A Symposium on Popular Songs | |
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Directed by | Bill Justice |
Written by | Xavier Atencio |
Produced by | Walt Disney |
Starring | Paul Frees Gloria Wood Billy Storm Skip Farrell |
Production company | |
Distributed by | Buena Vista Distribution |
Release date |
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Running time | 20 minutes |
Country | United States |
Language | English |
A Symposium on Popular Songs is a special cartoon featurette made by Walt Disney Productions in 1962. It features songs that were written by the Sherman Brothers, with music arrangements by Tutti Camarata. The Shermans also co-wrote the screenplay but are not credited for this.[ citation needed ] Host Ludwig Von Drake invites his audience into his mansion where he tells all about popular music through the years, introducing several songs illustrated with stop-motion photography. The film was nominated for an Academy Award for Best Animated Short Film. [1]
"The Rutabaga Rag", performed by Paul Frees as Ludwig Von Drake, was not written as a parody of ragtime, but rather as an authentic ragtime song. [2] In the course of the film's narration, Von Drake claims to have invented ragtime music and, specifically, this song. During the song, a variety of stop-motion animated vegetables with faces appear and dance to the song.
"Charleston Charlie", performed by Betty Boopie Doop (Gloria Wood), makes direct reference to the singing style exemplified by Helen Kane in her flapper era iconic song "He's So Unusual", which was co-written by the Sherman Brothers' Tin Pan Alley songwriting father, Al Sherman in 1929. The subject of both songs is a male college student whom the singer desires. "Charleston Charlie" begins with the Betty Boop-esque lyric "Boop boop be doop".
In the film, Ludwig Von Drake claims he wrote the song when traveling below the Mason–Dixon line. "Mr. Dixon" approached Drake and asked him to put "Dixie" on the map. For this reason, he wrote a song originally entitled, "Louisville Ludwig", but later changed the name to "Charleston Charlie" in order to protect the innocent, namely himself.
Also known as "Although I Dropped a Hundred Thousand in the Market, Baby (I Found a Million Dollars in Your Smile)", and performed by Rah, Rah Rudy (Frees) and his Megaphone Boys, this song makes a subtle reference to the singing style exemplified by Ted Lewis in "Wear a Hat with a Silver Lining" which was co-written by the Sherman Brothers' father, Al Sherman. Throughout the spoken middle part of the song, reference is made to numerous Depression era songs including the iconic Al Sherman/Al Lewis classic "Now's the Time to Fall in Love", "Let a Smile Be Your Umbrella", and "Stormy Weather". [3]
According to film critic, Leonard Maltin, this song as well as "Charleston Charlie" are homages to Al Sherman and his songs. [2] In the context of the film, Ludwig Von Drake claims he wrote the song and it became all the rage at the beginning of the Great Depression.
"I'm Blue for You, Boo-Boo-Boo-Boo-Boo", performed by Fosby Crooner (Skip Farrell), is a tribute to Bing Crosby's signature crooning style. [2] Crooning elements, such as the repetition of "Boo boo boo boo boo", the whistling of the melody, and over-rhyming of the word "heart", are placed throughout the song. [3]
Crosby worked with Disney before in "The Legend of Sleepy Hollow" from The Adventures of Ichabod and Mr. Toad .
The Sherman Brothers' father, Al Sherman, wrote several songs which were sung by Bing Crosby in the 1930s and 1940s. In 1970, Robert and Richard Sherman had a chance, in their own right, to work with the legendary Crosby on the made-for-television musical production of Goldilocks .
"The Boogie Woogie Bakery Man", performed by the Sister Sisters (Betty Allan, Diane Pendleton and Gloria Wood), had a structure and arrangement closely styled after The Andrews Sisters' hit song, "Boogie Woogie Bugle Boy". The song makes direct and indirect references to the singing style exemplified by the Andrews Sisters, as well as numerous songs from the swing era which was the heyday of their career. [3] The very first line of the song references several swing era songs: "He's my Boogie Woogie Chattanooga Sentimental Oriental Fortune Cookie Bakery Man".
The song itself is about an "oriental" baker of fortune cookies. At the time, the song was written, the use of the term "oriental" was quite common. However, in recent decades, the term has increasingly been seen to be offensive when used to describe an individual from the far east.
The Andrews Sisters worked with Disney before in "Johnnie Fedora and Alice Bluebonnet" from Make Mine Music and "Little Toot" from Melody Time .
In 1974, twelve years after A Symposium on Popular Songs was first released, the Sherman Brothers worked with the Andrews Sisters on the Tony Award winning show, Over Here! , which was also an homage to the 1940s swing era music of the day.
"Puppy Love Is Here to Stay", performed by Jackie Babalon (Billy Storm) and the Babaloonians, is the penultimate song in the film. With the exception of the "harder-edged" "Rock, Rumble and Roar", it is meant to represent relatively modern music. Although the Sherman Brothers made their name on writing songs much like this one, this song is different in that it partially parodies songs like it, exploring the perceived innocence of Eisenhower's 1950s America. There are references to songs such as "Blue Moon" by The Marcels and Annette Funicello's version of "Puppy Love". [3]
"Rock, Rumble and Roar" is the final song from the film and sung by Paul Frees, Gloria Wood, Skip Farrell, Betty Allan, and Diane Pendleton. The song is meant to be the most modern of the songs from the film, and also revisits the six previous songs. This song is a homage to the popular, early rock and roll song, "Shake, Rattle and Roll". [3] It is the second song in the featurette to be sung by Ludwig Von Drake.
This section relies largely or entirely on a single source .(May 2022) |
Animation historian Christopher P. Lehman notes that this film illustrates music history through use of humor, following a formula that the Disney studio had previously used in Toot, Whistle, Plunk and Boom (1953). In this case Ludwig Von Drake plays the songs which he supposedly helped popularize, covering musical styles from the 1900s decade to the 1960s. [4] Certain segments of the film use stop motion animation. The technique was unusual for a Disney film, but did not mark the first time the studio used it in a film. It had earlier been used in Noah's Ark (1959), a well-received animated short. Noah's Ark had actually been nominated for an Academy Award for Best Animated Short Film. [4]
Lehman finds it remarkable for the time of the film's release, that A Symposium recognizes African-American music as part of American musical history in the 20th century. Though he notes that African Americans as an ethnic group are not mentioned in the film, several of the musical styles used have their roots in musical styles developed by Black people. [4] One of the earliest famous songs introduced by Ludwig in the film is a ragtime piece, a genre which Lehman notes was pioneered by African-American composer Scott Joplin. [4] Among the last and most modern songs showcased in the film are a couple of rock and roll numbers, a music genre which has its roots in the African-American rhythm and blues. Lehman points that in the years preceding the release, rock and roll and its African-American roots were still controversial. The music genre had been derisively described as "nigger music". [4] Yet here, not only does Ludwig showcase rock and roll songs, but he plays guitar and sings a rock song for the conclusion; this was seen as an innovative move, since no theatrical star of the time had actually performed as a rock singer. [4]
Lehman finds the film to be part of a trend in the Disney animated studio of using more sympathetic portrayals of African Americans, Africans, and African-American music over time. During World War II, Disney animated shorts seemed to associate musicians wearing zoot suit and boogie-woogie, an ancestor of rock and roll, with threatening forces and the Axis powers themselves. [4] Disney had a long history of portraying animated black characters as buffoons and/or servants. He cites as a late example the portrayal of indigenous Africans in Social Lion (1954). They were depicted as "sleepy-eyed" people, wearing grass skirts, and employed as servants of White hunters. [4] A few years later, in Paul Bunyan (1958), Disney gave a more sympathetic portrayal of a black character. In a brief tribute to other American folk heroes besides Paul Bunyan himself, the film depicted among them a black man: John Henry. The Disney staff gave Henry a muscular physique and treated him as a hero. Though Lehman notes that the film never depicted Henry's face, which was hidden between his arms. [4] Disney was apparently becoming more progressive with time and breaking with the traditions of stereotypical portrayal of blacks in animation. [4]
Lehman notes that Disney's newfound ethnic sensitivity, when it came to African American culture, did not extend to the portrayal of Asian Americans. The stop-motion scenes of A Symposium includes two Asian characters as two puppets with stereotypical slanty eyes. [4]
The short was released on DVD on December 6, 2005, on Walt Disney Treasures: Disney Rarities - Celebrated Shorts: 1920s–1960s . [5]
Blues is a music genre and musical form that originated amongst African-Americans in the Deep South of the United States around the 1860s. Blues has incorporated spirituals, work songs, field hollers, shouts, chants, and rhymed simple narrative ballads from the African-American culture. The blues form is ubiquitous in jazz, rhythm and blues, and rock and roll, and is characterized by the call-and-response pattern, the blues scale, and specific chord progressions, of which the twelve-bar blues is the most common. Blue notes, usually thirds, fifths or sevenths flattened in pitch, are also an essential part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove.
Professor Ludwig Von Drake is a cartoon character created in 1961 by The Walt Disney Company. He is the paternal uncle of Donald Duck. He was first introduced as the presenter in the cartoon An Adventure in Color, part of the first episode of Walt Disney's Wonderful World of Color on NBC. According to the episode The Hunting Instinct of that series he and Donald Duck's father are brothers. He is described as a scientist, lecturer, psychologist, and world traveler. The character displayed his "expert" knowledge on a variety of subjects in eighteen episodes of the classic anthology series, as well as on a number of Disneyland Records.
Boogie-woogie is a genre of blues music that became popular during the late 1920s, developed in African-American communities since the 1870s. It was eventually extended from piano to piano duo and trio, guitar, big band, country and western music, and gospel. While standard blues traditionally expresses a variety of emotions, boogie-woogie is mainly dance music. The genre had a significant influence on rhythm and blues and rock and roll.
Jump blues is an up-tempo style of blues, jazz, and boogie woogie usually played by small groups and featuring horn instruments. It was popular in the 1940s and was a precursor of rhythm and blues and rock and roll. Appreciation of jump blues was renewed in the 1990s as part of the swing revival.
Anderson Meade "Lux" Lewis was an American pianist and composer, remembered for his playing in the boogie-woogie style. His best-known work, "Honky Tonk Train Blues", has been recorded by many artists.
Harry "The Hipster" Gibson, born Harry Raab, was an American jazz pianist, singer, and songwriter. He played New York style stride piano and boogie woogie while singing in a wild, unrestrained style. His music career began in the late 1920s, when, under his real name, he played stride piano in Dixieland jazz bands in Harlem. He continued to perform there throughout the 1930s, adding the barrelhouse boogie of the time to his repertoire.
Albert Clifton Ammons was an American pianist and player of boogie-woogie, a blues style popular from the late 1930s to the mid-1940s.
Clarence "Pinetop" Smith, was an American boogie-woogie style blues pianist. His hit tune "Pine Top's Boogie Woogie" featured rhythmic "breaks" that were an essential ingredient of ragtime music, but also a fundamental foreshadowing of rock and roll. The song was also the first known use of the term "boogie woogie" on a record, and cemented that term as the moniker for the genre.
The origins of rock and roll are complex. Rock and roll emerged as a defined musical style in the United States in the early to mid-1950s. It derived most directly from the rhythm and blues music of the 1940s, which itself developed from earlier blues, the beat-heavy jump blues, boogie woogie, up-tempo jazz, and swing music. It was also influenced by gospel, country and western, and traditional folk music. Rock and roll in turn provided the main basis for the music that, since the mid-1960s, has been generally known simply as rock music.
Boogie is a repetitive, swung note or shuffle rhythm, "groove" or pattern used in blues which was originally played on the piano in boogie-woogie music. The characteristic rhythm and feel of the boogie was then adapted to guitar, double bass, and other instruments. The earliest recorded boogie-woogie song was in 1916. By the 1930s, Swing bands such as Benny Goodman, Glenn Miller, Tommy Dorsey and Louis Jordan all had boogie hits. By the 1950s, boogie became incorporated into the emerging rockabilly and rock and roll styles. In the late 1980s and the early 1990s country bands released country boogies. Today, the term "boogie" usually refers to dancing to pop, disco, or rock music.
D-TV is a music video television series produced by Charles Braverman and edited by Ted Herrmann. Premiering on May 5, 1984 on the Disney Channel, the series combined both classic and contemporary popular music with various footage of vintage animated shorts and feature films from The Walt Disney Company, created out of the trend of music videos on cable channel MTV, which inspired the name of this series.
The Old Man of the Mountain is a 1933 American pre-Code live-action/animated short in the Betty Boop series, produced by Fleischer Studios. Featuring music by Cab Calloway and his Orchestra, the short was originally released to theaters on August 4, 1933, by Paramount Pictures. Calloway voices all of the characters in the cartoon save for Betty herself. Calloway and his orchestra also perform all of the music in the cartoon, including two songs Calloway co-wrote.
Boogie is a musical technique or rhythm.
"He's So Unusual" is a song from the late 1920s performed by Helen Kane, who was the inspiration for the Betty Boop character. The song was written by Al Sherman, Al Lewis and Abner Silver. Released on June 14, 1929, "He's So Unusual" was featured in the motion picture Sweetie. Shapiro, Bernstein & Co. Inc. are the publishers of record.
Boogie rock is a style of blues rock music that developed in the late 1960s. Its key feature is a repetitive driving rhythm, which emphasizes the groove. Although inspired by earlier musical styles such as piano-based boogie-woogie, boogie rock has been described as "heavier" or "harder-edged" in its instrumental approach.
Gloria Wood was an American singer and voice actress. Her rare voice was in the four-octave range. She was able to imitate other voices.
"Boo-Woo" is the A-side of the 78-rpm jazz instrumental single recorded on February 1, 1939 by Harry James and The Boogie Woogie Trio.
"Woo-Woo" is the B-side of the 78-rpm jazz instrumental single recorded on February 1, 1939, by Harry James and The Boogie Woogie Trio.
Swing Symphony is an American animated musical short film series produced by Walter Lantz Productions from 1941 to 1945. The shorts were a more contemporary pastiche on Walt Disney's Silly Symphonies, and often featured top boogie-woogie musicians of the era.
"Crazy About My Baby" is a boogie woogie song, first recorded by Blind Roosevelt Graves in 1929. It was perhaps the first recorded to contain all elements of what would come to be called rock and roll, and has been described as the first song of that genre.