Soundies were an early version of the music video: three-minute musical films, produced in New York City, Chicago, and Hollywood between 1940 and 1946, often including short dance sequences. The completed Soundies were generally released within a few months of their filming; the last group was released in March 1947. The films were displayed on the Panoram, a coin-operated film jukebox or machine music, in nightclubs, bars, restaurants, factory lounges, and amusement centers.

Several production companies filmed the Soundies shorts: James Roosevelt's Globe Productions (1940-41), Cinemasters (1940-41), Minoco Productions (1941-43), RCM Productions (1941-46), LOL Productions (1943), Glamourettes (1943), Filmcraft Productions (1943-46), and Alexander Productions (1946).

Soundies covered all genres of music, from classical to big-band swing, and from hillbilly novelties to patriotic songs. Jimmy Dorsey, Spike Jones, Liberace, Stan Kenton, Gale Storm, Kay Starr, Doris Day, The Hoosier Hot Shots, Harry "The Hipster" Gibson, Gene Krupa, Anita O'Day, Merle Travis, and Lawrence Welk were a few of the Soundies stars.

"The Man" is a slang phrase that may refer to the government or to some other authority in a position of power. In addition to this derogatory connotation, it may also serve as a term of respect and praise.

The phrase "the Man is keeping me down" is commonly used to describe oppression. The phrase "stick it to the Man" encourages resistance to authority, and essentially means "fight back" or "resist", either openly or via sabotage.

The earliest recorded use^{[citation needed]} of the term "the Man" in the American sense dates back to a letter written by a young Alexander Hamilton in September 1772, when he was 15. In a letter to his father James Hamilton, published in the Royal Dutch-American Gazette, he described the response of the Dutch governor of St. Croix to a hurricane that raked that island on August 31, 1772. "Our General has issued several very salutary and humane regulations and both in his publick and private measures, has shewn himself the Man." ^{[dubious – discuss]} In the Southern U.S. states, the phrase came to be applied to any man or any group in a position of authority, or to authority in the abstract. From about the 1950s the phrase was also an underworld code word for police, the warden of a prison or other law enforcement or penal authorities.

Dorothy Jean Dandridge (November 9, 1922 – September 8, 1965) was an American actress and popular singer, and was the first African-American to be nominated for an Academy Award for Best Actress. She performed as a vocalist in venues such as the Cotton Club and the Apollo Theater.

After several minor bit parts in films, Dandridge landed her first noted film role in Tarzan's Peril (starring Lex Barker), in 1951. Dandridge won her first starring role in 1953, playing a teacher in a low-budget film with a nearly all-black cast, Bright Road, released by Metro-Goldwyn-Mayer.

In 1954, she was nominated for an Academy Award for Best Actress and a BAFTA Award for Best Actress in a Leading Role for Carmen Jones, and in 1959 she was nominated for a Golden Globe Award for Best Actress in a Motion Picture Musical or Comedy for Porgy and Bess. In 1999, she was the subject of the HBO biopic Introducing Dorothy Dandridge, starring Halle Berry as Dandridge. She has been recognized on the Hollywood Walk of Fame.

Alton Glenn Miller (March 1, 1904 – missing in action December 15, 1944) was an American jazz musician (trombone), arranger, composer, and bandleader in the swing era. He was one of the best-selling recording artists from 1939 to 1943, leading one of the best known Big Bands. Miller's notable recordings include "In the Mood", "Moonlight Serenade", "Pennsylvania 6-5000", "Chattanooga Choo Choo", "A String of Pearls", "At Last", "(I've Got a Gal In) Kalamazoo", "American Patrol", "Tuxedo Junction", and "Little Brown Jug". While he was traveling to entertain U.S. troops in France during World War II, Glenn Miller disappeared in bad weather over the English Channel. The Glenn Miller Orchestra was re-formed after the war and continues to record and perform to this day.

Miller was born on a farm in Clarinda, Iowa, to Lewis Elmer Miller and Mattie Lou (née Cavender). He went to grade school in North Platte in western Nebraska. In 1915, Miller's family moved to Grant City, Missouri. Around this time, Miller had finally made enough money from milking cows to buy his first trombone and played in the town orchestra. In 1918, the Miller family moved again, this time to Fort Morgan, Colorado, where Miller went to high school. During his senior year, Miller became very interested in a new style of music called "dance band music." He was so taken with it that he formed his own band with some classmates. By the time Miller graduated from high school in 1921, he had decided he wanted to become a professional musician.

Adele Girard Marsala (June 25, 1913 – September 7, 1993 in Denver, Colorado) was a jazz harpist associated with the Dixieland and swing (genre)s. She is the first woman to bring the concert harp to prominence in jazz, with only Casper Reardon predating her. As a musician she is known by her birth name "Adele Girard", but she became "Adele Girard Marsala" on marriage to jazz clarinetist Joe Marsala.

Adele Girard's father, Leon, was a superb violinist who conducted and played in the pit band for silent movies at the Bijou Theater in Holyoke, MA. Additionally he conducted the Holyoke City Band and the Springfield Broadcast Symphony. Adele's mother, Eleisa Noel Girard was a talented pianist who had studied opera and was offered a scholarship to La Scala in Italy, though she had to turn it down because she was unable to afford the trip. She taught both her children, Adele and son Don, how to play piano. The four year old Adele accompanied her uncles as they sang First World War songs, K-K-K-Katie and Over There. "I played very simply," said Adele, "but I played all the right notes." At age fourteen, Adele was introduced to and initially taught the harp by Alice Mikus who played occasionally with Leon Girard in the Broadcast Symphony.