“It’s a city of voice . . . and it is a city of music, and it is a city of dance. I was one of those people that didn’t know that.” – Kenny Ortega, director and choreographer, High School Musical and High School Musical 2.

Visiting my two adorable nieces in Ohio, I have become all too aware of the cultural juggernaut that is High School Musical, the spectacularly successful film property of the Disney Channel launched in 2006. The nieces were more than happy to learn that Salt Lake City and St. George were prominent film locations for the original and the sequel which premieres Friday evening on the cable network. For example in the first film, with just one exception, all background dancers and extras were from Utah. Hence, Ortega’s warm comment about Salt Lake City.

The first film performed outstandingly well by virtually any measure. Budgeted at about $4.2 million, the film drew profits well more than $100 million. And, it would be surprising if the sequel — filmed for $7 million — does not outperform its predecessor. All told, the industry that has grown around the film is worth better than $500 million and still climbing. Certainly the Disney Channel has been blanketing its airwaves with plenty of teasers, spotlights, and promotional spots and the ABC network (also part of the Disney family) has been airing commercials for Friday’s premiere.

The soundtrack for the first album outsold anything else on the Billboard charts with 3.7 million copies and the second soundtrack – which dropped Aug. 14 and features nine new songs – should do nearly as well, at the least. The first film earned two Emmys for best children’s program and best choreography.

Its success is indisputable as television fare for young people. The original film has now aired in more than 100 countries. Every venue for the 42-city concert tour after the first film sold out almost instantly. And, a licensed stage production of the film has been contracted by more than 2,000 high schools and community theaters across the country. The stage musical recently received a mostly positive review from Charles Isherwood, a New York Times theater critic who spoke of the evolutionary path taken from Grease to High School Musical: In “High School Musical,” neither the studious Gabriella nor the jock Troy is forced to abandon a “clique” (to use the academic term); instead they assert their independence from cultural oppression (the “status quo,” as one of the key hymns has it) by declaring their allegiance both to each other and to the great god Thespis in another sphere of endeavor. They find true fulfillment and express their individuality by trying out for the school musical.”

As a PR professional and professional musician myself, I approached this phenomenon skeptically, eagerly looking for dents in the armor to deconstruct this unbelievably bouncy, redemptive, and infectious bit of pop culture. The music has those best definitive elements of pop – that spontaneous crackle and flash which dissipates quickly with no bad aftertaste. Frankly, it’s well suited for our restless members of Generation M, who can multitask like no other age demographic when its come to media. “HSM” is wholesome and remarkably so in an all-too-often-jaded contemporary cultural environment.

Disney certainly is confident. It already is planning the third installment, which is expected for theatrical release next summer.