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Richard Sherman, Songwriter of Many Spoonfuls of Sugar, Dies at 95

He and his brother, Robert, teamed up to write the songs for “Mary Poppins” and other Disney classics. They also gave the world “It’s a Small World (After All).”

A black-and-white photo of Mr. Sherman and his brother, wearing tuxedos, flanking Debbie Reynolds, an elegantly dressed woman with blond hair. Each brother holds an Oscar.
Richard M. Sherman, right, and his brother, Robert, with Debbie Reynolds at the 1965 Academy Awards, where the Shermans won twice for their music for “Mary Poppins.” The brothers also wrote the songs for “The Jungle Book” and many other Walt Disney features.Credit...Associated Press

Richard M. Sherman, the younger brother in a songwriting team that won two Oscars and two Grammys, brought Disney movies to musical life and gave the world numbers like “A Spoonful of Sugar,” “Supercalifragilisticexpialidocious” and the ubiquitous, multiply translated “It’s a Small World (After All),” died on Saturday in Beverly Hills, Calif. He was 95.

The death, in a hospital, was announced by the Walt Disney Company.

The careers of the Shermans — Richard and Robert — were inextricably linked with Walt Disney. Their Academy Awards were for “Chim Chim Cher-ee,” a chimney sweep’s alternately cheerful and plaintive anthem from “Mary Poppins” (1964), and for the film’s score. Their Grammy Awards were for “Winnie the Pooh and Tigger Too,” shared in 1975 for best recording for children, and the “Mary Poppins” score.

It’s a Small World” was written for the Disney theme-park ride of the same name. The song plays as guests in boats pass among 240 dolls of many nations with identical faces — tiny can-can and folk dancers, mermaids and mariachi bands — plus Big Ben, the Taj Mahal and grinning farm animals.

“People want to kiss us or kill us,” Richard Sherman said in a 2011 video interview about the song, which he said was “the biggest hit of the World’s Fair,” where it was introduced in 1964.

The Shermans brought a musical-theater sensibility to movie songwriting. The question was never which came first, the music or the words; what came first was the idea.

The framework of “Mary Poppins” did not exist until the Shermans got their hands on P.L. Travers’s beloved books about a magical nanny, a series of adventures in 1930s London with no discernible conflict or resolution. In the movie, the problem is the children’s behavior, brought on by a neglectful father. It also seemed like bad taste to employ live-in servants during hard economic times, so they moved the Banks family to the Edwardian era.


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