I just wondered what would happen if you pull every stop and play all keys at the same time. It would probably be very loud, and destroy every persons ears, but it would be worth finding out :)
I know this is a 4 year old video but I have something to add that I think might be some more flute connections to Lucy 9:11 in God, That’s Good!, I recently noticed how flutes also play and Ms. Lovett mentions birds chirping right before she says “Throw the old woman out” BOTH TIMES, flutes can be heard before.
What a rabbit hole I fell down just doing research for portraying Strahd von Zarovitch in my dnd games. Bravo, very informative and is 100% going to help me.
Hearing these brief segments of "cats" gracing my ears has been the second time in my life I've heard music I strongly dislike. (That is still technically music and not the whaling of a drunkard) I sincerely hope we can contain these recordings somewhere far far away from humanity.
Yes you listened to it wrong because if you had made a Marvel rewatch marathon before going to watch it in cinemas you would have only heard the Captain America Theme because its used so often for a characters heroic entrance in the MCU but most importantly it references Cap returning with all the guys from the Prison
Billie and Finneas claim that they made a vow to never use pitch correction on their albums. (They use it on one or two songs strictly for the effect, and not because Billie’s performance needed correction.) If there is one singer who truly does not need autotune, it’s Billie. From what I have seen, and heard, I would say she is one of, if not the most consistently, naturally pitch perfect singers ever. And believe it or not, I am an old Gen X rocker dude. I record local bands, and only use autotune when absolutely necessary to fix one or two sour notes, but I use it the way it was intended: to be indistinguishable. You will never hear the autotune on one of my recordings.
it always baffles me how they didnt just fully cgi animate the movie. like having it be maybe semi realistic animation with actual cats instead of weird celebrity/animal nightmares
This "film" and its underlying storytelling are wildly shallow; it is no surprise that the music follows suit. I have no interest whatsoever in the sequels.
The only thing I'd disagree with is the suggestion that all the cats are seeking death or are hoping to be chosen by Deuteronomy. I'm sure that's only for old cats who are at the end of one of their 9 lives.
Agreed. Nowhere is it ever confirmed that the Heavyside Layer is where they go to die. Coming back to a “different life” doesn’t have to be interpreted as literal reincarnation.
My voice teacher, back when she was in college, she would go to class, and do a plank every day to improve her core strength so she could sing better, and now it's part of my singing homework to do planks as well.
ugh, so much of what's great about this show is because of Sondheim. The OBC recording with Angela Lansbury is always going to be way superior to the Tim Burton version.
I'll hit you with this one for Anne Hathaway's "He took my childhood in his stride," line - it sounds ANGRY, dude, and personally, I approve of the choice. I respect your musical theatre knowledge - you've clearly been there - but no, in this case, she reduces me to melted butter every time I watch her perform that number, slimy throat or no slimy throat. Critics of this film, though absolutley correct in many or even most cases, have to remember that this is not simply a classic musical, but a modern one made into a film, and I will bet it was reeeeeeaaaally difficult to pull off. Oh, also, those "gasps" you mentioned, they're sobs, man. Come on. And I mean, yeah, the example of "Come to me" sung onstage is sung by someone who does not look at all as if she is dying. Good Lord, dude. Okay, look, last word. Then I'll let the defence rest. I myself am a musical theatre guy, though honestly, I'm not a singer primarily at all. No, I live in the pits among all the strings. I have performed a few numbers vocally in a few cheesy revivals. I am not an authority, but Goddamn, to I love an emotionally rousing film, and one set against an historical event as important to the current world as it is as the French Revolution? SOLD! To the man in the pits for a song. You vocalists do have every right to moan about this film. It's art and therefore, subjective to the tastes of those who partake of it. But perhaps, just perhaps if one spends less time picking apart all the problems that exist on film that don't on stage, one might enjoy the film a little more.
I understand what you are saying, but you also have to realize that this is an adaptation of a musical where the music is not properly performed. In a movie, it would be expected that the actress playing Fantine appears physically and emotionally broken, providing a heart-piercing monologue about her current situation in some way. But here, it is a song providing the emotional impact of the scene, which it fails to do from a musical perspective considering how choppy the singing is. Sideways is not saying this is a back film A FILM but as A MUSICAL ADAPTATION because it fails to tell the musical story with the constant half-spoken-half-sung singing. We as the audience focus on the actors and actress on screen doing a wonderful performance as these characters while the music is pushed in the back of our minds. The music isn't just for setting the atmosphere of the scence, the music is HALF THE STORY! Animated Disney movies have characters singing to convey joy, sadness, and other emotions with appropriate music all the time, and it is those songs that people think of first when thinking of those stories. Why have songs if you don't have them performed properly? You don't read a book with numerous grammatical errors because you can't really understand what is happening.
20:32 I guess you could argue that they’ve taken the theme back to its original meaning, being simply an imperial theme. I’ve always kinda looked at it that way as it’s used a decent number if times in empire without Vader being present
12:07 idk, like was teaching him the potential of the force, and this is Luke taking the lessons from his master and accomplishing what Yoda did all those years ago. In this instance it works for me
4:16 I think this is actually a really solid parallel. While she may physical be in the same place doing the same things, mentally she’s grown and has found where she belongs, contrasting her first scenes where she longed for a place to belong
2:27 I disagree. So much of TROS is simply retcons and course correction, but in this instance this isn’t that. Luke becomes the Jedi master he always was by the end of The Last Jedi when he walks out with his laser sword and faces down the entire first order. His scenes in TROS are consistent with the lesson he learned in TLJ, even if some of the lines seem like they’re beating you over the head with how wrong Luke was
0:35 so at first when I saw this scene I rolled by eyes, I thought Maz giving Chewie a random medal because we never saw him get one in A New Hope was beyond stupid. Until I realized I missed something. It’s Han’s medal. Leia holds the medal as she dies, and once her body disappears, Maz gives the medal to Chewie. I think after both Han and Leia had passed, Chewie would deserve to hang on to his best pals medal
I agree with you wholeheartedly about the new songs in each movie. Two things bother me about them and they're pretty much what you mentioned: they don't serve any purpose within the story and the studio goes to the trouble of writing new songs when they've got songs in the stage musicals that people know and love. When they made the live-action Beauty and the Beast, my first question was, "are they adapting the animated movie or the Broadway show?" because if it was the Broadway show, they'd need to hire someone with impressive vocal chops to play Belle and the Beast (and I was one of many people who wanted Ramin Karimloo to play the Beast for that reason). If they wanted to give any of the characters songs, they had a range to choose from: "Human Again" for the servants in the castle (which Ashman and Menken wrote for the animated movie, but ended up cutting it), "Home" and "Change in Me" for Belle, and "If I Can't Love Her" for the Beast. With "Human Again," we get this joyous, hopeful number as the servants watch Belle and the Beast begin to fall in love - this comes right after "Something There" - and it lifts the tone of the musical and shows them beginning to get to know each other. Belle picks out a book and reads to the Beast and they bond over the story and shared experiences, whereas in the live-action movie, she just sticks her nose in a book and ignores him. The movie equivalent of that song, "Days in the Sun," is more downtrodden, somber, the servants aren't sure if the curse will broken, and Belle grapples with what she's feeling. You never see really that she changes her mind about him until the end of the film, whereas we see it gradually on animated screen and onstage. We could've seen that with "A Change in Me," which is when Belle realizes what she feels for the Beast, but the way they changed the story towards the end, they couldn't have fit it in there. Belle sings it after she rescues her father from the woods and brings him home to nurse him back to health. In this movie, Maurice returns to the town after Gaston abandons him, then Gaston turns the town against him, which forces Belle to ride in and rescue him. By omitting that, we lose a chance of seeing that moment where Belle realizes she's in love, but on the other hand, we'd then be comparing Emma Watson to Broadway powerhouses like Susan Egan and Ashley Brown, and that's even more unfair to her than comparing her to Paige O'Hara. (Not to mention that that song usually brings fellow cast members and the audience to tears, so auto-turning the emotion out of that one would almost be a crime.) "Evermore"....I was really looking forward to hearing that in the movie. About a week before I saw the movie, Disney released the recording of Josh Groban singing "Evermore" on RU-vid and I must've listened to it 50 times in that one week. (Also, may I just say: good lord, that man is aging like a fine bottle of wine. Going back to your comments about vocal preparation and care being similar to athletic training, you can see it in how well Groban has taken care of his voice for 20 years, including two vocally demanding roles on Broadway.) Okay, back to the point. I get to the movie and it's underwhelming, partly because Dan Stevens doesn't nearly have Groban's vocal chops, but also because it seemed like they stuck that song in for no reason. As a song standing by itself, it's excellent, especially with Groban singing it, but what purpose does it serve in the story? The Beast expresses his love for Belle, his regret in his choices, and how she'll always be with him even after he lets her go? Yes, that's all stuff he needed to say, but he needed to say it about 30-45 minutes prior to that. In the stage show, he actually does say it 45 minutes prior to that. "If I Can't Love Her" is a difficult song in the musical for a few reasons. First is its placement in the show. When I saw the touring production, you wanna take a guess as to what song got the first standing ovation of the night? If you said "Be Our Guest," you're correct. It brings the house down every time (and it should, the dancing is FANTASTIC!!!!). They easily could've ended Act 1 on a literal high note with that song, but they don't. They end it five minutes later with "If I Can't Love Her." So, it's in a difficult spot already, because it follows one of the most beloved songs in the Disney canon, but also because it takes you from this fun, loud party track to this to this song full of despair and hopelessness as the Beast realizes he's just thrown away his chance to love and be loved. He knows that he's going to die alone and as a Beast unless he changes, then the track ends with "let the world be done with me!" meaning he's already on the verge of giving up, which explains why he gives up so easily after Belle does leave. He's already expressed that she's his reason for living. With "Evermore," we get this track about how he's just now realizing he's in love with her when they haven't grown together organically like they have in the animated movie and stage show. It doesn't work! It works a lot better in the 30th Anniversary special on Disney+ with Groban singing, but they take the time to build the relationship in that too. With "Aladdin," they had no choice but to write something new for Jasmine. She only has one solo in the stage show and it comes really early. It's not even a solo come to that. She gets a song called "Beyond these Palace Walls," which is about her desire to get out of the palace and see the world, and she sings it with her three handmaidens (one for each of Aladdin's best buddies, who replace Abu in the show and they get a really fun song with "High Adventure"). She then leaves, meets Aladdin in the marketplace, and they plan to run away together that night and leave Agrabah forever....then the guards find them. She has this song with her ladies and two duets with Aladdin, and beyond that, she doesn't get a whole lot of singing time. She has no song that is just hers and hers alone. In fact, she's on stage even less of the time in the show than she is in the animated movie. (Fun fact: Part of the criteria for being included in the Disney Princess line up is that the princess has to be the star of her movie and that almost kept Jasmine off the list, since she isn't the star. She got just enough screen time that they decided they could swing it.) So, with the changes they made to Jasmine's character, they couldn't use that song. For one thing, she's not running away in the live-action movie. She's getting out and seeing Agrabah, seeing how the people live because she wants to be Sultan, meaning she needs to know her people. Now, I like this change in her character and I like that they seemed determined not to sideline her as the animated and stage counterparts did. But, "Speechless"...again, standing by itself, it's a great song, and I like watching the video that's just Naomi Scott singing it in the studio with clips of the movie showing on top, but when placed within the context of the movie, it feels contrived. Part of that is because the style doesn't fit with the rest of the music in that movie. I don't know what they might've replaced it with though. With The Lion King, okay, it's been years since I've seen the stage musical, so I don't remember what changes they made with the music, but there is one song I listen to quite a bit, and that's Nala's Act II solo of "Shadowland," which explains her reason for leaving the Pride Lands. Rafiki and the lionesses give her their blessing and she sets off on her journey. If they only had to pick one song from the stage musical to put in the movie, it should've been that one. It's an incredible song. If you haven't heard it already, go listen to either Heather Headley (Nala's original Broadway actress) or Merle Dandridge (Disney Broadway Hits at the Royal Albert Hall - it's on Disney+) sing it. Okay...pause a moment...did you listen to it? Good, then let's press on. Show of hands, how many of us would've LOVED to hear Beyonce sing that? I sure as heck would've. She would've sounded amazing! Instead, we get "Spirit," which is a good song, but would've sounded a lot better if she sang it over the credits. That way, it wouldn't sound like it had been shoe-horned in like the rest of the original songs do. Because that's the biggest problem, these songs are shoe-horned in and they don't serve the plot. The only one that really does is "Speechless," and it feels so cheesy that it doesn't deliver quite the plot punch that it should. This is why the Disney execs should have adapted the stage musicals rather than the animated movies; they make more sense musically and they have songs that audiences love. Not to mention, we might've gotten Samantha Barks as Belle, which would've been amazing! Thank you to everyone who read this far!
And now I know why my music tastes are so varied. I have ADHD and music has been my go to for as long as I can remember whenever I needed to focus. Even more so I've had those moments where nothing is really real. Everything in your head connects at a conceptual level and it is remarkably beautiful. I noticed that playlists are wrong because something or other will take out a song or two and I am expecting to hear the old pattern
