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Richard M. Sherman, ‘Mary Poppins’ and ‘It’s a Small World’ Songwriter, Dies at 95

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Richard M. Sherman, ‘Mary Poppins’ and ‘It’s a Small World’ Songwriter, Dies at 95

Richard M. Sherman, two-time Oscar winner who collaborated with brother Robert B. Sherman on the songs for “Mary Poppins,” “Chitty Chitty Bang Bang” and the enduring Disneyland tune “It’s a Small World (After All),” died Saturday at Cedars-Sinai Medical Center in Beverly Hills due to age-related illness. He was 95. 

The Sherman brothers worked in a job that no longer exists: inhouse songwriters for a studio. In their case, the studio was Disney, and the brothers were hired for that steady gig after their 1958 song “Tall Paul” was a hit for Mouseketeer Annette Funicello.

In the early 1960s, they penned tunes for Hayley Mills in Disney films “The Parent Trap,” “In Search of the Castaways” and “Summer Magic,” as well as songs for “The Absent-Minded Professor” and “Moon Pilot”; Walt Disney, always aware of synergy, made sure his family comedies had a tune with radio-play potential. The Shermans wrote for the animated “Sword in the Stone” (1963), which was a big hit, but their career really skyrocketed the following year. Their “Small World” song debuted at the New York World’s Fair, in a boat ride past audio-animatronic puppet-children singing and spinning to the song continuously. After the World’s Fair, the attraction transferred to Disney theme parks. The song is the ultimate ear-worm: Once heard, it’s never forgotten, meaning the millions of people who have experienced the ride can sing the song at the drop of a hat.

Also in 1964, the Shermans wrote the songs for “Mary Poppins,” which was their biggest success. The brothers won Oscars on both of their nominations, for music score and for song “Chim Chim Cher-ee.” The score also includes “Supercalifragilisticexpialidocious,” “A Spoonful of Sugar” and a song that was a personal favorite of Disney, “Feed the Birds.”

The Shermans worked directly for studio topper Disney until his death in 1966. After that, they continued to provide material for the studio, including the musicals “The One and Only Genuine Original Family Band” (1967) and “Bedknobs and Broomsticks” (1971) and occasional animated films, notably the 1967 “The Jungle Book” (including “I Wanna Be Like You,” performed by Louis Prima).

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They began to alternate work for the studio with other gigs. Their first non-Disney assignment came with Albert R. Broccoli’s 1968 film “Chitty Chitty Bang Bang,” which garnered the brothers their third Academy Award nomination.

Even when they weren’t working for the Mouse House, their songs carried a Disney sensibility — bouncy and positive, without any of the cynicism so prevalent in creative works (including music) in the late 1960s and 1970s. All of the Shermans’ songs had a catchy hook, and straightforward, unfussy lyrics with an upbeat attitude. At their best, the duo came up with “Feed the Birds,” heartbreaking in its tenderness, or “Wanna Be Like You,” an infectious Dixieland-style number.

On the other hand, their “Small World” and “There’s a Great Big Beautiful Tomorrow” (written for Disneyland’s Carousel of Progress) are like commercial jingles: less than a minute long and with a sing-song simplicity that is either fun or grating, depending on your mood.

They wrote the score for a WWII-era musical, “Victory Canteen,” that ran for seven months at the Ivar Theatre in Hollywood. That evolved into the 1974 Broadway show “Over Here!” with a book by Will Holt and starring two of the Andrews Sisters, Patty and Maxene. It was nominated for five Tony Awards but is best remembered for a cast of little-known performers including John Travolta, Marilu Henner, Treat Williams and Ann Reinking.

In 1973, the Sherman brothers became the first Americans to win top prize at the Moscow Film Festival, for “Tom Sawyer,” for which they also wrote the screenplay. They also penned the song score and script for “The Slipper and the Rose” (1976), a musical retelling of Cinderella.

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The 2000 film “The Tigger Movie” featured a song score by the brothers, their first work on a Disney film in nearly 30 years.

The Shermans certainly had their share of misfires, but their best work has been long-lasting. In 2002, a legit “Chitty Chitty Bang Bang,” including six new songs by them, premiered at the London Palladium, while the Broadway production launched in 2005.

A legit “Mary Poppins” bowed in 2004 in the West End and two years later on Broadway. It featured the Shermans’ songs from the film, plus added tunes by others. P.L. Travers, author of the original “Mary Poppins,” was said to be so unhappy with the Disney film that she told legit producer Cameron Mackintosh that no Americans would be allowed to work on the stage version.

The tense Disney-Travers relationship was chronicled in the 2013 Disney film “Saving Mr. Banks,” in which Jason Schwartzman played Richard, and B.J. Novak portrayed Robert.

Robert Sherman had died in 2012, but Richard was an enthusiastic campaigner for the film during awards season, appearing at screenings and fronting a sing-along at the Beverly Hills Hotel for awards voters.

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In all, the brothers earned nine Oscars (seven of them from 1968 through 1978) plus four Grammy Award nominations (and two wins) and 23 gold and platinum albums. In 2008, they were awarded the National Medal of Arts at the White House by President George W. Bush.

In May 2009, Disney released the documentary “The Boys: The Sherman Brothers’ Story” and later that year, the company released “The Sherman Brothers Songbook,” a two-CD set covering 42 years’ worth of their songs for the studio.

Most recently, Richard Sherman made a cameo in “Once Upon a Studio,” the 2023 live-action/animated crossover short that celebrates 100 years of stories and magic at the Walt Disney Company. Iconic characters like Snow White, Peter Pan and Robin Williams’ Genie appear in a cast of 543 characters from more than 85 feature-length and short films. In “Once Upon a Studio,” Richard Sherman plays “Feed the Birds” on the piano in Walt Disney’s Burbank office.

“Richard Sherman was the embodiment of what it means to be a Disney Legend, creating along with his brother Robert the beloved classics that have become a cherished part of the soundtrack of our lives,” said Bob Iger, CEO of the Walt Disney Company. “From films like ‘Mary Poppins and ‘The Jungle Book’ to attractions like It’s a Small World, the music of the Sherman Brothers has captured the hearts of generations of audiences. We are forever grateful for the mark Richard left on the world, and we extend our deepest condolences to his family.”

Richard Sherman was born in 1928, three years after Robert. Their father was a songwriter, and the family moved around frequently but settled down in Beverly Hills in 1937. After his 1946 graduation from Beverly Hills High School, Richard Sherman went to Bard College, majoring in music.

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In 1957, Sherman married Elizabeth Gluck, with whom he had two children: Gregory and Victoria. Lynda (Sherman) Rothstein is his daughter from a previous marriage.

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Wafa Al-Udaini, Palestinian Journalist, Told Story of Gaza That Was Full of Life

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Wafa Al-Udaini, Palestinian Journalist, Told Story of Gaza That Was Full of Life

Before the answers to life’s questions fit in our pocket, you used to have to turn a dial. If you were lucky, Phil Donahue would be on, ready to guide you toward enlightenment. In a stroke of deluxe good fortune, Dr. Ruth Westheimer might have stopped by to be the enlightenment. He was the search engine. She was a trusted result.

Donahue hailed from Cleveland. The windshield glasses, increasingly snowy thatch of hair, marble eyes, occasional pair of suspenders and obvious geniality said “card catalog,” “manager of the ’79 Reds,” “Stage Manager in a Chevy Motors production of ‘Our Town.’” Dr. Ruth was Donahue’s antonym, a step stool to his straight ladder. She kept her hair in a butterscotch helmet, fancied a uniform of jacket-blouse-skirt and came to our aid, via Germany, with a voice of crinkled tissue paper. Not even eight years separated them, yet so boyish was he and so seasoned was she that he read as her grandson. (She maybe reached his armpit.) Together and apart, they were public servants, American utilities.

Donahue was a journalist. His forum was the talk show, but some new strain in which the main attraction bypassed celebrities. People — every kind of them — lined up to witness other people being human, to experience Donahue’s radical conduit of edification, identification, curiosity, shock, wonder, outrage, surprise and dispute, all visible in the show’s televisual jackpot: cutaways to us, reacting, taking it all in, nodding, gasping. When a celebrity made it to the “Donahue” stage — Bill Clinton, say, La Toya Jackson, the Judds — they were expected to be human, too, to be accountable for their own humanity. From 1967 to 1996, for more than 6,000 episodes, he permitted us to be accountable to ourselves. 

What Donahue knew was that we — women especially — were eager, desperate, to be understood, to learn and learn and learn. We call his job “host” when, really, the way he did it, running that microphone throughout the audience, racing up, down, around, sticking it here then here then over here, was closer to “switchboard operator.” It was “hot dog vendor at Madison Square Garden.” The man got his steps in. He let us do more of the questioning than he did — he would just edit, interpret, clarify. Egalitarianism ruled. Articulation, too. And anybody who needed the mic usually got it.

The show was about both what was on our mind and what had never once crossed it. Atheism. Naziism. Colorism. Childbirth. Prison. Rapists. AIDS. Chippendales, Chernobyl, Cher. Name a fetish, Phil Donahue tried to get to its bottom, sometimes by trying it himself. (Let us never forget the episode when he made his entrance in a long skirt, blouse and pussy bow for one of the show’s many cross-dressing studies.) Now’s the time to add that “Donahue” was a morning talk show. In Philadelphia, he arrived every weekday at 9 a.m., which meant that, in the summers, I could learn about compulsive shopping or shifting gender roles from the same kitchen TV set as my grandmother.

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Sex and sexuality were the show’s prime subjects. There was so much that needed confessing, correction, corroboration, an ear lent. For that, Donahue needed an expert. Many times, the expert was Dr. Ruth, a godsend who didn’t land in this country until she was in her late 20s and didn’t land on television until she was in her 50s. Ruth Westheimer arrived to us from Germany, where she started as Karola Ruth Siegel and strapped in as her life corkscrewed, as it mocked fiction. Her family most likely perished in the Auschwitz death camps after she was whisked to the safety of a Swiss children’s home, where she was expected to clean. The twists include sniper training for one of the military outfits that would become the Israel Defense Forces, maiming by cannonball on her 20th birthday, doing research at a Planned Parenthood in Harlem, single motherhood and three husbands. She earned her doctorate from Columbia University, in education, and spent her postdoc researching human sexuality. And because her timing was perfect, she emerged at the dawn of the 1980s, an affable vector of an era’s craze for gnomic sages (Zelda Rubinstein, Linda Hunt, Yoda), masterpiece branding and the nasty.

Hers was the age of Mapplethorpe and Madonna, of Prince, Skinemax and 2 Live Crew. On her radio and television shows, in a raft of books and a Playgirl column and through her promiscuous approach to talk-show appearances, she aimed to purge sex of shame, to promote sexual literacy. Her feline accent and jolly innuendo pitched, among other stuff, the Honda Prelude, Pepsi, Sling TV and Herbal Essences. (“Hey!” she offers to a young elevator passenger. “This is where we get off.”) The instructions for Dr. Ruth’s Game of Good Sex says it can be played by up to four couples; the board is vulval and includes stops at “Yeast Infection,” “Chauvinism” and “Goose Him.”

On “Donahue,” she is direct, explicit, dispelling, humorous, clear, common-sensical, serious, vivid. A professional therapist. It was Donahue who handled the comedy. On one visit in 1987, a caller needs advice about a husband who cheats because he wants to have sex more often than she does. Dr. Ruth tells Donahue that if the caller wants to keep the marriage, and her husband wants to do it all the time, “then what she should do is to masturbate him. And it’s all right for him to masturbate himself also a few times.” The audience is hear-a-pin-drop rapt or maybe just squirmy. So Donahue reaches into his parochial-school-student war chest and pulls out the joke about the teacher who tells third-grade boys, “Don’t play with yourself, or you’ll go blind.” And Donahue raises his hand like a kid at the back of the classroom and asks, “Can I do it till I need glasses?” Westheimer giggles, maybe noticing the large pair on Donahue’s face. This was that day’s cold open.

They were children of salesmen, these two; his father was in the furniture business, hers sold what people in the garment industry call notions. They inherited a salesman’s facility for people and packaging. When a “Donahue” audience member asks Westheimer whether her own husband believes she practices what she preaches, she says this is why she never brings him anywhere. “He would tell you and Phil: ‘Do not listen to her. It’s all talk,’” which cracks the audience up.

But consider what she talked about — and consider how she said it. My favorite Dr. Ruth word was “pleasure.” From a German mouth, the word conveys what it lacks with an American tongue: sensual unfurling. She vowed to speak about sex to mass audiences using the proper terminology. Damn the euphemisms. People waited as long as a year and a half for tickets to “Donahue” so they could damn them, too. But of everything Westheimer pitched, of all the terms she precisely used, pleasure was her most cogent product, a gift she believed we could give to others, a gift she swore we owed ourselves.

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I miss the talk show that Donahue reinvented. I miss the way Dr. Ruth talked about sex. It’s fitting somehow that this antidogmatic-yet-priestly Irish Catholic man would, on occasion, join forces with a carnal, lucky-to-be-alive Jew to urge the exploration of our bodies while demonstrating respect, civility, reciprocation. They believed in us, that we were all interesting, that we could be trustworthy panelists in the discourse of being alive. Trauma, triviality, tubal ligation: Let’s talk about it! Fear doesn’t seem to have occurred to them. Or if it did, it was never a deterrent. Boldly they went. — And with her encouragement, boldly we came.

Wesley Morris is a critic at large for The New York Times and a staff writer for the magazine.

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Projectile from Yemen strikes near Tel Aviv, injuring more than a dozen: officials

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Projectile from Yemen strikes near Tel Aviv, injuring more than a dozen: officials

A projectile launched into Israel from Yemen overnight into Saturday struck Tel Aviv, resulting in mild injuries to 16 people, according to Israeli officials.

Israel’s military said after sirens sounded in central Israel that the projectile landed in Tel Aviv’s southern Jaffa area following failed attempts to intercept.

“Following the sirens that sounded a short while ago in central Israel, one projectile launched from Yemen was identified and unsuccessful interception attempts were made,” the military said on Telegram.

ISRAELI AIRSTRIKES TARGET YEMEN’S HOUTHI-CONTROLLED CAPITAL OF SANAA, PORT CITY OF HODEIDA

Israeli emergency services work at the scene of a missile strike that, according to Israel’s military, was launched from Yemen and landed in Jaffa, south of Tel Aviv, Israel, December 21, 2024. (Reuters)

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Iranian-backed Houthi rebels have repeatedly launched missile attacks from Yemen against Israel since the war in Gaza began in October of last year, but the incident overnight represents a rare instance in which Israel failed to intercept.

Israel has retaliated by striking multiple targets in areas in Yemen controlled by the Houthis.

HAMAS’ GAZA DEATH TOLL QUESTIONED AS NEW REPORT SAYS ITS LED TO ‘WIDESPREAD INACCURACIES AND DISTORTION’

People gather at the scene of a missile strike

People gather at the scene of a missile strike that, according to Israel’s military, was launched from Yemen and landed in Jaffa, south of Tel Aviv, Israel, December 21, 2024. (Reuters)

“A short time ago, reports were received of a weapon falling in one of the settlements within the Tel Aviv district,” Israeli police said Saturday.

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On Thursday, the Israeli military said it intercepted a missile launched from Yemen, with shrapnel resulting in extensive damage to a school near Tel Aviv.

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Scholz confirms 5 dead at Magdeburg Christmas market attack

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Scholz confirms 5 dead at Magdeburg Christmas market attack

A 50-year-old man was arrested at the scene of the attack in Magdeburg on Friday evening, but as of Saturday, the reason behind his actions remained unclear.

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At least five people, including a toddler, have been killed and dozens injured after a car ploughed into a crowd at a busy outdoor Christmas market in Magdeburg, a city in eastern Germany.

Authorities are describing the incident as a “deliberate attack.”

German Chancellor Olaf Scholz and Federal Interior Minister Nancy Faeser are at the scene of the attack in Magdeburg. Faeser has confirmed that federal police are actively supporting the investigation into the tragedy.

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