#Alan’s vocal range is AMAZING

[simpingforcys]

Finally got to watching this video from Ms Mojo talking about Alan Tudyk and I liked this moment of his idea of all his characters in one room being like a church’s basement with coffee lmao

[tinyclowndancer]

pspspsps porretta besties from the dark place who refused to bring this song to its end here's a little something for you. 🎙️

[signed-sapphire]

Who do you see as the voice actors of your characters from The Fallen Star au? P.S. The question appeared after reading this post: https://www.tumblr.com/annymation/740501852095905792/the-voices-in-my-wish-rewrite?source=share

OOHHHHHHHHH thank you for asking!

Okay okay so I will be recasting most of the main characters. Like @annymation, Chris Pine is still Magnifico because he’s literally Magnifico, and I don’t really have a problem with any of the seven teens’ voices.

So here we go!

Asha is voiced by Cynthia Ervo!

I really like Ariana’s voice, it’s very much what someone would associate with the 3D Disney princesses. However, TFS!Asha has a completely different personality than most Disney princesses, and I want her voice to match that. She has a very strong singing conviction, and it’s different voice representation! Plus, Cynthia has HUGE vocal range, it’s seriously amazing, and honestly fits exactly how TFS!Asha is

And as a bonus, Cynthia was in Disney before!

Cielo is voiced by Anthony Ramos!

I first found out about Anthony because of Hamilton, and I’ve loved him in everything since. Literally every character he plays or voices is similar to Cielo! Particularly his roles in In the Heights and Bad Guys, he sings in both too!

Anthony is just so funny and goofy, and has SUCH STRONG flirtatious vibes EXACTLY how I imagine Cielo to be with Asha

^This is the song I’m imagining when I imagine domestic royalstar. I’m only attaching the song instead of the music video bc it’s a tad suggestive and also, Jasmine (his then girlfriend and fiancée featured in the video) broke up and that makes me sad

But!!! Musical experience, chill personality, Spanish, literally all Cielo.

Magnus is voiced by Chris Pine!

DON’T COME AFTER ME OKAY HIS VOICE SOUNDS AMAZING IN THIS SONG

It won’t be used like this in my rewrite but CMON IS VOICE SOUNDS AMAZING AND IT FITS HIS CHARACTER IN THE FALLEN STAR

Seriously, Chris Pine really loved his role, you can tell. “This is the Thanks I Get” didn’t fit his voice in the honeyed way it’s perfect in, and I’ll forever be mad at Disney for that. Chris is good in slow, emotional songs, which is why his villain song in my rewrite will be perfect for him

Amaya is voiced by Carolina Gaitán

So I’m still not really sure about this one. Amaya in TFS is Egyptian-Hispanic and I didn’t really know a lot of singers outside of Broadway tbh, but Carolina is such a great one! She voices Pepa in Encanto and it’s a shame we didn’t get to hear much of her singing voice (besides that small bit in “We Don’t Talk About Bruno”) because she’s such a great singer! I’m not 100% sure of her voice, but I do think it fits and that it will grow on me. I also haven’t had the chance to draw Amaya as much as I’d like to, so I feel like once I do I’ll be able to picture her more.

Valentino is voiced by Ravi Cabot-Conyers

Now, Valentino doesn't have any significant singing roles in my AU, but he does still speak. And I love, love Alan and know he has done amazing things for Disney, so I want to find him a voice in The Fallen Star too, but Ravi also voiced this little cutie

And yes, it's another Encanto voice, but Ravi was so adorable and amazing and it would be funny to have his dichotomy with the deep-voiced Asha

[aurevoirmonty]

JUDAS PRIEST – Sad Wings Of Destiny (2025 remaster) 

The same record label that recently released a great remaster / remix of JUDAS PRIEST first album, now is making available the legends’ sophomore work ”Sad Wings Of Destiny (2025 remaster)”. American based Exciter Records (after a deal made with Gull Records), presents this fresh remastering, obtaining a stunning sound quality. With this second album released in 1976, Priest began to create the heavier rhythms and strong twin melodies which helped to pave the way for the still malleable metal genre. Independent label Gull Records provided a mere £2,000 for Judas Priest to lay down what would become one of metal’s most revered and influential albums and, arguably, the first true bona fide traditional heavy metal work. Musically, “Sad Wings Of Destiny” is the album on which Judas Priest consolidated their sound and image, and not only one of their best, but also one of the most influential metal albums of all time. Much has been said about the amazing vocals of Rob Halford and the killer guitar work of K.K. Downing and Glen Tipton. And while they absolutely deserve the praise, not as much credit has been given to the rhythm section of drummer Alan Moore (only album with the band) and bassist Ian Hill. They lock in together and form the pounding, driving rhythms that went on to help define heavy metal.

The songwriting on this album is incredible, ahead for its era, and the diversity, awesome. In my humble opinion is the most creative album from Judas Priest before becoming a killer rocking machine (which I also like as well). Pulling together two old songs from 1973, Priest’s “Whiskey Woman” (written with original singer Al Atkins) and “Red Light Lady” from singer Rob Halford’s previous band Hiroshima, the group molded the indomitable “Victim of Changes.” The nearly eight-minute opener displays a wide dynamic range in rhythm, texture, and mood with heavy riffing, a melodic ballad section, and extended guitar leads. The heavy riff alternates with a cappella passages, Halford breaking into screaming falsettos during the slow break and dramatic conclusion of the song.

Following the now Priest classic that has stood tall for more than four decades came “The Ripper.” A concise, yet devastatingly effective track that further played with clever arrangements and sudden and arresting tempo changes. A busy, chugging, riff-heavy rocker with arrangements inspired by Queen – particularly in the high-pitched layered opening vocals and classical-tinged twin guitars. “Dreamer Deceiver” is a classic metal ballad with terrific atmospheres complete with some of Halford’s most ear-piercing falsettos, serving as introduction to the heavy “Deceiver” which follows it, a rhythm-heavy, Sabbathian track.

“Prelude” features some mood changing awesome keyboards, then “Genocide” is a forward-looking, riff-heavy rocker, bearing the influence of heavy rockers such as Deep Purple’s Woman From Tokyo. “Tyrant”, with its driving guitar riffs and concise construction, is part of the first seeds of what would flower into the New Wave of British Heavy Metal movement. Then closer “Island of Domination” is a heavy rocker with a complex riff in a style reminiscent of their contemporaries Black Sabbath.

”Sad Wings of Destiny” boasts one of the most recognizable album covers in Patrick Woodroffe’s Fallen Angels. Depicting an outstretched angel surrounded by flames on the ground, the band’s trident emblem made its first appearance hanging from the angel’s neck.

Following the release of ”Sad Wings of Destiny”, the band consciously decided to break their contract with Gull to sign with CBS. Knowing this meant forsaking their rights to the songs as well as revenues, (they would later reclaim copyright ownership of these songs) it was a move made out of necessity. Little did Judas Priest know that they had just created a heavy metal masterpiece. Every single song on this album is amazing, ever changing. It’s not perfect due to money / production limitations, but this very good remaster solves many things.

01 – Victim of Changes 02 – The Ripper 03 – Dreamer Deceiver 04 – Deceiver 05 – Prelude 06 – Tyrant 07 – Genocide 08 – Epitaph 09 – Island of Domination

Rob Halford – vocals Glenn Tipton – guitars, piano, organ K. K. Downing – guitars Ian Hill – bass Alan Moore – drums

[turtlegirlave]

So this has a ton of opinions which I usually stray away from but i really let all my opinions out here. Also there is definitely fact mistakes, probably name mistakes and some incorrect singing terms in here, I wrote this at 2 A.M. with a limited knowledge of theater I’m just trying to get a point across.

Why s2 of hsm the series should have been newsies instead of beauty and the beast:

They say straight up in the show “we need a real Alan Menkhen musical” and they pick beauty and the beast instead of newsies, a literal Broadway stage production???

At first I assumed it was because the cast was primarily male, but that isn’t even a reasonable argument. 1)as shown by s1 when a boy played sharpay, gender doesn’t matter when being considered for a role. 2), a cast with multiple male leads would give the gay men in the show a chance to shine, instead of shoving them to background roles like Chip. Not to mention Carlos is a dancer, and newsies is a musical driven by choreography. 3), since nini moved there are only like 2 lead females anyway, which works for the 2 female roles in newsies.

Casting Wise, the play works SO MUCH better!

Ricky: jack kelley is a much better role for him than the beast for many reasons. First, their personalities are very similar with the mischievous main teen vibe, so the role would be like Troy where Ricky can slip into it easier. Second, it fits him better vocally. It is very clear from listening to Joshua basset sing that he has a relatively high vocal range, and singing low notes or in a deep voice doesn’t come as naturally to him. Jeremy Jordan has a similar vocal range, where he stays in higher octaves and more rarely uses a deep, monotone voice (at least never to the beast’s extent). Ricky would sound perfect singing in Jack’s vocal range. The beast, however, sings almost exclusively in an extremely deep, monotone voice that Joshua cannot easily perform.

Ashlyn: not only does she look quite similar to Katherine, but they have similar personalities as well. Also, katherine’s high and bubbly singing voice would sound lovely with Ash’s, which is also high and bubbly but often softer. This would allow her to push herself to sing louder and more confidently. And she still gets to play a smart bookworm lead female role.

Kourtney: she was born to play miss medda larken. Mrs. Potts’ debut song “beauty and the beast” is a soft romance ballad, which does not match kourt’s stadium reach, strong, powerful voice. “That’s rich” not only shows off her vocals better, but matches her personality and voice much better with the grit and power behind it. Also, Mrs Potts as a character is the soft, motherly type. Miss medda is a rambunctious, empowered, “I got men if I want em but I don’t need em” kinda woman. Which role better fits the girl power, loud, activist, personal cheer squad type person that Kourtney is?

Carlos and Sebastian: not only would this stop shoving the gays and only interesting men other than Ricky to background roles (sorry big red), but it would show off their talents. Seb would make a wonderful crutchy, with his innocent nature and likeness to the character. It would also give him a chance to flex his vocals and sing a duet with Ricky in Santa Fe, further developing the friendships in the show. Carlos could play really any of the main boys, I mostly think he would kill in this due to his dance and choreography skills, which newsies really emphasizes.

Big red: PLEASE this boy would be perfect as Ben Cook’s role (can’t remember the newsie’s name). They’re both the kinda dumb but endearing friend type, and he leads “king of New York”, a song with a killer tap dancing break, which is the whole reason big red wanted to try out! His chemistry with Ricky as crutchy would make that a fine role for him too, but since Sebastian has stronger vocals I think it’s better for him to take a more prominent role while big red relies on his dancing skills over singing.

Gina: though there’s no more lead girl roles, I think she would kill it as mr. Pulitzer. They could add some spice to the character through her insane dance skills, and she would play a great “cunning yet intelligent buisinesswoman” type. This dude also gets 2 or 3 songs, and honestly I don’t remember who she plays in Beauty and the beast so idk.

EJ: I admit Gaston is a perfect role for him and I can’t fit him into newsies well. He would play a good spot conlin, though it is a significantly smaller role. No one really cares about ej though so small loss.

Plot valuability:

doing newsies makes literally way more sense. Firstly, they are kinda planning entering this show last-minute compared to the competition, so to pick a show already written and choreographed for stage production would really save time. (Even though it would still need work to be condensed for a high school production). Second, miss Jen is so determined to stand out from the crowd and win the contest so she picks... beauty and the beast? One of the most popular Disney movies (and honestly with one of Alan’s weaker soundtracks compared to tangled, Aladdin, and the little mermaid imo). Having them do newsies, especially when switching up gender roles like casting Gina as Pulitzer, would actually make them stand apart from the dozens of schools performing Disney movies. It would also give a significantly more impressive vocal and dance performance, since the songs were written for Broadway singers rather than actors. The set is also more cheap and condensed, while still looking professional, which would help with their “we’re too poor and late to afford a straight-up aquarium so let’s do the most with what we’ve got.” Putting the characters in these roles would also not alter their development or main story plots much, besides strengthening certain friendships and pushing aside less popular characters (ej). It would also give more rep for the gays as well as switching up gender roles. Imagine, the gay guys get actual things to do in the show and aren’t defined by the sole plot of “my boyfriend rich” relationship drama! (I love these two but I am a tired ace). Also jerjor performs in both this and tangled the series, so it’s a double whammy for Alan menkhen representation.

Marketability: I know the musical has to be widely known and appealing to viewers. People watched s1 because they love hsm. People also love beauty and the beast, so viewership may raise with fans of the movie. Newsies doesn’t die here, though. It is a very widely popular play among theatre people, and existed first as a movie musical so it isn’t exclusive to theater kids. Also, fans of Newsies are generally between their tweens and early twenties, the exact age demographic for the show. Beauty and the beast is a classic and more widely known, but also doesn’t draw in large numbers of the exact age group you want. Also, the fact that newsies is a little less mainstream only helps the plot point of them choosing it to still have something well known while also standing out from the competition. Doing beauty and the beast is not only an awful choice for casting that limits the actors vocals or is completely out of their range, but it also makes them blend in with the crowd.

Final notes: beauty and the beast was IMO the worst choice for the play this season. Movies like Aladdin and tangled both have very energetic and loud soundtracks that allow these characters to belt their hearts out. Beauty and the beast has a very folksy, quiet, ballad type of track that limits the actors. The only actor that I think sings ballads better than big booming tracks is Nini, who isn’t even in the play this year. Ricky also sings great ballads, which is why ballads that are still slow but also emotional and powerful like “Santa fe” or “something to believe in” (which would sound AMAZING in his and Ashlyn’s voices) fit much better than the deep voice of the beast that he can not comfortably sing in. Also, the beast has very few songs whereas newsies would allow him to belt his heart out in nearly every song with that lovely voice he has. The age range of the newsies cast (that characters are supposed to be 17) fits better with these very teen actors than a movie about old fashioned French young adults. Really newsies was the best musical choice for this season, but I also believe beauty and the beast was the last one they should have chosen.

(After reading comments I rescind my statement that beauty and the beast was the worst choice, but it’s still second to newsies imo)

Feel free to debate me in the comments or point out my mistakes, I’m very open to other points of view

[paralleljulieverse]

This Day in Julie-history: Madame Lilian Stiles-Allen was born on 28 July 1890

This week marks the 130th anniversary of the birth of Lilian Stiles-Allen, the woman who taught Julie Andrews how to sing. A celebrated soprano in her own right, Stiles-Allen was a renowned interpreter of lieder and oratorio during the inter-war years with a voice that “was much admired for its sweetness, range, and dramatic power” (Bradford, 17). 

Though not physically suited to the opera stage, Stiles-Allen performed widely in concert and recital in major venues with a particular emphasis on the English classical repertoire of Handel, Sargent, Beecham and Coleridge-Taylor. She was the original Nokomis in Coleridge-Taylor’s Hiawatha and a regular soloist at the Sir Henry Wood Promenade Concerts and the annual Handel Festival at the Crystal Palace. Stiles-Allen also enjoyed a solid career as a radio and recording artist, notably under contract to the Edison Bell label where she recorded both under her own name and the pseudonym of Linda Hynd (Williams, 161-63).

By the time of the Second World War, Stiles-Allen had largely retired from public performance and it was then that she turned her creative energies to teaching, a role she would embrace with gusto well into old age (Dawson, 17). Her list of students over the years included many notables of the British musical world such as Anne Ziegler, Aileen Cochrane, and Margaret Burton (Dawson, 17; Williams, 162). Without doubt, her most famous protégé, and the one she herself counted as her greatest teaching triumph, was “the phenomenal Julie Andrews” (”Teacher,” 20; Williams, 163). 

Julie started studying under Stiles-Allen when she was just 9 years old at the behest of her step-father, Ted Andrews, who had himself taken lessons with the teacher soon after arriving in the UK from Canada (Andrews 2008, 48). Much has been made of the enormous influence Stiles-Allen had on the voice and singing style of "her star pupil”, not least by Julie herself who has repeatedly credited “Madame,” as she always called her, with the foundational hallmarks of her distinctive vocal technique: 

“From when I was age 9 until the day she died in 1982, she was my singing teacher and taught me good diction, placement, everything. A wonderful lady and a huge mentor” (Andrews 2019: 16).

For her part, Stiles-Allen recalled:

”The range, accuracy and tone of Julie’s voice amazed me. All her life, I discovered, she possessed the rare gift of absolute pitch, which means that she cannot sing out of tune. I make it a rule as a singing teacher to get three octaves in all voices. Julie, as a little girl and right up to the age of fourteen, had a most unusual four-octave range, from two Cs above Alt. right down to two Cs below middle C. She had absolute confidence in her voice and in me” (cited in Cottrell, 34).

Right throughout her childhood and adolescence, Julie trained regularly with Madame to develop her voice and singing skills: first, at a studio in London and, then, at Stiles-Allen’s rambling country home in Headingley, just outside Leeds in Yorkshire. Due to the latter’s distance from London, Julie would typically journey up by rail and stay with Madame for the weekend and sometimes longer (Andrews 2008, 50ff). Inevitably, a deep emotional bond was forged that went beyond that of teacher and student. As Julie would later state of her relationship with Madame: “She had an enormous influence on me. She was a third mother to me” (cited in Windeler, 13).

Reading Julie’s many affectionate recollections of Madame, one senses she found in Stiles-Allen a level of grounded emotional support and domestic stability that was not always forthcoming in her own home life:

“I loved the cosy evenings after we’d finished work when, with Madame and her husband, we would all sit around a huge log fire. Such evenings were unknown to me, for that was the time when Mummie and Pop usually had to get ready for the theatre and go out. But with Madame, evenings were the time for relaxation and family talks” (Andrews 1958: 16).

Once Julie reached adulthood, the singing lessons became less frequent but the pair continued to keep in close contact. They worked together closely on vocal preparation for many of Julie’s most famous musical roles including My Fair Lady, Mary Poppins and The Sound of Music. Stiles-Allen’s son lived for several years in Southern California, so she had occasion to visit Julie quite frequently after her relocation to the US (Cottrell, 213). Meanwhile, on her own trips back to England, Julie would always make a point of paying respects to her beloved teacher who, by this stage, had “donated the Old Farm outside Leeds to the Yorkshire College of Music and Drama, and had moved south to a pretty cottage in West Kingsdown, Kent” (Andrews 2008, 188).

It was here that Madame Lilian Stiles-Allen died peacefully in her sleep on 15 July 1982, just two weeks shy of her 92nd birthday (”Obituary,” 10). It was a grand age and a fittingly serene end to an equally grand life. On the occasion of the 130th anniversary of her birth, we remember with fondness and gratitude the great Stiles-Allen. Brava, Madame! 

Sources:

Andrews, Julie. “So Much to Sing About, Part 2.” Woman. 10 May, 1958: 13-16, 21-22.

_____________. Home: A Memoir of My Early Years. London: Weidenfeld & Nicolson, 2008. 

_____________. “What I Know Now.” AARP, The Magazine. 62: 6. 2019: 16.

Bradford, Eveleigh. “They Lived in Leeds: Madame Lilian Stiles-Allen.” North Leeds Life. January 2017: 17.

Bricusse, Leslie. “Liner Notes.” Here I’ll Stay: The Words of Alan Jay Lerner [CD]. London: Philips, 1996.

Cottrell, John. Julie Andrews: The Story of a Star. London: Arthur Barker, 1968.

Dawson, Marie. “For Madame Lilian, 82, Life is Still Worth Singing About.” Daily Telegraph. 3 February 1973: 17.

"Obituary: Mrs Lilian Stiles-Allen." The Times, 17 July 1982: 10.

“Teacher of the Stars.” The Stage. 15 May 1958: 20.

Williams, David. “Madame Stiles-Allen at the R.V.A.S.” The Hillandale News. 67, June 1972: 161-63.

Windeler, Robert. Julie Andrews: A Life on Stage and Screen. Third ed. New York: Birch Lane Press, 1997.

Copyright © Brett Farmer 2020

[capitalchaostelevision]

It’s 8:50 pm in the quarter note is Sunnyvale  California, the stage lights go off and we are left with a dark stage, a few seconds later the stage is bombarded with light and Burden of Oath band members appear and right away get to work while Alan Griggs (Vocalist) greets the crowd of the now packed Quarter Note bar.

The Sacramento band Burden of Oath opened with the song “In the Beginning” which was a perfect choice to get the crowd going.

Although being a new band and only having a few live shows under their belt, these talented guys performed like they had been doing shows for years, displaying a lot of passion in their fast heavy songs with killer riffs. I at times found myself putting the camera down to enjoy the performance.

Burden of Oath Set list:

1)In the Beginning

2)The Answer

3)Hold Me Down

4)Permission

5)The Reaper

Second was metal band Midnight Sinfini of Redwood, California.

Which had a different sound from the first band. This one had more of a symphonic and industrial metal sound to it. From the second they entered the stage Sara Stone (Vocalist) caught my attention with her very cool stage attire that was all black with latex top and lots of chains tied to her belt and pants.

There was never a dull moment in their performance, from the first song they opened with (Final Strike) to the last Song they used to close their set (Wheel of Time), it was non stop action, William Wade Ozzy (drums), Inatullaev (guitars, vocals)and Karl Kaiser (bass)was on point, also Sara Stone (vocalist) did an excellent job of multitasking between singing and playing the violin as well as Julia Bergamaschi doing the distorted vocals and being on keys.

My personal favorite songs of their set list was Final Strike, Wheel of Time and The Grey Returns because it really shows Sara’s great vocal range capabilities and I also enjoyed the harsh vocals by Julia and Ozzy.

Midnight Sinfini Set list:

1) Final strike

2) In the night I come alive

3) Grey returns

4) Drifting in a dream

5) Beast within

6) Wasteland

7) Deceive me

8) New generation

9) Wheel of time

Third, was the band Shaylon of San Francisco. The band’s sound is a very nice blend of symphonic, rock, metal and a bit of classical which they are able to pull off really good.

From the get-go Susie Uher Jiménez (vocalist) blew me away with her amazing vocal range that left me in awe. You could feel energy Charly Urso (guitars/keyboards/vocals/composer),Alex Tamas (bass)and Kurt Becker (drums) brought to the stage specially when they performed the song Revelation’s Time, Astro Girl and The Goddess of Avalon.

It was now 12:20 a.m and it was time for the main event of the night, the long awaited Sacramento band Niviane made their way up the stage. The power metal band opened their set with the song The Druid King (which is also the title of their first album)which was a nice surprise since I expected them to start with The Berserker based on previous performances which by the way is another one of their great tracks.

This was my first time attending a Niviane show which featured their newest band member Aaron Robitsch (Crepuscle, Graveshadow), which also happens to be a great musician that has done work on the Niviane songs in the past even before he joined late last year.

Niviane’s set list for the night had a mix of tracks from their first and also their upcoming album coming out this year titled

“The Ruthless Divine”.

As the show come to an end, Niviane closed their set with the fan favorite sci-fi song, Fires in the Sky, which is also my new favorite track.

Niviane set list:

1)The Druid King

2)Falling From Elysium

3)The Berserker

4)League of Shadows

5)Into Twilight

6)Watch the Banners Fall

7)Niviane

8)Fires in the Sky

I really enjoyed this show because it had a killer lineup of local bands with very talented musicians that are passionate of what they do and If you are lucky enough to have any of these bands play in a town near you, make sure not to miss out on a hell of a show.

You can catch Niviane “The Ruthless Divine” Listening Party at The Starlet Room in Sacramento, California on Friday February 7.

Pictures and review by Alex Macias. Please visit Alex @ his website for more stunning images. alexmacias.photoshelter.com

Concert Photo Review: NIVIANE, SHAYLON, MIDNIGHT SINFINI and BURDEN OF OATH @ Quarter Note Bar – Sunnyvale, California It's 8:50 pm in the quarter note is Sunnyvale  California, the stage lights go off and we are left with a dark stage, a few seconds later the stage is bombarded with light and Burden of Oath band members appear and right away get to work while Alan Griggs (Vocalist) greets the crowd of the now packed Quarter Note bar.

[zaynmalikupdates]

Zayn And Becky G release special version of "A Whole New World"

Song Is Performed In Spanish By Becky G And Will Be Featured In Disney's "Aladdin" In Latin Spanish Speaking Markets

Original Motion Picture Soundtrack To Feature Classic Score And Original Songs By Composer Alan Menken, Lyricists Howard Ashman And Tim Rice, Plus A New Song Written By Menken, Benj Pasek And Justin Paul

OFFICIAL PRESS RELEASE

BURBANK, Calif., May 17, 2019 -- Multi-platinum and global award-winning superstar singer/songwriter ZAYN and global award-winning superstar singer/songwriter and actress Becky G are set to perform the Oscar and GRAMMY-winning duet "A Whole New World" ("Un Mundo Ideal").

The song will be featured in the film's end credits in Spanish speaking Latin American markets and on the Walt Disney Records Latin Spanish language soundtrack.

The new updated rendition of the classic song is produced by Saltwives aka Alex Oriet and David Phelan, and the music video will be directed by Philip Andelman.

The duet features ZAYN's vocals in English and Becky G's vocals in Spanish. "Un Mundo Ideal" is now available at streaming services and for download in the U.S. and Spanish-speaking markets.

"As with his choice of Zhavia Ward to duet in English, ZAYN impresses again with his personal selection of global superstar Becky G to duet with him, singing her parts in Spanish," said Mitchell Leib, president of Music & Soundtracks for the Walt Disney Studios. "This stunning "Spanglish" version really expands the footprint of ZAYN's modern interpretation of this all-time classic Disney song."

The timeless ballad, featuring Alan Menken's beautiful melody and Howard Ashman's unforgettable lyrics, received an Academy Award®, Golden Globe® Award and GRAMMY Award, among other accolades, upon its release in 1992.

The "Aladdin" original motion picture soundtrack features an unforgettable score from eight-time Oscar-winning composer Alan Menken ("Beauty and the Beast," "The Little Mermaid"), along with new recordings of the original songs written by Menken and two-time Academy Award winner Howard Ashman ("Little Shop of Horrors"), three-time Oscar winner Tim Rice ("The Lion King") and one song written by Menken and Oscar and Tony Award®-winning songwriters Benj Pasek and Justin Paul ("La La Land," "Dear Evan Hansen").

A thrilling and vibrant live-action adaptation of Disney's animated classic, "Aladdin" is the exciting tale of the charming street rat Aladdin, the courageous and self-determined Princess Jasmine and the Genie who may be the key to their future. "Aladdin" opens in U.S. theaters nationwide May 24, 2019 and in Latin America May 23 or 24, 2019 (depending on the market).

The Aladdin Spanish language soundtrack will be available at streaming and download services on May 21 at 9:00pm PT. For more information on Walt Disney Records releases, follow us at Facebook.com/Disney, Instagram/disneymusic, Twitter.com/disneymusic and our Disney Hits Playlist at http://disneymusic.co/DisneyHits.

About Aladdin:

Directed by Guy Ritchie ("Sherlock Holmes," "The Man from U.N.C.L.E."), who brings his singular flair for fast-paced, visceral action to the fictitious port city of Agrabah, "Aladdin" is written by John August ("Dark Shadows," "Big Fish") and Ritchie based on Disney's "Aladdin." The film stars Will Smith ("Ali," "Men in Black") as the larger-than-life Genie; Mena Massoud ("Tom Clancy's Jack Ryan") as the charming scoundrel Aladdin; Naomi Scott ("Power Rangers") as Jasmine, the beautiful, self-determined princess; Marwan Kenzari ("Murder on the Orient Express") as Jafar, the powerful sorcerer; Navid Negahban ("Legion") as the Sultan concerned with his daughter's future; Nasim Pedrad ("Saturday Night Live") as Dalia, Princess Jasmine's free-spirited best friend and confidante; Billy Magnussen ("Into the Woods") as the handsome and arrogant suitor Prince Anders; and Numan Acar ("The Great Wall") as Hakim, Jafar's right-hand man and captain of the palace guards.

"Aladdin" is produced by Dan Lin, p.g.a., ("Sherlock Holmes") and Jonathan Eirich, p.g.a., ("Death Note ") with Oscar® nominee and Golden Globe® winner Marc Platt ("La La Land") and Kevin De La Noy ("The Dark Knight Rises") serving as executive producers. "Aladdin" opens in U.S. theaters nationwide May 24, 2019.

About ZAYN:

ZAYN's debut album Mind of Mine was released in 2016 and saw him become the first male solo artist in the world to simultaneously chart at #1 in the UK and US album charts in the first week of release. The record was critically lauded upon release receiving widespread praise and adoration from fans. The album's lead single "Pillowtalk" hit #1 in 68 countries around the world, underlining his status as one of the most important artists of his generation. Since, ZAYN has collaborated with numerous global superstars, including Taylor Swift on "I Don't Wanna Live Forever," the title track from the soundtrack for "Fifty Shades Darker," which picked up an MTV VMA for Best Collaboration, and with SIA on the huge "Dusk Till Dawn" which was accompanied by a Mark Webb ("The Amazing Spider-Man," "500 Days of Summer") directed video with ZAYN starring alongside Jemima Kirke. The "Dusk Till Dawn" video has racked up over one billion views since its release.

Alongside building a reputation as a world class music artist, ZAYN has become one of music's biggest fashion icons. He has graced the cover of every major magazine from Highnobiety to Vogue. ZAYN has designed and released capsule collections including a sneaker collection with Giuseppe Zanotti and both male and female ranges for Versus Versace. In addition to being named 'Most Stylish Man' at the GQ Man of the Year Awards, he also was awarded 'New Artist of the Year' at the American Music Awards.

About Becky G:

Singer, songwriter and actress Becky G was born for the spotlight and her multifaceted career is shaping up to be nothing short of iconic. Her achievements include two number one hits on the Billboard Latin Airplay Charts ("Mayores" & "Sin Pijama"), a starring role in "Power Rangers," and guest-starring in Fox TV's Emmy-winning "Empire" series.

She recently won two 2018 Latin American Music Awards, for Favorite Female Artist and Favorite Urban Song (for "Mayores") and was awarded YouTube's Diamond Play Button for surpassing 10 million followers on the platform. Becky G has toured alongside Katy Perry, Demi Lovato, J Balvin, Fifth Harmony and Jason Derulo, and has recorded collabs with Pitbull, Daddy Yankee, Maluma, Anitta, Bad Bunny, Yandel, and CNCO, among others.

Becky has recently been honored by the Latin Recording Academy as a one of the Leading Ladies of Entertainment (2018) and by her home city of Inglewood, California for her contributions to the Hispanic community; and has been recognized as one of Rolling Stone's, "18 Teens Shaking Up Pop Culture" and one of Billboard's "21 Under 21."

SOURCE WALT DISNEY RECORDS

(via Pressparty)

[findasongblog]

Find A Song about trying to remain focused on following your dreams in a world where it’s too easy to coast through life and settle for mediocrity

Fortnight In Florida - Easier To Lose

A sequenced synth line buoys the vocal line at the start of ‘Easier To Lose’, the first single to be taken from Fortnight In Florida’s debut album In-flight Entertainment. Recorded at Rockfield studios under the guidance of engineer and producer Laurence Anslow, Fortnight In Florida pack a raft of diverse contemporary influences, ranging from Holy Ghost! and Massive Attack to Friendly Fires, into their blissed-out lysergic electro pop melange. Immersive, soulful, and subtle but ambitious, ‘Easier To Lose’ sees the group, which started as a purely electronic outfit, coming into their own after the recent incorporation of live elements into their shows and recorded music. As the track progresses, coruscating vocal harmonies and canny percussion enter the fray, swelling to a crescendo before the a singular guitar riff sees it out. ‘Easier To Lose’ is a testament to where Fortnight In Florida are at artistically now, ushering in all the yearning romance and vitality of a summer which can’t come too soon.

Fortnight In Florida’ are a London four-piece who consider Toro Y Moi, Holy Ghost! and Hot Chip as some of their biggest influences. Born from a shared love of disco, synth pop, and an encyclopedic knowledge of Alan Partridge quotes, Fortnight In Florida symbolises the will to escape the daily grind, expressed by their inimitable brand of blissed-out Electronic Pop’. After finishing a tour as keys player for Lianne La Havas, the band’s singer/songwriter Simon Middleton met Eamonn Dawe (bass/guitars) on a previous musical venture and ‘Fortnight In Florida' was formed. Shortly after, they were joined on drums by Andrew Gallop, with Lyle Moxsom on guitars. With three singles and a debut EP So Long released in 2016, Fortnight In Florida made the ‘Glastonbury 2016 Emerging Talent’ longlist and the ‘Unsigned Guide's Emerging Acts of 2017’ list having already been featured in their Spotlight blog. Their tracks 'Cameo' and 'It's Alright' both made the 'Fresh On The Net' Fresh Faves, and received Radio play on BBC 6Music and Amazing Radio. In 2017 they launched a crowdfunding campaign to help them raise funds to record their debut album In-flight Entertainment at Rockfield in South Wales, UK. With the final touches being made to the album they look set to release it in Spring 2019. (press release)

[stevecanmakeanythingnerdy]

Battle #20

Sweet: Desolation Boulevard (Side 1)

Vs.

Bullseye : On Target (Side 1)

Sweet: Desolation Boulevard (Side 1)

The Sweet (also most commonly known as just Sweet) is a British glam rock band that rose to worldwide fame in the 1970s. Their best known line-up consisted of lead vocalist Brian Connolly, bass player Steve Priest, guitarist Andy Scott, and drummer Mick Tucker. The group was originally called Sweetshop. The band was formed in London in 1968 and achieved their first hit, "Funny Funny", in 1971. They started out with a polished bubblegum pop sound directly influenced by The Archies. As the band matured and progressed by their third album (released as Sweet Fanny Adams abroad, later repackaged and called Desolation Boulevard in the U.S. with some tracks added, others removed) they had developed a more rock oriented sound, surrounded and defined by high, almost shrill, glass shattering Gand harmonies. Very reminiscent of Queen meets The Who. They basically helped usher in glam metal and paved the way for T Rex, Garry Glitter, etc. Later the band would slightly evolve again to include more classical music elements, not unlike ELO. Now, let’s get back to those SWEET (#seewhatididthere) high pitched harmonies! It almost seems like this is a band that time forgot. They really were ahead of the curve on a pop glam metal sound. The album starts with what I would consider to be the band’s biggest hit, “Ballroom Blitz”. This song has been covered umpteen times by many different band. Maybe you know the Krokus version, or maybe you know the Tia Carrea version from Wayne’s World, but you know it. This is the original version, and this is the most powerful. Amaze-face range and dedication! Sugary buzz pop not unlike a Rezillos or Buzzcocks. It’s difficult to explain but it’s a nearly perfect song. Quick, fun, catchy, weird, and succinct. “The 6-Teens” are next with the highest of high harmonies and happy happenstances. Produced and full (which normally would be a constant feature throughout an album but since these tunes are from different sessions there is slight variation from track to track) and continues the rocking riff pattern established earlier. I supposed could fall under the moniker of title track since it technically mentions Desolation Boulevard in the lyrics. I get a suspicion it’s about The Kennedys but truly have no idea. I have found no proof of this, just merely a feeling. “No You Don’t” charges at us next with it’s big builds and power tools. It will smack you with harmonic blasts. The band shows their prowess and rightfully sets themselves up at precursory attempts at a band like Boston, or The Darkness. Simply amazing! The next tune, “A. C. D. C.”, is a bit of a departure for the group. It’s not an homage to the group of the same name, but oddly enough it could be through a very similar chord structure. For lack of a better comparison it’s a tune about switch hitting. Free love seemed to be a big part of the 70’s and perhaps this is just a reflection of the times. Still, it’s catchy and in line with commercial success of the band. “I wanna be Comitted” is about as tripy and weird as this band gets. Not lost though are those amazing harmonies. Other amazing features are the Hipgnosis (an art collective) album cover art. This album is so good, I have hung it on my band room wall. It’s definitely in my top 30 for sure. The glass breaking harmonies, amazing production and diverse range are all factors in that decision. Despite all of this amazing talent, in the fickle world of music, they rose to fame and subsequently disappeared into obscurity relatively quickly. If you ever see one of their albums, you can only do yourself a favor by picking it up. Desolation is the best one, but some of their later work really holds up well too. True talent in my humble opinion.

Bullseye : On Target (Side 1)

This obscurity comes directly from this New York based quintet. Though the band managed to create quite a stir in the business and even sparked a major bidding war for their first album, ultimately the hype did not translate into success when Columbia Records released this in 1979. The album is a curious amalgam of AOR (album-oriented rock or sometimes referred to as adult-oriented rock... in this case, both) and mainstream pop (not unlike kindred spirits 707 or Survivor)but not fully committing itself to either extreme. The result is a fairly stable batch of songs featuring the charged vocals of Manny Demagistris, who brings ample charisma to the material here. It's presumed the band split shortly after this release, which is a shame as the talent in the band was formidable. Drummer Alan Childs later worked with John Waite, David Bowie, Rod Stewart and Julian Lennon. I picked it up (literally) while browsing through a cut out bin, drawn in by the delicious looking cover (hoping secretly the LP inside looked similar) and attracted by the bargain price of $1.00. It seems to have been a decent gamble. Combining a late seventies AOR feeling with radio friendly rock&pop typical of the era, this quintet's music is quite varied and entertaining. To give you an idea about Bullseye's versatility, opener "Treat Me Right" (later covered by Pat Benatar) attacks from the start with stabbing pianos and clean melodic guitar riffs reminiscent of the very early TOTO. I wasn’t expecting the piano or the hard rock element really. I was hoping for more power pop. Imagine if Billy Joel fronts Survivor. That creation is followed by "Seventh Heaven" which wouldn't be out of place in Loverboy's debut. It features more brand name piano rock and some surprisingly catchy leads and fills. It combines bluesy bar rock with radio arena. “I’ve Changed (never want to see you again)” lands squarely in the power rocker camp. It’s a pro break up song. A little more Ben Folds on this one. I’m on board. Each track just gets a little better and better and over the top. “Moonwalk” is no exception. Is it about Michael Jackson? (#seewhatididthere) No! But it’s good all the same. It has a locked and loaded groove which guides the whole track and peppers in some cool riffs too. There is even a minor gang chorus! How can you go wrong!?!?Moonwalk is best in show!! The last track, “In The Heat of The Summer “ kind of brings the righteous buzz of the first four to a screeching halt. It’s not TERRIBLE per se, but they try to inject a little funk, and slow the pace. Seems like an AR or PR move. The band gets points for the energetic approach, but they crossed over the very fine line of being TOO diverse. This band would make a pretty good opening act.

So Sweet were the sounds of Sweet, they desolated an entire boulevard!! They burned 160 calories over 5 songs and 20 minutes. That is an average of 32.0 calories burned per song and 8.0 calories burned per minute. Bullseye came out of relative obscurity to be on target. They burned 124 calories over 5 songs and 16 minutes. They burned 24.80 calories per song and 7.75 calories per minute. It looks like The Sweet not only broke glass with their harmonies and blitzed the Ballroom, but broke out a win too!

Sweet: “Ballroom Blitz”

https://youtu.be/ewFBuYHldeY

#Randomrecordworkoutseasonsix

#Randomrecordworkout

[thebandcampdiaries]

The Silverline presents: Walking The Wall.

The Silverline is an award-winning duo from Sydney, Australia. Their music is an explosive blend of different influences, ranging from country music to pop-rock, and pretty much everything in between. The pair set out to create some beautiful sounds, inspired by the greatest American music, but also taking their sound to the next level with a one-of-a-kind feel.

The recording quality that drives the song is pristine and excellent in its own right. This track makes me think of influential artists such as Alan Jackson or Keith Urban, but there is something more personal to The Silverline and their approach. The guitar sound tips the hat off to great guitar legends such as Stevie Ray Vaughan, particularly due to the blues-inspired tones and the creamy overdriven sounds that are so associated with that legendary artist. In addition to that, the vocals have a soulful flair that matches really well with the country footprint of the band, enabling these musicians to enjoy a deeper, one-of-a-kind sound with an unmistakable edge to it. At times melodic and fun, at times bursting with energy, “Walking The Wall” is an original song that feels like a perfect calling card for this amazing duo. This could be described as a quintessential country-rock song, which is really all about staying true to yourself and don’t take any shortcuts to compromise what you commit to. This is a song about being a stand-up person and living a life of truth and honesty - with others, but more importantly, with yourself!

The pair managed to create a stunning song that combines these deep, personal lyrical themes with a focus on melody. Clocking in at 3:21 seconds, the song begins with a guitar riff and quickly bursts into a playful arrangement. The drum parts are upbeat and solid, perfectly grooving with the bass and providing a solid backbone for the vocals to unfold. I particularly love the fiddle parts as well, which really bring some color to the composition, allowing the song to enjoy a broader soundscape. The vocal harmonies in the chorus are beautiful as well, allowing the band to have more diversity in the textures of the vocal parts. The guitar and fiddle solo parts are some of the highlights on the track as well, making for a beautiful instrumental bridge before the next chorus hits. There is also room for a piano solo later in the song, with some cool background vocal parts and more lead guitar work leading to a perfect conclusion. This song is upbeat, fast-paced, and dynamic, and it really makes you want to move to the rhythm! There is something quite special about the sound and feel of this release, and although the act hails from Australia, I definitely feel closer to Nashville when listening to this particular release! Speaking of, Australia seems to have a particularly special affinity with American country, and although the two countries are pretty far away from each other, there are some things that they both share: beautiful nature and a frontier spirit that has historically pushed people to be more open to following their heart and their instincts. This is really what this release makes me think of. It’s not easy to portray a sense of freedom in music, but The Silverline really nailed it with this amazing new release. If you enjoy this song, don’t miss out on their back catalog as well, since they have so many great songs in their discography; definitely worth checking out and put them in your heavy rotation!

Find out more about The Silverline, and do not miss out on “Walking The Wall.” The song is currently available on Youtube, with a matching music video that sets the bar higher in terms of intensity. The clip depicts the pair playing the song with their collaborators in a beautiful natural setting that definitely makes me regret all the time that I have been spending indoors due to this COVID-19 pandemic!

In addition to “Walking The Wall,” the band is also going to drop an amazing new single titled  The Borderline, which is yet another example of the band’s charisma and energy.

https://www.youtube.com/watch?v=QfHte8Zv980

https://www.facebook.com/thesilverlineofficial/

https://www.instagram.com/thesilverlineofficial/?hl=en

https://thesilverline.net.au/

[aion-rsa]

Raya and the Last Dragon: How Tuk Tuk is a Secret Good Luck Charm for Disney

https://ift.tt/eA8V8J

Outside of the dragon Sisu, Tuk Tuk might be the most adorable thing in Raya and the Last Dragon. Technically a fantasy creature who is half-armadillo and half-pug, this hybrid beastie embodies pure fairy tale fun in Walt Disney Animation Studios‘ latest adventure. And with his nifty hard shell acting as a giant unicycle upon which our heroine Raya gets around desert wastelands, we are sure kids are already wishing they could have a Tuk Tuk of their own.

It’s a nifty design, but what might surprise a lot of folks is the voice beneath the hard shell and cuddly countenance. Yes that’s right, Tuk Tuk is voiced by a real person, and those vocals belong to one of fan culture’s most beloved actors: Alan Tudyk.

The star of Firefly, Rogue One: A Star Wars Story, A Knight’s Tale, and many other films and TV shows makes for a surprising choice as the voice behind a creature that seems destined to sell a lot of stuffed animals, but there’s a very good reason for this: Tudyk’s become Walt Disney Animation Studios’ proverbial rabbit’s foot over the past nine years.

“You may be wondering about our Disney Animation good luck charm,” producer Osnat Shurer told us during a Raya and the Last Dragon press event in January. “Ever since he played King Candy in Wreck-It Ralph, Alan Tudyk has had a role in every film Disney Animation has made. Now we’ve asked Alan to stretch his Juilliard-trained skills in the past by playing the Duke in Frozen, a Weasel in Zootopia, and if you remember, a chicken in Moana. But we’re fairly certain that this is the first time that Alan’s been asked to perform as a fantasy armadillo-pug creature.”

That seems like a safe bet.

As a versatile actor who’s run the gamut from appearing in Star Wars movies to James Mangold Westerns, a la 3:10 to Yuma, Tudyk has had a colorful career. But becoming a mainstay at Disney Animation during what many consider to be their second renaissance is a unique distinction. If you accept the conventional wisdom that Disney Animation’s new rejuvenation began in 2010 with Tangled, then Tudyk has been there since almost the beginning, appearing in the WDAS follow-up Wreck-It Ralph (2012) as the surprise villain. Since then Tudyk’s voice has been heard in every Disney film, increasingly in ways that feel like winking easter eggs for the sharpest ears rather than an obvious case of casting. Hence the dimwitted rooster in Moana and now as sweet Tuk Tuk.

In 2016, Tudyk seemed amused when he talked to The Wall Street Journal about his half-day of work in the recording booth on Moana—not counting a larger amount of aural research beforehand.

“It’s amazing to me that they’ve got four hours’ worth of me making chicken sounds,” Tudyk said at the time. “How do you choose from Take One to Take Six, which ‘ee-cawwwww’ really sells it?”

It seems an interesting challenge, and one imagines it was even more difficult for both the actor and his recording team on Raya and the Last Dragon, with Tuk Tuk being an entirely made up creature who needed to show a larger range of emotion and sounds than the dumbest rooster in cinema history. But it was probably fun to roll along with.

Raya and the Last Dragon is streaming via Disney+’s premier access now.

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The post Raya and the Last Dragon: How Tuk Tuk is a Secret Good Luck Charm for Disney appeared first on Den of Geek.

from Den of Geek https://ift.tt/3sS4sCM

[brothermarc7theatre]

"Lizzie" show #660

If someone went back in time and told Lizzie Borden there would be a rock opera written about the murders she was accused of committing, she’d probably think it would be awesome. Well, Steven Chesik-DeMeyer, Tim Maner, and Alan Stevens Hewitt made that happen, and San Jose audiences had the opportunity to catch City Lights Theatre Company’s production, which closes today. With direction by Lisa Malette, choreography by Christine Herrera, and musical direction by Katie Coleman, these three ladies have helmed and created a dynamic, rockin’ show, showcasing four amazing, talented singer-actresses portraying Lizzie, her sister, her maid, and her friend. A true marathon of “screlting” (scream/belting mixed together), these ladies have a 2-hour marathon performance filled with vocal intensity and emotional material to deliver, and deliver they do!

Hayley Lovgren performs the title role with a level of emotional intensity that sends songs like “This is Not Love,” “Will You Stay?,” and “Burn the Old Thing Up” to soaring levels of vocal pyrotechnics and intimate exposition. Miss Lovgren sings in nearly every group number as well as the aforementioned solos and duets; a true accomplishment, particularly with how easy she makes it look. Amy Soriano-Palagi plays Emma, Lizzie’s sister, with infectious, brooding inner turmoil, making her performance one that draws the audience in from her introduction in the Prologue, “Forty Whacks.” Miss Soriano-Palagi delivers as much rockin’ vocal power as Miss Lovgren when they square off in “What the Fuck Now, Lizzie?,” the Act One duet, “Sweet Little Sister,” and amongst the other three ladies in “Thirteen Days in Taunton.”

Sharon Lita delivers a sweet performance as innocent, affectionate Alice, Lizzie’s friend. With a more soft-spoken vocal track assigned to Alice, Miss Lita capitalizes on the numbers “Gotta Get Out of Here” and the vulnerable “Maybe Someday” to showcase her diversity in the role and the many moods Alice has layered within. Finally, Chloe Angst gives a scene-stealing performance as Bridget, Lizzie and Emma’s maid. Miss Angst has a vocal range that seems to have no end, and a physicality that is jarring and exhaustingly appealing. The four girls are a force to behold when together, especially in Act One’s stellar “The House of Borden” and in the stunning finale, “Into Your Wildest Dreams [Epilogue]” and it is here that Pat Tyler and Melissa Sanchez’s appealing show-long steam punk costume design gets a wild turn into a fluttering visual switch that raises the cast’s mic-ography to new heights. Ron Gasparinetti’s scenic design is nothing short of awesome, filled with staircases and wooden/rustic landings making the stage both expand and seem like a home or barn under the various mood-setting washes and specials in Nick Kumamoto’s excellent lighting design.

Lizzie finishes rockin’ out this afternoon, so book your tickets City Lights' upcoming season offerings. Go see a show!

[emma-what-son]

EscapistMagazine: Emma Watson was a poor choice to play Belle. Whether it's because of the large amount of CGI or because of poor direction, she didn't have one emotion in the film that rang true or was believable. Her character's pretty thin, but even the wonder at the CGI servants or initial fear of Beast feels hollow and unnatural - like when you can sense someone's lying to you.

Globalnews: She’s merely passable in the role, bringing Belle to life in the most generic way possible. You have to hand it to her, though, because this is an iconic character — a cartoon character — and Watson manages to replicate her as best she can.

ETonline: ... much unnecessary fuss has already been made over this supposedly more progressive B&B. Because, honestly, Emma Watson's Belle may be slightly more feminist, but she isn't burning her bra outside some poor, provincial Planned Parenthood. She just teaches a girl to read. (Witch!)            

Tulsaworld: In that sense, the new film doesn’t dazzle in a way that’s going to make us forget the original, and part of that lies with the low-voltage performance of Emma Watson, who can’t match the feisty Belle that Paige O’Hara voiced. Her Belle is in charge of her destiny, but as Watson is herself an impressively empowered woman when it comes to gender equality, I would have expected a more energized, confident, memorable effort. She’s solid if unspectacular.

Slashfilm: While Emma Watson’s acting is lovely, her singing is autotuned to the point that you can hear the computer warbles in it.

Whatculture: It's no mere coincidence that Disney didn't release many clips of Emma Watson singing ahead of the movie's release, and that's because she's been regrettably autotuned into oblivion.Though Belle thankfully isn't blessed with the movie's better songs anyway, it's still incredibly grating to the ears to hear her vocal tone flatten out robotically on certain notes that she clearly couldn't hit during recording.It honestly would've been preferable to have an actual singer dub over Watson, or just hire an actress who could actually sing from the outset. Emma Watson may prove rather underwhelming as Belle, but Luke Evans is an absolute force of nature as her persistent, arrogant suitor Gaston.

Culturedvultures: Don’t get me wrong: I don’t think Emma Watson is an awful actress. Like most, I thought she was great as Hermione, but we haven’t seen her in much since then to validate her as a leading lady. From the opening scenes, her version of Belle comes across as confrontational and curt – not exactly the qualities you’d expect of a supposed princess.

Nationalreview: Watson’s Belle is not a love-starved innocent but a feminist standard-bearer (like a less strident Anna Kendrick, lacking only a college student’s iPad). Her warbling of Alan Menken’s dreadful songs — as with the movie’s overall use of singing, animated fantasy, and dancing to express heightened emotion — ultimately demeans what should be irresistible and universal about the fairy tale’s expression of romantic longing.

Fayobserver: Emma Watson makes for a genial, bland-ish Belle, the freakish outsider in her provincial French village because of her interest in books and her indifference to the local hunky baritone, Gaston (Luke Evans). Too often we’re watching highly qualified performers, plus a few less conspicuously talented ones (Watson, primarily), stuck doing karaoke, or motion-capture work of middling quality.

Eastidahonews: Watson is decent actress, although she looks lost at times here. On top of that, she is NOT much of a singer. Her voice lacks power and punch, and much of her singing sounds pitch corrected. Her deficiencies as a singer are especially pronounced when you hear cast members like Evans, who can really belt it.

Fox5dc: I love Emma Watson. She was amazing as Hermione Granger in the Harry Potter franchise. I loved her in Aronofsky’s “Noah” and Sofia Coppola’s “The Bling Ring.” Another great performance from Watson was “The Perks of Being A Wallflower.” Watson has always captured me with her characters and I find that she has a solid range. That being said, I think she was completely the wrong choice to play the iconic character of Belle, originally voiced by Paige O’Hara. First of all, this role requires an extremely talented singing voice. Watson is not a bad singer but she’s not a great singer either. Belle’s initial sequence is supposed to be extremely powerful and grab you right away. As she sings “Belle,” you are supposed to be transported to this wonderful world and suspend your disbelief for the entirety of the film. I felt that Watson had trouble with holding the notes and giving live to those longer notes. There were many times where the words felt very flat which took away from the masterful writing behind these classic songs we all know and love. These songs require a much stronger singer to keep you in the story.

Oldham-chronicle: Luke Evans, as the villainous Gaston - a former soldier who wants Belle to be his trophy wife - inevitably plots to break up the would-be couple and has a lot of fun with his character where Stevens is inhibited by a distracting CGI beast face while Watson's Belle seems to lack chemistry with her co-star.

GWinnetdailypost: From an artistic viewpoint, Watson is perfunctory at best. Beyond camera-friendly, Watson can modestly carry a tune but possesses nothing resembling range and seems incapable of delivering convincing passion.

[spydre]

Get to Know Me / Tag!!

I’m answering the tag mostly out of surprise.  If I tag you and you don’t feel like participating, that’s fine.  If I don’t tag you and you want to do this anyway, jump right in.

Rules: Tag blogs you want to know better/ Tag 20 amazing followers you’d like to get to know better  (20??) Tagged by: @epoxyconfetti

Name: John Nickname(s): Junebug, Spydre, Peregrin, John-Boy Gender: male Star Sign: Taurus Height: 5'10" unless I slouch. I never converted to metric, so you do the math if you care. Sexual Orientation: pretty much straight and monogamous but not hostile about it Favorite color: deep purple.  Or octarine. Hogwarts House: Slytherin last time I checked. Time Right Now: 12:56am Favorite animal: bear, hawk, wolf, bat Average Hours of Sleep: 6-8 Lucky Number: dunno? I go-to 5 or 7 Last thing I googled: "send a potato to" Cat or Dog Person: I like dogs, my wife and daughter like cats; cats win Blankets I sleep with: One thin blanket, plus my house robe over my feet (which I usually kick off before waking) Fav. Artist/Band:  I'll listen to nearly anything. Particularly partial to Alan Parsons, Jonathan Coulton, and Emrys Starsong, and anything in my vocal range (like Stan Rogers!) Dream Job: Acting. Dream Trip: I'm kind of a stick-in-the-mud. I guess I wouldn't mind seeing Scotland. When did you make this blog: January, 2016 What do you post about: A lot of politics lately.  But mostly whatever catches my eye: Fantasy, comics, movies, fiction, science - neato stuff. Follower Count: 36.  Good thing I'm not interested in fame. Do you get asks often: I got one once. Why did You choose your URL: College nickname.

Tagging: @delusions-of-shakespeare, @shannanevern83, @thenewcapnkyrie, @dasprite222-blog, @newbillofrights, @tondo-ule, @roachpatrol, @jumpingjacktrash, @the-real-seebs, @thebibliosphere

[gussiemiller]

Repost from @snsreleases using @RepostRegramApp - SSR2003900 This first dance music remix set on S&S Records amplifies Miller’s new single “The Last Page” from the forthcoming CD “My Name Is Gussie” and follows up his auspicious debut CD “Forever Plan”. His amazing 4 octave range vocal work with stellar musicians Gino Vannelli, Mindi Abair, Marcus Miller, Keb Mo, David Garfield and many others will captivate your ears. A sought after session singer, his songs & voice have been used in numerous commercials like DuPont, Certs, and McDonalds and in network TV shows like “Doogie Howser MD”, “Family Matters”, “Cop Rock”, “Everybody Hates Chris“ and “The Singing Bee” and in major movies like Chris Rock’s “I Think I Love My Wife”. You’ve heard him sing for years without even knowing it. Now you know. This S&S remix project featuring Steve Silk Hurley, Eddie Amador, DJ Skip & Zonum is a must have for all dance music enthusiasts. CREDITS: Artist: Gussie Miller Title: The Last Page (S&S Remixes) Written By: Anthony Starble, Alan Roy Scott, Trevan McClure, Alex Alessandroni Jr. , Gussie Miller Produced By: Gussie Miller Remixed by: Eddie Amador, Steve “Silk” Hurley, DJ Skip, Zonum Studio: Pro Audio LA, Capital University Music Tech Dept, S&S Studios. Cover Photo: Ali LeRoi Engineers: Erik Zobler - Recording Gussie Miller - Recording Barry Rudolph - Recording & Editing Jack Ellis- Asst Engineer MOTU 8PreES 96k Interface Technician – Matt LaPoint David Isaac – Mix Engineer at Titan Music & Filmworks Pete Doell – Mastering at AfterMaster Studios Remix Engineer/Producers – Eddie Amador, Steve Silk Hurley, Shannon "Skip" Syas, Joan Muñoz, Zonum Musicians: Alex Alessandroni Jr. - Keys Steve Jenkins - Bass Tony Pulizzi - Guitar Herman Matthews - Drums Shawn “Thunder” Wallace - Sax Steve Silk Hurley - Keys Gussie Miller - Lead & Backing (at Chicago, Illinois) https://www.instagram.com/p/CP9vc_yLZjT/?utm_medium=tumblr