the main character’s name is pronounced "Mowglee" (accent on the 'Mow,' which rhymes with 'cow'), not “Moe-glee,” which is how Disney chose to say it. In addition, Kaa the snake is supposed to be “Kar,” Baloo the Bear should have been “Barloo,” and Colonel Hathi is really “Huttee.”

7. KING LOUIE WAS BASED ON LOUIS ARMSTRONG.

Although jazz singer and bandleader Louis Prima voiced the fire-obsessed orangutan, he’s not the Louis who the Shermans originally had in mind when they began writing “I Wan’na Be Like You” for the character. "We were thinking about Louis Armstrong when we wrote it, and that's where we got the name, King Louie," Richard Sherman told The New York Times. "Then in a meeting one day, they said, ‘Do you realize what the N.A.A.C.P. would do to us if we had a black man as an ape? They'd say we're making fun of him.' I said: ‘Come on, what are you talking about? I adore Louis Armstrong, I wouldn't hurt him in any way.'” In the end, Louis Prima stepped in.

8. A JUNGLE BOOK DANCE SEQUENCE WAS LATER BORROWED FOR ROBIN HOOD.

King Louie and Baloo’s “I Wan’na Be Like You” dance was later repeated, frame for frame, in Robin Hood, which also borrowed dances from Snow White and the Seven Dwarfs and The Aristocats. This was achieved through an animation technique called “rotoscoping,” where animators trace over the frames of old footage to use it in a different environment.

9. THE SONG "TRUST IN ME" WAS ALSO RECYCLED.

Originally written for Mary Poppins as “Land of Sand,” “Trust In Me” was recycled with new lyrics for Kaa to sing while hypnotizing poor Mowgli. Here’s what it would have sounded like:

10. THE YOUNG ELEPHANT WAS VOICED BY CLINT HOWARD.

Ron Howard’s younger brother also voiced another Disney youngster: Roo in the Winnie the Pooh movies.

11. PHIL HARRIS BROUGHT NEW LIFE TO BALOO.

Allegedly, Walt Disney chose Harris to voice Baloo after meeting him at a party. At the time, Harris was retired and nearly forgotten in Hollywood. His first day of recording didn’t go so well at first: Harris found Baloo’s tone wooden and boring, so asked if he could try a little improvisation. Once given the go-ahead, "I came out with something like, 'You keep foolin' around in the jungle like this, man, you gonna run across some cats that'll knock the roof in,'" Harris recalled. Disney loved Baloo’s new personality and rewrote lines to suit the style.

12. THERE WAS A SEQUEL.

It came out in 2003 (not direct-to-video, surprisingly) and featured Haley Joel Osment as Mowgli and John Goodman as Baloo. By most accounts, you shouldn’t bother seeing it; it currently has a 19 percent fresh rating on Rotten Tomatoes.

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