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Post by veu on May 13, 2023 7:50:15 GMT -5
Source: www.slashfilm.com/1282586/how-the-little-mermaid-creative-team-chose-where-to-add-new-songs/How The Little Mermaid Creative Team Chose Where To Add New Songs
Disney
BY RYAN SCOTT/MAY 10, 2023 4:44 PM EST
This piece contains minor plot details for "The Little Mermaid," which will be familiar to anyone who has seen the original movie. But here's a warning about it nonetheless!
1989's "The Little Mermaid" is truly one of the defining animated films in Disney's long, storied history. It's a classic that resonates to this day, which is why it's getting a live-action remake from director Rob Marshall later this month. A big part of what helps make the original such an enduring classic is the music. The remake does have some new songs in it, and our new, modern Prince Eric even gets to sing one. As for how the filmmakers chose where and when to add those new songs? It all came down to character.
/Film's own Jenna Busch recently attended a press conference with the filmmakers behind the live-action "The Little Mermaid." In discussing the new songs, returning composer Alan Menken described it as a "group process" between himself, Marshall, writers David Magee and John DeLuca, and producer/songwriter Lin-Manuel Miranda. Speaking specifically about Eric's song, Menken had the following to say:
"We went through how the story's being adapted by David, and how the structure is, and where are the potential spots. So it's simply as simple as that. And those decisions are made, first of all, by character, by moment, but also by the sequence of a score and what's needed at a certain moment. So, we chose the moment when Prince Eric, he's been told, 'Don't go back out there, you can't,' and he just thinks about this girl. It's a love song to her and it's a love song to the sea. And to his unchartered water, so his life ahead of him. It ends up being a really important theme throughout the movie."
It's not just Eric who gets to take the musical spotlight this time around. Halle Baily's Ariel also gets more than "Part of Your World" in the remake.
Adding to an absolute classic
Disney
Collaboration was key in all of this. Creating new songs that can live alongside songs as iconic as "Kiss the Girl" is no easy task. Speaking a bit further about how they approached giving Ariel another song in the film, DeLuca has this to say:
"It's surprising when you think about it, in the animated film, Ariel had one song. A series of reprises, but one song. The great thing about working with Alan is that he's so open to looking at this ... He knew this was a different genre, we're doing a live-action film. How are we going to approach this? We said, 'Can we find another place for Ariel?'"
Getting around Ariel not technically being able to sing after she arrives on land was another challenge, but that's certainly part of where movie magic comes into play. After all, we are dealing with a movie about a mermaid and talking fish. Certainly, there's a way to get a mute girl to sing a bit more. DeLuca further elaborated:
"The challenging thing was that, of course, she had lost her voice. But we realized, obviously in film, you can create something where you're hearing the internal thoughts through music, through song. That was sort of the key for us to find this piece for her. Also, it accomplished a lot for us too, because it's a montage of all her time on land until she meets the Prince for the first time. So, it helped us in so many ways. It was wonderful to have that collaboration."
"The Little Mermaid" splashes into theaters on May 26, 2023.
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Post by veu on May 24, 2023 12:14:46 GMT -5
Source: www.digitalspy.com/movies/a43940246/little-mermaid-javier-bardem-triton-cut-song/Movies The Little Mermaid
Little Mermaid's Javier Bardem teases Triton's cut song
"It's kind of rock and roll style." By Iona RowanPublished: 23 May 2023 preview for Melissa McCarthy, Javier Bardem, Daveed Diggs & Jacob Tremblay | The Little Mermaid
The Little Mermaid fans can expect to hear three brand-new songs when Disney's live-action remake hits cinemas this weekend — but there were originally four.
Javier Bardem's character King Triton was meant to have a solo song of his own. Despite filming and recording it, the song was eventually cut from the movie.
Speaking exclusively to Digital Spy about the musical number, which is called 'Impossible Child', Bardem revealed: "It's a little song from Alan Menken and Lin-Manuel Miranda and it’s a beautiful song. It’s kind of rock and roll style."
Disney
Discussing the decision to cut the song, he continued: "It’s true that it would have given away a little bit of the emotional journey that has to happen at the end of the story if the song was placed in the moment in the movie where it was supposed to be placed."
As disappointing as this may be to fans, Bardem added that 'Impossible Child' will be on the extras when the film comes out on Disney+.
The new songs aren't the only difference in this retelling of the classic tale. In this version, King Triton and Ursula are actually siblings.
Juan Naharro Gimenez//Getty Images
Sharing his thoughts on this change, Bardem told us: "I think it’s a family with some problems for sure, but I think it makes sense and it helped us to create this bond about love and hate and contradiction because it’s your own fishy blood.
"But at the same time it’s someone who you have to oppose, because it’s bringing you to the side that you don’t want to be part of."
Disney
Melissa McCarthy, who plays Ursula, also weighed in and said that it was an "incredible" addition to the film.
"I thought, at least for Ursula, instead of just being good versus evil, it’s now you have your family that has shunned you, the people who should love you most have pushed you away and isolated you," she added.
The Little Mermaid live-action movie opens on May 26 in the UK and the US. The animated movie is streaming on Disney+.
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Post by veu on May 26, 2023 16:13:35 GMT -5
King Triton's cut Song " Impossible Child":
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Post by veu on May 29, 2023 10:50:50 GMT -5
Source: www.nytimes.com/2023/05/29/movies/alan-menken-little-mermaid.htmlAlan Menken on ‘The Little Mermaid’ and the Mixed Blessing of Disney Fame The composer talked revisiting “The Little Mermaid” after nearly 35 years and the similarities between working with Howard Ashman and Lin-Manuel Miranda.
A smiling man wears an elaborately patterned gold-and-black jacket over a black shirt. When it comes to revisiting work, Alan Menken said, “These are my babies — I don’t want to walk away from them.”Credit...Jordan Strauss/Invision, via Associated Press
By Sarah Bahr
May 29, 2023, 5:01 a.m. ET
Alan Menken composed the musical versions of “Little Shop of Horrors” and “A Bronx Tale,” but he is at peace with being known as a Disney composer.
Mostly.
“One of the areas where it got to me — you go to the Alan Menken Pandora station, and it’s all these little Disney tunes, and I go, ‘What is that?’” Menken said. Listeners could probably answer him: after all, he’s best known for the scores for beloved Disney animated films like “Aladdin,” “Beauty and the Beast” and of course “The Little Mermaid.”
Menken was speaking by video on a recent morning from his sunlit studio at his home in North Salem, N.Y. At 73, he is an EGOT winner with eight Oscars, 11 Grammys, an Emmy and a Tony prominently displayed in a glass case behind him. It was a few weeks before the release of the live-action remake of “The Little Mermaid” and as with Disney’s other live-action and stage adaptations of the classic animated films he scored with the lyricist Howard Ashman, he collaborated with a new partner — in this case the “Hamilton” creator Lin-Manuel Miranda — to add a few more numbers to his original Oscar-winning tunes.
In some ways, Menken said, working with Miranda reminded him of his decade-long partnership with Ashman, who died from AIDS in 1991 at age 40.
“Sometimes your collaborator goes, ‘Oh, that’s the problem, because this is doing this and it’s overstepping emotionally here,’” Menken said. “It’s something that Howard had. I have those same moments with Lin where I go, ‘He knows.’”
(The remake also includes a few adjustments to old songs. A verse in “Poor Unfortunate Souls” urging Ariel to keep quiet was dropped and a line in “Kiss the Girl” suggesting Prince Eric kiss her without asking was changed. Menken has said elsewhere that the filmmakers wanted to avoid suggesting both that the prince “would, in any way, force himself” on Ariel and that young girls might feel they shouldn’t use their voices.)
In a recent interview, Menken discussed what it was like to revisit a score he wrote nearly 35 years ago, his experience working with Miranda on new songs and how he learned to embrace being known as a Disney composer. These are edited excerpts from our conversation.
You have approximately 10 million projects in development, among them “Animal Farm,” “Hercules,” “Nancy Drew” and “Night at the Museum” stage musicals; the live-action adaptation of “The Hunchback of Notre Dame”; and a new animated musical film, “Spellbound.” Do you just have a spreadsheet?
Yeah, kind of. [Laughs] After a while, you feel like a workaholic.
Do you enjoy revisiting your older work, or do you do so more out of a sense of protectiveness?
A little of both. These are my babies — I don’t want to walk away from them. Sometimes I’ll think, “What more do we have to say in the telling of this story?” And then it will be incumbent upon me to get to know the director, the book writer, and talk to them about the things they want to add. That’s where it becomes fun for me.
What was it like working with Lin-Manuel Miranda on new songs for “The Little Mermaid”?
It was a lot of fun — I knew about him because he went to the [Hunter College Elementary School] with my niece, and I would always hear about this little boy, Lin-Manuel Miranda, and how he was obsessed with “The Little Mermaid.”
Of the three songs we did together, one is more in my and Howard’s wheelhouse, “Wild Uncharted Waters.” It’s a ballad sung by Prince Eric, and it’s the roiling inside him — it’s very emotional. “For the First Time,” which Ariel sings when she gets legs about all the things she’s noticing for the first time, is a real combination of our styles. I had given Lin a fragment from the score from the original animated movie, and he said, “Wait, can we put a 2 against the 3?” [referring to the tempo], and so it got that real rhythmic rub to it. And the one that was much more in Lin’s wheelhouse was “The Scuttlebutt,” which is sung by Scuttle and Sebastian [played by Awkwafina and Daveed Diggs]. I gave him a little Caribbean tune thinking he would lyricize that, and in fact, he rapped over it! It was just one of those moments where you sense somebody’s brilliance.
In 1997, David Horn, now the executive producer of PBS’s “Great Performances” series, told The New York Times, “When there’s a Sondheim musical, everyone refers to it as a Sondheim musical. When it’s something Alan has done, they refer to it as a Disney musical.” Do you still mind your shows being known as Disney musicals?
I sometimes would have a little resistance to simply being characterized as “Disney composer Alan Menken” because I already had a huge hit with “Little Shop of Horrors” before I went to Disney. And while I was at Disney, I wrote so many other outside projects — the “Christmas Carol” that was at Madison Square Garden for [nearly] 10 years with Lynn Ahrens, [stage shows] “Sister Act,” “A Bronx Tale,” “Leap of Faith,” [the series] “Galavant” — but there is no musical opportunity that is at the level of writing a musical for Disney. If you do your work right, you will have an experience that nothing else can match.
What’s your favorite musical of all time?
I remember when I saw the original “Chorus Line” — Blew. My. Mind. It pulled back the curtain in terms of the back story of people who work in theater, especially dancers and the ensemble. It was so powerful, and that was the stagecraft as much as anything else. Michael Bennett [the show’s creator] was such a genius.
What dream project is still on your bucket list?
Howard, before he died, wanted to do a musical based on a Damon Runyon story — [adapted for a] movie called “The Big Street” — and I took a number of cracks at writing it. The problem is, it has an unlikable central character. It’s challenging, and I still want to do it — maybe it should be an opera. I wrote, I think, a brilliant musical with David Spencer, “The Apprenticeship of Duddy Kravitz” [previously a novel and a movie]. But it’s very hard to get that musical on — it’s thorny and challenging, but I don’t shy away from those. I just have to go with what happens.
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Post by veu on Jun 21, 2023 16:30:49 GMT -5
Billboard names “For the First Time” by Halle Bailey (from The Little Mermaid) as one of the best songs of 2023 so far. Source: www.billboard.com/lists/best-songs-2023-so-far/POP The 50 Best Songs of 2023 So Far: Staff Picks Our staff picks the 50 best songs of 2023 so far -- the breakthroughs, the comebacks and the total surprises.
By Rania Aniftos, Katie Atkinson, Eric Renner Brown, Leila Cobo, Stephen Daw, Kyle Denis, Ingrid Fajardo, Josh Glicksman, Paul Grein, Lyndsey Havens, Rylee Johnston, Tetris Kelly, Cydney Lee, Elias Leight, Jason Lipshutz, Heran Mamo, Rebecca Milzoff, Taylor Mims, Gail Mitchell, Melinda Newman, Jessica Roiz, Dan Rys, Andrew Unterberger 06/21/2023
It’s a little funny to do a midyear songs list in 2023. More than perhaps any time previously, this year has forced us to ask: What does it even mean for a song to be from “this year”? The Billboard charts are more confusing than ever on those grounds: With 2023 Hot 100 hits from Lady Gaga, Miguel and Tyler, the Creator all originally released in the 2010s, and a No. 1 from The Weeknd coming via a new remix of a 2016 deep cut, old is new again on top 40, and there’s never been less of a dividing line between catalog and current. When even Taylor Swift has to deviate from her planned Midnights promotional cycle to push a song from four albums ago, clearly anarchy reigns on the contemporary pop timeline.
Still, even with the past now in constant competition with the present, 2023 has managed to give us an impressive bounty of genuinely new jams — songs actually making their debut, or poking their head onto the charts for the first time — to keep us from totally drowning in reruns. Rising stars have leveled up with their biggest crossover moments to date, fresh sounds and scenes have made their presence felt on a global scale, and unexpected collaborators have helped push one another to greater chart success. And of course, some of those most-familiar names are back with brand new songs as well as older ones, proving they can still go viral without TikTokers even needing to go digging into their back catalog.
Here are the Billboard staff’s 50 favorite songs of the year so far — still keeping to songs that either were released or first really impacted the charts, though realizing that our definitions are going to have to continue to shift with the times. Pop music is a strange and unpredictable place in 2023, and we wouldn’t have it any other way, really.
50 Halle Bailey, "For the First Time" THE LITTLE MERMAID Photo : Walt Disney Studios Motion Pictures / Courtesy Everett Collection The world anxiously awaited Halle Bailey’s performance in Disney’s live-action retelling of The Little Mermaid. The budding vocalist captivated audiences with the classic “Part of Your World”, but it was a new original song by Lin-Manuel Miranda that has permeated its way into 2023’s soundtrack: “For the First Time” is the type of fun innocence we expect from Ariel, and Bailey’s deeply felt rendition of it lent itself to several viral moments on TikTok shortly after the movie’s release. — TETRIS KELLY
49 Victoria Monét feat. Buju Banton, "Party Girls"
While on paper this may read like an odd pairing, one listen will lead to pressing the repeat button again … and again. First, because of the track’s intriguing bassline and sultry Caribbean vibe. Second, because hearing Monét’s luscious, lilting voice rub up against dancehall guru Banton’s rough-and-ready rasp gives off a combustible energy that perfectly embodies the song’s empowering-yet-sensual mood. And third, because by then, you’ll be chiming in on the duo’s hypnotic refrain: “Let’s hear it for the party girls out lighting up the world.” — GAIL MITCHELL
48 Taylor Swift, "Hits Different"
Breakups hurt, yes, but Swift details the raw honesty of what comes after the relationship ends in this much-anticipated breakup banger. Instead of a sad, somber piano, we get a dancefloor-ready beat accompanied by relatable lyrics like, “I pictured you with other girls in love, then threw up on the street.“ You can’t help but want to belt out the lyrics, as you follow along with the story of getting over someone with the help of your supportive friends. — RYLEE JOHNSTON
47 Scar Lip, "This Is New York"
Steeped in the blistering aggression and unwavering pride of the Big Apple, Scar Lip’s explosive “This Is New York” is the kind of record that cuts through the clutter and single-handedly transforms the cultural zeitgeist. Hailing from The Bronx, Scar Lip embodies the spirit of two of the borough’s biggest icons: Throughout the song, she harnesses the playful sensuality of Cardi B and blends it with DMX’s survivalist spirit. A defiant rebuttal to those who bemoan the state of contemporary hip-hop, “This Is New York” is important archival practice — a survey of how the city’s essence has evolved from one generation to the next. — KYLE DENIS
46 Dave & Central Cee, "Sprinter"
With “Sprinter,” star U.K. rappers Dave and Central Cee are giving their American counterparts a run for their money. The pair float all over the soft guitar-driven, borderline-drill beat, with witty and clever lines (“With bae through thick and thin/ She already thick so I’m halfway there,” spits Dave, while Central Cee adds, “She a feminist, she think I’m sexist/ Twisting my words I think she dyslexic”). The spontaneity of “Sprinter,” which surprise-dropped ahead of its parent EP, Split Decision, also adds to its appeal, as the two rappers not only flex their rhymes but their effortless chemistry — making for a splashy return for Dave and continuing Central Cee’s hot streak. — CYDNEY LEE
45 Corook & Olivia Barton, "If I Were a Fish" corook ft. olivia barton "if i were a fish" Photo : Courtesy Photo This deceptively simple little song is the musical equivalent of “kill ’em with kindness,” because even the most hate-fueled online troll couldn’t help but grin at the idea of Nashville singer/songwriter Corook — with an assist from musician girlfriend Olivia Barton — as a first-prize fish, the skippiest rock or the happiest sock. With its strummy backdrop and kazoo interludes, “If I Were a Fish” would fit right in on a kids album, but its sweet core message (“How lucky are we of all the fish in the sea/ You get to be you and I get to be me?”) sounds like a lesson all ages could use. – KATIE ATKINSON
44 Coco Jones, "ICU"
Before Coco Jones graced screens as Hilary Banks in Bel-Air, she appeared as a pop-rap superstar reconnecting with her church roots in the Disney Channel original movie Let It Shine. With “ICU,” her very first Hot 100 hit, Coco channels the elements of the Black church that ground the more soulful edges of R&B. The DJ Camper-produced ballad finds Coco digging into her bluesy lower register, before delivering flawless riffs and soaring belts as the love song steadily approaches its climax. Although “ICU” is a bit different from the dominant sonic aesthetics of contemporary R&B, Coco’s undeniable vocal performance makes the song’s success a no-brainer. — K.D.
43 Calvin Harris & Ellie Goulding, "Miracle"
“Miracle” is a pretty accurate title for a peak pop-trance throwback that manages to not only eclipse feeling overwhelmingly retro, but becomes one of the best and biggest global dance hits of 2023, and an eight-week U.K. No. 1. Then again, maybe it’s not so supernatural coming from Calvin Harris — who’s thrived for nearly two decades largely by knowing what buttons to push on the wayback machine — and Ellie Goulding, whose voice is just the right mix of airy and winsome to float over gloriously reverbed piano with the same ethereal authority that that less-starry singers for Ian Van Dahl and Alice Deejay did decades earlier. — A.U.
42 Don Toliver feat. Justin Bieber & Future, "Private Landing"
Thematically, the triumvirate of artists on “Private Landing” are not exactly on the same page: Don Toliver indulges in drugs while admitting that he’s “too demanding” of women, Future runs through designer brands and shrugs off romance, and Justin Bieber is focused on a bleary-eyed flirtation that’s removed from his co-stars’ braggadocio. It doesn’t matter: “Private Landing” thumps and sizzles, a pop-trap luxury item in which Toliver places a pair of famous friends over a metallic, undeniably cool beat and plays the part of connective tissue. By the third listen, you’ll forget all about why the song shouldn’t work. — JASON LIPSHUTZ
41 Morgan Wallen, "Last Night"
Where most country songs are story-driven, Morgan Wallen’s One Thing at a Time maybe-breakup smash is very much a rhythm-driven record. This became the first country song by an unaccompanied male artist to top the Hot 100 since Eddie Rabbitt’s “I Love a Rainy Night” in 1981. It has held on to the top spot for 11 nonconsecutive weeks — locking in on the No. 1 spot just like Wallen and his backing musicians locked in on that killer groove. – PAUL GREIN
40 Doechii feat. Kodak Black, "What It Is (Block Boy)" Doechii feat. Kodak Black "What It Is (Block Boy)" Photo : Courtesy Photo From the minute it popped up on TikTok, Doechii let us know what’s up with her Kodak Black-assisted track’s addictive, early 2000s-reminiscent (and Trillville-borrowed) hook. The 24-year-old star notched her first-ever Hot 100 hit with the viral song and, thanks to its melodic interpolation of TLC’s “No Scrubs” and its sleek dance challenge on TikTok, the track had good girls everywhere looking for a little thug (and block boys needing a little love). — RANIA ANIFTOS
39 Grupo Frontera & Bad Bunny, "un x100to"
This perfect heartbreak anthem was delivered when two ‘ideal worlds’ connected in Grupo Frontera and Bad Bunny. The track marked the artists’ first collaborative effort, and new territory for Bad Bunny. The wistful cumbia-norteño, anchored by acoustic guitars and gentle percussion, narrates the emotions of a person who has lost their ex and feels regret. They acknowledge their mistakes and decide to make amends with a last-ditch call to ask for forgiveness — despite having only un percent battery left — though whatever the ex’s response is to their heartfelt plea may have to wait for the sequel. — INGRID FAJARDO
38 Chappell Roan, "Red Wine Supernova"
In a recent interview with Billboard, Roan said she originally wrote this single in 2019 as a “sad, slow” vibe — though you’d never be able to tell from its end result, which is as light on its feet as it is grounded in the elements of a bona fide pop hit. Co-written and co-produced by Dan Nigro (Olivia Rodrigo, Conan Gray, Caroline Polachek), the rising pop cult favorite’s layered vocals accentuate lyrics that seamlessly flitter between dancing around the point of this sexual invite — and getting straight to it. — JOSH GLICKSMAN
37 Latto, "Put It on da Floor"
While Latto made some good-faith attempts to follow up the 2022 breakout success of her “Big Energy” with another dancefloor-courting, radio-friendly Big Pop Song, none were as satisfying as the bare-knuckled aggro verve of “Put It on da Floor.” With some of the most quotable bars (“Rip me out the plastic/ I been actin’ brand new”) and the catchiest (and most confrontational) rap hook since “Tomorrow 2,” it was an inspired move for Latto to enlist that song’s special guest, Cardi B, for her own original-worthy sequel (the aptly titled “Put It on da Floor Again”). And wouldn’t you know it? She ended up with the crossover hit anyway, as the Cardi remix propelled “Floor” to No. 13 on the Hot 100. — A.U.
36 KAYTRAMINÉ feat. Pharrell Williams, "4EVA"
“4eva,” from the collaborative duo of Kaytranada and Aminé, is truly a whole mood. Dripping with Kaytranada’s characteristic, effortless cool and elastic, beat-forward production, buoyed by Pharrell’s hiccuping “that means forever” refrain, it’s a delectable introduction to the chic pool-party-ready vibes of its parent set. And from the moment Aminé introduces himself, casually dropping Haitian Creole phrases into his bars (a nod to his collaborator’s culture), his creative camaraderie with his producer partner is palpable. — REBECCA MILZOFF
35 MUNA, "One That Got Away" MUNA "One That Got Away" Photo : Courtesy Photo Last year, MUNA’s self-titled album threw caution to the wind and turned out to be of the lustiest and most entertaining queer albums in recent memory. In 2023, MUNA said queer joy is back with a vengeance. Released in April after its live debut at Coachella, “One That Got Away” is a delicious pop track that exudes cockiness and pride, as lead singer Katie Gavin gloats about now being out of reach of someone who walked away from her. It’s brash, unapologetic and hopefully what we can continue to expect from MUNA going forward. — TAYLOR MIMS
34 Jelly Roll, "Need a Favor"
Jelly Roll’s biggest Hot 100 hit to date defies classification: The song’s drifting fiddle screams country, its stirring choir conjures gospel and its power-ballad chords are straight out of the arena-rock playbook. That’s part of the appeal of “Need a Favor,” though, as the song – which also shares more than a little DNA with Everlast’s 1998 alt-blues smash “What It’s Like” — delivers a rousing, hard-times anthem for the masses that rings true for music fans of all stripes. — ERIC RENNER BROWN
33 Jessie Ware, "That! Feels Good!"
Disco’s return to the upper echelons of pop music’s cultural impact is unquestionable — look no further than some of the latest chart-topping offerings from stars like Lizzo, Beyoncé and Dua Lipa. Yet Jessie Ware’s “That! Feels Good!” still feels like a rebirth of the classic disco-funk sound. Throughout this quivering ode to sexual freedom, Ware never tries to deconstruct or recontextualize the sound for a modern audience; instead, she lets it speak for itself, conjuring the soundtrack of the ’70s to instruct her listeners in their passionate endeavors. When it comes to bringing disco back, Ware herself puts it best: “If you’re gonna do it, do it well.” — STEPHEN DAW
32 Lil Yachty, "drive ME crazy!"
Plopped right in the middle of Lil Yachty’s album-long exploration of the electro-psych-rock cosmos Let’s Start Here, “drive ME crazy!” is simply one of the best pop songs the genre-hopscotcher has ever been involved with. With an instant sing-along chorus, a big assist on the verses from guest vocalist Diana Gordon, and a cast of co-writers that also includes indie stalwarts Benjamin Goldwasser of MGMT and Mac DeMarco, “Crazy” is an inspired roller-rink break at the planetarium, and an always-welcome reminder that genre purity is never worth ruining a good time over. — A.U.
31 Libianca, "People"
Deeply emotional in both its lyrical themes and its moody production, “People” served as a sort of introduction to Libianca’s own music after she appeared on Season 21 of The Voice — and immediately captured attention with its earworm plea for someone, anyone to check in on her in a depressed, inebriated state. The song itself is beautiful, the vocal performance both engaging and haunted, but it’s the underlying message — check on your friends, because you never truly know what others are going through — that has given the song a lasting resonance. It’s the type of arresting lyricism that promises a brighter future for the singer-songwriter moving forward. — DAN RYS
30 Jimin, "Like Crazy" Jimin "Like Crazy" Photo : Courtesy Photo In the U.S., the K-Pop phenomenon is still something that has been mostly associated in the mainstream with groups — at least, until Jimin crashed the charts. The BTS alum released a slick and melodic dance-pop number that made history as the first track from a South Korean solo artist to top the Billboard Hot 100. After a large sales debut, the track continued to gain momentum as radio and the public jumped on board with the undeniable bop, which is driving more than just longtime fans “crazy” in 2023. — T.K.
29 Hozier, "Eat Your Young"
Hozier is back to preach to us with words of wisdom, in this striking song about sin and corruption. Taking inspiration from Dante’s Inferno, “Eat Your Young” uses a soulful beat and mixes it with the singer-songwriter’s hypnotic voice to speak on the lengths people will go for their greed, pride and gluttony — which can also be connected to the sins that earn you a place in the third circle of he**. — R.J.
28 FLO feat. Missy Elliott, "Fly Girl"
After receiving a Missy Elliott co-sign early on in their career, the U.K. R&B trio recruited the original supa dupa fly girl for “Fly Girl.” The single flips and reverses her 2002 smash “Work It” for a nostalgic, yet fresh, feel-good female empowerment anthem. With FLO paying homage to the early ’00s, a collaboration with Missy feels like kismet — and proves not only that R&B isn’t dead, but old-school R&B specifically is alive and well. — HERAN MAMO
27 Jonas Brothers, "Waffle House"
What better setting for a song about the growing pains that a family band has to endure, both as brothers and bandmates, than the internet’s favorite location for public messiness? Of course, the drama of “Waffle House” gets figured out a lot more calmly than most of the viral videos set there — as it ultimately gets scattered, smothered and covered with sentimentality, the trio concluding over irresistibly smooth ’70s rock keys: “You know, it’s always love.” And that’s why fans are still ordering up fresh new JoBros hits decades later. — A.U.
26 Lizzy McAlpine, "Ceilings"
The ceiling was the roof for Lizzy McAlpine’s TikTok-powered crossover hit, as it did something that not even any of obvious musical antecedent Phoebe Bridgers’ signature songs have yet done: scaled the Hot 100, ultimately peaking at No. 54. It wasn’t hard to see why the song caught on as it did: a shiveringly fragile ballad about an imagined relationship told elliptically in flashbulb moments, “Ceilings” turns from heartwarming to heartbreaking as “It feels like the start of a movie I’ve seen before” turns into “It feels like the end of a movie I’ve seen before.” The potential is real for the 23-year-old singer-songwriter, to say the least. — A.U.
25 Skrillex, Fred again.. & Flowdan, "Rumble" Skrillex, Fred again.. & Flowdan "Rumble" Photo : Courtesy Photo If you’re planning on a year that includes two new albums, countless surprise gigs as part of a new superproducer triumvirate, even a headline-capturing image makeover… well, you better kick it off with the right song, huh? That song was indeed “Rumble,” the lead Quest for Fire single with bass you still feel in your chest days later and a beat so quaking, tremulous and foreboding that it sounds like falling into a crack in the Earth’s core. “Yo, listen, you hear that?” guest toaster Flowdan asks? Yeah, we heard it. — A.U.
24 Zach Bryan feat. Maggie Rogers, "Dawns"
Though this deeply affecting duet, on which Maggie Rogers leans into folk and Americana, exists in a vacuum as a one-off, it’s still widely felt in its impact. Inspired in part by the loss of Bryan’s mother years ago, “Dawns” captures the specific beauty that accompanies grief of any kind over time: the unexpected tempo twists, the raw rasp of certain lines and especially the way in which each artist shines on their own but sounds most tender when they come together. — LYNDSEY HAVENS
23 Rosalía & Rauw Alejandro, "Beso"
The most fascinating couple in Latin music post plenty of photos together, but their most telling declaration of love may be “Beso,” or “Kiss,” which became the third top 10 for both artists on Billboard’s Global 200 chart. The focus track from RR, their joint three-track EP, “Beso” is deeply intimate in its blunt, unadorned sincerity. Phrases like “Amo siempre que llegas y odio cuando te vas (I love always when you come, and hate when you leave)” are powerful in their simplicity, the trading vocals gleaming over the sparse accompaniment of atmospheric chords. This is pure love, set to a reggaetón beat. — LEILA COBO
22 Dua Lipa, "Dance the Night"
Dua – our queen of the double clap – is back! “Dance the Night” has all the disco flair fans have come to expect from the pop superstar and, as per usual, this Barbie doesn’t disappoint. Even for those without chromesthesia, the track – created for Greta Gerwig’s Barbie film – sounds like the bubblegum pink plastered all over the Barbie marketing promotion. It’s stylish, party-playlist-ready, and either a goodbye to the Future Nostalgia era or a harbinger of more Disco Dua to come. — T.M.
21 Baby Keem & Kendrick Lamar, "The Hillbillies"
They’ve been around long enough to know: If you’re gonna f–k up the world, do it on a Monday afternoon, away from the prying eyes of most streaming services. That’s what cousins Baby Keem and Kendrick Lamar did in late May with the YouTube-only release of the drill-inspired, Bon Iver-sampling “The Hillbillies” — instantly the most propulsive, quotable and giddy thing either’s done in years, with a VHS-styled music video to match. The song’s halfway rollout (it showed up in full on DSPs a week later) meant it had nowhere near the commercial response you’d expect of a certified jam from two rap stars — it still hasn’t even hit the Hot 100 — but as a fan, you gotta cherish the moments where two “too high-profile” artists like Keem and Kendrick are actually flying a little under the radar. (Even if they’re still flying in a private jet.) — A.U.
20 Bad Bunny, "Where She Goes" Bad Bunny "WHERE SHE GOES" Photo : Courtesy Photo Bad Bunny kicked off 2023 experimenting with new genres, such as norteño and cumbia in Grupo Frontera’s “un X100to” and the certified club banger, “Where She Goes.” Produced by MAG, the track starts off with a dramatic synth melody and then transitions to a Jersey Club-inspired beat (a hybrid of house and hip-hop). Backed by the Puerto Rican artist’s signature deep vocals, “Where She Goes” is a sensual song about chasing the girl he likes. On June 3, the track hit No. 1 on the Billboard Global 200 chart, making Bad Bunny the first soloist with as many as three No. 1s since the survey began. — JESSICA ROIZ
19 Kali, "Area Codes"
Breezy and enviably bare-boned, “Area Codes” became Kali’s breakout hit in May, cracking the top 10 on the Hot R&B/Hip-Hop Songs chart. The gleeful verses catalog a series of well-heeled suitors that function much like ATMs (“I told him, ‘You treat me so well’/He said, ‘Cashapp or Zelle?'”) while the barely-there beat reaches back to the earliest days of rap, consisting of just a few sounds from a drum machine. TikTokers fell for the track’s swagger by the truck-load, using it in hundreds of thousands of videos. “I couldn’t not hear myself on social media,” Kali told Complex. “That’s when I was like, ‘It’s out of here.'” — ELIAS LEIGHT
18 Labrinth, "Never Felt So Alone"
Labrinth’s music defines HBO’s Euphoria, but “Never Felt So Alone,” a standout musical moment from the show’s second season, didn’t appear on its 2022 soundtrack. “I sent [show creator Sam Levinson] my album alongside composing music for the show, and they ended up using it on the show,” Labrinth told Billboard in April when the track finally received an official release. By then, its trunk-rattling low-end and twinkling melodic flourishes where bolstered by uncredited backing vocals from Billie Eilish, whose cameo elevates the already-sterling track. — E.R.B.
17 boygenius, "Not Strong Enough"
A standout from boygenius’ acclaimed debut LP the record, “Not Strong Enough” captures the best of Phoebe Bridgers, Julien Baker and Lucy Dacus as soloists while perfectly illustrating what makes them unstoppable as a trio. While they each have a moment all their own, the song’s three-part harmonies are indestructible — regardless of whether they’re delivered softly or with full-bodied exasperation. — L.H.
16 Luke Combs, "Fast Car"
Taking on Tracy Chapman’s poignant 1988 hit about yearning for a better life against insurmountable odds is a tall order, but, somehow, Combs brings just the right amount of reverence to the classic — while still putting his own spin on it. Like Chapman, Combs knows the song’s lyrics of crushed hopes need no vocal dramatics, so he wisely delivers a straight-ahead rendering of what may be one of the saddest songs ever written. It was a surprising Hot 100 top 10 hit in ’88 for Chapman, and 35 years later, Combs has managed to surpass Chapman’s chart height — introducing it to a new generation by remaining faithful to the original. — MELINDA NEWMAN
15 Karol G & Shakira, "TQG" Shakira & Karol G "TQG" Photo : Courtesy Photo “TQG” is an acronym for “Te Quedó Grande,” which translates to “It Was Too Big for You.” An empowering sweet revenge turned into a song powered by the star-studded team-up fused with hard-hitting reggaetón beats packed with fierce and unapologetic lyrics about successfully moving on from an ex. The long-awaited collaboration between the two Colombian superstars confirms that they are not to be messed with when it comes to matters of the heart. — I.F.
14 Janelle Monáe, "Lipstick Lover"
When Janelle Monáe called herself a “free-ass motherf—ker,” she meant that in its most literal sense. “Lipstick Lover,” in turn, serves as something of a theme song for her self-ascribed moniker — soaked in the languid groove of a reggae beat, the single doesn’t work overtime to deliver its queer-focused message of pulsing pleasure. Instead, Monáe lets her lyrics drip with desire as she instructs her titular paramour to “leave a sticky hickie” and “whisper in my ear,” forcing you to lean ever closer into her perfectly-rendered vision of sensual satisfaction. — S.D.
13 Sabrina Carpenter, "Nonsense"
Sabrina Carpenter may have delivered one of 2022’s most complete pop albums with Emails I Can’t Send, but its biggest hit wouldn’t arrive until 2023, a few singles into the album campaign, with “Nonsense” proving the Hot 100 breakthrough hiding in plain sight. The various hooks — from the tongue-tied chorus to the cheeky second verse (“I’m talking wild, wild thoughts!”) to the tossed-off outro — helped the song take off on TikTok when isolated, but “Nonsense” also soars as a whole, with Carpenter infusing each melody with the type of personality that will make listeners want to explore (or revisit) the single’s host project. — J.L.
12 Ice Spice & Nicki Minaj, "Princess Diana"
There’s no denying the feisty chemistry between the saucy drill newcomer and the sassy rap veteran. Their rhythmic flow animates the campy fun of the song’s lyrics (“I’m thick ’cause I be eatin’ oats/ B–ches not takin’ s–t from me but notes”) and catchy chorus (“They be chattin’/ I don’t give a d–n/ And I’m still gettin’ money / I know who I am”). This Nicki-featuring remix of Spice’s original January 2023 track from her Like …? EP peaked at No. 4 on the Hot 100. — G.M.
11 Tyler, the Creator, "Dogtooth"
Tyler, the Creator is barred up on “Dogtooth,” per usual, though the song sees him in a different bag. On the piano-led, background vocal-heavy production, the 32-year-old channels a similar cadence as Lil Wayne on his 2005 hit “Fireman,” as he practices his typical bravado via rapping about his possessions and the things that tickle his fancy (“Kelly green wagon look better when the gloom out”). The song reached the top 40 of the Hot 100 and helped catapult Tyler’s The Estate Sale deluxe reissue of his 2021 LP Call Me If You Get Lost back to No. 1 on Top R&B/Hip-Hop Albums — making the first project to sit at No. 1 in three separate calendar years on the chart. — C.L.
10 FIFTY FIFTY, "Cupid" FIFTY FIFTY "Cupid" Photo : Courtesy Photo Here’s this year’s most delectable piece of ear candy – a song that seamlessly blends elements of contemporary K-pop with American girl group and bubblegum pop of the ’60s. This charmer set a new record as the longest-charting K-pop girl group song on the Hot 100, a record previously held by Blackpink and Selena Gomez’s 2020 confection “Ice Cream.” A subtle hip-hop element adds a little edge, but for the most part this is as frothy as a milkshake. – P.G.
9 Rema & Selena Gomez, "Calm Down"
Rema’s hypnotic, rhythmic track was already an Afrobeats hit upon its release in early 2022, but it got a second life and was opened up to a larger demographic thanks to a sensual Selena Gomez remix that arrived six months later. The duo’s soothing vocals blend seamlessly on the updated beat, (slowly) launching the mesmerizing collaboration to the top five of the Hot 100, marking the highest-charting hit from an Afrobeats lead artist in the chart’s history. — R.A.
8 Beyoncé feat. Kendrick Lamar, "America Has a Problem (Remix)"
Dial it up to 11. Rooted in the same high-intensity ticking that grounded the original as a deep cut on last year’s Renaissance, the new remix makes evident that even if greatness takes time to create, it can still unfold at warp speed. Shortly after the song’s bombastic, Kilo Ali-sampling instrumental intro, Kendrick Lamar scorches through a new, tone-setting guest verse — that also nods to his status as an honorary member of the Beyhive. The track then largely assumes its Renaissance form, with Beyoncé thriving at center stage, and Lamar supplying some extra oomph on those “NO”s that stamp the pre-chorus. — J.G.
7 Raye feat. 070 Shake, "Escapism"
British singer-songwriter Raye beautifully unpacks the ugly aftermath of a breakup – full of booze, bumps, numb wishes and “dumb decisions” – in her TikTok-fueled, trip-hop-tinged hit “Escapism,” featuring 070 Shake. Mike Sabbath’s uptempo, but stormy production underscores Raye’s new journey as an independent woman, who’s also found freedom in real life after leaving Polydor Records. And with every creative and career-related risk she’s taken, Raye is seeing them pay dividends, as “Escapism” became her (and 070 Shake’s) career-first Hot 100 entry, peaking at No. 22, as well as her first No. 1 in the U.K. — H.M.
6 Eslabon Armado & Peso Pluma, "Ella Baila Sola"
You could call it the song that shone the biggest light on the new Mexican music revolution. “Ella Baila Sola” (She Dances Alone), penned by Mexican American group Eslabón Armado’s young frontman Pedro Tovar and performed with rising hot shot Peso Pluma, became the first regional Mexican song to top the Global 200 chart. The “romantic sierreño” track, recognizable for its strumming guitars, trombone solo and Tovar and Peso’s contrasting vocals, describe a crush at first sight. Thanks to its swaying melody, it’s also garnered international attention, and reached the top five of the Hot 100. — L.C.
5 Lana Del Rey, "A&W" Lana Del Rey Photo : Neil Krug Some of the best songs exist at the intentionally muddled intersection of reality and fiction. Few contemporary pop songwriters have mastered the art of weaving together imagined and biographical storylines as well as Lana Del Rey, a.k.a. Elizabeth Grant, a.k.a. Lana Del Ray. “A&W,” a gorgeous two-part single from her Ocean Blvd album, travels the expanse of a Greek epic in just over seven minutes, morphing from the moody folk-inspired reflections of “American *****” into the lustful trap-infused murmurs of “Jimmy.” Lana surveys the contradictions of sexual liberation in a sexually repressive and violent society, body image, childhood trauma, drug abuse and sex addiction with a meticulous fusion of her own experiences with that of the characters in her music. A striking collage of psychedelic existentialism and themes that date back to her Born to Die era, “A&W” is a career high for Lana Del Rey. — K.D.
4 Coi Leray, "Players" Coi Leray "Players" Photo : Courtesy Photo Long before temperatures actually started warming up, “Players” arrived sounding tailor made for a summer block party — or really any dance floor in need of an instant turn-up. Underpinned by the instantly recognizable, glittering instrumental hook from Grandmaster Flash & the Furious Five’s 1982 classic “The Message,” the track has a throwback groove (Coi has admitted to being inspired by Mase and Biggie’s laid-back flows) yet still feels definitively modern, thanks to Coi’s undeniable charisma and crisp delivery of her own message: all the reasons that girls is players too.
Buoyed by a viral breakout (further accelerated by its popular Jersey Club remix, via DJ Smallz 372) and streaming gains that translated to radio success, “Players” became Coi’s first top 10 hit on the Hot 100, and her first entry without any co-credited artists. While it remains to be seen whether she’ll convert that gold into true solo stardom, there’s every reason to think that the appealingly smart and sassy MC is herself a player who won’t be vanishing from the airwaves any time soon. — R.M.
3 PinkPantheress & Ice Spice, "Boy's a Liar, Pt. 2" PinkPantheress & Ice Spice Photo : Courtesy Photo U.K. pop sensation PinkPantheress had spent two years bubbling just below the global mainstream, with a series of rubbery, forward-thinking and preternaturally tuneful singles (and an acclaimed debut full-length). She just needed a little push over the surface, and that came this February with the Ice Spice-featuring remix to her 2022 gem “Boy’s a Liar.” The combination proved more the sum of its viral parts, with the two phenoms playing off the energy, attitude and excitement of one another and turning the infectious heartache anthem — produced by Mura Masa, with equal influence from contemporary East Coast club music and retro 8-bit video game music — into one of the year’s most undeniable hits. And luckily, no one even tried to deny it: “Liar” shot to No. 3 on the Hot 100, a too-rare case in 2023 of a pair of genuinely new and electric young artists finding their way to crossover stardom. — A.U.
2 Bizarrap & Shakira, "Bzrp Music Sessions, Vol. 53" SHAKIRA || BZRP Music Sessions #53 Photo : Courtesy Photo Shakira’s known for her potent lyricism, powered by real-life stories and emotions — and her first single of the year is proof of that. Turning her breakup with longtime partner Gerard Piqué into a scorching club banger, the Colombian artist teamed up with Bizarrap for “Bzrp Music Sessions, Vol. 53,” airing out the soccer star and even throwing a jab at his new girlfriend, Clara Chia Marti. “I’m not getting back with you, don’t cry for me, nor beg me/ I understood that it’s not my fault that they criticize you/ I only make music, sorry that it bothers you,” she chants in the nearly four-minute dance-pop track. After the much-needed therapy session, with Shak coming out more unapologetic and empowered than ever, the track crashed the top 10 of the Hot 100, and also hit No. 1 on Billboard’s Hot Latin Songs chart, her 12th No. 1 on the listing and first since 2016. — J.R.
1 Miley Cyrus, "Flowers" Miley Cyrus Photo : Marcell Rév When Miley Cyrus released her buzzy new song “Flowers” at the top of the year, a lot was made of the potential Easter eggs suggesting the song was inspired by her divorce from Liam Hemsworth — from its release on the actor’s birthday, to lyrics referencing building a home and watching it burn, just like theirs did in a 2018 Malibu wildfire. But in the end, the power of the song wasn’t in the personal-life specifics; it was in the universalities.
The polished pop song — with its sing-along chorus and empowering self-love message — became an overnight breakup anthem, co-signed by everyone from “I Will Survive” singer Gloria Gaynor to famous free spirit Diane Keaton, who danced to “Flowers” like no one was watching in a viral video from her backyard. Cyrus had a solo dance party of her own as well in the song’s equally talked-about music video (approaching a half-billion views on YouTube), which shows a lively day strolling in hooded, metallic couture, stripping down to black lingerie for a swim and a grueling workout session and finally showering up and throwing on a power suit for a dance session lit by helicopter spotlights.
All of this added up to the longest Hot 100 chart-topper of Cyrus’ 17-year career, with “Flowers” spending a commanding eight weeks at No. 1. Clapping back at the typical, desperate love song we hear on pop radio that insists romance is the missing piece in life — especially Bruno Mars’ “When I Was Your Man,” which seems to have provided quite literal inspiration here — “Flowers” powerfully counters that love is, in fact, all you need: It just doesn’t need to be from another person. So is this song about Miley’s ex? Nope. It’s about Miley. — K.A.
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Post by veu on Jun 29, 2023 14:25:00 GMT -5
Source: www.comingsoon.net/movies/features/1298622-disney-live-action-remake-songs-rankedMOVIES Disney Live-Action Remake Songs Ranked After The Little Mermaid JUNE 29, 2023 BY JULIA DELBEL
When a musical is adapted to film, one thing’s for certain: a new song will be added whether it needs one or not (it usually doesn’t).
The main reason for this is increased awards potential. In order to be eligible for “Best Original Song” honors, a movie needs a new track as they can’t submit one that previously existed. This doesn’t mean the songs are generally awards-worthy, though — far from it. Most end up feeling little more than obligatory when all is said and done.
The infamous Disney live-action remakes are a whole other beast, however. A lot of their original songs come across as phoned-in and lazy. This makes it odd that many of them have more than one, often unnecessarily replacing beloved songs from their animated counterparts.
Here’s a ranking of the original songs from the Disney live-action remakes, from the painful to the pleasant.
15. When He Was Here With Me (Pinocchio) This only makes the list because the Pinocchio soundtrack claims it’s a song. It’s really just Tom Hanks as Geppetto speaking about his dead son while the orchestral score plays in the background.
It’s only before the two-and-a-half minute mark of this three-and-a-half minute song that Hanks even attempts to sing. While it isn’t good per se, the emotion makes up for it the same way some performances in movies like 2012’s Les Miserables do. But like that movie, this song is better in context than played on the soundtrack.
I’m not generally one to advocate for the removal of the more “talkative” numbers from a musical’s soundtrack album, but there’s a decent case to be made for this one to have missed the cut.
14. Pinocchio, Pinocchio (Pinocchio) Okay, maybe Tom Hanks holding off on actually singing wasn’t such a bad idea after all. On top of the fact that this number replaces the delightful “Little Wooden Head” from the 1940 movie. The music is nice, but Hanks isn’t a great vocalist, and his breathing sounds pretty labored at times.
That’s not even mentioning the lyrics, which contain such inspired lyrics as “Pinocchio, Pinocchio / I’ll feed you beets and gnocchi-o / And rice that comes from Tokyo / And you’ll think it is good.” I don’t think I need to say anything else here.
13. Scuttlebutt (The Little Mermaid) The live-action Little Mermaid starts off as a pretty basic, uninteresting remake until Ariel gets to shore. Once she’s on land, things diverge from the animated movie and the remake becomes its own thing — and a pretty enjoyable one at that.
This all changes, however, as soon as “Scuttlebutt” begins. The song is meant to cut the rising third act tension, but it really wasn’t the moment for a break in the increasing stakes. It somehow grinds the film to a halt even though it’s technically moving the story forward.
But really, this song would be bad no matter where in the film it landed. Awkwafina may have been a rapper at one point, but there’s a reason she’s had more success as an actor. But a lot of the blame has to go to Lin-Manuel Miranda, who couldn’t resist throwing his signature style into a movie that didn’t really suit it. It usually works pretty well, but The Little Mermaid really didn’t need a squawking Scuttle rap song feat. Sebastian.
12. How Does A Moment Last Forever (Montmare) (Beauty and the Beast) This reprise comes at a moment in which Belle has traveled to the past with the Beast. Her backstory was not present in the original, and while it isn’t really necessary in this one, it does make for an alright foundation for her to bond with the Beast.
Emma Watson received a fair amount of criticism for her singing in Beauty and the Beast. With that in ind, it’s nice to have a song that seems to have been written specifically for her voice. She does a great job with the track, even if it isn’t really necessary.
11. How Does A Moment Last Forever (Beauty and the Beast) Yes, even Kevin Kline as Maurice gets a little song in this remake. It’s a pleasant enough moment looking back on his life with Belle and his dead wife; nothing to write home about, but not painful to listen to, either. Ultimately, more of a purpose to the story than the reprise, but not by much.
10. Aria (Beauty and the Beast) Does this one have any connection to the story? No. But it does give us a number from Braodway legend Audra McDonald, and for that, it’s much better than some of these other songs.
9. Wild Uncharted Waters (The Little Mermaid) One thing the live-action Little Mermaid improves upon is Prince Eric. In the original, he’s a generic love interest, but the remake works to rectify that by giving him a backstory, interests, and yes, his own “I Want” song. While Ariel is still the clear star of the movie, all of this makes the romance between the two more compelling and easier to get invested in.
Unfortunately, this song is about as generic as it gets when it comes to the “I Want” genre. It’s not bad, but it isn’t catchy or memorable, either. Honestly, it could have been cut for time without the movie losing anything important.
8. I Will Always Dance (Pinocchio) This song is sung by Fabiana – a puppeteer for villain Stromboli – and her puppet, Sabina, as Fabiana controls her. It starts off as a slow ballad about Fabiana’s love of dance despite her foot injury preventing her from doing so. Later, Fabiana picks up Sabina to deliver the rest of the number and the music turns upbeat. She sings of various styles she loves and demonstrates them through the puppet. Even gets Pinocchio to join in.
This song doesn’t add too much to the movie and ends abruptly, but it’s not really that bad overall.
7. What a Shame (Lady and the Tramp) This number serves as a replacement for the 1955 version’s “Siamese Cat Song,” which was, well, racist, and obviously wouldn’t be in the remake. Just like that song, this one is about the cats destroying the house to the shock and horror of Lady.
The jazz style they went with for this one is fun. While it’s not a particularly memorable number, it’s pleasant enough to listen to in the moment.
6. Days In the Sun (Beauty and the Beast) This is a sweet-but-sad song that sees the servants-turned-objects lament their fate and remember better times before the curse was put on the castle. It’s pretty and all, but the much catchier and livelier “Human Again” — a number cut from the animated movie only to return in the stage musical and tenth-anniversary IMAX release of the film — is the superior song centered on this sentiment.
5. Evermore (Beauty and the Beast) Like “Days In the Sun,” this is a perfectly nice song about the toll of the curse on the castle. This time, it’s sung from the perspective of the Beast as he sings about his feelings for Belle. But also like “Days In the Sun,” the Beauty and the Beast stage musical contains a much better song which serves the same narrative purpose in “If I Can’t Love Her.”
4. The Coachman To Pleasure Island (Pinocchio) Luke Evans was one of the highlights of the live-action Beauty and the Beast remake as Gaston. It only makes sense that Disney decided to bring him in to play another villain, this time the coachman in Pinocchio.
The character is expanded from the animated movie, even receiving a song of his own — by far, the best new song in the remake. It’s a jazzy little number in which the coachman and young boys pressure Pinocchio to go with them to Pleasure Island. The song is very reminiscent of some classic villain songs of Disney’s past like The Princess and the Frog’s “Friends on the Other Side.” Evans is very convincing in the role, and his portrayal makes for a character that’s different from the animated counterpart but still quite menacing.
3. For The First Time (The Little Mermaid) It’s strange to grant a song sung by Ariel while her voice is being held captive by Ursula such a high spot on the list. However, “For The First Time” works as a window into Ariel’s mind, and it’s nice to get that considering she spends so much time without her voice.
While the number itself is kind of a run-of-the-mill “Disney Princess” song, Halle Bailey has a lovely voice and it’s nice to have the added dimension of Ariel’s inner thoughts, something not present in the animated movie.
2. Spirit (The Lion King) I mean, this is a Beyoncé song, so it was likely to be pretty great from the get-go. “Spirit” is fitting as a sister song to the likes of “Circle of Life” and the lesser known “He Lives in You” (from The Lion King II: Simba’s Pride as well as the Lion King stage musical). It’s a nondiegetic song, but still deserves a spot on this list (and a high one at that). Unlike so many other musical pieces from the various Disney live-action remakes, it’s clear there was a considerable amount of heart and passion put into “Spirit.”
1. Speechless (Aladdin) Jasmine is one of the few Disney Princesses to never get a solo number (at least not in the original Aladdin) but the nearly 30-year wait was worth. This wonderful power ballad showcases the character’s inner strength and determination to be heard that — while present in the animated film — is too often overlooked by audiences. This is truly one of the few songs from a live-action Disney remake that could hold its own amongst the numbers held over from its animated counterpart.
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Post by veu on Jul 10, 2023 15:29:36 GMT -5
Source: screenrant.com/little-mermaid-songs-live-action-remake-ranked/#quot-fathoms-below-quotAll 8 The Little Mermaid Live-Action Remake Songs Ranked BY ANGEL SHAW PUBLISHED 1 DAY AGO The 2023 The Little Mermaid contains eight total musical numbers, and though each song helped to tell Ariel's story, they weren't all created equal.
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The live-action The Little Mermaid took a new spin on the original movie's musical numbers and threw a couple of additions into the mix—but some turned out a little better than others. As a whole, Disney's remake captured the spirit of the iconic songs from the 1989 animated classic. "Part of Your World," "Under the Sea," and "Poor Unfortunate Souls" were all accounted for—though the interpretation of each was fresh and unique. Then, new songs like "Wild Uncharted Waters" and "For the First Time" were written specifically for the Little Mermaid remake and served to add a little extra flavor to various characters.
Still, it isn't easy to live up to the legacy of a film that has been beloved for decades. The 1989 version of The Little Mermaid's soundtrack struck the right chord with audiences, so much so that the movie went on to inspire a Broadway musical. These are songs that have embedded themselves in popular culture, so Disney had to take great care with its remake. In this regard, some pieces were adapted better than others, and some of the new additions didn't quite hold up in the same way.
8 "Fathoms Below"
The-Little-Mermaid-Ship
"Fathoms Below" is the opening song of both the animated The Little Mermaid and the 2023 remake. It sets the stage for Ariel and Eric's story, introducing the ship where the titular mermaid would first set eyes on her handsome prince. The remake's version of this sea shanty-style song was a little different and included a verse about the king of the ocean that clearly connected to King Triton. This was an improvement on the original, but as a short and sweet song, it's not nearly as memorable as the others.
7 "Wild Uncharted Waters"
Wild-Uncharted-Water-The-Little-Mermaid
Prince Eric's character wasn't largely explored in the 1989 The Little Mermaid, and the 2023 remake sought to remedy this. He was given a more complex backstory, which made his arc (and implied destiny to end up with Ariel) all the more satisfying. This was partly pulled off with the new song "Wild Uncharted Waters." The music was cleverly composed to mesh perfectly with Ariel's iconic vocal runs, which helped make it cohesive with the original score. Actor Jonah Hauer-King's vocals were great, and the ocean scenes were visually stunning. Still, it lacked the fun of the following musical numbers.
6 "The Scuttlebutt"
The-Scuttlebutt-Little-Mermaid
Another new song for The Little Mermaid, "The Scuttlebutt," gave Scuttle and Sebastian a moment in the spotlight. The song has the unmistakable flare of writer and composer Lin-Manuel Miranda, and actors Awkwafina and Daveed Diggs pulled off the rapid lyrics perfectly. However, the more modern style of "The Scuttlebutt" didn't fit as well with the rest of the movie's musical numbers, and the unsettling hyperrealism of animals like Sebastian in The Little Mermaid made the song a little less fun than it would have been in animation.
5 "Under the Sea"
Live-Action Little Mermaid Under the Sea song
"Under the Sea" is one of the first songs that comes to mind with remembering the 1989 The Little Mermaid. Bright, colorful, and a ton of fun, the number did perfectly what Sebastian intended—made life under the sea look like paradise. This was much the same in the 2023 remake. Daveed Diggs again hit the nail on the head with his vocal performance, and the added vocal riffs from Ariel were a great touch. Unfortunately, this The Little Mermaid song perfectly demonstrated how Disney's obsession with realism can be a problem. In an effort to make all the sea life seem real, a lot of the whimsical flavor of the original number was lost.
4 "For the First Time"
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Ariel's dream and central motivation in both versions of The Little Mermaid is to experience life in the world above the sea. Unfortunately, in the 1989 film, the mermaid-turned-human lost sight of this when her focus shifted entirely to her romance with Prince Eric. The 2023 remake brought attention back to Ariel's dreams by giving her a new song that explored her feelings as she experienced this new world. "For the First Time" is the sort of song that seems like it should have been in the original and helps the overall story make even more sense. Certainly the best of The Little Mermaid's new songs, it just doesn't hold up to the adapted OGs.
3 "Poor Unfortunate Souls"
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The Sea Witch is another character that was ultimately improved by the remake. Ursula's familial connection to King Triton in the 2023 The Little Mermaid adds a stronger foundation to her desire for vengeance and power, which means songs like "Poor Unfortunate Souls" packs a little more punch. Still, it was the visual effects of this musical number that really made it stand out. Ursula and her cave were given a bioluminescent quality, which made the dark scene contrast against the rest of the film. Actress Melissa McCarthy brought a bored quality to the character that wasn't for everyone, but the overall effect still held up.
2 "Kiss the Girl"
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One of the major changes of the 2023 The Little Mermaid was the terms of Ariel and Ursula's deal. In the remake's version, Ariel magically forgot about the need to get Eric to kiss her as soon as she got her legs. The positive impact of this change became clear in "Kiss the Girl," when, instead of only trying to get Eric to make a move, Sebastian had the job of subliminally influencing Ariel as well. This added an extra layer of suspense to the number, which was only improved by the visually stunning scene surrounding the couple. Ultimately, "Kiss the Girl" was the scene in which The Little Mermaid's realism became a major benefit.
1 "Part of Your World"
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"Part of Your World," as well as its later reprise, was Ariel's big moment in The Little Mermaid. In the 1989 version, actress Jodi Benson's vocal performance was really what made the moment impactful. Full of emotion and longing, Benson made Ariel's hopes and dreams easy to empathize with. Though it could not have been an easy task, actress Halle Bailey managed to take this even further. The young vocalist's talent is clear throughout the entirety of "Part of Your World," but it was her option-up vocals in the reprise, accompanied by the realistic crashing wave, that made this iconic The Little Mermaid moment even better.
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Post by veu on Jul 25, 2023 16:05:23 GMT -5
Source: screenrant.com/the-little-mermaid-movie-prince-eric-song-bts-clip/The Little Mermaid BTS Clip Explores Creation Of Prince Eric's New Song [EXCLUSIVE] BY GRANT HERMANNS PUBLISHED 5 HOURS AGO Screen Rant presents an exclusive The Little Mermaid BTS clip exploring the creation of Prince Eric's new song for the live-action remake.
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SUMMARY The Little Mermaid remake aimed to improve Prince Eric's character by expanding his role beyond the "wooden, classic prince" formula and giving him a motivation to explore the open seas. The creation of Prince Eric's new song, "Wild Uncharted Waters," was a nerve-wracking task for Lin-Manuel Miranda, who wanted to create a powerful ballad for the character to express his love for Ariel. Despite efforts to develop Prince Eric's character and positive reception from audiences, the movie's box office performance may make sequel plans unlikely, as it grossed just over $560 million against a $250 million production budget.
Take a look at the creation of one of the live-action remake's new songs in an exclusive The Little Mermaid behind-the-scenes clip. Both an adaptation of Disney's acclaimed 1989 movie and Hans Christian Andersen's 1837 fairy tale, the story revolves around mermaid princess Ariel who makes a deal with the evil sea witch Ursula to trade her voice for a pair of human legs in the hopes of traveling to the outside world after falling in love with Prince Eric. Led by Halle Bailey, The Little Mermaid garnered mixed-to-positive reviews from critics, with the majority of praise directed towards its central star.
In honor of its video-on-demand release, Screen Rant is proud to present an exclusive The Little Mermaid BTS clip.
The video, as seen above, features interviews with lyricist and music producer Lin-Manuel Miranda and composer Alan Menken to discuss crafting Prince Eric's new song for the movie, "Wild Uncharted Waters". The Hamilton creator admits his nerves about trying to create a powerful ballad for the character to express his love for the eponymous heroine and even sees the two play a brief melody of it.
How 2023's Little Mermaid Improves Prince Eric
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Long before the movie's release, director Rob Marshall had promised that 2023's Little Mermaid would work to improve upon Prince Eric's role in the story, looking to expand the character past his "wooden, classic prince" formula into a more well-rounded figure. Star Jonah Hauer-King similarly offered various insights in the lead up to its release that Eric would be very different from his animated counterpart, namely by giving him a motivation to explore the open seas, which gave birth to "Wild Uncharted Waters," and that his desire for something more matched Ariel's adventurous nature, thereby adding more nuance to their dynamic.
One of the biggest and best changes made to Prince Eric for The Little Mermaid remake was the fact that he was not a prince by birth, instead having been adopted by the queen and now-deceased king of the island kingdom the story takes place on. Some theories question whether his real parents died in a shipwreck akin to the one Ariel would save him from, though the movie leaves this up to the imagination. Regardless of the real answer, the movie ultimately succeeded in making Eric more of a kindred spirit to Ariel as they feel they don't belong in their worlds.
Audiences have similarly been taken by The Little Mermaid remake's efforts to craft a better Prince Eric, with many Disney fans swiftly taking to social media upon the movie's release to praise him and Ariel as "bona fide soulmates" and calling for a sequel to continue building on their romance. Though Marshall teased ideas for follow-ups, the movie was ultimately seen as a box office disappointment, grossing just over $560 million against its $250 million production budget, the second-highest for a Disney remake behind 2019's Lion King remake of $260 million, making these sequel plans unlikely.
The Little Mermaid arrives exclusively on digital July 25, and 4K Ultra HD™, Blu-ray™ and DVD on September 19.
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Post by veu on Jul 25, 2023 16:12:20 GMT -5
Source: www.youtube.com/watch?v=qjaopwOFEXgThe Little Mermaid BTS Clip: The Making of "Wild Uncharted Waters" [EXCLUSIVE]
Screen Rant Plus
25 lug 2023
Relive the magic of one of Disney’s most beloved films when The Little Mermaid becomes available to audiences to enjoy at home. Rob Marshall’s sparkling new take brings viewers into the world of Ariel and on a magical journey. Walt Disney Studios’ The Little Mermaid arrives at digital retailers (Apple TV, Prime Video, and Vudu/Fandango) on July 25 and on 4K Ultra HD, Blu-ray, and DVD on September 19. Fans can add the film to their collection and access exclusive bonus features including a sing-along version of the film, song breakdowns, bloopers, and exclusive featurettes.
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Post by veu on Aug 29, 2023 14:38:48 GMT -5
Billboard picks early front runners for 'Best Original Song' at the Oscars 2024:
“I’m Just Ken” (Barbie) "Peaches” (The Super Mario Bros. Movie) “What Was I Made For?” (Barbie) “For the First Time” (The Little Mermaid) “The Fire Inside” (Flamin’ Hot) “Road to Freedom” (Rustin) “Love Again” (Love Again) “High Life” (Flora and Son) “Dear Allen (Who Made Art in Heaven)” (Asteroid City) “Joan, Still Theme” (Theater Camp)
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Post by veu on Aug 29, 2023 14:40:53 GMT -5
Source: www.billboard.com/lists/oscar-2024-best-original-song-front-runners-analysis/__trashed-7/AWARDS ‘I’m Just Ken,’ ‘Peaches’ and More Front-Runners for 2024 Oscar Nods for Best Original Song Potential nominees include two songwriters who would become EGOT winners if they take home the award.
By Paul Grein
08/29/2023
When the Oscar nominations are announced on Jan. 23, 2024, we could see two humorous songs in the running for best original song – “I’m Just Ken,” which provides one of Ryan Gosling’s funniest scenes in Barbie, and “Peaches,” which Jack Black sings in The Super Mario Bros. Movie.
Amusing songs are nominated occasionally in this category. Relatively recent examples include “Husavik” from Eurovision Song Contest: The Story of Fire Saga (2020), “When a Cowboy Trades His Spurs for Wings” from The Ballad of Buster Scruggs (2018), “Everything Is Awesome” from The Lego Movie (2014) and“Blame Canada”from South Park: Bigger, Longer & Uncut (1999).
Here are 10 early front-runners for nominations for best original song at the 96th annual Academy Awards. The awards will be presented on March 10, 2024.
Two veteran songwriters, Alan Menken and Diane Warren, are each hoping to collect their 15th nominations for best original song, a benchmark that has been reached by only five songwriters in Oscar history. Menken’s strongest contender is “For the First Time” from The Little Mermaid; Warren has two songs vying for a nod – “The Fire Inside” from Flamin’ Hot and “Gonna Be You” from 80 for Brady. If one is nominated, she will tie the late lyricist Marilyn Bergman as the woman with the most best original song nominations.
And two songwriters, Lin-Manuel Miranda and Ben Platt, are vying to become EGOT winners. Miranda is competing with the aforementioned “For the First Time” from The Little Mermaid; Platt with songs from Theater Camp.
We’re showing two songs from Barbie – “I’m Just Ken” and “What Was I Made For?” Current Oscar rules state: “No more than two songs from any one film, regardless of writers, may be nominated for the original song award.” Four films in Oscar history have spawned three nominated songs – Beauty and the Beast, The Lion King, Dreamgirls and Enchanted. None of the songs from the latter two films won the award, which demonstrated the very real risk of a film splitting its votes. In response, a new rule was instated in June 2008 that a film could have no more than two songs nominated.
As a result, the Dua Lipa hit “Dance the Night” and the Nicki Minaj & Ice Spice collaboration “Barbie” (with Aqua) may be squeezed out. “Dance the Night” is a trifle, but it has proven to be a most engaging one — and Lipa is at the level of fame that many previous pop stars were at when Oscar took notice. “Barbie,” which is built around a sample from Aqua’s 1997 hit “Barbie Girl,” may be ruled ineligible. Last year, the Academy did not consider Doja Cat’s “Vegas” from Elvis, which was built around a sample from “Hound Dog.”
A little more than four months remains in the eligibility year. Songs from a few upcoming films – Trolls Band Together, Wonka and The Color Purple – could also be contenders. Trolls Band Together, due Nov. 17, is the third installment in the Trolls franchise. Justin Timberlake’s “Can’t Stop the Feeling!” from the first Trolls was nominated in this category seven years ago.
Wonka is due Dec. 15. Neil Hannon, lead singer of The Divine Comedy, contributed original songs for the film. The first Willie Wonka & the Chocolate Factory (1971) did not spawn a best song nominee, though “The Candy Man” became a No. 1 hit on the Billboard Hot 100 for Sammy Davis Jr. and “Pure Imagination” was covered by several artists, including Lou Rawls.
A remake of The Color Purple is due on Christmas Day. Siedah Garrett, a two-time Oscar nominee for best original song (for “Love You I Do from Dreamgirls and “Real in Rio” from Rio), teamed with Stephen Bray and Brenda Russell to write the songs for the film. If one of them is nominated, Garrett will become the third Black songwriter, following Quincy Jones and Lionel Richie, to land three best original song nominations. Jones and Richie collaborated with the late Rod Temperton on “Miss Celie’s Blues (Sister)” from the original 1985 film, which was nominated in this category.
Here are 10 early front-runners for best original song nominations.
“I’m Just Ken” from Barbie
Songwriters: Mark Ronson, Andrew Wyatt
Notes: If “I’m Just Ken” is nominated, it will be interesting to see if Ryan Gosling performs it on the Oscar telecast. He and his La La Land co-star Emma Stone opted not to perform “City of Stars” on the telecast in 2017. John Legend, their co-star in the film, sang it instead. The song won the Oscar.
Ronson and Wyatt previously won an Oscar for co-writing “Shallow” from A Star Is Born (along with Lady Gaga and Anthony Rossomondo).
If It Wins: Ronson and Wyatt would be just the third songwriter or team of songwriters to win two Oscars for best original song since 2000, following Randy Newman and the team of Robert Lopez and Kristen Anderson-Lopez.
“Peaches” from The Super Mario Bros. Movie
Songwriters: Jack Black, Aaron Horvath, Michael Jelenic, Eric Osmond, John Spiker
Notes: While this song has five credited songwriters, current Academy rules hold that no more than four songwriters can receive Oscars for co-writing a song. Here’s the rule: “In cases where five or more credited songwriters function as collaborators, a single statuette may be awarded to the group. Each songwriter must agree to the single ‘group statuette’ option by signing and returning a group award form prior to the submission deadline. Final determination of the awardable songwriters in the group will be made by the music branch executive committee.”
So, in a case like this, the songwriters must either decide which of them will not take a credit or sign a statement that they agree to share one Oscar for the group, should they win. The Oscars are the class act of awards shows in many ways, but this is an absurd and outdated rule. Expecting songwriters to share a single “group statuette” is ridiculous.
Horvath and Jelenic co-directed The Super Mario Bros. Movie. If “Peaches” is nominated, this will be the second year in a row that a best original song nominee was co-written by that film’s director. “Lift Me Up,” which was nominated earlier this year, was co-written by Ryan Coogler, the director of Black Panther: Wakanda Forever.
If It Wins: Black would have an Oscar to go along with the Grammy he won in 2015 for best metal performance for The Tenacious D’s “The Last in Line” from the Ronnie James Dio tribute album This Is Your Life.
“What Was I Made For?” from Barbie
Songwriters: Billie Eilish, Finneas
Notes: Eilish and Finneas won the Oscar in 2022 for “No Time to Die” from the James Bond film of the same name.
If It Wins: Eilish and Finneas would become the first songwriter or team of songwriters to win twice in the space of three years since Tim Rice achieved the feat in 1995 and 1997.
Moreover, Eilish, 21, and Finneas, 26, would become the youngest two-time winners in the history of this category. (Eilish will be 22 when the Oscars are presented.)
And Eilish and Finneas would be just the third songwriter or team of songwriters to win two Oscars for best original song since 2000, following Randy Newman and the team of Robert Lopez and Kristen-Anderson Lopez.
“For the First Time” from The Little Mermaid
Songwriters: Alan Menken, Lin-Manuel Miranda
Notes: This would be Menken’s 15th nomination in this category; Miranda’s third (following “How Far I’ll Go” from Moana and “Dos Oruguitas” from Encanto). Morever, this would be the fifth consecutive decade in which Menken has been nominated in this category. He received three best original song nods in the 1980s; seven in the ’90s; three in the ’00s; and one in the ’10s.
Menken won his first Oscar for best original song for “Under the Sea” from the first The Little Mermaid film. He has since won three more in the category.
If It Wins: Menken would become the first person in Oscar history to win best original song five times. (He’s currently tied with Sammy Cahn, Johnny Mercer and Jimmy Van Heusen with four wins each). Menken would also become the first songwriter to win best original song for two iterations of a film.
As noted above, Miranda would become an EGOT winner. Miranda, who will be 44 on Oscar night, would become the fourth-youngest to do so, trailing only Robert Lopez, who was 39 when he completed the awards sweep, John Legend, who was also 39, but closer to 40; and Jennifer Hudson, who was 40.
“The Fire Inside” from Flamin’ Hot
Songwriter: Diane Warren
Notes: The prolific Warren has a second song that may also be in contention – “Gonna Be You” from 80 for Brady. If either or both is nominated, this will be the seventh consecutive year that Warren has had a best original song nominee. Nobody has done that since Sammy Cahn was nominated eight years in a row, from 1954-61. If one of the songs is nominated, Warren will pull closer to Randy Newman as the songwriter with the most nominations for songs written without any collaborators. Newman has been nominated with 13 such songs; Warren has been nominated with 10.
Becky G performs “The Fire Inside” for Flamin’ Hot. Dolly Parton, Belinda Carlisle, Cyndi Lauper, Gloria Estefan and Debbie Harry perform “Gonna Be You” for 80 For Brady.
If It Wins: Warren would, at long last, have a competitive Oscar to go along with the honorary Oscar she received in November.
“Road to Freedom” from Rustin
Songwriter: Lenny Kravitz
Notes: Kravitz wrote and recorded this song for director George C. Wolfe’s Rustin. The film, due in select theaters on Nov. 3, stars Colman Domingo as Bayard Rustin, who helped co-organize the historic March on Washington in August 1963. Rustin was gay and Black, so he was fighting for equality on two fronts. Kravitz’s recording of the song features Trombone Shorty.
If It Wins: Kravitz would have an Oscar to go along with his four Grammys. “Road to Freedom” would be the third song with a Black empowerment theme to win best original song, following “Glory” from Selma (2014) and “Fight for You” from Judas and the Black Messiah (2000).
“Love Again” from Love Again
Songwriters: Dan Wilson, Rosaileen Scher
Notes: The soundtrack to this film includes five new Celine Dion recordings as well six of her past hits. Dion appears in the film, portraying a fictionalized version of herself. The film stars Priyanka Chopra Jonas and Sam Heughan. “Love Again” was released as a single, as was “I’ll Be” (which was co-written by John Ryan, Ross Golan, Jacob Kasher Hindlin and Ian Kirkpatrick). Dion introduced two Oscar-winning songs – “Beauty and the Beast” from the film of the same name (in a duet with Peabo Bryson) and “My Heart Will Go On” from Titanic.
If It Wins: Wilson would have an Oscar to go along with his two Grammys – song of the year for cowriting The Chicks’ “Not Ready to Make Nice” and album of the year for his work on Adele’s 21.
Moreover, Dion will become just the second woman to introduce three Oscar-winners for best original song. Jennifer Warnes was the first. She introduced “It Goes Like It Goes” from Norma Rae, “Up Where We Belong” from An Officer and a Gentleman (in a duet with Joe Cocker) and “(I’ve Had) the Time of My Life” from Dirty Dancing (in a duet with Bill Medley).
“High Life” from Flora and Son
Songwriters: John Carney, Gary Clark
Notes: Carney and Clark co-wrote original songs from the film, which stars Joseph Gordon-Levitt and Eve Hewson, Bono’s daughter. Clark also composed the score. Carney directed the 2007 film Once, which spawned the best original song winner “Falling Slowly,” and the 2014 film Begin Again, which spawned the best original song nominee “Lost Stars.” (Carney didn’t co-write either of those songs.)
If It Wins: Carney would become just the third director of two films released in this century that spawned Oscar-winning songs. He would follow Curtis Hanson, who directed Wonder Boys (“Things Have Changed,” 2000) and 8 Mile (“Lose Yourself,” 2002), and Sam Mendes, who directed Skyfall (the title song, 2012) and Spectre (“Writing’s on the Wall,” 2015).
“Dear Allen (Who Made Art in Heaven)” from Asteroid City
Songwriters: Jarvis Cocker, Richard Hawley, Wes Anderson
Notes: Anderson has scooped up seven Oscar nominations in four different categories for The Royal Tenenbaums, Fantastic Mr. Fox, Moonrise Kingdom, The Grand Budapest Hotel and Isle of Dogs. This would be his first best original song nod.
If It Wins: This would be Anderson’s first Oscar win.
“Joan, Still Theme” from Theater Camp
Songwriters: Ben Platt, Mark Sonnenblick, Molly Gordon, Nick Lieberman, Noah Galvin
Notes: Most of the original songs in this musical occur during the production of the fictional film Joan, Still. Other songs include “Women Cannot Read,” “The Wall Street Noise,” “No Tomorrow,” Son Salutation” and “Camp Isn’t Home.”
If It Wins: Platt becomes an EGOT winner. In addition, he would also win an Oscar before his dad, producer Marc Platt, who has been nominated for best picture three times: for co-producing Bridge of Spies, La La Land and The Trial of the Chicago 7. Actually, the senior Platt was an Oscar winner for La La Land for about two minutes – but that’s probably something he would prefer not to be reminded about.
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Post by veu on Sept 1, 2023 4:17:51 GMT -5
Not " For the First Time" but " Wild Uncharted Waters" at the Oscar 2024?
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Post by veu on Sept 8, 2023 14:15:36 GMT -5
Source: www.youtube.com/watch?v=9aKcfGWJs_YJavier Bardem - Impossible Child (Outtake) (From "The Little Mermaid"/Audio Only)
DisneyMusicVEVO
8 set 2023
“Impossible Child (Outtake)” Performed by Javier Bardem From Disney’s The Little Mermaid
Disney’s The Little Mermaid is now streaming on Disney+
“The Little Mermaid” reimagines the beloved story of Ariel, a curious mermaid who longs to experience life on land and, against her father’s wishes, visits the surface. Ariel finds herself on an unexpected journey of self-discovery as she encounters the prince, a sea witch, and an incredible new world. Disney+ is the only place to stream your favorites from Disney, Pixar, Marvel, Star Wars, National Geographic and more.
For more updates, subscribe to Disney+, Disney, Pixar, Marvel, Star Wars, and National Geographic. Disney+ is the ultimate streaming destination for entertainment from Disney, Pixar, Marvel, Star Wars, and National Geographic.
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Post by veu on Sept 11, 2023 11:02:38 GMT -5
Source: www.cinemablend.com/movies/javier-bardem-cut-the-little-mermaid-song-now-on-disney-i-understand-why-it-didnt-make-movieJavier Bardem's Cut The Little Mermaid Song Is Now On Disney+, And I Understand Why It Didn't Make The Movie By Sarah El-Mahmoud published 1 day ago I have thoughts on the King Triton deleted scene.
Javier Bardem as King Triton in The Little Mermaid 2023 movie, Impossible Child cut song (Image credit: Walt Disney Studios)
The latest live-action Disney remake, The Little Mermaid, not only revisits one of the most beloved movies the House of Mouse has ever produced, it adds depth to a beloved fairytale in ways we’ve never seen before. While I’ll admit that I walked into the movie early this summer without high expectations, Rob Marshall’s musical brings some welcome new dimensions to characters like Ariel, Prince Eric and such in ways I really enjoyed. And, with the movie now available to stream with a Disney+ subscription, fans can see Javier Bardem’s King Triton perform his cut music number, though I have to say, I understand why it didn’t make it to the theatrical release.
King Triton did not have a song in the 1989 version of The Little Mermaid, but when Disney decided to adapt the movie into live-action, there was room for a lot of changes and additions, which led to new songs for Ariel, Prince Eric and even Scuttle. Considering Javier Bardem’s talents and there perhaps being room for more King Triton in the movie, composer Alan Menken and lyricist Lin-Manuel Miranda wrote the original song “Impossible Child,” which was recorded and even filmed on the set of The Little Mermaid. Now that it’s out in the world, let’s talk about it!
How To Watch 'Impossible Child' On Disney+ The “Impossible Child” deleted song is now available to see on Disney+. All you have to do is find the live-action The Little Mermaid on the streaming service and click the tab labeled “Extras.” Once you get to that tab, there’s a selection of a few bonus features from the making of the Disney movie to view. The one you want is titled “Impossible Child (Outtake)”. It’s a three-minute clip that sees the other daughters of Triton inform him that Ariel is nowhere to be found before he sings the original song. Through the lyrics, he shares his fears and concerns for his young daughter in her absence.
Why Was Javier Bardem’s The Little Mermaid Song Cut? When CinemaBlend sat down with director Rob Marshall months ago, the filmmaker shared with us the reason why they recorded “Impossible Child” but ultimately decided to leave it on the cutting room floor. In Marshall’s words:
What was interesting was, because we're in a way creating a new piece, we added all these numbers, all these songs, and what happened was we realized, and this happens with every musical and every film musical, the piece tells you, and what happened is it robbed [the audience] from the ending. Because, that friction between [Ariel and Triton] and how that will be resolved if you, if you go into his internal thoughts in the song and you understand what he's feeling, we thought it would enhance the story actually. It was the opposite. It took away from the story because you have to wait to the end for that moment of connection and understanding what he's feeling and how he's feeling.
Initially, the filmmakers thought giving King Triton a song would enhance the relationship between Ariel and her father. However, they decided against keeping it in the movie after all. Now, to my reaction to the scene…
My Honest Thoughts On 'Impossible Child' When I talked to Rob Marshall about Javier Bardem’s cut song months ago, I became really excited to see the deleted scene he promised would see the light of day eventually. However, now that I’ve witnessed it, I totally get why it’s not in the movie. King Triton is a stoic character who creates tension in The Little Mermaid countering all the music and fun of the musical. Once he joins it, especially in the middle of the movie, audiences lose this necessary puzzle piece of the story that keeps it all together. Marshall knew what he was talking about! It’s also way too goofy to see the merman swim and sing along when he needs to be a grounding character in the movie.
It's great to see Javier Bardem use those pipes, but I’m actually happy his song was cut from the movie. If Triton is too involved in the musical element, it takes away from the final scene where he accepts Ariel. (The same cannot be said about one Ursula moment from the original movie that was cut in live action, however). Anyway, you can check out the scene right now and decide your own thoughts on “Impossible Child,” but ultimately I think the filmmakers made a good executive decision here.
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Post by veu on Sept 15, 2023 16:29:18 GMT -5
Source: comicbookmovie.com/disney/the-little-mermaid-bonus-features-clip-reveals-how-and-why-the-scuttlebutt-song-was-added-exclusive-a205696#gs.57epgdTHE LITTLE MERMAID Bonus Features Clip Reveals How And Why "The Scuttlebutt" Song Was Added (Exclusive)
The Little Mermaid's soundtrack is iconic so why was "The Scuttlebutt" added? (aside from it being incredibly catchy) In this exclusive clip, we hear from the people who brought the song into existence! News By JoshWilding - Sep 15, 2023 03:09 AM EST Filed Under: Disney Source: Toonado.com
The Little Mermaid is now available at Digital retailers, and will be released on 4K, Blu-ray and DVD September 19. To celebrate the movie splashing down into our homes, we're excited to share an exclusive clip from its bonus features which puts the spotlight on "The Scuttlebutt."
A song that was created specifically for this live-action reimagining of the animated classic, it features performances from Awkwafina as Scuttle and Daveed Diggs' Sebastian.
Throwing an original tune into the mix when the soundtrack is already iconic is a bold move, and it revolves around Scuttle informing Ariel that the belief in the castle is Prince Eric plans to propose to her.
Of course, there's a twist coming but it's not one we're going to spoil here (you'll have to watch the movie to find out what happens next).
In this exclusive sneak peek, we hear from director Rob Marshall and producers Jeffrey Silver and John DeLuca as they explain why this song was added to the already impressive soundtrack.
Then, composers Alan Menken and Lin Manuel-Miranda look back on their collaboration and how they pieced together this catchy sequence.
Manuel-Miranda, in particular, shares some fascinating insights into the way this song is structured and, after his work on In the Heights and Hamilton, we're not remotely surprised he managed to incorporate a memorable rap into The Little Mermaid!
In The Little Mermaid, the youngest of King Triton’s daughters, and the most defiant, Ariel longs to find out more about the world beyond the sea, and while visiting the surface, falls for the dashing Prince Eric.
While mermaids are forbidden to interact with humans, Ariel must follow her heart.
She makes a deal with the evil sea witch, Ursula, which gives her a chance to experience life on land, but ultimately places her life – and her father’s crown – in jeopardy.
The Little Mermaid stars singer and actress Halle Bailey as Ariel, Daveed Diggs as the voice of Sebastian, Jacob Tremblay as the voice of Flounder, Awkwafina as the voice of Scuttle, Jonah Hauer-King as Prince Eric, Art Malik as Sir Grimsby, Noma Dumezweni as Queen Selina, with Javier Bardem as King Triton, and Melissa McCarthy as Ursula.
The movie has received largely positive reviews and grossed $569 million at the worldwide box office when it was released in theaters earlier this year.
Helmed by filmmaker Rob Marshall, The Little Mermaid is now available at Digital retailers, and will be released on 4K, Blu-ray and DVD September 19.The Little Mermaid | The Scuttlebutt Bonus Clip | Buy It Now on Blu-ray & Digital
Disney Movies 11 set 2023 #TheLittleMermaid Buy Disney's #TheLittleMermaid on Blu-ray & Digital. bit.ly/BuyTheLittleMermaid
“The Little Mermaid” is the beloved story of Ariel, a beautiful and spirited young mermaid with a thirst for adventure. The youngest of King Triton’s daughters and the most defiant, Ariel longs to find out more about the world beyond the sea and, while visiting the surface, falls for the dashing Prince Eric. While mermaids are forbidden to interact with humans, Ariel must follow her heart. She makes a deal with the evil sea witch, Ursula, which gives her a chance to experience life on land but ultimately places her life – and her father’s crown – in jeopardy. The film stars singer and actress Halle Bailey (“grown-ish”) as Ariel; Jonah Hauer-King (“A Dog’s Way Home”) as Prince Eric; Tony Award® winner Daveed Diggs (“Hamilton”) as the voice of Sebastian; Awkwafina (“Raya and the Last Dragon”) as the voice of Scuttle; Jacob Tremblay (“Luca”) as the voice of Flounder; Noma Dumezweni (“Mary Poppins Returns”) as Queen Selina; Art Malik (“Homeland”) as Sir Grimsby; with Oscar® winner Javier Bardem (“No Country for Old Men”) as King Triton; and two-time Academy Award® nominee Melissa McCarthy (“Can You Ever Forgive Me?” “Bridesmaids”) as Ursula. “The Little Mermaid” is directed by Oscar® nominee Rob Marshall (“Chicago,” “Mary Poppins Returns”) with a screenplay by two-time Oscar nominee David Magee (“Life of Pi,” “Finding Neverland”). The songs feature music from multiple Academy Award® winner Alan Menken (“Beauty and the Beast,” “Aladdin”) and lyrics by Howard Ashman, and new lyrics by three-time Tony Award® winner Lin-Manuel Miranda. The film is produced by two-time Emmy® winner Marc Platt (“Jesus Christ Superstar Live in Concert,” “Grease Live!”), Miranda, two-time Emmy winner John DeLuca (“Tony Bennett: An American Classic”), and Rob Marshall, with Jeffrey Silver (“The Lion King”) serving as executive producer.
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Post by veu on Sept 24, 2023 15:34:50 GMT -5
Source: TwitterDisney is submitting “For the First Time” from ‘THE LITTLE MERMAID’ soundtrack for Oscar consideration in the Best Original Song category.
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Post by veu on Oct 1, 2023 5:53:06 GMT -5
Source: insidethemagic.net/2023/09/disney-the-little-mermaid-remake-oscar-cj1/Disney Removes ‘The Little Mermaid’ From Oscar Race Posted on September 30, 2023 by Chloe James Leave a comment Ariel (Halle Bailey) resting on jellyfish and talking to Sebastian Credit: Disney
Disney’s officially gearing up for awards season, but seems to have already pulled its The Little Mermaid (2023) remake from the competition for one category.
If you can count on two things in the movie industry, it’s that Disney will remake all of its animated films, and that each live-action remake will be met with overwhelming controversy.
Halle Bailey sings as Ariel Credit: Disney
This year’s remake of The Little Mermaid was even more controversial than usual. From the moment Disney cast Halle Bailey as Ariel, a very specific demographic of Disney “purists” found fault with the fact that Bailey was Black and Ariel was depicted as white in the original 1989 animation.
While Bailey’s performance was widely praised upon the film’s release, The Little Mermaid faced criticism due to its use (or, specifically, overuse) of CGI and its decision to censor some of the original lyrics in “Poor Unfortunate Souls” and “Kiss the Girl” to avoid offending contemporary audiences.
Ariel and Eric hold hands in 'The Little Mermaid' Credit: Disney
The film made a splash at the domestic box office upon its release, but floundered in some international territories. The Little Mermaid flopped in China and South Korea amid reports of racist backlash. It ended its theatrical run with $569.6 million on a budget of $250–265 million.
Regardless, some fans are still hopeful at the chances of a sequel. Some of have floated the idea that Disney may adapt The Little Mermaid II: Return to the Sea (2000), the direct-to-video sequel to the original animation which focuses on Ariel and Eric’s daughter, Melody.
Live-action 'Little Mermaid' shot Credit: Disney
The odds of a live-action Return to the Sea seem pretty slim. What seems slightly more realistic, however, is Disney’s current bid to enter The Little Mermaid for Oscar consideration.
Disney is only submitting one original song from The Little Mermaid for Oscar consideration this year (“For the First Time”).
As is tradition, Disney has listed the categories for which it hopes The Little Mermaid remake may be recognized by the Academy.
Until recently, this list covered Best Director (Rob Marshall), Best Actress (Hailey Bailey), Best Supporting Actress (Melissa McCarthy, Awkwafina, and Noma Dumezweni), Best Supporting Actor (Jonah Hauer-King, Javier Bardem, Daveed Diggs, Jacob Tremblay, and Art Malik), and Best Original Score (“For the First Time” by Alan Menken, Lin Manuel Miranda, and Halle Bailey).
It also included suggestions for Best Film Editing, Best Picture, Best Makeup & Hairstyling, Best Original Score, Best Adapted Screenplay, Best Production Design, Best Sound, Best Visual Effects, Best Costume Design, and Best Cinematography.
Halle Bailey as Ariel in 'The Little Mermaid' (2023). Credit: Disney Credit: Disney
Now, however, it appears that Disney has withdrawn its For Your Consideration campaign for Best Original Song. The official website now no longer lists the category.
If a studio decides not to submit an entry to a category for the Academy Awards, then it is not eligible for the award. If Disney has in fact declined to push “For the First Time” – the tune sang by Ariel when she first arrives on land as a human – then The Little Mermaid is no longer in the race for Best Original Song.
This is a surprising move considering the film’s previous triumph in the category. Thanks to the lyrical work of Howard Ashman, the 1989 original is often considered the first film that brought merged Broadway-style music with animation. Two of its tracks, “Under the Sea” and “Kiss the Girl,” made the shortlist for Best Original Song at the 1989 Academy Awards, with the former going on to win the category.
Ariel smiles at a dinglehopper in the original 'The Little Mermaid' Credit: Disney
As some X (formerly Twitter) users pointed out, the decision to pull “For the First Time” but continue with the awards campaign for the likes of Awkwafina (Scuttle) as Best Supporting Actress and Javier Bardem (King Triton) as Best Supporting Actor seems like an odd move from Disney, to say the least.
I’m somewhat confused by these FYC spreads. Do they seriously think they’ll get an Awkwafina nomination?
Javier…? can they be so serious 💀
However, Next Best Picture’s Will Mavity stepped in to clarify that studios are “often contractually obligated to include certain cast members in the FYC listings.”
We’ll have to wait until January 24, 2024, to find out the Academy’s official nominations for each category. While “For the First Time” may seemingly be out of the running, let’s take a moment to mourn the real loss here: no Oscar for “Scuttlebutt.”
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Post by veu on Oct 6, 2023 12:06:20 GMT -5
Source: www.aceshowbiz.com/news/view/00212789.html?fbclid=IwAR3DkxamevVTLe17AH7NIrJb6dpRFUnF6_62_pW5DqnXZbsDahvM9gqyKY0Halle Bailey Removed From Oscar Consideration For 'Little Mermaid' Amid Pregnancy Rumors Home - News
Walt Disney Pictures MOVIE
Disney Has Removed The Singer/Actress From Oscar Consideration For Best Original Song, Which Will Require Her To Perform The Song On Stage During The Ceremony Should It Get Nominated.
Oct 3, 2023
AceShowbiz - Halle Bailey's alleged pregnancy is apparently starting to have ramifications to her career. The singer/actress has been removed from Oscar consideration for "The Little Mermaid (2023)" amid persistent rumors that she is currently expecting a child with her rapper beau DDG.
As noted by Media Take Out, a screenshot from Disney's website from a few weeks ago showed that they submitted Halle's song "For the First Time" for Best Original Song nomination. However, as of Sunday, October 1, Disney made a change on their website and removed Halle's song from Oscar consideration.
While Halle had a high chance to score an Oscar nomination for Best Original Song, this could be complicated for the rumored pregnant star. She will be required to perform the song live on stage during the ceremony as it has been the tradition for all Best Original Song nominees for years.
It should be noted though that Halle is still submitted for Oscar consideration for Best Actress. The category does not require a nominated actress to attend the event, which is schedule to take place on March 10, 2024, in person.
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Post by veu on Oct 6, 2023 12:14:41 GMT -5
Source: www.thenews.com.pk/latest/1115373-disney-removes-halle-baileys-the-little-mermaid-from-oscar-contentionEntertainment Disney removes Halle Bailey's 'The Little Mermaid' from Oscar Contention Disney takes 'The Little Mermaid' out of Oscar running By Web DeskOctober 03, 2023
As awards season approaches, Disney is making its mark, but it appears they've already made a significant decision regarding their 2023 remake of The Little Mermaid—it's been withdrawn from contention in one category.
Disney has decided to remove its "For Your Consideration" campaign for Best Original Song, and the official website no longer lists the category.
This move carries significant implications, as per Academy Awards rules, if a studio chooses not to submit an entry to a specific category, it becomes ineligible for consideration in that category.
Despite widespread praise for Halle Bailey's performance upon the film's release, The Little Mermaid faced criticism over its heavy reliance on CGI and the decision to alter some of the original lyrics in songs like Poor Unfortunate Souls and Kiss the Girl to avoid causing offense in contemporary times.
The move by Disney to withdraw "For Your Consideration" for "For the First Time" while continuing its awards campaign for cast members like Awkwafina (Scuttle) in the Best Supporting Actress category and Javier Bardem (King Triton) in the Best Supporting Actor category has left some X users scratching their heads.
Even if Halle Bailey, who portrayed Ariel, can't attend or perform the song, many believe it should have still been submitted for consideration.
The fact that Javier Bardem, whose performance in the film received mixed reviews, is still in the running for Best Supporting Actor.
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Post by veu on Oct 7, 2023 3:57:24 GMT -5
Source: www.empireonline.com/movies/news/the-little-mermaid-new-prince-eric-song-exclusive/The Little Mermaid’s New Prince Eric Song Is A ‘Call-Out’ To Ariel: ‘They’re Both Looking For Adventure’ – Exclusive Image
The Little Mermaid
By Ben Travis | Published On 10 04 2023
People: Jonah Hauer-King Halle Bailey Lin-Manuel Miranda Rob Marshall Alan Menken
To make The Little Mermaid work, there are many things you need to get right. And perhaps more important than any of the technical challenges – or facing up to the pressure of tackling one of Disney’s most beloved animated classics – it all comes down to this: audiences really need to feel the connection between adventurous mermaid Ariel, and human seafarer Prince Eric. If the chemistry isn’t there, the romantic spark that drives Ariel to make that desperate bargain – to swap her fin for feet, at a terrible price – doesn’t make sense. No pressure, then, for Halle Bailey and Jonah Hauer-King, the stars tasked with making that work in Rob Marshall’s live-action reimagining of the 1989 favourite.
Helping to build that connection and characterisation in Marshall’s film is a new number for Eric, ‘Wild Uncharted Waters’ – one of three tunes penned by Lin-Manuel Miranda and Alan Menken to sit alongside the classics. If the original Eric represents a ‘part of that world’ that Ariel’s always wanted to explore, Eric 2.0 is more like her equal and opposite – someone born on dry land, who’s always looking out into the Big Blue. “It’s a call-out to the girl that saved him,” says Hauer-King of his new song. “They’re both looking for adventure, to other worlds.”
For Hauer-King and Bailey, the experience of making the film was a massive adventure in itself. But while you’d expect the mermaid portion of the cast to have spent most of the shoot in the giant tanks at Pinewood, Hauer-King claims he’s the one who really faced the way of water. “The person that got the wettest in this film, by a country mile, was me!” he laughs. “It came from a smart decision [of Rob’s], which is that, as a human, I should be interacting with water as a human would. So, for my stuff – the shipwreck, fights in water – I needed to be wet. Halle and the mermaids can’t interact with water as humans, so they were on blue-screen stages.” We bet he wished he was part of that world during the shoot instead.
Read Empire’s full The Little Mermaid feature – talking to Rob Marshall, musical legends Alan Menken and Lin-Manual Miranda, and cast members Halle Bailey, Jonah Hauer-King and Daveed Diggs – in the upcoming June 2023 issue, on sale Thursday 13 April. Become an Empire member now to access the issue in full on launch day, or pre-order a print copy here. The Little Mermaid comes to UK cinemas from 26 May.
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