(b Trikala, Greece, April 7, 1922; d Athens, Greece, April 8, 1990). Greek composer and lyricist. He was of middle-class origin and finished high school in 1941. He became fascinated with rebetiko and the music of the refugees from Asia Minor, and he was also influenced by religious Byzantine and folk music. From 1941 until 1947 he worked as a bouzouki player in taverns and nightclubs in Trikala and especially Thessaloniki. He was lauded for his first recorded compositions, made in 1947 and including the emblematic laïko song Nychtose choris fengari (‘The Night Fell with No Moon’), which were invested with various social and political meanings as a result of the civil war. In the following years he cooperated with several important laïko creators, and had dozens of hits in the late rebetiko style with singers like Haskil, Tsaousakis, and Bellou, and in grieving or Indian style with singers like Kazantzidis, Gavalas, Angelopoulos, Menidiatis, and Lydia. From ...
(b Yambol, 30 March 1933; d Plovdiv, 12 April 2014). Bulgarian composer and music educator, famous for his work in different genres but mostly for his distinctive contribution to the field of film music. He graduated from the Bulgarian State Conservatory in 1961 under Pancho Vladigerov (composition) and Assen Dimitrov (conducting). Author of the music for over 120 cartoons and more than 40 feature films, Karadimchev also wrote songs for rock bands, marked usually by laconic yet highly attractive melodic lines. His lyrical Byala tishina (‘White Silence’), performed by Georgi Minchev and The Shturtzite, made a particular breakthrough for Bulgarian rock music on the national level by winning the first prize at The Golden Orpheus Pop Music Festival in 1967. And his close collaboration with The Tangra in the early 1980s developed ‘the melodic style of rock’ in songs such as Bogatstvo (‘Fortune’) and Nashiat grad (‘Our Town’). Some of his title songs written for movies such as the ...
(b Pittsburgh, PA, Nov 16, 1889; d New York, NY, June 2, 1961). American librettist and director. He first worked as a journalist, serving for a time as head of the drama desk at the New York Times, but resigned in order to write his own plays. His first libretto, produced in collaboration with Marc Connelly, was for Helen of Troy, New York (1923; music by B. Kalmar and H. Ruby) and established his reputation for witty and satirical writing. He then created two important shows for the Marx Brothers, The Cocoanuts (1925; I. Berlin) and, with Morrie Ryskind, Animal Crackers (1928; Kalmar and Ruby), and also collaborated with Ryskind on the libretto for the highly successful Of Thee I Sing (1931; G. Gershwin), the first musical to be awarded a Pulitzer Prize for drama, and Let ’Em Eat Cake (1933; Gershwin). Kaufman contributed both libretto and lyrics for ...
(b New York, NY, Feb 2, 1912; d New York, NY, Jan 5, 1997). American musical theater and film composer. After studying the piano as a child, Lane started to write for his school band. At age 14, he was commissioned to compose for an unproduced version of the off-Broadway revue, Greenwich Village Follies. While still in his teens, he joined the Remick Music Company as a song plugger and was encouraged by the Gershwins. He wrote songs with Howard Dietz for the revue Three’s a Crowd (1930), and one with Harold Adamson for The Third Little Show (1931). He then joined forces with Adamson to compose the score for Earl Carroll’s Vanities of 1931.
With the onset of the Great Depression, Lane moved to Hollywood and composed for films, often with Adamson. With Frank Loesser he wrote “The lady’s in love with you” (...
Paul R. Laird
[Mitchnick, Irwin ]
(b Brooklyn, NY, Jan 30, 1928). American composer, producer, and director. After earning a BA and MA from the Yale School, where he studied with paul Hindemith , he worked as a jazz musician and from 1954 wrote music for television and commercial jingles, such as “Nobody doesn’t Like Sara Lee.” In 1957 Leigh formed the company Music Makers as a focus for these efforts. He wrote incidental music for two plays, Too Good to be True (1963) and Never Live over a Pretzel Factory (1964), and then composed with the lyricist Joe Darion the score for the Broadway hit Man of La Mancha (1965). Their Tony Award-winning score includes spirited “Spanish” gestures and songs that effectively describe characters and situations. The show itself, which won a Tony Award for Best Musical, ran 2328 performances and has remained popular. Leigh also wrote the scores for ...
Anne Beetem Acker
(b Bermuda, July 10, 1957). American audio engineer, musician, and owner of Keith McMillen Instruments, based in Berkeley, California. He received his BS in acoustics from the University of Illinois, where he also studied classical guitar and composition. In 1979 he founded Zeta Music, which designed and sold electric and electronic violins and basses. In 1992 he organized a research laboratory for Gibson Guitars. He developed a computerized composition, notation, and performance system, and also helped devise ZIPI, a MIDI-like music control language. At the Center for New Music and Audio Technologies at the University of California, Berkeley, he researched audio networking, synthesizers, and string instruments. In 1996 he became director of engineering for the audio processing and distributed music networks division of Harmon Kardon. In 1999 he founded Octiv, Inc., an Internet audio signal processing company, which produced the ‘Volume Logic’ plug-in for iTunes that allows digital audio remastering to improve the sound produced by computers and MP3 players....
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....
Miriam Cutler arrives at the Outfest Opening Night Gala of "Vito" on Thursday, July 12, 2012 in Los Angeles.
(Photo by Katy Winn/Invision/AP)
(b El Palomar, Buenos Aires, Argentina, Aug 19, 1951). Argentine musician, recording producer, and film music composer. With his bands Arco Iris and Soluna, Santaolalla was one of the pioneers of Argentine “rock nacional” in the 1960s. In 1978 he moved to Los Angeles, California, where he formed the punk-influenced band Wet Picnic. In the early 1980s his interest in folk-rock fusion helped develop a unique Latin American rock and pop sound. He has produced albums for Argentine, Mexican, Colombian, and Chilean artists such as León Gieco, Divididos, Bersuit Vergarabat, Café Tacuba, Maldita Vecindad, Molotov, Julieta Venegas, Caifanes, Juanes, and Los Prisioneros. In the last decade Santaolalla has also produced classical-crossover recordings such as Kronos Quartet’s Nuevo and participated as a composer and performer for some tracks of Osvaldo Golijov’s Ayre. Santaolalla has also recorded his own solo albums: Santaolalla (1981), Gas (1995), and ...
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 ...
Sherlock, Jr. (1924). Directed by Buster Keaton Shown on screen, from left: Kathryn McGuire, Buster Keaton (as Sherlock, Jr./Projectionist).
Metro Pictures Corporation/Photofest ©Metro Pictures Corporation
W. Anthony Sheppard
(b Sacramento, CA, Nov 11, 1922; d San Dimas, CA, April 17, 2002). American Jazz and film music arranger, composer, and band leader. Shindo grew up in the Little Tokyo district of Los Angeles where he heard traditional Japanese music. In his teens, he became interested in jazz but planned to pursue a career in electrical engineering. As a second generation (Nisei) Japanese American, Shindo was interned at the Manzanar Relocation Center in March 1942. He pursued musical studies in the camp and completed correspondence courses in orchestration. Shindo left Manzanar in November 1944 when he enlisted as a translator in the Military Intelligence Service. Discharged from the Army in 1947, he formed his own big band in Los Angeles.
Shindo continued musical studies at multiple institutions in Los Angeles, studying composition at the University of Southern California with miklós Rózsa and eventually completing a Masters in Asian Studies in ...
Electronic composition machine (not a synthesizer in the current sense of the word), developed by Helmut Klein and W. Schaaf at Siemens & Halske in Munich between 1956 and 1959. It was designed for and was the chief component of the Studio für Elektronische Musik in Munich, which Siemens began planning in 1955, initially to produce the soundtrack for a one-hour publicity film; it was linked to all the other equipment in the studio. A second model was installed in 1964. The director of the studio and the composer most closely involved with the Siemens Synthesizer was Josef Anton Riedl; others who used the machine included the composers Mauricio Kagel, Bengt Hambraeus, Milko Kelemen, and Ernst Krenek, and the sound poet Ferdinand Kriwet. The studio was taken over by a foundation in 1963, and its equipment was moved to Ulm in 1967; it was later acquired by the Deutsches Museum in Munich....
Electromechanical keyboard instrument developed by Frederick M. Sammis at RCA in Hollywood about 1936 and designed for use in film studios. Each of the ten (or perhaps more) keys on the keyboard controlled a separate strip of pre-recorded film soundtrack, which was played back when the key was depressed. The soundtracks could contain recordings of music, speech, or sound effects. The mechanism of the instrument included a device that silently returned each film strip to its beginning as soon as the key was released. The principle of the ‘singing keyboard’ is the same as that found in several patents in the 1920s for instruments based on sounds pre-recorded on magnetized discs and wires, and in the Mellotron (1963), which uses magnetic tapes. About 1933 Sammis collaborated with Arnold Lesti on the Polytone.F.M. Sammis: ‘The Singing Keyboard’, Radio-Craft (1936), no.7, 588, 617 T. Rhea: ‘Electronic Perspectives: Photoelectric Acoustic-Sound Instruments’, ...
revised by Anne Beetem Acker
Sound-effects device developed by the fiction writer and radio operator Gilbert M. Wright in Los Angeles in 1939 and manufactured by Wright-Sonovox, which was affiliated with the radio station representatives Free & Peters in Chicago. A sound is transmitted to the larynx of a trained ‘articulator’ through two earphone-sized loudspeakers that are placed against the throat; the sound is modified by movements of the tongue and lips to produce speech-like articulations. The Sonovox was much used for radio drama and films, including Walt Disney’s The Reluctant Dragon (1941) and Leith Stevens’s score for the film Destination Moon (1950). The voice of Casey the Train in Walt Disney’s Dumbo (1941) was created using the Sonovox. It was very popular for radio station identifications and advertising jingles. The rock band The Who used the Sonovox on their song ‘Radio London’ (1967), in which guitar chords seem to speak the days of the week. Later it was replaced by the more versatile vocoder....
Mychael Danna, left, and Jeff Danna arrive at the Television Academy's Creative Arts Emmy Awards at Microsoft Theater on Saturday, Sept. 12, 2015, in Los Angeles.
(Photo by Vince Bucci/Invision for the Television Academy/AP Images)
Thomas Newman and Alexandre Desplat attend the 86th Oscars Nominees Luncheon, on Monday, Feb. 10, 2014 in Beverly Hills, Calif.
(Photo by John Shearer/Invision/AP)