Scott Thomas Anderson December 31, 2020Updated: January 3, 2021, 5:25 pm Leon Schlesinger, the producer who created Warner Brothers’ “Looney Tunes,” meets Porky Pig in the 1940 short film “You Ought to Be in Pictures.” Photo: Cartoon Research , Cartoon Research In 1932, cinema screens were glowing with a Betty Boop cartoon called “I’ll Be Glad When You’re Dead, You Rascal You.” This animated dream of cannibalism debuted some of the first live-action footage ever of Louis Armstrong playing his trumpet, his crisp, quick solo rising to a clarion growl, his band bringing the swaggering swing that Betty starts moving her shoulders to. For a decade leading up to that moment, cartoons and jazz were each emerging as original but subversive American art forms. The two were often married on film because they shared dangerous tones and a pension for rule-breaking. With his new book “Wild Minds: The Artists and Rivalries that Inspired the Golden Age of Animation,” Reid Mitenbuler shows just how renegade the pioneers of animation were. In an era of different sensibilities, they used a nascent medium to get away with edgy gags, questionable violence and the darkest of gallows humor. “Wild Minds” is a journey into how animation became cultural insurgency. It was an aesthetic that was lost for decades to consumerism, then rediscovered — at least in spirit — with the arrival of shows like “The Simpsons,” “South Park,” “TV Funhouse” on “Saturday Night Live” and “Family Guy.”