My Favorite Under-Appreciated Songs from Disney Animated Feature-Length Films By Decade (Part 2)

1960s: "Sister Suffragette" from Mary Poppins (1964)
Richard M. Sherman & Robert B. Sherman; Performed by Glynis Johns

I had to stray from the animated films because the '60s brought us only three animated Disney films, none of the songs from which I felt were truly under-appreciated gems. So, I'll hop on over to the very slightly animated Mary Poppins. No one can deny that Mary Poppins is "practically perfect in every way" precisely because of its star Julie Andrews. However, we often forget that the charismatic Glynis Johns was also in the film. Her character unfortunately takes a backseat to David Tomlinson's Mr. Banks. In the film's first minutes, though, we are treated to a rousing call-to-arms for a woman's right to vote by the fervidly political Mrs. Banks. It's the only song that really delves into any sort of historical context for the film, and it does provide a reason for why Mrs. Banks is so preoccupied that she needs a nanny in the first place. I find the song stirring and Johns' performance so charismatic, it makes me want to be clapped in irons right alongside Mrs. Pankhurst!

Runner-up: "That's What Friends Are For" from The Jungle Book (1967)

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1970s: "Someone's Waiting For You" from The Rescuers (1977)
Sammy Fain, Carol Connors & Ayn Robbins; Performed by Shelby Flint

Sadly the only entry in this list to feature female songwriters, this heart-breaking song occurs right when all hope seems lost for little Penny. It's an unassuming '70s pop ballad that simultaneously evokes faith and hopelessness. The encouraging lyrics are in direct contrast with Penny's dire on-screen situation:

Be brave little one
Make a wish for each sad little tear
Hold your head up though no one is near
Someone's waiting for you

The thing is, Penny is an orphan. So, there isn't anyone waiting for her. So, the song really drives home just how alone Penny is in the world. Also, cool cameo of Bambi and Bambi's mom during the sequence. Of course, those memories don't necessarily evoke happy thoughts either. Damn, this song is sad!

Runner-up: "Little Black Rain Cloud" from The Many Adventures of Winnie the Pooh (1977)

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1980s: "Why Should I Worry?" from Oliver & Company (1988)
Dan Hartman & Charlie Midnight; Performed by Billy Joel

Before the so-called "Disney Renaissance" took off with The Little Mermaid in 1989, the oft-forgotten Oliver & Company was released. In this loose adaptation of Dickens' Oliver Twist, a Jack Russell terrier named Dodger (as in, "The Artful") takes over the screen with this infectious pop-rock New York-loving anthem. Who else to sing this song than Billy Joel? Through the song's lyrics, we understand Dodger's outlook on life (a precursor to the more popular "Hakuna Matata"); through the song's music, we understand that Dodger is just so cool! He even literally stops traffic by rallying all the dogs of New York to strut with him!

Runner-up: The rest of the soundtrack from Oliver & Company
I think Oliver & Company actually features some great songwriting. It's just a shame that the story itself isn't quite so compelling. But with moments like Better Midler's "Perfect Isn't Easy," or the touching tune of friendship "Good Company," the song list for the film is fun, varied, and contemporary.

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Let me know your picks for under-appreciated Disney songs from the '60s, '70s, and '80s! My choices for the most recent decades will be revealed next week!

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!

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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)

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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)

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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)

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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?

Creativity Quotation #19

"Make them laugh to make your point." - Sonya Manzano, "Maria" from Sesame Street

Thoughts on Diversity in Broadway Musical Storytelling

Travelers on diverted planes in the wake of 9/11 find themselves in and around the town of Gander, Newfoundland.

In an attempt to fit in, a high schooler tells a lie that gets completely out of control.

A zoom lens is taken to a section of Tolstoy's War and Peace as we follow the romantic story of two outsiders who find each other.

A weatherman is forced to relive the same day over and over again.

These are very roughly (very, very roughly, since I haven't seen any of them!) the plots of the four Best Musical Tony 2017 nominees, which are also the four nominated for Best Original Score and Best Book: Come From Away; Dear Evan Hansen; Natasha, Pierre, and the Great Comet of 1812; and Groundhog Day. I love how different these stories are from each other. It's evidence that musical theatre as an art form has really branched out beyond any particular template of storytelling. And it has been like this for a few years now. Book of Mormon, A Gentleman's Guide to Love and Murder, Grey Gardens, Fun Home, Hamilton, Waitress - the subject matter of contemporary musicals is so varied from show to show — even on Broadway, which can often be seen as a purely commercial venture with great potential to fall victim to cookie-cutter producing. This trend is heartening to me, because it shows that commercialism need not win over storytelling. Or even, that good and diverse storytelling can lead to commercial success on Broadway. Something that doesn't seem to ring true for Hollywood blockbusters.

Yet, amidst this diversity of stories is something worth noting: All of the musical theatre writing teams (and even the directors) of the four musicals listed above are white. Of course, I acknowledge that "white" is a largely diverse group in and of itself. The writers come from different countries, and undoubtedly bring different perspectives to musical theatre. But if you look over the Best Musical, Best Score, and Best Lyrics Tony nominees over the past twenty years, you'll see that writing acclaimed musical theatre is a very white thing to do (and more often than not, white male). Writers like Lin-Manuel Miranda and Stew are the exceptions, not the norm. And as an Asian American, it's not particularly encouraging that the few times that Asian Americans are heavily featured during the Tony Awards ceremony is due to revivals of South Pacific, The King and I and, this year, Miss Saigon - all stories written by white men. (For the record, I view those shows as simultaneously beneficial for Asian American actors in the industry AND problematic for the perception of Asian Americans in musical theatre as a whole.)

I don't write this to place blame. Or to inflict guilt. The point is observation. All but two of the actors and actresses nominated for performances in a musical this year are white. Who gets to write the stories affects who is represented on the Broadway stage. Who gets to write the stories influences the kinds of stories that get told. I don't necessarily have any magical solutions to this problem, other than to buckle down and write, compose, get better at my craft, learn from other musicals, collaborate with amazing people, and keep advocating for diversity in storytellers as much as diversity in storytelling. Maybe I'll make it to Broadway, maybe I won't. But I hope that no matter where my work gets performed, I'm tilting that dial of representation to better reflect the actual diversity in the US.