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Raymond Scott, Avant-Garde Creator of Classic Cartoon Music

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Wikimedia // Public Domain

If you've ever parked yourself in front of the TV to watch Looney Tunes, The Ren & Stimpy Show, or countless other cartoons, the music of Raymond Scott should be instantly recognizable, even if you've never heard of the man himself. The musical mind behind countless Wile E. Coyote chase scenes (unwittingly) gave cartoons their signature sound, but his real passion was invention—especially when it came to the burgeoning world of electronic music.

Scott was born Harry Warnow in Brooklyn, New York in 1908, and was said to be composing his own music by 1924 in the "audio laboratory" he built as a kid. After graduating from New York's Institute of Musical Art in 1931 (now known as Juilliard), he got a job as a pianist for the CBS Radio orchestra, which was conducted by his brother, Mark. To avoid charges of nepotism, he changed his name to Raymond Scott (which he picked from a Manhattan phone book) and began his career in earnest, establishing a studio, Universal Recording Company, Inc., and a music publishing company, Circle Music, Inc. in 1935.

 

In 1936, Scott formed the Raymond Scott Quintette (which actually had six members, including the father of film composer John Williams) and his unique musical voice began to appear. Scott's style was a wholly different take on the music of the time—the manic energy and violent rhythms perfectly suited his weariness with modern swing and jazz, and his pieces regularly featured bizarre titles such as "Square Dance for Eight Egyptian Mummies," "Dinner Music for a Pack of Hungry Cannibals," and "Harlem Hillbilly."

Scott's deconstruction of modern swing music made him something of an eccentric curiosity, but when Warner Bros. bought the rights to his music publishing company in 1942 and began pairing it with their Looney Tunes shorts, he forever became a part of pop culture:

 

Even though Scott never actually wrote music for these cartoons (and may never have even seen them), the pairing was a natural one. Warner's music director Carl Stalling thought so, too, because he used Scott's tunes in about 120 Looney Tunes shorts over the next 20 years, with the most popular piece being Scott's "Powerhouse."

The deal with Warner Bros. (along with numerous commercial jingles) gave Scott the flexibility to work toward his ultimate goal: invention. In the years after the Warner Bros. purchase, he renewed his focus in the nascent field of electronic music, receiving patents on a number of different instruments, including a sound-effects machine named the Karloff, an early electronic keyboard known as the Clavivox, and his now-legendary attempt at artificial intelligence, the Electronium.

Despite his wild sound, Scott was known for his expectation of perfection from his musicians during practice and a disdain for improvisation. This machine-like attitude toward his musicians helped him make strides in the electronic revolution, as he built an armory of instruments that were less about emotion and more about precision.

Scott spent more than 20 years working on the Electronium, which was conceived as an "Instantaneous Composing Performance Machine" that would compose music while performing it—dubbed by some as "Beethoven in a box." As advanced as this machine was at the time, Scott's vision of music's future ultimately entered the realm of the metaphysical:

"Perhaps within the next hundred years, science will perfect a process of thought transference from composer to listener. The composer will sit alone on the concert stage and merely 'think' his idealized conception of his music. Instead of recordings of actual music sound, recordings will carry the brainwaves of the composer directly to the mind of the listener."

Scott's later career was marked with all manner of electronic experimentation, including a strange yet pioneering album of synthesized lullabies recorded in 1963 called Soothing Sounds for Baby—a three-volume forerunner to the minimalist movement, composed with his Electronium. His array of unique instruments, musical trinkets, and an inimitable sound led to a number of collaborations with a young Jim Henson, who brought Scott on board in the mid-1960s to provide the music for some of the creator's early—very non-Muppet-y—films:

 

However, as Scott's inventions and experiments became more and more idiosyncratic, his music began to move away from profitability. No longer writing music for commercials or mainstream projects, his later work very rarely saw the light of day, as he spent most of his time tinkering away on the Electronium and other projects—living as a recluse, according to some accounts. Scott reportedly sunk close to a million dollars into the development of the Electronium, but despite the investment—and interest from Motown, where he worked as Director of Electronic Music Research and Development in the '70s—it never became the commercial wonder he imagined, nor was it ever actually completed.

When speaking about Scott's unconventional mind, electronic music icon (and one of Scott's occasional collaborators) Bob Moog said:

"He had so much imagination, and so much intuition—this funny intuition that some people have—that he could sort of fish around and get something to work, and do exactly what he wanted it to do. Obviously not everybody could do this. It took a huge amount of money, and a huge amount of imagination. And an impressive amount of craziness too!"

Scott died in 1994, but since then his music has seen something of a rediscovery, at least in certain corners of the industry. To this day, you can still hear "Powerhouse" and other pieces in your favorite cartoons, and Scott's legacy as a trailblazing figure of electronic music is taking shape as a new generation has come along to add a modern flair to his work. Though people might not have been able to wrap their minds around his inventions and eccentricities at the time, his vision of the future of electronic music no longer sounds so far-fetched.

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Pop Culture
Take a Sneak Peek at the Brooklyn Museum's Upcoming David Bowie Exhibition
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Photograph by John Robert Rowlands. © John Robert Rowlands

David Bowie was born in London, and spent his final years in New York. Which makes it fitting that an acclaimed traveling retrospective of the rocker’s career will end at the Brooklyn Museum in 2018, five years after it first kicked off at London's Victoria and Albert Museum.

Following a whirlwind global tour, “David Bowie is” will debut at the Brooklyn Museum on March 2, 2018, and run until July 15, 2018. Curated by the V&A, it features around 400 objects from the singer’s archives, including stage costumes, handwritten lyrics, photographs, set designs, and Bowie’s very own instruments.

Together, these items trace Bowie’s evolution as a performer, and provide new insights into “the creative process of an artist whose sustained reinventions, innovative collaborations, and bold characterizations revolutionized the way we see music, inspiring people to shape their own identities while challenging social traditions,” according to the Brooklyn Museum.

“David Bowie is” has received nearly 2 million visitors since it left the V&A in 2013. Due to its overwhelming popularity, the show is a timed ticketed exhibition, with priority access reserved for Brooklyn Museum members and certain ticket holders.

Tickets are on sale now, but you can take a sneak peek at some artifacts from "David Bowie is" below.

Photograph from the David Bowie album cover shoot for "Aladdin Sane, 1973

Photograph from the album cover shoot for Aladdin Sane, 1973

Photograph by Brian Duffy. Photo Duffy © Duffy Archive & The David Bowie Archive

Striped body suit worn by David Bowie during his "Aladdin Sane" tour in 1973

Striped bodysuit for the Aladdin Sane tour, 1973. Design by Kansai Yamamoto 

Photograph by Masayoshi Sukita © Sukita/The David Bowie Archive

Cut up lyrics for "Blackout" from David Bowie's album Heroes, 1977

Cut up lyrics for "Blackout" from Heroes, 1977

Courtesy of The David Bowie Archive. Image © Victoria and Albert Museum

Original lyrics for “Ziggy Stardust,” by David Bowie, 1972
Original lyrics for “Ziggy Stardust,” by David Bowie, 1972
Courtesy of The David Bowie Archive. Image © Victoria and Albert Museum

A 1974 Terry O'Neill photograph of musician David Bowie with William Burroughs.
David Bowie with William Burroughs, February 1974. Photograph by Terry O'Neill with color by David Bowie.
Courtesy of The David Bowie Archive. Image © Victoria and Albert Museum

Original photography for David Bowie's 1997 "Earthling" album cover

Original photography for the Earthling album cover, 1997

Photograph by Frank W Ockenfels 3. © Frank W Ockenfels 3

Print after a self-portrait by David Bowie, 1978
Print after a self-portrait by David Bowie, 1978
Courtesy of The David Bowie Archive. Image © Victoria and Albert Museum

One of David Bowie's acoustic guitars from the “Space Oddity” era, 1969

Acoustic guitar from the Space Oddity era, 1969

Courtesy of The David Bowie Archive. Image © Victoria and Albert Museum

An asymmetric knitted bodysuit designed by Kansai Yamamoto for musician David Bowie's 1973 "Aladdin Sane" tour.

Asymmetric knitted bodysuit, 1973. Designed by Kansai Yamamoto for the Aladdin Sane tour.

Courtesy of The David Bowie Archive. Image © Victoria and Albert Museum
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entertainment
8 Musicians With Incredibly Brainy Side Gigs
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Michael Loccisano/Getty Images

The Pink Floyd line “we don’t need no education” might hold true for some musicians, but for others that couldn’t be further from the truth. The musicians highlighted below didn’t just swing by a university to pick up an honorary diploma only after finding musical success. Nope, they put in the long hours to earn doctoral degrees and then picked up jobs with outfits such as NASA and the U.S. Department of Defense. Because as cool as having “rock star” on your Wikipedia page is, having “rocket scientist” follow it is just that much cooler.

1. BRIAN MAY

British guitarist Brian May could have easily called it a day when Queen’s recording career came to an end following the death of Freddie Mercury in 1991. While May continues to play live with his remaining bandmates, he has also embraced his interest in astrophysics.

May had abandoned his doctoral studies at the Imperial College of London in the mid-1970s to live the rock star life, but returned to complete his PhD in 2007. Since then, May has co-authored two books on the cosmos, and in 2015 collaborated with NASA as the New Horizons space probe passed by Pluto. If that weren’t impressive enough, May can lay claim to compiling the first high-quality stereo image of the dwarf planet. Not too shabby for a guy who had already made his mark with arena rock staples like “We Will Rock You” and “Stone Cold Crazy.”

2. MILO AUKERMAN

Punk rockers the Descendents weren’t joking around when they named their first album: 1982’s Milo Goes To College. Frontman Milo Aukerman put all those punk rock lyrics about binging on coffee to serious use, earning a doctorate in biology from UC San Diego and a PhD in biochemistry from the University of Wisconsin-Madison.

For many years, Aukerman split his time, leading the Descendents while working as an adjunct professor at the University of Delaware and plant researcher with chemical company DuPont. The two chosen fields of study, punk rock and biochemistry, might not seem to have much in common, but Aukerman found many similarities. In 2011, he told The Scientist that in both fields, he was “always looking for discoveries that challenge current thinking.” Fans shouldn’t expect Aukerman to get too geeky with his lyrics though: “I will probably never ever write a song about DNA,” he said. In a 2016 interview with Spin, Aukerman shared that he's now dedicating his full-time life to music. “[Science has] gotten less and less interesting to me,” he said. “Also, working in a corporation has become a misery of sorts. As I was discovering this and realizing maybe I should just do music full-time, lo and behold, [my job] laid me off anyway.”

3. DEXTER HOLLAND


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Orange County, California punk rockers The Offspring have been regularly touring and putting out albums since the mid-1980s. What fans might be surprised to learn though is that in between writing songs like “Pretty Fly (For a White Guy),” the band's lyricist and frontman Dexter Holland was working on HIV research.

In May 2017, Holland earned his PhD in molecular biology from the University of Southern California, completing a 175-page dissertation titled Discovery of Mature MicroRNA Sequences within the Protein-Coding Regions of Global HIV-1 Genomes: Predictions of Novel Mechanisms for Viral Infection and Pathogenicity. Lengthy scientific jargon thesis titles aside, Holland told Rolling Stone his focus was on the molecular dynamics of the HIV virus. "I am interested in virology and wanted to contribute in some small way to the knowledge which has been learned about HIV and AIDS,” Holland said.

4. JEFF “SKUNK” BAXTER

People fall into side gigs like dog-walking or crafting all the time. Finding yourself unexpectedly taking on a second job as a consultant in missile defense systems, on the other hand, is a little more out of the norm. Jeff “Skunk” Baxter spent much of the 1970s and '80s playing guitar with acts like the Doobie Brothers, Steely Dan, and Elton John. Since the mid-1990s though, Baxter has had a second job working with the Congressional Advisory Board on Missile Defense and consulting for General Atomics. And he landed those gigs almost entirely out of sheer luck.

Baxter credits his natural curiosity to look at technologies and how they can be improved upon as his springboard into the field of missile defense. The guitarist would regularly pick the brain of his next door neighbor, a retired engineer who had worked on the Pentagon's Sidewinder missile program. Baxter spent the next several years doing his own research and learning everything he could about the hardware developed for missile use. He would eventually submit his own proposal on how to improve the ship-based Aegis missile system to California Republican congressman Dana Rohrabacher and the rest is history.

5. GREG GRAFFIN


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For more than three decades, Bad Religion has held a spot as one of the most respected punk bands in the genre, with vocalist Greg Graffin commanding the stage. Graffin’s politically-charged lyrics have helped the band maintain a healthy following, but music isn’t Graffin’s only passion.

Since 2008, Graffin has split his time between playing with Bad Religion and teaching evolutionary biology at several universities. Graffin earned a PhD in zoology from Cornell University and has returned to his alma mater to teach courses on the subject. The punk rocker has co-authored three books on the subject of evolution and religion and taught life science courses at the University of California Los Angeles. Like other musicians who dabble in the sciences, Graffin has found parallels in the two. “If I’m behind a lectern or onstage, I’m just trying to provoke people to use and expand their minds a little,” Graffin told the San Diego Tribune.

6. PHILIP TAYLOR KRAMER

The life of Philip Taylor Kramer was one filled with both exceptional success and horrific tragedy. Kramer first made a name for himself in the 1970s playing bass with psychedelic rock band Iron Butterfly. He went on to play with other groups into the early 1980s, but would later leave music and find success in the field of computer engineering.

The musician’s father was a professor of electrical engineering and after a career in music, Kramer co-founded a company that produced significant work in missile guidance systems as well as computerized facial reconstruction models. Tragically, Kramer’s life was mysteriously cut short in 1995 when he disappeared after making a frantic call to his wife from the Los Angeles International Airport and telling her to meet him at a hotel.

The musician/computer engineer then called the police and said he was going to kill himself before abruptly hanging up. He wasn’t heard from again until his burned-out van was discovered in the bottom of a ravine four years later. The death was ruled a probable suicide, though some of Kramer’s closest family and friends suspected foul play.

7. JOHN PERRY BARLOW


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Deadheads will probably best know the name John Perry Barlow from the liner notes of Grateful Dead albums as a co-writer on a number of classics like “Mexicali Blues” and “Cassidy.” Further exploration would reveal that there are many sides to John Perry Barlow besides Grateful Dead lyricist. Barlow can be credited as a pioneer in the digital revolution, leading the way to preserve and protect internet freedoms as a co-founder of the Electronic Frontier Foundation in 1990.

These days Barlow has shifted his focus to a new calling—pond scum. More specifically: algae. He is the vice president of Algae Systems, a company working to grow microalgae as a biofuel and convert sewage into a fertilizer.

8. TOM SCHOLZ

Rock band Boston had one of the best-selling debut albums in music history with their 1976 self-titled debut selling 17 million copies. Almost all of that success can be attributed to guitarist Tom Scholz’s background as a mechanical engineer.

Scholz had received both his bachelor's (1969) and master's degrees (1970) in mechanical engineering from the Massachusetts Institute of Technology, but he had dreams of rock n’ roll stardom. To pay the bills, Scholz took a job as a senior product design engineer at Polaroid. The young guitarist and engineer spent his paychecks and nights building his own basement recording studio and creating nearly every sound, except for the vocals and drums, of what would be Boston’s debut album. The DIY process was unheard of at the time and Epic, the band's record company, demanded that the demos be redone in a proper studio. Scholz refused to budge with nearly all of his original recordings eventually making it onto the highly-successful album.

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