Little Shop moved to London’s West End in 1983, and in 1986, it became a really great Frank Oz movie, with Rick Moranis as the hapless dweeb Seymour and the Four Tops’ Levi Stubbs as the voice of the plant-monster Audrey II. Little Shop Of Horrors was a sensation that ran for years and broke records to become the highest-grossing off-Broadway show ever. The two of them clearly loved ’60s pop music, and they brought a ton of that sound to their story about a carnivorous alien plant and about the hapless dweeb who feeds it blood. In 1982, Menken and Ashman co-wrote Little Shop Of Horrors, a stage version of an old Roger Corman comedy-horror flick. The team of composer Alan Menken and lyricist Howard Ashman first met up in theater workshops in the late ’70s, and they first worked together on a 1979 off-Broadway adaptation of Kurt Vonnegut’s God Bless You, Mr. A lot of factors went into that Disney boom, but one of the key catalysts for the Renaissance was Disney’s decision to recruit two rising stars from the world of New York musical theater. (Since then, it’s probably made untold billions for Disney, thanks to toys and spinoffs and stage adaptations and everything else.) Aladdin arrived early in the fabled Disney Renaissance, the string of hugely successful animated movies that started with 1989’s The Little Mermaid and lasted the better part of a decade. It was the year’s biggest box office hit, earning more than $200 million in the US and more than $500 million worldwide, eclipsing competition like Home Alone 2: Lost In New York and Batman Returns. (That’s likely to change very soon more on that later.) Disney’s sole chart-topper is “A Whole New World,” and it’s not the version of “A Whole New World” that every kid knows.ġ992’s Aladdin was a monster smash.
#A whole new world movie
But right now, as I’m writing this, only one song from a Disney movie has ever gone all the way to #1 on the Billboard Hot 100. Songs from those cartoon musicals have charted, and they’ve sometimes charted high. Those stories might be based on kids’ books or old folk tales, but Disney has essentially made it impossible to imagine experiencing those stories without the songs attached.īut considering just how vastly lucrative the Disney songbook has historically been, those Disney songs haven’t always made much noise on the pop charts. In those remakes, Disney always leaves the songs intact. In recent years, Disney has made piles of money by recycling its own movies, redoing them as CGI-heavy quasi-live-action spectacles. Every night, there’s big, spectacular fireworks display set to those Disney songs, and that spectacle draws a ton of its power from the instant dopamine-squirt that so many of us feel when something like “Part Of Your World” hits. If you’ve ever spent vast sums of money on Disney theme-park entry, you already know this. They become a part of your life before you’re able to process them as discrete pieces of art.ĭisney has built an empire on those songs and on the comforting familiarity that they trigger. They’re silly, or they’re romantic, or they’re silly and romantic. You hear these songs for the first time when you’re a small child.
Support quality journalism and subscribe to Business Standard.In The Number Ones, I’m reviewing every single #1 single in the history of the Billboard Hot 100, starting with the chart’s beginning, in 1958, and working my way up into the present.įor just about anyone who’s interacted with pop culture on any level since the ’30s, the songs from Disney animated movies resonate on some deep molecular level. Your support through more subscriptions can help us practise the journalism to which we are committed.
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#A whole new world how to
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