A note from the writer: I started writing this a little while ago, and almost had it finished in time to make the “this week” claims below true. Then the real world came by and sat on my chest for a few weeks, so I wan’t able to get it up here until now (or write anything new). Since I’d hate to let it go to waste, let’s all travel back in time and pretend that it’s still accurate.
Ah, Disney. Most people have the misconception that this is a company that makes films. That is, of course, what they want you to think, but it is not true; this is a company that licenses products, and then makes films to justify the licensing. Most people think that the licensed products are advertising for their films; in fact, their films are advertising for their licensed products. Before you just write me off as another curmudgeonly Disney-hater (a label which I am willing to accept), consider this: in 2006, Walt Disney Pictures made 19 movies. That’s all movies, not just animated ones; it includes crappy ones like The Shaggy Dog and The Santa Clause 3: The Escape Clause. (Seriously? Two Tim Allen vehicles in one year? We’re talking about 2006, not 1996, right?) And those are just the ones you’ve heard of; both of those are in the top half, box-office wise. It also includes two huge Disney movies: Cars, and the top-grossing Disney film of all time, Pirates of the Caribbean: Dead Man’s Chest. The worldwide gross box office receipts from those movies totaled almost $2.8 billion.
In that same year, Disney-licensed products totaled $23 billion in sales.

That’s like 115 million of these. That’s a lot of bunny pooh.
You might think that Disney’s crass commercialism is just a product of today’s consumer-driven society. Sorry, but you’d be wrong about that as well. Steamboat Willie, the first Mickey Mouse cartoon released, came out in 1928. Disney signed its first merchandising deal in 1929. It’s been there from the start. This company doesn’t sell licensed crap because that’s what the market wants—they invented the market for licensed crap. The market wants licensed crap because Disney sells it. And they also make some movies every now and then.
So after a run of mediocre-at-best animated features in the mid-eighties, Disney had a renaissance of sorts in the late eighties and early nineties with a string of hit animated films. One of the main things that distinguished the new popular films from the crappy older ones is that Disney reverted back to making musicals. While this added to the quality of the films themselves, it also didn’t hurt that there was the promotional tie-in of the soundtrack album. Beginning with Beauty and the Beast, in 1991, they added the extra dimension of the tie-in single: one of the songs from the film performed by pop music singers, and released to commercial radio. While “Beauty and the Beast” (the song) was a respectable hit, it wasn’t until Aladdin, their next animated film, that they would reach the top of the charts for the first and only time. This week, in 1993, the number-one song on the Billboard Hot 100 was “A Whole New World”.
By most standards, “A Whole New World” was a very successful song, even though it only held the top spot for one week. Not only was it a number-one hit, but it also won a Grammy for song of the year, an Oscar for best original song, and a Golden Globe for the same. Now, one of the subtle undercurrents here at This Week in Music History is this: what makes a number-one song a number-one song? Who deserves credit for a song being the most popular in its particular point in time? In the past, we have had stories where the credit goes to industry suits changing the song name; to the fact that another artist gave the singer/songwriter a head start; to the one-hit wonder cover band instead of the the much better known songwriter; and of course, to Alex P. Keaton. So, naturally, my inclination is (as I’m sure all of yours is, or should be) to ask, to whom should we give credit for Disney’s only number-one hit? Let’s look at the suspects:
Hey Peabo, the hi-top fade doesn’t really work with the receding hairline.
Peabo Bryson
Case for: His is the first name on the single, so you’d think that singing half the song might give him some credit. Peabo was also partially responsible for the previous top-10 Disney tie-in single as half of the duet on “Beauty and the Beast” (hereafter “BatB”), so of course they brought him back for another go-round. He’s a duet-makin’ machine, with his co-ed duet credits reaching double digits.
Case against: The other half of the “BatB” duet was Celine Dion, who has four number-one songs to her credit, whereas the highest chart spot by Peabo outside of “AWNW” is a number 10 with “If Ever You’re in My Arms Again”. So maybe Peabo doesn’t have as much of a claim to the success of the earlier single. In 2003, Celine was signing up to do shows five nights a week in Vegas; Peabo was selling his Grammy at an IRS garage sale.
Also, his name is Peabo. (Actually, his given first name is Robert; Peabo is his middle name. I’m sure that he chose to go by Peabo because that gets you beat up a lot less than, say, “Bobby”. Or something.)
Verdict: nope.
Blow dryer’s on the fritz again.
Regina Belle
Case for: She’s the other half of the duet, and that counts for something. If “BatB” couldn’t make it to number one on the strength of Peabo, maybe she was the difference that got them over the top. She did have a several top-10 hits on the Billboard Hot R&B Singles chart (some of them coming when the chart still had the unfortunate title of “Hot Black Singles” which now sounds like an adults-only ethnic hookup website), so she had some selling power.
Case against: Some of those singles that were top-10 on the R&B chart didn’t even crack the Hot 100. The highest charting single she’s had there, outside of “AWNW”, peaked at 43.
Verdict: naw.
Peagina.
The combined powers of Peabo Bryson and Regina Belle
Case for: One could make an argument that the whole is greater than the sum of its parts in this case. Perhaps it was their chemistry or the way their voices harmonized that made this song what it was.
Case against: Peabo and Regina have an earlier duet to their credit, a song called “Without You”, the love theme from the movie Leonard Part 6. Not only did the song not chart, it also is from what is widely regarded as one of the worst films of all time. Even producer/co-writer/star Bill Cosby thinks that movie sucks. Clearly the team of Peabo and Regina (or as I like to call them, Peagina) is not of the highest quality.
Verdict: Nuh-uh.
Actually, I do have this poster on my bedroom wall.
Alan Menken
Case for: Alan wrote the music to this song, and in addition to co-writing this hit for Disney, he had a hand in several others, including “BatB” and songs from The Little Mermaid, Pocahontas, et cetera. Because of that he also has a slew of Oscars and Grammys to his name.
Case against: How many people do you know who have posters of Alan Menken on their wall? Yeah, that’s what I thought. Saying Alan Menken is the reason this hit number one is like saying that Gwen Stefani’s “Rich Girl” was successful because of Jerry Bock (an 80-year-old Jewish guy from Connecticut).
Verdict: Probably not.
If I told you this man was either an English knight or a crazy hobo, which one would you guess?
Tim Rice
Case for: Tim Rice wrote the lyrics to the song, after the intial lyricist working on Aladdin, Howard Ashman, had to go and die on them. Sir Tim (he’s a knight, you know) has had plenty of success on the broadway scene, in addition to his work on The Lion King (also known as The Racist Hamlet Except with Lions and Fart Jokes); he’s also won Oscars, Grammys, Golden Globes, and Tonys. And beyond that, he’s had some success as a lyricist on the charts too; he co-wrote the number 3 hit “One Night in Bangkok” with the guys from ABBA.
Case against: He co-wrote “One Night in Bangkok” with the guys from ABBA. I mean, seriously. Have you listened to that song?
Verdict: Negatory.
Not pictured: blood-drained human corpses
The Disney Corporation
Case for: We’re getting closer here, I think. Everyone knows that the Disney brand is a powerful one when it comes to selling products. Between the recognition of the brand itself and the formidable marketing machine and promotional budget attached to it, that’s got to count for something, right? For better or for worse, you say “Disney” and people pay attention.
Case against: One small consideration keeps me from giving the credit here, and that is the fact that “AWNW” is the only Disney tie-in single that hit number one on the Hot 100. That same marketing machine and promotional budget was behind “BatB”, as well as “Can You Feel the Love Tonight”, “Colors of the Wind”, etc. And none of them hit the top spot.
Verdict: Close, but not quite.
This is not a picture of your cousin (you know the one) but it might as well be.
The Combined Buying Power of Millions of Disney-obsessed, Undersexed, Lonely Housewives and Disney-obsessed Teenage Girls Who Will One Day Become Undersexed, Lonely Housewives
Case for: Oh, come on, we all know someone like this. People make fun of Sci-Fi Nerds and Ren-Faire Geeks, but people—adult people, sometimes people without children—who have every single Disney animated film on VHS and then bought them all again on DVD get a pass? I don’t think so. Your collection of Mickeys or Tiggers or Ariels or whoever is not inherently less stupid (or obsessive) than someone’s home-made Starfleet uniform or wall of in-box Star Wars action figures or cloak and broadsword. The simple fact is that if it’s associated with the Disney corporation, people will line up to buy it.
But this song, unlike the other Disney singles, hits the sweet spot for inspiring emotionally stunted female (or possibly gay male) Disney fan(atic)s to open their wallets. “BatB” was about learning to fall in love with an ugly/angry dude (turn-off). “Colors of the Wind” was about racial and ecological sensitivity (BIG turn-off). The central thesis of “Can You Feel the Love Tonight”, as near as I can figure, is “love exists” (meh). But “AWNW” is about not only being a princess, but on top of that, having an exotic, exhilarating prince come and sweep you off your feet and take you places you never imagined you could go (“over, sideways, and under”, if you know what I mean). This is better than romance novels or soap operas. This is romance novels and soap operas by Disney.
Case against: There is none.
Verdict: You know I’m right.

I'm like a shooting star, I've come so far.
“A Whole New World” by Peabo Bryson and Regina Belle. The most popular song in America, this week in 1993.
You can check out previous weeks in music history in the music archive section.
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