!!The film:
* BigLippedAlligatorMoment: The MinstrelShow sequence may have been [[FairForItsDay quite progressive at the time]], giving exposure to dozens of black performers who might otherwise not get work in Hollywood at all. At least, one certainly hopes so, since the whole thing, down to the Creator/MarxBrothers in {{blackface}}, is squirmingly embarrassing three quarters of a century on.
* FairForItsDay: The rather incongruous song and dance sequence in the poor black ghetto near the racetrack. Nowadays we think, "They're treating them like performing pets!" But in 1937, it was actually pretty progressive to employ dozens of black actors in a major song and dance production. They were at risk of having the film refused by movie theaters in the South.
* OneSceneWonder: Whitey's Lindy Hoppers during the MinstrelShow.
* TrappedByMountainLions:
** The second half has an extended musical interlude which starts with Allan Jones singing "Tomorrow Is Another Day," which is followed by Harpo using his flute to summon a black chorus which sings "Blow That Horn, Gabriel" and "All God's Chillun Got Rhythm." (The chorus has nothing else to do in the movie except reappear to sing the finale.) Many Creator/MarxBrothers consider this sequence as objectionable on an EthnicScrappy level; others argue that it's [[FairForItsDay not really that bad by itself]] and the choir are very good, but stops the plot dead and its earnestness clashes painfully with the Marxes' usual slapstick and wisecracks.
** There's also the water ballet sequence, which even the film historian on the DVDCommentary advises you to skip!
* ValuesDissonance: The whole sequence with the brothers pretending to be black is mighty uncomfortable today.

!!The album:

* GermansLoveDavidHasselhoff: "Teo Torriate (Let Us Cling Together)" was written to acknowledge Music/{{Queen}}'s popularity in Japan.