Ten Best Seinfeld Musical Moments
Who could forget that time Jerry told Elaine that War and Peace was originally called "War, What is it Good For?" Absolutely no one.
Seinfeld was a show that challenged, and it enriched (your collection of "I'm really funny, no, really" quotes, if nothing else). It sometimes did that awesome thing where you're confused for a half a second before you get the joke, so you feel smarter or more sophisticated once you do -- not that there's anything wrong with not getting it immediately.
Or you cringed a bit at times, looking around for others' reactions, feeling naughty like you were making out during Schindler's List or something. Jerry, George, Elaine, and Kramer took your lame inner monologues, all those socially questionable queries you had, those masturbation pacts with your friends, and put it all out there, but funny-like.
We're exploring the finest musical moments the best show ever created (sorry Sopranos) has to offer weeks before Jerry comes to town for a two-day stint at Hard Rock Live Hollywood. Seinfeld purists, go to (Petula Clark's Down)town on us, and point out what we're missing in the comments.
1. The Midnight Cowboy Ending
Formally called the "Mom and Pop Store" episode, this is one of the most defining examples of Seinfeldian perfection. About a thousand things happen in this one episode, and most relate back to the fantastic 1969 classic Midnight Cowboy.
First, George's new '89 LeBaron supposedly was previously owned by the one time hottie and Midnight Cowboy star Jon Voight. Turns out it was John Voight that chewed the pencil in the glove compartment. But Angelina Jolie's papa actually appears in the show anyway, if only to bite Kramer's arm.
The best moment though isn't even when Elaine goes deaf from a too-loud dixieland band, it's the final scene where Jerry and Kramer ride off to New Jersey in the style of Joe Buck and Ratso Rizzo as the classic Harry Nilsson tune, "Everybody's Talkin'," plays on harmonica.
2. George Isn't Home
This is something you have to hear to believe (it or not). In an attempt to avoid getting dumped, George, sits by his answering machine screening her calls. This is what plays:
"Believe it or not, George isn't at home, please leave a message at the beep. I must be out, or I'd pick up the phone. Where could I be? Believe it or not, I'm not home."