212:, the chance meeting between Stalling and Disney in the early 1920s was of great importance to the development of music for animation. Stalling was at his job at the Isis Movie Theatre, demonstrating his ability to combine well-known music by other creators with his own, improvised compositions. Disney stepped into the movie theater and was reportedly impressed with his style. He approached Stalling to introduce himself, and their acquaintance was mutually beneficial. Stalling was able to arrange the screening of a few Disney animated shorts at the Isis, and Disney ensured that Stalling would play the accompaniment for his films.
365:—hired Iwerks, Stalling went with him to become a full-time cartoon music composer. According to Sigall, Stalling was hired by the Leon Schlesinger studio in July, 1936. She recalled the month because she was hired by the studio as an apprentice painter that same month. Stalling already had a reputation as a very talented musician and composer. 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
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578:" (1937) by Scott was frequently used to accompany animated scenes involving conveyor-belts or chases. Scott's works had a cartoon sensibility and brought visual images to mind, elements which Stalling needed for his compositions. Due to Stalling's frequent use of his works, Raymond Scott was eventually considered a "cartoon composer" in his own right. But Scott did not actually compose his works with the intention of using them as film scores.
369:. 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. According to Sigall, the hiring of Stalling turned out to be a smart move for Schlesinger. The new music director (Stalling) became an integral member of the team producing two very successful animated series.
408:. The executives at Warner Bros. in fact insisted that Stalling should use as much music and songs from their feature films as possible. Their dual goal was to help promote the animated shorts by associating them with already popular music, and to help promote the songs themselves by giving them additional publicity. They hoped that such cross promotion would increase the sales of the songs.
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Although
Stalling's composing technique followed the conventions of music accompaniment from the silent film era that were based on improvisation and compilation of musical cues from catalogs and cue-sheets, he was also an innovator. Stalling is among the first music directors to extensively use the
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and his innovative musical quotation techniques. His musical cues, the unedited periods between the commencement and end of a single musical take, had varying lengths. At the short end of the spectrum, they would last no more than two seconds. At the long end, they would last two minutes. Stalling
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Stalling's working process involved meeting each animated short film's director or directors before the animation process began. Together they set the time signatures to which the short was to be drawn. The animators of the film were measuring animation frames per beat. After the animation process
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Musicologist and animation historian Daniel
Goldmark has noted that Jones repeated this anecdote about Stalling in a number of interviews. Jones also claimed in a 1975 interview that "My Funny Little Bumble Bee" song was too obscure for the audience to notice the musical reference. He exaggerated
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of popular songs, and "hair-trigger shifts in pacing". The pacing of the film score could quickly change from manic and furious to slow and gentle, and back again. Stalling's music would match the mood required for any given scene. Neuwirth argues that the music managed to enhance the mood set by
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Most of his film scores involved 500 measures in ten sections. His compositions were performed by Warner
Brothers' fifty-piece orchestra. Neil Strauss notes that this orchestra was often employed for relatively undemanding film scores for live-action feature films. When working for Stalling, the
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utilised a
Metronome to set a definitive tempo of the cartoon sections, that then got further developed over the years (being transcribed onto a "bar-sheet" or a "dope-sheet"). The system helped synchronise music and sound effects to the visuals. An early example of a click track was used in the
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Stalling was a master at quickly changing musical styles based on the action in the cartoon. His arrangements were complicated and technically demanding. The music itself served both as a background for the cartoon, and provided musical sound effects. The titles of the music often described the
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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,
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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's discussions with Disney on
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Disney eventually left Kansas City and moved to
California to open a new studio. Stalling and Disney kept in touch through correspondence, and considered each other friends. In 1928, Disney was on a journey from California to New York City to record the sound and make the preview of
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pointed out that listening to the soundtracks of the Warner cartoons was an important part of his musical education; the use of the full Warner Bros. Orchestra resulted in a richness of sound that is often lacking in more modern cartoons.
342:(1929). 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 Strauss, this version of the click track is credited to sound effects artist
222:, 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. Stalling composed several early cartoon scores for Walt Disney, including
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was completed, Stalling would receive the animators' exposure sheets or bar sheets. The sheets broke the animation, dialogue, and sound effects into musical bars, which
Stalling would then use to create his score for the film.
423:, who had assisted Stalling as an arranger since the mid 1930s and was promoted to musical director in the early 1950s. Stalling and Franklyn had shared credits for musical direction during the last years of Stalling's tenure.
261:, 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.
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When working on a film score, Stalling would incorporate his musical puns. He chose popular songs whose titles fit the on-screen gags. His music quotations were often brief, sometimes not lasting more than four seconds.
639:. Stalling is remembered today for the scores of cartoons that remain popular, and are often remembered for their music. His melodies are heard through most of the classic Warner Brothers cartoons, and imitated in new
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Like his predecessors as music director for the studio, Stalling had full access to the expansive Warner Bros. catalog and musicians. He could also use the fifty-piece orchestra of the company, headed at the time by
736:(1949), an animated short directed by Chuck Jones. Goldmark has also noted that Jones' claim about the repeated use of "Fingal's Cave" in cave scenes was inaccurate. Stalling did use the melody composed by
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that one had to be 108-years-old to even remember the existence of the song. Goldmark believes that the anecdote itself was inaccurate in several ways. The "Bumble Bee song" of the anecdote was actually "
574:, whose music was licensed by Warner Bros. in the early 1940s. According to Strauss, Stalling relied heavily on the music Scott composed during the 1930s. For example, the reportedly "fast and wacky" "
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where his father was a carpenter. He started playing piano at six. By the age of 12, he was the principal piano accompanist in his hometown's silent movie house. For a short period, he was also the
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He was a brilliant musician. But the quickest way for him to write a musical score was to simply look up some music that had the proper name. If there was a lady dressed in red, he'd always play "
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His stock-in-trade was the "musical pun", where he used references to popular songs, or even classical pieces, to add a dimension of humor to the action on the screen. Working with directors
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When finishing composing the film scores, Stalling went to New York City to record them for Disney. Walt was apparently pleased with the results, and offered to hire
Stalling as
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in
California, while freelancing for Disney and others. Stalling served as the music director of Iwerks' studio until the studio shut down in 1936. In 1936, when
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157:(November 10, 1891 – November 29, 1972) was an American composer, voice actor and arranger for music in animated films. He is most closely associated with the
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Stalling was born to Ernest and Sophia C. Stalling. His parents were from
Germany; his father arrived in the United States in 1883. The family settled in
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until his retirement. Stalling served as the music director for this studio for 22 years and is credited for the film score of over 600 animated films.
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orchestra would find itself burdened with more challenging and taxing work. Stalling recorded many variations of the opening themes of the
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directors sometimes complained about Stalling's proclivity for musical quotation and punning. In an interview, Jones complained:
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considers Stalling's work style in the Warner Bros. films to be highly recognizable. It consisted of "lush orchestrations",
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By his early 20s, he was conducting his own orchestra and improvising on the organ at the Isis Movie Theatre in
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series of animated short films. Stalling is credited with both the composition and the musical arrangement of
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style of very rapid and tightly coordinated musical cues, punctuated with both instrumental and recorded
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were originally silent films and were the first two Mickey Mouse animated short films in production.
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Stalling, Carl W. The Carl W. Stalling Papers, American Heritage Center, University of Wyoming
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Stalling's cues are always tied to the story on the screen. For example, he often used "
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whether the animation or the musical score should come first led to Disney creating the
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The Carl Stalling Project Volume 2: More Music From Warner Bros. Cartoons, 1939–1957.
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has described Stalling's sense for quotation as "Ivesian", in reference to composer
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Stalling remained with Warner Bros. until he retired in 1958. His last cartoon was
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Original music scores and other documents relating to Carl W. Stalling (1900-1978)
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would often use music quotations from the themes of the live-action films of the
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While working at the Disney studio, Stalling further refined a forerunner to the
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in several animated shorts, but never in combination with an actual cave scene.
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The two animated series which Schlesinger produced for Warner Bros. were the
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The Carl Stalling Project: Music From Warner Bros. Cartoons, 1936–1958,
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The Carl Stalling Project: Music From Warner Bros. Cartoons, 1936–1958.
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Zorn, John (1990) "Carl Stalling: An Appreciation," Liner Notes for
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Living Life Inside the Lines: Tales from the Golden Age of Animation
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action, sometimes forming jokes for those familiar with the tunes.
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Stalling left Disney after two years, at the same time as animator
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credits Stalling for basically inventing the process of creating a
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Makin' Toons: Inside the Most Popular Animated TV Shows and Movies
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It had also been recorded to great acclaim by the popular duo of
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following the long and laborious synchronization process used in
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these scenes. This was what made Stalling's work so effective.
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to time film scores. He was one of three composers, along with
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were the new trend. Stalling soon followed Disney in moving to
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Stalling died in the Los Angeles area on November 29, 1972.
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by Maureen Furniss (2005, University Press of Mississippi)
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Tebbel, John R. (Sept/Oct 1992) "The Looney Tunester"
419:. After Stalling retired in 1958, he was succeeded by
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695:". If we were doing anything about eating, he'd do "
1005:Tunes for 'Toons: Music and the Hollywood Cartoon,
992:Adamson, Joe (1980) "Chuck Jones Interviewed." in
204:. During that time, he met and befriended a young
189:at the St. Louis Theatre, which eventually became
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1025:Tunes for 'Toons: Music and the Hollywood Cartoon
570:Stalling made extensive use of the many works of
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2368:The Day the Earth Blew Up: A Looney Tunes Movie
361:—under contract to produce animated shorts for
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2439:Baby Looney Tunes' Eggs-traordinary Adventure
2425:Tiny Toon Adventures: How I Spent My Vacation
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1108:. In Goldmark, Daniel; Taylor, Yuval (eds.).
691:". If somebody went into a cave, he'd play "
331:, they called the "Tick-system". Initially,
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2894:Yosemite Sam and the Gold River Adventure!
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2329:Bugs Bunny's 3rd Movie: 1001 Rabbit Tales
2322:The Looney Looney Looney Bugs Bunny Movie
2177:Spike the Bulldog and Chester the Terrier
1106:"Tunes for Toons: A Cartoon Music Primer"
1000:. New York: E. P. Dutton. pp. 128–41
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936:"Funnyworld Revisited: Carl Stalling"
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447:, credited with the invention of the
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2627:The Sylvester & Tweety Mysteries
771:. (Broadway Cast Album conducted by
1215:Interview with Carl Stalling (1971)
787:. (Live Concert Recording from the
697:A Cup of Coffee, a Sandwich and You
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3011:American male film score composers
2360:Feature-length theatrical animated
1981:Wile E. Coyote and the Road Runner
1164:Works by or about Carl W. Stalling
643:compilations and features such as
637:Wile E. Coyote and the Road Runner
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3026:American people of German descent
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1114:. A Capella Books, an imprint of
853:Neuwirth (2003), unnumbered pages
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2315:The Bugs Bunny/Road Runner Movie
2162:Quick Brown Fox and Rapid Rabbit
2996:People from Lexington, Missouri
2986:20th-century American composers
2786:Battle of the Music Video Stars
1084:University Press of Mississippi
2991:20th-century American pianists
2779:The Bugs Bunny Mystery Special
2432:Tweety's High-Flying Adventure
1030:University of California Press
994:The American Animated Cartoon,
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3001:American film score composers
2839:The Merry-Go-Round Broke Down
2634:Pinky, Elmyra & the Brain
2460:Teen Titans Go! See Space Jam
2350:The Looney Tunes Hall of Fame
2336:Daffy Duck's Fantastic Island
1224:Carl Stalling: Music Animator
1076:"The Boys of Termite Terrace"
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537:The Merry-Go-Round Broke Down
16:American composer (1891–1972)
2931:Chip 'n Dale: Rescue Rangers
2393:Looney Tunes: Back in Action
2259:Featuring Marvin the Martian
1627:Leon Schlesinger Productions
706:Be My Little Baby Bumble Bee
646:Looney Tunes: Back in Action
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2167:Ralph Wolf and Sam Sheepdog
2107:Hugo the Abominable Snowman
1639:DePatie–Freleng Enterprises
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1143:Warner Bros. Records 26027
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960:Chuck Jones: Conversations
785:Bugs Bunny at the Symphony
633:The Dance of the Comedians
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2723:Meet the Groovie Goolies
2560:The Merrie Melodies Show
1621:Harman-Ising Productions
1204:Article on Carl Stalling
1193:Article on Carl Stalling
1187:Animation World Magazine
1182:Article on Carl Stalling
1159:American Heritage Center
1046:Neuwirth, Allan (2003),
978:Goldmark (2005), pp. 175
822:American Heritage Center
3016:Musicians from Missouri
2917:Who Framed Roger Rabbit
2864:Looney Tunes River Ride
2730:Carnival of the Animals
2697:Tiny Toons Looniversity
2669:Wabbit/New Looney Tunes
2400:Space Jam: A New Legacy
1657:Chuck Jones Enterprises
1651:Warner Bros.-Seven Arts
1155:Carl W. Stalling papers
1074:Sigall, Martha (2005).
925:Sigall (2005), p. 88-90
672:Comments by Chuck Jones
591:California, Here I Come
3051:American male pianists
3046:20th-century organists
2818:Dance of the Comedians
2765:Looney Christmas Tales
2506:Chuck Amuck: The Movie
2279:Featuring Yosemite Sam
2122:Merlin the Magic Mouse
1663:Warner Bros. Animation
1659:(1976–1980, 1994–1997)
1641:(1964–1967, 1979–1980)
1136:, 28.5, pp. 64–66
1111:The Cartoon Music Book
1104:Strauss, Neil (2002).
1020:"Notes to pages 22–39"
769:Bugs Bunny on Broadway
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600:Captains of the Clouds
595:In My Merry Oldsmobile
587:Oh, You Beautiful Doll
38:Background information
2832:Merrily We Roll Along
2793:Overtures to Disaster
2676:Looney Tunes Cartoons
2662:The Looney Tunes Show
2492:Bugs Bunny: Superstar
2474:Taz: Quest for Burger
2378:Live-action/animation
1971:Tasmanian Devil (Taz)
1633:Warner Bros. Cartoons
996:edited by Gerald and
818:University of Wyoming
733:The Bee-Deviled Bruin
728:Warner Bros. Cartoons
685:
625:The Rabbit of Seville
557:Merrily We Roll Along
485:The Rabbit of Seville
398:Warner Bros. Cartoons
155:Carl William Stalling
48:Carl William Stalling
2772:Bustin' Out All Over
2606:The Plucky Duck Show
2592:Tiny Toon Adventures
2553:The Road Runner Show
2284:Blue Ribbon reissues
2254:Featuring Elmer Fudd
2249:Featuring Daffy Duck
2244:Featuring Bugs Bunny
2002:Babbit and Catstello
1777:William L. Hendricks
1198:The Partial Observer
1116:Chicago Review Press
816:can be found at the
716:Florenz Ziegfeld Jr.
244:The Gallopin' Gaucho
231:The Gallopin' Gaucho
191:Powell Symphony Hall
2879:Road Runner Express
2871:Road Runner Express
2744:Bugs Bunny in Space
2690:Bugs Bunny Builders
2655:Loonatics Unleashed
2620:Pinky and the Brain
2539:The Bugs Bunny Show
2274:Featuring Sylvester
2264:Featuring Porky Pig
551:. The theme of the
474:, he developed the
183:Lexington, Missouri
169:shorts produced by
66:Lexington, Missouri
2751:Howl-oween Special
2546:The Porky Pig Show
1946:Marvin the Martian
1264:Winsor McCay Award
1219:MichaelBarrier.com
940:Michaelbarrier.com
789:Sydney Opera House
339:The Skeleton Dance
304:The Skeleton Dance
3021:Theatre organists
2963:
2962:
2758:Thanksgiving Diet
2706:
2705:
2641:Baby Looney Tunes
2515:
2514:
2205:
2204:
2142:Penelope Pussycat
1966:Sylvester the Cat
1565:
1564:
738:Felix Mendelssohn
615:shorts, and his "
234:in 1928 (but not
149:
148:
76:November 29, 1972
63:November 10, 1891
3063:
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2528:
2527:
2304:
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2127:Michigan J. Frog
2102:Hubie and Bertie
1892:
1891:
1867:Carl W. Stalling
1847:Leon Schlesinger
1732:David H. DePatie
1697:Bernard B. Brown
1592:
1585:
1578:
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1437:Oskar Fischinger
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1168:Internet Archive
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797:George Daugherty
773:George Daugherty
491:A Corny Concerto
406:Leo F. Forbstein
390:Bernard B. Brown
359:Leon Schlesinger
318:Steamboat Willie
313:Silly Symphonies
309:Silly Symphonies
298:Silly Symphonies
288:The Karnival Kid
236:Steamboat Willie
219:Steamboat Willie
187:theatre organist
132:
79:
62:
60:
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33:
23:Carl W. Stalling
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2417:Direct-to-video
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2407:Coyote vs. Acme
2373:
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2289:Censored Eleven
2201:
2187:The Three Bears
2157:Playboy Penguin
2052:Colonel Shuffle
1990:
1961:Speedy Gonzales
1931:Foghorn Leghorn
1881:
1827:Robert McKimson
1812:Michael Maltese
1702:Arthur Q. Bryan
1668:
1609:
1606:Merrie Melodies
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793:Sydney Symphony
746:
711:A Winsome Widow
689:The Lady in Red
674:
623:-derived short
583:The Lady in Red
561:electric guitar
553:Merrie Melodies
528:Merrie Melodies
468:Robert McKimson
432:
430:Composing style
413:To Itch His Own
381:Merrie Melodies
344:Jimmy MacDonald
333:Wilfred Jackson
179:
166:Merrie Melodies
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2811:Camptown Races
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1862:Norman Spencer
1859:
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1817:Frank Marsales
1814:
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1665:(1980–present)
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1499:Clyde Geronimi
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1367:Norman McLaren
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1284:Dave Fleischer
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1230:
1221:
1212:
1209:Slate Magazine
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1150:
1149:External links
1147:
1145:
1144:
1137:
1130:
1125:978-1569764121
1124:
1101:
1098:
1092:
1071:
1067:978-1621531975
1066:
1058:Allworth Press
1043:
1039:978-0520941205
1038:
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781:
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745:
742:
714:, produced by
679:and the other
673:
670:
661:Allan Neuwirth
654:Leonard Maltin
431:
428:
415:, directed by
394:Norman Spencer
386:Frank Marsales
336:production of
322:Mickey Mousing
271:Allan Neuwirth
255:music director
178:
175:
151:Musical artist
150:
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137:
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80:(aged 81)
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2911:Private Snafu
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2484:Documentaries
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2299:Feature films
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2182:Sylvester Jr.
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2137:Nasty Canasta
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2077:Goofy Gophers
2075:
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2025:
2023:
2020:
2018:
2015:
2013:
2012:Beaky Buzzard
2010:
2008:
2007:Barnyard Dawg
2005:
2003:
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1987:
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1872:Frank Tashlin
1870:
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1858:
1857:Edward Selzer
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1850:
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1825:
1823:
1822:Norman McCabe
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1742:Milt Franklyn
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1687:Bea Benaderet
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1528:
1527:Complete list
1525:
1524:
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1512:
1510:
1507:
1505:
1504:Bill Melendez
1502:
1500:
1497:
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1478:Carl Stalling
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1173:Carl Stalling
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572:Raymond Scott
568:
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559:" (1935). An
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549:Tin Pan Alley
546:
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541:Dave Franklin
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2648:Duck Dodgers
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2531:Compilations
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2307:Compilations
2239:1970–present
2032:Cecil Turtle
1986:Yosemite Sam
1919:Duck Dodgers
1866:
1852:Rod Scribner
1837:Hawley Pratt
1802:William Lava
1787:Rudolf Ising
1762:Ben Hardaway
1752:Friz Freleng
1747:Stan Freberg
1727:Arthur Davis
1717:Bob Clampett
1645:Format Films
1604:
1600:Looney Tunes
1598:
1514:Otto Messmer
1483:Hans Conried
1477:
1406:Ward Kimball
1396:Mike Maltese
1391:Rudolf Ising
1362:Faith Hubley
1336:Winsor McCay
1321:Friz Freleng
1300:Walter Lantz
1208:
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1134:Film Comment
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993:
959:
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943:. Retrieved
939:
930:
812:
801:Warner Bros.
783:
778:Warner Bros.
767:
762:Warner Bros.
758:
753:Warner Bros.
749:
731:
724:Billy Murray
709:
702:
686:
681:Looney Tunes
680:
675:
659:
652:Film critic
651:
644:
641:Looney Tunes
640:
624:
598:
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569:
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555:series was "
552:
545:Cliff Friend
535:series was "
533:Looney Tunes
532:
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522:Looney Tunes
520:
517:
513:Warner Bros.
508:Charles Ives
500:
496:
489:
483:
476:Looney Tunes
475:
464:Friz Freleng
460:Bob Clampett
453:
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425:
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379:
375:Looney Tunes
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367:Ben Hardaway
363:Warner Bros.
348:
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283:Mickey Mouse
251:his studio's
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210:Neil Strauss
202:silent films
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180:
171:Warner Bros.
164:
160:Looney Tunes
158:
154:
153:
144:Warner Bros.
131:Years active
78:(1972-11-29)
2981:1972 deaths
2976:1891 births
2937:Video games
2856:Attractions
2803:Music/songs
2467:King Tweety
2197:Witch Hazel
2147:Petunia Pig
2132:Miss Prissy
2092:Henery Hawk
2067:Egghead Jr.
2047:Clyde Bunny
2037:Charlie Dog
1951:Pepé Le Pew
1907:Development
1842:Virgil Ross
1807:Abe Levitow
1792:Chuck Jones
1767:Hugh Harman
1737:Earl Duvall
1712:Daws Butler
1707:John Burton
1653:(1967–1969)
1647:(1965–1967)
1635:(1944–1964)
1629:(1933–1944)
1623:(1930–1933)
1509:Mae Questel
1473:Dick Huemer
1427:Joe Barbera
1386:Hugh Harman
1357:John Hubley
1352:Walt Disney
1331:Art Babbitt
1326:Chuck Jones
998:Danny Peary
677:Chuck Jones
472:Chuck Jones
449:click track
441:Max Steiner
417:Chuck Jones
329:click track
263:Sound films
240:Plane Crazy
225:Plane Crazy
206:Walt Disney
198:Kansas City
83:Los Angeles
2970:Categories
2924:Animaniacs
2846:Powerhouse
2712:Television
2613:Animaniacs
2521:Television
2192:Willoughby
2082:Goopy Geer
2042:Claude Cat
1941:Lola Bunny
1926:Elmer Fudd
1914:Daffy Duck
1902:Bugs Bunny
1887:Characters
1877:Ben Washam
1832:Tom Palmer
1782:Cal Howard
1772:Ken Harris
1757:June Foray
1722:Cal Dalton
1442:Bill Scott
1422:Bill Hanna
1401:George Pal
945:10 October
828:References
744:Recordings
617:Powerhouse
576:Powerhouse
515:' studio.
275:film score
111:Composer,
102:soundtrack
98:Film score
87:California
59:1891-11-10
44:Birth name
2599:Taz-Mania
2584:Originals
2386:Space Jam
2234:1960–1969
2229:1950–1959
2224:1940–1949
2219:1929–1939
1995:Secondary
1956:Porky Pig
1797:Jack King
1692:Mel Blanc
1682:Tex Avery
1468:Ub Iwerks
1447:Milt Kahl
1432:Mel Blanc
1316:Tex Avery
1228:AHC blogs
791:with the
720:Ada Jones
629:Smetana's
609:Sylvester
504:John Zorn
456:Tex Avery
437:metronome
351:Ub Iwerks
291:in 1929.
267:Hollywood
177:Biography
135:1928–1958
2955:Category
2714:specials
2172:Sniffles
2087:Gossamer
2062:Cool Cat
1463:Jay Ward
665:sampling
279:cartoons
113:arranger
1614:Studios
1266:(1970s)
1166:at the
1157:at the
1118:, Inc.
986:Sources
621:Rossini
607:in the
585:" and "
122:Piano,
2523:series
2211:Shorts
1976:Tweety
1936:Granny
1674:People
1122:
1090:
1064:
1036:
1011:
809:Papers
803:, 2010
780:, 1990
764:, 1995
755:, 1990
613:Tweety
605:Granny
253:first
140:Labels
94:Genres
89:, U.S.
68:, U.S.
2904:Other
2152:Piggy
2027:Buddy
2022:Bosko
2017:Beans
1895:Major
1557:2020s
1552:2010s
1547:2000s
1542:1990s
1537:1980s
1532:1970s
635:" to
392:, or
2112:Inki
2072:Foxy
1603:and
1492:1979
1456:1978
1415:1977
1376:1976
1345:1975
1309:1974
1293:1973
1272:1972
1177:IMDb
1120:ISBN
1088:ISBN
1062:ISBN
1034:ISBN
1009:ISBN
947:2018
722:and
611:and
543:and
525:and
488:and
470:and
443:and
378:and
277:for
242:and
228:and
163:and
73:Died
53:Born
1226:at
1217:at
1206:at
1195:at
1184:at
1175:at
799:.)
285:in
238:).
2972::
1086:.
1082:.
1078:.
1060:,
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820:-
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2809:"
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1584:t
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1128:.
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949:.
775:)
631:"
61:)
57:(
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