When Nina fails to meet her goal in the final week of weight loss camp, she makes a deal with the devil that takes her on an unexpected adventure, through which she learns to see her body anew. TOM AND JERRY & TEX AVERY, TOO! (Kendall also produced the Courage of Lassie soundtrack in a CD set called Lassie Come Home: The Canine Soundtrack Collection. But what drives me crazy about “Toons for ‘Toons” is that practically every single one of the musical excerpts quoted in it are incorrect in some way. And, getting back to the extraordinary “DANCE OF THE WEED”, if the cartoon were included on a future CD of MGM cartoon scores, it really could exist on its own with an ever-so-slight bit of tweaking. There’s the sound effect of the brakes, and the music completely takes that turn from Jerry’s playful little theme to a totally different direction. By the way, Schoenberg and Gershwin lived near each other in Los Angeles and were very good friends. Volume 1: The 1950’s Despite a droopy face, people with Bell’s palsy are fully awake and can remember things properly. He never wrote back, but I have long thought of attempting my own piano arrangement of Scott Bradley’s music. Greg has worked on content for such studios as Disney, Warner and Universal, with some of Hollywood’s biggest stars. Best wishes for your efforts to arrange Bradley’s cartoon music for the piano, and I hope you have a lot of fun doing it! And yes, it is indeed a medley of excerpts from various Tom and Jerry cartoon scores. He was created in 1943 by Tex Avery for theatrical cartoon shorts produced by the Metro-Goldwyn-Mayer cartoon studio. The mono tracks were not distorted or rechanneled in any way for stereo effect, but they were given a slight reverb and “opened up” just a tad for clarity. “Scoring cartoons is a lot of fun,” he once said. Scores (with dialogue): “Little Johnny Jet” (1952), “The Three Little Pups” (1953 / excerpt), “Drag-A-Long Droopy” (1954). If you’re looking for some nice long melodies, that ain’t gonna happen. Looking at it now, it has a Fantasia/Make Mine Music/Silly Symphony feel to it, but a better understanding the effort makes it worth a great deal more attention, especially if Ising truly inverted the process for Bradley. A series of twelve chromatic pitches, eo ipso, is not the same thing as using Schoenberg’s system; you can find them in Bach and Handel. In one episode, frequent collaborator Frank Welker guest-starred as a rival voice artist angling for his job. Voices: Daws Butler, Bill Thompson, Joe Triscari. Released in 1993. Film Score Monthly Volume 9, Number 17 (Stereo / *Mono) Two Compact Discs. Hi Reg — Sorry if time did not permit further detail on the Bradley/Avery dynamic. I recall seeing this in grainy black and white and being so captivated by it. With Daws Butler, Bill Thompson. Special Thanks: Mike Barrier, Rebecca Bodner, Tim Curran, Ned Comstock, Nick Corsello, Noni Ellison, Alexander Kaplan, Jonathan Z. Kaplan, Dave Kapp, Mark Kausler, Leonard Maltin, Mark Pinkus, Bill Rush, Keith Scott, Craig Spaulding, Richard Steele, Keith Zajic. TEX AVERY CARTOONS But this post was not intended to dwell on conflict. If you wanna sell a CD with scores from Tex Avery films, design the cover so people notice it immediately. So many answers lie somewhere in between, perhaps this one does as well. Voice Actors [22] In a survey, Lavi was voted as the 4th best character voiced by Suzumura. A few remain, including “Broadway Rhythm” and “Sweet and Lovely,” but most are free and clear like “The William Tell Overture.” Only about half of The Three Little Pups survived the approval process, but along with Drip-A-Long Droopy, it was never released on CD other than on this album. 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