Some context: Korolev was born in Zhytomyr, Russian Empire. His father, Pavel Yakovlevich Korolev, was born in Mogilev to a clerk of the Imperial Russian Army and a peasant mother. His mother, Maria Nikolaevna Koroleva (Moskalenko/Bulanina), was a daughter of a wealthy merchant in the city of Nezhin with Cossack heritage. On his maternal side, in addition to Cossacks, he also had Greek and Polish ancestry.
After graduation, Korolev worked with some of the best Soviet designers at the 4th Experimental Section aircraft design bureau OPO-4 headed by Paul Aime Richard who emigrated to the USSR from France in the 1920s. He did not stand out in this group, but while so employed he also worked independently to design a glider capable of performing aerobatics. In 1930 he became interested in the possibilities of liquid-fueled rocket engines to propel airplanes while working as a lead engineer on the Tupolev TB-3 heavy bomber. Korolev earned his pilot's license in 1930 and explored the operational limits of the aircraft he piloted, wondering what was beyond his plane's altitude limit and how he could get there. Many believe this was the start of his interest in space.  Korolev married Xenia Vincentini on 6 August 1931. He had first proposed marriage to her in 1924, but she then declined so she might continue her higher education. In 1931, Korolev and space travel enthusiast Friedrich Zander participated in the creation of the Group for the Study of Reactive Motion (GIRD), one of the earliest state-sponsored centers for rocket development in the USSR. In May 1932 Korolev was appointed chief of the group; and military interest encouraged funding of group projects. GIRD developed three different propulsion systems, each more successful than the last. Their first launch of a liquid-fueled rocket was GIRD-X in 1933. (Although this is often cited as the GIRD-09, the hybrid GIRD-09 used solid gasoline and liquid oxygen.) This was just seventeen years after Colonel Ivan Platonovich Grave's first launch in 1916 (patent in 1924).  Growing military interest in this new technology caused GIRD to be merged with the Gas Dynamics Laboratory (GDL) at Leningrad in 1933 to create the Jet Propulsion Research Institute (RNII), headed up by the military engineer Ivan Kleimenov and containing a number of enthusiastic proponents of space travel, including Valentin Glushko. Korolev became the Deputy Chief of the institute, where he supervised development of cruise missiles and a manned rocket-powered glider. "Rocket Flight in Stratosphere" was published by Korolev in 1934.  On 10 April 1935, Korolev's wife gave birth to their daughter, Natalya; and they moved out of Sergei's parents' home and into their own apartment in 1936. Both Korolev and his wife had careers, and Sergei always spent long hours at his design office. By now he was chief engineer at RNII. The RNII team continued their development work on rocketry, with particular focus on the area of stability and control. They developed automated gyroscope stabilization systems that allowed stable flight along a programmed trajectory. Korolev was a charismatic leader who served primarily as an engineering project manager. He was a demanding, hard-working man, with a disciplinary style of management. Korolev personally monitored all key stages of the programs and paid meticulous attention to detail.
When did Korolev's career begin?
A: Korolev earned his pilot's license in 1930 and explored the operational limits of the aircraft he piloted,

Some context: Pitchford was born in Honolulu, where he attended Catholic schools, graduating in 1968 from Saint Louis High School. He began his performance career as an actor and a singer with the Honolulu Community Theatre (now Diamond Head Theatre), the Honolulu Symphony Orchestra and the Honolulu Theatre for Youth, among others. While studying at Yale University, Pitchford performed with numerous campus drama groups, but his focus gradually turned off-campus, where he worked with the Wooster Square Revival, an experimental theatre company that offered acting opportunities to recovering addicts and alcoholics. In 1969, Pitchford returned to Honolulu as an assistant to authors Faye Hammel and Sylvan Levey in updating the popular guidebook Hawai'i on $5 and $10 A Day, and researching Trans World Airlines' Budget Guide to Hawai'i, the first of a series of guidebooks that would eventually turn into the popular series TWA Getaway Guides.
As a result of performing his early songwriting efforts in cabarets around Manhattan, he was invited to write with such composers as Stephen Schwartz, Alan Menken and Rupert Holmes. In 1979, he collaborated with recording artist and cabaret performer Peter Allen to write new songs for Allen's one-man Broadway revue, Up In One.  With composer Michael Gore, Pitchford collaborated on three songs for Alan Parker's 1980 motion picture Fame; these were "Red Light," a disco hit for singer Linda Clifford; the symphonic/rock finale "I Sing the Body Electric;" and the title song "Fame," which became a multi-platinum, international best seller for Irene Cara. That song earned Gore and Pitchford an Oscar, a Golden Globe, and a Grammy nomination for Song of the Year (1981). They also received a Grammy nomination for Best Soundtrack Album for a Motion Picture, Television or Other Visual Media.  When Pitchford was signed by Warner Brothers Publishing (1981) he began collaborating with a variety of songwriters. Among the first songs whose lyrics he wrote in collaboration with composer Tom Snow was "Don't Call It Love," which was first recorded by Kim Carnes on her 1981 album Mistaken Identity; the selection charted in the U.S. country singles top-ten for Dolly Parton in 1985 and was named the BMI Country Song of the Year.  For the ill-fated 1981 movie The Legend of the Lone Ranger, Pitchford wrote a narrative ballad, "The Man In the Mask." This was spoken (throughout the movie) and sung (at its beginning and end) by Merle Haggard.  "You Should Hear How She Talks About You," another Snow/Pitchford composition, was a Top 5 hit for Melissa Manchester for which she won the Grammy Award for Best Female Pop Vocal Performance in 1983. That same year, Pitchford, Kenny Loggins and Steve Perry wrote and composed "Don't Fight It," a Top 20 hit that was Grammy-nominated in the Best Pop Vocal Duo category. With musical director Michael Miller, he wrote the theme song for the weekly dance-music show Solid Gold (1980-88).
did he write songs for any other movies?
A:
Red Light,