Categories
Film Music

Top 10 songs from Disney musicals

A friend of mine recently posted: “Let’s stir up some controversy: What are your thoughts on The Lion King?” I replied that a certain song on that soundtrack was a top-5 Disney song, and it wasn’t “Circle of Life” or “Hakuna Matata”.

That inspired me to consider how I would actually rank the best Disney songs. My needlessly arbitrary rules:

  • only one song per movie (live-action or animated)
  • from a movie that’s actually a musical where characters sing songs, not just a movie with a lot of original songs (sorry Tarzan)
  • judging the song itself, not the movie it’s from

Let’s get to it.

Just missed the cut

“The Bare Necessities” – The Jungle Book (1967), “Under The Sea” – The Little Mermaid (1989), “Not in Nottingham” – Robin Hood (1973), “Love Is An Open Door” – Frozen (2013)

The List

10. “Carrying the Banner”Newsies (1992)

I must admit that seeing the superior Broadway stage version has made me partial to that version of the soundtrack (both of which were composed by Disney music maven Alan Mencken). But for the purposes of this list I have to go with the opening number, which ably and jauntily establishes the setting and characters in under five minutes. (Runner-up: “Seize the Day”)

9. “I’ll Make A Man Out Of You”Mulan (1998)

To be honest I barely remember Mulan and most of its songs, so the fact that this one stands out so much is a testament to its enduring appeal. The a cappella chorus towards the end is a nice touch. (Runner-up: None)

8. “When We’re Human”The Princess and the Frog (2009)

Happy to show some love for Randy Newman since his Toy Story work is ineligible. The soundtrack as a whole (which I have a history with) is a great showcase for jazz, zydeco, gospel, and blues—and this song is probably the most danceable on this list. (Runner-up: “Almost There”)

7. “Life’s A Happy Song”The Muppets (2011)

Nothing but respect for “The Rainbow Connection” from the original Muppet Movie, but this reboot and its music by Flight of the Conchords alum Bret McKenzie really surpassed (at least my) expectations. I favor the finale version of this song, which includes the entire ensemble. (Runner-up: “Pictures In My Head”)

6. “A Whole New World”Aladdin (1992)

For a long time this was my stock answer for best Disney song. It’s an Alan Mencken joint, after all, and I’m a sucker for a soaring strings-melody combo. (Also Jasmine is the most attractive Disney princess.) But it just kept getting pushed down the list as I considered other songs. (Runner-up: None)

5. “A Star Is Born”Hercules (1997)

This whole soundtrack is up there in terms of all-around quality. No surprise since it’s another Alan Mencken production. Just an explosion of gospel/soul ebullience. I went with this song over the runner-up because it sticks with one tempo and, as the finale, brings some extra zest. (Runner-up: “Zero to Hero”)

4. “That’s How You Know”Enchanted (2007)

Guess who again? I swear I wasn’t tracking the composers when making this list, though I could have told you beforehand that Mencken would dominate. Anyway, this song rules. (Runner-up: “Happy Working Song”)

3. “We Know The Way”Moana (2016)

Like Hercules, this is one of the stronger soundtracks top to bottom. Even the villain song isn’t terrible. This particular track—while not the best sung given Lin-Manuel Miranda’s less-than-professional voice—is propulsive and buoyant like an ocean wave. Of the two iterations I’d have to pick the first, but the finale version provides a nice punch. (Runner-up: “Where You Are”)

2. “Proud Corazón”Coco (2017)

(Spoiler warning on that link as this song ends the movie.) To date, this is the only Disney song that has given me goosebumps and tears at the same time. I now watch Coco every Dia de Los Muertos while thinking of my ancestors, and this song is a hell of a climax for such a tradition. (Runner-up: “Un Poco Loco”)

1. “I Just Can’t Wait To Be King”The Lion King (1994)

I think I’m as surprised as you are. As I mentioned above, “A Whole New World” was my #1 for a long time. But listening to this one recently, I was struck by an epiphany that it’s really just an amazing bubblegum pop song. Goofy, sure, but with a killer guitar/flute (?) hook, colorful bass lines, and an inspired chord progression. I once played a stripped-down acoustic guitar cover of it at an open mic and still worked brilliantly. Think I’m getting wildly out of wing? Nah—this is my finest fling! (Runner-up: “Circle of Life”)

Categories
America Music

We Americans

This Fourth of July, the words that are echoing in my mind more than any others are the lyrics of “We Americans” by The Avett Brothers, from their recent album Closer Than Together. They beautifully capture the cognitive dissonance I feel about being an American, and even made me tear up the first time I heard them.

Here they are in full. Happy Fourth of July.

I grew up with reverence for the red white and blue
Spoke of God and liberty, reciting the pledge of allegiance
Learned love of country from my own family
Some shivered and prayed approaching the beaches of Normandy
The flag waves high and that’s how it should be
So many lives given and taken in the name of freedom
But the story’s complicated and hard to read
Pages of the book obscured or torn out completely

I am a son of Uncle Sam
And I struggle to understand the good and evil
But I’m doing the best I can
In a place built on stolen land with stolen people

Blood in the soil with the cotton and tobacco
Blood in the soil with the cotton and tobacco
Blood in the soil with the cotton and tobacco

A misnamed people and a kidnapped race
Laws may change but we can’t erase the scars of a nation
Of children devalued and disavowed
Displaced by greed and the arrogance of manifest destiny
Short-sighted to say it was a long time ago
Not even two lifetimes have past since the days of Lincoln
The sins of Andrew Jackson, the shame of Jim Crow
And time moves slow when the tragedies are beyond description

I am a son of Uncle Sam
And I struggle to understand the good and evil
But I’m doing the best I can
In a place built on stolen land with stolen people

We are more than the sum of our parts
All these broken homes and broken hearts
God will you keep us wherever we go
Will you forgive us for where we’ve been
We Americans

Blood on the table with the coffee and the sugar
Blood on the table with the coffee and the sugar
Blood on the table with the coffee and the sugar

I’ve been to every state, seen shore to shore
The still open wounds of the civil war
Watched blind hatred bounce back and forth
Seen vile prejudice both in the south and the north
And accountability is hard to impose
On ghosts of ancestors haunting the halls of our conscience
But the path of grace and goodwill is still here,
For those of us who may be considered among the living

I am a son of God and man
And I may never understand the good and evil
But I dearly love this land
Because of, and in spite of we the people

We are more than the sum of our parts
All these broken bones and broken hearts
God will you keep us wherever we go
Can you forgive us for where we’ve been
We Americans
We Americans

Love in our hearts with the pain and the memory
Love in our hearts with the pain and the memory
Love in our hearts with the pain and the memory

Categories
Books Film

Media of the moment

An ongoing series on books, movies, and music I’ve encountered recently.

Songs for Singin’ by the Okee Dokee Brothers. My eager anticipation was rewarded with this double-album’s worth of characteristically clever, catchy, and joyful tunes. I may have teared up during “Jubilation”.

The Last Temptation of Christ. Sure, there are few regrettably ’80s moments and music cues, but it’s nevertheless one of the most effective and creative reimaginings of the Jesus story I’ve encountered. (See also: Lamb: The Gospel According to Biff, Christ’s Childhood Pal by Christopher Moore.)

Da 5 Bloods. It’s simultaneously: a long movie that flew by, an epic that felt intimate, a didactic history lesson that felt urgent, a legendary filmmaker’s 24th feature that felt fresh, and a movie meant for theaters that still works on Netflix.

Enemy of All Mankind: A True Story of Piracy, Power, and History’s First Global Manhunt by Steven Johnson. My reading was already in a slowdown before COVID-19, and then it got worse. But I blew through this one, which is yet another Johnson gem and changes everything you think you know about pirates.

A Hidden Life. Back on the Terrence Malick train, baby, which I think has been wayward since 2012’s To The Wonder. Malick exhibits some uncharacteristic but welcome restraint with the camerawork and narrative structure (i.e. actually having one). Gorgeous Austrian countryside setting and soundtrack by James Newton Howard too.

Triple Frontier. Makes an accidental but fun double feature with fellow Netflix jungle action buddy drama Da 5 Bloods.

Categories
Film Love Music Religion Television

An ‘Unorthodox’ Harmony

It’s good to know that even in quarantine, my old friend synchronicity can still visit me.

I watched the Netflix miniseries Unorthodox after reading the review from Vox‘s Alissa Wilkinson and am so glad I did. Based on the true story of a young ultra-Orthodox Jewish woman fleeing her community in Williamsburg, it’s just four episodes but packs a powerful punch.

(Spoilers ahead. Just go watch Unorthodox.)

Esty, the young woman, is 19 and married to Yanky, an equally young ultra-orthodox Jew who’s serious and withdrawn. When they don’t immediately conceive a child—as is the expectation in their religious and cultural milieu—their marriage strains to the point where Esty begins secretly orchestrating an escape.

One of the leitmotifs in the series is Esty’s relationship with music. Since in her community it’s considered immodest for women to perform in public, she hasn’t been able to live out her passion for music except through the memory of listening to her grandmother’s favorite choral music, and then only through taking piano lessons in secret with a neighbor.

When she does get the chance to perform later in the series, at an audition for a music academy, she first sings a Schubert piece that was a favorite of her grandmother. When asked to sing another, she digs for something even more personal. In The Thrillist, Esther Zuckerman describes this powerful moment:

In a strong chest voice, she starts to sing in Hebrew. The tune, which is never identified by name, is “Mi Bon Siach,” heard at weddings when the bride and groom are under the chuppah. It’s a melody that played when Esty and Yanky were getting married in the second episode, and Esty’s choice of it resonates with both rebellion and irony. It’s a song that should signify her bond to a man, but she’s turning it into something that can extricate her from that bond, using a voice that she wouldn’t have been able to use in her former world where women’s singing is prohibited.

And this is where synchronicity arrives. The day before starting Unorthodox I read the article “Contrapuntal Order: Music Illuminates Social Harmony” by John Ahern in First Things. A doctoral candidate in musicology at Princeton, Ahern writes about how the musical concepts of counterpoint and harmony relate to marriage and relationships. Counterpoint, he writes,

is the accumulation of multiple melodies. It is like Louis Armstrong playing an improvised tune on his trumpet at the same time as Ella ­Fitzgerald sings “La Vie en Rose”—two different melodies simultaneously. Neither is subordinate to the other, or, if there is subordination (perhaps we listen a little more to Ella’s voice than the trumpet), they are both melodies, a status that the piano, plunking out chords in the background, does not share. In true counterpoint, all the sound created is produced by people singing or playing melodies. If we lived several hundred years ago, we would say that “harmony” is what joins and holds together those melodies, their counterpoint, in a pleasing fashion.

I’ve always loved counterpoints in music. They’re a great way to juice up a final chorus, like in the climax of “Non-Stop” from Hamilton. And they are the perfect metaphor for the relationship between Esty and Yanky, and between the competing “melodies” within Esty during her time of personal and spiritual upheaval.

As Ahern writes, “when two melodies coexist, the glory is their coexistence. But there is no harmony among things that are too dissimilar. The melodies must have an awareness of and reliance on each other in order to live in concord.” However, “if the two melodies resemble each other too closely, they lose their identity. The glory of harmony, of concord, is that the elements are different.”

Having grown up in the same cloistered culture with a shared worldview, Esty and Yanky were arguably too similar to inhabit true harmony. Especially since as a woman in a severely conservative milieu, Esty had no true autonomy and no identity outside of being a baby-maker (which she says explicit in the show).

Unorthodox is the story of how that changes. Esty’s journey from passivity to power—paralleled by Yanky’s own existential awakening—mirrors the counterpoint view of marriage, which creates harmony in its original sense by allowing and even demanding coexistent voices. This contrasts with the more conservative “complementarian” model of marriage, with one spouse (usually the wife) filling in around whatever space the other (husband) inhabits. In the older sense of harmony, writes Ahern:

one person singing is no threat at all to another person singing. Sounds are not quantities or physical objects; for one to exist in the same space as one another is not only possible but desirable. The challenge is to get them to sound good together. This requires some chronological hierarchy—one party needs to lead and the other follow—but this, as we discovered above, does not mean that one party will sacrifice more autonomy than another. Both must sacrifice independence for the sake of symmetry.

Perhaps you can see now why this article spoke (or sang) to me while watching Unorthodox. Competing melodies in music and marriage can work only if they are composed with intention and care within a shared song. How Esty’s melodies do or do not harmonize within herself and with Yanky are what make Unorthodox so compelling, and I encourage you to seek it out.

(I also recommend reading Ahern’s article in full for a much richer explication of the counterpoint theory.)

Categories
Music

Songs for Singin’

The Okee Dokee Brothers (probably my favorite band right now) are releasing their new two-disc album Songs for Singin’ two months early “so families can listen to some positive tunes while they stay home.”

The first single is “Hope Machine”, a jaunty tune that was written before COVID-19 but still pointedly speaks to the current moment:

Loved these lines:

Talk quiet and listen loud
Teach humble and learn proud
Scuffle with the struggle
And wrestle with the pain

There’s lots more sophisticated and pithy life advice that’s both timely and timeless tucked into a song supposedly written just for kids. But that’s the Okee Dokee Brothers for you.

Couldn’t pre-order fast enough.

Categories
Music

Favorite Albums of the 2010s

See also: my favorite books, TV shows, and films of the 2010s.

Listed alphabetically by artist, here are the albums from the last 10 years that sustained and entertained me:

Abigail Washburn, City of Refuge. Favorite track: “City of Refuge”

The Book of Mormon Original Broadway Cast Recording. Favorite track: “You And Me (But Mostly Me)”

case/lang/veirs, case/lang/veirs. Favorite track: “Atomic Number”

Dawes, Nothing Is Wrong. Favorite track: “A Little Bit of Everything”

Good Old War, Come Back As Rain. Favorite track: “Amazing Eyes”

Hamilton Original Broadway Cast Recording. Favorite track: “One Last Time”

Ingrid Michaelson, Songs for the Season. Favorite track: “Auld Lang Syne”

Joe Pug, Messenger. Favorite track: “The First Time I Saw You”

John Mayer, Born and Raised. Favorite track: “Queen of California”

The Lonely Island, Turtleneck & Chain. Favorite track: “Jack Sparrow”

Lord Huron, Lonesome Dreams. Favorite track: “Ends of the Earth”

Lucius, Wildewoman. Favorite track: “Turn It Around”

The Okee Dokee Brothers, Through the Woods. Favorite track: “Walking With Spring”

Over the Rhine, Blood Oranges in the Snow. Favorite track: “First Snowfall”

The Tallest Man On Earth, The Wild Hunt. Favorite track: “Troubles Will Be Gone”

Categories
Books Film Music

Media of the moment

An ongoing series on books, movies, and music I’ve encountered recently.

May It Last: A Portrait of the Avett Brothers. Heard about this documentary from the Armchair Expert episode with the Avett Brothers. Made me appreciate them anew.

Closer Than Together by The Avett Brothers. “We Americans” should be the new national anthem.

The Feather Thief by Kirk Johnson. A strange, infuriating true crime story from the world of Victorian fly-fishing tie obsessives. The last third isn’t as compelling and propulsive as the first two, but I learned a lot about ornithology.

Toy Story 4. Liked it a lot. They still should have stopped at 3.

Mighty Fitz: The Sinking of the Edmund Fitzgerald by Michael Schumacher. Well-told narrative about an essential event in Great Lakes lore.

Hard Eight. I would say this is shockingly well made for a debut film, but it was by Paul Thomas Anderson so I guess it’s not terribly shocking.

Categories
Family Film Music

This is his song

One day I was trying to soothe my fussy baby with some bouncing and singing. I faced him toward me and then out of nowhere started singing a melody that popped into my head. The combination of the song and how I swayed and bounced him calmed him right away, and even elicited a smile.

At first I couldn’t place the melody. But then I remembered: it was the “This Is My Song” ditty from the 1958 movie musical Tom Thumb, officially titled “Tom Thumb’s Tune”:

Here’s the film version, featuring the dance stylings of West Side Story and Seven Brides for Seven Brothers actor Russ Tamblyn. I remember loving that movie as a kid, but it’s been so long since I’ve seen it that perhaps it’s time for a rewatch.

The song-and-bounce routine has now become something of a family joke given how effective it is at soothing, if only temporarily. Funny how things can emerge from your brain at just the right time.

Categories
Music

Love & Revelation

So excited to receive Over the Rhine’s gorgeous new album Love & Revelation in the mail. I don’t get many CDs these days, so it was a treat to admire the design and new-CD smell:

This album was part of Over the Rhine’s fundraiser from a few years ago my wife and I contributed to. Two more future albums are included in our donation level, along with the treat of getting our names in the liner notes:

Get it when it’s released wide March 15!

Categories
Film Music Technology

Why I love Kanopy, Hum, and System Information

Want to give some love to three services I’ve enjoyed lately:

Kanopy

Kanopy is a free streaming service available through your public library. (If it isn’t, ask them to get it!) Abundant with titles from A24, The Criterion Collection, and other high-quality providers, it’s rife with a delightful array of foreign films, indies, and documentaries to fill the FilmStruck-shaped hole in the hearts of cinephiles. My watchlist expanded pretty quickly once I signed up, much of it classics and Criterion titles I’ve been meaning to watch and want to get to before my wife gives birth. In the last few weeks I’ve watched Three Days of the Condor, The Seventh Seal, 48 Hrs., Ugetsu, Battleship Potemkin, and The Wages of Fear, with more on the horizon. Get thee to Kanopy!

Hum

hum-songs

I’ve been using Hum for a lot longer than Kanopy, but only recently realized how much I love it. It’s the perfect songwriting app. Super easy to quickly record song ideas, gather lyrics, and add helpful metadata. Beautifully made and a joy to use, though I really ought to use it more. Since I recently released the songs that comprised my 20s, I’m excited to see what will become of the song ideas currently residing in Hum.

System Information on Mac

I rediscovered this function while trying to clean out some disk space on my wife’s MacBook Pro and make it run faster. Previously I used Disk Doctor for this job; it’s a fine app that costs $2.99, but System Information is built-in and provides a more granular view of your files. It also makes deleting them super easy and satisfying. It’s a bit hidden, but well worth the hunt. If you’re a file hoarder or haven’t optimized your Mac in a while, you’ll be shocked by how much cruft builds up. Also by how large iOS backups are! (Seriously, my wife’s storage space more than doubled after I deleted those.)