Problem: Background: Mitchell William "Mitch" Miller (July 4, 1911 - July 31, 2010) was an American oboist, conductor, recording producer and recording industry executive. He was involved in almost all aspects of the industry, particularly as a conductor, and artist and repertoire (A&R) man. Miller was one of the most influential people in American popular music during the 1950s and early 1960s, both as the head of A&R at Columbia Records and as a best-selling recording artist with an NBC television series, Sing Along with Mitch. A graduate of the Eastman School of Music of the University of Rochester in the early 1930s, Miller began his musical career as an accomplished player of the oboe and English horn, making numerous highly regarded classical and popular recordings, but he is best remembered as a choral conductor on television and as a recordings executive.
Context: As a record producer, Miller gained a reputation for both innovation and gimmickry. Although he oversaw dozens of chart hits, his relentlessly cheery arrangements and his penchant for novelty material -- for example, Come On-a My House (Rosemary Clooney), "Mama Will Bark" (Frank Sinatra and Dagmar) -- has drawn criticism from some admirers of traditional pop music. Music historian Will Friedwald wrote in his book Jazz Singing (Da Capo Press, 1996) that  Miller exemplified the worst in American pop. He first aroused the ire of intelligent listeners by trying to turn -- and darn near succeeding in turning -- great artists like Sinatra, Clooney, and Tony Bennett into hacks. Miller chose the worst songs and put together the worst backings imaginable -- not with the hit-or-miss attitude that bad musicians traditionally used, but with insight, forethought, careful planning, and perverted brilliance.  At the same time, Friedwald acknowledges Miller's great influence on later popular music production:  Miller established the primacy of the producer, proving that even more than the artist, the accompaniment, or the material, it was the responsibility of the man in the recording booth whether a record flew or flopped. Miller also conceived the idea of the pop record "sound" per se: not so much an arrangement or a tune, but an aural texture (usually replete with extramusical gimmicks) that could be created in the studio and then replicated in live performance, instead of the other way around. Miller was hardly a rock 'n' roller, yet without these ideas there could never have been rock 'n' roll. "Mule Train", Miller's first major hit (for Frankie Laine) and the foundation of his career, set the pattern for virtually the entire first decade of rock. The similarities between it and, say, "Leader of the Pack", need hardly be outlined here.  While some of Columbia's performers, including Harry James, Frank Sinatra and Rosemary Clooney, resented Miller's methods, the label maintained a high hit-to-release ratio during the 1950s. Sinatra particularly blamed his temporary fall from popularity while at Columbia on Miller; the crooner felt that he was forced by Miller to record material like "Mama Will Bark" and "The Hucklebuck". Miller countered that Sinatra's contract gave him the right to refuse any song.  In the early 1950s Miller recorded with Columbia's house band as "Mitchell Miller and His Orchestra". He also recorded a string of successful albums and singles, featuring a male chorale and his own distinctive arrangements, under the name "Mitch Miller and the Gang" starting in 1950. The ensemble's hits included "The Children's Marching Song" (more commonly known as "This Old Man"), "Tzena, Tzena, Tzena", and "The Yellow Rose of Texas", which topped the U.S. Billboard chart, sold over one million copies in the United States alone, and reached #2 on the UK Singles Chart. Miller's medley of the two marches from The Bridge on the River Kwai, "The River Kwai March" and "Colonel Bogey March", lasted 29 weeks on the Billboard pop charts in 1958, longer than any other record completely within that year.  In 1957, Miller's orchestra and chorus recorded U.S. Air Force Blue, a United States Air Force recruiting song, in a format that today would be called music video. He and his orchestra also recorded children's music for the Golden Records label. A choral group called The Sandpiper Singers provided the vocals for these recordings, including an album of Mother Goose nursery rhymes.  In 1961, Miller also provided two choral tracks set to Dimitri Tiomkin's title music on the soundtrack to The Guns of Navarone. Followed by the theme of The Longest Day over the end credits in 1962 and the "Major Dundee March", the theme song to Sam Peckinpah's 1965 Major Dundee. Though the film was a box-office bomb, paradoxically the song remained popular for years. In 1987, Miller conducted the London Symphony Orchestra with pianist David Golub in a well-received recording of Gershwin's An American in Paris, Rhapsody in Blue, and Concerto in F.
Question: Did he make any other recordings?
Answer: In 1957, Miller's orchestra and chorus recorded U.S. Air Force Blue,

Problem: Background: Hickenbottom was born on July 22, 1965 in Chandler, Arizona. The last of four children - Randy, Scott, and Shari are his older siblings - he was raised in a military family and spent a brief part of his early years in Reading, Berkshire, England, but grew up in San Antonio, Texas. As a child, Hickenbottom disliked the name Michael, so his family and friends just called him Shawn. Ever since, he has been referred to as Shawn.
Context: On the December 14 Raw, Michaels won the Slammy Award for Moment of the Year for his match against The Undertaker at WrestleMania XXVI. Michaels accepted the award via satellite. Three days later, he announced a long-term deal with WWE, where he will serve in an ambassadorial role. He made his in-person TV return at the December 11 Tribute to the Troops taping, where he and Triple H had a one-night only DX reunion.  He appeared on the January 10, 2011 Raw, where he was announced as a WWE Hall of Fame class of 2011 inductee. After being ridiculed by Alberto Del Rio later that night, Michaels hit him with Sweet Chin Music. On the March 28 Raw, Michaels addressed Triple H and The Undertaker about their match at WrestleMania XXVII. Michaels was inducted into the WWE Hall of Fame on April 2 by Triple H. They were also joined by fellow Kliq members Kevin Nash (who had returned to WWE for the Royal Rumble) and Sean Waltman. He returned on the June 27 Raw, where he was confronted by CM Punk, and superkicked David Otunga and Michael McGillicutty. Later that night, when Diamond Dallas Page's special appearance was interrupted by Drew McIntyre, he superkicked McIntyre.  In June 2011, Jim Ross, Michaels and Hart announced that the three were working on a DVD chronicling the careers of Hart and Michaels that the WWE was planning to release in October 2011. The subject of the DVD would be their on-screen rivalry and real-life conflicts, with a particular focus on the Montreal screwjob. In his tweet, Hart described working on the DVD as a "cathartic" experience, and Ross asserted that both Hart and Michaels had been very honest and emotional in their interviews. The DVD, Shawn Michaels vs Bret Hart: WWE's Greatest Rivalries, was released in November 2011.
Question: Did he make a dvd?
Answer:
Jim Ross, Michaels and Hart announced that the three were working on a DVD chronicling the careers