Tag Archives: Looney Tunes

Music in Wrestling #2: Origins

Now that I’ve established an idea of what I want to talk about with music in wrestling, it’s time to go back to the beginning and look at how the tradition of having music in wrestling entrances got started.

Unfortunately, it may be impossible to know exactly who started this tradition and when it started. Given wrestlings connection to fairs and carnivals, it’s probable that music’s association with wrestling goes back several hundred years at least. But as for how the modern wrestling entrance got started, there we at least have a vague timeline in place.

While we still don’t know (and probably never will know) the name of the first wrestler to incorporate music into their entrance, we do have a few names connected with the start of the tradition. Now, usually Gorgeous George (George Wagner, 1915-1963) is credited as one of the first wrestlers to use music in his entrances, as he would famously strut to the ring to the tune of “Pomp and Circumstances” at the height of his fame in the 1940s and 50s. Equal credit should also be given to Mildred Burke (1915-1989), who also began using music in her wrestling entrances at the same time (and some have argued that she actually started doing so before Gorgeous George).

There’s no doubt that Gorgeous George’s iconic entrance to “Pomp and Circumstances” inspired a whole host of wrestlers who followed in his footsteps, from Ric Flair (who entered to “Also Sprach Zarathustra”) to the late Macho Man Randy Savage (who also entered to “Pomp and Circumstances) and more. Believe it or not, his entrance even merited a parody in a Looney Tunes cartoon, ‘Bunny Hugged’, in 1951:

As the cartoon implies, Gorgeous George’s entrances were the stuff of legend (particularly by the peak of his career). Even before George made his appearance, rose petals would be sprinkled in his path, the air would be “cleansed” with perfume and then “Pomp and Circumstances” would play as the final element as Gorgeous George would finally grace the crowd with his presence. Gorgeous George was a true showman and helped to establish what would become the modern wrestling entrance, as did Mildred Burke, who incorporated similar elements into her own entrances as I said before.

Mildred Burke

But while Gorgeous George and Mildred Burke may be the best known of the early examples, neither of them were the first. In the case of Gorgeous George, he was inspired by the work of “Lord” Patrick Lansdowne (died 1959). Lansdowne portrayed himself as a snobby British aristocrat who would strut to the ring while “God Save the King” blared out. Since Lansdowne’s gimmick inspired the work of Gorgeous George, it stands to reason that Lansdowne made use of entrance music first. Though he may not be the very first to do so, Lansdowne does remain one of the earliest known wrestlers to use entrance music. And if you think about it, what better music for a heel to use in America in the early 20th century than “God Save the King”? It instantly sets the crowd against you because you’re establishing yourself as someone “other” and, more importantly “not-American.” It’s one of the easiest ways to get a crowd to boo you.

It should be noted at this point that even with the high profile examples of Gorgeous George and Mildred Burke, using music in wrestling entrances was not common at this point. There were a few high-profile examples (probably those who could afford it) and that would be all. It would be a few more decades until music in wrestling started to become commonplace and then, oh boy, things really started to get interesting.

I hope you enjoyed this brief look into the origins of music in wrestling. Next time I’ll be leaping forward into the 1980s, when the modern wrestling entrance as we know it really began to take shape.

See also:

Music in Wrestling #1: Why Talk About It?

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Soundtrack News: ‘Looney Tunes: Back in Action’ and ‘Babe’ Soundtracks Available Exclusively from Varèse Sarabande Records

Varèse Sarabande Records is thrilled to unveil its January 2021 CD Club titles: Looney Tunes: Back in Action (The Deluxe Edition) by Jerry Goldsmith and Babe (The Deluxe Edition) by Nigel Westlake, which are now available exclusively on VareseSarabande.com.

Looney Tunes: Back in Action (The Deluxe Edition):

The final film score of Jerry Goldsmith’s legendary career gets a long-awaited CD Club treatment: Looney Tunes: Back in Action (2003) reunited Goldsmith with director Joe Dante (Gremlins, Innerspace, Matinee) for an insane musical journey befitting Warner Bros.’ classic cartoon characters, with Bugs Bunny and Daffy Duck starring in a live-action/animation hybrid alongside human characters played by Brendan Fraser, Jenna Elfman, Timothy Dalton and Steve Martin.

The globetrotting adventure demanded one of Goldsmith’s zaniest scores ever, a sort of indescribable combination of slapstick, action and whimsy that lurches from high-energy symphonic chases to pop-influenced flourishes to Carl Stalling-styled “Mickey Mousing.” All of it has Goldsmith’s effortlessly melodic touch, with the special brand of left-field inspiration that always accompanied his work for Dante.

Previously released by Varèse Sarabande at the time of the movie, this comprehensive 2-CD set features not only Goldsmith’s vastly expanded score, but rewrites and additional music by John Debney, Cameron Patrick and a handful of others—as well as alternates and outtakes by Goldsmith and the complete 2003 album program. Packaging features new liner notes by Daniel Schweiger (incorporating new interviews with Dante, Debney and Patrick) and Goldsmith’s longtime friend and recording engineer, Bruce Botnick.



  1. Looney Tunes Opening (What’s Up Doc?) / Rabbit Fire (1:09)
  2. What’s Up? (1:25)
  3. Another Take (:48)
  4. Dead Duck Walking (3:14)
  5. She Likes You (:46)
  6. The Shimmy / Out Of The Bag / Save Dad / The Car (3:53)
  7. Not A Billion (:45)
  8. Blue Monkey (:58)
  9. Extra Crispy (:36)
  10. The Shower / Psycho Parody (1:15)
  11. In Style (1:10)
  12. The Bad Guys (2:57)
  13. Hit Me (:30)
  14. Car Trouble / Flying High (3:46)
  15. Hurry Up (:25)
  16. Nice Hair / Burning Tail (:55)
  17. A Visit To Walmart / Free Drinks (:36)
  18. Wrong Turn Coyote (:54)
  19. The Launch (:27)
  20. Thin Air (1:26)
  21. Area 52 (Take 54) (1:29)
  22. You’re Next (:25)
  23. Wacky Marvin In The Jar (:49)
  24. Hot Pursuit (2:26)
  25. We’ve Got Company / Man And A Woman / I’ll Take That (3:21)
  26. The Painting / The Scream / It Is Spring / Bugs with Mandolin (3:20)
  27. The Red Balloon (:26)
  28. Paris Street (1:22)
  29. Free Fall (1:17)
  30. The Hook / Africa (:33)
  31. Tasmanian Devil (1:09)
  32. Jungle Scene (1:42)
  33. Pressed Duck (3:26)
  34. Re-Assembled (:51)
  35. Waiting For A Train (2:49)
  36. A New Puppy (3:06)
  37. To The Rescue (4:24)
  38. Heroes (2:39)
  39. Merry-Go-Round Broke Down (That’s All Folks!) (:16)
  40. End Title Suite (5:17)


  1. What’s Up? (1:29)
  2. Another Take #9 (:53)
  3. Trumpet Wa-Wa (:07)
  4. The Shimmy (:12)
  5. Out Of The Bag (1:17)
  6. The Car, Part 1 (:15)
  7. The Car, Part 2 (:12)
  8. Psycho (:37)
  9. Car Trouble (3:22)
  10. Wrong Turn, Part 1 (1:14)
  11. Wrong Turn, Part 2 (:25)
  12. Wrong Turn, Part 3 (1:08)
  13. The Launch (:30)
  14. The Blue Danube / The Barber of Seville / Can Can (:36)
    15 Vivaldi Concerto (:15)
  15. The Hook (:29)
  16. Pressed Duck (3:39)
  17. Merry-Go-Round Broke Down (That’s All Folks!) (:23)

The Original 2003 Soundtrack Album:

  1. Life Story (:19)
  2. What’s Up? (1:25)
  3. Another Take (:48)
  4. Dead Duck Walking (3:14)
  5. Out Of The Bag (3:44)
  6. Blue Monkey (:54)
  7. In Style (1:09)
  8. The Bad Guys (2:56)
  9. Car Trouble (3:46)
  10. Thin Air (1:26)
  11. Area 52 (1:29)
  12. Hot Pursuit (2:26)
  13. We’ve Got Company (1:50)
  14. I’ll Take That (1:22)
  15. Paris Street (1:21)
  16. Free Fall (1:15)
  17. Tasmanian Devil (1:09)
  18. Jungle Scene (1:40)
  19. Pressed Duck (3:22)
  20. Re-Assembled (:52)
  21. Merry-Go-Round Broke Down (That’s All Folks!) (:55)

Music Composed and Conducted by Jerry Goldsmith, Additional Music by John Debney • Produced by Jerry Goldsmith • Performed by The Hollywood Studio Symphony

Babe (The Deluxe Edition):

Babe was a massive surprise hit in 1995. A children’s film starring a talking pig seemed to be the last thing anybody expected from visionary filmmaker George Miller (Mad Max). Writer-producer Miller adapted the 1983 book with director and cowriter Chris Noonan, and created a universally praised, moving film about a farm pig (a combination of animatronics and computer graphics) who longs to be a sheepdog. With a memorable lead performance by James Cromwell as Babe’s farmer-owner, Babe received glowing reviews and seven OSCAR® nominations, winning for Best Visual Effects.

A major part of Babe’s exquisite, perfectly pitched storybook tone is the charming, resonant symphonic score by Australian composer Nigel Westlake. Westlake interpolated a tapestry of classical works, most notably the maestoso section of Saint-Saëns’ third (Organ) symphony, to perfectly capture the human emotions of the film’s animal characters, while ironically treating the humans with an animal-like comedy and whimsy. (The Saint-Saëns melody had been adapted into the British reggae pop hit “If I Had Words” by Scott Fitzgerald and Yvonne Keeley; a sped-up version is used in Babe’s end credits.)

Babe was released as a music-and-dialogue album at the time of the film. This CD Club edition features the expanded score as music only, packaged with a new essay by Tim Greiving featuring insights from Miller, Noonan, Cromwell and Westlake.


  1. Opening Titles (From The Motion Picture Babe) – Piggery (4:02)
  2. Fairground (Extended Version) (3:16)
  3. I Want My Mum / The Way Things Are (4:40)
  4. Fly Would Never / Crime And Punishment (3:50)
  5. Anorexic Duck Pizzicati (Extended Version) (3:21)
  6. Repercussions / Into The Knackery (2:23)
  7. Pig, Pig, Piggy / Mother And Son (2:28)
  8. Pork Is A Nice Sweet Meat (3:26)
  9. Christmas Morning (Extended Version) (5:08)
  10. Separate The Chickens / Round Up (2:37)
  11. Babe’s Round Up (Extended Version) (3:59)
  12. Mad Dog Rex (1:14)
  13. The Sheep Pig (Extended Version) (1:47)
  14. Dog Tragedy (1:36)
  15. Hoggett Shows Babe / Maa’s Death (2:58)
  16. Home Pig / Hoggett With Gun (2:48)
  17. Pig Of Destiny / Up To Trouble (3:29)
  18. The Cat / What Are Pigs For (2:26)
  19. Where’s Babe / Hoggett’s Song (3:23)
  20. Babe In The Kitchen / Help For Babe (4:32)
  21. Baa Ram Ewe / Rex On Truck (1:46)
  22. The Gauntlet / Moment Of Truth (Extended Version) (1:45)
  23. Finale – That’ll Do, Pig, That’ll Do (1:39)
  24. If I Had Words (2:54)
  25. Toreador Aria (Excerpt) (:22)
  26. Pork Is A Nice Sweet Meat (With Vocals) (3:51)
  27. Blue Moon (Excerpt) (:40)
  28. Cantique de Jean Racine (Excerpt) (:41)
  29. If I Had Words (Hoggett’s Song) (1:52)

Music Composed and Produced by Nigel Westlake
Performed by the Victorian Philharmonic Orchestra

Let me know if you’ll be picking either of these soundtracks up and have a great day!

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My Thoughts on: Tiny Toon Adventures (1990-1992)


Tiny Toon Adventures Intro

If you grew up in the 90s (like me), then you know it was a great time to be alive in terms of animation. The Disney Renaissance was in full swing and the airwaves were full of amazing cartoons! In this decade television animation experienced a surge of quality and created a host of memorable shows (like Batman: The Animated Series). One of my favorites growing up was Tiny Toon Adventures, a sort-of next generation take on Looney Tunes, just updated to the 90s. Contrary to popular belief, the Tiny Toons characters are NOT the children of the classic stars (except for Gogo Dodo). Rather, they’re young toons who take after particular characters. For example:

Buster Bunny/Babs Bunny: These rabbits are both inspired by Bugs Bunny. Buster represents Bugs playing the “straight man” during the 1950s while Babs represents Bugs’ more wacky side as seen in the 1940s.

Plucky Duck: Plucky is almost a carbon copy of Daffy Duck (except that he’s green), right down to his greed and resentment of Buster and Babs.


Hamton Pig: Supposed to be inspired by Porky, but honestly I don’t see it.

Elmyra: It might not be clear, but Elmyra (feminine of Elmer) is a take-off on Elmer Fudd. Except instead of hunting animals with a gun, Elmyra “hunts” animals to be her unwilling pets. She LOVES animals, any kind of animal, in fact she’s been known to chase after several of the characters. A running gag is everyone being terrified by the mere mention of her name.

Montana Max: a spoiled millionaire brat inspired by Yosemite Sam (he gets his comeuppance frequently throughout the series).

Sweetie Pie: Picture Tweetie Pie as a girl and the instigator of conflict instead of the victim. That’s Sweetie in a nutshell.

Fifi: If Pepe le Pew were a girl and could control his scent at will, that’s Fifi.

Calamity Coyote/Little Beeper: The younger versions of Wile E. Coyote and Road Runner. Sadly you don’t see these two very often (from what I read, Chuck Jones, who created Coyote and Road Runner in the first place, was not amused by their appearance and made his displeasure known).

Gogo Dodo: The only character confirmed to be the son of an original character, Gogo lives in Wackyland and acts just like the original Dodo.


A lot of Tiny Toon episodes were parodies of famous TV show or movies, or whatever happened to be popular at the time. For instance, the 2nd episode “A Quack in the Quarks” is a shameless parody of Star Wars (Duck Vader anyone?). There’s also “The Acme Acre Zone” (The Twilight Zone, where Charlie Adler (voice of Buster) does a pretty good impression of Rod Serling), “Citizen Max” (Citizen Kane) and “Duck Trek” (Star Trek), just to name a few. There are also too many Disney parodies to count, but my particular favorite is the rip-off of Night on Bald Mountain (from Fantasia) in “Stuff That Goes Bump in the Night.” Many episodes also center around Acme Looniversity where the toons learn how to be proper cartoon characters.

The series is understandably a little dated especially when technology comes up (some of the characters brag about owning a VCR) but most of the humor still works (though there are some quips about Donald Trump (not many but they are in there) that might rub you the wrong way).

Tiny Toon Adventures paved the way for several spin-off series, including Animaniacs, Pinky and the Brain, and the very short-lived Pinky, Elmyra & the Brain. Currently the entire series is available to stream on Hulu (and is also available on DVD if Hulu isn’t an option). I hope you’ve enjoyed reading about this cartoon series. Thanks for stopping by and have a great day!

See also:

Animated Film Reviews

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Reviewing Looney Tunes: Forward March Hare (1953)


Released: February 14th, 1953

Directed by: Chuck Jones (credited as Charles M. Jones)

Bugs Bunny has been put in some interesting situations over the years: he’s encountered Martians, evaded hunters and even been made a Super-Rabbit. But would you believe he was also drafted into the Army? It really happened in Forward March Hare, a cartoon released during the final months of the Korean War. Due to a comedy of errors (mistaking a draft letter sent to “B. Bonny” as being for him), Bugs is summarily inducted into the United States Army and proceeds to (unwittingly) wreak havoc, much to the chagrin of his drill sergeant.


This is the army?

One of the most hysterical gags in this cartoon is that almost no one seems to realize that Bugs is a rabbit (the one soldier who does at the beginning merely looks at the camera and mutters “So they’re inducting rabbits.”) Another running gag is the drill sergeant slowly but surely getting demoted for each mess Bugs makes (he’s a buck private by the end of the cartoon, the realization that Bugs is a rabbit finally pushes him over the edge). Another favorite moment is when Bugs is shocked awake by the blaring of “Reveille” and vows to “moider that bugler,” running to silence the music with a baseball bat. For some reason, every time I watch that moment I imagine a theater full of soldiers bursting into laughter and cheers (having secretly wished to do the deed themselves).


Upon being discovered and informed that rabbits cannot serve in the military, Bugs is given a new job: testing artillery shells to see if they’re duds. He happily informs the audience “In 30 years I can retire!” but the joke is that, given his job, he likely won’t make it that long.

Forward March Hare is a wonderful example of Warner Bros. animation in its prime (before the quality dropped in the 1960s). They certainly don’t make cartoons like this anymore. Let me know what you think about Forward March Hare in the comments below and have a great day!

See also:

Reviewing Looney Tunes

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

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Reviewing Looney Tunes: Hair-Raising Hare (1946)

Hair-Raising Hare.jpg

Released: May 25th, 1946

Directed by: Chuck Jones (credited as Charles M. Jones)

Hair-Raising Hare is the debut of one of my favorite Looney Tunes characters: the huge, red, furry, sneaker-wearing monster. He’s been known by several names over the decades: “Monster,” “Rudolph,” and “Gossamer” though in this first appearance he doesn’t appear to have a given name. For some reason, the sight of this huge monster has always elicited a fit of giggles from me (I think it has something to do with the sneakers, they look so incongruous).


The plot is simple: Bugs is lured to a mad scientist’s castle (how do these mad scientists always have castles?) to be dinner for the aforementioned monster. When Bugs gets wise to this plan, he makes a break for it and the chase is on (interestingly, the scientist is not seen again for the rest of the short). The rest of the cartoon follows Bugs as he outwits and evades the monster, before finally subduing the monster by breaking the fourth wall (making the monster aware of the audience watching him).


This cartoon has one of Bugs Bunny’s best known gags: at one point he stalls the monster by pretending to be a stylist who declares the monster needs a manicure. Suddenly Bugs whips out a table, chairs and begins to file the monsters nails, all while holding a conversation that you might hear in a nail salon. This is Bugs in pure mischief mode; once he gets over his initial fright, the monster doesn’t stand a chance.

I feel like Gossamer (the furry monster) doesn’t get enough attention compared to better known characters so I like to bring attention to him when I can. Let me know what you think about Hair-Raising Hare in the comments below and have a great day!

See also:

Reviewing Looney Tunes

Become a Patron of the blog at patreon.com/musicgamer460

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Reviewing Looney Tunes: Bugs’ Bonnets (1956)


Released: January 14th, 1956

Directed by: Chuck Jones

Bugs’ Bonnets is a cartoon that isn’t as well known as some of the other Jones classics (like the Rabbit Season trilogy for example), but it is still a great cartoon in my opinion. The scenario for this cartoon is half-story (Elmer hunting Bugs) and half-documentary (looking at how different hats can change your personality). Since this is a cartoon, the hats instantly change Elmer and Bugs’ personalities, with hilarious results. One interesting piece of trivia: in this cartoon Elmer suddenly knows how to pronounce his “R’s” correctly. My favorite examples in this cartoon include:


-Bugs wears an Army sergeant’s helmet and gives Elmer a chewing out (“Alright dog face, how come every other private in this man’s army’s got a rifle and YOU’VE got a gun?”) In response, Elmer ends up wearing a hat reminiscent of General MacArthur, announcing “I have returned.”

-Bugs (in a game warden’s hat) chides Elmer for “shooting sergeants out of season.”

-Elmer (in a cop’s hat) threatens Bugs (in a “gangster” fedora) while the latter tries to buy Elmer off with a bribe. Before he can give the money back, Bugs’ hat is replaced with a judge’s wig, prompting Bugs to believe Elmer is trying to bribe HIM!


While this cartoon is more a string of gags than anything else, that doesn’t stop it from being really funny. What do you think of Bugs’ Bonnets? Let me know your thoughts in the comments below and have a great day!

See also:

Reviewing Looney Tunes

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

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Reviewing Looney Tunes: Bully for Bugs (1953)


Released August 8th, 1953

Directed by: Chuck Jones

Half of the reason I love Bully for Bugs so much is the crazy story behind how it got made in the first place. According to the late, great Chuck Jones, the idea came to him when producer Eddie Selzer, out of the blue, came to his work area and proclaimed “cartoons about bullfighting are NOT funny, so don’t make any!” Upon Selzer leaving to go back to his office, a bewildered Jones turned to his fellow animator and wondered aloud “WOULD a bullfighting cartoon be funny?” The funny thing is, according to Jones, since Selzer proved to be wrong on just about anything involving cartoons, they figured a bullfighting cartoon would actually be hilarious. So, to get some research done (as nobody in the department had ever seen a bullfight in person), Jones flew down to Mexico City to watch a bullfight for himself.

Bully for Bugs (27).jpg

Up until the fight started, Jones had the idea that the matador would be the villain of the story, while the bull would be the sympathetic character. This notion flew straight out the window when Jones saw a massive bull come charging into the arena to face off against this itty bitty matador who was maybe 100 lbs soaking wet. From that moment, Jones knew exactly how the story needed to play out. (The story comes from Jones’ autobiography Chuck Amuck and commentary for Bully for Bugs found in the Looney Tunes Golden Collection).


This cartoon is another example of Bugs taking a wrong turn at Albuquerque and winding up in the middle of a bullfighting ring instead of the Coachella Valley Carrot Festival. In the ring, a hapless matador is being chased around by a huge bull (much to the displeasure of the crowd. And speaking of the crowd, that’s a real bullfighting crowd you’re hearing in the cartoon, they recorded some audio in Barcelona, Spain and looped it into the final product). Being oblivious to the fact that he’s way off target, Bugs ends up on the wrong side of the bull, who promptly knocks him clean out of the arena (inspiring Bugs to proclaim “Of course you realize THIS means war!”) The enraged rabbit returns as a matador to give the bull his comeuppance as only Bugs can deliver it. For a while it’s an even back and forth between the two (and one of Bugs’ tricks actually backfires on him in spectacular fashion). Finally, just when Bugs seems cornered, he gets the upper hand and eliminates the bull once and for all by building an elaborate trap that sets the bull up to encounter some TNT.

Bully for Bugs is another classic Chuck Jones cartoon that never gets old no matter how many times you watch it. Let me know what you think about this cartoon in the comments below and have a great day!

See also:

Reviewing Looney Tunes

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

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Reviewing Looney Tunes: Ali Baba Bunny (1957)


Released: February 9th, 1957

Directed by: Chuck Jones

Of the many achievements Chuck Jones accomplished during his lengthy career, one of them was raising the pairing of Bugs Bunny and Daffy Duck into a comedic art form that has yet to be truly matched in animation. Ali Baba Bunny is a famous example of this pairing and one of my many personal favorite cartoons.

Ali Baba Bunny (6)

In Ali Baba Bunny, Bugs and Daffy are en route to Pismo Beach (California) and somehow end up tunneling through the Arabian desert, where a wealthy sultan has just finished sealing his treasure inside a magic cave. Having set the burly Hassan to guard the treasure (“Or the jackal shall grow fat on thy carcass!”) the sultan departs, shortly before Bugs and Daffy unwittingly break into the cave by tunneling under the entrance. This cartoon features Daffy during his “greedy beyond all reason” phase and it is used to great comedic effect. For example, when the pair emerge from the burrow and realize this is NOT Pismo Beach, Daffy is almost instantly mesmerized by the giant pile of treasure in front of him, while Bugs is completely oblivious. This leads to one of my favorite Daffy Duck lines:

Daffy: It’s mine you understand? Mine, mine, ALL MINE! Get back in there! Down! Down! Down! Go! Go! Go! Mine! Mine! Mine! Mwahahahahahahaha!! *zooms off to the treasure*

Bugs (still oblivious): Ehhhhh, what’s up Duck?


Only Bugs would be oblivious to all THIS

Of course there is the small matter of Hassan who is quite angry that someone is trying to take his master’s treasure. Despite Bugs’ best efforts to keep Daffy out of trouble (which include masquerading as a genie who “gives” Hassan the treasure for HIS own), Daffy keeps getting on the guard’s bad side, especially when he makes a run for it with a giant diamond! This leads Bugs to finally corner Daffy and demand to know (“What is it with you anyway?” to which Daffy replies “I can’t help it, I’m a greedy slob, it’s my hobby.”) This is probably one of the most honest answers Daffy has ever given regarding his greed (a fit of honesty likely brought on by the fact that Hassan wants to chop him to pieces).

I also love this cartoon because it has one of the greatest twist endings ever seen in a cartoon: Daffy appears to have it made. Hassan is gone, the treasure is loaded up ready to go, when the greedy duck finds a mysterious lamp in the back of the cave. For some reason, when a genie appears (and even calls Daffy “Master”!!) The duck explodes with rage and accuses the genie of wanting his treasure. This is why I say Daffy is greedy beyond all reason, because wouldn’t you think the duck would be happy to have a magic genie at his disposal? I suppose not, and boy does the duck pay for it!


“I’m rich! I’m a happy miser!”

Ali Baba Bunny, as I’ve said before, is one of my favorite Chuck Jones cartoons, and I hope you’ve enjoyed reading about it. Let me know what you think about this cartoon in the comments below and have a great day!

See also:

Reviewing Looney Tunes

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook 🙂

Reviewing Looney Tunes: Broom-Stick Bunny (1956)


Released February 25th, 1956

Directed by: Chuck Jones

Broom-Stick Bunny has long been one of my favorite Looney Tunes cartoons, as it features the debut of June Foray in the role of Witch Hazel (Bea Benaderet performed the voice in Hazel’s first appearance in Bewitched Bunny). This is actually Foray’s second time playing a character by this name (with this voice no less) as she originated the character in the 1952 Donald Duck cartoon Trick or Treat (and in truth she was initially reluctant when Chuck Jones invited her to play his version of Witch Hazel, but she eventually came around to the idea).

In this cartoon, it’s Halloween night and Bugs Bunny is out trick-or-treating disguised as a witch (complete with a green mask). Meanwhile, Witch Hazel is brewing up a potion while frequently consulting her magic mirror to make sure she’s still the “ugliest of them all” as she’s terribly afraid of getting pretty as she gets older. One of my favorite running gags in this cartoon is Witch Hazel’s obsession with ugliness and talking about beauty in opposite terms (examples include: “Who undoes your hair?” “I’m going to worm all your ugly secrets out of you” and my personal favorite “LIKE it? Why it’s practically HIDEOUS!!”)


The story starts as a comedy of errors when Bugs Bunny appears at Witch Hazel’s door and the befuddled witch thinks the rabbit is a REAL witch (leading to my other favorite line: “Witch? I don’t remember seeing HER at any of the union meetings.”) but it quickly turns serious when Hazel realizes that not only is Bugs a rabbit, but he’s also the last ingredient needed to complete her potion, leading to a wild chase throughout the house.


In the end, of course, Bugs gets the upper hand and we’re treated to seeing what a pretty Witch Hazel looks like (fun fact: according June Foray’s commentary, the animators modeled the pretty Hazel on her actual appearance, particularly in the hairstyle as it was one she liked to wear at the time). It’s so funny to hear the now-pretty witch say in the sweetest sounding voice “Magic mirror on the wall, who’s the ugliest one of all?” The gag is heightened when the genie in the magic mirror gives chase on a flying carpet and the pair go flying off into the night.

Of all the Witch Hazel cartoons, Broom-Stick Bunny remains my favorite, and I hope you’ve enjoyed reading about it. Let me know your thoughts about this cartoon in the comments below and have a great day!

See also:

Reviewing Looney Tunes

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