Tag Archives: film music

Patrick Doyle talks Brave (2012)

Brave is a gorgeous animated film that was created by Pixar and released by Walt Disney Studios in 2012 (Disney acquired Pixar in 2006). The lead character, Princess Merida, has a distinct honor: she is the first Pixar character to be named an official Disney Princess.

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In Brave, Merida, a headstrong princess of the clan Dunbroch and the eldest child of King Fergus and Queen Elinor, is upset to learn that she will be betrothed to a prince from another clan. During an archery tournament that is meant to determine who she will marry, Merida secretly enters and wins the contest, shaming the other princes and infuriating her mother, who desperately wants Merida to act like “a proper princess.”

 

Wanting to change her fate, Merida defies her family with near-disastrous consequences for all involved. She follows will-o’-the-wisps to the hut of an elderly witch and receives a spell in the form of a cake which she is told to feed to her mother. Upon doing so, Elinor is transformed into a bear and loses her ability to speak. Upon returning to the hut, the pair find the witch gone with a message that explains that “the bond torn by pride” must be repaired by the second sunrise or the transformation will be permanent. Merida must work to repair her relationship with her mother and also prevent war from breaking out between the clans due to Merida’s actions at the tournament. Part of the plot involves respecting tradition while also learning to change for the future. Ultimately, Merida is able to convince the other clans (with subtle help from her mother) that the firstborn of any clan, male or female, should marry in their own time to whoever they choose.

The score for this film was composed by Patrick Doyle, a Scottish film composer best known for his work on several Shakespeare films (Henry V (1989) and Hamlet (1996)) and Harry Potter and the Goblet of Fire (2005). In this five minute interview, Doyle talks about the score and how he created a musical theme for Merida.

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Have you seen Brave? What did you think of it? Did you like the music? Let me know in the comments!

See also:

Film Composer Interviews A-H

Film Composer Interviews K-Z

Patrick Doyle Talks Cinderella (2015)

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Thoughts on Moana (2016)

WARNING! WARNING!: What follows is a full and complete summary of the film with every kind of spoiler under the sun!!!! DO NOT CONTINUE if you have not seen the film and don’t want to know what happens!!!

From the moment I saw the first teaser, I knew that Moana would knock the ball out of the park. Everything about this film felt right, but knowing that in advance still didn’t prepare me for seeing this gorgeous masterpiece (which I did on Saturday night).

Moana could very easily be the perfect Disney film (it’s at least equal to Beauty and the Beast, and you know what high regard I hold THAT film in), I could probably find a flaw if I nitpicked, but really nothing jumped out at me.

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Moana “Where you Are” (2016)

The young Moana is the daughter of the village chief and will someday lead her people on the island of Motonui. Since she was a toddler, she has been fascinated by the ocean, but it’s a fruitless desire because her father (who means well), forbids anyone to sail beyond the reef at the edge of the island’s lagoon. This is because years ago, he and his friend snuck out beyond the reef in a small boat to explore and were caught in a storm. Moana’s father came back…his friend didn’t. As Moana gets older, she actually does a great job of suppressing her love of the ocean because she understands her responsibility as a future chief and she might have happily lived the rest of her days on the island….except things are starting to go wrong.

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First the coconuts begin to spoil even before they’re harvested, and even worse, no one can find any fish in the lagoon, or anywhere within the reef. Moana believes she understands why this is happening: for years her grandmother has told the story of how the demi-god Maui stole the mystical heart of Te Fiti (a goddess considered the mother of all islands) and as a result, a dark blight has been spreading across the ocean, destroying everything it touches. And now, this blight has come to Motonui, but Moana’s father doesn’t want to believe it.

Moana “How Far I’ll Go” (2016)

Moana wants to help her people, but she’s not sure how, until her grandmother tells her a secret…her people didn’t always live on Motonui. A long time ago, they were sea voyagers, travelling the ocean in HUGE boats, sailing using only their knowledge of the stars and sea currents. But, due to the blight, boats eventually stopped returning, and it was decided to hide the boats away forever. But now, with the island in danger, the only way to save Motonui is to return the heart of Te Fiti, and the only way to do that is to sail far past the reef. Moana’s father won’t listen and actually wants to burn the boats, but then Moana’s grandmother (his mother) becomes deathly ill, and with some of her last words she urges Moana to go and do what must be done.

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Moana “You’re Welcome” (2016)

Taking a small canoe, Moana grabs some supplies and sets off to find Maui, and boy does she find him. Maui is a cocky demi-god, rather full of himself because in ages past he helped the humans by giving them fire, coconuts, various islands and other gifts. After much arguing, Moana convinces Maui to come with her to restore Te Fiti’s heart, but first they need to find Maui’s magic fish hook, a weapon that Maui uses to shapeshift into any form he chooses. Maui is certain his hook can be found in the realm of monsters, and it is…it just happens to be in the possession of a giant crab with a penchant for all things shiny and valuable. Moana and Maui do manage to retrieve the hook, but not before the crab reveals that Maui was abandoned by his family.

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Moana “Shiny” (2016)

It turns out that Maui wasn’t born a demi-god, he was actually born a normal human to human parents. But for whatever reason, as soon as he was born, they abandoned him by throwing him into the sea. But he didn’t die…the gods found him and raised him, giving him the magic fish hook when he was grown.
Fish hook found, the pair sails on to Te Fiti, and along the way Maui teaches Moana all about how to sail. (I forgot to mention, before this, there was a hilarious encounter with Kakamora, basically pygmy sprites that resemble little coconuts. It’s hilarious and a little freaky all at the same time, but I loved it!!!) It’s not as simple as sailing up to the island and restoring the heart…there happens to be a fire demon named Te Kaa in the way.

Moana “I am Moana” (2016)

The first attempt to reach Te Fiti ends very badly. Moana believes she can slip the boat past Te Kaa before he swipes them out of the water, but Maui really wants to turn back. When Moana doesn’t listen, Maui is forced to use his fish hook directly against Te Kaa’s body: the resulting explosion blasts the boat far out to see, and critically damages the fish hook in the process. Believing his entire worth is wrapped up in the fish hook, Maui refuses to have anything more to do with Moana or the quest and takes off (literally, he turns himself into a giant hawk). Initially despondent, Moana resolves to continue on alone after an inspiring meeting with her grandmother and a vision of her seafaring ancestors (in a sequence that made me cry, but in a good way).

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Moana makes it to the island (with a late assist from Maui who changed his mind), but while Maui is keeping Te Kaa distracted, she makes an earth-shattering discovery: Te Fiti isn’t there!! Maui told her that the heart belongs in the center of a spiral on Te Fiti’s chest, and when Moana looks back, she notices that Te Kaa has a spiral on HIS chest. And that’s when it dawns on her…Te Kaa isn’t just some fire demon…he, actually she, is Te Fiti without her heart!!! Knowing this, she calls Te Kaa over and reminds the goddess who she really is while restoring the heart to her. Rejuvenated, the blight is destroyed and Te Fiti thanks the pair by restoring Maui’s fish hook and making Moana’s boat good as new before returning to her slumber.

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Moana returns to Motonui, and having seen the benefits of sailing firsthand, the great boats are retrieved from their cavern and the entire village is off on a sailing adventure with Moana leading the way!

I literally cannot praise this film enough, it left me in tears by the closing scene and I’m already making plans to see this film at least one more time in the theater (and I almost never do that). If you haven’t seen this film yet, please go, and if you have and your friends haven’t, take them with you and go see it again!

Final verdict: Moana is a masterpiece that rivals the greatest of the Disney classics.

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See also:

Animated Film Reviews

Moana “Where You Are” (2016)

Marco Beltrami talks World War Z (2013)

Wow, I haven’t done one of these in the longest time (would you believe I have about ten interviews in draft form that I’ve been sitting on for the last four months?), so hopefully I still remember how to do this 🙂

This film (in brief), follows a retired UN investigator (Brad Pitt) as he seeks to keep his family safe from a global zombie outbreak. Along the way he works to find a cure (if any) and stop the zombie hordes from overwhelming the human survivors.

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World War Z was never on my list of “must see movies” because I can’t watch zombie films (they’re too real for me), but when I saw that Marco Beltrami had score the picture, I decided it was at least worth investigating to see what the composer had to say. This brief interview I found, while all too short, is enlightening nonetheless. The part that really jumped out at me is when Beltrami describes how he incorporated the tonal sounds of the Emergency Broadcast System (you know, that annoying buzzer/screech that comes on the TV every six months or so when they test the system) into the harmonies of the film score. I haven’t heard it for myself, but it sounds very clever, and would certainly be a great way to heighten the tension in a film like this.

Beltrami also discusses the need for the film to have a main theme, something to ground the story in. And let’s face it, a good theme (or the lack thereof) can make or break a film. If you watched (and liked) World War Z, then you will definitely find this brief video interesting. I only wish I could find a longer interview.

See also:

Marco Beltrami talks Blade II (2002)

Marco Beltrami and Marilyn Manson talk Resident Evil (2002)

Marco Beltrami talks Live Free or Die Hard (2007)

Marco Beltrami talks 3:10 to Yuma (2007)

Marco Beltrami talks The Wolverine (2013)

Film Composer Interviews A-H

Film Composer Interviews K-Z

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Don’t forget to like Film Music Central on Facebook 🙂

Pocahontas “Listen With Your Heart” (1995)

Pocahontas has been having some interesting dreams as of late. Actually she’s been having the same dream over and over again: she’s running through the woods when she comes across an arrow lying across the path in front of her. As she watches, it begins spinning around and around, until suddenly, it stops! Pocahontas has no idea what it means, so she’s been eagerly waiting for her father to return home so she can share her dream with him (and hopefully he can interpret it for her).

Except, Pocahontas never gets the chance to share her dream with Powhatan, as he has news of his own: Kocuom has asked permission to marry Pocahontas (and Powhatan has said yes). The free spirited Pocahontas is not exactly thrilled with this idea: Kocuom, while handsome, is a very serious man, and wouldn’t mesh very well with Pocahontas, who loves to dream and follow her heart. Powhatan advises his daughter that Kocuom would make an excellent husband for her, and she should strive to be “steady” in her life, like the large river that runs next to their village.

Pocahontas knows her father means well, but she can’t shake the feeling that she’s meant to do something else, so she travels to visit Grandmother Willow, an ancient talking willow tree that has guided both her and her mother before her (having lived for several hundred years at least).

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What Pocahontas wants essentially boils down to the question: What is my path (in life)? How do I find it? As it turns out, her mother asked Grandmother Willow the very same question years before. And the answer, was to listen! Listen to the spirits that dwell all around her. And Pocahontas does listen, and she begins to hear strange voices in the wind (I love the voices of the spirits), but she can’t understand what they’re saying. This is how Grandmother Willow’s song begins: if Pocahontas listens “with her heart” she’ll be able to understand anything the spirits tell her.

Que que na-to-ra
You will understand

Listen with your heart
You will understand

Let it break upon you
Like a wave upon the sand

Listen with your heart
You will understand

And it turns out they have a pretty important message to share. Something is coming, something with “strange clouds”. To investigate, Pocahontas climbs to the top of Grandmother Willow, and she does indeed see “strange clouds”, those clouds being the sails of the English ship now approaching the shore.

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Strange clouds indeed!

I find myself wishing this song was longer. Linda Hunt’s voice is soothing and very rich, just the sort of voice you’d expect a centuries-old tree to possess. Thankfully, there is a reprise later on once Pocahontas and John Smith meet up. Hope you enjoyed this peek at one of the shorter songs in this film.

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See also:

Pocahontas “The Virginia Company” (1995)

Pocahontas “Steady as the Beating Drum” (1995)

Pocahontas “Just Around the Riverbend” (1995)

Pocahontas “Mine, Mine, Mine!” (1995)

Pocahontas “Savages, Part I” (1995)

Pocahontas “Savages, Part II” (1995)

And if you’d like to read more about animated film music, check out the main page here: Disney/Dreamworks/Pixar/etc. Soundtracks A-Z

Pocahontas “Steady as the Beating Drum” (1995)

As the battered English ship continues on its way, the action zooms ahead to the tranquil shores of the New World, where life continues on, oblivious to the fact that it will soon change forever. We’re taken to a returning war party, led by Chief Powhatan, that is heading for home after engaging in a long fight with the Massawomecks.

One of the great things about Pocahontas is that it is one of the most realistic animated depictions of a Native American community ever created (as opposed to a more stereotypical representation like the one seen in Peter Pan). We’re given a sweeping overview of daily life: we see women picking corn, young boys playing lacrosse (I’m not sure what their name for the game was), people of all ages, from toddlers to the elderly all living in a fairly organized village.

Hega hega ya-hi-ye-hega
Ya-hi-ye-ne-he hega
Hega hega ya-hi-ye-hega
Ya-hi-ye-ne-he hega

Steady as the beating drum
Singing to the cedar flute
Seasons go and seasons come
Bring the corn and bear the fruit.

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The song tells about the regulated order of daily life; all has been the same for generations. The streams are full of fish, there is plenty of game in the woods, and all life is grounded by a firm belief in the Great Spirit and its power in their lives. All of this is provided to show that these people, while different from the arriving settlers, are hardly “savages” (as Ratcliffe continuously refers to them throughout the film).

By the waters sweet and clean
Where the mighty sturgeon lives
Plant the squash and reap the bean
All the earth our mother gives
O great spirit, hear our song
Help us keep the ancient ways
Keep the sacred fire strong
Walk in balance all our days
Seasons go and seasons come
Steady as the beating drum
Plum to seed to bud to plum.
(Hega hega ya-hi-ye hega)
Steady as the beating drum. 
Hega hega ya-hi-ye-hega.
Ya-hi-ye-ne-he hega.

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In an earlier version of this song, Kocuom (a warrior who would like to marry Pocahontas) had a verse of his own ( where he sang about how he would build Pocahontas “a sturdy house with sturdy walls” (a line referenced later in “Just Around the Riverbend”). Actually, it may have been an entire song in its own right (“Dancing to the Wedding Drum”, but in a behind the scenes feature playing the song, it has nearly the same melody as this song, so I consider them one and the same). I believe this song/verse was cut because Kocuom has a very different personality (he smiles!!!) from what we see in the final film. This is a shame because Kocuom gets very little character development overall and it would have been nice to see this moment between them.

As word spreads that the war party is nearly home, everyone begins to gather at the shore to welcome them. Clearly this is a greatly anticipated homecoming. Chief Powhatan is very happy to be home, but there is one face missing from the crowd…his own daughter Pocahontas! (Go figure the titular character is missing, a similar thing happens in The Little Mermaid, only Pocahontas isn’t in trouble for not being present).

Don’t forget to like Film Music Central on Facebook 🙂

You can become a patron of the blog at: patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

And for more great animated film music, check out the main page here: Disney Films & Soundtracks A-Z

See also:

Pocahontas “The Virginia Company” (1995)

Pocahontas “Mine, Mine, Mine!” (1995)

Pocahontas “Just Around the Riverbend” (1995)

Pocahontas “Listen With Your Heart” (1995)

Pocahontas “Savages, Part I” (1995)

Pocahontas “Savages, Part II” (1995)

Pocahontas “Mine, Mine, Mine!” (1995)

After a treacherous sea voyage, John Smith and company have arrived on the shores of the New World (what is now part of the state of Virginia). Governor Ratcliffe dispatches Smith to scout the terrain and see if any Indians are about the area. Meanwhile, the rest of the settlers are going to start digging, wait…digging??

The gold of Cortes
The jewels of Pizarro
Will seem like mere trinkets
By this time tomorrow
The gold we find here
Will dwarf them by far
Oh, with all ya got in ya, boys
Dig up Virginia, boys

Mine, boys, mine ev’ry mountain
And dig, boys, dig ’til ya drop
Grab a pick, boys
Quick, boys
Shove in a shovel
Uncover those lovely
Pebbles that sparkle and shine
It’s gold and it’s mine, mine, mine

Yes, that’s right. Ratcliffe (the greedy lout) is convinced that Virginia, like the Spanish New World (Mexico) is full of gold and precious gems. Barely scratch the surface and they’ll all be rich as kings! Of course, Ratcliffe (David Ogden Stiers) has no intention of sharing any of this wealth; his plan (revealed in the following song) is to return to England filthy rich and be ennobled by King James, and then become the envy of the entire court.

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My rivals back home
It’s not that I’m bitter
But think how they’ll squirm
When they see how I glitter!
The ladies at court
Will be all a-twitter
The king will reward me
He’ll knight me… no, lord me!

It’s mine, mine, mine
For the taking
It’s mine, boys
Mine me that gold!
With those nuggets dug…

It’s glory they’ll gimme
My dear friend, King Jimmy
Will probably build me a shrine
When all of the gold… is mine!

All of this is the basis for the song “Mine, Mine, Mine!” Ratcliffe draws a beautiful picture of the treasures that could be discovered, convincing the settlers to begin a digging and mining operation on a grand scale; leveling trees and digging deep pits in search of treasures that actually don’t exist (in real life, the natives of this area primarily had metal decorations made of copper). Ratcliffe is unwittingly sending the settler’s on a fool’s errand by having them dig up the land for something they’ll never find. The song (for the most part) perfectly highlights how greedy and selfish Ratcliffe really is.

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Meanwhile, John Smith is out exploring the pristine countryside (while a curious Pocahontas follows at a distance). He’s a man of adventure, and he believes he’s finally found the perfect land to explore. Smith isn’t really interested in gold or treasure of any kind, he’s in this for the glory of the adventure. This leads to the rival statements of “mine”: Smith says, “the greatest adventure is mine” while Ratcliffe boasts “all of the gold is mine!”

 All of my life, I have searched for a land
Like this one
A wilder, more challenging country
I couldn’t design
Hundreds of dangers await
And I don’t plan to miss one
In a land I can claim
A land I can tame
The greatest adventure is mine!

Two adventures have been started now: John Smith is out exploring (and soon to meet Pocahontas) while Ratcliffe supervises the settlers with their endless digging. So here begins my return to regular posts on Disney film music, I hope everyone had a good Thanksgiving 🙂 This post was relatively short but I think they’ll get longer as I get more comfortable writing again

Don’t forget to like Film Music Central on Facebook 🙂

Become a patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

See also:

Pocahontas “The Virginia Company” (1995)

Pocahontas “Steady as the Beating Drum” (1995)

Pocahontas “Just Around the Riverbend” (1995)

Pocahontas “Listen With Your Heart” (1995)

Pocahontas “Savages, Part I” (1995)

Pocahontas “Savages, Part II” (1995)

And for more great Disney songs and other animated film music, check out the main page here: Disney Films & Soundtracks A-Z

Lady and the Tramp “The Siamese Cat Song” (1955)

I just realized it’s been forever since I actually covered a piece of film music, so I thought I’d ease myself back in with one of the less well-known pieces of Disney music: “The Siamese Cat Song” from Lady and the Tramp (1955). Sadly, Lady and the Tramp is not very high on the radar of kids today, which is a shame, as the film is a gem with its animation and songs.

“The Siamese Cat Song”, although one of my favorite pieces, is rather controversial, because it contains a blatant Asian stereotype in the form of Si and Am, the two Siamese cats introduced by Aunt Sarah (after Lady’s owners leave for a short vacation). In keeping with their Asian origins, the song is built around a pentatonic (five tone) melody and begins with the ominous ringing of a gong (also strongly associated with Asian cultures in general).

 

When Si and Am speak (in unison a lot of the time), they have visible buck teeth. And the way they talk/sing is overly formal with bad English (a parody of Asians speaking in English). For example, here is the first verse:

We are Siamese, if you please

We are Siamese if you *don’t* please

Now we lookin’ over our new domicile

If we like we stay for maybe quite a while

The language is overly formal (note the “if you please”), and the grammar…bad! But stereotypes aside, I really like this song, because while the cats remain very polite in tone throughout their song, their actions reveal that they are nothing but trouble!

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Do you seeing that thing swimming round and round?
Yes. Maybe we can reaching in and make it drown.
If we sneaking up upon it carefully
There will be a head for you, a tail for me.

Do you hear what I hear?
A baby cry?
Where we finding baby there be milk nearby.

If we look in baby buggy there could be
Plenty milk for you and also some for me.

In short order, the two cats: topple a vase of flowers, shred the curtains, terrorize the goldfish (narrowly saved from being eaten by Lady), attempt to eat the pet bird, and in general make a huge mess. And then…the baby starts crying upstairs. Being clever cats, Si and Am deduce that there must be fresh milk nearby for the baby (and if so they will gladly help themselves). However, Lady has had enough of these two, and she makes a stand at the top of the stairs. Realizing they’ve gone too far, Si and Am run for it, and all three collide in a heap back in the sitting room, where the two devious felines make it look like Lady started it as soon as Aunt Sarah enters the room. I always hated this part because I knew none of this was Lady’s fault and yet here’s mean Aunt Sarah blaming everything on Lady.

I hope you liked this brief look at “The Siamese Cat Song”

See also:

Lady and the Tramp “Bella Notte” (1955)

Lady and the Tramp “He’s a Tramp” (1955)

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Check out the YouTube channel (and consider hitting the subscribe button)

For more classic Disney songs, check out the main page: Disney Films & Soundtracks A-Z

Pocahontas “The Virginia Company” (1995)

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In 1995, Disney released Pocahontas, their 33rd animated feature film, and the first Disney film to be based on a real historical person (that being Pocahontas, though the details have been heavily romanticized). To my surprise, I learned that this film received mixed reviews and is in fact considered the “beginning of the end” of the Disney Renaissance. I certainly didn’t get that impression when I saw the film in theaters, but I was only in the first grade at the time, and wasn’t exactly in a position to judge film quality.

Pocahontas “The Virginia Company” (1995)

Whether you like or dislike the film, there’s no denying Pocahontas has another great Disney score, with the songs once again being composed by Alan Menken. And the first song we hear is “The Virginia Company”, a short chorus that introduces the English settlers: Thomas (Christian Bale), the barely adult kid leaving home to make his fortune; Lon (Joe Baker) and Ben (Billy Connolly), two seasoned sailors who are well acquainted with the hero of the film, Captain John Smith (Mel Gibson), a man who’s traveled everywhere and doesn’t think this “New World” will be any different from the others he’s seen.

And last, but not least, there’s Governor Ratcliffe (David Ogden Stiers), his manservant Wiggins (also David Ogden Stiers) and his pompous pooch Percy. Ratcliffe is the nominal leader of the expedition and will be Governor of the new colony (but really, he’s just in it to get really rich so he can come back to England and worm his way into the aristocracy).

In “The Virginia Company”, the settlers sing about how this New World is a paradise full of gold and silver, and they’ll all become really rich:

In sixteen hundred seven
We sailed the open sea
For glory, God and gold
And the Virginia Company

For the New World is like heaven
And we’ll all be rich and free
Or so we have been told
By the Virginia Company

So we have been told
By the Virginia Company
For glory, God and gold
And the Virginia Company

On the beaches of Virginny
There’s diamonds like debris
There’s silver rivers flow
And gold you pick right off a tree

With a nugget for my Winnie
And another one for me
And all the rest’ll go
To the Virginia Company
It’s glory, God and gold
And the Virginia Company

They have this view because of the enormous riches the Spanish found when they plundered the New World and discovered the treasures of the Aztecs, the Inca and so on. Still, it is a stirring song to hear, and a good introduction to the story.

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Check out the YouTube channel (and consider hitting the subscribe button)

See also:

Pocahontas “Steady as the Beating Drum” (1995)

Pocahontas “Just Around the Riverbend” (1995)

Pocahontas “Listen With Your Heart” (1995)

Pocahontas “Mine, Mine, Mine!” (1995)

Pocahontas “Savages, Part I” (1995)

Pocahontas “Savages, Part II” (1995)

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The Lion King “Under the Stars” (1994)

The time has almost come to bring The Lion King to a close. After today I’ll share the final scene of the film and that will be the end. I hope you’ve enjoyed this look at one of the most popular films of the Disney Renaissance.

“Under the Stars” is one of my favorite instrumental themes from the film. This is the part of the story where Simba is convinced he needs to return to Pride Rock to confront Scar. A now-grown Nala (who snuck away from the desolate Pride Lands in search of help) has already tried to convince Simba to return, but the guilt-ridden Simba (who still believes Mufasa’s death is his fault) refuses, and won’t tell her why either. He storms off in anger and finally vents his frustrations to the night sky (where Mufasa once told him the great kings of the past watch over them)

You said you’d always be there for me! But you’re not…that’s because of me. It’s my fault…it’s MY fault!”

And just in the nick of time, Rafiki shows up! Simba doesn’t remember him of course, but he was the mandrill who presented Simba to the kingdom as the future king. Rafiki is singing a crazy song to himself, it goes like this:

“Asante sana, squash banana, wewe nugu mimi hapana”

And when Simba demands to know what the heck all that means, Rafiki explains that it means (in part at least) “You are a baboon, and I’m not!” When Simba tells Rafiki he must be confused, the mandrill reminds Simba that he (Simba) doesn’t even know who HE is, but he (Rafiki) does, he’s “Mufasa’s boy!”

The Lion King: Simba meets Rafiki/Mufasa’s Ghost (1994)

Of course hearing his father’s name brings Simba running after Rafiki for more information, especially when Rafiki insists that Mufasa is still alive and that he can show his father to him, but only if he follows him deep into the jungle. Simba does follow, and I love the music that comes while he’s creeping and running after Rafiki. It’s a very primal song, full of African drum beats and chanting. Sometimes when I just listen to the soundtrack, I imagine a tribal dance going on (as I’m almost positive that’s what this piece was modeled after).

After chasing Rafiki for quite a while, Simba is led to a distant lake where, Rafiki tells him, he will see his father. But when a nervous Simba peers over the edge, he is disappointed.

“That’s not my father…it’s only my reflection.”

“But you see…” Rafiki tells him “He lives in YOU.”

mufasasghost1

And suddenly the reflection changes to that of Mufasa and out of nowhere there’s a ghostly voice coming from the sky (five year old me was freaking out right about now). I absolutely love this animation: Mufasa starts as a ghostly silhouette coming out of the clouds, and as the scene continues, Mufasa’s body takes shape, until at last, we see Mufasa completely as he appeared in life:

“Simba…” (Mufasa says) “You have forgotten me..you have forgotten who you are and so you have forgotten me. Look inside yourself Simba. You are MORE than what you have become. You must take your place in the Circle of Life. Remember who you are, you are my son, and the one true king!”

mufasasghost2

And just as quickly as he comes, Mufasa is gone again. Rafiki (who presumably watched the whole thing) comes back to see if Simba has finally learned his lesson. Simba does understand now, but he’s still a bit scared about his past….time for one more lesson then.

Without warning, Rafiki bashes Simba over the head with his staff. And the following exchange has become almost a mantra for me in getting over the bad things that have happened to me in my life:

“OUCH! Geez, what was that for?

“It doesn’t matter, it’s in the past!’

“Yeah, but it still hurts.”

Oh yes, the past can hurt. But the way I see it, you can either run from it, or, learn from it (tries to hit Simba again but Simba ducks), AHA!! You see! So what are you going to do?”

“First…I’m going to take your stick!! (pause) “I’m going back!!!”

Yes, while Simba is sad that he only got to see his father again for a brief moment, he knows now what he must do: head back to Pride Rock and confront Scar once and for all!

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For more of The Lion King, see also:

The Lion King “The Circle of Life” (1994)

The Lion King “I Just Can’t Wait to be King” (1994)

The Lion King “Be Prepared” (1994)

The Lion King “To Die For” (1994)

The Lion King “Hakuna Matata” (1994)

The Lion King “Can You Feel the Love Tonight” (1994)

The Lion King “King of Pride Rock” Part 1 (1994)

The Lion King “King of Pride Rock” Pt. 2 (1994)

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The Music of Star Trek Blogathon: Recap

At last! After months of planning, The Music of Star Trek Blogathon is finally here!!!! I can’t wait to see what everyone has come up with. One last note, don’t forget to include a line at the top of your post that says “This post is part of The Music of Star Trek Blogathon hosted by Film Music Central” and include a link back to my blog page, that way anyone reading it knows that it is part of the blogathon 🙂

Day One

Thoughts All Sorts shares some thoughts on the music in Star Trek (2009): Some Musical Thoughts- Star Trek (2009)

MovieRob examines the pilot episode of Star Trek: The Next Generation “Encounter at Farpoint” : Star Trek: The Next Generation “Encounter at Farpoint” (1987)

My entry for this blogathon looks at one of the greatest cliffhangers of all time: The Music of Star Trek: The Best of Both Worlds (1990)

Plain, Simple Tom examines the now-iconic music in “Amok Time” : “Amok Time”

The Temp Track provides a ranking of every Star Trek film score there is: Scoring the Final Frontier: Celebrating 50 Years of Trek Tracks

The Temp Track also takes a look at the themes of Star Trek VI: Only Kirk Could Go To Qo’noS: Cold War Allegory and the Title Theme for Star Trek VI

Day Two

MovieRob: Star Trek Deep Space Nine “The Emissary” 

The Temp Track: The Temp Track: Star Trek (2009): The First Sixty Seconds

Day Three

MovieRob: Star Trek: Voyager “Caretaker”

MovieRob: Star Trek: Enterprise “Broken Bow”

Rhyme and Reason: Star Trek: Voyager Musical Highlights

Riley on Film: Theme from ‘Star Trek’ (1966-1969)

The Temp Track: Musical Spock

Meg nog List Blog: Star Trek Nemesis and Blue Skies