This year Disney and Pixar have been on a roll, revisiting classics and asking their original composers to return with new music, or refreshed versions of their award-winning music from the past. Music is so critical to our appreciation of these fantastic worlds, and in each case Variety asked me to interview the Oscar-winning musical architects. First, Alan Menken talked about revisiting the songs and score of Aladdin for the live-action remake, and Benj Pasek and Justin Paul discussed writing new lyrics for it. Then Randy Newman discussed returning to the world of Woody & Buzz for the wildly popular Toy Story 4. And finally Hans Zimmer talked at length about returning to the African setting of The Lion King, now redone in an incredibly realistic computer-imagery version, and how diversity in music-making fueled his decisions.
I couldn’t let the 100th anniversary of the birth of Earle Hagen — one of the most important and most successful composers in TV history — pass without a look back at his massive impact on the medium. For this Variety story, I revisited the interviews I did when the Andy Griffith Show and Dick Van Dyke Show composer was posthumously inducted into the Television Academy Hall of Fame in 2011. Van Dyke, Marlo Thomas from That Girl, and Stacy Keach from Mickey Spillane’s Mike Hammer, all talked about Hagen’s role in setting the time, place and mood of each show. Hagen’s own words; those of fellow Emmy-winning composers Mike Post and protege Bruce Babcock; and YouTube clips of his classic themes, including I Spy and The Mod Squad, are also included.
I knew him as the composer of the themes for The Patty Duke Show and The Trials of O’Brien back in the 1960s — and as the creator of the “Come Alive!” Pepsi Generation jingle sung so memorably by Joanie Sommers in that same era. But Sid Ramin, who died July 1 at the age of 100, was much more than that: He won the Oscar, and a Grammy, for adapting Leonard Bernstein’s music for the West Side Story movie (which he and Irwin Kostal had originally orchestrated for the Broadway show in 1957). He was a triple threat composer, arranger and conductor, and one of the nicest men in music. I wrote this obituary for Variety.