Mahna Mahna
Mahna Mahna - Catchy Muppets song has Dirty little secret.How a ditty from a soft-core Italian movie became the Muppets’ catchiest tune. With guest vocalists ranging from Joanna Newsom to Mickey Rooney, the soundtrack to The Muppets reboot leaves no demographic unserved. But the song audiences are likely to be humming on the way out of the theater wasn’t composed, or even recorded, for the new film.
Jim Henson’s immortal creations have lent their distinctive voices to plenty of great songs—“Bein’ Green,” written by Henson standby Joe Raposo, or Paul Williams’ “Rainbow Connection”—but none quite have the nagging persistence of “Mahna Mahna,” which helps bring The Muppets to a rousing finish.
“Mahna Mahna” is as catchy as a song can be, like a fishing hook stuck in your tympanum. Most people know the tune from a classic sketch that aired during The Muppet Show’s 1976 premiere, in which an orange-haired hepcat unsuccessfully tries to persuade two hot-pink creatures with long, disapproving snouts to get into the “Mahna Mahna” groove. But the bit goes back further, and the song further still, originating in, of all places, an Italian soft-core movie called Sweden: Heaven and Hell.
In the tradition of the shocking, factually questionable Mondo Cane, Heaven and Hell was styled as a documentary about Scandinavian sexuality, which provided a thin veneer of respectability for its leering exploration of lesbian nightclubs and meter maids who moonlight as nude models. In the scene where “Viva la Sauna Svedese”—as the song was originally titled—makes its appearance, the camera follows a bevy of statuesque, fur-swaddled blondes as they make their way through the snow to a sauna, then cuts to the same women clad only in carelessly draped towels, giggling as they soak up the heat.
Composer Piero Umiliani’s C.V. includes the 1958 classic Big Deal on Madonna Street, but by 1968, he seems to have been more concerned with quantity than quality; Heaven and Hell was one of 11 credits for him that year; he’d had a dozen the year before that.* But he was onto something with this brief, catchy snippet, which, when released as a single under the title “Mah Nà Mah Nà,” made it to No. 55 on the U.S. charts. The nasal, kazoo-like vocals by Alessandro Alessandrini have the hallmarks of an instant novelty hit, which is to say they’re at once annoying and unforgettable.
As “Mah Nà Mah Nà” climbed the charts, the fledgling Children’s Television Workshop was struggling to settle on a format for their educational TV program, Sesame Street. CTW co-founder Joan Ganz Cooney had recently given the OK to bring in Jim Henson, whose Muppet characters had at that point been seen only in commercials and on variety programs like The Ed Sullivan Show. Henson, a bearded bohemian with no experience in children’s programming, was something of an odd choice, but that was just why Cooney wanted him.
Mahna Mahna, as the character would come to be known, made his televised debut on Nov. 27, 1969, during Sesame Street’s first season. (The YouTube clip below reads Nov. 30, but the authoritative MuppetWiki says Nov. 27.) The setup is identical to the more familiar Muppet Show version, with Mahna Mahna’s hoarse scat pitted against the dulcet “doo dee doo” of the twin Snouths (a portmanteau of “snout” and “mouth”), who shake their heads and purse their lips in disapproval when their irrepressible colleague strays from the script.
In Street Gang, Michael Davis’s history of Sesame Street, several of Henson’s colleagues describe his artistic style as “affectionate anarchy,” and it doesn’t take much in the way of exegesis to see an anti-conformist message at work here. As Mahna Mahna’s antics grow wilder, the Snouths grow more uneasy and eventually counterattack, smother him with their bodies. But Mahna Mahna eventually breaks free and runs right at the camera, making contact to the sound of shattering glass.
via: state
