Semi-spoken music has long been especially popular in British entertainment, and such examples as David Croft's theme to the 1970s sitcom "Are You Being Served?" have elements indistinguishable from modern rap. In classical music, semi-spoken music was popular stylized by composer Arnold Schoenberg as Sprechstimme, and famously used in Ernst Toch's 1924 "Geographical Fugue" for spoken chorus and the final scene in Darius Milhaud's 1915 ballet "Les Choéphores". In the French chanson field, irrigated by a strong poetry tradition, such singer-songwriters as Léo Ferré or Serge Gainsbourg made their own use of spoken word over rock or symphonic music from the very beginning of the 1970s. Although these probably did not have a direct influence on rap's development in the African-American cultural sphere, they paved the way for acceptance of spoken word music in the media market, as well as providing a broader backdrop, in a range of cultural contexts distinct from that of the African American experience, upon which rapping could later be grafted. With the decline of disco in the early 1980s rap became a new form of expression. Rap arose from musical experimentation with rhyming, rhythmic speech. Rap was a departure from disco. Sherley Anne Williams refers to the development of rap as "anti-Disco" in style and means of reproduction. The early productions of Rap after Disco sought a more simplified manner of producing the tracks they were to sing over. Williams explains how Rap composers and DJ's opposed the heavily orchestrated and ritzy multi-tracks of Disco for "break beats" which were created from compiling different records from numerous genres and did not require the equipment from professional recording studios. Professional studios were not necessary therefore opening the production of rap to the youth who as Williams explains felt "locked out" because of the capital needed to produce Disco records. More directly related to the African-American community were items like schoolyard chants and taunts, clapping games, jump-rope rhymes, some with unwritten folk histories going back hundreds of years across many nationalities. Sometimes these items contain racially offensive lyrics. A related area that is not strictly folklore is rhythmical cheering and cheerleading for military and sports. In his narration between the tracks on George Russell's 1958 jazz album New York N.Y., the singer Jon Hendricks recorded something close to modern rap, since it all rhymed and was delivered in a hip, rhythm-conscious manner.