My Favorite Under-Appreciated Songs from Disney Animated Feature-Length Films By Decade (Part 1)

We've all tapped our toes to "The Bare Necessities" or covered our ears when "Let It Go" was playing, but there are some great gems of Disney songs that sadly have not received much popular attention - and not because they're bad songs! So, even though no one asked for it, here are my favorite under-appreciated Disney songs from (mostly) animated features by decade!

---

1930s: "With a Smile and a Song" from Snow White and the Seven Dwarfs (1937)
Frank Churchill & Larry Morey; Performed by Adriana Caselotti

It's no surprise that the song chosen from this decade would come from Disney's first feature-length animated film, because it was the only one released in the '30s. I enjoy its light-hearted melody and its laid-back pacing. It also serves an important function in the film. After facing death and rescue at the hand of the Huntsman and running through a terrifying forest, the young princess finds encouragement in a little bluebird's song. Through "With a Smile and a Song," she finds a renewed spirit, however vapid or trite it may seem to us. It's also, in my opinion, the only true moment of empowerment that Snow White finds for herself in the entire film:

There's no use in grumbling
When raindrops come tumbling,
Remember you're the one
Who can fill the world with sunshine

OK, it's no feminist manifesto. However, with those lines, the message of the song takes what could be a rather inane message and turns it into one where each individual is responsible for their own happiness. Not bad for someone who's about to break into a house belonging to strange men so she can clean for them...

Runner-up: "One Song" from Snow White and the Seven Dwarfs (1937)

---

1940s: "Pink Elephants on Parade" from Dumbo (1941)
Oliver Wallace & Ned Washington; Performed by Mel Blanc, Thurl Ravenscroft, and The Sportsmen

The '40s brought a string of Disney films consisting of unrelated animated segments that showcased movie magic that only animation could accomplish. Some of this was art-driven (as in the case of Fantasia), and some of it was created as a result of World War II budget-constraints (as in Make Mine Music). In Dumbo, however, we get a particularly noteworthy segment of experimental animation that is incorporated into the larger story plot - however weakly. In "Pink Elephants on Parade," Dumbo and Timothy Q. Mouse inadvertently guzzle down alcohol which has some incongruously psychedelic effects. The sequence is bizarre and amazing. The song that accompanies it is odd yet catchy. The jaunty beat belies a more menacing presence with the score's minor chords and foreboding lyrics:

Look out! Look out!
Pink Elephants on Parade!
Here they come!
Hippity Hoppity!
They're here and there!
Pink Elephants everywhere!

The song is terrifying for no apparent reason, except perhaps to warn young ones about the dangerous effects of alcohol? The song is featured in Fantasmic, but I still feel like it doesn't get as much attention as it deserves.

Runner-up: "The Three Caballeros" from The Three Caballeros (1944)

---

1950s: "Oh, Sing Sweet Nightingale" from Cinderella (1950)
Mack David, Jerry Livingston & Al Hoffman; Performed by Ilene Woods and Rhoda Williams

Cinderella is probably my favorite classic Disney film (read: pre-Little Mermaid era). And there are some amazing songs that are not only well-written, but well-woven into the story. At first glance, "Oh, Sing Sweet Nightingale" seems to feel like a random diversion from the story. I would argue, however, that it is actually one of the more moving sequences in the film. First, we hear Drusilla rehearsing the song accompanied by Anastasia's flute. Their cat Lucifer can't stand the noise, so he steps outside only to find that Cinderella is also singing the song while scrubbing the floor. Of course, she sings it beautifully, and soon we see multiple reflections of Cinderella in floating bubbles, and hear four-part harmony (all voiced by Ilene Woods). What I love about this song, beyond its wistful melody and moody harmonies, is it unveils something of Cinderella's emotional state without being too on-the-nose about it. The singing is sad and yet somehow resolute. It is as if Cinderella knows that there is no way out of her "bubble," so she does the best she can and sings herself through it -- a far more poetic version of "Whistle While You Work." And this beautiful moment signals the end of the film's first act, because there's about to be a knock at the door -- a messenger bringing news of a ball at the palace.

Runner-up: "All in the Golden Afternoon" from Alice in Wonderland (1951)

---

Let me know what your favorite under-appreciated Disney songs from the '30s, '40s, and '50s are! I'll share my picks for the '60s, '70s and '80s next week!

A Turn-of-the-20th-Century Kind of Guy

Portrait of Igor Stravinsky by Robert Delaunay

I've written before about how I'm trying to listen to music that I actually enjoy. I've been noticing a trend when it comes to listening to classical music. My heart seems to respond the most to pieces that were written around the transition into the 1900s. And these can be by composers who range from the tail end of the classical period, to the thick of the romantic period, to the first half of 20th century music: Beethoven, Brahms, Chopin, Debussy, Stravinsky, Mahler, Tchaikovsky, Gershwin, Copland, and even Joplin's ragtime music leading us into early jazz, and the likes of Kurt Weill and Cole Porter in musical theatre.

I'm trying to put my finger on what exactly stirs me up about these works. I think it's because from the Romantic period onward, deep emotion and self-expression became strongly appreciated in composition. Composers began to break from the conventions of the classical era, all the while utilizing all the "tricks of the trade" to create works that were at times epic and sweeping, at others solemn and introspective. Programmatic music became really popular at this time as well, with composers painting scenes or telling stories through their music - Beethoven's 6th and Stravinsky's Firebird come to mind. This emphasis on emotion carried on into the 20th century world of Expressionism, though I often feel a bit emotionally alienated by the exploration of atonality by Schoenberg and others. And while I appreciate a lot of the deconstructive work of late 20th century composers, I often find that I don't necessarily want to sit and listen to their work.

Not sure if Fantasia 2000 ruined or revitalized Respighi's Pines of Rome for me...

Now, I'm NOT a musicologist. There are probably all sorts of exceptions to everything I wrote above. And, of course, emotion and self-expression have continued to be a compositional value to this day (just listen to film scores!). But there's this turn-of-the-twentieth sweet spot for me; I really identify with what the major composers were trying to accomplish. They were using the existing musical sensibilities and conventions of their day to capture listener's hearts. What could be more musical theatre than that?

The Joy of Listening

Because I was a Music Major, I put a lot of pressure on myself to "be on top of" music. I have lists of music (ranging from classical to jazz to musical theatre to pop to film score) I SHOULD listen to -- and not just listen to, but analyze and form intelligent thoughts about. "Maybe I'll rent a score from Cal's Music Library and map out a symphony's harmonic structure! For fun," I tell myself. But the inevitable result is that I feel defeated and then don't want to listen to anything.

Recently, I listened to Michael Ian Black's podcast "How To Be Amazing" and someone was talking about the best way to experience an art museum. Instead of trying to see everything in a museum, a more enjoyable experience is to realize the amount of time you have and focus on a few select exhibits appropriate to that amount of time. Of course, a moment of discovery might occur that takes you off your path, but going into the museum with the goal of seeing everything is a fool's errand. Sure, you may see everything by the end, but will you actually have enjoyed the experience? I've found that by around the two-hour mark in a museum, my mind is completely shot -- and I haven't even seen half of what's on display! Why not select the things that I think I might actually be interested in?

So, I'm trying to approach listening to music this way. Try to listen to things I might actually enjoy. And if I don't enjoy it, that's OK. Move on. And of course, stay open to surprise discoveries. This is a far cry from feeling like I need to put myself through self-inflicted grad school. I believed the lie that I had to academically analyze every piece of music I listened to. And by doing so, I sucked the joy out of listening to music entirely.

Last week, I started listening to Stravinsky, because I remember that I enjoyed his work in college. And I've found, I indeed enjoy his work today! This guy is dope and a little cray! I don't have his scores in front of me, and I'm not going to write an essay about what makes his music so great (other than to say he's dope and a little cray). I just ENJOY it, and I'm trusting that somehow I'm unconsciously picking up on why. Maybe one day I'll dig deeper, but again, the motivation should be because I actually enjoy doing so - not because I feel like I have to please the Asian academic gods in my head.

Creativity Quotation #14

"The art of art, the glory of expression and the sunshine of the light of letters, is simplicity." - Walt Whitman

A Letter from the Kiyamas!

Earlier this year, I wrote a letter to the descendants of Henry Kiyama (author of The Four Immigrants Manga) introducing myself and expressing my gratitude for letting me adapt Henry's work for the stage.

And they wrote back! (Translated by Frederik L. Schodt)

"We are very grateful to what Min-san is doing, and wish him success in his project.  We are sure that Yoshitaka's life in America, and the history of Japanese immigrants, are not easy to turn into a musical. But we are very honored that he appreciates Yoshitaka as an artist, and we
would love to meet him and thank him sometime. We cannot speak English, unfortunately, but we would still love to see the Four Immigrants Manga musical some day.  Please convey our appreciation to him."

I am very honored to have heard from them and to receive their blessing for this project!

They also sent me some Four Immigrants merchandise used to help promote Kiyama's hometown of Neu!