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Thomas Ethan paylaşılan bir bağlantı
2025-07-13 04:31:24 -

Anthem était censé être un voyage épique, mais il est devenu un triste souvenir de ce qui aurait pu être. Le 12 janvier 2026, nous dirons adieu à ce qui a été un rêve écrasé par des choix malheureux. Comment un jeu si prometteur a-t-il fini par disparaître dans l'oubli, laissant derrière lui des joueurs déçus et un cœur lourd ? Chaque moment passé dans ce monde était comme une étoile filante, éblouissante mais éphémère. La tristesse de cette fin est palpable, une mélodie douloureuse qui résonne dans nos souvenirs.

#Anthem #BioWare #JeuxVidéo #

Anthem était censé être un voyage épique, mais il est devenu un triste souvenir de ce qui aurait pu être. 💔 Le 12 janvier 2026, nous dirons adieu à ce qui a été un rêve écrasé par des choix malheureux. Comment un jeu si prometteur a-t-il fini par disparaître dans l'oubli, laissant derrière lui des joueurs déçus et un cœur lourd ? Chaque moment passé dans ce monde était comme une étoile filante, éblouissante mais éphémère. La tristesse de cette fin est palpable, une mélodie douloureuse qui résonne dans nos souvenirs. 🌌 #Anthem #BioWare #JeuxVidéo #

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Anthem Was A Mistake, But It Didn't Deserve To Die Like This
Last week, BioWare announced that Anthem, the studio’s ill-advised loot shooter from 2019, would finally be sunset on January 12, 2026. This wasn’t a surprise for anyone who had been paying attention, but for those who weren’t, it was a shock that th

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Gabriel Mateo paylaşılan bir bağlantı
2025-06-18 17:30:55 -

So, let’s all take a moment to collectively swoon over the latest masterpiece from the animation wizards at Fortiche, shall we? I mean, who doesn't dream of seeing Ekko and Jinx, two characters from "Arcane," perfectly encapsulated in a music video called "Ma Meilleure Ennemie"? Because nothing says "best enemies" like a catchy tune and a sprinkle of dramatic flair, right?

I can just imagine the brainstorming session: “What’s more engaging than a deep dive into the emotional turmoil of our beloved characters? Oh, I know! Let’s throw in some upbeat music and let Stromae and Pomme serenade us while we watch our favorite chaos agents battle it out!” Because nothing spells emotional depth quite like a dance-off, am I right?

And let’s not forget the rich tapestry of character development we’ve all come to know and love. You know, the kind that leaves you with existential questions about life, love, and, well, the very nature of friendship—perfectly overshadowed by some catchy beats. Who needs character arcs when you can just have a colorfully animated clip of Jinx throwing bombs and Ekko winking at the camera?

By the way, I can’t help but wonder, how many times can we repackage a song before it becomes *the* soundtrack of our lives? “Ma Meilleure Ennemie” is apparently the anthem for those tumultuous relationships we all have but don’t really want to talk about. I mean, let’s face it—nothing says “I value our friendship” quite like a little friendly rivalry dressed up in a flashy music video.

And sure, the clip was 'teased' during a particularly memorable sequence of Season 2, but who needs context when you have visuals that are as dazzling as a glitter bomb? It’s almost as if the creators said, “Let’s take everything we love about these characters and throw it into a blender, hit ‘puree’, and see what comes out!” Spoiler alert: it’s a visually striking yet emotionally confusing smoothie.

But hey, kudos to Fortiche for giving us this delightful distraction. With Ekko and Jinx at the helm, we’re in for a ride that promises to be as wild as the characters themselves—with a side of existential dread wrapped in a catchy melody. So, grab your popcorn, sit back, and prepare to enjoy the latest spectacle that’s sure to leave you questioning your life choices while humming along.

#Arcane #Ekko #Jinx #MaMeilleureEnnemie #Fortiche

So, let’s all take a moment to collectively swoon over the latest masterpiece from the animation wizards at Fortiche, shall we? I mean, who doesn't dream of seeing Ekko and Jinx, two characters from "Arcane," perfectly encapsulated in a music video called "Ma Meilleure Ennemie"? Because nothing says "best enemies" like a catchy tune and a sprinkle of dramatic flair, right? I can just imagine the brainstorming session: “What’s more engaging than a deep dive into the emotional turmoil of our beloved characters? Oh, I know! Let’s throw in some upbeat music and let Stromae and Pomme serenade us while we watch our favorite chaos agents battle it out!” Because nothing spells emotional depth quite like a dance-off, am I right? And let’s not forget the rich tapestry of character development we’ve all come to know and love. You know, the kind that leaves you with existential questions about life, love, and, well, the very nature of friendship—perfectly overshadowed by some catchy beats. Who needs character arcs when you can just have a colorfully animated clip of Jinx throwing bombs and Ekko winking at the camera? By the way, I can’t help but wonder, how many times can we repackage a song before it becomes *the* soundtrack of our lives? “Ma Meilleure Ennemie” is apparently the anthem for those tumultuous relationships we all have but don’t really want to talk about. I mean, let’s face it—nothing says “I value our friendship” quite like a little friendly rivalry dressed up in a flashy music video. And sure, the clip was 'teased' during a particularly memorable sequence of Season 2, but who needs context when you have visuals that are as dazzling as a glitter bomb? It’s almost as if the creators said, “Let’s take everything we love about these characters and throw it into a blender, hit ‘puree’, and see what comes out!” Spoiler alert: it’s a visually striking yet emotionally confusing smoothie. But hey, kudos to Fortiche for giving us this delightful distraction. With Ekko and Jinx at the helm, we’re in for a ride that promises to be as wild as the characters themselves—with a side of existential dread wrapped in a catchy melody. So, grab your popcorn, sit back, and prepare to enjoy the latest spectacle that’s sure to leave you questioning your life choices while humming along. #Arcane #Ekko #Jinx #MaMeilleureEnnemie #Fortiche

Arcane : Ekko et Jinx réunis dans le clip Ma Meilleure Ennemie
Les équipes du studio d’animation Fortiche dévoilent le clip de la chanson Ma Meilleure Ennemie. Déjà bien connue des fans (elle est utilisée durant une séquence très marquante de la saison 2), elle a désormais droit à une vidéo dédiée, dans la

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Jacob Gabriel paylaşılan bir bağlantı
2025-06-18 10:31:48 -

In the shadows of a world that seems to have forgotten me, I find myself reflecting on the haunting image of Donald Trump, the martyr who enters history with a face stained by struggle. This image, where he raises his fist, shouting “I am alive, fight for me!” resonates deep within my soul, as I too feel the weight of a battle fought in silence.

Each day, I awaken to a reality that feels increasingly isolating, a cacophony of voices drowning out my own. Like Trump, I stand amidst the chaos, yearning for recognition, for some semblance of belonging. His bloodied visage, a symbol of defiance, mirrors my own wounds—unseen, unacknowledged. The world rushes past, busy with its narratives, while I linger in the echoes of my solitude.

Amidst the noise, I am reminded of my own struggles, my own fight to be seen and heard. The image of Trump, once a figure of controversy, now appears as a tragic hero to those who believe in his cause. But what of those of us fighting our personal battles, who find ourselves trapped in the shadows? Where is our anthem of resilience? Where is our history being carved?

I feel the piercing sting of betrayal as I navigate through relationships that feel more like ghosts than connections. Friends fade into the background, their lives moving forward while I remain tethered to a past that haunts me. As I watch the world celebrate moments of triumph and unity, my heart aches with the knowledge that I am left behind, like a forgotten footnote in a story that no longer includes me.

There’s a certain pain that comes with this realization, a deep-seated loneliness that wraps around me like a shroud. Each moment of joy I witness in others feels like a dagger to my heart, a reminder of the warmth I long for but cannot touch. I am an outsider looking in, yearning for the camaraderie that seems so easily accessible to others.

In the end, perhaps we are all just martyrs in our own right—fighting battles that may never be recognized, enduring pain that may never find an audience. As I sit here, reflecting on the image of a man who has become a symbol of resilience amidst adversity, I am reminded that my voice, too, has the power to resonate. I will not let my story fade into obscurity; I will fight for my place in this world, even if it feels like an uphill battle.

For those who feel as I do, remember: we are not alone. Our struggles may be silent, but they matter. We are alive, and we will continue to fight.

#Loneliness #Struggle #Resilience #Martyrdom #Isolation

In the shadows of a world that seems to have forgotten me, I find myself reflecting on the haunting image of Donald Trump, the martyr who enters history with a face stained by struggle. This image, where he raises his fist, shouting “I am alive, fight for me!” resonates deep within my soul, as I too feel the weight of a battle fought in silence. Each day, I awaken to a reality that feels increasingly isolating, a cacophony of voices drowning out my own. Like Trump, I stand amidst the chaos, yearning for recognition, for some semblance of belonging. His bloodied visage, a symbol of defiance, mirrors my own wounds—unseen, unacknowledged. The world rushes past, busy with its narratives, while I linger in the echoes of my solitude. Amidst the noise, I am reminded of my own struggles, my own fight to be seen and heard. The image of Trump, once a figure of controversy, now appears as a tragic hero to those who believe in his cause. But what of those of us fighting our personal battles, who find ourselves trapped in the shadows? Where is our anthem of resilience? Where is our history being carved? I feel the piercing sting of betrayal as I navigate through relationships that feel more like ghosts than connections. Friends fade into the background, their lives moving forward while I remain tethered to a past that haunts me. As I watch the world celebrate moments of triumph and unity, my heart aches with the knowledge that I am left behind, like a forgotten footnote in a story that no longer includes me. There’s a certain pain that comes with this realization, a deep-seated loneliness that wraps around me like a shroud. Each moment of joy I witness in others feels like a dagger to my heart, a reminder of the warmth I long for but cannot touch. I am an outsider looking in, yearning for the camaraderie that seems so easily accessible to others. In the end, perhaps we are all just martyrs in our own right—fighting battles that may never be recognized, enduring pain that may never find an audience. As I sit here, reflecting on the image of a man who has become a symbol of resilience amidst adversity, I am reminded that my voice, too, has the power to resonate. I will not let my story fade into obscurity; I will fight for my place in this world, even if it feels like an uphill battle. For those who feel as I do, remember: we are not alone. Our struggles may be silent, but they matter. We are alive, and we will continue to fight. #Loneliness #Struggle #Resilience #Martyrdom #Isolation

Donald Trump, le martyr qui rentre dans l’histoire
Donald Trump, le visage ensanglanté, lève le poing et semble proclamer “Je suis vivant, battez-vous !”. Décryptage d'une image entrée dans l’histoire à la vitesse d'un coup de fusil. L’article Donald Trump, le martyr qui rentre dans l’histoire est a

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The Architect’s Newspaper paylaşılan bir bağlantı
2025-06-15 06:43:54 -

An excerpt from a new book by Sérgio Ferro, published by MACK Books, showcases the architect’s moment of disenchantment

Last year, MACK Books published Architecture from Below, which anthologized writings by the French Brazilian architect, theorist, and painter Sérgio Ferro.Now, MACK follows with Design and the Building Site and Complementary Essays, the second in the trilogy of books dedicated to Ferro’s scholarship. The following excerpt of the author’s 2023 preface to the English edition, which preserves its British phrasing, captures Ferro’s realization about the working conditions of construction sites in Brasília. The sentiment is likely relatable even today for young architects as they discover how drawings become buildings. Design and the Building Site and Complementary Essays will be released on May 22.

If I remember correctly, it was in 1958 or 1959, when Rodrigo and I were second- or third year architecture students at FAUUSP, that my father, the real estate developer Armando Simone Pereira, commissioned us to design two large office buildings and eleven shops in Brasilia, which was then under construction. Of course, we were not adequately prepared for such an undertaking. Fortunately, Oscar Niemeyer and his team, who were responsible for overseeing the construction of the capital, had drawn up a detailed document determining the essential characteristics of all the private sector buildings. We followed these prescriptions to the letter, which saved us from disaster.
Nowadays, it is hard to imagine the degree to which the construction of Brasilia inspired enthusiasm and professional pride in the country’s architects. And in the national imagination, the city’s establishment in the supposedly unpopulated hinterland evoked a re-founding of Brazil. Up until that point, the occupation of our immense territory had been reduced to a collection of arborescent communication routes, generally converging upon some river, following it up to the Atlantic Ocean. Through its ports, agricultural or extractive commodities produced by enslaved peoples or their substitutes passed towards the metropolises; goods were exchanged in the metropolises for more elaborate products, which took the opposite route. Our national identity was summed up in a few symbols, such as the anthem or the flag, and this scattering of paths pointing overseas. Brasilia would radically change this situation, or so we believed. It would create a central hub where the internal communication routes could converge, linking together hithertoseparate junctions, stimulating trade and economic progress in the country’s interior. It was as if, for the first time, we were taking care of ourselves. At the nucleus of this centripetal movement, architecture would embody the renaissance. And at the naval of the nucleus, the symbolic mandala of this utopia: the cathedral.
Rodrigo and I got caught up in the euphoria. And perhaps more so than our colleagues, because we were taking part in the adventure with ‘our’ designs. The reality was very different — but we did not know that yet.

At that time, architects in Brazil were responsible for verifying that the construction was in line with the design. We had already monitored some of our first building sites. But the construction company in charge of them, Osmar Souza e Silva’s CENPLA, specialized in the building sites of modernist architects from the so-called Escola Paulista led by Vilanova Artigas. Osmar was very attentive to his clients and his workers, who formed a supportive and helpful team. He was even more careful with us, because he knew how inexperienced we were. I believe that the CENPLA was particularly important in São Paulo modernism: with its congeniality, it facilitated experimentation, but for the same reason, it deceived novices like us about the reality of other building sites.
Consequently, Rodrigo and I travelled to Brasilia several times to check that the constructions followed ‘our’ designs and to resolve any issues. From the very first trip, our little bubble burst. Our building sites, like all the others in the future capital, bore no relation to Osmar’s. They were more like a branch of hell. A huge, muddy wasteland, in which a few cranes, pile drivers, tractors, and excavators dotted the mound of scaffolding occupied by thousands of skinny, seemingly exhausted wretches, who were nevertheless driven on by the shouts of master builders and foremen, in turn pressured by the imminence of the fateful inauguration date. Surrounding or huddled underneath the marquees of buildings under construction, entire families, equally skeletal and ragged, were waiting for some accident or death to open up a vacancy. In contact only with the master builders, and under close surveillance so we would not speak to the workers, we were not allowed to see what comrades who had worked on these sites later told us in prison: suicide abounded; escape was known to be futile in the unpopulated surroundings with no viable roads; fatal accidents were often caused by weakness due to chronic diarrhoea, brought on by rotten food that came from far away; outright theft took place in the calculation of wages and expenses in the contractor’s grocery store; camps were surrounded by law enforcement.
I repeat this anecdote yet again not to invoke the benevolence of potential readers, but rather to point out the conditions that, in my opinion, allowed two studentsstill in their professional infancy to quickly adopt positions that were contrary to the usual stance of architects. As the project was more Oscar Niemeyer’s than it was our own, we did not have the same emotional attachment that is understandably engendered between real authors and their designs. We had not yet been imbued with the charm and aura of the métier. And the only building sites we had visited thus far, Osmar’s, were incomparable to those we discovered in Brasilia. In short, our youthfulness and unpreparedness up against an unbearable situation made us react almost immediately to the profession’s satisfied doxa.

Unprepared and young perhaps, but already with Marx by our side. Rodrigo and I joined the student cell of the Brazilian Communist Party during our first year at university. In itself, this did not help us much: the Party’s Marxism, revised in the interests of the USSR, was pitiful. Even high-level leaders rarely went beyond the first chapter of Capital. But at the end of the 1950s, the effervescence of the years to come was already nascent: this extraordinary revivalthe rediscovery of Marxism and the great dialectical texts and traditions in the 1960s: an excitement that identifies a forgotten or repressed moment of the past as the new and subversive, and learns the dialectical grammar of a Hegel or an Adorno, a Marx or a Lukács, like a foreign language that has resources unavailable in our own.
And what is more: the Chinese and Cuban revolutions, the war in Vietnam, guerrilla warfare of all kinds, national liberation movements, and a rare libertarian disposition in contemporary history, totally averse to fanaticism and respect for ideological apparatuses ofstate or institution. Going against the grain was almost the norm. We were of course no more than contemporaries of our time. We were soon able to position ourselves from chapters 13, 14, and 15 of Capital, but only because we could constantly cross-reference Marx with our observations from well-contrasted building sites and do our own experimenting. As soon as we identified construction as manufacture, for example, thanks to the willingness and even encouragement of two friends and clients, Boris Fausto and Bernardo Issler, I was able to test both types of manufacture — organic and heterogeneous — on similar-sized projects taking place simultaneously, in order to find out which would be most convenient for the situation in Brazil, particularly in São Paulo. Despite the scientific shortcomings of these tests, they sufficed for us to select organic manufacture. Arquitetura Nova had defined its line of practice, studies, and research.
There were other sources that were central to our theory and practice. Flávio Império was one of the founders of the Teatro de Arena, undoubtedly the vanguard of popular, militant theatre in Brazil. He won practically every set design award. He brought us his marvelous findings in spatial condensation and malleability, and in the creative diversion of techniques and material—appropriate devices for an underdeveloped country. This is what helped us pave the way to reformulating the reigning design paradigms.

We had to do what Flávio had done in the theatre: thoroughly rethink how to be an architect. Upend the perspective. The way we were taught was to start from a desired result; then others would take care of getting there, no matter how. We, on the other hand, set out to go down to the building site and accompany those carrying out the labor itself, those who actually build, the formally subsumed workers in manufacture who are increasingly deprived of the knowledge and know-how presupposed by this kind of subsumption. We should have been fostering the reconstitution of this knowledge and know-how—not so as to fulfil this assumption, but in order to reinvigorate the other side of this assumption according to Marx: the historical rebellion of the manufacture worker, especially the construction worker. We had to rekindle the demand that fueled this rebellion: total self-determination, and not just that of the manual operation as such. Our aim was above all political and ethical. Aesthetics only mattered by way of what it included—ethics. Instead of estética, we wrote est ética. We wanted to make building sites into nests for the return of revolutionary syndicalism, which we ourselves had yet to discover.
Sérgio Ferro, born in Brazil in 1938, studied architecture at FAUUSP, São Paulo. In the 1960s, he joined the Brazilian communist party and started, along with Rodrigo Lefevre and Flávio Império, the collective known as Arquitetura Nova. After being arrested by the military dictatorship that took power in Brazil in 1964, he moved to France as an exile. As a painter and a professor at the École Nationale Supérieure d’Architecture de Grenoble, where he founded the Dessin/Chantier laboratory, he engaged in extensive research which resulted in several publications, exhibitions, and awards in Brazil and in France, including the title of Chevalier des Arts et des Lettres in 1992. Following his retirement from teaching, Ferro continues to research, write, and paint.
#excerpt #new #book #sérgio #ferro

An excerpt from a new book by Sérgio Ferro, published by MACK Books, showcases the architect’s moment of disenchantment
Last year, MACK Books published Architecture from Below, which anthologized writings by the French Brazilian architect, theorist, and painter Sérgio Ferro.Now, MACK follows with Design and the Building Site and Complementary Essays, the second in the trilogy of books dedicated to Ferro’s scholarship. The following excerpt of the author’s 2023 preface to the English edition, which preserves its British phrasing, captures Ferro’s realization about the working conditions of construction sites in Brasília. The sentiment is likely relatable even today for young architects as they discover how drawings become buildings. Design and the Building Site and Complementary Essays will be released on May 22. If I remember correctly, it was in 1958 or 1959, when Rodrigo and I were second- or third year architecture students at FAUUSP, that my father, the real estate developer Armando Simone Pereira, commissioned us to design two large office buildings and eleven shops in Brasilia, which was then under construction. Of course, we were not adequately prepared for such an undertaking. Fortunately, Oscar Niemeyer and his team, who were responsible for overseeing the construction of the capital, had drawn up a detailed document determining the essential characteristics of all the private sector buildings. We followed these prescriptions to the letter, which saved us from disaster. Nowadays, it is hard to imagine the degree to which the construction of Brasilia inspired enthusiasm and professional pride in the country’s architects. And in the national imagination, the city’s establishment in the supposedly unpopulated hinterland evoked a re-founding of Brazil. Up until that point, the occupation of our immense territory had been reduced to a collection of arborescent communication routes, generally converging upon some river, following it up to the Atlantic Ocean. Through its ports, agricultural or extractive commodities produced by enslaved peoples or their substitutes passed towards the metropolises; goods were exchanged in the metropolises for more elaborate products, which took the opposite route. Our national identity was summed up in a few symbols, such as the anthem or the flag, and this scattering of paths pointing overseas. Brasilia would radically change this situation, or so we believed. It would create a central hub where the internal communication routes could converge, linking together hithertoseparate junctions, stimulating trade and economic progress in the country’s interior. It was as if, for the first time, we were taking care of ourselves. At the nucleus of this centripetal movement, architecture would embody the renaissance. And at the naval of the nucleus, the symbolic mandala of this utopia: the cathedral. Rodrigo and I got caught up in the euphoria. And perhaps more so than our colleagues, because we were taking part in the adventure with ‘our’ designs. The reality was very different — but we did not know that yet. At that time, architects in Brazil were responsible for verifying that the construction was in line with the design. We had already monitored some of our first building sites. But the construction company in charge of them, Osmar Souza e Silva’s CENPLA, specialized in the building sites of modernist architects from the so-called Escola Paulista led by Vilanova Artigas. Osmar was very attentive to his clients and his workers, who formed a supportive and helpful team. He was even more careful with us, because he knew how inexperienced we were. I believe that the CENPLA was particularly important in São Paulo modernism: with its congeniality, it facilitated experimentation, but for the same reason, it deceived novices like us about the reality of other building sites. Consequently, Rodrigo and I travelled to Brasilia several times to check that the constructions followed ‘our’ designs and to resolve any issues. From the very first trip, our little bubble burst. Our building sites, like all the others in the future capital, bore no relation to Osmar’s. They were more like a branch of hell. A huge, muddy wasteland, in which a few cranes, pile drivers, tractors, and excavators dotted the mound of scaffolding occupied by thousands of skinny, seemingly exhausted wretches, who were nevertheless driven on by the shouts of master builders and foremen, in turn pressured by the imminence of the fateful inauguration date. Surrounding or huddled underneath the marquees of buildings under construction, entire families, equally skeletal and ragged, were waiting for some accident or death to open up a vacancy. In contact only with the master builders, and under close surveillance so we would not speak to the workers, we were not allowed to see what comrades who had worked on these sites later told us in prison: suicide abounded; escape was known to be futile in the unpopulated surroundings with no viable roads; fatal accidents were often caused by weakness due to chronic diarrhoea, brought on by rotten food that came from far away; outright theft took place in the calculation of wages and expenses in the contractor’s grocery store; camps were surrounded by law enforcement. I repeat this anecdote yet again not to invoke the benevolence of potential readers, but rather to point out the conditions that, in my opinion, allowed two studentsstill in their professional infancy to quickly adopt positions that were contrary to the usual stance of architects. As the project was more Oscar Niemeyer’s than it was our own, we did not have the same emotional attachment that is understandably engendered between real authors and their designs. We had not yet been imbued with the charm and aura of the métier. And the only building sites we had visited thus far, Osmar’s, were incomparable to those we discovered in Brasilia. In short, our youthfulness and unpreparedness up against an unbearable situation made us react almost immediately to the profession’s satisfied doxa. Unprepared and young perhaps, but already with Marx by our side. Rodrigo and I joined the student cell of the Brazilian Communist Party during our first year at university. In itself, this did not help us much: the Party’s Marxism, revised in the interests of the USSR, was pitiful. Even high-level leaders rarely went beyond the first chapter of Capital. But at the end of the 1950s, the effervescence of the years to come was already nascent: this extraordinary revivalthe rediscovery of Marxism and the great dialectical texts and traditions in the 1960s: an excitement that identifies a forgotten or repressed moment of the past as the new and subversive, and learns the dialectical grammar of a Hegel or an Adorno, a Marx or a Lukács, like a foreign language that has resources unavailable in our own. And what is more: the Chinese and Cuban revolutions, the war in Vietnam, guerrilla warfare of all kinds, national liberation movements, and a rare libertarian disposition in contemporary history, totally averse to fanaticism and respect for ideological apparatuses ofstate or institution. Going against the grain was almost the norm. We were of course no more than contemporaries of our time. We were soon able to position ourselves from chapters 13, 14, and 15 of Capital, but only because we could constantly cross-reference Marx with our observations from well-contrasted building sites and do our own experimenting. As soon as we identified construction as manufacture, for example, thanks to the willingness and even encouragement of two friends and clients, Boris Fausto and Bernardo Issler, I was able to test both types of manufacture — organic and heterogeneous — on similar-sized projects taking place simultaneously, in order to find out which would be most convenient for the situation in Brazil, particularly in São Paulo. Despite the scientific shortcomings of these tests, they sufficed for us to select organic manufacture. Arquitetura Nova had defined its line of practice, studies, and research. There were other sources that were central to our theory and practice. Flávio Império was one of the founders of the Teatro de Arena, undoubtedly the vanguard of popular, militant theatre in Brazil. He won practically every set design award. He brought us his marvelous findings in spatial condensation and malleability, and in the creative diversion of techniques and material—appropriate devices for an underdeveloped country. This is what helped us pave the way to reformulating the reigning design paradigms. We had to do what Flávio had done in the theatre: thoroughly rethink how to be an architect. Upend the perspective. The way we were taught was to start from a desired result; then others would take care of getting there, no matter how. We, on the other hand, set out to go down to the building site and accompany those carrying out the labor itself, those who actually build, the formally subsumed workers in manufacture who are increasingly deprived of the knowledge and know-how presupposed by this kind of subsumption. We should have been fostering the reconstitution of this knowledge and know-how—not so as to fulfil this assumption, but in order to reinvigorate the other side of this assumption according to Marx: the historical rebellion of the manufacture worker, especially the construction worker. We had to rekindle the demand that fueled this rebellion: total self-determination, and not just that of the manual operation as such. Our aim was above all political and ethical. Aesthetics only mattered by way of what it included—ethics. Instead of estética, we wrote est ética. We wanted to make building sites into nests for the return of revolutionary syndicalism, which we ourselves had yet to discover. Sérgio Ferro, born in Brazil in 1938, studied architecture at FAUUSP, São Paulo. In the 1960s, he joined the Brazilian communist party and started, along with Rodrigo Lefevre and Flávio Império, the collective known as Arquitetura Nova. After being arrested by the military dictatorship that took power in Brazil in 1964, he moved to France as an exile. As a painter and a professor at the École Nationale Supérieure d’Architecture de Grenoble, where he founded the Dessin/Chantier laboratory, he engaged in extensive research which resulted in several publications, exhibitions, and awards in Brazil and in France, including the title of Chevalier des Arts et des Lettres in 1992. Following his retirement from teaching, Ferro continues to research, write, and paint. #excerpt #new #book #sérgio #ferro

An excerpt from a new book by Sérgio Ferro, published by MACK Books, showcases the architect’s moment of disenchantment
Last year, MACK Books published Architecture from Below, which anthologized writings by the French Brazilian architect, theorist, and painter Sérgio Ferro. (Douglas Spencer reviewed it for AN.) Now, MACK follows with Design and the Building Site and Complementary Essays, the second in the trilogy of books dedicated to Ferro’s scholarship. The following excerpt of the author’s 2023 preface to the English edition, which preserves its British phrasing, captures Ferro’s realization about the working conditions of construction sites in Brasília. The sentiment is likely relatable even today for young architects as they discover how drawings become buildings. Design and the Building Site and Complementary Essays will be released on May 22. If I remember correctly, it was in 1958 or 1959, when Rodrigo and I were second- or third year architecture students at FAUUSP, that my father, the real estate developer Armando Simone Pereira, commissioned us to design two large office buildings and eleven shops in Brasilia, which was then under construction. Of course, we were not adequately prepared for such an undertaking. Fortunately, Oscar Niemeyer and his team, who were responsible for overseeing the construction of the capital, had drawn up a detailed document determining the essential characteristics of all the private sector buildings. We followed these prescriptions to the letter, which saved us from disaster. Nowadays, it is hard to imagine the degree to which the construction of Brasilia inspired enthusiasm and professional pride in the country’s architects. And in the national imagination, the city’s establishment in the supposedly unpopulated hinterland evoked a re-founding of Brazil. Up until that point, the occupation of our immense territory had been reduced to a collection of arborescent communication routes, generally converging upon some river, following it up to the Atlantic Ocean. Through its ports, agricultural or extractive commodities produced by enslaved peoples or their substitutes passed towards the metropolises; goods were exchanged in the metropolises for more elaborate products, which took the opposite route. Our national identity was summed up in a few symbols, such as the anthem or the flag, and this scattering of paths pointing overseas. Brasilia would radically change this situation, or so we believed. It would create a central hub where the internal communication routes could converge, linking together hithertoseparate junctions, stimulating trade and economic progress in the country’s interior. It was as if, for the first time, we were taking care of ourselves. At the nucleus of this centripetal movement, architecture would embody the renaissance. And at the naval of the nucleus, the symbolic mandala of this utopia: the cathedral. Rodrigo and I got caught up in the euphoria. And perhaps more so than our colleagues, because we were taking part in the adventure with ‘our’ designs. The reality was very different — but we did not know that yet. At that time, architects in Brazil were responsible for verifying that the construction was in line with the design. We had already monitored some of our first building sites. But the construction company in charge of them, Osmar Souza e Silva’s CENPLA, specialized in the building sites of modernist architects from the so-called Escola Paulista led by Vilanova Artigas (which we aspired to be a part of, like the pretentious students we were). Osmar was very attentive to his clients and his workers, who formed a supportive and helpful team. He was even more careful with us, because he knew how inexperienced we were. I believe that the CENPLA was particularly important in São Paulo modernism: with its congeniality, it facilitated experimentation, but for the same reason, it deceived novices like us about the reality of other building sites. Consequently, Rodrigo and I travelled to Brasilia several times to check that the constructions followed ‘our’ designs and to resolve any issues. From the very first trip, our little bubble burst. Our building sites, like all the others in the future capital, bore no relation to Osmar’s. They were more like a branch of hell. A huge, muddy wasteland, in which a few cranes, pile drivers, tractors, and excavators dotted the mound of scaffolding occupied by thousands of skinny, seemingly exhausted wretches, who were nevertheless driven on by the shouts of master builders and foremen, in turn pressured by the imminence of the fateful inauguration date. Surrounding or huddled underneath the marquees of buildings under construction, entire families, equally skeletal and ragged, were waiting for some accident or death to open up a vacancy. In contact only with the master builders, and under close surveillance so we would not speak to the workers, we were not allowed to see what comrades who had worked on these sites later told us in prison: suicide abounded; escape was known to be futile in the unpopulated surroundings with no viable roads; fatal accidents were often caused by weakness due to chronic diarrhoea, brought on by rotten food that came from far away; outright theft took place in the calculation of wages and expenses in the contractor’s grocery store; camps were surrounded by law enforcement. I repeat this anecdote yet again not to invoke the benevolence of potential readers, but rather to point out the conditions that, in my opinion, allowed two students (Flávio Império joined us a little later) still in their professional infancy to quickly adopt positions that were contrary to the usual stance of architects. As the project was more Oscar Niemeyer’s than it was our own, we did not have the same emotional attachment that is understandably engendered between real authors and their designs. We had not yet been imbued with the charm and aura of the métier. And the only building sites we had visited thus far, Osmar’s, were incomparable to those we discovered in Brasilia. In short, our youthfulness and unpreparedness up against an unbearable situation made us react almost immediately to the profession’s satisfied doxa. Unprepared and young perhaps, but already with Marx by our side. Rodrigo and I joined the student cell of the Brazilian Communist Party during our first year at university. In itself, this did not help us much: the Party’s Marxism, revised in the interests of the USSR, was pitiful. Even high-level leaders rarely went beyond the first chapter of Capital. But at the end of the 1950s, the effervescence of the years to come was already nascent: […] this extraordinary revival […] the rediscovery of Marxism and the great dialectical texts and traditions in the 1960s: an excitement that identifies a forgotten or repressed moment of the past as the new and subversive, and learns the dialectical grammar of a Hegel or an Adorno, a Marx or a Lukács, like a foreign language that has resources unavailable in our own. And what is more: the Chinese and Cuban revolutions, the war in Vietnam, guerrilla warfare of all kinds, national liberation movements, and a rare libertarian disposition in contemporary history, totally averse to fanaticism and respect for ideological apparatuses of (any) state or institution. Going against the grain was almost the norm. We were of course no more than contemporaries of our time. We were soon able to position ourselves from chapters 13, 14, and 15 of Capital, but only because we could constantly cross-reference Marx with our observations from well-contrasted building sites and do our own experimenting. As soon as we identified construction as manufacture, for example, thanks to the willingness and even encouragement of two friends and clients, Boris Fausto and Bernardo Issler, I was able to test both types of manufacture — organic and heterogeneous — on similar-sized projects taking place simultaneously, in order to find out which would be most convenient for the situation in Brazil, particularly in São Paulo. Despite the scientific shortcomings of these tests, they sufficed for us to select organic manufacture. Arquitetura Nova had defined its line of practice, studies, and research. There were other sources that were central to our theory and practice. Flávio Império was one of the founders of the Teatro de Arena, undoubtedly the vanguard of popular, militant theatre in Brazil. He won practically every set design award. He brought us his marvelous findings in spatial condensation and malleability, and in the creative diversion of techniques and material—appropriate devices for an underdeveloped country. This is what helped us pave the way to reformulating the reigning design paradigms. We had to do what Flávio had done in the theatre: thoroughly rethink how to be an architect. Upend the perspective. The way we were taught was to start from a desired result; then others would take care of getting there, no matter how. We, on the other hand, set out to go down to the building site and accompany those carrying out the labor itself, those who actually build, the formally subsumed workers in manufacture who are increasingly deprived of the knowledge and know-how presupposed by this kind of subsumption. We should have been fostering the reconstitution of this knowledge and know-how—not so as to fulfil this assumption, but in order to reinvigorate the other side of this assumption according to Marx: the historical rebellion of the manufacture worker, especially the construction worker. We had to rekindle the demand that fueled this rebellion: total self-determination, and not just that of the manual operation as such. Our aim was above all political and ethical. Aesthetics only mattered by way of what it included—ethics. Instead of estética, we wrote est ética [this is ethics]. We wanted to make building sites into nests for the return of revolutionary syndicalism, which we ourselves had yet to discover. Sérgio Ferro, born in Brazil in 1938, studied architecture at FAUUSP, São Paulo. In the 1960s, he joined the Brazilian communist party and started, along with Rodrigo Lefevre and Flávio Império, the collective known as Arquitetura Nova. After being arrested by the military dictatorship that took power in Brazil in 1964, he moved to France as an exile. As a painter and a professor at the École Nationale Supérieure d’Architecture de Grenoble, where he founded the Dessin/Chantier laboratory, he engaged in extensive research which resulted in several publications, exhibitions, and awards in Brazil and in France, including the title of Chevalier des Arts et des Lettres in 1992. Following his retirement from teaching, Ferro continues to research, write, and paint.

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2025-06-01 16:08:19 -

Hulu New Releases: June 2025

FX’s The Bear returns to Hulu for a fourth season on June 25. This season will once again test Carmy, Sydney, and the rest of The Bear crew as they try to push their restaurant, and each other, to be the best they can be.

The original docuseries Call Her Alex arrives on June 10, following podcast host and media mogul Alex Cooper as she prepares for her first tour. This docuseries also tells the story of how Cooper went from the host of a successful podcast to the CEO of a media empire, all within six years.
Here’s everything that’s coming to Hulu in June.
Hulu New Releases – June 2025
June 1
AdamAlienAlien 3Alien ResurrectionAlien vs. PredatorAlien: CovenantAliensAliens vs. Predator: RequiemBeasts Of The Southern WildBefore MidnightBetsy’s WeddingBeverly Hills NinjaBig EdenBig FishThe Big HitBig Mommas: Like Father, Like SonBlue JasmineBoy Meets GirlBreakin’ All the RulesThe BronzeBubble BoyBugsyCedar RapidsThe Chronicles Of Narnia: The Voyage Of The Dawn TreaderCold PursuitCyrusDaddy Day CareDeath on the NileDeja VuDelivery ManDude, Where’s My Car?Edge of TomorrowElena UndoneFreddy Got FingeredThe Girl Next DoorGrown UpsGrown Ups 2Happy GilmoreThe HeatHitchcockHurricane BiancaIdiocracyIndependence DayThe Joy Luck ClubJust Go With ItKung Fu Panda 3Let’s Be CopsLoving AnnabelleMamma Mia: Here We Go Again!Mamma Mia!The MaskMe And Earl And The Dying GirlMirrorsThe NamesakeA Perfect EndingPineapple ExpressPredatorThe PredatorPredator 2PredatorsPride + Prejudice + ZombiesPrometheusReno 911! Miami: The MovieSordid Lives28 Weeks LaterThe War of the RosesWe’re The MillersWorking GirlYou Don’t Mess With The ZohanJune 3
I’ve Somehow Gotten Stronger When I Improved My Farm-Related Skills: Complete Season 1Miss Kobayashi’s Dragon Maid: Complete Season 1The Quiz With Balls: Season 2 PremiereSo I’m a Spider, So What?: Complete Season 1Wise Man’s Grandchild: Complete Season 1Yuri on Ice: Complete Season 1PresenceJune 4
The Great House Revival: Complete Season 5June 5
National AnthemJune 6
Not Her First Rodeo: Complete Season 1Predator: Killer of Killers: Film PremiereBorat: Cultural Learnings Of America For Make Benefit Glorious Nation …Deuce Bigalow: Male GigoloHot Shots!Hot Shots! Part DeuxShallow HalThe RingerJune 7
Gypsy’s Revenge: Complete Season 1IGot Away With It: Complete Season 3Kids Baking Championship: Complete Season 12Murder in the Heartland: Complete Season 1Naked and Afraid: Last One Standing: Complete Season 1Sister Wives: Complete Season 12June 8
ScreamJune 9
Beyblade X: Season 1B

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June 10
Call Her Alex: Complete DocuseriesAnd Then We DancedClifford the Big Red DogJune 11
The Snake: Series PremiereGran TurismoJune 12
The 1% Club: Season 2 PremiereJune 13
Atsuko Okatsuka: Father: Special PremiereAbsolutionJune 14
90 Day Fiance: Complete Season 590 Day Fiance UK: Complete Season 2Guy’s Grocery Games: Complete Seasons 32 & 33I’d Kill For You: Complete Season 3Joel McHale: Live from PyongyangJune 16
My Happy Ending: Complete Season 1Black ChristmasJune 17
SALLYSkincareJune 19
The Quiet OnesJune 20
The Bravest Knight: Season 2BOut Come the WolvesJune 23
Barbara Walters Tell Me Everything: Documentary PremiereHelck: Complete Season 1My Instant Death Ability is Overpowered: Complete Season 1My Isekai Life : Complete Season 1June 24
SurviveJune 25
FX’s The Bear: Complete Season 4June 27
F*ck Marry KillJune 29
The Bachelor: Complete Seasons 27 & 28June 30
Boonie Bears: Time TwistTexas True Crime: Complete Season 5The ActorLeaving Hulu – June 2025
June 1
Christmas with the CampbellsJune 2
The Amazing MauriceJune 4
Intrigo: Dear AgnesJune 8
IndemnityJune 10
Here BeforeWarhuntJune 11
Intrigo: SamariaJune 13
The Worst Person in the WorldJune 17
Ted KThe LedgeJune 22
The Burning SeaJune 24
Big Gold BrickGasoline AlleyJune 25
The Desperate HourJune 30
Transfusion
#hulu #new #releases #june

Hulu New Releases: June 2025
FX’s The Bear returns to Hulu for a fourth season on June 25. This season will once again test Carmy, Sydney, and the rest of The Bear crew as they try to push their restaurant, and each other, to be the best they can be. The original docuseries Call Her Alex arrives on June 10, following podcast host and media mogul Alex Cooper as she prepares for her first tour. This docuseries also tells the story of how Cooper went from the host of a successful podcast to the CEO of a media empire, all within six years. Here’s everything that’s coming to Hulu in June. Hulu New Releases – June 2025 June 1 AdamAlienAlien 3Alien ResurrectionAlien vs. PredatorAlien: CovenantAliensAliens vs. Predator: RequiemBeasts Of The Southern WildBefore MidnightBetsy’s WeddingBeverly Hills NinjaBig EdenBig FishThe Big HitBig Mommas: Like Father, Like SonBlue JasmineBoy Meets GirlBreakin’ All the RulesThe BronzeBubble BoyBugsyCedar RapidsThe Chronicles Of Narnia: The Voyage Of The Dawn TreaderCold PursuitCyrusDaddy Day CareDeath on the NileDeja VuDelivery ManDude, Where’s My Car?Edge of TomorrowElena UndoneFreddy Got FingeredThe Girl Next DoorGrown UpsGrown Ups 2Happy GilmoreThe HeatHitchcockHurricane BiancaIdiocracyIndependence DayThe Joy Luck ClubJust Go With ItKung Fu Panda 3Let’s Be CopsLoving AnnabelleMamma Mia: Here We Go Again!Mamma Mia!The MaskMe And Earl And The Dying GirlMirrorsThe NamesakeA Perfect EndingPineapple ExpressPredatorThe PredatorPredator 2PredatorsPride + Prejudice + ZombiesPrometheusReno 911! Miami: The MovieSordid Lives28 Weeks LaterThe War of the RosesWe’re The MillersWorking GirlYou Don’t Mess With The ZohanJune 3 I’ve Somehow Gotten Stronger When I Improved My Farm-Related Skills: Complete Season 1Miss Kobayashi’s Dragon Maid: Complete Season 1The Quiz With Balls: Season 2 PremiereSo I’m a Spider, So What?: Complete Season 1Wise Man’s Grandchild: Complete Season 1Yuri on Ice: Complete Season 1PresenceJune 4 The Great House Revival: Complete Season 5June 5 National AnthemJune 6 Not Her First Rodeo: Complete Season 1Predator: Killer of Killers: Film PremiereBorat: Cultural Learnings Of America For Make Benefit Glorious Nation …Deuce Bigalow: Male GigoloHot Shots!Hot Shots! Part DeuxShallow HalThe RingerJune 7 Gypsy’s Revenge: Complete Season 1IGot Away With It: Complete Season 3Kids Baking Championship: Complete Season 12Murder in the Heartland: Complete Season 1Naked and Afraid: Last One Standing: Complete Season 1Sister Wives: Complete Season 12June 8 ScreamJune 9 Beyblade X: Season 1B Join our mailing list Get the best of Den of Geek delivered right to your inbox! June 10 Call Her Alex: Complete DocuseriesAnd Then We DancedClifford the Big Red DogJune 11 The Snake: Series PremiereGran TurismoJune 12 The 1% Club: Season 2 PremiereJune 13 Atsuko Okatsuka: Father: Special PremiereAbsolutionJune 14 90 Day Fiance: Complete Season 590 Day Fiance UK: Complete Season 2Guy’s Grocery Games: Complete Seasons 32 & 33I’d Kill For You: Complete Season 3Joel McHale: Live from PyongyangJune 16 My Happy Ending: Complete Season 1Black ChristmasJune 17 SALLYSkincareJune 19 The Quiet OnesJune 20 The Bravest Knight: Season 2BOut Come the WolvesJune 23 Barbara Walters Tell Me Everything: Documentary PremiereHelck: Complete Season 1My Instant Death Ability is Overpowered: Complete Season 1My Isekai Life : Complete Season 1June 24 SurviveJune 25 FX’s The Bear: Complete Season 4June 27 F*ck Marry KillJune 29 The Bachelor: Complete Seasons 27 & 28June 30 Boonie Bears: Time TwistTexas True Crime: Complete Season 5The ActorLeaving Hulu – June 2025 June 1 Christmas with the CampbellsJune 2 The Amazing MauriceJune 4 Intrigo: Dear AgnesJune 8 IndemnityJune 10 Here BeforeWarhuntJune 11 Intrigo: SamariaJune 13 The Worst Person in the WorldJune 17 Ted KThe LedgeJune 22 The Burning SeaJune 24 Big Gold BrickGasoline AlleyJune 25 The Desperate HourJune 30 Transfusion #hulu #new #releases #june

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Hulu New Releases: June 2025
FX’s The Bear returns to Hulu for a fourth season on June 25. This season will once again test Carmy (Jeremy Allen White), Sydney (Ayo Edebiri), and the rest of The Bear crew as they try to push their restaurant, and each other, to be the best they can be. The original docuseries Call Her Alex arrives on June 10, following podcast host and media mogul Alex Cooper as she prepares for her first tour. This docuseries also tells the story of how Cooper went from the host of a successful podcast to the CEO of a media empire, all within six years. Here’s everything that’s coming to (and leaving) Hulu in June. Hulu New Releases – June 2025 June 1 Adam (2019)Alien (1979)Alien 3 (1992)Alien Resurrection (1997)Alien vs. Predator (2004)Alien: Covenant (2017)Aliens (1986)Aliens vs. Predator: Requiem (2007)Beasts Of The Southern Wild (2012)Before Midnight (2013)Betsy’s Wedding (1990)Beverly Hills Ninja (1997)Big Eden (2000)Big Fish (2003)The Big Hit (1998)Big Mommas: Like Father, Like Son (2011)Blue Jasmine (2013)Boy Meets Girl (2014)Breakin’ All the Rules (2004)The Bronze (2016)Bubble Boy (2001)Bugsy (1991)Cedar Rapids (2011)The Chronicles Of Narnia: The Voyage Of The Dawn Treader (2010)Cold Pursuit (2019)Cyrus (2010)Daddy Day Care (2003)Death on the Nile (2022)Deja Vu (2006)Delivery Man (2013)Dude, Where’s My Car? (2000)Edge of Tomorrow (2014)Elena Undone (2010)Freddy Got Fingered (2001)The Girl Next Door (2004)Grown Ups (2010)Grown Ups 2 (2013)Happy Gilmore (1996)The Heat (2013)Hitchcock (2012)Hurricane Bianca (2016)Idiocracy (2006)Independence Day (1996)The Joy Luck Club (1993)Just Go With It (2011)Kung Fu Panda 3 (2016)Let’s Be Cops (2014)Loving Annabelle (2006)Mamma Mia: Here We Go Again! (2018)Mamma Mia! (2008)The Mask (1994)Me And Earl And The Dying Girl (2015)Mirrors (2008)The Namesake (2007)A Perfect Ending (2012)Pineapple Express (2008)Predator (1987)The Predator (2018)Predator 2 (1990)Predators (2010)Pride + Prejudice + Zombies (2016)Prometheus (2012)Reno 911! Miami: The Movie (2007)Sordid Lives (2000)28 Weeks Later (2007)The War of the Roses (1989)We’re The Millers (2013)Working Girl (1988)You Don’t Mess With The Zohan (2008) June 3 I’ve Somehow Gotten Stronger When I Improved My Farm-Related Skills: Complete Season 1 (DUBBED & SUBBED)Miss Kobayashi’s Dragon Maid: Complete Season 1 (DUBBED & SUBBED)The Quiz With Balls: Season 2 PremiereSo I’m a Spider, So What?: Complete Season 1 (DUBBED & SUBBED)Wise Man’s Grandchild: Complete Season 1 (DUBBED & SUBBED)Yuri on Ice: Complete Season 1 (DUBBED & SUBBED)Presence (2025)June 4 The Great House Revival: Complete Season 5June 5 National Anthem (2023)June 6 Not Her First Rodeo: Complete Season 1Predator: Killer of Killers: Film PremiereBorat: Cultural Learnings Of America For Make Benefit Glorious Nation … (2006)Deuce Bigalow: Male Gigolo (1999)Hot Shots! (1991)Hot Shots! Part Deux (1993)Shallow Hal (2001)The Ringer (2005)June 7 Gypsy’s Revenge: Complete Season 1I (Almost) Got Away With It: Complete Season 3Kids Baking Championship: Complete Season 12Murder in the Heartland: Complete Season 1Naked and Afraid: Last One Standing: Complete Season 1Sister Wives: Complete Season 12June 8 Scream (2022) June 9 Beyblade X: Season 1B Join our mailing list Get the best of Den of Geek delivered right to your inbox! June 10 Call Her Alex: Complete DocuseriesAnd Then We Danced (2019)Clifford the Big Red Dog (2021)June 11 The Snake: Series PremiereGran Turismo (2023)June 12 The 1% Club: Season 2 PremiereJune 13 Atsuko Okatsuka: Father: Special PremiereAbsolution (2024)June 14 90 Day Fiance: Complete Season 590 Day Fiance UK: Complete Season 2Guy’s Grocery Games: Complete Seasons 32 & 33I’d Kill For You: Complete Season 3Joel McHale: Live from Pyongyang (2019) June 16 My Happy Ending: Complete Season 1 (Sub)Black Christmas (2019)June 17 SALLY (2025)Skincare (2024)June 19 The Quiet Ones (2024)June 20 The Bravest Knight: Season 2BOut Come the Wolves (2024)June 23 Barbara Walters Tell Me Everything: Documentary PremiereHelck: Complete Season 1 (DUBBED & SUBBED)My Instant Death Ability is Overpowered: Complete Season 1 (DUBBED & SUBBED)My Isekai Life : Complete Season 1 (DUBBED & SUBBED)June 24 Survive (2024) June 25 FX’s The Bear: Complete Season 4June 27 F*ck Marry Kill (2024)June 29 The Bachelor: Complete Seasons 27 & 28June 30 Boonie Bears: Time Twist (2024)Texas True Crime: Complete Season 5The Actor (2025)Leaving Hulu – June 2025 June 1 Christmas with the Campbells (2022)June 2 The Amazing Maurice (2022) June 4 Intrigo: Dear Agnes (2019)June 8 Indemnity (2021)June 10 Here Before (2021)Warhunt (2022)June 11 Intrigo: Samaria (2019)June 13 The Worst Person in the World (2021)June 17 Ted K (2021)The Ledge (2022) June 22 The Burning Sea (2021)June 24 Big Gold Brick (2022)Gasoline Alley (2022)June 25 The Desperate Hour (2022)June 30 Transfusion (2023)

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2025-05-25 13:06:43 -

Marathon is fighting the ultimate uphill battle

Ever since its initial reveal, Marathon
As we’ve inched closer and closer to its release date, the general outlook seems to have only gotten more dismal. Yes, there have been some very concerning controversies that shouldn’t be swept under the rug, but Marathon is suffering from a more systemic problem with live service games as a whole that it will need to overcome to succeed.

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The trust is broken
Live service games are labelled as such because they’re meant to be living, evolving experiences that players can keep coming back to for months and years. MMORPGs were the progenitors of this model, but now we’ve seen it applied to all sorts of genres. Despite its ups and downs, Destiny is still the poster child for what we now call live service games and the model so many have tried to imitate.
As with anything successful in the gaming industry, it wasn’t long before every big player wanted a piece of that pie. The allure of a perpetual money-maker was too great to resist, despite the reality being much more complicated. Sony was arguably the one to invest the most heavily in the model, at one point boasting over 12 live service games in the works. Between released and cancelled projects, that number has shrunk to possibly two, those being Marathon and Fairgames. While we can’t discuss the broken trust between gamers and the current and upcoming slate of live service games without mentioning Concord, the root of the problem goes back much further than that.
The first game I recall raising major red flags in the gaming sphere was Anthem. Even before all the behind-the-scenes problems in development were brought to light about the game, fans were leery about a studio known for RPGs seemingly trying to hop onto the latest trend. Anthem launched to a less-than-stellar response and quickly went on life support. It failed to satisfy BioWare’s core RPG fans or any potential Destiny converts due to a lack of both a satisfying story or a compelling endgame grind. Before launch, EA shared a roadmap calendar detailing three acts of content, and when nothing beyond Act 1 was released for over a year, BioWare promised a major overhaul of the game, unofficially called Anthem 2.0.
All of these plans were cancelled.
Firewalk Studios
Since then, we’ve seen more major games make bold claims about months and years of future content, only to pull the rug out from players after a middling — or downright abysmal — launch. Examples include Redfall, Suicide Squad: Kill the Justice League, and, of course, Concord. That last one is likely the one that broke the camel’s back for most gamers due to how unprecedented it was. This was a PlayStation first-party release with prime showcase placement, an ambitious roadmap of content, an experimental storytelling method, and even a tie-in episode in Secret Level before the game had even come out.
That game failing would be bad, but it being scrubbed from existence is catastrophic for gamers’ trust in PlayStation and live service as a whole. Not only do we have to be concerned about a game simply breaking all promises of support, but also the entire experience being ripped from us. While I don’t think the sins of one game should be borne by another, I can’t blame anyone who has adopted a more wait-and-see approach to new live service games. If we can’t count on a name as big as PlayStation to make good on its promises, why should we think differently for any other studio?
Trust isn’t given anymore, it needs to be earned.
The impressions I have seen from both major pundits and average players in forums for Marathon feel a lot like what the sentiment was for Concord before launch. The general feelings appear to float around a “it’s pretty fun to play, but there’s not enough there right now” type of vibe. Justified or not, that’s a death sentence for a game that relies on a large population of people being willing to support the game at its weakest so that it can even attempt to reach its full potential.
Gamers have long memories — at least when it comes to being burned. A roadmap and a “trust us” from the development team just doesn’t cut it anymore. Marathon could very well have the potential to be amazing, but it has to start out great to even have a chance to get there. Not enough people will settle for even good, and with so many people perfectly content sitting on the sidelines to see if it fails before it even gets off the ground, it will result in a self-fulfilling prophecy.
Bungie shouldn’t be let off the hook for blatant plagiarism or the apparent crashing moral at the studio. Rumors swirling about how the unrealistic amount of money it needs to make to be considered a success don’t help either, but Marathon‘s fate wouldn’t look any more certain even if that had never occurred. Until enough live service games earn our trust back, each game is fighting an uphill battle that gets steeper with every failed attempt.
#marathon #fighting #ultimate #uphill #battle

Marathon is fighting the ultimate uphill battle
Ever since its initial reveal, Marathon As we’ve inched closer and closer to its release date, the general outlook seems to have only gotten more dismal. Yes, there have been some very concerning controversies that shouldn’t be swept under the rug, but Marathon is suffering from a more systemic problem with live service games as a whole that it will need to overcome to succeed. Recommended Videos The trust is broken Live service games are labelled as such because they’re meant to be living, evolving experiences that players can keep coming back to for months and years. MMORPGs were the progenitors of this model, but now we’ve seen it applied to all sorts of genres. Despite its ups and downs, Destiny is still the poster child for what we now call live service games and the model so many have tried to imitate. As with anything successful in the gaming industry, it wasn’t long before every big player wanted a piece of that pie. The allure of a perpetual money-maker was too great to resist, despite the reality being much more complicated. Sony was arguably the one to invest the most heavily in the model, at one point boasting over 12 live service games in the works. Between released and cancelled projects, that number has shrunk to possibly two, those being Marathon and Fairgames. While we can’t discuss the broken trust between gamers and the current and upcoming slate of live service games without mentioning Concord, the root of the problem goes back much further than that. The first game I recall raising major red flags in the gaming sphere was Anthem. Even before all the behind-the-scenes problems in development were brought to light about the game, fans were leery about a studio known for RPGs seemingly trying to hop onto the latest trend. Anthem launched to a less-than-stellar response and quickly went on life support. It failed to satisfy BioWare’s core RPG fans or any potential Destiny converts due to a lack of both a satisfying story or a compelling endgame grind. Before launch, EA shared a roadmap calendar detailing three acts of content, and when nothing beyond Act 1 was released for over a year, BioWare promised a major overhaul of the game, unofficially called Anthem 2.0. All of these plans were cancelled. Firewalk Studios Since then, we’ve seen more major games make bold claims about months and years of future content, only to pull the rug out from players after a middling — or downright abysmal — launch. Examples include Redfall, Suicide Squad: Kill the Justice League, and, of course, Concord. That last one is likely the one that broke the camel’s back for most gamers due to how unprecedented it was. This was a PlayStation first-party release with prime showcase placement, an ambitious roadmap of content, an experimental storytelling method, and even a tie-in episode in Secret Level before the game had even come out. That game failing would be bad, but it being scrubbed from existence is catastrophic for gamers’ trust in PlayStation and live service as a whole. Not only do we have to be concerned about a game simply breaking all promises of support, but also the entire experience being ripped from us. While I don’t think the sins of one game should be borne by another, I can’t blame anyone who has adopted a more wait-and-see approach to new live service games. If we can’t count on a name as big as PlayStation to make good on its promises, why should we think differently for any other studio? Trust isn’t given anymore, it needs to be earned. The impressions I have seen from both major pundits and average players in forums for Marathon feel a lot like what the sentiment was for Concord before launch. The general feelings appear to float around a “it’s pretty fun to play, but there’s not enough there right now” type of vibe. Justified or not, that’s a death sentence for a game that relies on a large population of people being willing to support the game at its weakest so that it can even attempt to reach its full potential. Gamers have long memories — at least when it comes to being burned. A roadmap and a “trust us” from the development team just doesn’t cut it anymore. Marathon could very well have the potential to be amazing, but it has to start out great to even have a chance to get there. Not enough people will settle for even good, and with so many people perfectly content sitting on the sidelines to see if it fails before it even gets off the ground, it will result in a self-fulfilling prophecy. Bungie shouldn’t be let off the hook for blatant plagiarism or the apparent crashing moral at the studio. Rumors swirling about how the unrealistic amount of money it needs to make to be considered a success don’t help either, but Marathon‘s fate wouldn’t look any more certain even if that had never occurred. Until enough live service games earn our trust back, each game is fighting an uphill battle that gets steeper with every failed attempt. #marathon #fighting #ultimate #uphill #battle

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Marathon is fighting the ultimate uphill battle
Ever since its initial reveal, Marathon As we’ve inched closer and closer to its release date, the general outlook seems to have only gotten more dismal. Yes, there have been some very concerning controversies that shouldn’t be swept under the rug, but Marathon is suffering from a more systemic problem with live service games as a whole that it will need to overcome to succeed. Recommended Videos The trust is broken Live service games are labelled as such because they’re meant to be living, evolving experiences that players can keep coming back to for months and years. MMORPGs were the progenitors of this model, but now we’ve seen it applied to all sorts of genres. Despite its ups and downs, Destiny is still the poster child for what we now call live service games and the model so many have tried to imitate. As with anything successful in the gaming industry, it wasn’t long before every big player wanted a piece of that pie. The allure of a perpetual money-maker was too great to resist, despite the reality being much more complicated. Sony was arguably the one to invest the most heavily in the model, at one point boasting over 12 live service games in the works. Between released and cancelled projects, that number has shrunk to possibly two, those being Marathon and Fairgames. While we can’t discuss the broken trust between gamers and the current and upcoming slate of live service games without mentioning Concord, the root of the problem goes back much further than that. The first game I recall raising major red flags in the gaming sphere was Anthem. Even before all the behind-the-scenes problems in development were brought to light about the game, fans were leery about a studio known for RPGs seemingly trying to hop onto the latest trend. Anthem launched to a less-than-stellar response and quickly went on life support. It failed to satisfy BioWare’s core RPG fans or any potential Destiny converts due to a lack of both a satisfying story or a compelling endgame grind. Before launch, EA shared a roadmap calendar detailing three acts of content, and when nothing beyond Act 1 was released for over a year, BioWare promised a major overhaul of the game, unofficially called Anthem 2.0. All of these plans were cancelled. Firewalk Studios Since then, we’ve seen more major games make bold claims about months and years of future content, only to pull the rug out from players after a middling — or downright abysmal — launch. Examples include Redfall, Suicide Squad: Kill the Justice League, and, of course, Concord. That last one is likely the one that broke the camel’s back for most gamers due to how unprecedented it was. This was a PlayStation first-party release with prime showcase placement, an ambitious roadmap of content, an experimental storytelling method, and even a tie-in episode in Secret Level before the game had even come out. That game failing would be bad, but it being scrubbed from existence is catastrophic for gamers’ trust in PlayStation and live service as a whole. Not only do we have to be concerned about a game simply breaking all promises of support, but also the entire experience being ripped from us. While I don’t think the sins of one game should be borne by another, I can’t blame anyone who has adopted a more wait-and-see approach to new live service games. If we can’t count on a name as big as PlayStation to make good on its promises, why should we think differently for any other studio? Trust isn’t given anymore, it needs to be earned. The impressions I have seen from both major pundits and average players in forums for Marathon feel a lot like what the sentiment was for Concord before launch. The general feelings appear to float around a “it’s pretty fun to play, but there’s not enough there right now” type of vibe. Justified or not, that’s a death sentence for a game that relies on a large population of people being willing to support the game at its weakest so that it can even attempt to reach its full potential. Gamers have long memories — at least when it comes to being burned. A roadmap and a “trust us” from the development team just doesn’t cut it anymore. Marathon could very well have the potential to be amazing, but it has to start out great to even have a chance to get there. Not enough people will settle for even good, and with so many people perfectly content sitting on the sidelines to see if it fails before it even gets off the ground, it will result in a self-fulfilling prophecy. Bungie shouldn’t be let off the hook for blatant plagiarism or the apparent crashing moral at the studio. Rumors swirling about how the unrealistic amount of money it needs to make to be considered a success don’t help either, but Marathon‘s fate wouldn’t look any more certain even if that had never occurred. Until enough live service games earn our trust back, each game is fighting an uphill battle that gets steeper with every failed attempt.

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2025-05-24 05:39:58 -

Disney's 23 Best And Most Memorable Songs Ever, Ranked

Start SlideshowStart SlideshowDisney has enchanted us for decades with its resplendent animation and fantastical stories of princesses, wicked witches, and fire-breathing dragons, but music has always been its most indelible sprinkle of pixie dust. There are songs that move us, make us dance, and help us understand the characters that have already been so lovingly drawn. With over 350 songs in the Disney canon, it’s nearly impossible to narrow them down, but we’ve chosen the 23 in honor of the year 1923, when Walt Disney founded the company. These songs are the most magical and remind us why Disney has endured for over a century.Previous SlideNext Slide2 / 25List slides23. “Whistle While You Work” from Snow White and the Seven DwarfsList slides23. “Whistle While You Work” from Snow White and the Seven DwarfsWhistle While You Work - Snow White and the Seven Dwarfs Larry Morey and Frank Churchill’s merry tune about finding the joy in the most mundane of chores is quite simple, with only nine lines, yet incredibly catchy. Adriana Caselotti’s warbling, baby voice is fitting for this old-fashioned, operetta-style number and the entire sequence that features the big-eyed, adorable forest creatures helping her out. The squirrels sweep the dust with their tails, and the raccoons wash dirty clothes in a nearby watering hole to every sprightly beat. It’s difficult not to be beguiled by this little ditty, and you’ll find yourself humming it the next time you do your spring cleaning. Previous SlideNext Slide3 / 25List slides22. “The Family Madrigal” from EncantoList slides22. “The Family Madrigal” from EncantoStephanie Beatriz, Olga Merediz, Encanto - Cast - The Family MadrigalLin-Manuel Miranda’s fingerprints are all over modern Disney soundtracks. He is a master at crafting clever, fast-paced, and genre-blending earworms. The biggest ones to emerge from Encanto are “We Don’t Talk About Bruno” and “Surface Pressure,” where he blends classic Broadway stylings with punchier salsa and reggaeton genres. “The Family Madrigal” may not have reached the same level of pop culture infamy as the other songs in this film, but it’s a clever and economical way to introduce the Madrigal family and their powers. Stephanie Beatriz’s bubbly voice as Mirabel suits the song’s bouncy rhythm perfectly, while the Colombian folk instruments such as an accordion, caja vallenata, and guacharaca match the colorful energy of the magical town the Madrigals call home. Previous SlideNext Slide4 / 25List slides21.“Dig a Little Deeper” from Princess and the FrogList slides21.“Dig a Little Deeper” from Princess and the FrogDig a Little DeeperRandy Newman’s toe-tapping blend of big-band swing and gospel choir refrains perfectly captures the vibrant soul of the New Orleans setting. The feisty Jennifer Lewis leads “Dig a Little Deeper” as Mama Odie, backed by the rousing Pinnacle Gospel Choir. The song’s brassy rhythms help Tiana let loose and Naveen to realize that he’s in love with her. The lessons Mama Odie imparts through the lyrics are wise and grounded: it doesn’t matter what you have or where you come from—that doesn’t define who you are. True fulfillment doesn’t come from material wealth, status, or outward appearances—it comes from understanding what you really want on the inside. The song crescendos with Anika Noni Rose’s powerful belt and the soulful shouts of Mama Odie’s bright flamingo chorus. Previous SlideNext Slide5 / 25List slides20. “I See the Light” from TangledList slides20. “I See the Light” from Tangled“I SEE THE LIGHT” | Tangled | Disney Animated HD The dreamy melody of “I See the Light” begins with a soft guitar. Glenn Slater and Alan Menken’s composition is fairly simple, allowing the glittering visuals to take center stage. The song takes place during the lighting ceremony that Rapunzel has yearned to visit after observing it from her tower for 18 years. Flynn and Rapunzel float on a gondola, surrounded by over 45,000 glowing lanterns floating in the air, dotting the sky and reflecting off the water that surrounds them. The characters sing the verses separately in their heads before their emotions burst, then they harmonize the chorus loudly, compelled by their realization that they’re in love. It’s a unique and touching way of framing a Disney love song. Previous SlideNext Slide6 / 25List slides19. “Friend Like Me” from AladdinList slides19. “Friend Like Me” from AladdinAladdin - Friend Like MeHoward Ashman’s playful lyrics and Alan Menken’s up-tempo, syncopated, vaudevillian song was the perfect musical playground for Robin Williams to fill with the zany impressions and quirky voices he was renowned for. A trumpet warbles in between one of the clever lyrics, sights and sounds so jam-packed with hilarity that you can barely stop to catch your breath. Robin Williams was so adept at improvisation that he had nearly an entire day’s worth of material. The animation is just as bonkers as his vocal performance, where Genie morphs into countless creatures—from a train whistle to a maître d’, a boxing trainer, a bunny, and a dragon. The Broadway-style showstopper culminates with a kick line under bright spotlights with monkeys, elephants, and dancing girls in crop tops and harem pants. “Friend Like Me” is a shining showcase for one of our finest comedic talents, the great Robin Williams. Previous SlideNext Slide7 / 25List slides18. “Baby Mine” from DumboList slides18. “Baby Mine” from DumboDisney’s “Dumbo” - Baby MineSongwriters Frank Churchill and Ned Washington are responsible for childhood traumas everywhere with “Baby Mine,” which takes place when Dumbo’s mother has been jailed as a “mad elephant” for fiercely protecting her son against his bullies. She reaches her trunk through the bars to cradle Dumbo to the soft, slumbering melody accompanied by haunting strings. Betty Noyes’ has that rich, rounded tone found in vintage singing, and it conveys Mrs. Jumbo’s maternal strength. The images of all the animals—zebras, tigers, monkeys, and even the underwater hippos—nestled in the love of their mothers, except for poor Dumbo, set against the song’s soothing orchestra, is absolutely heart wrenching. “Baby Mine” is the kind of song that inspires dreams of being comforted and cared for by a loving parental figure.Previous SlideNext Slide8 / 25List slides17. ”Once Upon a Dream” from Sleeping BeautyList slides17. ”Once Upon a Dream” from Sleeping BeautyOnce Upon A Dream | Sleeping Beauty Lyric Video | DISNEY SING-ALONGS Jack Lawrence and Sammy Fain craft a solo-turned-duet with a woozy, mysterious quality that perfectly complements the story of Sleeping Beauty. Mary Costa has such an elegant and operatic voice, with rich tones that make her sound far more mature than a 16-year-old girl. She’s soon joined by the strong, handsome voice of Prince Phillip, who appears unexpectedly in the forest. Their romance unfolds quickly, twirling together in the woods, surrounded by beautiful medieval-inspired, Gothic-Renaissance style visuals. The lilting orchestration and the grand choral ensemble add to the old-world mystique. The lyrics—of knowing someone before you truly know them, of seeing them in your dreams—add a tinge of mysterious excitement and mystical fate to their romance. Previous SlideNext Slide9 / 25List slides16. “Hellfire” from The Hunchback of Notre DameList slides16. “Hellfire” from The Hunchback of Notre DameHellfire - The Hunchback of Notre DameAlan Menken and Stephen Schwartz crafted one of Disney’s darkest songs. It’s hard to imagine Disney taking this type of creative risk again. “Hellfire” is sung by a corrupt priest consumed by lust for the Romani woman Esmeralda. The deep-voiced Tony Jay plays the dishonorable Frollo, who paints himself as a virtuous man—even though he killed Quasimodo’s mother and nearly killed Quasimodo. A true Catholic would have helped them. Today, Disney would never dare to show that authority figures—especially religious ones—can often be wrong and hypocritical, if not outright evil. This is one of the most provocative villain songs, in which Frollo essentially confesses his horniness. He sings of being enraptured by Esmeralda’s smoldering eyes and raven hair—a desire that burns and threatens to turn him to sin. “Hellfire” also has a spooky quality in its use of Latin and the intense religious choir that looms over Frollo in judgment, cloaked in red with faces like empty black holes. It’s a haunting song of operatic grandeur, with notes that flare and fade like the flames dancing in front of him. Previous SlideNext Slide10 / 25List slides15. “A Dream is a Wish Your Heart Makes” from CinderellaList slides15. “A Dream is a Wish Your Heart Makes” from CinderellaA Dream Is a Wish Your Heart MakesSung with silky warmth and a shimmering, ethereal vibrato by Ilene Woods as Cinderella, “A Dream is a Wish Your Heart Makes” is soft and soothing, yet carries an undercurrent of quiet determination. She sings to her loyal companions—adorable flocks of birds and mice—who wear the tiny outfits she’s lovingly made for them. They join in during a break of the song that is more playful and buoyant while she prepares for another grueling day of chores, yet she stays positive by believing her dreams will come true. “A Dream is a Wish Your Heart Makes” has become a marketing anthem for the studio—used in various ads to evoke nostalgia, magic, and the promise that dreams really do come true, with Disney theme parks as the place where that magic can happen. Previous SlideNext Slide11 / 25List slides14. Hawaiian Roller Coaster Ride from Lilo & StitchList slides14. Hawaiian Roller Coaster Ride from Lilo & StitchHawaiian Roller Coaster RideThe rich voice of Mark Kealiʻi Hoʻomalu and the cheerful Kamehameha Schools Children’s Chorus come together for a song that is as sweet and breezy as a summer’s day. “Hawaiian Roller Coaster Ride” takes place during a touching moment of family bonding as Lilo, Nani, and David go surfing, gliding through the waves with ease. Stitch has been naughty, so he feels a little shy about enjoying the day with them, but he slowly begins to warm up to what it feels like to have a family. We see the adorable progression as the little thrill-seeker ends up riding the waves too. The song’s instrumentation—featuring ukulele, traditional Hawaiian fingerstyle guitar, and steel guitar—evokes the ocean waves and open skies, giving it that relaxed, beachy vibe. Both the animation and the song itself honors the film’s beautiful Hawaiian setting. Previous SlideNext Slide12 / 25List slides13. “I’ll Make a Man Out of You” from MulanList slides13. “I’ll Make a Man Out of You” from MulanMulan | I’ll Make a Man Out of You | Disney Junior UK “Let’s get down to business, to defeat the Huns” Donny Osmond sings in his perfectly crisp voice. The rousing number “I’ll Make a Man Out of You” by Matthew Wilder and David Zippel is the pump-up song for a training montage. It starts out comical as we see Mulan and her clumsy friends attempt to become the ideal Chinese soldier. The catchy chorus uses evocative nature metaphors for the type of strength and calm that Mulan needs to find, and the deep-voiced punctuation “Be a man!” at the end of each line adds to the hype. When Donny Osmond belts “Time is racing towards us, ‘till the Huns arrive,” you feel a thrilling rush of urgency and swell with courage. The final chorus plays against no instrumentation, the manly voices of the soldiers booming, allowing you to focus on Mulan and her friends now kicking ass. Previous SlideNext Slide13 / 25List slides12. “A Whole New World” from AladdinList slides12. “A Whole New World” from AladdinAladdin - A Whole New WorldBrad Kane’s voice carries an excited, breathy quality that draws you in as he whisks Jasmine away on a magic carpet ride. He sounds bright and earnest as he describes the shining, shimmering, and splendid world that Jasmine has never seen and he’s eager to show her. Lea Salonga, who is a Broadway legend in her own right, has an angelic innocence as Jasmine. Their voices come together in perfect harmony for this sweeping duet. “A Whole New World” is one of Disney’s most romantic love songs, with a melody that flutters and glides like the magic carpet itself. Written by Alan Menken and Tim Rice, the orchestration has lush strings that propel the adventurous animated sequence where they soar through the clouds, pass the Sphinx, and touch down near a group of horses. Previous SlideNext Slide14 / 25List slides11. “Strangers Like Me” from TarzanList slides11. “Strangers Like Me” from TarzanStrangers Like Me- TarzanOpening with a pulsing drum track, Strangers Like Me evokes the spinning wheels in Tarzan’s mind as he learns more about what lies beyond the jungle. The montage is gorgeously animated, featuring old-fashioned ink illustrations that Tarzan looks at through a magic lantern. He sees the city of London, a giant castle, the Sphinx, and even outer space for the first time. This flood of information drives the song’s urgent pace.The filmmakers craft the entire animated sequence as a response to the lyrics, as Tarzan watches Janeor shows off a pocket of the rainforest filled with parrots. Phil Collins’ bright voice captures Tarzan’s wonderment, especially in the soaring chorus, where Tarzan expresses his desire to learn more about strangers like him. You feel his hunger for the great, wide world in the song’s pounding, tribal drumbeats. Previous SlideNext Slide15 / 25List slides10. “I Won’t Say I’m in Love” from HerculesList slides10. “I Won’t Say I’m in Love” from HerculesHercules│ I Won’t SayThe story of the ancient Greek hero Hercules has such a unique musical style, with lyricist David Zippel and composer Alan Menken blending doo-wop, Motown, and gospel soul. The muses serve as a literal Greek chorus, commenting on the action with their sassy perspective. In “I Won’t Say I’m in Love,” Megara’s velvet-voiced, sarcastic Susan Egan stands apart from other Disney heroines, who often sing fluttering arias about dreaming of a prince. Instead, Megara resists her feelings because she’s been burned too many times before, creating a comical juxtaposition with the Muses, who cheekily insist that she’s in love. They tease her with “Check the grin, you’re in love.” It’s a playful and flirtatious song that celebrates an unconventional Disney princess and musical choices. Previous SlideNext Slide16 / 25List slides9. “How Far I’ll Go” from MoanaList slides9. “How Far I’ll Go” from MoanaAuli’i Cravalho - How Far I’ll GoEver since their introduction in The Little Mermaid, Broadway-style “I Want” songs have become a hallmark of Disney princess films. They are passionate solos that reveal what each heroine desires most in the world. Whatever her heart longs for becomes the emotional engine driving the story forward. In “How Far I’ll Go,” composed by Lin-Manuel Miranda, Moana is torn between her dream of exploring what’s beyond her remote island and her duty to her family. She’s genuinely torn, even wondering if she’s wrong to yearn for what lies beyond the horizon. Auli’i Cravalho’s pure, heartfelt voice captures all the wistfulness and uncertainty of growing up. The melody swells and crashes gently like ocean tides, mirroring the push and pull of Moana’s inner conflict. Previous SlideNext Slide17 / 25List slides8. “Be Our Guest” from Beauty and the BeastList slides8. “Be Our Guest” from Beauty and the BeastBeauty and the Beast - Be Our GuestMusic Video Broadway royalty Jerry Orbach helms this showstopper with music by Alan Menken and lyrics by Howard Ashman. The suave candlestick Lumière uses the number to lure Belle out of her bedroom, and show that the enchanted castle is more friendly and exciting than spooky and depressing. “Be Our Guest” has clever, fast-paced lyrics sung in a classic “patter song” style which then explodes in a lively, French can-can finale. The living castle objects just want to serve and make someone happy again, offering Belle elaborate meals and dazzling entertainment. Everything is on the plate for Belle, from soup du jour, hot hors d’oeuvres, beef ragout, cheese soufflé, and of course, the grey stuff. What’s just as exciting about the number as its giddy music is the animation, with spoons swimming in punch bowls like a Busby Berkeley number, prismatic spotlights, sumptuous, brightly-colored cakes, a glowing chandelier, and dancing flatware. Previous SlideNext Slide18 / 25List slides7. “You’ll Be in My Heart” from TarzanList slides7. “You’ll Be in My Heart” from TarzanPhil Collins - You’ll Be in My Heart /TarzanPhil Collins knocked it out of the park with the entire Tarzan soundtrack. Somehow his earthy voice, drum-infused instrumentals, and heartfelt lyrics were the perfect mix for this jungle story. Rather than a traditional Disney musical, Phil Collins acts as an omnipresent narrator, commenting on the action or voicing the character’s thoughts. “You’ll Be In My Heart” rightfully earned the Academy Award for Best Original Song. Originally written as a lullaby for his own daughter, the song starts off tender, with Phil Collins almost gently whispering against soft marimbas. Its lyrics of true love and devotion are moving, especially in the scene where Kala sings it to a baby Tarzan, who, despite being a different species, experiences a bond where love and care know no bounds. The song eventually crashes into driving drums, moving toward a bridge that sees the child fly free on their own: “When destiny calls you / You must be strong / I may not be with you / But you’ve got to hold on.” This song is touching for anyone who has ever loved someone and watched them grow, no matter what type of relationship. Previous SlideNext Slide19 / 25List slides6. “Under the Sea” from The Little MermaidList slides6. “Under the Sea” from The Little MermaidThe Little Mermaid - Under the SeaThose solo calypso opening notes of “Under the Sea” immediately get you excited, and Samuel E. Wright delivers a rollicking underwater bash. His booming voice and vivacious energy are perfect for the overdramatic crustacean and his mission to convince Ariel that living under the sea “is the bubbles” with no troubles. “Under the Sea’ buoys the rainbow-colored montage of marine life that fills Ariel’s world—fish, dolphins, and coral reefs. The scene cleverly ties the instruments to various creatures and animation — harps echo the swirling school of fish, shells mimic steel pans, and a pair of octopuses intertwine their legs like bass lines. With its infectious Caribbean beat, Howard Ashman and Alan Menken’s song is a true banger and impossible not to love, which is why it won the 1990 Oscar for Best Original Song. Previous SlideNext Slide20 / 25List slides5. “Colors of the Wind” from PocahontasList slides5. “Colors of the Wind” from PocahontasPocahontas - Colors of the Wind“You think the only people who are people / Are the people who look and think like you / But if you walk the footsteps of a stranger / You’ll learn things you never knew, you never knew.” In this increasingly polarized world, that message has never been more relevant. Pocahontas is not immediately smitten with John Smith; instead, she condemns his entire culture, which prioritizes gold and hatred over acceptance and the beauty of nature. Stephen Schwartz’s lyrics paint gorgeous pictures of the American wilderness, questioning why the white men who have invaded these lands cannot appreciate the world around them — from the grinning bobcats to the sweet berries to the trees that stretch toward the sky, if only we let them grow. Alan Menken’s surrounding score is rapturous, carried by Judy Kuhn’s passionate vocals. More than just the profound lyrics, it’s the visuals that make this musical number so unforgettable — particularly John Smith and Pocahontas dancing in a pastel-colored wind. It’s no surprise that “Colors of the Wind” won an Academy Award for Best Original Song. Previous SlideNext Slide21 / 25List slides4. “When You Wish Upon a Star” from PinnochioList slides4. “When You Wish Upon a Star” from PinnochioPocahontas - Colors of the WindWritten by Leigh Harline and Ned Washington, “When You Wish Upon a Star” has come to define Disney itself, typically playing over the castle logo that opens every movie. The ethereal ballad is sung by Cliff Edwards as Jiminy Cricket, whose resonant yet quirky voice feels like someone sharing a story by a crackling fire. “When you wish upon a star / Makes no difference who you are / Anything your heart desires / Will come to you,” he tenderly sings over the opening credits. The gentle melody wraps you in a warm embrace of possibility. People often make fun of Disney adults, but perhaps one reason we hold on to Disney films long after growing up is that they offer hope in an increasingly grim world. This aspirational song reminds us there is more to life than the ordinary—if we just dare to imagine.Previous SlideNext Slide22 / 25List slides3. “Beauty and the Beast” from Beauty and the BeastList slides3. “Beauty and the Beast” from Beauty and the BeastBeauty and the Beast Tale As Old As Time HD As Mrs. Potts, Angela Lansbury’s warm, cheery English voice adds a rosiness to this powerful love ballad, backed by an orchestra of sumptuous strings. The lyrics aren’t the pure romanticism of past Disney love stories; there is no love at first sight here. Instead, Mrs. Potts gently reflects on how true love can take time to blossom, and how relationships sometimes require change, admitting your faults and working hard to set aside your vices and worst qualities. It’s a surprisingly mature outlook for a Disney love song. The accompanying animation is one of the most exquisite sequences in Disney history: Belle’s golden dress glides delicately across the floor as she and the Beast dance in the grand ballroom, the camera swirling to reveal the sparkling chandelier and Michelangelo-esque ceiling of painted cherubs above them. That Howard Ashman wrote this song while dying from complications of AIDS makes it all the more poignant. Previous SlideNext Slide23 / 25List slides2. “Part of Your World” from The Little MermaidList slides2. “Part of Your World” from The Little MermaidJodi Benson - Part of Your WorldBefore The Little Mermaid kicked off the Disney Renaissanceprincess songs were mostly focused on their prince charmings. They had very few aspirations outside of dreaming about their prince or wishing for their prince. But the introduction of the songwriting team Alan Menken and Howard Ashman, who had worked on the off-Broadway show Little Shop of Horrors, helped develop a Disney princess that had greater ambitions. Ariel wanted to see the human world, and she would express that within a Broadway-style solo called the “I Want” song, where the protagonist sings about, well, what they want. “Part of Your World” has a flowing melody and a sweet yearning in Jodi Benson’s voice. We see her comical misunderstanding of what her treasures are, all whozits and whatzits galore. “Wouldn’t I love to explore that shore up above?” her voice soars while reaching out through the top of her grotto towards the sun. In that moment, with her big eyes and aching voice, you completely understand how much the human world means to her.Previous SlideNext Slide24 / 25List slides1. “Circle of Life” from The Lion KingList slides1. “Circle of Life” from The Lion KingCarmen Twillie, Lebo M. - Circle of LifeNo Disney song is quite as epic as Elton John’s “Circle of Life.” The image of the rising sun, paired with the opening lines sung passionately in Zulu by Lebo M., without any instrumentals, immediately hooks you into this sweeping story of the African savannah. The title, “Circle of Life,” is fitting for this tale of birth, death, and everything in between. The lyrics somehow encompass everything about our big, beautiful world — how finite life is, and the experiences, both good and bad, that give us balance. There’s despair and there’s hope. There’s faith and there’s love. The lyrics are poetic and make you think about the wonder and mystery of existence. The song reaches a powerful peak at the end when the chorus rises together. It’s impossible not to get full-body chills on that final soaring note, “It’s the circle, the circle of life,” punctuated by the thunderous drumbeat, where the sight of Rafiki lifting Simba on Pride Rock cuts to black. “Circle of Life” is a beautiful song with a grand vision, especially for a film geared towards children.
#disney039s #best #most #memorable #songs

Disney's 23 Best And Most Memorable Songs Ever, Ranked
Start SlideshowStart SlideshowDisney has enchanted us for decades with its resplendent animation and fantastical stories of princesses, wicked witches, and fire-breathing dragons, but music has always been its most indelible sprinkle of pixie dust. There are songs that move us, make us dance, and help us understand the characters that have already been so lovingly drawn. With over 350 songs in the Disney canon, it’s nearly impossible to narrow them down, but we’ve chosen the 23 in honor of the year 1923, when Walt Disney founded the company. These songs are the most magical and remind us why Disney has endured for over a century.Previous SlideNext Slide2 / 25List slides23. “Whistle While You Work” from Snow White and the Seven DwarfsList slides23. “Whistle While You Work” from Snow White and the Seven DwarfsWhistle While You Work - Snow White and the Seven Dwarfs Larry Morey and Frank Churchill’s merry tune about finding the joy in the most mundane of chores is quite simple, with only nine lines, yet incredibly catchy. Adriana Caselotti’s warbling, baby voice is fitting for this old-fashioned, operetta-style number and the entire sequence that features the big-eyed, adorable forest creatures helping her out. The squirrels sweep the dust with their tails, and the raccoons wash dirty clothes in a nearby watering hole to every sprightly beat. It’s difficult not to be beguiled by this little ditty, and you’ll find yourself humming it the next time you do your spring cleaning. Previous SlideNext Slide3 / 25List slides22. “The Family Madrigal” from EncantoList slides22. “The Family Madrigal” from EncantoStephanie Beatriz, Olga Merediz, Encanto - Cast - The Family MadrigalLin-Manuel Miranda’s fingerprints are all over modern Disney soundtracks. He is a master at crafting clever, fast-paced, and genre-blending earworms. The biggest ones to emerge from Encanto are “We Don’t Talk About Bruno” and “Surface Pressure,” where he blends classic Broadway stylings with punchier salsa and reggaeton genres. “The Family Madrigal” may not have reached the same level of pop culture infamy as the other songs in this film, but it’s a clever and economical way to introduce the Madrigal family and their powers. Stephanie Beatriz’s bubbly voice as Mirabel suits the song’s bouncy rhythm perfectly, while the Colombian folk instruments such as an accordion, caja vallenata, and guacharaca match the colorful energy of the magical town the Madrigals call home. Previous SlideNext Slide4 / 25List slides21.“Dig a Little Deeper” from Princess and the FrogList slides21.“Dig a Little Deeper” from Princess and the FrogDig a Little DeeperRandy Newman’s toe-tapping blend of big-band swing and gospel choir refrains perfectly captures the vibrant soul of the New Orleans setting. The feisty Jennifer Lewis leads “Dig a Little Deeper” as Mama Odie, backed by the rousing Pinnacle Gospel Choir. The song’s brassy rhythms help Tiana let loose and Naveen to realize that he’s in love with her. The lessons Mama Odie imparts through the lyrics are wise and grounded: it doesn’t matter what you have or where you come from—that doesn’t define who you are. True fulfillment doesn’t come from material wealth, status, or outward appearances—it comes from understanding what you really want on the inside. The song crescendos with Anika Noni Rose’s powerful belt and the soulful shouts of Mama Odie’s bright flamingo chorus. Previous SlideNext Slide5 / 25List slides20. “I See the Light” from TangledList slides20. “I See the Light” from Tangled“I SEE THE LIGHT” | Tangled | Disney Animated HD The dreamy melody of “I See the Light” begins with a soft guitar. Glenn Slater and Alan Menken’s composition is fairly simple, allowing the glittering visuals to take center stage. The song takes place during the lighting ceremony that Rapunzel has yearned to visit after observing it from her tower for 18 years. Flynn and Rapunzel float on a gondola, surrounded by over 45,000 glowing lanterns floating in the air, dotting the sky and reflecting off the water that surrounds them. The characters sing the verses separately in their heads before their emotions burst, then they harmonize the chorus loudly, compelled by their realization that they’re in love. It’s a unique and touching way of framing a Disney love song. Previous SlideNext Slide6 / 25List slides19. “Friend Like Me” from AladdinList slides19. “Friend Like Me” from AladdinAladdin - Friend Like MeHoward Ashman’s playful lyrics and Alan Menken’s up-tempo, syncopated, vaudevillian song was the perfect musical playground for Robin Williams to fill with the zany impressions and quirky voices he was renowned for. A trumpet warbles in between one of the clever lyrics, sights and sounds so jam-packed with hilarity that you can barely stop to catch your breath. Robin Williams was so adept at improvisation that he had nearly an entire day’s worth of material. The animation is just as bonkers as his vocal performance, where Genie morphs into countless creatures—from a train whistle to a maître d’, a boxing trainer, a bunny, and a dragon. The Broadway-style showstopper culminates with a kick line under bright spotlights with monkeys, elephants, and dancing girls in crop tops and harem pants. “Friend Like Me” is a shining showcase for one of our finest comedic talents, the great Robin Williams. Previous SlideNext Slide7 / 25List slides18. “Baby Mine” from DumboList slides18. “Baby Mine” from DumboDisney’s “Dumbo” - Baby MineSongwriters Frank Churchill and Ned Washington are responsible for childhood traumas everywhere with “Baby Mine,” which takes place when Dumbo’s mother has been jailed as a “mad elephant” for fiercely protecting her son against his bullies. She reaches her trunk through the bars to cradle Dumbo to the soft, slumbering melody accompanied by haunting strings. Betty Noyes’ has that rich, rounded tone found in vintage singing, and it conveys Mrs. Jumbo’s maternal strength. The images of all the animals—zebras, tigers, monkeys, and even the underwater hippos—nestled in the love of their mothers, except for poor Dumbo, set against the song’s soothing orchestra, is absolutely heart wrenching. “Baby Mine” is the kind of song that inspires dreams of being comforted and cared for by a loving parental figure.Previous SlideNext Slide8 / 25List slides17. ”Once Upon a Dream” from Sleeping BeautyList slides17. ”Once Upon a Dream” from Sleeping BeautyOnce Upon A Dream | Sleeping Beauty Lyric Video | DISNEY SING-ALONGS Jack Lawrence and Sammy Fain craft a solo-turned-duet with a woozy, mysterious quality that perfectly complements the story of Sleeping Beauty. Mary Costa has such an elegant and operatic voice, with rich tones that make her sound far more mature than a 16-year-old girl. She’s soon joined by the strong, handsome voice of Prince Phillip, who appears unexpectedly in the forest. Their romance unfolds quickly, twirling together in the woods, surrounded by beautiful medieval-inspired, Gothic-Renaissance style visuals. The lilting orchestration and the grand choral ensemble add to the old-world mystique. The lyrics—of knowing someone before you truly know them, of seeing them in your dreams—add a tinge of mysterious excitement and mystical fate to their romance. Previous SlideNext Slide9 / 25List slides16. “Hellfire” from The Hunchback of Notre DameList slides16. “Hellfire” from The Hunchback of Notre DameHellfire - The Hunchback of Notre DameAlan Menken and Stephen Schwartz crafted one of Disney’s darkest songs. It’s hard to imagine Disney taking this type of creative risk again. “Hellfire” is sung by a corrupt priest consumed by lust for the Romani woman Esmeralda. The deep-voiced Tony Jay plays the dishonorable Frollo, who paints himself as a virtuous man—even though he killed Quasimodo’s mother and nearly killed Quasimodo. A true Catholic would have helped them. Today, Disney would never dare to show that authority figures—especially religious ones—can often be wrong and hypocritical, if not outright evil. This is one of the most provocative villain songs, in which Frollo essentially confesses his horniness. He sings of being enraptured by Esmeralda’s smoldering eyes and raven hair—a desire that burns and threatens to turn him to sin. “Hellfire” also has a spooky quality in its use of Latin and the intense religious choir that looms over Frollo in judgment, cloaked in red with faces like empty black holes. It’s a haunting song of operatic grandeur, with notes that flare and fade like the flames dancing in front of him. Previous SlideNext Slide10 / 25List slides15. “A Dream is a Wish Your Heart Makes” from CinderellaList slides15. “A Dream is a Wish Your Heart Makes” from CinderellaA Dream Is a Wish Your Heart MakesSung with silky warmth and a shimmering, ethereal vibrato by Ilene Woods as Cinderella, “A Dream is a Wish Your Heart Makes” is soft and soothing, yet carries an undercurrent of quiet determination. She sings to her loyal companions—adorable flocks of birds and mice—who wear the tiny outfits she’s lovingly made for them. They join in during a break of the song that is more playful and buoyant while she prepares for another grueling day of chores, yet she stays positive by believing her dreams will come true. “A Dream is a Wish Your Heart Makes” has become a marketing anthem for the studio—used in various ads to evoke nostalgia, magic, and the promise that dreams really do come true, with Disney theme parks as the place where that magic can happen. Previous SlideNext Slide11 / 25List slides14. Hawaiian Roller Coaster Ride from Lilo & StitchList slides14. Hawaiian Roller Coaster Ride from Lilo & StitchHawaiian Roller Coaster RideThe rich voice of Mark Kealiʻi Hoʻomalu and the cheerful Kamehameha Schools Children’s Chorus come together for a song that is as sweet and breezy as a summer’s day. “Hawaiian Roller Coaster Ride” takes place during a touching moment of family bonding as Lilo, Nani, and David go surfing, gliding through the waves with ease. Stitch has been naughty, so he feels a little shy about enjoying the day with them, but he slowly begins to warm up to what it feels like to have a family. We see the adorable progression as the little thrill-seeker ends up riding the waves too. The song’s instrumentation—featuring ukulele, traditional Hawaiian fingerstyle guitar, and steel guitar—evokes the ocean waves and open skies, giving it that relaxed, beachy vibe. Both the animation and the song itself honors the film’s beautiful Hawaiian setting. Previous SlideNext Slide12 / 25List slides13. “I’ll Make a Man Out of You” from MulanList slides13. “I’ll Make a Man Out of You” from MulanMulan | I’ll Make a Man Out of You | Disney Junior UK “Let’s get down to business, to defeat the Huns” Donny Osmond sings in his perfectly crisp voice. The rousing number “I’ll Make a Man Out of You” by Matthew Wilder and David Zippel is the pump-up song for a training montage. It starts out comical as we see Mulan and her clumsy friends attempt to become the ideal Chinese soldier. The catchy chorus uses evocative nature metaphors for the type of strength and calm that Mulan needs to find, and the deep-voiced punctuation “Be a man!” at the end of each line adds to the hype. When Donny Osmond belts “Time is racing towards us, ‘till the Huns arrive,” you feel a thrilling rush of urgency and swell with courage. The final chorus plays against no instrumentation, the manly voices of the soldiers booming, allowing you to focus on Mulan and her friends now kicking ass. Previous SlideNext Slide13 / 25List slides12. “A Whole New World” from AladdinList slides12. “A Whole New World” from AladdinAladdin - A Whole New WorldBrad Kane’s voice carries an excited, breathy quality that draws you in as he whisks Jasmine away on a magic carpet ride. He sounds bright and earnest as he describes the shining, shimmering, and splendid world that Jasmine has never seen and he’s eager to show her. Lea Salonga, who is a Broadway legend in her own right, has an angelic innocence as Jasmine. Their voices come together in perfect harmony for this sweeping duet. “A Whole New World” is one of Disney’s most romantic love songs, with a melody that flutters and glides like the magic carpet itself. Written by Alan Menken and Tim Rice, the orchestration has lush strings that propel the adventurous animated sequence where they soar through the clouds, pass the Sphinx, and touch down near a group of horses. Previous SlideNext Slide14 / 25List slides11. “Strangers Like Me” from TarzanList slides11. “Strangers Like Me” from TarzanStrangers Like Me- TarzanOpening with a pulsing drum track, Strangers Like Me evokes the spinning wheels in Tarzan’s mind as he learns more about what lies beyond the jungle. The montage is gorgeously animated, featuring old-fashioned ink illustrations that Tarzan looks at through a magic lantern. He sees the city of London, a giant castle, the Sphinx, and even outer space for the first time. This flood of information drives the song’s urgent pace.The filmmakers craft the entire animated sequence as a response to the lyrics, as Tarzan watches Janeor shows off a pocket of the rainforest filled with parrots. Phil Collins’ bright voice captures Tarzan’s wonderment, especially in the soaring chorus, where Tarzan expresses his desire to learn more about strangers like him. You feel his hunger for the great, wide world in the song’s pounding, tribal drumbeats. Previous SlideNext Slide15 / 25List slides10. “I Won’t Say I’m in Love” from HerculesList slides10. “I Won’t Say I’m in Love” from HerculesHercules│ I Won’t SayThe story of the ancient Greek hero Hercules has such a unique musical style, with lyricist David Zippel and composer Alan Menken blending doo-wop, Motown, and gospel soul. The muses serve as a literal Greek chorus, commenting on the action with their sassy perspective. In “I Won’t Say I’m in Love,” Megara’s velvet-voiced, sarcastic Susan Egan stands apart from other Disney heroines, who often sing fluttering arias about dreaming of a prince. Instead, Megara resists her feelings because she’s been burned too many times before, creating a comical juxtaposition with the Muses, who cheekily insist that she’s in love. They tease her with “Check the grin, you’re in love.” It’s a playful and flirtatious song that celebrates an unconventional Disney princess and musical choices. Previous SlideNext Slide16 / 25List slides9. “How Far I’ll Go” from MoanaList slides9. “How Far I’ll Go” from MoanaAuli’i Cravalho - How Far I’ll GoEver since their introduction in The Little Mermaid, Broadway-style “I Want” songs have become a hallmark of Disney princess films. They are passionate solos that reveal what each heroine desires most in the world. Whatever her heart longs for becomes the emotional engine driving the story forward. In “How Far I’ll Go,” composed by Lin-Manuel Miranda, Moana is torn between her dream of exploring what’s beyond her remote island and her duty to her family. She’s genuinely torn, even wondering if she’s wrong to yearn for what lies beyond the horizon. Auli’i Cravalho’s pure, heartfelt voice captures all the wistfulness and uncertainty of growing up. The melody swells and crashes gently like ocean tides, mirroring the push and pull of Moana’s inner conflict. Previous SlideNext Slide17 / 25List slides8. “Be Our Guest” from Beauty and the BeastList slides8. “Be Our Guest” from Beauty and the BeastBeauty and the Beast - Be Our GuestMusic Video Broadway royalty Jerry Orbach helms this showstopper with music by Alan Menken and lyrics by Howard Ashman. The suave candlestick Lumière uses the number to lure Belle out of her bedroom, and show that the enchanted castle is more friendly and exciting than spooky and depressing. “Be Our Guest” has clever, fast-paced lyrics sung in a classic “patter song” style which then explodes in a lively, French can-can finale. The living castle objects just want to serve and make someone happy again, offering Belle elaborate meals and dazzling entertainment. Everything is on the plate for Belle, from soup du jour, hot hors d’oeuvres, beef ragout, cheese soufflé, and of course, the grey stuff. What’s just as exciting about the number as its giddy music is the animation, with spoons swimming in punch bowls like a Busby Berkeley number, prismatic spotlights, sumptuous, brightly-colored cakes, a glowing chandelier, and dancing flatware. Previous SlideNext Slide18 / 25List slides7. “You’ll Be in My Heart” from TarzanList slides7. “You’ll Be in My Heart” from TarzanPhil Collins - You’ll Be in My Heart /TarzanPhil Collins knocked it out of the park with the entire Tarzan soundtrack. Somehow his earthy voice, drum-infused instrumentals, and heartfelt lyrics were the perfect mix for this jungle story. Rather than a traditional Disney musical, Phil Collins acts as an omnipresent narrator, commenting on the action or voicing the character’s thoughts. “You’ll Be In My Heart” rightfully earned the Academy Award for Best Original Song. Originally written as a lullaby for his own daughter, the song starts off tender, with Phil Collins almost gently whispering against soft marimbas. Its lyrics of true love and devotion are moving, especially in the scene where Kala sings it to a baby Tarzan, who, despite being a different species, experiences a bond where love and care know no bounds. The song eventually crashes into driving drums, moving toward a bridge that sees the child fly free on their own: “When destiny calls you / You must be strong / I may not be with you / But you’ve got to hold on.” This song is touching for anyone who has ever loved someone and watched them grow, no matter what type of relationship. Previous SlideNext Slide19 / 25List slides6. “Under the Sea” from The Little MermaidList slides6. “Under the Sea” from The Little MermaidThe Little Mermaid - Under the SeaThose solo calypso opening notes of “Under the Sea” immediately get you excited, and Samuel E. Wright delivers a rollicking underwater bash. His booming voice and vivacious energy are perfect for the overdramatic crustacean and his mission to convince Ariel that living under the sea “is the bubbles” with no troubles. “Under the Sea’ buoys the rainbow-colored montage of marine life that fills Ariel’s world—fish, dolphins, and coral reefs. The scene cleverly ties the instruments to various creatures and animation — harps echo the swirling school of fish, shells mimic steel pans, and a pair of octopuses intertwine their legs like bass lines. With its infectious Caribbean beat, Howard Ashman and Alan Menken’s song is a true banger and impossible not to love, which is why it won the 1990 Oscar for Best Original Song. Previous SlideNext Slide20 / 25List slides5. “Colors of the Wind” from PocahontasList slides5. “Colors of the Wind” from PocahontasPocahontas - Colors of the Wind“You think the only people who are people / Are the people who look and think like you / But if you walk the footsteps of a stranger / You’ll learn things you never knew, you never knew.” In this increasingly polarized world, that message has never been more relevant. Pocahontas is not immediately smitten with John Smith; instead, she condemns his entire culture, which prioritizes gold and hatred over acceptance and the beauty of nature. Stephen Schwartz’s lyrics paint gorgeous pictures of the American wilderness, questioning why the white men who have invaded these lands cannot appreciate the world around them — from the grinning bobcats to the sweet berries to the trees that stretch toward the sky, if only we let them grow. Alan Menken’s surrounding score is rapturous, carried by Judy Kuhn’s passionate vocals. More than just the profound lyrics, it’s the visuals that make this musical number so unforgettable — particularly John Smith and Pocahontas dancing in a pastel-colored wind. It’s no surprise that “Colors of the Wind” won an Academy Award for Best Original Song. Previous SlideNext Slide21 / 25List slides4. “When You Wish Upon a Star” from PinnochioList slides4. “When You Wish Upon a Star” from PinnochioPocahontas - Colors of the WindWritten by Leigh Harline and Ned Washington, “When You Wish Upon a Star” has come to define Disney itself, typically playing over the castle logo that opens every movie. The ethereal ballad is sung by Cliff Edwards as Jiminy Cricket, whose resonant yet quirky voice feels like someone sharing a story by a crackling fire. “When you wish upon a star / Makes no difference who you are / Anything your heart desires / Will come to you,” he tenderly sings over the opening credits. The gentle melody wraps you in a warm embrace of possibility. People often make fun of Disney adults, but perhaps one reason we hold on to Disney films long after growing up is that they offer hope in an increasingly grim world. This aspirational song reminds us there is more to life than the ordinary—if we just dare to imagine.Previous SlideNext Slide22 / 25List slides3. “Beauty and the Beast” from Beauty and the BeastList slides3. “Beauty and the Beast” from Beauty and the BeastBeauty and the Beast Tale As Old As Time HD As Mrs. Potts, Angela Lansbury’s warm, cheery English voice adds a rosiness to this powerful love ballad, backed by an orchestra of sumptuous strings. The lyrics aren’t the pure romanticism of past Disney love stories; there is no love at first sight here. Instead, Mrs. Potts gently reflects on how true love can take time to blossom, and how relationships sometimes require change, admitting your faults and working hard to set aside your vices and worst qualities. It’s a surprisingly mature outlook for a Disney love song. The accompanying animation is one of the most exquisite sequences in Disney history: Belle’s golden dress glides delicately across the floor as she and the Beast dance in the grand ballroom, the camera swirling to reveal the sparkling chandelier and Michelangelo-esque ceiling of painted cherubs above them. That Howard Ashman wrote this song while dying from complications of AIDS makes it all the more poignant. Previous SlideNext Slide23 / 25List slides2. “Part of Your World” from The Little MermaidList slides2. “Part of Your World” from The Little MermaidJodi Benson - Part of Your WorldBefore The Little Mermaid kicked off the Disney Renaissanceprincess songs were mostly focused on their prince charmings. They had very few aspirations outside of dreaming about their prince or wishing for their prince. But the introduction of the songwriting team Alan Menken and Howard Ashman, who had worked on the off-Broadway show Little Shop of Horrors, helped develop a Disney princess that had greater ambitions. Ariel wanted to see the human world, and she would express that within a Broadway-style solo called the “I Want” song, where the protagonist sings about, well, what they want. “Part of Your World” has a flowing melody and a sweet yearning in Jodi Benson’s voice. We see her comical misunderstanding of what her treasures are, all whozits and whatzits galore. “Wouldn’t I love to explore that shore up above?” her voice soars while reaching out through the top of her grotto towards the sun. In that moment, with her big eyes and aching voice, you completely understand how much the human world means to her.Previous SlideNext Slide24 / 25List slides1. “Circle of Life” from The Lion KingList slides1. “Circle of Life” from The Lion KingCarmen Twillie, Lebo M. - Circle of LifeNo Disney song is quite as epic as Elton John’s “Circle of Life.” The image of the rising sun, paired with the opening lines sung passionately in Zulu by Lebo M., without any instrumentals, immediately hooks you into this sweeping story of the African savannah. The title, “Circle of Life,” is fitting for this tale of birth, death, and everything in between. The lyrics somehow encompass everything about our big, beautiful world — how finite life is, and the experiences, both good and bad, that give us balance. There’s despair and there’s hope. There’s faith and there’s love. The lyrics are poetic and make you think about the wonder and mystery of existence. The song reaches a powerful peak at the end when the chorus rises together. It’s impossible not to get full-body chills on that final soaring note, “It’s the circle, the circle of life,” punctuated by the thunderous drumbeat, where the sight of Rafiki lifting Simba on Pride Rock cuts to black. “Circle of Life” is a beautiful song with a grand vision, especially for a film geared towards children. #disney039s #best #most #memorable #songs

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Disney's 23 Best And Most Memorable Songs Ever, Ranked
Start SlideshowStart SlideshowDisney has enchanted us for decades with its resplendent animation and fantastical stories of princesses, wicked witches, and fire-breathing dragons, but music has always been its most indelible sprinkle of pixie dust. There are songs that move us, make us dance, and help us understand the characters that have already been so lovingly drawn. With over 350 songs in the Disney canon, it’s nearly impossible to narrow them down, but we’ve chosen the 23 in honor of the year 1923, when Walt Disney founded the company. These songs are the most magical and remind us why Disney has endured for over a century.Previous SlideNext Slide2 / 25List slides23. “Whistle While You Work” from Snow White and the Seven DwarfsList slides23. “Whistle While You Work” from Snow White and the Seven DwarfsWhistle While You Work - Snow White and the Seven Dwarfs Larry Morey and Frank Churchill’s merry tune about finding the joy in the most mundane of chores is quite simple, with only nine lines, yet incredibly catchy. Adriana Caselotti’s warbling, baby voice is fitting for this old-fashioned, operetta-style number and the entire sequence that features the big-eyed, adorable forest creatures helping her out. The squirrels sweep the dust with their tails, and the raccoons wash dirty clothes in a nearby watering hole to every sprightly beat. It’s difficult not to be beguiled by this little ditty, and you’ll find yourself humming it the next time you do your spring cleaning. Previous SlideNext Slide3 / 25List slides22. “The Family Madrigal” from EncantoList slides22. “The Family Madrigal” from EncantoStephanie Beatriz, Olga Merediz, Encanto - Cast - The Family Madrigal (From “Encanto”) Lin-Manuel Miranda’s fingerprints are all over modern Disney soundtracks. He is a master at crafting clever, fast-paced, and genre-blending earworms. The biggest ones to emerge from Encanto are “We Don’t Talk About Bruno” and “Surface Pressure,” where he blends classic Broadway stylings with punchier salsa and reggaeton genres. “The Family Madrigal” may not have reached the same level of pop culture infamy as the other songs in this film, but it’s a clever and economical way to introduce the Madrigal family and their powers. Stephanie Beatriz’s bubbly voice as Mirabel suits the song’s bouncy rhythm perfectly, while the Colombian folk instruments such as an accordion, caja vallenata, and guacharaca match the colorful energy of the magical town the Madrigals call home. Previous SlideNext Slide4 / 25List slides21.“Dig a Little Deeper” from Princess and the FrogList slides21.“Dig a Little Deeper” from Princess and the FrogDig a Little Deeper (From “The Princess and the Frog”/Sing-Along) Randy Newman’s toe-tapping blend of big-band swing and gospel choir refrains perfectly captures the vibrant soul of the New Orleans setting. The feisty Jennifer Lewis leads “Dig a Little Deeper” as Mama Odie, backed by the rousing Pinnacle Gospel Choir. The song’s brassy rhythms help Tiana let loose and Naveen to realize that he’s in love with her. The lessons Mama Odie imparts through the lyrics are wise and grounded: it doesn’t matter what you have or where you come from—that doesn’t define who you are. True fulfillment doesn’t come from material wealth, status, or outward appearances—it comes from understanding what you really want on the inside. The song crescendos with Anika Noni Rose’s powerful belt and the soulful shouts of Mama Odie’s bright flamingo chorus. Previous SlideNext Slide5 / 25List slides20. “I See the Light” from TangledList slides20. “I See the Light” from Tangled“I SEE THE LIGHT” | Tangled | Disney Animated HD The dreamy melody of “I See the Light” begins with a soft guitar. Glenn Slater and Alan Menken’s composition is fairly simple, allowing the glittering visuals to take center stage. The song takes place during the lighting ceremony that Rapunzel has yearned to visit after observing it from her tower for 18 years. Flynn and Rapunzel float on a gondola, surrounded by over 45,000 glowing lanterns floating in the air, dotting the sky and reflecting off the water that surrounds them. The characters sing the verses separately in their heads before their emotions burst, then they harmonize the chorus loudly, compelled by their realization that they’re in love. It’s a unique and touching way of framing a Disney love song. Previous SlideNext Slide6 / 25List slides19. “Friend Like Me” from AladdinList slides19. “Friend Like Me” from AladdinAladdin - Friend Like Me (HD 1080p) Howard Ashman’s playful lyrics and Alan Menken’s up-tempo, syncopated, vaudevillian song was the perfect musical playground for Robin Williams to fill with the zany impressions and quirky voices he was renowned for. A trumpet warbles in between one of the clever lyrics, sights and sounds so jam-packed with hilarity that you can barely stop to catch your breath. Robin Williams was so adept at improvisation that he had nearly an entire day’s worth of material. The animation is just as bonkers as his vocal performance, where Genie morphs into countless creatures—from a train whistle to a maître d’, a boxing trainer, a bunny, and a dragon. The Broadway-style showstopper culminates with a kick line under bright spotlights with monkeys, elephants, and dancing girls in crop tops and harem pants. “Friend Like Me” is a shining showcase for one of our finest comedic talents, the great Robin Williams. Previous SlideNext Slide7 / 25List slides18. “Baby Mine” from DumboList slides18. “Baby Mine” from DumboDisney’s “Dumbo” - Baby MineSongwriters Frank Churchill and Ned Washington are responsible for childhood traumas everywhere with “Baby Mine,” which takes place when Dumbo’s mother has been jailed as a “mad elephant” for fiercely protecting her son against his bullies. She reaches her trunk through the bars to cradle Dumbo to the soft, slumbering melody accompanied by haunting strings. Betty Noyes’ has that rich, rounded tone found in vintage singing, and it conveys Mrs. Jumbo’s maternal strength. The images of all the animals—zebras, tigers, monkeys, and even the underwater hippos—nestled in the love of their mothers, except for poor Dumbo, set against the song’s soothing orchestra, is absolutely heart wrenching. “Baby Mine” is the kind of song that inspires dreams of being comforted and cared for by a loving parental figure.Previous SlideNext Slide8 / 25List slides17. ”Once Upon a Dream” from Sleeping BeautyList slides17. ”Once Upon a Dream” from Sleeping BeautyOnce Upon A Dream | Sleeping Beauty Lyric Video | DISNEY SING-ALONGS Jack Lawrence and Sammy Fain craft a solo-turned-duet with a woozy, mysterious quality that perfectly complements the story of Sleeping Beauty. Mary Costa has such an elegant and operatic voice, with rich tones that make her sound far more mature than a 16-year-old girl. She’s soon joined by the strong, handsome voice of Prince Phillip, who appears unexpectedly in the forest. Their romance unfolds quickly, twirling together in the woods, surrounded by beautiful medieval-inspired, Gothic-Renaissance style visuals. The lilting orchestration and the grand choral ensemble add to the old-world mystique. The lyrics—of knowing someone before you truly know them, of seeing them in your dreams—add a tinge of mysterious excitement and mystical fate to their romance. Previous SlideNext Slide9 / 25List slides16. “Hellfire” from The Hunchback of Notre DameList slides16. “Hellfire” from The Hunchback of Notre DameHellfire - The Hunchback of Notre Dame (1996) Alan Menken and Stephen Schwartz crafted one of Disney’s darkest songs. It’s hard to imagine Disney taking this type of creative risk again. “Hellfire” is sung by a corrupt priest consumed by lust for the Romani woman Esmeralda. The deep-voiced Tony Jay plays the dishonorable Frollo, who paints himself as a virtuous man—even though he killed Quasimodo’s mother and nearly killed Quasimodo. A true Catholic would have helped them. Today, Disney would never dare to show that authority figures—especially religious ones—can often be wrong and hypocritical, if not outright evil. This is one of the most provocative villain songs, in which Frollo essentially confesses his horniness. He sings of being enraptured by Esmeralda’s smoldering eyes and raven hair—a desire that burns and threatens to turn him to sin. “Hellfire” also has a spooky quality in its use of Latin and the intense religious choir that looms over Frollo in judgment, cloaked in red with faces like empty black holes. It’s a haunting song of operatic grandeur, with notes that flare and fade like the flames dancing in front of him. Previous SlideNext Slide10 / 25List slides15. “A Dream is a Wish Your Heart Makes” from CinderellaList slides15. “A Dream is a Wish Your Heart Makes” from CinderellaA Dream Is a Wish Your Heart Makes (from Cinderella) Sung with silky warmth and a shimmering, ethereal vibrato by Ilene Woods as Cinderella, “A Dream is a Wish Your Heart Makes” is soft and soothing, yet carries an undercurrent of quiet determination. She sings to her loyal companions—adorable flocks of birds and mice—who wear the tiny outfits she’s lovingly made for them. They join in during a break of the song that is more playful and buoyant while she prepares for another grueling day of chores, yet she stays positive by believing her dreams will come true. “A Dream is a Wish Your Heart Makes” has become a marketing anthem for the studio—used in various ads to evoke nostalgia, magic, and the promise that dreams really do come true, with Disney theme parks as the place where that magic can happen. Previous SlideNext Slide11 / 25List slides14. Hawaiian Roller Coaster Ride from Lilo & StitchList slides14. Hawaiian Roller Coaster Ride from Lilo & StitchHawaiian Roller Coaster Ride (From “Lilo & Stitch”) The rich voice of Mark Kealiʻi Hoʻomalu and the cheerful Kamehameha Schools Children’s Chorus come together for a song that is as sweet and breezy as a summer’s day. “Hawaiian Roller Coaster Ride” takes place during a touching moment of family bonding as Lilo, Nani, and David go surfing, gliding through the waves with ease. Stitch has been naughty, so he feels a little shy about enjoying the day with them, but he slowly begins to warm up to what it feels like to have a family. We see the adorable progression as the little thrill-seeker ends up riding the waves too. The song’s instrumentation—featuring ukulele, traditional Hawaiian fingerstyle guitar, and steel guitar—evokes the ocean waves and open skies, giving it that relaxed, beachy vibe. Both the animation and the song itself honors the film’s beautiful Hawaiian setting. Previous SlideNext Slide12 / 25List slides13. “I’ll Make a Man Out of You” from MulanList slides13. “I’ll Make a Man Out of You” from MulanMulan | I’ll Make a Man Out of You | Disney Junior UK “Let’s get down to business, to defeat the Huns” Donny Osmond sings in his perfectly crisp voice. The rousing number “I’ll Make a Man Out of You” by Matthew Wilder and David Zippel is the pump-up song for a training montage. It starts out comical as we see Mulan and her clumsy friends attempt to become the ideal Chinese soldier. The catchy chorus uses evocative nature metaphors for the type of strength and calm that Mulan needs to find, and the deep-voiced punctuation “Be a man!” at the end of each line adds to the hype. When Donny Osmond belts “Time is racing towards us, ‘till the Huns arrive,” you feel a thrilling rush of urgency and swell with courage. The final chorus plays against no instrumentation, the manly voices of the soldiers booming, allowing you to focus on Mulan and her friends now kicking ass. Previous SlideNext Slide13 / 25List slides12. “A Whole New World” from AladdinList slides12. “A Whole New World” from AladdinAladdin - A Whole New World (HD 1080p) Brad Kane’s voice carries an excited, breathy quality that draws you in as he whisks Jasmine away on a magic carpet ride. He sounds bright and earnest as he describes the shining, shimmering, and splendid world that Jasmine has never seen and he’s eager to show her. Lea Salonga, who is a Broadway legend in her own right, has an angelic innocence as Jasmine. Their voices come together in perfect harmony for this sweeping duet. “A Whole New World” is one of Disney’s most romantic love songs, with a melody that flutters and glides like the magic carpet itself. Written by Alan Menken and Tim Rice, the orchestration has lush strings that propel the adventurous animated sequence where they soar through the clouds, pass the Sphinx, and touch down near a group of horses. Previous SlideNext Slide14 / 25List slides11. “Strangers Like Me” from TarzanList slides11. “Strangers Like Me” from TarzanStrangers Like Me (1080p Full HD) - Tarzan (1999)Opening with a pulsing drum track, Strangers Like Me evokes the spinning wheels in Tarzan’s mind as he learns more about what lies beyond the jungle. The montage is gorgeously animated, featuring old-fashioned ink illustrations that Tarzan looks at through a magic lantern. He sees the city of London, a giant castle, the Sphinx, and even outer space for the first time. This flood of information drives the song’s urgent pace.The filmmakers craft the entire animated sequence as a response to the lyrics, as Tarzan watches Jane (“Every gesture, every move that she makes / Makes me feel like never before”) or shows off a pocket of the rainforest filled with parrots (“Come with me now to see my world / Where there’s beauty beyond your dreams”). Phil Collins’ bright voice captures Tarzan’s wonderment, especially in the soaring chorus, where Tarzan expresses his desire to learn more about strangers like him. You feel his hunger for the great, wide world in the song’s pounding, tribal drumbeats. Previous SlideNext Slide15 / 25List slides10. “I Won’t Say I’m in Love” from HerculesList slides10. “I Won’t Say I’m in Love” from HerculesHercules (1997) │ I Won’t Say (I’m In Love) [DPU HD 4K] The story of the ancient Greek hero Hercules has such a unique musical style, with lyricist David Zippel and composer Alan Menken blending doo-wop, Motown, and gospel soul. The muses serve as a literal Greek chorus, commenting on the action with their sassy perspective. In “I Won’t Say I’m in Love,” Megara’s velvet-voiced, sarcastic Susan Egan stands apart from other Disney heroines, who often sing fluttering arias about dreaming of a prince. Instead, Megara resists her feelings because she’s been burned too many times before, creating a comical juxtaposition with the Muses, who cheekily insist that she’s in love. They tease her with “Check the grin, you’re in love.” It’s a playful and flirtatious song that celebrates an unconventional Disney princess and musical choices. Previous SlideNext Slide16 / 25List slides9. “How Far I’ll Go” from MoanaList slides9. “How Far I’ll Go” from MoanaAuli’i Cravalho - How Far I’ll Go (from Moana/Official Video) Ever since their introduction in The Little Mermaid, Broadway-style “I Want” songs have become a hallmark of Disney princess films. They are passionate solos that reveal what each heroine desires most in the world. Whatever her heart longs for becomes the emotional engine driving the story forward. In “How Far I’ll Go,” composed by Lin-Manuel Miranda, Moana is torn between her dream of exploring what’s beyond her remote island and her duty to her family. She’s genuinely torn, even wondering if she’s wrong to yearn for what lies beyond the horizon. Auli’i Cravalho’s pure, heartfelt voice captures all the wistfulness and uncertainty of growing up. The melody swells and crashes gently like ocean tides, mirroring the push and pull of Moana’s inner conflict. Previous SlideNext Slide17 / 25List slides8. “Be Our Guest” from Beauty and the BeastList slides8. “Be Our Guest” from Beauty and the BeastBeauty and the Beast - Be Our Guest (HD) Music Video Broadway royalty Jerry Orbach helms this showstopper with music by Alan Menken and lyrics by Howard Ashman. The suave candlestick Lumière uses the number to lure Belle out of her bedroom, and show that the enchanted castle is more friendly and exciting than spooky and depressing. “Be Our Guest” has clever, fast-paced lyrics sung in a classic “patter song” style which then explodes in a lively, French can-can finale. The living castle objects just want to serve and make someone happy again, offering Belle elaborate meals and dazzling entertainment. Everything is on the plate for Belle, from soup du jour, hot hors d’oeuvres, beef ragout, cheese soufflé, and of course, the grey stuff. What’s just as exciting about the number as its giddy music is the animation, with spoons swimming in punch bowls like a Busby Berkeley number, prismatic spotlights, sumptuous, brightly-colored cakes, a glowing chandelier, and dancing flatware. Previous SlideNext Slide18 / 25List slides7. “You’ll Be in My Heart” from TarzanList slides7. “You’ll Be in My Heart” from TarzanPhil Collins - You’ll Be in My Heart /Tarzan(ターザン)Phil Collins knocked it out of the park with the entire Tarzan soundtrack. Somehow his earthy voice, drum-infused instrumentals, and heartfelt lyrics were the perfect mix for this jungle story. Rather than a traditional Disney musical, Phil Collins acts as an omnipresent narrator, commenting on the action or voicing the character’s thoughts. “You’ll Be In My Heart” rightfully earned the Academy Award for Best Original Song. Originally written as a lullaby for his own daughter, the song starts off tender, with Phil Collins almost gently whispering against soft marimbas. Its lyrics of true love and devotion are moving, especially in the scene where Kala sings it to a baby Tarzan, who, despite being a different species, experiences a bond where love and care know no bounds. The song eventually crashes into driving drums, moving toward a bridge that sees the child fly free on their own: “When destiny calls you / You must be strong / I may not be with you / But you’ve got to hold on.” This song is touching for anyone who has ever loved someone and watched them grow, no matter what type of relationship. Previous SlideNext Slide19 / 25List slides6. “Under the Sea” from The Little MermaidList slides6. “Under the Sea” from The Little MermaidThe Little Mermaid - Under the Sea (from The Little Mermaid) (Official Video) Those solo calypso opening notes of “Under the Sea” immediately get you excited, and Samuel E. Wright delivers a rollicking underwater bash. His booming voice and vivacious energy are perfect for the overdramatic crustacean and his mission to convince Ariel that living under the sea “is the bubbles” with no troubles. “Under the Sea’ buoys the rainbow-colored montage of marine life that fills Ariel’s world—fish, dolphins, and coral reefs. The scene cleverly ties the instruments to various creatures and animation — harps echo the swirling school of fish, shells mimic steel pans, and a pair of octopuses intertwine their legs like bass lines. With its infectious Caribbean beat, Howard Ashman and Alan Menken’s song is a true banger and impossible not to love, which is why it won the 1990 Oscar for Best Original Song. Previous SlideNext Slide20 / 25List slides5. “Colors of the Wind” from PocahontasList slides5. “Colors of the Wind” from PocahontasPocahontas - Colors of the Wind (Blu-ray 1080p HD) “You think the only people who are people / Are the people who look and think like you / But if you walk the footsteps of a stranger / You’ll learn things you never knew, you never knew.” In this increasingly polarized world, that message has never been more relevant. Pocahontas is not immediately smitten with John Smith; instead, she condemns his entire culture, which prioritizes gold and hatred over acceptance and the beauty of nature. Stephen Schwartz’s lyrics paint gorgeous pictures of the American wilderness, questioning why the white men who have invaded these lands cannot appreciate the world around them — from the grinning bobcats to the sweet berries to the trees that stretch toward the sky, if only we let them grow. Alan Menken’s surrounding score is rapturous, carried by Judy Kuhn’s passionate vocals. More than just the profound lyrics, it’s the visuals that make this musical number so unforgettable — particularly John Smith and Pocahontas dancing in a pastel-colored wind. It’s no surprise that “Colors of the Wind” won an Academy Award for Best Original Song. Previous SlideNext Slide21 / 25List slides4. “When You Wish Upon a Star” from PinnochioList slides4. “When You Wish Upon a Star” from PinnochioPocahontas - Colors of the Wind (Blu-ray 1080p HD)Written by Leigh Harline and Ned Washington, “When You Wish Upon a Star” has come to define Disney itself, typically playing over the castle logo that opens every movie. The ethereal ballad is sung by Cliff Edwards as Jiminy Cricket, whose resonant yet quirky voice feels like someone sharing a story by a crackling fire. “When you wish upon a star / Makes no difference who you are / Anything your heart desires / Will come to you,” he tenderly sings over the opening credits. The gentle melody wraps you in a warm embrace of possibility. People often make fun of Disney adults, but perhaps one reason we hold on to Disney films long after growing up is that they offer hope in an increasingly grim world. This aspirational song reminds us there is more to life than the ordinary—if we just dare to imagine.Previous SlideNext Slide22 / 25List slides3. “Beauty and the Beast” from Beauty and the BeastList slides3. “Beauty and the Beast” from Beauty and the BeastBeauty and the Beast Tale As Old As Time HD As Mrs. Potts, Angela Lansbury’s warm, cheery English voice adds a rosiness to this powerful love ballad, backed by an orchestra of sumptuous strings. The lyrics aren’t the pure romanticism of past Disney love stories; there is no love at first sight here. Instead, Mrs. Potts gently reflects on how true love can take time to blossom, and how relationships sometimes require change, admitting your faults and working hard to set aside your vices and worst qualities. It’s a surprisingly mature outlook for a Disney love song. The accompanying animation is one of the most exquisite sequences in Disney history: Belle’s golden dress glides delicately across the floor as she and the Beast dance in the grand ballroom, the camera swirling to reveal the sparkling chandelier and Michelangelo-esque ceiling of painted cherubs above them. That Howard Ashman wrote this song while dying from complications of AIDS makes it all the more poignant. Previous SlideNext Slide23 / 25List slides2. “Part of Your World” from The Little MermaidList slides2. “Part of Your World” from The Little MermaidJodi Benson - Part of Your World (From “The Little Mermaid”)Before The Little Mermaid kicked off the Disney Renaissance (a period of more sophisticated storytelling and box office success) princess songs were mostly focused on their prince charmings. They had very few aspirations outside of dreaming about their prince or wishing for their prince. But the introduction of the songwriting team Alan Menken and Howard Ashman, who had worked on the off-Broadway show Little Shop of Horrors, helped develop a Disney princess that had greater ambitions. Ariel wanted to see the human world, and she would express that within a Broadway-style solo called the “I Want” song, where the protagonist sings about, well, what they want. “Part of Your World” has a flowing melody and a sweet yearning in Jodi Benson’s voice (and given a more soulful power in the live-action version from Halle Bailey). We see her comical misunderstanding of what her treasures are, all whozits and whatzits galore. “Wouldn’t I love to explore that shore up above?” her voice soars while reaching out through the top of her grotto towards the sun. In that moment, with her big eyes and aching voice, you completely understand how much the human world means to her.Previous SlideNext Slide24 / 25List slides1. “Circle of Life” from The Lion KingList slides1. “Circle of Life” from The Lion KingCarmen Twillie, Lebo M. - Circle of Life (From “The Lion King”) No Disney song is quite as epic as Elton John’s “Circle of Life.” The image of the rising sun, paired with the opening lines sung passionately in Zulu by Lebo M., without any instrumentals, immediately hooks you into this sweeping story of the African savannah. The title, “Circle of Life,” is fitting for this tale of birth, death, and everything in between. The lyrics somehow encompass everything about our big, beautiful world — how finite life is, and the experiences, both good and bad, that give us balance. There’s despair and there’s hope. There’s faith and there’s love. The lyrics are poetic and make you think about the wonder and mystery of existence. The song reaches a powerful peak at the end when the chorus rises together. It’s impossible not to get full-body chills on that final soaring note, “It’s the circle, the circle of life,” punctuated by the thunderous drumbeat, where the sight of Rafiki lifting Simba on Pride Rock cuts to black. “Circle of Life” is a beautiful song with a grand vision, especially for a film geared towards children.

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2025-05-23 12:21:07 -

Top 5 Nature-Inspired LEGO Sets That Bring the Outdoors Inside

As our lives become more intertwined with technology, many of us crave a connection to the natural world, especially in our homes and workspaces. LEGO, the world’s favorite building block, offers a unique way to bring nature indoors with sets that blend the joy of creativity with the calming beauty of plants, flowers, and gardens.
These nature-inspired LEGO sets aren’t just fun to build; they transform any room into a vibrant, green sanctuary, no watering required. From intricate terrariums to blossoming bouquets, each set is an invitation to relax, create, and celebrate the wonders of the great outdoors—all from the comfort of your table. Here are the top five nature-inspired LEGO sets that let you build your piece of paradise, no green thumb necessary.
1. LEGO Terrarium Set

Terrariums have long been a favorite for plant lovers who want to create tiny, self-contained ecosystems. The LEGO Terrarium Set, designed by LEGO builder 44th_brick, elevates this concept to new heights, blending the charm of hand-crafted apothecary bottles with the creativity of LEGO building.
This three-piece collection features a rustic yet sophisticated design – each terrarium is shaped like a classic corked bottle, complete with jade and gold bases that instantly elevate them from playful craft to tasteful home décor. What truly sets these terrariums apart is the attention to detail inside each glass-like bottle. You’ll find everything from delicate orchids and pink succulents to mushrooms and even a hidden spider, all meticulously rendered in LEGO bricks.
2. Botanical Garden LEGO Ideas Set

Step into a world where history, architecture, and nature come together with the LEGO Botanical Garden Ideas Set. Conceived by LEGO user Goannas89, this ambitious set boasts over 3,000 bricks and is a marvel of intricate design. Unlike many plant-themed sets, the Botanical Garden is more than just a collection of greenery—it’s a grand cast-iron greenhouse inspired by the 19th and early 20th centuries, complete with a neoclassical entrance and lush interior spaces teeming with plant life.
Open the elegant white structure and you’ll find a vibrant garden scene, where banana and palm trees anchor the central atrium and exotics like Anthurium, Bamboo, and Begonia Maculata fill every corner. The set is alive with detail: minifigures stroll through the walkways, exploring the layered foliage and vivid blossoms. The modular design means you can lift the top to admire the interior, making it both a showpiece and an interactive build.
3. LEGO Succulents Set

Succulents are beloved for their resilience and sculptural beauty, and LEGO’s Botanical Collection brings them to life in a way that’s both playful and elegant. The LEGO Succulents Set is a scaled, lifelike arrangement of nine distinct plant varieties, from Aloe Vera and Burro’s Tail to a vibrant Moon Cactus and purple Echeveria.
With 771 pieces, this set gives builders the freedom to customize: display all nine succulents as a group for a stunning centerpiece, or scatter them individually around your home for pops of green in every room. What makes these LEGO succulents truly special is the attention to realism. Each plant is crafted with care, capturing the unique shapes and colors that make real succulents so popular. Each comes with its base, so you can mix, match, and arrange them however you like.
4. LEGO Chrysanthemum and Plum Blossom

Nature’s beauty is always in season with the upcoming LEGO Chrysanthemum and Plum Blossom sets. Though not officially released, leaked images have already sparked excitement among LEGO fans. These two additions to the Botanical Collection perfectly capture the vibrant colors and forms of their real-life counterparts.
The Chrysanthemum set, at 278 pieces and standing 26 cm tall, creates a stunning display with its striking yellow petals, all neatly arranged in a decorative pot and stand. The Plum Blossom is equally eye-catching, with delicate pink and white flowers that evoke the fleeting beauty of spring. Both come with sturdy stands, making them as suitable for a coffee table as for a bookshelf or office desk.
5. LEGO Cherry Blossoms Set

Few flowers capture the imagination like cherry blossoms, and the LEGO Cherry Blossoms set lets you bring the magic of spring into your home, no matter the season. Designed for ages 8 and up, this set offers two buildable twigs, each customizable with 438 pieces in shades of pink and white. Each twig can be assembled to your liking—combine colors for a natural gradient or keep them monochrome for a bold look.
At up to 35 cm long, these cherry branches make an impressive and elegant display on any table or shelf. The twigs can be displayed on their own or combined with other LEGO flower sets, such as the Roses, Wildflower Bouquet, or Botanical Collection, to create a personalized arrangement.The post Top 5 Nature-Inspired LEGO Sets That Bring the Outdoors Inside first appeared on Yanko Design.
#top #natureinspired #lego #sets #that

Top 5 Nature-Inspired LEGO Sets That Bring the Outdoors Inside
As our lives become more intertwined with technology, many of us crave a connection to the natural world, especially in our homes and workspaces. LEGO, the world’s favorite building block, offers a unique way to bring nature indoors with sets that blend the joy of creativity with the calming beauty of plants, flowers, and gardens. These nature-inspired LEGO sets aren’t just fun to build; they transform any room into a vibrant, green sanctuary, no watering required. From intricate terrariums to blossoming bouquets, each set is an invitation to relax, create, and celebrate the wonders of the great outdoors—all from the comfort of your table. Here are the top five nature-inspired LEGO sets that let you build your piece of paradise, no green thumb necessary. 1. LEGO Terrarium Set Terrariums have long been a favorite for plant lovers who want to create tiny, self-contained ecosystems. The LEGO Terrarium Set, designed by LEGO builder 44th_brick, elevates this concept to new heights, blending the charm of hand-crafted apothecary bottles with the creativity of LEGO building. This three-piece collection features a rustic yet sophisticated design – each terrarium is shaped like a classic corked bottle, complete with jade and gold bases that instantly elevate them from playful craft to tasteful home décor. What truly sets these terrariums apart is the attention to detail inside each glass-like bottle. You’ll find everything from delicate orchids and pink succulents to mushrooms and even a hidden spider, all meticulously rendered in LEGO bricks. 2. Botanical Garden LEGO Ideas Set Step into a world where history, architecture, and nature come together with the LEGO Botanical Garden Ideas Set. Conceived by LEGO user Goannas89, this ambitious set boasts over 3,000 bricks and is a marvel of intricate design. Unlike many plant-themed sets, the Botanical Garden is more than just a collection of greenery—it’s a grand cast-iron greenhouse inspired by the 19th and early 20th centuries, complete with a neoclassical entrance and lush interior spaces teeming with plant life. Open the elegant white structure and you’ll find a vibrant garden scene, where banana and palm trees anchor the central atrium and exotics like Anthurium, Bamboo, and Begonia Maculata fill every corner. The set is alive with detail: minifigures stroll through the walkways, exploring the layered foliage and vivid blossoms. The modular design means you can lift the top to admire the interior, making it both a showpiece and an interactive build. 3. LEGO Succulents Set Succulents are beloved for their resilience and sculptural beauty, and LEGO’s Botanical Collection brings them to life in a way that’s both playful and elegant. The LEGO Succulents Set is a scaled, lifelike arrangement of nine distinct plant varieties, from Aloe Vera and Burro’s Tail to a vibrant Moon Cactus and purple Echeveria. With 771 pieces, this set gives builders the freedom to customize: display all nine succulents as a group for a stunning centerpiece, or scatter them individually around your home for pops of green in every room. What makes these LEGO succulents truly special is the attention to realism. Each plant is crafted with care, capturing the unique shapes and colors that make real succulents so popular. Each comes with its base, so you can mix, match, and arrange them however you like. 4. LEGO Chrysanthemum and Plum Blossom Nature’s beauty is always in season with the upcoming LEGO Chrysanthemum and Plum Blossom sets. Though not officially released, leaked images have already sparked excitement among LEGO fans. These two additions to the Botanical Collection perfectly capture the vibrant colors and forms of their real-life counterparts. The Chrysanthemum set, at 278 pieces and standing 26 cm tall, creates a stunning display with its striking yellow petals, all neatly arranged in a decorative pot and stand. The Plum Blossom is equally eye-catching, with delicate pink and white flowers that evoke the fleeting beauty of spring. Both come with sturdy stands, making them as suitable for a coffee table as for a bookshelf or office desk. 5. LEGO Cherry Blossoms Set Few flowers capture the imagination like cherry blossoms, and the LEGO Cherry Blossoms set lets you bring the magic of spring into your home, no matter the season. Designed for ages 8 and up, this set offers two buildable twigs, each customizable with 438 pieces in shades of pink and white. Each twig can be assembled to your liking—combine colors for a natural gradient or keep them monochrome for a bold look. At up to 35 cm long, these cherry branches make an impressive and elegant display on any table or shelf. The twigs can be displayed on their own or combined with other LEGO flower sets, such as the Roses, Wildflower Bouquet, or Botanical Collection, to create a personalized arrangement.The post Top 5 Nature-Inspired LEGO Sets That Bring the Outdoors Inside first appeared on Yanko Design. #top #natureinspired #lego #sets #that

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Top 5 Nature-Inspired LEGO Sets That Bring the Outdoors Inside
As our lives become more intertwined with technology, many of us crave a connection to the natural world, especially in our homes and workspaces. LEGO, the world’s favorite building block, offers a unique way to bring nature indoors with sets that blend the joy of creativity with the calming beauty of plants, flowers, and gardens. These nature-inspired LEGO sets aren’t just fun to build; they transform any room into a vibrant, green sanctuary, no watering required. From intricate terrariums to blossoming bouquets, each set is an invitation to relax, create, and celebrate the wonders of the great outdoors—all from the comfort of your table. Here are the top five nature-inspired LEGO sets that let you build your piece of paradise, no green thumb necessary. 1. LEGO Terrarium Set Terrariums have long been a favorite for plant lovers who want to create tiny, self-contained ecosystems. The LEGO Terrarium Set, designed by LEGO builder 44th_brick, elevates this concept to new heights, blending the charm of hand-crafted apothecary bottles with the creativity of LEGO building. This three-piece collection features a rustic yet sophisticated design – each terrarium is shaped like a classic corked bottle, complete with jade and gold bases that instantly elevate them from playful craft to tasteful home décor. What truly sets these terrariums apart is the attention to detail inside each glass-like bottle. You’ll find everything from delicate orchids and pink succulents to mushrooms and even a hidden spider, all meticulously rendered in LEGO bricks. 2. Botanical Garden LEGO Ideas Set Step into a world where history, architecture, and nature come together with the LEGO Botanical Garden Ideas Set. Conceived by LEGO user Goannas89, this ambitious set boasts over 3,000 bricks and is a marvel of intricate design. Unlike many plant-themed sets, the Botanical Garden is more than just a collection of greenery—it’s a grand cast-iron greenhouse inspired by the 19th and early 20th centuries, complete with a neoclassical entrance and lush interior spaces teeming with plant life. Open the elegant white structure and you’ll find a vibrant garden scene, where banana and palm trees anchor the central atrium and exotics like Anthurium, Bamboo, and Begonia Maculata fill every corner. The set is alive with detail: minifigures stroll through the walkways, exploring the layered foliage and vivid blossoms. The modular design means you can lift the top to admire the interior, making it both a showpiece and an interactive build. 3. LEGO Succulents Set Succulents are beloved for their resilience and sculptural beauty, and LEGO’s Botanical Collection brings them to life in a way that’s both playful and elegant. The LEGO Succulents Set is a scaled, lifelike arrangement of nine distinct plant varieties, from Aloe Vera and Burro’s Tail to a vibrant Moon Cactus and purple Echeveria. With 771 pieces, this set gives builders the freedom to customize: display all nine succulents as a group for a stunning centerpiece, or scatter them individually around your home for pops of green in every room. What makes these LEGO succulents truly special is the attention to realism. Each plant is crafted with care, capturing the unique shapes and colors that make real succulents so popular. Each comes with its base, so you can mix, match, and arrange them however you like. 4. LEGO Chrysanthemum and Plum Blossom Nature’s beauty is always in season with the upcoming LEGO Chrysanthemum and Plum Blossom sets. Though not officially released, leaked images have already sparked excitement among LEGO fans. These two additions to the Botanical Collection perfectly capture the vibrant colors and forms of their real-life counterparts. The Chrysanthemum set, at 278 pieces and standing 26 cm tall, creates a stunning display with its striking yellow petals, all neatly arranged in a decorative pot and stand. The Plum Blossom is equally eye-catching, with delicate pink and white flowers that evoke the fleeting beauty of spring. Both come with sturdy stands, making them as suitable for a coffee table as for a bookshelf or office desk. 5. LEGO Cherry Blossoms Set Few flowers capture the imagination like cherry blossoms, and the LEGO Cherry Blossoms set lets you bring the magic of spring into your home, no matter the season. Designed for ages 8 and up, this set offers two buildable twigs, each customizable with 438 pieces in shades of pink and white. Each twig can be assembled to your liking—combine colors for a natural gradient or keep them monochrome for a bold look. At up to 35 cm long, these cherry branches make an impressive and elegant display on any table or shelf. The twigs can be displayed on their own or combined with other LEGO flower sets, such as the Roses, Wildflower Bouquet, or Botanical Collection, to create a personalized arrangement.The post Top 5 Nature-Inspired LEGO Sets That Bring the Outdoors Inside first appeared on Yanko Design.

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Mashable paylaşılan bir bağlantı
2025-05-21 18:12:15 -

Forget Ticketmaster: The All-American Rejects are playing your backyard

No stage, no problem. The All-American Rejects bring the mosh pit to the front lawn.
Credit: TikTok composite: @ChicagoBucketList, @marissamccall, @STLGUIDE314

In a live music landscape often dominated by inflated ticket prices and impersonal stadium shows, The All-American Rejects are flipping the script. The band recently kicked off a "house party" tour, and it’s exactly what it sounds like. Instead of arenas or overpriced amphitheaters, the band is offering fans a chance to host a literal house party with a live, pop-up performance from the band themselves. So far, they've played a backyard in Chicago, a bowling alley in Minneapolis, on someone's lawn in Columbia, Missouri for a bunch of college grads, and on the quad at the University of Wisconsin-Green Bay. Fans can even apply through the link in the band’s Instagram bio to bring the show to their city.The "house party" concept leans heavily into nostalgia, which is a smart play for a band whose early 2000s singles "Dirty Little Secret" and "Move Along" helped define an era of pop-punk adolescence for millennials. But it’s not just about revisiting the past. This tour taps into something deeper: the intimate, communal energy of early DIY shows that forged lasting connections between bands and their fans. And it has landed the band on FYPs across the country.

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For fans, Ticketmaster is misery business

Perhaps partly because of its online popularity, it’s not just longtime listeners showing up. These intimate shows, often held on college campuses or in public spaces, are introducing The All-American Rejects to a new generation of fans who weren’t around when the band ruled TRL, but who instantly get the appeal of a sing-along anthem in a backyard with no wristbands required.Even more remarkable? These shows are mostly free to attend. In a time when Ticketmaster’s dynamic pricing has made big concert experiences unattainable for many, this feels less like a gimmick and more like a rebellion. The All-American Rejects are bringing live music directly to fans — no dynamic pricing, no service charges, no parking.

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At a recent stop in Minneapolis, the All-American Rejects frontman Tyson Ritter delivered a fiery, heartfelt speech that quickly went viral — a clip of the moment, posted by @marissamccall, has racked up over one million views on TikTok. Speaking to a packed crowd, Ritter captured the spirit of the house party tour with blunt honesty: "I want to thank you for coming out and giving a shit about a rock’n’roll band that supports the common man. We’re not trying to sell you finance tickets to Coachella, we’re not trying to sell you Ticketmaster fucking penalty fees, we’re not trying to sell you parking. We’re just trying to sell you some songs you might have grown up with, and let you fucking let go with us in this non-denominational church of rock'n'roll." The message — part middle finger to concert bloat, part love letter to fans — struck a nerve. Online, fans praised the band for keeping things grounded, authentic, and centered on the music. In an industry increasingly ruled by algorithms, corporate markups, and VIP upgrades, Ritter’s words felt like both a rebellion and a revival.As one commenter on TikTok put it, "The HARDEST recession indicator. we are SO back." In an interview with KBIA in Missouri, Ritter explained how the idea for the tour came about: "The whole thing about this has been sort of like this weird synchronistic happenstance of reactivity. We played this random house party, and it was like, of all the shows we played in the last 10 years, it was, like, this big wake-up call to the reality of, 'Oh, this is why we started doing this.' We played in house shows. We played backyards, VFWs, and I just told my manager, 'That worked. Let’s do that.'" And they are. One lawn, quad, and bowling alley at a time.

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Music
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Crystal Bell
Digital Culture Editor

Crystal Bell is the Culture Editor at Mashable. She oversees the site's coverage of the creator economy, digital spaces, and internet trends, focusing on how young people engage with others and themselves online. She is particularly interested in how social media platforms shape our online and offline identities. She was formerly the entertainment director at MTV News, where she helped the brand expand its coverage of extremely online fan culture and K-pop across its platforms. You can find her work in Teen Vogue, PAPER, NYLON, ELLE, Glamour, NME, W, The FADER, and elsewhere on the internet. She's exceptionally fluent in fandom and will gladly make you a K-pop playlist and/or provide anime recommendations upon request. Crystal lives in New York City with her two black cats, Howl and Sophie.
#forget #ticketmaster #allamerican #rejects #are

Forget Ticketmaster: The All-American Rejects are playing your backyard
No stage, no problem. The All-American Rejects bring the mosh pit to the front lawn. Credit: TikTok composite: @ChicagoBucketList, @marissamccall, @STLGUIDE314 In a live music landscape often dominated by inflated ticket prices and impersonal stadium shows, The All-American Rejects are flipping the script. The band recently kicked off a "house party" tour, and it’s exactly what it sounds like. Instead of arenas or overpriced amphitheaters, the band is offering fans a chance to host a literal house party with a live, pop-up performance from the band themselves. So far, they've played a backyard in Chicago, a bowling alley in Minneapolis, on someone's lawn in Columbia, Missouri for a bunch of college grads, and on the quad at the University of Wisconsin-Green Bay. Fans can even apply through the link in the band’s Instagram bio to bring the show to their city.The "house party" concept leans heavily into nostalgia, which is a smart play for a band whose early 2000s singles "Dirty Little Secret" and "Move Along" helped define an era of pop-punk adolescence for millennials. But it’s not just about revisiting the past. This tour taps into something deeper: the intimate, communal energy of early DIY shows that forged lasting connections between bands and their fans. And it has landed the band on FYPs across the country. You May Also Like SEE ALSO: For fans, Ticketmaster is misery business Perhaps partly because of its online popularity, it’s not just longtime listeners showing up. These intimate shows, often held on college campuses or in public spaces, are introducing The All-American Rejects to a new generation of fans who weren’t around when the band ruled TRL, but who instantly get the appeal of a sing-along anthem in a backyard with no wristbands required.Even more remarkable? These shows are mostly free to attend. In a time when Ticketmaster’s dynamic pricing has made big concert experiences unattainable for many, this feels less like a gimmick and more like a rebellion. The All-American Rejects are bringing live music directly to fans — no dynamic pricing, no service charges, no parking. Mashable Trend Report: Coming Soon! Decode what’s viral, what’s next, and what it all means. Sign up for Mashable’s weekly Trend Report newsletter. By clicking Sign Me Up, you confirm you are 16+ and agree to our Terms of Use and Privacy Policy. Thanks for signing up! At a recent stop in Minneapolis, the All-American Rejects frontman Tyson Ritter delivered a fiery, heartfelt speech that quickly went viral — a clip of the moment, posted by @marissamccall, has racked up over one million views on TikTok. Speaking to a packed crowd, Ritter captured the spirit of the house party tour with blunt honesty: "I want to thank you for coming out and giving a shit about a rock’n’roll band that supports the common man. We’re not trying to sell you finance tickets to Coachella, we’re not trying to sell you Ticketmaster fucking penalty fees, we’re not trying to sell you parking. We’re just trying to sell you some songs you might have grown up with, and let you fucking let go with us in this non-denominational church of rock'n'roll." The message — part middle finger to concert bloat, part love letter to fans — struck a nerve. Online, fans praised the band for keeping things grounded, authentic, and centered on the music. In an industry increasingly ruled by algorithms, corporate markups, and VIP upgrades, Ritter’s words felt like both a rebellion and a revival.As one commenter on TikTok put it, "The HARDEST recession indicator. we are SO back." In an interview with KBIA in Missouri, Ritter explained how the idea for the tour came about: "The whole thing about this has been sort of like this weird synchronistic happenstance of reactivity. We played this random house party, and it was like, of all the shows we played in the last 10 years, it was, like, this big wake-up call to the reality of, 'Oh, this is why we started doing this.' We played in house shows. We played backyards, VFWs, and I just told my manager, 'That worked. Let’s do that.'" And they are. One lawn, quad, and bowling alley at a time. Topics Music TikTok Crystal Bell Digital Culture Editor Crystal Bell is the Culture Editor at Mashable. She oversees the site's coverage of the creator economy, digital spaces, and internet trends, focusing on how young people engage with others and themselves online. She is particularly interested in how social media platforms shape our online and offline identities. She was formerly the entertainment director at MTV News, where she helped the brand expand its coverage of extremely online fan culture and K-pop across its platforms. You can find her work in Teen Vogue, PAPER, NYLON, ELLE, Glamour, NME, W, The FADER, and elsewhere on the internet. She's exceptionally fluent in fandom and will gladly make you a K-pop playlist and/or provide anime recommendations upon request. Crystal lives in New York City with her two black cats, Howl and Sophie. #forget #ticketmaster #allamerican #rejects #are

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Forget Ticketmaster: The All-American Rejects are playing your backyard
No stage, no problem. The All-American Rejects bring the mosh pit to the front lawn. Credit: TikTok composite: @ChicagoBucketList, @marissamccall, @STLGUIDE314 In a live music landscape often dominated by inflated ticket prices and impersonal stadium shows, The All-American Rejects are flipping the script. The band recently kicked off a "house party" tour, and it’s exactly what it sounds like. Instead of arenas or overpriced amphitheaters, the band is offering fans a chance to host a literal house party with a live, pop-up performance from the band themselves. So far, they've played a backyard in Chicago, a bowling alley in Minneapolis, on someone's lawn in Columbia, Missouri for a bunch of college grads, and on the quad at the University of Wisconsin-Green Bay. Fans can even apply through the link in the band’s Instagram bio to bring the show to their city.The "house party" concept leans heavily into nostalgia, which is a smart play for a band whose early 2000s singles "Dirty Little Secret" and "Move Along" helped define an era of pop-punk adolescence for millennials. But it’s not just about revisiting the past. This tour taps into something deeper: the intimate, communal energy of early DIY shows that forged lasting connections between bands and their fans. And it has landed the band on FYPs across the country. You May Also Like SEE ALSO: For fans, Ticketmaster is misery business Perhaps partly because of its online popularity, it’s not just longtime listeners showing up. These intimate shows, often held on college campuses or in public spaces, are introducing The All-American Rejects to a new generation of fans who weren’t around when the band ruled TRL, but who instantly get the appeal of a sing-along anthem in a backyard with no wristbands required.Even more remarkable? These shows are mostly free to attend. In a time when Ticketmaster’s dynamic pricing has made big concert experiences unattainable for many, this feels less like a gimmick and more like a rebellion. The All-American Rejects are bringing live music directly to fans — no dynamic pricing, no service charges, no $25 parking. Mashable Trend Report: Coming Soon! Decode what’s viral, what’s next, and what it all means. Sign up for Mashable’s weekly Trend Report newsletter. By clicking Sign Me Up, you confirm you are 16+ and agree to our Terms of Use and Privacy Policy. Thanks for signing up! At a recent stop in Minneapolis, the All-American Rejects frontman Tyson Ritter delivered a fiery, heartfelt speech that quickly went viral — a clip of the moment, posted by @marissamccall, has racked up over one million views on TikTok. Speaking to a packed crowd, Ritter captured the spirit of the house party tour with blunt honesty: "I want to thank you for coming out and giving a shit about a rock’n’roll band that supports the common man. We’re not trying to sell you finance tickets to Coachella, we’re not trying to sell you Ticketmaster fucking penalty fees, we’re not trying to sell you $25 parking. We’re just trying to sell you some songs you might have grown up with, and let you fucking let go with us in this non-denominational church of rock'n'roll." The message — part middle finger to concert bloat, part love letter to fans — struck a nerve. Online, fans praised the band for keeping things grounded, authentic, and centered on the music. In an industry increasingly ruled by algorithms, corporate markups, and VIP upgrades, Ritter’s words felt like both a rebellion and a revival.As one commenter on TikTok put it, "The HARDEST recession indicator. we are SO back." In an interview with KBIA in Missouri, Ritter explained how the idea for the tour came about: "The whole thing about this has been sort of like this weird synchronistic happenstance of reactivity. We played this random house party [in Los Angeles], and it was like, of all the shows we played in the last 10 years, it was, like, this big wake-up call to the reality of, 'Oh, this is why we started doing this.' We played in house shows. We played backyards, VFWs, and I just told my manager, 'That worked. Let’s do that.'" And they are. One lawn, quad, and bowling alley at a time. Topics Music TikTok Crystal Bell Digital Culture Editor Crystal Bell is the Culture Editor at Mashable. She oversees the site's coverage of the creator economy, digital spaces, and internet trends, focusing on how young people engage with others and themselves online. She is particularly interested in how social media platforms shape our online and offline identities. She was formerly the entertainment director at MTV News, where she helped the brand expand its coverage of extremely online fan culture and K-pop across its platforms. You can find her work in Teen Vogue, PAPER, NYLON, ELLE, Glamour, NME, W, The FADER, and elsewhere on the internet. She's exceptionally fluent in fandom and will gladly make you a K-pop playlist and/or provide anime recommendations upon request. Crystal lives in New York City with her two black cats, Howl and Sophie.

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