Rabbit of Seville
Rabbit of Seville is a Warner Bros. Looney Tunes theatrical cartoon short released in 1950, it was written by Michael Maltese. The cartoon, in a plotline reminiscent of Stage Door Cartoon, features Bugs Bunny being chased by Elmer Fudd into the stage door of the Hollywood Bowl, whereupon Bugs tricks Elmer into going onstage, participating in a break-neck operatic production of their chase punctuated with gags and accompanied by musical arrangements by Carl Stalling, focusing on Rossini's overture to The Barber of Seville. In Stalling's arrangement, the overture's basic structure is kept intact. In 1994 it was voted #12 of the 50 Greatest Cartoons of all time by members of the animation field; the cartoon opens with people filing in to see The Barber of Seville in an amphitheatre. From on the hills in back of the theatre, gunfire flashes are seen and shots are heard. Bugs is being chased by a hunter, soon revealed to be Elmer, runs down from the hills and through the open stage door, he slams the door and hides himself behind it as Elmer enters and stalks, onstage behind the curtain.
His back to the curtain, Elmer does not notice it rise nor hears the resulting applause from the audience when Bugs, using a carrot to do so, flicks the switch. The conductor, after a brief, confused glance at his watch and starts the orchestra; this causes Elmer to flinch and turn, wide-eyed, toward the audience. Bugs, dressed as a barber, steps out from the doorway of a staged barber shop and starts singing as he speaks, he grabs Elmer, trying to sneak offstage, forces him to get a shave, fiercely slashing the razor and rendering him "nice and clean, although your face looks like it might have gone through a machine." Elmer retrieves his hunter's hat and rifle and starts the chase again, singing his only line "Oh, wait till I get that wabbit!", but is stopped by Bugs, dressed as a temptress, singing, "What would you want with a wabbit? Can't you see that I'm much sweeter? I'm your little señoriter. You are my type of guy, let me straighten your tie, I shall dance for you.". While Bugs sings to him, Elmer becomes smitten with Bugs' temptress disguise, Bugs ties the rifle into a bow.
Bugs has another go on Elmer's scalp, beginning with a massage with both hands and feet turning his head into a fruit salad bowl. Angered, Elmer chases Bugs with a razor, but Bugs becomes a snake charmer charming an electric shaver to chase Elmer. Elmer disables the shaver with a shotgun blast and chases Bugs back to the barber's chairs. Bugs and Elmer each get on a chair that they raise to dizzying heights, Elmer shooting at Bugs all the way. Bugs cuts loose a stage sandbag which lands in Elmer's lap, causing the chair to spin back down into the barbershop. Spirally sliding one-handed down the pole of the other chair, Bugs receives the traditional barber's gratuity from the dazed Elmer throws him in a revolving door to further daze him and, as Elmer staggers back out, waltzes him back into the barber's chair. Before Bugs' third go-round with the scalp, he opens one of Elmer's boots with a can opener and does a pedicure using hedge clippers and red paint; that is followed by pouring hair restorer on Elmer's face shaving off the resulting beard with a miniature mower and a masque for the face using'beauty clay', which Bugs handles like cement.
It's back to the scalp as Bugs massages it after adding hair tonic "Figaro Fertilizer", causing hair to grow which sprouts into flowers. As a result, a short chase occurs during which Bugs and Elmer take turns pursuing each other back and forth across the stage, with bigger weapons. Bugs ends the chase by offering flowers, a ring to Elmer, who absentmindedly ducks offstage and returns as a blushing bride. Bugs dresses as a groom, the tune briefly switches to the "Wedding March" by Mendelssohn as the two are "wed" by a priest. Instead he drops him head-first into a large wedding cake below, labeled, "The Marriage of Figaro". Bugs looks at the camera and breaking the fourth wall, says as he eats a carrot, in the same manner in which he delivers his catchphrase, "Eh, next?" The "Barber of Seville" poster that appears at the start of the film features three names: Eduardo Selzeri, Michele Maltese, Carlo Jonzi, which are Italianized versions of the names of the producer and director of the film. In one shot of the scene where Bugs massages Elmer's head in time to the piano melody, his hands are drawn with five digits instead of the usual four to match the hand of a piano player.
Rabbit of Seville is available and digitally remastered, on disc 1 of Looney Tunes Golden Collection: Volume 1, disc 1 of The Essential Bugs Bunny, on disc 1 of Looney Tunes Platinum Collection: Volume 1. Lawrence Van Gelder, With That Wascally Wabbit, That's Not All, Folks, NY Times, October 22, 1999 Richard F
Prest-O Change-O is a 1939 Merrie Melodies cartoon directed by Chuck Jones, first released on March 25, 1939 by Warner Bros. It is the second and final appearance of the manic white hare from Porky's Hare Hunt, the character's only appearance in a color film; the Two Curious Puppies, one big and one little, are being pursued by a dog catcher until they hide in an abandoned house. They soon discover the house is owned by Sham-Fu, a magician, unseen over the course of the short; as a result, each puppy encounters all manner including Sham-Fu's pet hare. The bigger puppy is left to defend himself against the hare, itself a more than competent illusionist capable of all sorts of acts of cartoon physics, while the little one is engaged in a reckless battle with a Hindu rope and a magic wand, the latter of which he ends up accidentally swallowing, giving him bizarre hiccups throughout the rest of the movie; the puppies and the hare all end up crashing into each other, at which point both puppies attempt to pack everything back into Sham-Fu's trunk.
Inexplicably, the little dog hiccups out a balloon containing the mischievous hare. However, this time, when the hare attempts another disappearing act, the bigger puppy is able to stop it in its tracks and punches the hare as hard as possible; the scene irises out on the hare, whose eye is blackened and covered with a lampshade and sitting in a goldfish bowl with his feet sticking out. Prest-O Change-O on IMDb
An orchestra is a large instrumental ensemble typical of classical music, which combines instruments from different families, including bowed string instruments such as the violin, viola and double bass, brass instruments such as the horn, trumpet and tuba, woodwinds such as the flute, oboe and bassoon, percussion instruments such as the timpani, bass drum, snare drum and cymbals, each grouped in sections. Other instruments such as the piano and celesta may sometimes appear in a fifth keyboard section or may stand alone, as may the concert harp and, for performances of some modern compositions, electronic instruments. A full-size orchestra may sometimes be called philharmonic orchestra; the actual number of musicians employed in a given performance may vary from seventy to over one hundred musicians, depending on the work being played and the size of the venue. The term chamber orchestra refers to smaller-sized ensembles of about fifty musicians or fewer. Orchestras that specialize in the Baroque music of, for example, Johann Sebastian Bach and George Frideric Handel, or Classical repertoire, such as that of Haydn and Mozart, tend to be smaller than orchestras performing a Romantic music repertoire, such as the symphonies of Johannes Brahms.
The typical orchestra grew in size throughout the 18th and 19th centuries, reaching a peak with the large orchestras called for in the works of Richard Wagner, Gustav Mahler. Orchestras are led by a conductor who directs the performance with movements of the hands and arms made easier for the musicians to see by use of a conductor's baton; the conductor sets the tempo and shapes the sound of the ensemble. The conductor prepares the orchestra by leading rehearsals before the public concert, in which the conductor provides instructions to the musicians on their interpretation of the music being performed; the leader of the first violin section called the concertmaster plays an important role in leading the musicians. In the Baroque music era, orchestras were led by the concertmaster or by a chord-playing musician performing the basso continuo parts on a harpsichord or pipe organ, a tradition that some 20th century and 21st century early music ensembles continue. Orchestras play a wide range of repertoire, including symphonies and ballet overtures, concertos for solo instruments, as pit ensembles for operas and some types of musical theatre.
Amateur orchestras include those made up of students from an elementary school or a high school, youth orchestras, community orchestras. The term orchestra derives from the Greek ὀρχήστρα, the name for the area in front of a stage in ancient Greek theatre reserved for the Greek chorus; the typical symphony orchestra consists of four groups of related musical instruments called the woodwinds, brass and strings. Other instruments such as the piano and celesta may sometimes be grouped into a fifth section such as a keyboard section or may stand alone, as may the concert harp and electric and electronic instruments; the orchestra, depending on the size, contains all of the standard instruments in each group. In the history of the orchestra, its instrumentation has been expanded over time agreed to have been standardized by the classical period and Ludwig van Beethoven's influence on the classical model. In the 20th and 21st century, new repertory demands expanded the instrumentation of the orchestra, resulting in a flexible use of the classical-model instruments and newly developed electric and electronic instruments in various combinations.
The terms symphony orchestra and philharmonic orchestra may be used to distinguish different ensembles from the same locality, such as the London Symphony Orchestra and the London Philharmonic Orchestra. A symphony orchestra will have over eighty musicians on its roster, in some cases over a hundred, but the actual number of musicians employed in a particular performance may vary according to the work being played and the size of the venue. Chamber orchestra refers to smaller-sized ensembles; the term concert orchestra may be used, as in the BBC Concert Orchestra and the RTÉ Concert Orchestra. The so-called "standard complement" of doubled winds and brass in the orchestra from the first half of the 19th century is attributed to the forces called for by Beethoven; the composer's instrumentation always included paired flutes, clarinets, bassoons and trumpets. The exceptions to this are his Symphony No. 4, Violin Concerto, Piano Concerto No. 4, which each specify a single flute. Beethoven calculated the expansion of this particular timbral "palette" in Symphonies 3, 5, 6, 9 for an innovative effect.
The third horn in the "Eroica" Symphony arrives to provide not only some harmonic flexibility, but the effect of "choral" brass in the Trio movement. Piccolo and trombones add to the triumphal finale of his Symphony No. 5. A piccolo and a pair of trombones help deliver the effect of storm and sunshine in the Sixth known as the Pastoral Symphony; the Ninth asks for a second pair of horns, for reasons similar to the "Eroica".
Robin Hood Makes Good
Robin Hood Makes Good is a 1939 Merrie Melodies cartoon short, directed by Chuck Jones and written by Dave Monahan, released by Warner Bros. on February 11, 1939. Three little squirrels, after reading a book about Robin Hood, decide to act out the part of the legendary medieval outlaw; the smallest of the three declares that he will be Robin Hood, prompting the middle squirrel to breathe down his neck and demand, "Who's gonna be Robin Hood?", prompting an intimidated reply of "You're gonna be Robin Hood!" In turn, the biggest squirrel bullies the middle one, "Who's gonna be Robin Hood?" "You're gonna be Robin Hood!". That decided, the Robin Hood squirrel names the middle squirrel as Little John, leaving the grumbling smallest squirrel to play the unwanted role of the rich old villain; the "villain" trudges off to await the inevitable song-and-dance attack of Robin Hood and Little John, while a fox, lurking on the side, sees them as his dinner and devises a ruse through which he pipes up, in a falsetto voice, claiming to be Robin's sweetheart Maid Marian in trouble.
Robin and Little John follow the bait into the fox's cabin, whereupon the fox drops his pretense and his falsetto and hangs the two up by their breeches on the wall, declaring his intention to make a stew out of them. The smallest squirrel, looking in from the outside of the cabin, devises a plan to save his friends. By means of voice imitations and sound effects, he makes. After he turns yellow and panics, in fear of his life, he runs away at maximum speed, beating the cabin door which accompanies him upright on his flight from reality, thus rescued, the two exit the cabin, only to be greeted by the smallest squirrel, who asks them with a grin, "Who's gonna be Robin Hood?" Robin Hood Makes Good on IMDb Robin Hood Makes Good at The Big Cartoon DataBase
Melvin Jerome Blanc was an American voice actor and radio personality. After beginning his over-60-year career performing in radio, he became known for his work in animation as the voices of Bugs Bunny, Daffy Duck, Porky Pig, Tweety Bird, Sylvester the Cat, Yosemite Sam, Foghorn Leghorn, Marvin the Martian, Pepé Le Pew, Speedy Gonzales, Wile E. Coyote, Road Runner, the Tasmanian Devil, many of the other characters from the Looney Tunes and Merrie Melodies theatrical cartoons during the golden age of American animation, he voiced all of the major male Warner Bros. cartoon characters except for Elmer Fudd, whose voice was provided by fellow radio personality Arthur Q. Bryan, although Blanc voiced Fudd, as well, after Bryan's death, he voiced characters for Hanna-Barbera's television cartoons, including Barney Rubble on The Flintstones and Mr. Spacely on The Jetsons. Blanc was the original voice of Woody Woodpecker for Universal Pictures and provided vocal effects for the Tom and Jerry cartoons directed by Chuck Jones for Metro-Goldwyn-Mayer, replacing William Hanna.
During the golden age of radio, Blanc frequently performed on the programs of famous comedians from the era, including Jack Benny and Costello, Burns and Allen and Judy Canova. Having earned the nickname The Man of a Thousand Voices, Blanc is regarded as one of the most influential people in the voice acting industry. Blanc was born in San Francisco, California, to Russian-Jewish parents Frederick and Eva Blank, the younger of two children, he grew up in the Western Addition neighborhood in San Francisco, in Portland, where he attended Lincoln High School. Growing up, he had a fondness for voices and dialect, which he began voicing at the age of 10, he claimed that he changed the spelling of his name when he was 16, from "Blank" to "Blanc", because a teacher told him that he would amount to nothing and be like his name, a "blank". Blanc joined the Order of DeMolay as a young man, was inducted into its Hall of Fame. After graduating from high school in 1927, he split his time between leading an orchestra, becoming the youngest conductor in the country at the age of 19, performing shtick in vaudeville shows around Washington and northern California.
Blanc began his radio career at the age of 19 in 1927, when he made his acting debut on the KGW program The Hoot Owls, where his ability to provide voices for multiple characters first attracted attention. He moved to Los Angeles in 1932, where he met Estelle Rosenbaum, whom he married a year before returning to Portland, he moved to KEX in 1933 to produce and co-host his Cobweb and Nuts show with his wife Estelle, which debuted on June 15. The program played Monday through Saturday from 11:00 pm to midnight, by the time the show ended two years it appeared from 10:30 pm to 11:00 pm. With his wife's encouragement, Blanc returned to Los Angeles and joined Warner Bros.–owned KFWB in Hollywood in 1935. He joined The Johnny Murray Show, but the following year switched to CBS Radio and The Joe Penner Show. Blanc was a regular on the NBC Red Network show The Jack Benny Program in various roles, including voicing Benny's Maxwell automobile, violin teacher Professor LeBlanc, Polly the Parrot, Benny's pet polar bear Carmichael, the train announcer.
The first role came from a mishap when the recording of the automobile's sounds failed to play on cue, prompting Blanc to take the microphone and improvise the sounds himself. The audience reacted so positively that Benny decided to dispense with the recording altogether and have Blanc continue in that role. One of Blanc's most memorable characters from Benny's radio programs was "Sy, the Little Mexican", who spoke one word at a time; the famous "Sí... Sy... Sue... sew" routine was so effective that no matter how many times it was performed, the laughter was always there, thanks to the comedic timing of Blanc and Benny. Blanc continued to work with him on radio until the series ended in 1955 and followed the program into television from Benny's 1950 debut episode through guest spots on NBC specials in the 1970s, they last appeared together on a Johnny Carson Tonight Show in January 1974. A few months Blanc spoke of Benny on a Tom Snyder Tomorrow show special aired the night of the comedian's death.
By 1946, Blanc appeared on over 15 radio programs in supporting roles. His success on The Jack Benny Program led to his own radio show on the CBS Radio Network, The Mel Blanc Show, which ran from September 3, 1946, to June 24, 1947. Blanc played himself as the hapless owner of a fix-it shop, as well as his young cousin Zookie. Blanc appeared on such other national radio programs as The Abbott and Costello Show, the Happy Postman on Burns and Allen, as August Moon on Point Sublime. During World War II, he appeared as Private Sad Sack on various radio shows, including G. I. Journal. Blanc recorded a song titled "Big Bear Lake". In December 1936, Mel Blanc joined Leon Schlesinger Productions, producing theatrical cartoon shorts for Warner Bros. After sound man Treg Brown was put in charge of cartoon voices, Carl Stalling became music director, Brown introduced Blanc to animation directors Tex Avery, Bob Clampett, Friz Freleng, Frank Tashlin, who loved his voices; the first cartoon Blanc worked on was Picador Porky as the voice of a drunken bull.
He soon after received his first starring role when he replaced Joe Dougherty as Porky Pig's voice in Porky's Duck Hunt, which marked the debut of Daffy Duck voiced by Blanc. Following this, Blanc became a prominent vocal artist for Warner Bros. voicing a wide variety of the "Looney Tunes" characters. Bugs Bunny, whom Blanc made his debut as in A Wild Hare, was
Long-Haired Hare is a 1949 American animated short film directed by Chuck Jones and written by Michael Maltese. It was produced by Warner Bros. Cartoons and distributed by Warner Bros. Pictures as part of the Looney Tunes series, was the 60th short to feature Bugs Bunny. In addition to including the homophones "hair" and "hare", the title is a pun on "longhairs", a characterization of classical music lovers. Nicolai Shutorov provides the singing voice of Giovanni Jones. On a hillside, Bugs is singing "A Rainy Night in Rio" on a banjo. In a nearby house, a burly, blond-haired opera singer named Giovanni Jones rehearses "Largo al Factotum" from The Barber of Seville. Overhearing Bugs, he absent-mindedly begins singing along in operatic style. Realizing his mistake, Giovanni loses his temper over his rehearsal being interrupted in this manner, he reacts by going to Bugs on the hill and grabbing the banjo from him, popping the strings splitting it in two. He crushes the neck into the banjo body, turns it over to dump out the neck pieces slams it over Bugs' head.
As Giovanni practices again, he overhears Bugs singing a variation on "My Gal is a High-Born Lady" on a harp. He ends up both singing along in operatic style and dancing along. Furious again, he retaliates by going to Bugs and resting his arm on the harp's center pole as he glares at Bugs and breathes heavily; when Bugs notices and asks what the problem is with his famous question: "Eh, what's up doc?" Giovanni sticks Bugs' neck between the harp's strings and treats it like an accordion, pulling its bottom part close to the ground and its base pushing the bottom part back to crush the instrument with Bugs trapped in it. Giovanni tries to start singing once more, but the sound of a tuba seems to come out of his open mouth when he tries to sing the first note; the sound is coming from Bugs playing ``. Bugs ducks into his hole after seeing Giovanni approach, the mouth of the tuba getting stuck in the hole's small opening, but the singer pulls Bugs out through the tuba, he ties Bugs' ears to a tree branch and pulls him down so that he bounces beneath the branch, bonking his head on it several times, as Giovanni walks away in anger.
After this, a now-incensed Bugs decides it's time for a payback against Giovanni for his actions and says one of his other famous lines: "Of course you know, this means war!"Bugs exacts his revenge against Giovanni through a series of public humiliations during his concert. First, Bugs causes roof of the concert hall to vibrate, he hammers it so that the violent shuddering causes Giovanni to bounce across the stage, until he falls off and becomes trapped in the orchestra's tuba. Bugs takes him backstage. Next, Bugs sprays Giovanni's throat with "liquid alum" which shrinks his head, as well as his voice, as he sings the "Figaro" part. Bugs dresses up as a teenage bobby soxer and asks Giovanni for an autograph —except the pen is a stick of dynamite. After the off-screen explosion, Giovanni steps out to the stage with a singed face and evening wear torn to shreds, he takes a couple of bows and collapses. During the concert's final act, Bugs poses as the respected Leopold Stokowski, prompting the musicians and the conductor to acknowledge him with repeated astonished cries of "Leopold!", as Bugs takes over the conducting duties.
Bugs casually snaps the baton evenly in two and tosses the pieces aside, using his hands instead, Bugs makes Giovanni sing various different notes, including a low D. Bugs, after accepting brief applause, cracks his knuckles, winds up his fists, conducts a nervous Giovanni into holding a singular high G note until Giovanni can hardly endure the strain. Giovanni's face turns red, purple and green as he squirms and as his formal wear unravels. Bugs leaves his glove hovering in the air and steps off the stage to order a pair of earmuffs, which are delivered to Bugs after he places the order in the mailbox. Bugs puts on the earmuffs and returns to the stage where Giovanni has obeyed the glove and is still holding the high note, now on the floor from the strain. Bugs puts his hand back in his glove to continue conducting Giovanni to hold the note himself, as the strain of holding the note causes Giovanni to start thrashing about on the floor banging his fists, his face turning blue, white, grey and red.
The top of the concert hall's shell shatters and tumbles down on top of Giovanni. As the audience applauds Bugs, who removes the earmuffs and bows to them, a roughed-up Giovanni appears out of the rubble to take a couple of bows himself. Noticing one last piece of the amphitheater balanced on a steel beam above Giovanni, Bugs cues the singer to close out his performance with an encore of the high note; this causes the piece to crush him in offscreen. Satisfied with his victory, Bugs removes his wig and ends the show by taking out another banjo and playing the Vaudeville-era four-note riff, "Good Evening Friends"; the film's musical score includes original music by Carl Stalling, but a significant proportion of the score is pre-existing music, including several operatic pieces. The soundtrack includes "Largo al factotum" from Act I of Gioachino Rossini's The Barber of Seville.