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834
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|---|---|---|
[
"Fred & Edie",
"author",
"Jill Dawson"
] |
Fred & Edie is a 2000 epistolary and semi-biographical novel by Jill Dawson. The novel is loosely based on the murder of Percy Thompson by his with Edith Thompson and, her lover Frederick Bywaters. The novel develops a sympathetic reading of Edie's understanding of the crime and subsequent incarceration as depicted in her unsent letters to Fred.The novel was shortlisted for both the 2000 Whitbread Novel Award and the 2001 Orange Prize for Fiction, though won neither.
| 8
|
[
"Fred & Edie",
"instance of",
"literary work"
] |
Fred & Edie is a 2000 epistolary and semi-biographical novel by Jill Dawson. The novel is loosely based on the murder of Percy Thompson by his with Edith Thompson and, her lover Frederick Bywaters. The novel develops a sympathetic reading of Edie's understanding of the crime and subsequent incarceration as depicted in her unsent letters to Fred.The novel was shortlisted for both the 2000 Whitbread Novel Award and the 2001 Orange Prize for Fiction, though won neither.Reception
The novel was generally well received. New Zealand Herald reviewer John McCrystal, called the novel " a dazzling novel, gripping and moving." McCrystal called Edie's characterization as " a brilliant feat of characterisation" in contrast to Fred, "he never quite comes alive". In reflecting on Dawson' career, the British Council called " Dawson's version of this tragic story is haunting and compelling, particularly as Edie realises the terrible fate that awaits her." The Orange Prize nomination called the novel a "novel of entrancing imagination, sensitivity and grace" which "creates an intimate, tantalising voice for Edie".
| 9
|
[
"Brigitte Giraud",
"instance of",
"human"
] |
Brigitte Giraud (born 1960, Sidi-Bel-Abbès in Algeria) is a French writer, author of novels and short stories.Early life
Born in 1960, Brigitte Giraud grew up in Rillieux-la-Pape before settling in Lyon. She studied English, German and Arabic.Career
Giraud worked as a bookseller, translator and journalist. For her first book La chambre des parents (1997), she received the "Prix Littéraire des Étudiants" and for Nico the "Prix Lettres frontière Rhône-Alpes".
On 3 November 2022, she was awarded the 2022 Prix Goncourt for Vivre vite, a récit about the death of her husband Claude in 1999 at the age of 41. She is the thirteenth woman to receive the Goncourt since the prize's establishment in 1903. Giraud won after the jury underwent fourteen rounds of voting, the maximum amount permitted. The final vote ended in stalemate and, in accordance with the rules, the president of the Goncourt Academy cast a deciding vote, selecting Giraud over Giuliano da Empoli's novel Le mage du Kremlin.
| 0
|
[
"Brigitte Giraud",
"native language",
"French"
] |
Early life
Born in 1960, Brigitte Giraud grew up in Rillieux-la-Pape before settling in Lyon. She studied English, German and Arabic.Career
Giraud worked as a bookseller, translator and journalist. For her first book La chambre des parents (1997), she received the "Prix Littéraire des Étudiants" and for Nico the "Prix Lettres frontière Rhône-Alpes".
On 3 November 2022, she was awarded the 2022 Prix Goncourt for Vivre vite, a récit about the death of her husband Claude in 1999 at the age of 41. She is the thirteenth woman to receive the Goncourt since the prize's establishment in 1903. Giraud won after the jury underwent fourteen rounds of voting, the maximum amount permitted. The final vote ended in stalemate and, in accordance with the rules, the president of the Goncourt Academy cast a deciding vote, selecting Giraud over Giuliano da Empoli's novel Le mage du Kremlin.
| 3
|
[
"Brigitte Giraud",
"nominated for",
"Prix Femina"
] |
References
External links
Page on the website of her publisher
Brigitte Giraud on Auterus en Rhône -Alpes
Brigitte Giraud's blog
Entretien avec Brigitte Giraud, directrice de la collection « la forêt » (Stock)
Brigitte Giraud on Confluences, rencontres littéraires
Brigitte Giraud on Babelio
| 4
|
[
"Brigitte Giraud",
"occupation",
"translator"
] |
Early life
Born in 1960, Brigitte Giraud grew up in Rillieux-la-Pape before settling in Lyon. She studied English, German and Arabic.Career
Giraud worked as a bookseller, translator and journalist. For her first book La chambre des parents (1997), she received the "Prix Littéraire des Étudiants" and for Nico the "Prix Lettres frontière Rhône-Alpes".
On 3 November 2022, she was awarded the 2022 Prix Goncourt for Vivre vite, a récit about the death of her husband Claude in 1999 at the age of 41. She is the thirteenth woman to receive the Goncourt since the prize's establishment in 1903. Giraud won after the jury underwent fourteen rounds of voting, the maximum amount permitted. The final vote ended in stalemate and, in accordance with the rules, the president of the Goncourt Academy cast a deciding vote, selecting Giraud over Giuliano da Empoli's novel Le mage du Kremlin.
| 9
|
[
"Brigitte Giraud",
"given name",
"Brigitte"
] |
Brigitte Giraud (born 1960, Sidi-Bel-Abbès in Algeria) is a French writer, author of novels and short stories.Early life
Born in 1960, Brigitte Giraud grew up in Rillieux-la-Pape before settling in Lyon. She studied English, German and Arabic.
| 14
|
[
"Brigitte Giraud",
"place of birth",
"Sidi Bel Abbès"
] |
Brigitte Giraud (born 1960, Sidi-Bel-Abbès in Algeria) is a French writer, author of novels and short stories.
| 16
|
[
"Brigitte Giraud",
"family name",
"Giraud"
] |
Brigitte Giraud (born 1960, Sidi-Bel-Abbès in Algeria) is a French writer, author of novels and short stories.Early life
Born in 1960, Brigitte Giraud grew up in Rillieux-la-Pape before settling in Lyon. She studied English, German and Arabic.
| 17
|
[
"Brigitte Giraud",
"occupation",
"bookseller"
] |
Career
Giraud worked as a bookseller, translator and journalist. For her first book La chambre des parents (1997), she received the "Prix Littéraire des Étudiants" and for Nico the "Prix Lettres frontière Rhône-Alpes".
On 3 November 2022, she was awarded the 2022 Prix Goncourt for Vivre vite, a récit about the death of her husband Claude in 1999 at the age of 41. She is the thirteenth woman to receive the Goncourt since the prize's establishment in 1903. Giraud won after the jury underwent fourteen rounds of voting, the maximum amount permitted. The final vote ended in stalemate and, in accordance with the rules, the president of the Goncourt Academy cast a deciding vote, selecting Giraud over Giuliano da Empoli's novel Le mage du Kremlin.
| 18
|
[
"Brigitte Giraud",
"occupation",
"novelist"
] |
Brigitte Giraud (born 1960, Sidi-Bel-Abbès in Algeria) is a French writer, author of novels and short stories.Early life
Born in 1960, Brigitte Giraud grew up in Rillieux-la-Pape before settling in Lyon. She studied English, German and Arabic.Career
Giraud worked as a bookseller, translator and journalist. For her first book La chambre des parents (1997), she received the "Prix Littéraire des Étudiants" and for Nico the "Prix Lettres frontière Rhône-Alpes".
On 3 November 2022, she was awarded the 2022 Prix Goncourt for Vivre vite, a récit about the death of her husband Claude in 1999 at the age of 41. She is the thirteenth woman to receive the Goncourt since the prize's establishment in 1903. Giraud won after the jury underwent fourteen rounds of voting, the maximum amount permitted. The final vote ended in stalemate and, in accordance with the rules, the president of the Goncourt Academy cast a deciding vote, selecting Giraud over Giuliano da Empoli's novel Le mage du Kremlin.
| 22
|
[
"Mohamed Mbougar Sarr",
"instance of",
"human"
] |
Mohamed Mbougar Sarr (born 20 June 1990) is a Senegalese writer. Raised in Diourbel, Senegal and later studying in France, Sarr is the author of four novels as well as a number of award-winning short stories. He won the 2021 Prix Goncourt for his novel La plus secrète mémoire des hommes (lit. 'The Most Secret Memory of Men'), becoming the first Sub-Saharan African to do so.Early life
Mohamed Mbougar Sarr was born in 1990 in Dakar, Senegal. The son of a physician, he grew up in a large Serer family in Diourbel. He completed his secondary studies at the Prytanée militaire of Saint-Louis. He moved to France to study in CPGE (classe préparatoire aux grandes écoles) at the lycée Pierre-d'Ailly in Compiègne. He later studied at the School for Advanced Studies in the Social Sciences (EHESS), where his research focused on Léopold Sédar Senghor. Sarr began writing more and pursued fiction, opting not to finish his thesis at the EHESS.
| 0
|
[
"Mohamed Mbougar Sarr",
"residence",
"France"
] |
Early life
Mohamed Mbougar Sarr was born in 1990 in Dakar, Senegal. The son of a physician, he grew up in a large Serer family in Diourbel. He completed his secondary studies at the Prytanée militaire of Saint-Louis. He moved to France to study in CPGE (classe préparatoire aux grandes écoles) at the lycée Pierre-d'Ailly in Compiègne. He later studied at the School for Advanced Studies in the Social Sciences (EHESS), where his research focused on Léopold Sédar Senghor. Sarr began writing more and pursued fiction, opting not to finish his thesis at the EHESS.
| 1
|
[
"Mohamed Mbougar Sarr",
"languages spoken, written or signed",
"French"
] |
Mohamed Mbougar Sarr (born 20 June 1990) is a Senegalese writer. Raised in Diourbel, Senegal and later studying in France, Sarr is the author of four novels as well as a number of award-winning short stories. He won the 2021 Prix Goncourt for his novel La plus secrète mémoire des hommes (lit. 'The Most Secret Memory of Men'), becoming the first Sub-Saharan African to do so.Early life
Mohamed Mbougar Sarr was born in 1990 in Dakar, Senegal. The son of a physician, he grew up in a large Serer family in Diourbel. He completed his secondary studies at the Prytanée militaire of Saint-Louis. He moved to France to study in CPGE (classe préparatoire aux grandes écoles) at the lycée Pierre-d'Ailly in Compiègne. He later studied at the School for Advanced Studies in the Social Sciences (EHESS), where his research focused on Léopold Sédar Senghor. Sarr began writing more and pursued fiction, opting not to finish his thesis at the EHESS.
| 2
|
[
"Mohamed Mbougar Sarr",
"writing language",
"French"
] |
Mohamed Mbougar Sarr (born 20 June 1990) is a Senegalese writer. Raised in Diourbel, Senegal and later studying in France, Sarr is the author of four novels as well as a number of award-winning short stories. He won the 2021 Prix Goncourt for his novel La plus secrète mémoire des hommes (lit. 'The Most Secret Memory of Men'), becoming the first Sub-Saharan African to do so.
| 3
|
[
"Mohamed Mbougar Sarr",
"place of birth",
"Dakar"
] |
Early life
Mohamed Mbougar Sarr was born in 1990 in Dakar, Senegal. The son of a physician, he grew up in a large Serer family in Diourbel. He completed his secondary studies at the Prytanée militaire of Saint-Louis. He moved to France to study in CPGE (classe préparatoire aux grandes écoles) at the lycée Pierre-d'Ailly in Compiègne. He later studied at the School for Advanced Studies in the Social Sciences (EHESS), where his research focused on Léopold Sédar Senghor. Sarr began writing more and pursued fiction, opting not to finish his thesis at the EHESS.
| 4
|
[
"Mohamed Mbougar Sarr",
"country of citizenship",
"Senegal"
] |
Mohamed Mbougar Sarr (born 20 June 1990) is a Senegalese writer. Raised in Diourbel, Senegal and later studying in France, Sarr is the author of four novels as well as a number of award-winning short stories. He won the 2021 Prix Goncourt for his novel La plus secrète mémoire des hommes (lit. 'The Most Secret Memory of Men'), becoming the first Sub-Saharan African to do so.Early life
Mohamed Mbougar Sarr was born in 1990 in Dakar, Senegal. The son of a physician, he grew up in a large Serer family in Diourbel. He completed his secondary studies at the Prytanée militaire of Saint-Louis. He moved to France to study in CPGE (classe préparatoire aux grandes écoles) at the lycée Pierre-d'Ailly in Compiègne. He later studied at the School for Advanced Studies in the Social Sciences (EHESS), where his research focused on Léopold Sédar Senghor. Sarr began writing more and pursued fiction, opting not to finish his thesis at the EHESS.
| 6
|
[
"Mohamed Mbougar Sarr",
"occupation",
"writer"
] |
Mohamed Mbougar Sarr (born 20 June 1990) is a Senegalese writer. Raised in Diourbel, Senegal and later studying in France, Sarr is the author of four novels as well as a number of award-winning short stories. He won the 2021 Prix Goncourt for his novel La plus secrète mémoire des hommes (lit. 'The Most Secret Memory of Men'), becoming the first Sub-Saharan African to do so.Early life
Mohamed Mbougar Sarr was born in 1990 in Dakar, Senegal. The son of a physician, he grew up in a large Serer family in Diourbel. He completed his secondary studies at the Prytanée militaire of Saint-Louis. He moved to France to study in CPGE (classe préparatoire aux grandes écoles) at the lycée Pierre-d'Ailly in Compiègne. He later studied at the School for Advanced Studies in the Social Sciences (EHESS), where his research focused on Léopold Sédar Senghor. Sarr began writing more and pursued fiction, opting not to finish his thesis at the EHESS.Career
Sarr's short story "La cale" (2014), about the slave trade, was awarded the Prix Stéphane-Hessel. His debut novel, Terre ceinte (2015), describes life in a fictional Sahelian village under the control of Islamist jihadi militias. In 2015, it received the Prix Ahmadou-Kourouma at the Salon du livre of Geneva. It was also awarded the 2015 Grand prix du roman métis by the city of Saint-Denis de La Réunion, as well as the 2015 Prix du roman métis des lycéens. In 2021, an English translation by Alexia Trigo, titled Brotherhood, was published by Europa Editions.At the 2017 Jeux de la Francophonie, he received the bronze medal in the literature category for his short story "Ndënd".His second novel, Silence du chœur (2017), a portrait of the day-to-day life of African migrants in Sicily, received the prix littérature monde at the Étonnants Voyageurs festival in Saint-Malo. It also received the Prix du roman métis des lecteurs of Saint-Denis de La Réunion in 2018.His third novel, De purs hommes (2018), deals with the prejudice and violence surrounding homosexuality in Senegal, where it is still illegal to be openly gay.
| 7
|
[
"Mohamed Mbougar Sarr",
"educated at",
"Prytanée militaire de Saint-Louis"
] |
Early life
Mohamed Mbougar Sarr was born in 1990 in Dakar, Senegal. The son of a physician, he grew up in a large Serer family in Diourbel. He completed his secondary studies at the Prytanée militaire of Saint-Louis. He moved to France to study in CPGE (classe préparatoire aux grandes écoles) at the lycée Pierre-d'Ailly in Compiègne. He later studied at the School for Advanced Studies in the Social Sciences (EHESS), where his research focused on Léopold Sédar Senghor. Sarr began writing more and pursued fiction, opting not to finish his thesis at the EHESS.
| 9
|
[
"Mohamed Mbougar Sarr",
"field of work",
"literature"
] |
Mohamed Mbougar Sarr (born 20 June 1990) is a Senegalese writer. Raised in Diourbel, Senegal and later studying in France, Sarr is the author of four novels as well as a number of award-winning short stories. He won the 2021 Prix Goncourt for his novel La plus secrète mémoire des hommes (lit. 'The Most Secret Memory of Men'), becoming the first Sub-Saharan African to do so.Early life
Mohamed Mbougar Sarr was born in 1990 in Dakar, Senegal. The son of a physician, he grew up in a large Serer family in Diourbel. He completed his secondary studies at the Prytanée militaire of Saint-Louis. He moved to France to study in CPGE (classe préparatoire aux grandes écoles) at the lycée Pierre-d'Ailly in Compiègne. He later studied at the School for Advanced Studies in the Social Sciences (EHESS), where his research focused on Léopold Sédar Senghor. Sarr began writing more and pursued fiction, opting not to finish his thesis at the EHESS.Career
Sarr's short story "La cale" (2014), about the slave trade, was awarded the Prix Stéphane-Hessel. His debut novel, Terre ceinte (2015), describes life in a fictional Sahelian village under the control of Islamist jihadi militias. In 2015, it received the Prix Ahmadou-Kourouma at the Salon du livre of Geneva. It was also awarded the 2015 Grand prix du roman métis by the city of Saint-Denis de La Réunion, as well as the 2015 Prix du roman métis des lycéens. In 2021, an English translation by Alexia Trigo, titled Brotherhood, was published by Europa Editions.At the 2017 Jeux de la Francophonie, he received the bronze medal in the literature category for his short story "Ndënd".His second novel, Silence du chœur (2017), a portrait of the day-to-day life of African migrants in Sicily, received the prix littérature monde at the Étonnants Voyageurs festival in Saint-Malo. It also received the Prix du roman métis des lecteurs of Saint-Denis de La Réunion in 2018.His third novel, De purs hommes (2018), deals with the prejudice and violence surrounding homosexuality in Senegal, where it is still illegal to be openly gay.
| 11
|
[
"Mohamed Mbougar Sarr",
"native language",
"Serer"
] |
Early life
Mohamed Mbougar Sarr was born in 1990 in Dakar, Senegal. The son of a physician, he grew up in a large Serer family in Diourbel. He completed his secondary studies at the Prytanée militaire of Saint-Louis. He moved to France to study in CPGE (classe préparatoire aux grandes écoles) at the lycée Pierre-d'Ailly in Compiègne. He later studied at the School for Advanced Studies in the Social Sciences (EHESS), where his research focused on Léopold Sédar Senghor. Sarr began writing more and pursued fiction, opting not to finish his thesis at the EHESS.
| 12
|
[
"Mohamed Mbougar Sarr",
"award received",
"Prix Goncourt"
] |
Mohamed Mbougar Sarr (born 20 June 1990) is a Senegalese writer. Raised in Diourbel, Senegal and later studying in France, Sarr is the author of four novels as well as a number of award-winning short stories. He won the 2021 Prix Goncourt for his novel La plus secrète mémoire des hommes (lit. 'The Most Secret Memory of Men'), becoming the first Sub-Saharan African to do so.
| 13
|
[
"Mohamed Mbougar Sarr",
"occupation",
"prosaist"
] |
Career
Sarr's short story "La cale" (2014), about the slave trade, was awarded the Prix Stéphane-Hessel. His debut novel, Terre ceinte (2015), describes life in a fictional Sahelian village under the control of Islamist jihadi militias. In 2015, it received the Prix Ahmadou-Kourouma at the Salon du livre of Geneva. It was also awarded the 2015 Grand prix du roman métis by the city of Saint-Denis de La Réunion, as well as the 2015 Prix du roman métis des lycéens. In 2021, an English translation by Alexia Trigo, titled Brotherhood, was published by Europa Editions.At the 2017 Jeux de la Francophonie, he received the bronze medal in the literature category for his short story "Ndënd".His second novel, Silence du chœur (2017), a portrait of the day-to-day life of African migrants in Sicily, received the prix littérature monde at the Étonnants Voyageurs festival in Saint-Malo. It also received the Prix du roman métis des lecteurs of Saint-Denis de La Réunion in 2018.His third novel, De purs hommes (2018), deals with the prejudice and violence surrounding homosexuality in Senegal, where it is still illegal to be openly gay.
| 14
|
[
"Mohamed Mbougar Sarr",
"award received",
"grand prix du roman métis"
] |
Career
Sarr's short story "La cale" (2014), about the slave trade, was awarded the Prix Stéphane-Hessel. His debut novel, Terre ceinte (2015), describes life in a fictional Sahelian village under the control of Islamist jihadi militias. In 2015, it received the Prix Ahmadou-Kourouma at the Salon du livre of Geneva. It was also awarded the 2015 Grand prix du roman métis by the city of Saint-Denis de La Réunion, as well as the 2015 Prix du roman métis des lycéens. In 2021, an English translation by Alexia Trigo, titled Brotherhood, was published by Europa Editions.At the 2017 Jeux de la Francophonie, he received the bronze medal in the literature category for his short story "Ndënd".His second novel, Silence du chœur (2017), a portrait of the day-to-day life of African migrants in Sicily, received the prix littérature monde at the Étonnants Voyageurs festival in Saint-Malo. It also received the Prix du roman métis des lecteurs of Saint-Denis de La Réunion in 2018.His third novel, De purs hommes (2018), deals with the prejudice and violence surrounding homosexuality in Senegal, where it is still illegal to be openly gay.Prizes
2014: Prix Stéphane-Hessel for "La cale"
2015: Prix Ahmadou-Kourouma for Terre ceinte
2015: Grand prix du roman métis for Terre ceinte
2021: Prix Goncourt for La plus secrète mémoire des hommes
| 15
|
[
"Mohamed Mbougar Sarr",
"notable work",
"La plus secrète mémoire des hommes"
] |
Mohamed Mbougar Sarr (born 20 June 1990) is a Senegalese writer. Raised in Diourbel, Senegal and later studying in France, Sarr is the author of four novels as well as a number of award-winning short stories. He won the 2021 Prix Goncourt for his novel La plus secrète mémoire des hommes (lit. 'The Most Secret Memory of Men'), becoming the first Sub-Saharan African to do so.
| 18
|
[
"Mohamed Mbougar Sarr",
"notable work",
"De Purs Hommes"
] |
Career
Sarr's short story "La cale" (2014), about the slave trade, was awarded the Prix Stéphane-Hessel. His debut novel, Terre ceinte (2015), describes life in a fictional Sahelian village under the control of Islamist jihadi militias. In 2015, it received the Prix Ahmadou-Kourouma at the Salon du livre of Geneva. It was also awarded the 2015 Grand prix du roman métis by the city of Saint-Denis de La Réunion, as well as the 2015 Prix du roman métis des lycéens. In 2021, an English translation by Alexia Trigo, titled Brotherhood, was published by Europa Editions.At the 2017 Jeux de la Francophonie, he received the bronze medal in the literature category for his short story "Ndënd".His second novel, Silence du chœur (2017), a portrait of the day-to-day life of African migrants in Sicily, received the prix littérature monde at the Étonnants Voyageurs festival in Saint-Malo. It also received the Prix du roman métis des lecteurs of Saint-Denis de La Réunion in 2018.His third novel, De purs hommes (2018), deals with the prejudice and violence surrounding homosexuality in Senegal, where it is still illegal to be openly gay.
| 19
|
[
"Mohamed Mbougar Sarr",
"family name",
"Sarr"
] |
Mohamed Mbougar Sarr (born 20 June 1990) is a Senegalese writer. Raised in Diourbel, Senegal and later studying in France, Sarr is the author of four novels as well as a number of award-winning short stories. He won the 2021 Prix Goncourt for his novel La plus secrète mémoire des hommes (lit. 'The Most Secret Memory of Men'), becoming the first Sub-Saharan African to do so.Early life
Mohamed Mbougar Sarr was born in 1990 in Dakar, Senegal. The son of a physician, he grew up in a large Serer family in Diourbel. He completed his secondary studies at the Prytanée militaire of Saint-Louis. He moved to France to study in CPGE (classe préparatoire aux grandes écoles) at the lycée Pierre-d'Ailly in Compiègne. He later studied at the School for Advanced Studies in the Social Sciences (EHESS), where his research focused on Léopold Sédar Senghor. Sarr began writing more and pursued fiction, opting not to finish his thesis at the EHESS.
| 20
|
[
"Mohamed Mbougar Sarr",
"residence",
"Diourbel"
] |
Mohamed Mbougar Sarr (born 20 June 1990) is a Senegalese writer. Raised in Diourbel, Senegal and later studying in France, Sarr is the author of four novels as well as a number of award-winning short stories. He won the 2021 Prix Goncourt for his novel La plus secrète mémoire des hommes (lit. 'The Most Secret Memory of Men'), becoming the first Sub-Saharan African to do so.Early life
Mohamed Mbougar Sarr was born in 1990 in Dakar, Senegal. The son of a physician, he grew up in a large Serer family in Diourbel. He completed his secondary studies at the Prytanée militaire of Saint-Louis. He moved to France to study in CPGE (classe préparatoire aux grandes écoles) at the lycée Pierre-d'Ailly in Compiègne. He later studied at the School for Advanced Studies in the Social Sciences (EHESS), where his research focused on Léopold Sédar Senghor. Sarr began writing more and pursued fiction, opting not to finish his thesis at the EHESS.
| 22
|
[
"Mohamed Mbougar Sarr",
"given name",
"Mohamed"
] |
Mohamed Mbougar Sarr (born 20 June 1990) is a Senegalese writer. Raised in Diourbel, Senegal and later studying in France, Sarr is the author of four novels as well as a number of award-winning short stories. He won the 2021 Prix Goncourt for his novel La plus secrète mémoire des hommes (lit. 'The Most Secret Memory of Men'), becoming the first Sub-Saharan African to do so.Early life
Mohamed Mbougar Sarr was born in 1990 in Dakar, Senegal. The son of a physician, he grew up in a large Serer family in Diourbel. He completed his secondary studies at the Prytanée militaire of Saint-Louis. He moved to France to study in CPGE (classe préparatoire aux grandes écoles) at the lycée Pierre-d'Ailly in Compiègne. He later studied at the School for Advanced Studies in the Social Sciences (EHESS), where his research focused on Léopold Sédar Senghor. Sarr began writing more and pursued fiction, opting not to finish his thesis at the EHESS.
| 25
|
[
"Mohamed Mbougar Sarr",
"educated at",
"School for Advanced Studies in the Social Sciences"
] |
Early life
Mohamed Mbougar Sarr was born in 1990 in Dakar, Senegal. The son of a physician, he grew up in a large Serer family in Diourbel. He completed his secondary studies at the Prytanée militaire of Saint-Louis. He moved to France to study in CPGE (classe préparatoire aux grandes écoles) at the lycée Pierre-d'Ailly in Compiègne. He later studied at the School for Advanced Studies in the Social Sciences (EHESS), where his research focused on Léopold Sédar Senghor. Sarr began writing more and pursued fiction, opting not to finish his thesis at the EHESS.
| 27
|
[
"Mohamed Mbougar Sarr",
"educated at",
"Lycée Pierre d'Ailly"
] |
Early life
Mohamed Mbougar Sarr was born in 1990 in Dakar, Senegal. The son of a physician, he grew up in a large Serer family in Diourbel. He completed his secondary studies at the Prytanée militaire of Saint-Louis. He moved to France to study in CPGE (classe préparatoire aux grandes écoles) at the lycée Pierre-d'Ailly in Compiègne. He later studied at the School for Advanced Studies in the Social Sciences (EHESS), where his research focused on Léopold Sédar Senghor. Sarr began writing more and pursued fiction, opting not to finish his thesis at the EHESS.
| 28
|
[
"Mohamed Mbougar Sarr",
"award received",
"Prix Ahmadou-Kourouma"
] |
Career
Sarr's short story "La cale" (2014), about the slave trade, was awarded the Prix Stéphane-Hessel. His debut novel, Terre ceinte (2015), describes life in a fictional Sahelian village under the control of Islamist jihadi militias. In 2015, it received the Prix Ahmadou-Kourouma at the Salon du livre of Geneva. It was also awarded the 2015 Grand prix du roman métis by the city of Saint-Denis de La Réunion, as well as the 2015 Prix du roman métis des lycéens. In 2021, an English translation by Alexia Trigo, titled Brotherhood, was published by Europa Editions.At the 2017 Jeux de la Francophonie, he received the bronze medal in the literature category for his short story "Ndënd".His second novel, Silence du chœur (2017), a portrait of the day-to-day life of African migrants in Sicily, received the prix littérature monde at the Étonnants Voyageurs festival in Saint-Malo. It also received the Prix du roman métis des lecteurs of Saint-Denis de La Réunion in 2018.His third novel, De purs hommes (2018), deals with the prejudice and violence surrounding homosexuality in Senegal, where it is still illegal to be openly gay.Prizes
2014: Prix Stéphane-Hessel for "La cale"
2015: Prix Ahmadou-Kourouma for Terre ceinte
2015: Grand prix du roman métis for Terre ceinte
2021: Prix Goncourt for La plus secrète mémoire des hommes
| 29
|
[
"La plus secrète mémoire des hommes",
"country of origin",
"France"
] |
Reception
| 0
|
[
"La plus secrète mémoire des hommes",
"genre",
"novel"
] |
La plus secrète mémoire des hommes (lit. 'The Most Secret Memory of Men') is a 2021 novel by Senegalese writer Mohamed Mbougar Sarr. It was co-published on 19 August 2021 by the French independent publisher Éditions Philippe Rey (Paris) with the Senegalese publishing house Éditions Jimsaan (Dakar).The novel received positive reviews from the literary press. It received the Prix Goncourt on 3 November 2021.
| 3
|
[
"La plus secrète mémoire des hommes",
"instance of",
"literary work"
] |
La plus secrète mémoire des hommes (lit. 'The Most Secret Memory of Men') is a 2021 novel by Senegalese writer Mohamed Mbougar Sarr. It was co-published on 19 August 2021 by the French independent publisher Éditions Philippe Rey (Paris) with the Senegalese publishing house Éditions Jimsaan (Dakar).The novel received positive reviews from the literary press. It received the Prix Goncourt on 3 November 2021.
| 10
|
[
"Circle of Life",
"nominated for",
"Academy Awards"
] |
"Circle of Life" is a song from Disney's 1994 animated film The Lion King. Composed by English musician Elton John, with lyrics by Tim Rice, the song was performed by Carmen Twillie (the deep female lead vocals) and Lebo M. (opening vocals in Zulu) as the film's opening song. In an interview, Rice said he was amazed at the speed with which John composed: "I gave him the lyrics at the beginning of the session at about two in the afternoon. By half-past three, he'd finished writing and recording a stunning demo." Elton John sang a pop version (with alternative lyrics) of the song with the London Community Gospel Choir, which was included in the film's soundtrack and made into a music video.
"Circle of Life" was nominated for the Academy Award for Best Original Song in 1994, along with two other songs from The Lion King: "Hakuna Matata" and "Can You Feel the Love Tonight", the latter of which won the award. "Circle of Life" was also nominated for a Song of the Year Grammy. The song reached No. 11 in the UK and No. 18 in the US and is featured frequently in attractions based on The Lion King, such as Disney theme parks and parades. Michael Crawford sang it as part of a medley for The Disney Album in 2001.
The song was featured in Disney's 2019 photorealistic computer-animated remake of The Lion King and was used in the first trailer of the film, a near shot-for-shot remake of the opening of the original animated film. This new version of the song was performed by Brown Lindiwe Mkhize, the actress who performed as Rafiki in the stage adaptation of the movie in London from 2005 to 2018. However, the new version also retains the original Zulu opening vocals by Lebo M. from the 1994 film.
In United States, music critics praised the song's structure and its message, however in the United Kingdom, music critics' reviews on this song was mixed.
| 5
|
[
"Circle of Life",
"has quality",
"film song"
] |
"Circle of Life" is a song from Disney's 1994 animated film The Lion King. Composed by English musician Elton John, with lyrics by Tim Rice, the song was performed by Carmen Twillie (the deep female lead vocals) and Lebo M. (opening vocals in Zulu) as the film's opening song. In an interview, Rice said he was amazed at the speed with which John composed: "I gave him the lyrics at the beginning of the session at about two in the afternoon. By half-past three, he'd finished writing and recording a stunning demo." Elton John sang a pop version (with alternative lyrics) of the song with the London Community Gospel Choir, which was included in the film's soundtrack and made into a music video.
"Circle of Life" was nominated for the Academy Award for Best Original Song in 1994, along with two other songs from The Lion King: "Hakuna Matata" and "Can You Feel the Love Tonight", the latter of which won the award. "Circle of Life" was also nominated for a Song of the Year Grammy. The song reached No. 11 in the UK and No. 18 in the US and is featured frequently in attractions based on The Lion King, such as Disney theme parks and parades. Michael Crawford sang it as part of a medley for The Disney Album in 2001.
The song was featured in Disney's 2019 photorealistic computer-animated remake of The Lion King and was used in the first trailer of the film, a near shot-for-shot remake of the opening of the original animated film. This new version of the song was performed by Brown Lindiwe Mkhize, the actress who performed as Rafiki in the stage adaptation of the movie in London from 2005 to 2018. However, the new version also retains the original Zulu opening vocals by Lebo M. from the 1994 film.
In United States, music critics praised the song's structure and its message, however in the United Kingdom, music critics' reviews on this song was mixed.Charts
Certifications
Release history
Cover versions and usage in media
The song was re-recorded in 2003 by the Disney Channel Circle of Stars, a group of actors and actresses who have appeared in Disney Channel television series and original movies, for the album Disneymania 2. The line-up was significantly different when their next rerecording, "A Dream Is a Wish Your Heart Makes", was released two years later.
In 2017 American boyband 98° recorded a cover version of the song to help promote a re-release of The Lion King on Blu-ray as part of the Disney Signature Collection.
The single was released as a digital download on 22 September 2017.The song was remixed by Mat Zo which was released in the album Dconstructed on 22 April 2014."Circle of Life" was referenced in the song "Colors of the Wind" which was composed by Alan Menken and Stephen Schwartz for Disney's 33rd animated motion picture Pocahontas. The song's lyrics are about animism and respecting nature.
It is the main theme song for Disney's Animal Kingdom at the Walt Disney World. Epcot featured a cinema-type film called Circle of Life: An Environmental Fable from 1995 to 2018, with Timon, Pumbaa, and Simba discussing environmental topics.
At the 2011 White House Correspondents' Association, President Barack Obama jokingly claimed he was going to show his "long-form birth video", spoofing Barack Obama citizenship conspiracy theories that alleged he was born outside of the United States, rather than in his actual birthplace of Honolulu, Hawaii. The opening chant was played from the film, and Simba was seen being lifted to the skies.New York Mets outfielder Yoenis Cespedes started using the song as his walk-up music during the 2016 Major League Baseball season.
| 19
|
[
"Again (Janet Jackson song)",
"nominated for",
"Academy Awards"
] |
Accolades, covers and samples
The song was nominated for a Golden Globe Award for Best Original Song in 1993. It also received a nomination for Best Original Song at the 66th Academy Awards, where Jackson performed the song live. "Again" was covered by How to Dress Well and appeared as a bonus track on his 2012 album Total Loss, which was also inspired by Janet's "The Velvet Rope". According to the singer Tom Krell, "What you're getting is not a report of a feeling, but a sonic presentation of the feeling," he said about the cover. The song was sampled by Iyaz on his 2010 single "Solo". According to Leah Greenblatt of Entertainment Weekly, "it riffs 'Again', without directly sampling either the main hook or re-upping the lyrics directly. The song just lifts a substantial chunk of Janet's lilting melody." The melody was also used in Stanley Clarke's song "Lucky Again" on his 1995 album At the Movies.
| 0
|
[
"Again (Janet Jackson song)",
"lyrics by",
"Janet Jackson"
] |
Composition and lyrics
"Again" was written and produced by Janet Jackson, Jimmy Jam & Terry Lewis. It is set in common time with a key of C major. Jackson's vocal chords ranges between the tonal nodes of low-tone G3 to high-tone D5. The song is in a moderate tempo of 64 beats per minute with the chord progression being set like C–G–Am–F–C–Dm7/G in the first verse and C–E–Am7–D9 in the chorus. "Again" is a "lightweight" piano ballad, based on a lost love. The song's story is about running into an old friend, only to discover that the feelings for that person are as strong as ever. "Kinda late in the game and my heart is in your hands. Don't you stand there and then tell me you love me and leave me again," she sings.
| 5
|
[
"Again (Janet Jackson song)",
"instance of",
"single"
] |
Composition and lyrics
"Again" was written and produced by Janet Jackson, Jimmy Jam & Terry Lewis. It is set in common time with a key of C major. Jackson's vocal chords ranges between the tonal nodes of low-tone G3 to high-tone D5. The song is in a moderate tempo of 64 beats per minute with the chord progression being set like C–G–Am–F–C–Dm7/G in the first verse and C–E–Am7–D9 in the chorus. "Again" is a "lightweight" piano ballad, based on a lost love. The song's story is about running into an old friend, only to discover that the feelings for that person are as strong as ever. "Kinda late in the game and my heart is in your hands. Don't you stand there and then tell me you love me and leave me again," she sings.
| 6
|
[
"May It Be",
"form of creative work",
"song"
] |
Composition
Director Peter Jackson approached Enya (under the suggestion of Howard Shore), asking if she would be interested in writing a song for The Lord of the Rings. Thrilled at the prospect, Enya headed to New Zealand to see the preliminary edits of the film. Enya worked on the song with Nicky Ryan, her producer, and Roma Ryan, her lyricist. Nicky produced Enya's vocals and arranged the music while Roma wrote the lyrics. They recorded the song through Enya's contract with Warner Music in the Ryans' Dublin studio, Aigle Studio.The vocals were recorded in "Aigle Studios", Enya's Studio near Dublin and the orchestration was recorded in London, directed by Howard Shore and performed by the London Voices and London Philharmonic Orchestra. Compositionally, the piece is simple, featuring a backdrop of choir and strings. As Doug Adams commented, Enya's contributions "coexist so neatly," with Shore's score, that "neither Enya song is relegated to its own track."
| 1
|
[
"May It Be",
"composer",
"Enya"
] |
Composition
Director Peter Jackson approached Enya (under the suggestion of Howard Shore), asking if she would be interested in writing a song for The Lord of the Rings. Thrilled at the prospect, Enya headed to New Zealand to see the preliminary edits of the film. Enya worked on the song with Nicky Ryan, her producer, and Roma Ryan, her lyricist. Nicky produced Enya's vocals and arranged the music while Roma wrote the lyrics. They recorded the song through Enya's contract with Warner Music in the Ryans' Dublin studio, Aigle Studio.The vocals were recorded in "Aigle Studios", Enya's Studio near Dublin and the orchestration was recorded in London, directed by Howard Shore and performed by the London Voices and London Philharmonic Orchestra. Compositionally, the piece is simple, featuring a backdrop of choir and strings. As Doug Adams commented, Enya's contributions "coexist so neatly," with Shore's score, that "neither Enya song is relegated to its own track."
| 4
|
[
"May It Be",
"lyrics by",
"Enya"
] |
Composition
Director Peter Jackson approached Enya (under the suggestion of Howard Shore), asking if she would be interested in writing a song for The Lord of the Rings. Thrilled at the prospect, Enya headed to New Zealand to see the preliminary edits of the film. Enya worked on the song with Nicky Ryan, her producer, and Roma Ryan, her lyricist. Nicky produced Enya's vocals and arranged the music while Roma wrote the lyrics. They recorded the song through Enya's contract with Warner Music in the Ryans' Dublin studio, Aigle Studio.The vocals were recorded in "Aigle Studios", Enya's Studio near Dublin and the orchestration was recorded in London, directed by Howard Shore and performed by the London Voices and London Philharmonic Orchestra. Compositionally, the piece is simple, featuring a backdrop of choir and strings. As Doug Adams commented, Enya's contributions "coexist so neatly," with Shore's score, that "neither Enya song is relegated to its own track."
| 6
|
[
"May It Be",
"nominated for",
"Academy Awards"
] |
Critical reception and awards
"May It Be" was nominated for the 2002 Academy Award for Best Original Song, but lost to Randy Newman's "If I Didn't Have You" from Monsters, Inc., sung by John Goodman and Billy Crystal. It won the Las Vegas Film Critics Society Award for Best Song and the 2002 Critics' Choice Movie Award for Best Song. It was nominated for the 2002 Golden Globe Award for Best Original Song, but lost to "Until" from Kate & Leopold. The song received a 2003 Grammy Award nomination for Best Song Written for Visual Media.
Enya performed her song at the Academy Awards on 24 March 2002. She was "absolutely" excited about the performance. For her it was the "first time to be nominated, and to get to perform, it's just wonderful, absolutely wonderful."
| 7
|
[
"May It Be",
"language of work or name",
"Quenya"
] |
Lyrics
The lyrics of this theme song include English words, as well as words in the fictional Elvish language, Quenya, created by J.R.R. Tolkien. While Enya wrote music, Roma Ryan studied the languages and wrote the lyrics in English and Quenya. There are two lines with phrases written in Quenya. The first, Mornië utúlië, translates to "Darkness has come." Mornië alantië translates as "Darkness has fallen." Each line repeats twice in the song, with the remaining song lyrics written in English. They are intermingled with the Quenya lyrics, as in the second stanza; "Mornië utúlië, believe and you will find your way; Mornië alantië, a promise lives within you now." Enya also performed another song "Aníron" for The Lord of the Rings, which is sung in another of Tolkien's Elvish languages, Sindarin.
| 9
|
[
"May It Be",
"composer",
"Roma Ryan"
] |
Composition
Director Peter Jackson approached Enya (under the suggestion of Howard Shore), asking if she would be interested in writing a song for The Lord of the Rings. Thrilled at the prospect, Enya headed to New Zealand to see the preliminary edits of the film. Enya worked on the song with Nicky Ryan, her producer, and Roma Ryan, her lyricist. Nicky produced Enya's vocals and arranged the music while Roma wrote the lyrics. They recorded the song through Enya's contract with Warner Music in the Ryans' Dublin studio, Aigle Studio.The vocals were recorded in "Aigle Studios", Enya's Studio near Dublin and the orchestration was recorded in London, directed by Howard Shore and performed by the London Voices and London Philharmonic Orchestra. Compositionally, the piece is simple, featuring a backdrop of choir and strings. As Doug Adams commented, Enya's contributions "coexist so neatly," with Shore's score, that "neither Enya song is relegated to its own track."
| 11
|
[
"May It Be",
"lyrics by",
"Roma Ryan"
] |
Composition
Director Peter Jackson approached Enya (under the suggestion of Howard Shore), asking if she would be interested in writing a song for The Lord of the Rings. Thrilled at the prospect, Enya headed to New Zealand to see the preliminary edits of the film. Enya worked on the song with Nicky Ryan, her producer, and Roma Ryan, her lyricist. Nicky produced Enya's vocals and arranged the music while Roma wrote the lyrics. They recorded the song through Enya's contract with Warner Music in the Ryans' Dublin studio, Aigle Studio.The vocals were recorded in "Aigle Studios", Enya's Studio near Dublin and the orchestration was recorded in London, directed by Howard Shore and performed by the London Voices and London Philharmonic Orchestra. Compositionally, the piece is simple, featuring a backdrop of choir and strings. As Doug Adams commented, Enya's contributions "coexist so neatly," with Shore's score, that "neither Enya song is relegated to its own track."
| 12
|
[
"May It Be",
"nominated for",
"Golden Globe Award"
] |
"May It Be" is a song by the Irish recording artist Enya. She and Roma Ryan composed it for Peter Jackson's 2001 film The Lord of the Rings: The Fellowship of the Ring. The song entered the German Singles Chart at number one in 2002, and Enya performed it at the 74th Academy Awards. "May It Be" was acclaimed by music critics and received nominations for the Academy Award for Best Original Song, the Golden Globe Award for Best Original Song, and the Grammy Award for Best Song Written for Visual Media.
| 16
|
[
"Kiss the Girl",
"form of creative work",
"song"
] |
"Kiss the Girl" is a song written by lyricist Howard Ashman and composer Alan Menken Walt Disney Pictures' 28th animated feature film The Little Mermaid (1989). Originally recorded by American actor Samuel Wright in his film role as Sebastian, "Kiss the Girl" is a romantic calypso love song; the song's lyrics encourages Prince Eric to kiss Ariel before it's too late.
"Kiss the Girl" had a mostly positive reception. The song was nominated for both an Academy and Golden Globe Award for Best Original Song, but lost both to "Under the Sea", another song from The Little Mermaid soundtrack.
| 1
|
[
"Kiss the Girl",
"nominated for",
"Academy Awards"
] |
"Kiss the Girl" is a song written by lyricist Howard Ashman and composer Alan Menken Walt Disney Pictures' 28th animated feature film The Little Mermaid (1989). Originally recorded by American actor Samuel Wright in his film role as Sebastian, "Kiss the Girl" is a romantic calypso love song; the song's lyrics encourages Prince Eric to kiss Ariel before it's too late.
"Kiss the Girl" had a mostly positive reception. The song was nominated for both an Academy and Golden Globe Award for Best Original Song, but lost both to "Under the Sea", another song from The Little Mermaid soundtrack.
| 3
|
[
"Kiss the Girl",
"composer",
"Alan Menken"
] |
"Kiss the Girl" is a song written by lyricist Howard Ashman and composer Alan Menken Walt Disney Pictures' 28th animated feature film The Little Mermaid (1989). Originally recorded by American actor Samuel Wright in his film role as Sebastian, "Kiss the Girl" is a romantic calypso love song; the song's lyrics encourages Prince Eric to kiss Ariel before it's too late.
"Kiss the Girl" had a mostly positive reception. The song was nominated for both an Academy and Golden Globe Award for Best Original Song, but lost both to "Under the Sea", another song from The Little Mermaid soundtrack.
| 4
|
[
"Kiss the Girl",
"performer",
"Samuel E. Wright"
] |
"Kiss the Girl" is a song written by lyricist Howard Ashman and composer Alan Menken Walt Disney Pictures' 28th animated feature film The Little Mermaid (1989). Originally recorded by American actor Samuel Wright in his film role as Sebastian, "Kiss the Girl" is a romantic calypso love song; the song's lyrics encourages Prince Eric to kiss Ariel before it's too late.
"Kiss the Girl" had a mostly positive reception. The song was nominated for both an Academy and Golden Globe Award for Best Original Song, but lost both to "Under the Sea", another song from The Little Mermaid soundtrack.
| 5
|
[
"Kiss the Girl",
"nominated for",
"Golden Globe Award"
] |
"Kiss the Girl" is a song written by lyricist Howard Ashman and composer Alan Menken Walt Disney Pictures' 28th animated feature film The Little Mermaid (1989). Originally recorded by American actor Samuel Wright in his film role as Sebastian, "Kiss the Girl" is a romantic calypso love song; the song's lyrics encourages Prince Eric to kiss Ariel before it's too late.
"Kiss the Girl" had a mostly positive reception. The song was nominated for both an Academy and Golden Globe Award for Best Original Song, but lost both to "Under the Sea", another song from The Little Mermaid soundtrack.
| 6
|
[
"Kiss the Girl",
"genre",
"calypso"
] |
"Kiss the Girl" is a song written by lyricist Howard Ashman and composer Alan Menken Walt Disney Pictures' 28th animated feature film The Little Mermaid (1989). Originally recorded by American actor Samuel Wright in his film role as Sebastian, "Kiss the Girl" is a romantic calypso love song; the song's lyrics encourages Prince Eric to kiss Ariel before it's too late.
"Kiss the Girl" had a mostly positive reception. The song was nominated for both an Academy and Golden Globe Award for Best Original Song, but lost both to "Under the Sea", another song from The Little Mermaid soundtrack.
| 7
|
[
"Kiss the Girl",
"lyrics by",
"Howard Ashman"
] |
"Kiss the Girl" is a song written by lyricist Howard Ashman and composer Alan Menken Walt Disney Pictures' 28th animated feature film The Little Mermaid (1989). Originally recorded by American actor Samuel Wright in his film role as Sebastian, "Kiss the Girl" is a romantic calypso love song; the song's lyrics encourages Prince Eric to kiss Ariel before it's too late.
"Kiss the Girl" had a mostly positive reception. The song was nominated for both an Academy and Golden Globe Award for Best Original Song, but lost both to "Under the Sea", another song from The Little Mermaid soundtrack.
| 8
|
[
"Kiss the Girl",
"has quality",
"film song"
] |
"Kiss the Girl" is a song written by lyricist Howard Ashman and composer Alan Menken Walt Disney Pictures' 28th animated feature film The Little Mermaid (1989). Originally recorded by American actor Samuel Wright in his film role as Sebastian, "Kiss the Girl" is a romantic calypso love song; the song's lyrics encourages Prince Eric to kiss Ariel before it's too late.
"Kiss the Girl" had a mostly positive reception. The song was nominated for both an Academy and Golden Globe Award for Best Original Song, but lost both to "Under the Sea", another song from The Little Mermaid soundtrack.
| 11
|
[
"Kiss the Girl",
"instance of",
"musical work/composition"
] |
"Kiss the Girl" is a song written by lyricist Howard Ashman and composer Alan Menken Walt Disney Pictures' 28th animated feature film The Little Mermaid (1989). Originally recorded by American actor Samuel Wright in his film role as Sebastian, "Kiss the Girl" is a romantic calypso love song; the song's lyrics encourages Prince Eric to kiss Ariel before it's too late.
"Kiss the Girl" had a mostly positive reception. The song was nominated for both an Academy and Golden Globe Award for Best Original Song, but lost both to "Under the Sea", another song from The Little Mermaid soundtrack.Background and composition
This song is written in the key of C Major. The song takes place during Ariel's second day as human. Ariel and Eric are in a boat and Sebastian tries to set a romantic mood in order to inspire Eric to kiss Ariel.
| 12
|
[
"Glory of Love",
"form of creative work",
"song"
] |
"Glory of Love" is a 1986 song performed by Peter Cetera, which he wrote and composed with his then-wife Diane Nini and David Foster. The song was recorded by Cetera shortly after he left the band Chicago to pursue a solo career. Featured in the film The Karate Kid Part II (1986), it was Cetera's first hit single after he left the band, reaching number one on the Billboard Hot 100, and it was included on his album Solitude/Solitaire (1986), which Michael Omartian produced."Glory of Love" peaked at number one on the US Billboard Hot 100 chart on August 2, 1986, remaining in that spot for two weeks. It also spent five weeks atop the US adult contemporary chart. Billboard ranked the power ballad as number fourteen on the Top Pop Singles of 1986,: Y-21 and number four on the Top Adult Contemporary Singles of 1986.: Y-27 The song achieved similar success in the UK, peaking at number three on the UK Singles Chart, where it was the 26th best-selling single of 1986.
| 2
|
[
"Glory of Love",
"composer",
"David Foster"
] |
"Glory of Love" is a 1986 song performed by Peter Cetera, which he wrote and composed with his then-wife Diane Nini and David Foster. The song was recorded by Cetera shortly after he left the band Chicago to pursue a solo career. Featured in the film The Karate Kid Part II (1986), it was Cetera's first hit single after he left the band, reaching number one on the Billboard Hot 100, and it was included on his album Solitude/Solitaire (1986), which Michael Omartian produced."Glory of Love" peaked at number one on the US Billboard Hot 100 chart on August 2, 1986, remaining in that spot for two weeks. It also spent five weeks atop the US adult contemporary chart. Billboard ranked the power ballad as number fourteen on the Top Pop Singles of 1986,: Y-21 and number four on the Top Adult Contemporary Singles of 1986.: Y-27 The song achieved similar success in the UK, peaking at number three on the UK Singles Chart, where it was the 26th best-selling single of 1986.
| 3
|
[
"Glory of Love",
"lyrics by",
"David Foster"
] |
"Glory of Love" is a 1986 song performed by Peter Cetera, which he wrote and composed with his then-wife Diane Nini and David Foster. The song was recorded by Cetera shortly after he left the band Chicago to pursue a solo career. Featured in the film The Karate Kid Part II (1986), it was Cetera's first hit single after he left the band, reaching number one on the Billboard Hot 100, and it was included on his album Solitude/Solitaire (1986), which Michael Omartian produced."Glory of Love" peaked at number one on the US Billboard Hot 100 chart on August 2, 1986, remaining in that spot for two weeks. It also spent five weeks atop the US adult contemporary chart. Billboard ranked the power ballad as number fourteen on the Top Pop Singles of 1986,: Y-21 and number four on the Top Adult Contemporary Singles of 1986.: Y-27 The song achieved similar success in the UK, peaking at number three on the UK Singles Chart, where it was the 26th best-selling single of 1986.
| 4
|
[
"Glory of Love",
"composer",
"Peter Cetera"
] |
"Glory of Love" is a 1986 song performed by Peter Cetera, which he wrote and composed with his then-wife Diane Nini and David Foster. The song was recorded by Cetera shortly after he left the band Chicago to pursue a solo career. Featured in the film The Karate Kid Part II (1986), it was Cetera's first hit single after he left the band, reaching number one on the Billboard Hot 100, and it was included on his album Solitude/Solitaire (1986), which Michael Omartian produced."Glory of Love" peaked at number one on the US Billboard Hot 100 chart on August 2, 1986, remaining in that spot for two weeks. It also spent five weeks atop the US adult contemporary chart. Billboard ranked the power ballad as number fourteen on the Top Pop Singles of 1986,: Y-21 and number four on the Top Adult Contemporary Singles of 1986.: Y-27 The song achieved similar success in the UK, peaking at number three on the UK Singles Chart, where it was the 26th best-selling single of 1986.
| 7
|
[
"Glory of Love",
"performer",
"Peter Cetera"
] |
"Glory of Love" is a 1986 song performed by Peter Cetera, which he wrote and composed with his then-wife Diane Nini and David Foster. The song was recorded by Cetera shortly after he left the band Chicago to pursue a solo career. Featured in the film The Karate Kid Part II (1986), it was Cetera's first hit single after he left the band, reaching number one on the Billboard Hot 100, and it was included on his album Solitude/Solitaire (1986), which Michael Omartian produced."Glory of Love" peaked at number one on the US Billboard Hot 100 chart on August 2, 1986, remaining in that spot for two weeks. It also spent five weeks atop the US adult contemporary chart. Billboard ranked the power ballad as number fourteen on the Top Pop Singles of 1986,: Y-21 and number four on the Top Adult Contemporary Singles of 1986.: Y-27 The song achieved similar success in the UK, peaking at number three on the UK Singles Chart, where it was the 26th best-selling single of 1986.
| 8
|
[
"Glory of Love",
"lyrics by",
"Peter Cetera"
] |
"Glory of Love" is a 1986 song performed by Peter Cetera, which he wrote and composed with his then-wife Diane Nini and David Foster. The song was recorded by Cetera shortly after he left the band Chicago to pursue a solo career. Featured in the film The Karate Kid Part II (1986), it was Cetera's first hit single after he left the band, reaching number one on the Billboard Hot 100, and it was included on his album Solitude/Solitaire (1986), which Michael Omartian produced."Glory of Love" peaked at number one on the US Billboard Hot 100 chart on August 2, 1986, remaining in that spot for two weeks. It also spent five weeks atop the US adult contemporary chart. Billboard ranked the power ballad as number fourteen on the Top Pop Singles of 1986,: Y-21 and number four on the Top Adult Contemporary Singles of 1986.: Y-27 The song achieved similar success in the UK, peaking at number three on the UK Singles Chart, where it was the 26th best-selling single of 1986.
| 9
|
[
"Glory of Love",
"composer",
"Diane Nini"
] |
"Glory of Love" is a 1986 song performed by Peter Cetera, which he wrote and composed with his then-wife Diane Nini and David Foster. The song was recorded by Cetera shortly after he left the band Chicago to pursue a solo career. Featured in the film The Karate Kid Part II (1986), it was Cetera's first hit single after he left the band, reaching number one on the Billboard Hot 100, and it was included on his album Solitude/Solitaire (1986), which Michael Omartian produced."Glory of Love" peaked at number one on the US Billboard Hot 100 chart on August 2, 1986, remaining in that spot for two weeks. It also spent five weeks atop the US adult contemporary chart. Billboard ranked the power ballad as number fourteen on the Top Pop Singles of 1986,: Y-21 and number four on the Top Adult Contemporary Singles of 1986.: Y-27 The song achieved similar success in the UK, peaking at number three on the UK Singles Chart, where it was the 26th best-selling single of 1986.
| 11
|
[
"Glory of Love",
"lyrics by",
"Diane Nini"
] |
"Glory of Love" is a 1986 song performed by Peter Cetera, which he wrote and composed with his then-wife Diane Nini and David Foster. The song was recorded by Cetera shortly after he left the band Chicago to pursue a solo career. Featured in the film The Karate Kid Part II (1986), it was Cetera's first hit single after he left the band, reaching number one on the Billboard Hot 100, and it was included on his album Solitude/Solitaire (1986), which Michael Omartian produced."Glory of Love" peaked at number one on the US Billboard Hot 100 chart on August 2, 1986, remaining in that spot for two weeks. It also spent five weeks atop the US adult contemporary chart. Billboard ranked the power ballad as number fourteen on the Top Pop Singles of 1986,: Y-21 and number four on the Top Adult Contemporary Singles of 1986.: Y-27 The song achieved similar success in the UK, peaking at number three on the UK Singles Chart, where it was the 26th best-selling single of 1986.
| 12
|
[
"Glory of Love",
"instance of",
"musical work/composition"
] |
"Glory of Love" is a 1986 song performed by Peter Cetera, which he wrote and composed with his then-wife Diane Nini and David Foster. The song was recorded by Cetera shortly after he left the band Chicago to pursue a solo career. Featured in the film The Karate Kid Part II (1986), it was Cetera's first hit single after he left the band, reaching number one on the Billboard Hot 100, and it was included on his album Solitude/Solitaire (1986), which Michael Omartian produced."Glory of Love" peaked at number one on the US Billboard Hot 100 chart on August 2, 1986, remaining in that spot for two weeks. It also spent five weeks atop the US adult contemporary chart. Billboard ranked the power ballad as number fourteen on the Top Pop Singles of 1986,: Y-21 and number four on the Top Adult Contemporary Singles of 1986.: Y-27 The song achieved similar success in the UK, peaking at number three on the UK Singles Chart, where it was the 26th best-selling single of 1986.
| 14
|
[
"Hakuna Matata (song)",
"composer",
"Elton John"
] |
"Hakuna Matata" is a song from Disney's 32nd animated feature The Lion King. The music was written by Elton John with lyrics by Tim Rice. The song is based on Timon and Pumbaa's catchphrase in the movie, Hakuna matata, a Swahili phrase meaning "No worry(s)". It is characterized by its simple 4/4 time, upbeat message and catchy lyrics.
| 1
|
[
"Hakuna Matata (song)",
"form of creative work",
"song"
] |
"Hakuna Matata" is a song from Disney's 32nd animated feature The Lion King. The music was written by Elton John with lyrics by Tim Rice. The song is based on Timon and Pumbaa's catchphrase in the movie, Hakuna matata, a Swahili phrase meaning "No worry(s)". It is characterized by its simple 4/4 time, upbeat message and catchy lyrics.Music
The song's music and melody were composed by Elton John, with lyrics by Tim Rice. In the film the song is sung by Timon the Meerkat (voiced by Nathan Lane), Pumbaa the Warthog (voiced by Ernie Sabella), and Simba, a young lion voiced by Jason Weaver (singing voice as a cub) and Joseph Williams (singing voice as an adult). Taking place after the death of Mufasa, it features Timon and Pumbaa, the two main comedy characters in the film, talking to Simba about moving forward from their troubled pasts and forgetting their worries, and Simba grows from cub to adult as the song progresses. The song also provides a backstory for Pumbaa, explaining that he was ostracized from animal society for his excessive flatulence. It makes use of a large proportion of the orchestra as well as many other more unusual instruments including an elaborate drum kit. Rice is said to have got the idea for the lyrics for the song from watching the comedy series Bottom and at one point wanted the show's stars Rik Mayall and Adrian Edmondson to play Timon and Pumbaa.
A second version of the song, produced for the companion album Rhythm of the Pride Lands, was performed by Jimmy Cliff featuring Lebo M. This version has a slightly modified, previously unreleased verse focusing on Timon's past. It was partially rewritten with a different instrument arrangement, but remains very similar to the original. This version of the song was released as a single with "He Lives in You" as a B-side and was ultimately used in the Broadway theatrical version of The Lion King.
| 2
|
[
"Hakuna Matata (song)",
"lyrics by",
"Tim Rice"
] |
"Hakuna Matata" is a song from Disney's 32nd animated feature The Lion King. The music was written by Elton John with lyrics by Tim Rice. The song is based on Timon and Pumbaa's catchphrase in the movie, Hakuna matata, a Swahili phrase meaning "No worry(s)". It is characterized by its simple 4/4 time, upbeat message and catchy lyrics.
| 7
|
[
"Hakuna Matata (song)",
"performer",
"Ernie Sabella"
] |
Music
The song's music and melody were composed by Elton John, with lyrics by Tim Rice. In the film the song is sung by Timon the Meerkat (voiced by Nathan Lane), Pumbaa the Warthog (voiced by Ernie Sabella), and Simba, a young lion voiced by Jason Weaver (singing voice as a cub) and Joseph Williams (singing voice as an adult). Taking place after the death of Mufasa, it features Timon and Pumbaa, the two main comedy characters in the film, talking to Simba about moving forward from their troubled pasts and forgetting their worries, and Simba grows from cub to adult as the song progresses. The song also provides a backstory for Pumbaa, explaining that he was ostracized from animal society for his excessive flatulence. It makes use of a large proportion of the orchestra as well as many other more unusual instruments including an elaborate drum kit. Rice is said to have got the idea for the lyrics for the song from watching the comedy series Bottom and at one point wanted the show's stars Rik Mayall and Adrian Edmondson to play Timon and Pumbaa.
A second version of the song, produced for the companion album Rhythm of the Pride Lands, was performed by Jimmy Cliff featuring Lebo M. This version has a slightly modified, previously unreleased verse focusing on Timon's past. It was partially rewritten with a different instrument arrangement, but remains very similar to the original. This version of the song was released as a single with "He Lives in You" as a B-side and was ultimately used in the Broadway theatrical version of The Lion King.
| 10
|
[
"Hakuna Matata (song)",
"genre",
"popular music"
] |
"Hakuna Matata" is a song from Disney's 32nd animated feature The Lion King. The music was written by Elton John with lyrics by Tim Rice. The song is based on Timon and Pumbaa's catchphrase in the movie, Hakuna matata, a Swahili phrase meaning "No worry(s)". It is characterized by its simple 4/4 time, upbeat message and catchy lyrics.
| 12
|
[
"Hakuna Matata (song)",
"has quality",
"film song"
] |
"Hakuna Matata" is a song from Disney's 32nd animated feature The Lion King. The music was written by Elton John with lyrics by Tim Rice. The song is based on Timon and Pumbaa's catchphrase in the movie, Hakuna matata, a Swahili phrase meaning "No worry(s)". It is characterized by its simple 4/4 time, upbeat message and catchy lyrics.Music
The song's music and melody were composed by Elton John, with lyrics by Tim Rice. In the film the song is sung by Timon the Meerkat (voiced by Nathan Lane), Pumbaa the Warthog (voiced by Ernie Sabella), and Simba, a young lion voiced by Jason Weaver (singing voice as a cub) and Joseph Williams (singing voice as an adult). Taking place after the death of Mufasa, it features Timon and Pumbaa, the two main comedy characters in the film, talking to Simba about moving forward from their troubled pasts and forgetting their worries, and Simba grows from cub to adult as the song progresses. The song also provides a backstory for Pumbaa, explaining that he was ostracized from animal society for his excessive flatulence. It makes use of a large proportion of the orchestra as well as many other more unusual instruments including an elaborate drum kit. Rice is said to have got the idea for the lyrics for the song from watching the comedy series Bottom and at one point wanted the show's stars Rik Mayall and Adrian Edmondson to play Timon and Pumbaa.
A second version of the song, produced for the companion album Rhythm of the Pride Lands, was performed by Jimmy Cliff featuring Lebo M. This version has a slightly modified, previously unreleased verse focusing on Timon's past. It was partially rewritten with a different instrument arrangement, but remains very similar to the original. This version of the song was released as a single with "He Lives in You" as a B-side and was ultimately used in the Broadway theatrical version of The Lion King.
| 16
|
[
"Hakuna Matata (song)",
"instance of",
"musical work/composition"
] |
"Hakuna Matata" is a song from Disney's 32nd animated feature The Lion King. The music was written by Elton John with lyrics by Tim Rice. The song is based on Timon and Pumbaa's catchphrase in the movie, Hakuna matata, a Swahili phrase meaning "No worry(s)". It is characterized by its simple 4/4 time, upbeat message and catchy lyrics.Music
The song's music and melody were composed by Elton John, with lyrics by Tim Rice. In the film the song is sung by Timon the Meerkat (voiced by Nathan Lane), Pumbaa the Warthog (voiced by Ernie Sabella), and Simba, a young lion voiced by Jason Weaver (singing voice as a cub) and Joseph Williams (singing voice as an adult). Taking place after the death of Mufasa, it features Timon and Pumbaa, the two main comedy characters in the film, talking to Simba about moving forward from their troubled pasts and forgetting their worries, and Simba grows from cub to adult as the song progresses. The song also provides a backstory for Pumbaa, explaining that he was ostracized from animal society for his excessive flatulence. It makes use of a large proportion of the orchestra as well as many other more unusual instruments including an elaborate drum kit. Rice is said to have got the idea for the lyrics for the song from watching the comedy series Bottom and at one point wanted the show's stars Rik Mayall and Adrian Edmondson to play Timon and Pumbaa.
A second version of the song, produced for the companion album Rhythm of the Pride Lands, was performed by Jimmy Cliff featuring Lebo M. This version has a slightly modified, previously unreleased verse focusing on Timon's past. It was partially rewritten with a different instrument arrangement, but remains very similar to the original. This version of the song was released as a single with "He Lives in You" as a B-side and was ultimately used in the Broadway theatrical version of The Lion King.
| 17
|
[
"Hakuna Matata (song)",
"main subject",
"Hakuna matata"
] |
"Hakuna Matata" is a song from Disney's 32nd animated feature The Lion King. The music was written by Elton John with lyrics by Tim Rice. The song is based on Timon and Pumbaa's catchphrase in the movie, Hakuna matata, a Swahili phrase meaning "No worry(s)". It is characterized by its simple 4/4 time, upbeat message and catchy lyrics.
| 19
|
[
"Ave Satani",
"nominated for",
"Academy Awards"
] |
"Ave Satani" is the theme song to the film The Omen (1976) composed by Jerry Goldsmith. The Omen won the Academy Award for Best Original Score, with Ave Satani nominated for Best Original Song.
| 1
|
[
"Ave Satani",
"composer",
"Jerry Goldsmith"
] |
"Ave Satani" is the theme song to the film The Omen (1976) composed by Jerry Goldsmith. The Omen won the Academy Award for Best Original Score, with Ave Satani nominated for Best Original Song.History
The Latinized title translates to "Hail Satan" in English. In an interview, Goldsmith says that his idea was to create a kind of Satanic version of a Gregorian chant and came up with ideas while talking with the London choir-master of the orchestra who was helping him. He decided to create something like a Black Mass, inverting Latin phrases from the Latin Mass. The choir-master, according to Goldsmith, was an expert in Latin and helped him come up with phrases; instead of saying "Hail Mary", they decided on "Hail Satan", and so on. The song contains various Latin phrases inverting Christ and the Mass, such as "Ave Versus Christi", meaning "Hail Anti-Christ", and "Corpus Satani", an inversion of "Corpus Christi", the body of Christ. The resulting lyrics are an inversion of the Roman Catholic rite of the consecration and elevation of the body and blood of Christ during the Mass.
A version of the song has been produced by the band Fantômas, who altered some of the lyrics to mean "smallest blood, body spirit" rather than "we drink the blood, we eat the flesh," and adding the word "rotted". Other versions of the original song have been performed by the Italian vocalist Servio Tulio, and by Gregorian. The song has been used in mixes of sinister music including the album Oculus Infernum by Van Helsing's Curse, featuring Dee Snider.
| 2
|
[
"Ave Satani",
"instance of",
"musical work/composition"
] |
"Ave Satani" is the theme song to the film The Omen (1976) composed by Jerry Goldsmith. The Omen won the Academy Award for Best Original Score, with Ave Satani nominated for Best Original Song.History
The Latinized title translates to "Hail Satan" in English. In an interview, Goldsmith says that his idea was to create a kind of Satanic version of a Gregorian chant and came up with ideas while talking with the London choir-master of the orchestra who was helping him. He decided to create something like a Black Mass, inverting Latin phrases from the Latin Mass. The choir-master, according to Goldsmith, was an expert in Latin and helped him come up with phrases; instead of saying "Hail Mary", they decided on "Hail Satan", and so on. The song contains various Latin phrases inverting Christ and the Mass, such as "Ave Versus Christi", meaning "Hail Anti-Christ", and "Corpus Satani", an inversion of "Corpus Christi", the body of Christ. The resulting lyrics are an inversion of the Roman Catholic rite of the consecration and elevation of the body and blood of Christ during the Mass.
A version of the song has been produced by the band Fantômas, who altered some of the lyrics to mean "smallest blood, body spirit" rather than "we drink the blood, we eat the flesh," and adding the word "rotted". Other versions of the original song have been performed by the Italian vocalist Servio Tulio, and by Gregorian. The song has been used in mixes of sinister music including the album Oculus Infernum by Van Helsing's Curse, featuring Dee Snider.
| 4
|
[
"Be Our Guest",
"form of creative work",
"song"
] |
Background
Originally, Beauty and the Beast, under the direction of Richard Purdum, was not intended to be a musical. Then-studio chief Jeffrey Katzenberg decided to turn the film into a Broadway-style musical similar to The Little Mermaid (1989), Disney's previous animated film, after he, displeased with the film's initial story reel, ordered the film scrapped and restarted from scratch. As a result, Purdum resigned, and first-time feature film directors Kirk Wise and Gary Trousdale replaced him.
Following the Academy Award-winning success of The Little Mermaid, Katzenberg asked The Little Mermaid songwriting duo of Howard Ashman and Alan Menken to write the songs for and score Beauty and the Beast. At first Ashman, who was at the time writing songs with Menken for a recently pitched idea for another Disney film called Aladdin (1992), was reluctant to join the struggling film project, but eventually agreed.Musically, "Be Our Guest" is based on a simple melody that was composed by Menken, who initially had little intention of using it as anything more than just a "dummy." Upon singing the tune and presenting it to co-writer Ashman, Menken discovered that he was unable to come up with a melody capable of surpassing "that dumb piece of music that I wrote initially because it was just right." Subsequently, Ashman wrote the song's lyrics.Originally, the filmmakers had initially intended for "Be Our Guest" to be performed by Lumière to Belle's disoriented father Maurice when the character first discovers the Beast's castle. According to co-director Gary Trousdale, "The song had already been recorded and the sequence partially animated when we decided that it would be more meaningful if it was directed towards Belle" because "she is one of the two main characters and the story revolves around her coming to the castle." Consequently, the song had to be re-written and the entire scene re-animated. Trousdale explained, "We had to bring Jerry Orbach and all the other vocal talents back into the studio to change all references to gender that appeared in the original recording."
| 1
|
[
"Be Our Guest",
"composer",
"Alan Menken"
] |
Background
Originally, Beauty and the Beast, under the direction of Richard Purdum, was not intended to be a musical. Then-studio chief Jeffrey Katzenberg decided to turn the film into a Broadway-style musical similar to The Little Mermaid (1989), Disney's previous animated film, after he, displeased with the film's initial story reel, ordered the film scrapped and restarted from scratch. As a result, Purdum resigned, and first-time feature film directors Kirk Wise and Gary Trousdale replaced him.
Following the Academy Award-winning success of The Little Mermaid, Katzenberg asked The Little Mermaid songwriting duo of Howard Ashman and Alan Menken to write the songs for and score Beauty and the Beast. At first Ashman, who was at the time writing songs with Menken for a recently pitched idea for another Disney film called Aladdin (1992), was reluctant to join the struggling film project, but eventually agreed.Musically, "Be Our Guest" is based on a simple melody that was composed by Menken, who initially had little intention of using it as anything more than just a "dummy." Upon singing the tune and presenting it to co-writer Ashman, Menken discovered that he was unable to come up with a melody capable of surpassing "that dumb piece of music that I wrote initially because it was just right." Subsequently, Ashman wrote the song's lyrics.Originally, the filmmakers had initially intended for "Be Our Guest" to be performed by Lumière to Belle's disoriented father Maurice when the character first discovers the Beast's castle. According to co-director Gary Trousdale, "The song had already been recorded and the sequence partially animated when we decided that it would be more meaningful if it was directed towards Belle" because "she is one of the two main characters and the story revolves around her coming to the castle." Consequently, the song had to be re-written and the entire scene re-animated. Trousdale explained, "We had to bring Jerry Orbach and all the other vocal talents back into the studio to change all references to gender that appeared in the original recording."
| 2
|
[
"Be Our Guest",
"nominated for",
"Golden Globe Award"
] |
Awards, accolades and legacy
Alongside the songs "Beauty and the Beast" and "Belle," "Be Our Guest" was nominated for the Academy Award for Best Original Song at the 64th Academy Awards in 1992. Having garnered three separate Academy Award nominations for Best Original Song, Beauty and the Beast became the first film in the history of the Academy Awards to achieve this rare feat; this would not be repeated until The Lion King had three songs nominated for the award. Ultimately, "Be Our Guest" lost to the film's title song. In an interview with Entertainment Weekly, Beauty and the Beast producer Don Hahn revealed that Disney feared that having three songs nominated for Best Original Song would result in a draw or three-way tie. Therefore, while "Beauty and the Beast" received heavy promotion from the studio, significantly less was given to "Be Our Guest" and "Belle." "Be Our Guest" was nominated for the Golden Globe Award for Best Original Song at the 49th Golden Globe Awards in 1992, losing again to "Beauty and the Beast." In 2004, the American Film Institute nominated "Be Our Guest" for its "100 Years…100 Songs" ranking.Allwomenstalk believes that "Be Our Guest" represents "what Disney is all about." Dubbed one of the most memorable songs from Beauty and the Beast, while lauded as a "favorite," a "classic" and "one of the greatest showstoppers" in film history, "Be Out Guest" is commonly cited as one of Disney's greatest songs. As Beauty and the Beast's "most frequently heard song," BuzzSugar ranked "Be Our Guest" third on the website's list of the "25 Disney Songs We Will Never Stop Singing". Calling the song a "gem," author Maggie Pehanick wrote that "Be Our Guest" was "one of the first [Disney] songs to get permanently lodged in your brain." Oh No They Didn't ranked "Be Our Guest" eighth on its list of "The Top 25 Disney Songs of All Time", while IGN ranked the song third, with author Lucy O'Brien writing, "Of all the brilliant numbers peppered throughout Beauty and the Beast, it's the turbo-charged Broadway chorus number [']Be Our Guest['] that's the stand-out," describing it as "one of the best songs ever devised by Alan Menken and Howard Ashman." "Be Our Guest" was ranked seventh on M's "Top 20 Disney Songs of All Time" list, with author Stephanie Osmanski citing "Be our guest, be our guest, put our service to the test" as her favorite lyrics. Meanwhile, HitFix ranked "Be Our Guest" sixth on their own list o "The 20 Best Disney Songs of All Time." Additionally, while ranking Lumiere the thirty-ninth "Best Animated Movie Character" of all-time, Empire hailed "Be Our Guest" as the character's best moment and "Stroke of genius," writing, "The song ... sees Lumiere introduce perhaps the greatest dining experience in animation history." While ranking the "50 Greatest Fairy Tale Movies," on which Beauty and the Beast ranked second, Total Film highlighted "Be Our Guest" as the film's "Most Magical Moment." Film.com ranked "Be Our Guest" the thirteenth "Greatest Musical Number ... in Movie History," describing the song as "a masterpiece of showtune construction" while lauding its Busby Berkeley-inspired choreography. "Be Our Guest" was the only animated musical number included on the website's list of 50.
| 7
|
[
"Be Our Guest",
"has quality",
"film song"
] |
Background
Originally, Beauty and the Beast, under the direction of Richard Purdum, was not intended to be a musical. Then-studio chief Jeffrey Katzenberg decided to turn the film into a Broadway-style musical similar to The Little Mermaid (1989), Disney's previous animated film, after he, displeased with the film's initial story reel, ordered the film scrapped and restarted from scratch. As a result, Purdum resigned, and first-time feature film directors Kirk Wise and Gary Trousdale replaced him.
Following the Academy Award-winning success of The Little Mermaid, Katzenberg asked The Little Mermaid songwriting duo of Howard Ashman and Alan Menken to write the songs for and score Beauty and the Beast. At first Ashman, who was at the time writing songs with Menken for a recently pitched idea for another Disney film called Aladdin (1992), was reluctant to join the struggling film project, but eventually agreed.Musically, "Be Our Guest" is based on a simple melody that was composed by Menken, who initially had little intention of using it as anything more than just a "dummy." Upon singing the tune and presenting it to co-writer Ashman, Menken discovered that he was unable to come up with a melody capable of surpassing "that dumb piece of music that I wrote initially because it was just right." Subsequently, Ashman wrote the song's lyrics.Originally, the filmmakers had initially intended for "Be Our Guest" to be performed by Lumière to Belle's disoriented father Maurice when the character first discovers the Beast's castle. According to co-director Gary Trousdale, "The song had already been recorded and the sequence partially animated when we decided that it would be more meaningful if it was directed towards Belle" because "she is one of the two main characters and the story revolves around her coming to the castle." Consequently, the song had to be re-written and the entire scene re-animated. Trousdale explained, "We had to bring Jerry Orbach and all the other vocal talents back into the studio to change all references to gender that appeared in the original recording."Live-action film
"Be Our Guest" is featured in the 2017 live-action adaptation of Beauty and the Beast. In addition, the phrase "Be Our Guest" became the tagline in promotional trailers and posters for the film. The song is performed primarily by Ewan McGregor, with contributions from Emma Thompson, Gugu Mbatha-Raw, and Ian McKellen. This version is very similar to the animated film, except that Lumiere sings "Too long we've been rusting" where he sang "Ten years" in the original, as well as when Lumiere sings "We'll prepare and serve with flair a culinary cabaret," there is a musical nod to Kander & Ebb's 1966 musical Cabaret's "signature, campy, percussive sound."
| 9
|
[
"Be Our Guest",
"instance of",
"musical work/composition"
] |
Background
Originally, Beauty and the Beast, under the direction of Richard Purdum, was not intended to be a musical. Then-studio chief Jeffrey Katzenberg decided to turn the film into a Broadway-style musical similar to The Little Mermaid (1989), Disney's previous animated film, after he, displeased with the film's initial story reel, ordered the film scrapped and restarted from scratch. As a result, Purdum resigned, and first-time feature film directors Kirk Wise and Gary Trousdale replaced him.
Following the Academy Award-winning success of The Little Mermaid, Katzenberg asked The Little Mermaid songwriting duo of Howard Ashman and Alan Menken to write the songs for and score Beauty and the Beast. At first Ashman, who was at the time writing songs with Menken for a recently pitched idea for another Disney film called Aladdin (1992), was reluctant to join the struggling film project, but eventually agreed.Musically, "Be Our Guest" is based on a simple melody that was composed by Menken, who initially had little intention of using it as anything more than just a "dummy." Upon singing the tune and presenting it to co-writer Ashman, Menken discovered that he was unable to come up with a melody capable of surpassing "that dumb piece of music that I wrote initially because it was just right." Subsequently, Ashman wrote the song's lyrics.Originally, the filmmakers had initially intended for "Be Our Guest" to be performed by Lumière to Belle's disoriented father Maurice when the character first discovers the Beast's castle. According to co-director Gary Trousdale, "The song had already been recorded and the sequence partially animated when we decided that it would be more meaningful if it was directed towards Belle" because "she is one of the two main characters and the story revolves around her coming to the castle." Consequently, the song had to be re-written and the entire scene re-animated. Trousdale explained, "We had to bring Jerry Orbach and all the other vocal talents back into the studio to change all references to gender that appeared in the original recording."
| 10
|
[
"You've Got a Friend in Me",
"nominated for",
"Academy Awards"
] |
"You've Got a Friend in Me" is a song by Randy Newman. Used as the theme song for the 1995 Disney/Pixar animated film Toy Story, it has since become a major musical component for its sequels, Toy Story 2 (1999), Toy Story 3 (2010) and Toy Story 4 (2019) as well as a musical leitmotif throughout the whole Toy Story franchise. The song was nominated for both the Academy Award for Best Original Song and the Golden Globe Award for Best Original Song, but lost both to "Colors of the Wind" from Disney's Pocahontas.
Like many other Disney theme songs, "You've Got a Friend in Me" has been covered numerous times. Cover versions featured in the first three Toy Story films include a duet with Newman and Lyle Lovett in Toy Story; a diagetic instance by Tom Hanks, a version by Robert Goulet and an instrumental by Tom Scott in Toy Story 2, and a Spanish language version by the Gipsy Kings in Toy Story 3.
| 3
|
[
"You've Got a Friend in Me",
"performer",
"Randy Newman"
] |
Personnel
Original version
Randy Newman – lead vocals, piano, orchestral arrangements
Randy Kerber – keyboards
John Goux, Dean Parks – guitars
Jimmy Johnson – bass
Jim Keltner – drums
Yvonne Williams, Bobbi Page, Luana Jackman – background vocalsDuet version
Randy Newman – lead vocals, piano
Lyle Lovett – co-lead vocals
Kevin Savigar – Hammond B-3
Mark Goldenberg – guitar
James Hutchinson – bass
Jim Keltner – drums
Gabe Witcher – violin
| 10
|
[
"You've Got a Friend in Me",
"performer",
"Lyle Lovett"
] |
Duet version
Randy Newman – lead vocals, piano
Lyle Lovett – co-lead vocals
Kevin Savigar – Hammond B-3
Mark Goldenberg – guitar
James Hutchinson – bass
Jim Keltner – drums
Gabe Witcher – violin
| 14
|
[
"Cheek to Cheek",
"nominated for",
"Academy Awards"
] |
"Cheek to Cheek" is a song written by Irving Berlin in 1934–35, specifically for the star of his new musical, Fred Astaire. The movie was Top Hat, co-starring Ginger Rogers. In the movie, Astaire sings the song to Rogers as they dance. The song was nominated for the Best Song Oscar for 1936, which it lost to "Lullaby of Broadway". The song spent five weeks at #1 on Your Hit Parade and was named the #1 song of 1935. Astaire's 1935 recording with the Leo Reisman Orchestra was inducted into the Grammy Hall of Fame in 2000. In 2004, Astaire's version finished at No. 15 on AFI's 100 Years...100 Songs survey of top tunes in American cinema.
| 3
|
[
"Cheek to Cheek",
"composer",
"Irving Berlin"
] |
Release
On June 26, 1935, Fred and Leo Reisman, along with his Orchestra, got to work at ARC (parent company of Brunswick Records at the time) Studios in New York City. They recorded two Irving Berlin compositions, "Cheek To Cheek" and "No Strings (I'm Fancy Free)". The next day, with Johnny Greene's Orchestra, "Isn't This a Lovely Day?" and "Top Hat, White Tie and Tails" were completed. Both singles were released in August, and then at the end of the month, "Top Hat" premiered. The timing must have been perfect, because "Cheek to Cheek" headed straight to #1, where it stayed for eleven weeks, and finished the #1 hit of 1935. Fred topped his career high of ten weeks for "Night And Day".
| 5
|
[
"Cheek to Cheek",
"instance of",
"musical work/composition"
] |
Release
On June 26, 1935, Fred and Leo Reisman, along with his Orchestra, got to work at ARC (parent company of Brunswick Records at the time) Studios in New York City. They recorded two Irving Berlin compositions, "Cheek To Cheek" and "No Strings (I'm Fancy Free)". The next day, with Johnny Greene's Orchestra, "Isn't This a Lovely Day?" and "Top Hat, White Tie and Tails" were completed. Both singles were released in August, and then at the end of the month, "Top Hat" premiered. The timing must have been perfect, because "Cheek to Cheek" headed straight to #1, where it stayed for eleven weeks, and finished the #1 hit of 1935. Fred topped his career high of ten weeks for "Night And Day".
| 11
|
[
"Love in Bloom (song)",
"nominated for",
"Academy Awards"
] |
Background
The song was first recorded by Bing Crosby on July 5, 1934 with Irving Aaronson and his Commanders for Brunswick Records. The same year, it was one of the nominees for the inaugural "Best Song" Academy Award when it lost out to "The Continental". Crosby re-recorded the song for his 1954 album Bing: A Musical Autobiography.
Other popular versions of the song in 1934 were by Paul Whiteman (vocal by Jack Fulton), Guy Lombardo and by Hal Kemp (vocal by Skinnay Ennis)."Love in Bloom" became the theme song of Jack Benny who was known for playing it off-key on his violin. Kitty Carlisle had hoped to adopt it as her theme song, but its swift comic association with Benny spoiled those plans.
The song was played throughout the Fleischer cartoon Time for Love, released theatrically in 1935, about a pair of swans who were lovers.The song has been recorded by other artists, including Al Bowlly with Lew Stone and his Orchestra in 1934, Spike Jones and his City Slickers (1947), The Platters (for their 1959 album Remember When?), Erroll Garner (1961) and Mel Tormé for his 1994 album A Tribute to Bing Crosby. It is mentioned in Charles Trenet's song, "Boum!"
| 1
|
[
"Love in Bloom (song)",
"performer",
"Bing Crosby"
] |
"Love in Bloom" is a popular song with music by Ralph Rainger and lyrics by Leo Robin, published in 1934. It was introduced in the film She Loves Me Not by Bing Crosby and Kitty Carlisle. It remained familiar for many years thereafter as the theme song of Jack Benny, played at the opening of his radio and television programs.Background
The song was first recorded by Bing Crosby on July 5, 1934 with Irving Aaronson and his Commanders for Brunswick Records. The same year, it was one of the nominees for the inaugural "Best Song" Academy Award when it lost out to "The Continental". Crosby re-recorded the song for his 1954 album Bing: A Musical Autobiography.
Other popular versions of the song in 1934 were by Paul Whiteman (vocal by Jack Fulton), Guy Lombardo and by Hal Kemp (vocal by Skinnay Ennis)."Love in Bloom" became the theme song of Jack Benny who was known for playing it off-key on his violin. Kitty Carlisle had hoped to adopt it as her theme song, but its swift comic association with Benny spoiled those plans.
The song was played throughout the Fleischer cartoon Time for Love, released theatrically in 1935, about a pair of swans who were lovers.The song has been recorded by other artists, including Al Bowlly with Lew Stone and his Orchestra in 1934, Spike Jones and his City Slickers (1947), The Platters (for their 1959 album Remember When?), Erroll Garner (1961) and Mel Tormé for his 1994 album A Tribute to Bing Crosby. It is mentioned in Charles Trenet's song, "Boum!"
| 2
|
[
"(I've Got a Gal In) Kalamazoo",
"form of creative work",
"song"
] |
"(I've Got a Gal in) Kalamazoo" is a #1 popular song recorded by Glenn Miller and His Orchestra in 1942. It was written by Mack Gordon and Harry Warren and published in 1942. It was featured in the musical film Orchestra Wives and was recorded by Glenn Miller and His Orchestra, featuring Tex Beneke, Marion Hutton and The Modernaires, who released it as an A side 78 in 1942, 27934-A. The B side was "At Last".Background
The song popularized the city of Kalamazoo, Michigan. Although originally recorded by the Glenn Miller band with Tex Beneke on lead vocals, it was recreated by the fictional Gene Morrison Orchestra performing as the Glenn Miller Band and the Nicholas Brothers (performing the song as part of a dance sequence) in the 1942 20th Century Fox movie Orchestra Wives. The song was nominated for Best Music, Original Song at the Academy Awards, Harry Warren (music), Mack Gordon (lyrics).The song was recorded on May 20, 1942 in Hollywood. The arrangement was by Jerry Gray. The personnel on "(I've Got a Gal in) Kalamazoo": Tex Beneke, Marion Hutton, the Modernaires (vocals), Billy May, John Best, Steve Lipkins, R.D. McMickle (trumpet), Glenn Miller, Jim Priddy, Paul Tanner, Frank D'Annolfo (trombone), Lloyd "Skip" Martin, Wilbur Schwartz (clarinet, alto saxophone), Tex Beneke, Al Klink (tenor saxophone), Ernie Caceres (baritone saxophone), Chummy MacGregor (piano), Bobby Hackett (guitar), Edward "Doc" Goldberg (string bass), and Maurice Purtill (drums).
| 0
|
[
"(I've Got a Gal In) Kalamazoo",
"nominated for",
"Academy Awards"
] |
Background
The song popularized the city of Kalamazoo, Michigan. Although originally recorded by the Glenn Miller band with Tex Beneke on lead vocals, it was recreated by the fictional Gene Morrison Orchestra performing as the Glenn Miller Band and the Nicholas Brothers (performing the song as part of a dance sequence) in the 1942 20th Century Fox movie Orchestra Wives. The song was nominated for Best Music, Original Song at the Academy Awards, Harry Warren (music), Mack Gordon (lyrics).The song was recorded on May 20, 1942 in Hollywood. The arrangement was by Jerry Gray. The personnel on "(I've Got a Gal in) Kalamazoo": Tex Beneke, Marion Hutton, the Modernaires (vocals), Billy May, John Best, Steve Lipkins, R.D. McMickle (trumpet), Glenn Miller, Jim Priddy, Paul Tanner, Frank D'Annolfo (trombone), Lloyd "Skip" Martin, Wilbur Schwartz (clarinet, alto saxophone), Tex Beneke, Al Klink (tenor saxophone), Ernie Caceres (baritone saxophone), Chummy MacGregor (piano), Bobby Hackett (guitar), Edward "Doc" Goldberg (string bass), and Maurice Purtill (drums).
| 1
|
[
"(I've Got a Gal In) Kalamazoo",
"lyrics by",
"Mack Gordon"
] |
"(I've Got a Gal in) Kalamazoo" is a #1 popular song recorded by Glenn Miller and His Orchestra in 1942. It was written by Mack Gordon and Harry Warren and published in 1942. It was featured in the musical film Orchestra Wives and was recorded by Glenn Miller and His Orchestra, featuring Tex Beneke, Marion Hutton and The Modernaires, who released it as an A side 78 in 1942, 27934-A. The B side was "At Last".Background
The song popularized the city of Kalamazoo, Michigan. Although originally recorded by the Glenn Miller band with Tex Beneke on lead vocals, it was recreated by the fictional Gene Morrison Orchestra performing as the Glenn Miller Band and the Nicholas Brothers (performing the song as part of a dance sequence) in the 1942 20th Century Fox movie Orchestra Wives. The song was nominated for Best Music, Original Song at the Academy Awards, Harry Warren (music), Mack Gordon (lyrics).The song was recorded on May 20, 1942 in Hollywood. The arrangement was by Jerry Gray. The personnel on "(I've Got a Gal in) Kalamazoo": Tex Beneke, Marion Hutton, the Modernaires (vocals), Billy May, John Best, Steve Lipkins, R.D. McMickle (trumpet), Glenn Miller, Jim Priddy, Paul Tanner, Frank D'Annolfo (trombone), Lloyd "Skip" Martin, Wilbur Schwartz (clarinet, alto saxophone), Tex Beneke, Al Klink (tenor saxophone), Ernie Caceres (baritone saxophone), Chummy MacGregor (piano), Bobby Hackett (guitar), Edward "Doc" Goldberg (string bass), and Maurice Purtill (drums).
| 4
|
[
"(I've Got a Gal In) Kalamazoo",
"composer",
"Harry Warren"
] |
"(I've Got a Gal in) Kalamazoo" is a #1 popular song recorded by Glenn Miller and His Orchestra in 1942. It was written by Mack Gordon and Harry Warren and published in 1942. It was featured in the musical film Orchestra Wives and was recorded by Glenn Miller and His Orchestra, featuring Tex Beneke, Marion Hutton and The Modernaires, who released it as an A side 78 in 1942, 27934-A. The B side was "At Last".
| 5
|
[
"(I've Got a Gal In) Kalamazoo",
"distribution format",
"78 rpm record"
] |
"(I've Got a Gal in) Kalamazoo" is a #1 popular song recorded by Glenn Miller and His Orchestra in 1942. It was written by Mack Gordon and Harry Warren and published in 1942. It was featured in the musical film Orchestra Wives and was recorded by Glenn Miller and His Orchestra, featuring Tex Beneke, Marion Hutton and The Modernaires, who released it as an A side 78 in 1942, 27934-A. The B side was "At Last".
| 7
|
[
"(I've Got a Gal In) Kalamazoo",
"instance of",
"musical work/composition"
] |
"(I've Got a Gal in) Kalamazoo" is a #1 popular song recorded by Glenn Miller and His Orchestra in 1942. It was written by Mack Gordon and Harry Warren and published in 1942. It was featured in the musical film Orchestra Wives and was recorded by Glenn Miller and His Orchestra, featuring Tex Beneke, Marion Hutton and The Modernaires, who released it as an A side 78 in 1942, 27934-A. The B side was "At Last".Background
The song popularized the city of Kalamazoo, Michigan. Although originally recorded by the Glenn Miller band with Tex Beneke on lead vocals, it was recreated by the fictional Gene Morrison Orchestra performing as the Glenn Miller Band and the Nicholas Brothers (performing the song as part of a dance sequence) in the 1942 20th Century Fox movie Orchestra Wives. The song was nominated for Best Music, Original Song at the Academy Awards, Harry Warren (music), Mack Gordon (lyrics).The song was recorded on May 20, 1942 in Hollywood. The arrangement was by Jerry Gray. The personnel on "(I've Got a Gal in) Kalamazoo": Tex Beneke, Marion Hutton, the Modernaires (vocals), Billy May, John Best, Steve Lipkins, R.D. McMickle (trumpet), Glenn Miller, Jim Priddy, Paul Tanner, Frank D'Annolfo (trombone), Lloyd "Skip" Martin, Wilbur Schwartz (clarinet, alto saxophone), Tex Beneke, Al Klink (tenor saxophone), Ernie Caceres (baritone saxophone), Chummy MacGregor (piano), Bobby Hackett (guitar), Edward "Doc" Goldberg (string bass), and Maurice Purtill (drums).
| 8
|
[
"Belle (Disney song)",
"nominated for",
"Academy Awards"
] |
"Belle" is a song written by composer Alan Menken and lyricist Howard Ashman for Walt Disney Pictures' 30th animated feature film Beauty and the Beast (1991). Originally recorded by American actress and singer Paige O'Hara and American actor Richard White, "Belle", a mid-tempo French and classical music-inspired song, incorporates both Broadway and musical theatre elements. The film's first song and opening number, "Belle" appears during Beauty and the Beast as a large scale operetta-style production number that introduces the film's heroine Belle, considered a book-loving nonconformist by the townspeople of the village, who has grown weary of the provincial life in which she is supposed to live, and Gaston, the film's narcissistic villain who wishes to desire her hand in marriage despite Belle's repeated rejections.
"Belle" has been universally acclaimed by film and music critics. Musically, the song has been compared to various musical numbers from the musical films West Side Story (1961) and The Sound of Music (1965), as well as the Broadway musicals Fiddler on the Roof and She Loves Me. At the 64th Academy Awards in 1992, "Belle" was nominated for the Academy Award for Best Original Song, but ultimately lost to the film's title song. The song was similarly featured in the Broadway musical based on the film, originally performed by American actress and singer Susan Egan.
| 1
|
[
"Belle (Disney song)",
"performer",
"Alec Murphy"
] |
Context and composition
Hoping to write a song that would successfully "portray [Belle] in a world that is so protected and safe", Ashman and Menken drew inspiration from a story-telling style that is often reserved for traditional operettas. As Beauty and the Beast's opening number, "Belle", a "pivotal moment...in the narrative", plays a significant role in the film by introducing both the film's heroine, Belle, after whom the song is named, and Gaston, the film's villain. While Belle, a book-loving and intelligent nonconformist who has grown frustrated with her predictable village life, longs for an adventure similar to the ones she reads about in her books, Gaston is a narcissistic hunter who seeks her hand in marriage. In roughly five minutes, the song explains both Belle and Gaston's roles in Beauty and the Beast to the audience. The song also voices the opinions of the townsfolk and "sets up the overall theme and foreshadows what makes the town so oppressive to [Belle]"; while the villagers award Belle high praise for her doubtless Beauty, they see her as odd because of her love of books and ridicule her for her non-conformity. However, they appraise Gaston for his looks and masculinity.According to Irving Tan of Sputnikmusic, "Belle" is an "idyllic, orchestra-driven" musical number, written in the style of a traditional operetta. The song begins slowly with Belle performing a down-tempo solo about a typical morning in her village before several other villagers and patrons join her when she sings "bonjour." After this, "Belle" adopts a faster pace, becoming a "rhythmically driven tune" several patrons perform at various times throughout the musical number. Eventually, the song features a counter melody performed by Belle, who lovingly recalls a story she is reading about a beautiful young woman and a handsome prince, followed by Gaston performing the faster melody joined by the Bimbettes, who fawn over the character. Finally, in a Broadway-style climax, the song concludes with virtually every villager singing together. Commonly regarded as the film's "I Want" song, "Belle" offers its protagonist an opportunity to "expresses her yearnings". Described by Filmtracks.com as a "snare-tapping song", "Belle" is, according to sheet music originally published by Walt Disney Music Publishing, a Broadway-inspired and musical theatre-influenced song, performed at a moderate "pastorally" tempo of 80 beats per minute in the key of D major. Combined, O'Hara's soprano and White's baritone vocal ranges span approximately two octaves, from the low note of A3, sung by White, to the high note G5, sung by O'Hara. Additionally, actors Alec Murphy, Mary Kay Bergman and Kath Soucie's vocals are also featured on the track. In total, "Belle" runs a length of five minutes and nine seconds.
| 15
|
[
"So Close (Enchanted song)",
"form of creative work",
"song"
] |
Composition
According to the song's official sheet music published by Walt Disney Music Publishing on Musicnotes.com, "So Close" was written in the key of E major, performed "slowly" in common time. The track lasts a duration of three minutes and forty-nine seconds. According to The Musical Theater of Stephen Schwartz: From Godspell to Wicked author Paul R. Laird, the song is performed in 4/4 time "with a prevailing triplet motion", thus the ballad is not a waltz since it is not written in 3/4 time. Filmtracks.com identified the song as a "modern ... contemporary pop" ballad. Musically, "So Close" resembles Menken's "era of Disney songwriting", with the composer himself describing the track as "a more contemporary, adult ballad" and agreeing that the song is "really in my ballad style". Troob described "So Close" as a "very straight-ahead pop ballad" reminiscent of music popular during the 1980s and 1990s. Peter Knegt of IndieWire described the ballad as "mid-1990s slow dance sounding". In addition to being a pop song, the track employs heavy pop orchestration; instruments such as bass, drums, guitar, piano and synthesizer can be heard throughout the piece. Laird described Menken's composition as "a flowing tune with a wide range that takes [McLaughlin's] tenor to a d-flat", which he performs in falsetto. Performing the track using a "melancholic voice", McLaughlin's vocal range on the song spans three octaves, from B3-Db6."So Close" is a love song. The song features lyrics that mirror the film and Giselle's relationship with Robert, beginning with "You're in my arms/And all the word is gone/The music playing on/for only two/so close together" and ending "...So close, and still/So far..." to indicate that there is still separation between the two, despite how close they've grown. This last line refers to the characters' close physical proximity to each other but different fates. According to McKinley Catherine Keener of The Odyssey Online, "So Close" briefly suggests that Enchanted may lack a conventionally happy ending, specifically the lyrics "A life goes by, romantic dreams must die." McLaughlin's raspy, sentimental vocals and melody contradict with the song's cynical lyrics. Laird observed that, in addition to conveying the song's dual message, Schwartz is less reliant on rhyming words, but nonetheless uses lyrics such as "happy end" instead of "happy ending" in order to rhyme with "pretend". The ballad's lyrics also consist of puns.
| 0
|
[
"So Close (Enchanted song)",
"nominated for",
"Academy Awards"
] |
"So Close" is a song written by composer Alan Menken and lyricist Stephen Schwartz for the musical fantasy film Enchanted (2007), recorded by American singer Jon McLaughlin. In the film, the song is performed by McLaughlin as himself, a band vocalist, musically accompanying main characters Giselle and Robert as they dance together at a costume ball. The song's lyrics describe both their relationship with each other, as well as Giselle's journey and growth as a character.
Enchanted's songs become more contemporary in style as Giselle matures into a modern-day young woman, with "So Close" resembling the style of music featured in Disney films during the 1990s, a theme similarly reflected by the character's choice of wardrobe during the scene. A romantic pop ballad, Menken and Schwartz based "So Close" on the title song from Disney's Beauty and the Beast (1991), a song Menken himself had written the music for, while its cinematography was designed to invoke the camera movement in Beauty and the Beast's famous ballroom sequence. The track was arranged and produced by Robbie Buchanan, who had previously arranged pop versions of the theme songs from Beauty and the Beast, Aladdin (1992) and Pocahontas (1995).
The song has received generally negative reviews from film and music critics, who were unimpressed with its slow tempo. "So Close" was one of three songs from Enchanted nominated for an Academy Award for Best Original Song at the 80th Academy Awards. McLaughlin's live performance during the telecast was met with critical acclaim, and is credited with introducing the singer to a wider audience while bolstering sales of his own material.Reception
Critical reception towards "So Close" has been generally negative. Filmtracks.com described the song as "stale". The Houston Chronicle's Amy Biancolli criticized its slow tempo, writing that "musical nitpickers ... might wish that [the] climactic ballroom 'waltz' had actually been in three-four time." Golderby writer Andrew Carden dismissed "So Close" as "a real snooze." Jared Johnson, writing for The Sojourn, conversely described the track as "a beautiful love ballad"."So Close" was nominated for an Academy Award for Best Original Song at the 80th Academy Awards in 2008, in addition to "Happy Working Song" and "That's How You Know" from Enchanted. "So Close" was the only nominated song from Enchanted not performed by Adams. The three songs had collectively sold 177,000 digital downloads prior to the awards ceremony. Although Peter Knegt of IndieWire enjoyed Enchanted's songs, he felt that "So Close" was undeserving of a nomination. Billboard polled its readers, asking them which of the five nominees they hoped would win Best Original Song, 10% of whom voted for "So Close". "So Close" is ranked as McLaughlin's most streamed song on Spotify, having accumulated more than 16 million streams as of January 2019.In 2020, Ross Tanenbaum of Screen Rant ranked "So Close" Disney's fourth most underrated song, describing it as a charming ballad with "good lyrics, an enchanting melody, and a soothing vocal performance." The same publication ranked "So Close" the best song from Enchanted.The Odyssey Online's McKinley Catherine Keener described "So Close" as "simultaneously one of the sweetest and most heartbreaking songs Disney has ever produced."
| 1
|
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