Burns walks along moving girders, narrowly avoids flying rivets, and other well-worn cartoon construction site gags. The title, as arranged by Michelle DiBucci , has been in the repertoire of Kronos Quartet since In , the "assembly line" theme was used in a highly choreographed commercial for the Visa check card.
The commercial, entitled "Lunch",  was staged in a manner intended to be reminiscent of the song's cartoon uses. Sinking Ship presented a revised and fully-staged version of the production at the New Ohio Theatre in Manhattan in From Wikipedia, the free encyclopedia. Internet Archive. The Cartoon Music Book. Yet despite dodgy rhythms and a lack of conventional tunefulness, these often self-taught artists radiate an abundance of earnestness and passion.
Most importantly, they betray an absence of pretense. And they're worth listening to, often outmatching all contenders for inventiveness and originality. Reviewing this testament to twisted tunesmiths, Publishers Weekly commented:. Bill Meyer reviewed the first CD:. Volumes one and two of the digital audio releases of Songs in the Key of Z were reissued in expanded 25 tracks each and remastered format in September , along with all-new volumes three and four.
Scott controlled the band's repertoire and style, but he rarely took piano solos, preferring to direct the band from the keyboard and leave solos and leads to his sidemen. He also had a penchant for adapting classical motifs in his compositions. In Scott turned his Quintette into a big band. When he was named music director by CBS radio three years later, he organized the first racially integrated radio band. In , Scott relinquished his keyboard duties so he could concentrate on hiring, composing, arranging, and conducting.
He returned to the keyboard with some of his bands. In , he led a piece orchestra to produce what he termed "silent music" in New York, making a great show of performing with very little sound. This was one of the earliest performances of the silent or near-silent music canon. After serving as music director for programs Broadway Bandbox from to , Scott left the network. In the late s, contemporaneous with guitarist Les Paul 's studio work with Mary Ford , Scott began recording pop songs using the layered multi-tracked vocals of his second wife, singer Dorothy Collins.
A number of these were commercially released, but the technique failed to earn him the chart success of Les Paul and Mary Ford. The group made studio recordings, some of which were released on Scott's short-lived Master Records label. This was not the Irving Mills-owned label of the same name; Scott allegedly named his label in tribute to the defunct Mills enterprise.
During the following year, the show moved to NBC Television, and Scott continued to lead the orchestra until Collins was a featured singer on Your Hit Parade. The high-profile position paid well, but Scott considered it strictly a "rent gig" and used his salary to finance his electronic music research out of the limelight. In Scott composed his first—and only known—classical work, entitled Suite for Violin and Piano.
The five-movement suite was performed at Carnegie Hall on February 7, , by violinist Arnold Eidus and pianist Carlo Bussotti, who recorded the work. Scott, who attended Brooklyn Technical High School , was an electronic music pioneer and adventurous sound engineer. Mathus and Katharine Whalen had divorced, and the band members went their separate ways. Whalen released her debut album, Katharine Whalen's Jazz Squad.
Mathus toured and recorded extensively with Buddy Guy and has released 18 solo records on various labels, and under various names, while keeping a hand in numerous other projects. With the proclamation "Ladies and Gentlemen They're Back," the band performed concert dates throughout the U. They also announced plans for a studio album in Following renewed interest at the approach of the 20th Anniversary of Hot , Mathus began assembling a revival band, focusing on musicians in the New Orleans area.
They began touring in June , with the initial line-up including Mathus, Dr. The band has continued to tour; a new studio album, Beasts of Burgundy was released March 23, via their own label Southern Broadcasting. Performers on the album include Mathus guitar, vocals , Dr.
Stalling and Disney kept in touch through correspondence, and considered each other friends. In , Disney was on a journey from California to New York City to record the sound and make the preview of Steamboat Willie , Disney's first released sound short.
During the journey he stopped at Kansas City to hire Stalling to compose film scores for two other animated shorts. Plane Crazy and The Gallopin' Gaucho were originally silent films and were the first two Mickey Mouse animated short films in production. Walt was apparently pleased with the results, and offered to hire Stalling as his studio's first music director.
In order to get the job, Stalling had to move to California, where the studio was located. According to Martha Sigall , Stalling accepted because the job offer was a great opportunity for him. He probably realized that his career as an organist for a silent movie theatre was coming to an end, because the silent film era was also at its end.
Sound films were the new trend. Animation historian Allan Neuwirth credits Stalling for basically inventing the process of creating a film score for cartoons. Stalling encouraged Disney to create a new series of animated short films, in which the animation and its action would be created to match the music. This was still unusual at the time, since film music was played or composed to match the action of a film.
Stalling is credited with both the composition and the musical arrangement of The Skeleton Dance , the first of the Silly Symphonies. While there, Stalling pioneered the use of "bar sheets", which allowed musical rhythms to be sketched out simultaneously with storyboards for the animation. The Silly Symphonies was an innovative animated film series, in which pre-recorded film scores were making use of well-known classical works and the animation sequences were choreographed to match the music.
Stalling helped Disney streamline and update the sound process used in creating early animated sound films, following the long and laborious synchronization process used in Steamboat Willie. The close synchronization of music and on-screen movement pioneered by the Disney short films became known as Mickey Mousing.
While working at the Disney studio, Stalling invented a tick system which helped synchronize music to visuals. This system was a forerunner to the click track , a method which would become a standard process used in both live-action and animated films.
The method used in this film involved a reel of unexposed film with holes punched out to make clicks and pops when run on the sound head. According to Neil Strauss, this version of the click track is credited to sound effects artist Jimmy MacDonald. Stalling left Disney after two years, at the same time as animator Ub Iwerks. He had reportedly completed the scoring of about 20 animated films for Disney. Finding few outlets in New York, Stalling rejoined Iwerks at his studio in California, while freelancing for Disney and others.
Stalling served as the music director of Iwerks' studio until the studio shut down in She recalled the month because she was hired by the studio as an apprentice painter that same month. He had gained this reputation and considerable experience as the music director at the studios of both Walt Disney and Ub Iwerks.
Schlesinger was aware of these facts when offering to hire him. Stalling had been recommended to Schlesinger by storyman Ben Hardaway. Hardaway had met Stalling while they both worked at the Iwerks studio and, when Schlesinger started searching for a new music director for his studio, Hardaway suggested hiring his old colleague who was available.
The new music director Stalling became an integral member of the team producing two very successful animated series. The two animated series which Schlesinger produced for Warner Bros.As one of the best known, awarded, and financially successful composers in US history, John Williams is as easy to recall as John Philip Sousa, Aaron Copland or Leonard Bernstein, illustrating why he is "America's composer" time and halfcelltitegodfeperarinlelasag.xyzinfo a massive list of awards that includes over 41 Oscar nominations (five wins), twenty-odd Gold and Platinum Records, and a slew of Emmy (two wins.