(b New York, NY, 12 June 1928). Popular songwriter. He is known for his collaborations with his brother Robert B. Sherman (b New York, NY, 19 Dec 1925; d London, 5 March 2012). Their father was the songwriter Al Sherman. In the 1950s they wrote the hit song “You’re sixteen” for Johnny Burnette and songs for Annette Funicello, which gained them the attention of Walt Disney, for whom they subsequently wrote the songs for the film The Parent Trap (1961). From the early 1960s, as staff writers for Disney, they contributed songs to films including The Sword in the Stone (1963), which began a long-term association with the feature-length animated film. In the same year they wrote “It's a small world” for the 1964 World's Fair, a song which has subsequently become identified worldwide with Disneyland. They went on to contribute the now classic score to ...
(b Prague, 8 March 1980). Czech pop singer and actress. Her family was one of musicians (her father, Jiří Vondráček, is an actor and singer, her mother, Hana Sorrosová-Vondráčková, writes lyrics, and her aunt, Helena Vondráčková, is also a singer). Lucie was trained in music and drama at the Prague Conservatory and later obtained the doctorate in the Arts Faculty at Prague University (2006). From early childhood she appeared in films and TV serials for children; in 1992 she became a presenter of children’s programmes on TV, and in 1993 she issued her first record album. There have been more than 10 of these, and all have been enthusiastically received by her public in sales; she regularly features as one of the most popular Czech singers. As an actress, she often plays major roles in Czech films, stage plays, and musicals.
Cable TV channel launched on 1 August 1981 as a joint venture between Warner Bros and American Express. It was originally conceived as a television analog to mainstream rock radio. However, a limited supply of video clips from mainstream rock artists led the channel to include new wave artists, who had been producing videos for urban “rock discos” as well as for British television. Often these bands were particularly telegenic, displaying dramatic fashion sensibilities and sleek, modern instruments like synthesizers and electronic drums. Although mainstream artists still constituted the majority of MTV programming, the channel became strongly identified with this so-called new music, partially because it had hitherto received scant radio airplay in the United States. When such artists as the Human League, Soft Cell, and Duran Duran exploded in popularity after receiving MTV airplay, the channel pushed commercial radio into the same territory, helping to drive a mainstream New British Invasion in the United States from ...
Donald A. Henriques
(b Guanajuato, Mexico, Nov 30, 1911; d Los Angeles, CA, Dec 5, 1953). Mexican film actor and singer. Jorge Negrete was the second of five children born into an upper-class military family. In 1931 he debuted on Radio XETR singing operatic arias and romantic ballads. During this time Negrete also studied voice with José Pierson, a respected vocal coach in Mexico City. In 1936, at the request of Emilio Azcárraga, owner of Radio XEW, Negrete moved to New York City to costar on an NBC radio show entitled The Mexican Caballeros. Although his movie career began in 1937, it was the 1941 film ¡Ay, Jalisco … no te rajes! (Hey Jalisco…Don’t Give Up) that made Negrete a star. The singing charro (cowboy) role as played by Negrete displayed the character qualities of what would become the model for the singing charro of the 1940s and 1950s—a brave, God-fearing, macho figure with “right” on his side....
Animated series of educational programs. It was the brainchild of advertiser David McCall, who initially intended to produce educational songs and was convinced by animator Tom Yohe to pitch the concept as an animated television series. Yohe remained with the project, ensuring the show’s hand-drawn look stayed consistent. The first animated short, part of a series devoted to “Multiplication Rock,” was sold to ABC, and it aired as part of the studio’s Saturday morning children’s television lineup. Eventually, Schoolhouse three-minute shorts would be shown multiple times each Saturday and Sunday morning. In addition to mathematics, grammar, and American history, other topics addressed the US legislative system (the frequently parodied “I’m just a bill”) and matters of science (“Electricity, Electricity”). The music for the series relied on popular music styles to aid with learning: “Conjunction Junction” incorporates blues, “Verb: that’s what’s happening” uses funk, and “Busy Prepositions” relies primarily on the jazz idiom. The series also incorporated clever musical references to well-known pieces. Much of the music and lyrics were written by Bob Dorough, the principal singer and narrator for the series. Frequent collaborators included Lynn Ahrens and George Newall. The show aired until ...
(b Thunder Bay, ON, Nov 28, 1949). Canadian pianist, composer, musical director, actor, producer, and bandleader. He has been musical director for David Letterman’s late-night shows since 1982. Prior to working with Letterman, Shaffer was a featured performer on “Saturday Night Live.” He has served as musical director and producer for the Blues Brothers and cowrote the 1980s dance hit “It’s raining men.” He has served as musical director for the Rock and Roll Hall of Fame induction ceremony since its inception in ...
Record company. Formed in 1958 by Columbia Pictures, Colpix originally aimed to market soundtracks and spin-off recordings of Columbia’s movies and Screen Gems’ (another Columbia subsidiary) television shows. Colpix’s catalog featured scores by such illustrious film composers as Bernard Herrmann and a young John Williams, although the company’s biggest movie-derived success came in 1962 with Maurice Jarre’s Oscar-winning score for Lawrence of Arabia. On the television side, the company’s focus was split between animated characters (the Flintstones, Huckleberry Hound), comedians (George Burns, Woody Allen), and comely young actors-turned-singers (Paul Petersen, Shelley Fabares, both from The Donna Reed Show). Other notable acts included the celebrated singer Nina Simone (at Colpix from 1959 to 1964) and the Marcels (“Blue Moon”). In late 1962 Colpix began to shift more attention toward the pop market, acquiring Aldon Music and, with it, the recording label Dimension and its crop of successful Brill Building pop songwriters. Yet this new direction did not yield much commercial interest, and Colpix folded in ...
(b Detroit, MI, Sept 13, 1970). American writer, filmmaker, and cultural critic. She received undergraduate and graduate degrees in film from NYU’s Tisch School of the Arts. Her short film, I Am Ali, won Best Short Film at the Newport International Film Festival in 2002. Her 2010 documentary, Black August: A Hip-Hop Documentary Concert, grew out of her work with the Malcolm X Grassroots Movement, and integrates footage from the Black August Hip Hop Benefit Concert series and interviews with musicians, academics, and activists on political prisoners and the injustices of the prison system.
As a journalist hampton has published on hip hop and popular culture in magazines such as The Village Voice, Harper’s Bazaar, Vibe, and The Source. She was an editor for The Source in the 1990s, and a contributing writer at Vibe. She has profiled or interviewed the most successful figures in hip hop of the 1990s, including Jay-Z, Nas, Tupac, and Biggie Smalls, who after being the subject of a college documentary film assignment later became a friend and the godfather of hampton’s daughter. As familiar as she is with the most commercially successful side of commercial hip hop, hampton has also written critically and personally about the often problematic relationship between young black women and popular hip hop. She cowrote an unreleased autobiography of Sean “Jay-Z” Carter, and later collaborated with him on ...
Alison E. Arnold
The term Bollywood is used variously to refer to the mainstream Indian film industry, to Bombay (now Mumbai) Hindi cinema, to Hindi cinema from the 1990s onward, and most recently to an Indian culture industry encompassing Hindi films and related commercial products distributed via satellite and cable TV, radio, DVD and video, CD and MP3, and Internet websites. Some Indian film producers and actors consider the term pejorative, in referencing a Hollywood clone, but it gained currency when Indian popular cinema began to attract international attention. The deregulation of India’s media industries in the 1990s encouraged Bollywood filmmakers to reach out to the large overseas Indian diasporic market.
The commercial Hindi film is typically a three-hour-long melodrama mixing romance, comedy, action, intrigue, and several elaborate song and dance sequences. Since the early 1990s Bollywood films have featured elements indicative of the new global orientation, including a greater use of English words and phrases, and foreign locations employed not merely as exotic song and dance contexts but as homelands in which Indian nationals reside. Producer Yash Chopra’s ...