Russellville's Offbeat History: Scott Bradley

Scott Bradley: The Musical Genius Behind MGM's Golden Age of Cartoons

When people think of classic animated cartoons, the images of Tom and Jerry, Droopy, or Screwy Squirrel often come to mind. But behind the frantic chases, perfectly timed gags, and emotional beats was a composer whose music defined the Golden Age of animation: Scott Bradley, and he was from right here in Russellville.

Walter Scott Bradley was born on November 26, 1891, in Russellville, Arkansas. A gifted pianist, Bradley was largely self-taught in composition and orchestration. Early in his career, he performed in theaters and conducted music in Houston, Texas, gaining practical experience that would later prove invaluable in animation scoring.

In 1926, Bradley moved to Los Angeles, determined to deepen his involvement in music. Although self-trained, once in Hollywood he sought further instruction to help round out and tighten his skills, studying composition with noted composer Mario Castelnuovo-Tedesco.

By the late 1920's and early 1930's, Bradley became deeply involved in the growing animation industry. His early studio work included:

• Walt Disney Studios (1929)

• Ub Iwerks Sudeio (1930-1934)

• Hugh Harman and Rudolf Ising (1934-1938)

During this period, Bradley proved himself to be both prolific and adaptable. One of his notable achievements was the score for Cartoonia (1938), which showcased his growing confidence and ambition as a composer.

Bradley later recalled how we came to work with Harman and Ising in a 1977 interview with historians Mike Barrier and Milt Gray. When their regular composer was injured, they contacted Bradley - whom they'd never met before. Knowing the studio's limited budget, Bradley agreed to compose the score for half his usual fee, demonstrating both generosity and enthusiasm for the medium.

In 1937, Metro-Goldwyn-Mayer established its own cartoon studio, and Bradley was hired as its sole music director, a position he would hold for the entirety of the studio's existence. Over the next two decades, he scored more than 300 cartoons, including nearly all of MGM animated shorts.

His work defined characters such as:

• Tom & Jerry

• Droopy

• Barney Bear

• Screwy Squirrel

• George & Junior

The only major exception to his MGM output was the Tom and Jerry short "The Missing Mouse".

Early in his MGM career, Bradley relied heavily on popular tunes and anonymous music cues, a common practice at the time. However, by the mid-1940's, his style became increasingly original and complex. He began incorporating modernist techniques, including the twelve tone technique, a bold and unconventional choice for cartoon music.

This approach first appeared prominently in the 1944 Tom and Jerry short "Puttin' on the Dog". While some critics praised his innovation, others were less enthusiastic - one famously remarked that Bradley's music was so demanding it would "break fingers".

In his 1988 thesis A Frog, A Cat, A Mouse, A "Deranged Genius" and More: The Story of MGM Cartoons, Shawn Roney quoted Hanna's recollections of their collaboration. Hanna emphasized Bradley's flexibility, talent, and willingness to adapt his music precisely to the needs of each scene, calling him "a pleasure to work with" and "a great talent".

In 1954, MGM terminated Bradley's weekly contract but retained him as an independent contractor, paying $1,000 per cartoon score. This arrangement continued until MGM closed its animation department in 1957. Bradley retired shortly thereafter, concluding a music career that spanned approximately 45 years.

Today Bradley is widely regarded as one of the most important - and possibly the greatest - cartoon music composer of Hollywood's Golden Age. His scores did more than accompany animation; they elevated it. Many of his compositions have since been performed in concert halls, bringing his cartoon music full circle - back to the kind of live performance setting where his career began.

Scott Bradley didn't just score cartoons. He gave them a soul.