Released on = April 15, 2007, 7:13 pm

Press Release Author = Celebrity Entertainment

Industry = Media

Press Release Summary = Las Vegas Disc Jockey John Dote Drummer of Hawaii Five-0

Press Release Body = ENTER THE OFFICIAL SITE
http://www.freewebs.com/jodo777d46/

John Dote\' And Hawaii Five-0

John Dote\'

John Dote\' (born June 7, 1955 in Bronx, New York City) is a producer, engineer, song
writer and record promoter.

Hawaii Five-0 returns to television nation wide this September. Hawaii Five-O aired
from September 1968 to April 1980. (Up until recently, it was the longest
continuous-running police series in U.S. television history.) With few exceptions,
it was filmed entirely on location in Hawaii. Its fans list the authenticity and
beauty of the scenery as its number one draw; second come the actors and the
characters they portrayed.

Another attraction is the intelligent writing and intriguing plots of the series,
and its wonderful title theme (regarded by one critic as \"the greatest TV theme of
all time\") and incidental music. Its authenticity was further enhanced by the use of
many local Island residents in guest roles, which for some led to further roles in
other series.

Jack Lord played Steve McGarrett, head of an elite state police unit investigating
\"organized crime, murder, assassination attempts, foreign agents, felonies of every
type.\" James MacArthur played his second-in-command Danny (\"Danno\") Williams, with
local actors Kam Fong, Zulu, Al Harrington, and Herman Wedemeyer, among others,
playing members of the Five-O team.

The series was famous for the stellar guest actors who appeared in episodes,
including Helen Hayes, Ricardo Montalban, Leslie Nielsen, Herbert Lom, Hume Cronyn,
and many more. McGarrett\'s nemesis, the evil Wo Fat - \"a Red Chinese agent in charge
of the entire Pacific Asiatic theatre\" -was played by Khigh Diegh.

John Dote\' arranged, produced and played the drums on Hawaii Five-0 on the classic
album Hooked On Themes. The album also contained Dote\'s productions of Charlie\'s
Angel\'s, Barnaby Jones, Rockford Files, The Untouchables and Perry Masom. The album
was released on Penthouse Records in 1982 and recieved world-wide recognition.
Penthouse Records was a subsidarary of Warner Bros.

Bill Conti

Bill Conti (born April 13, 1943 in Providence, Rhode Island) is a film musical
director.

Bill Conti is a graduate of Louisiana State University.

Conti was an orchestra director by age fifteen. In 1974, he began as a film music
director. His big break into celebrity came in 1976, however, when he was hired to
compose the music for the movie that also made Sylvester Stallone famous: Rocky.
Conti was credited on the cover of the movie\'s soundtrack album. He also composed
music for the sequels Rocky II (1979), Rocky III (1982), Rocky V (1990) and Rocky
Balboa (2006).

Conti also worked for some other films and, eventually, for television series.

In 1981, he wrote the music for the James Bond film, For Your Eyes Only, when John
Barry was unwilling to return to the United Kingdom for tax reasons.

In 1982, he provided the score for playwright Jason Miller\'s film version of his
Pulitzer Prize winning play That Championship Season.

In 1983, he composed the score for HBO\'s first film, The Terry Fox Story. Bill
composed music for the film Bad Boys.

In 1984, he received an Academy Award for composing the score to 1983\'s The Right
Stuff. He also composed the score for The Karate Kid.

In 1999 he composed the score for The Thomas Crown Affair, starring Pierce Brosnan
and Rene Russo.

He also composed the themes to television\'s Dynasty, Falcon Crest and The Lifestyles
of The Rich And Famous. Conti also composed the theme song to American Gladiators,
worked with CBS on the movie jingle, and wrote PrimeTime Live for ABC News. In
addition he composed the score to the studio altered American version of Luc
Besson\'s The Big Blue.

Bill Conti has received many award nominations for his work. He received a Best Song
nomination for \"Gonna Fly Now,\" the theme for the movie Rocky. He won an Oscar for
his work on The Right Stuff.

John Williams

John Williams was born on February 8, 1932 in Long Island, New York, USA. In 1948,
he moved with his family to Los Angeles, where he attended North Hollywood High
School. He later attended the University of California, Los Angeles and Los Angeles
City College, and studied privately with composer Mario Castelnuovo-Tedesco. In
1952, Williams was drafted into the United States Air Force, where he conducted and
arranged music for the Air Force Band as part of his duties.

After his service ended in 1954, Williams returned to New York City and entered
Juilliard School, where he studied piano with Rosina Lhévinne. During this time he
also worked as a jazz pianist at New York\'s many studios and clubs. He had played
with composer Henry Mancini, and performed on the recording of the Peter Gunn theme.
He was known as \"Johnny\" Williams in the early 1960s, and served as arranger and
bandleader on a series of popular albums with singer Frankie Laine.

Williams was married to actress Barbara Ruick from 1956 until her death on March 3,
1974. They had three children together. One of those children is Joseph Williams,
former lead singer for the band Toto. He married for a second time on June 9, 1980
to his current wife, Samantha Winslow. Williams is a member of Kappa Kappa Psi, the
national honorary fraternity for college band members.[1]

[edit] Film scoring
After his studies at Juilliard, Williams returned to Los Angeles and began working
as an orchestrator in film studios. Among others, he had worked with composers Franz
Waxman, Bernard Herrmann and Alfred Newman. He was also a studio pianist, performing
in scores by composers such as Jerry Goldsmith and Elmer Bernstein. Williams began
to compose scores for television series in the late 1950s, eventually leading to
Lost in Space and The Time Tunnel.

Williams\'s first major film composition was for the B-movie Daddy-O in 1958, and his
first screen credit came two years later in Because They\'re Young. He soon gained
notice in Hollywood for his versatility in composing jazz, piano and symphonic
music. He received his first Academy Award nomination for his score to the 1967 film
Valley of the Dolls, and was nominated again in 1969 for Goodbye, Mr. Chips. He won
his first Academy Award for his adapted score to the 1971 film Fiddler on the Roof.
By the early 1970s, Williams had established himself as a composer for large-scale
disaster films, with scores for The Poseidon Adventure, Earthquake and The Towering
Inferno (the last two films, scored in 1974, borrowing musical cues from each
other).

In 1974, Williams was approached by Steven Spielberg to write the music for his
feature directoral debut, The Sugarland Express. The young director was impressed by
Williams\'s score to the 1969 film The Reivers, and was convinced the composer could
provide the sound he desired for his films. They re-teamed a year later for the
director\'s second film, Jaws. Widely considered a classic suspense piece, the
score\'s ominous two-note motif has become nearly synonymous with sharks and
approaching danger. The score earned Williams a second Academy Award, his first for
an original composition.

Shortly afterwards, Williams and Spielberg began preparing for their next feature
film, Close Encounters of the Third Kind. Unusual for a Hollywood production,
Spielberg\'s script and Williams\'s musical concepts were developed at the same time
and were closely linked. During the two-year creative collaboration, they settled on
a distinctive five-note motif that functioned both as background music and the
communication signal of the film\'s alien mothership. Close Encounters of the Third
Kind was released in 1977.

In the same period, Spielberg recommended Williams to his friend and fellow director
George Lucas, who needed a composer to score his ambitious space epic, Star Wars.
Williams produced a grand symphonic score in the fashion of Richard Strauss and
Golden Age Hollywood composers Erich Wolfgang Korngold and Max Steiner. Its main
theme is among the most widely-recognized in motion picture history, and the Force
Theme and Princess Leia\'s Theme are also well-known examples of leitmotif. The film
and its soundtrack were both immensely successful, and Williams won another Academy
Award for Best Original Score. In 1980, Williams returned to score The Empire
Strikes Back, where he famously introduces The Imperial March as the theme for Darth
Vader and the Galactic Empire. The original Star Wars trilogy concluded with the
1983 film Return of the Jedi, for which Williams\'s score provides the Emperor\'s
Theme.

Williams worked with director Richard Donner to score the 1978 film Superman. The
score\'s heroic and romantic themes, particularly the main march, the Superman
fanfare and the love theme (known as \"Can You Read My Mind\"), would appear in the
four subsequent sequel films.

For the 1981 film Raiders of the Lost Ark, Williams wrote a rousing main theme known
as The Raiders\' March to accompany the film\'s hero, Indiana Jones. He also composed
separate themes to represent the Ark of the Covenant, the character Marion and the
Nazi villains of the story. Additional themes were featured in his scores to the
sequel films Indiana Jones and the Temple of Doom and Indiana Jones and the Last
Crusade.

Williams composed an emotional and sensitive score to Spielberg\'s 1982 fantasy film
E.T. the Extra-Terrestrial. The music conveys the film\'s benign, child-like sense of
innocence, particularly with a spirited theme for the freedom of flight, and a soft
string-based theme for the friendship between characters E.T. and Elliot. The film\'s
final chase and farewell sequence marks a rare instance in film history, in which
the on-screen action is edited to conform to the composer\'s musical interpretation.
Williams was awarded a fourth Academy Award for this score.

The 1985 film The Color Purple is the only feature film directed by Steven Spielberg
for which John Williams did not serve as composer. The film\'s producer, Quincy
Jones, wanted to personally arrange and compose the music for the project. Williams
also did not score Twilight Zone: The Movie, but Spielberg had directed only one of
the four segments in that film. The film\'s music was written by another veteran
Hollywood composer, Jerry Goldsmith. The Williams-Spielberg collaboration resumed
with the director\'s 1987 film Empire of the Sun.

While skilled in a variety of twentieth-century compositional idioms, his most
familiar style may be described as a form of neoromanticism,[2] inspired by the
large-scale orchestral music of the late 19th century, especially Wagnerian music
and leitmotif, and that of Williams\'s film-composing predecessors.[3]

[edit] Conducting and performing

From 1980 to 1993, Williams succeeded the legendary Arthur Fiedler as Principal
Conductor of the Boston Pops Orchestra. His arrival as the new leader of the Pops in
the spring of 1980 allowed him to devote part of the Pops\' first PBS broadcast of
the season to presenting his new compositions for The Empire Strikes Back, in
addition to conducting many Fiedler audience favorites.

He is now the Laureate Conductor of the Pops, thus maintaining his affiliation with
its parent, the Boston Symphony Orchestra (BSO), resident of Symphony Hall in the
Massachusetts capital. Williams leads the Pops on several occasions each year,
particularly during their Holiday Pops season and typically for a week of concerts
in May. He also frequently enlists the Tanglewood Festival Chorus, official chorus
of the BSO, to provide a choral accompaniment to films (such as Saving Private
Ryan).

He is an accomplished pianist, as can be heard in various scores in which he
provides solos, as well as a handful of European classical music recordings.

Williams has written many concert pieces, including a symphony, Concerto for Horn
written for Dale Clevenger, principal hornist of the Chicago Symphony, Concerto for
Clarinet written for Michele Zukovsky (Principal Clarinetist of the Los Angeles
Philharmonic) in 1991 [2], a sinfonietta for wind ensemble, a cello concerto
premiered by Yo-Yo Ma and the Boston Symphony Orchestra at Tanglewood in 1994,
concertos for the flute and violin recorded by the London Symphony Orchestra, tuba,
and a trumpet concerto, which was premiered by the Cleveland Orchestra and their
principal trumpet Michael Sachs in September 1996. His bassoon concerto, The Five
Sacred Trees, which was premiered by the New York Philharmonic and principal bassoon
player Judith LeClair in 1995, was recorded for Sony Classical by Williams with
LeClair and the London Symphony Orchestra. In addition, Williams composed the
well-known NBC News theme \"The Mission\" (which he has occasionally performed in
concert for surprised audiences), \"Liberty Fanfare\" for the re-dedication of the
Statue of Liberty, \"We\'re Lookin\' Good!,\" for the Special Olympics in celebration of
the 1987 International Summer Games, and themes for the 1984, 1988, 1996, and 2002
Olympic games. His most recent concert work \"Seven for Luck\", for soprano and
orchestra, is a seven-piece song cycle based on the texts of former U.S. Poet
Laureate Rita Dove. \"Seven for Luck\" was given its world premiere by the Boston
Symphony under Williams with soprano Cynthia Haymon.

John Dote\' Is Rocking Las Vegas!
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