The intricate sequence, which took four months to film, looks so good because Harryhausen was able to sync the actions of his models up with the actions of the actors, making for an entirely convincing sword fight. First he shot the actors, who had rehearsed with stunt doubles and were then filmed performing their half of the fight, then he layered in his skeleton warriors, each of which had five appendages, into the film with their halves of the fight.
In the end, the fight was a landmark special effect. Those stop-motion skeletons shared the screen with the stars, but more importantly, they interacted with them. The hybridization of animation and live-action photography had existed long before Mary Poppins.
Walt Disney himself had made a series of shorts using the technology before he ever invented Mickey Mouse or Oswald the Lucky Rabbit. And he would return to the idea decades later in Mary Poppins , during a sequence in which Bert Dick Van Dyke and Mary Julie Andrews and the children escape into a chalk drawing. While in this animated wonderland, they dance, they sing catchy tunes by the Sherman Brothers, and they interact with a small platoon of animated penguin waiters, as charmingly animated by Disney legends Frank Thomas and Ollie Johnston.
It feels like something of a throwback today, but for the time was incredibly cutting edge, mostly thanks to the interactivity between the humans and animated characters and the way the sequence was put together in an era long before blue-screen technology or the kind of compositing popularized by Star Wars. This feat was accomplished using a combination of sodium vapor lights and a specially designed Technicolor camera responsible for only two strips of film, with a special prism that would capture the sodium vapor light on one strip and everything else on the other.
Incredibly, Technicolor was never able to replicate the prism again, leading to decades of cumbersome, overtly intricate solutions to the same problem. You can tell that Disney wanted to push things forward, and push things he did. Legend has it that notoriously contentious Mary Poppins author P. Travers hated the animated sequence and after the world premiere even urged Disney to cut it.
His reply? Travers might not have been a fan, but the sequence stands as a favorite of animation fans the world over. Videocraft International, Ltd. Something about the stop-motion makes it fascinating, year after year, to the very young: the characters are hypertactile, all hair and fur, the story simple but elemental. The interchange between American and Asian animation outfits, including the problem of who exactly does what labor, would endure — as would that adorable, nasal-voiced reindeer.
Directed by Marv Newland. Jokes aside, few students can say their school project played in theaters across the U. But the film lives on, getting a makeover in a frame-for-frame HD re-creation in The catchy tune and the originality of the animated music-video concept inspired a wave of Saturday-morning cartoons to follow suit by incorporating bands and music, like that time Scooby Doo met the Monkees.
But if the Archies started the trend, Josie and the Pussycats perfected it with their mega-groovy intro sequence. Featuring an all-women rock band including Valerie Brown, the first Black woman main character in a cartoon, Josie and the Pussycats — which debuted half an hour before the Harlem Globetrotters TV series, the first majority Black cast in an animated show — set the scene for later girl-power animated classics like Jem and the Holograms.
Osamu Dezaki was a lion among animators, renowned for his work on such anime as Astro Boy , Dororo , Lupin the Third , and Space Adventure Cobra and whose signature techniques have since become inseparable from the visual language of Japanese animation.
A few short years after the Western auteurist revolution of films like Easy Rider and Midnight Cowboy came a cast of characters that could have been mistaken for Jay Ward kiddie cartoons — until they opened their potty mouths or shed their hippy togs to reveal full feline tits and ass. In what is perhaps the most memorable of many memorable scenes, you see everything that earned Fritz the Cat its reputation: campus feminists being lured into a dirty bathtub orgy, plenty of drug use, and bumbling cops who in this universe are, of course, pigs.
Nearly 50 years later, it still evokes the fresh, rebellious excitement of a kid doodling a wang on a bathroom stall for the first time, giddily sordid. The Jackson 5ive and The Harlem Globetrotters , which preceded it, were based on existing people. Scholastic Rock, Inc. Produced by George Newall and Thomas Yohe. Schoolhouse Rock! The animation was just as elegant in its simplicity. Many generations have been exposed to Schoolhouse Rock!
To see images from it are to have them forever seared on the brain. Who could forget the giant blue-skinned Draag, with their lidless red eyes and a tendency to keep humans called Oms as pets, sometimes indulging the much-smaller species and sometimes subjecting its members to random acts of capricious cruelty?
Fantastic Planet is an all-purpose allegory about oppression that at varying times has been read as having a message about slavery, about animal rights, and about the Warsaw Pact invasion of Czechoslovakia. Mushi Production Directed by Eiichi Yamamoto. Belladonna of Sadness was singular at the time of its release in , addressing historical misogyny and the ways that it can compromise or, in some cases, annihilate the bodies of women. Jeanne has more in common with the tempting snake than the average woman, but the fatalism of her story, and the way it is rendered through oozing, wretched, red and black paint and a gaze of furious intent contains within it an elemental rage toward those who attempt to fracture the psyche of women everywhere.
Belladonna climaxes, in a way, in its prolonged orgy sequence, which plays in direct opposition to earlier scenes of rape. Jeanne draws the villagers, who believe in God, into a world of animal lust and primal instinct, illuminating a central hypocrisy in those who lift up a higher power only to crush those who are deemed filthy or different.
Three years before the sci-fi boom led by Star Wars , Space Battleship Yamato sent a salvaged warship through space to save Earth from alien attack. Space Battleship Yamato Starts! So the director, the prominent manga artist Leiji Matsumoto, was horrified to learn this sequence had aired with a military march. Using real wartime iconography in a sci-fi setting to tell a very human story required a careful balance — easily tipped by a militaristic soundtrack. He won the fight, changed the cue, and Yamato went on to become one of the most influential anime of all time, both in Japan and in the U.
But neither did more overtly antiwar sequences. At one point, the protagonist weeps for his enemies while surrounded by dead allies, wondering if violence was necessary. Star Blazers created audio to keep the dead alive and the hero firm in his beliefs. The U. Nippon Animation Directed by Isao Takahata.
Space Battleship Yamato signaled the beginnings of fandom as we know it, with teenagers turning up at the studio to show their enthusiasm. At the time, most TV anime were about sports or sci-fi, starring boys or beautiful women. Heidi , scheduled opposite Yamato and achieving identical ratings, highlighted the business case for TV anime targeting girls. It also made the case for prestige TV animation.
These were dubbed and aired around the world, popularizing this anime style. He chose to make movies instead. Soyuzmultfilm Directed by Yuri Norstein. A little hedgehog is on his way to meet his friend the bear when he spots a white horse in the evening fog and decides to investigate.
The horse disappears, and the hedgehog encounters all manner of frights in the fog before eventually finding his way to the bear. Even when the danger has passed, he cannot shake the image of the horse in the fog from his mind. Neither will anyone who watches this astonishing film. Despite working with paper cutouts — a form that has more in common with stop-motion than traditional 2-D animation — he brings incredible dimensionality to his films through a variety of tricks, such as his own unique version of the multiplane camera.
With Hedgehog in the Fog , he stumped his colleagues around the world with extraordinary environmental effects. How do the animals actually fade into and out of the fog? How did he replicate the fuzziness of fog so effectively with glass and celluloid? The answer is that he painstakingly manipulated an extremely thin layer of paper between the camera and the planes of the scenes.
Directed by Caroline Leaf. But the artist most often credited with inventing the technique is pioneering Canadian filmmaker Caroline Leaf, who first used it to make her wondrous short The Street , based on the story by Mordecai Richler. Leaf has made use of various innovative approaches to animation throughout her career, creating images with sand or by scratching directly on the emulsion of the film itself.
The result, in The Street which was also up for an Oscar , is a handcrafted look that conveys the subjectivity and, in the fluidity of how the figures and scenes shift from one moment to the next, the haziness of the recollected past. Big things have small beginnings, and from the folds of this tiny roiling pustule spawns an entire planetary ecosystem of mammoth monstrosities with squinting eyes and gnashing teeth.
Hanna-Barbera Directed by Charles A. In the mids, Hanna-Barbera was unstoppable. Midway through what would be a year reign as one of the most prolific animation studios in television history, the studio made hay by embracing limited animation, a low-budget technique that only required animators to animate what they absolutely had to, and embraced recycled footage whenever possible. The longevity of Super Friends — like many Hanna-Barbera properties, the series would regularly be retooled and renamed — means that wider trends in the television landscape of the time can be seen in its segments.
The introduction of Black Vulcan, the first Black superhero on television, is one of them. Directed by Suzan Pitt. Both films glide across an abstract reality of moving images that could only be wrought by the bare hands of their creators. She spent her entire career experimenting with form while finding inspiration through the natural world, and Asparagus is overwhelmed with florid images of vegetation that resemble genitalia, a not-so-subtle metaphor for life and its possibilities of creation.
Pitt animates her film with a gliding, dreamy quality of shape-shifting and effervescent movement. She refuses to cut hard from one image to the next, instead opting for something more fluid with a seductive, liquid effect of disguised image wipes, which give the short a sinking, hallucinatory aura. In Asparagus , when doors and windows open, within those images there are only more images to slip into even further, as if Pitt envisioned her minute short as Alice falling down the rabbit hole if the falling never stopped.
Pitt died in , but the influence of her artistry and of Asparagus in particular are undeniable in the fields of experimental animation, visual art, and film to the extent that a community formed in her orbit over the years. Grimault eventually obtained the rights to the film and was finally able to complete the film as he originally intended. And boy, were those intentions bizarre.
And then the giant robot appears. The surrealist film, particularly this sequence, is a noted influence on Ghibli co-founders Hayao Miyazaki and Isao Takahata, with Miyazaki explaining how the film made him more aware of how to use space in a vertical manner. When Ichiro Itano was 20 years old, he decided one night to strap 50 fireworks onto his motorbike, light them with a Zippo, and start speeding down his local beach at 80 miles an hour.
Because he was told it was dangerous. In the midst of all the smoke, light, and sound emanating from the fireworks, the young daredevil and animator gained the inspiration for what would become one of the most iconic sequences in animation. Since the s, it has been one of the most copied sequences in animation, many attempting to mimic or even outdo the innovator. The circus also helped lead to the rise of sakuga culture in anime, where fans become familiar with the work of individual animators, following them from series to series, elevating them to superstar status.
He transformed a folktale into dark comedy about a tree stump baby with a taste for human flesh. He depicted two cutlets of meat having a grand and fully consummated romance before getting fried up for dinner. In it, tooth-clicking profiles formed out of produce, kitchen equipment, and office gear take turns devouring one another and then regurgitating the increasingly chewed-up bits.
A staunch advocate for the medium, Bluth wanted to make movies that refused to cut those corners and showed what animation could be at a time when the form was at a box-office low. He trips and falls and gesticulates, all while covered in a scarlet cord, dangling with real weight; a touch of painstaking realism in a fantasy world. This iconic sequence proved you could sell action figures and pop songs at the same time and demonstrated two game-changing innovations: transforming mecha and virtual idols.
These visits became regular, and he was working there part time before even starting his mechanical engineering degree. In , he designed a line of toys that transformed smoothly from robots to cars or airplanes and back again, grounded in real world mechanics. These would become Transformers , opening up the most profitable new mecha toy possibilities since Getter Robo first combined robots in But the idol content was just as groundbreaking.
This framework was never applied to fictional characters until Minmay. The soundtrack sold music. Miss DJ sold Minmay. Nevertheless, it built a dedicated fan following and shaped the animation landscape as Star Blazers had before it. Alongside executive producer Peter Keefe, Koplar heavily edited the series, removing the more violent and gruesome aspects of GoLion and rewriting the script so that it could be appropriate for American children.
He and his staff would also change the name of the robot from GoLion to Voltron, Defender of the Universe. A legit pop-culture phenomenon, Voltron is an example where — in the U. It was the No. More than anything, Voltron paved the way for other anime series to appear on American televisions like Dragon Ball Z, and tokusatsu shows like Mighty Morphin Power Rangers.
Warner Records Directed by Steve Barron. Despite the response, lead singer Morten Harket knew they had a hit on their hands; it just needed that extra something to push it over the top. Enter Jeff Ayeroff, then—creative director of Warner Bros.
After shooting the live-action scenes in London, Patterson and Reckinger took the footage and spent 16 weeks creating the rest of the video. Drawing on the experience of creating his student film Commuter , Patterson and Reckinger drew over 2, drawings, bringing them to life in the style of a flickering, comic-book-like animation with rotoscoping the first music video to make use of the technique. The result was nothing short of revolutionary, unlike anything television audiences had seen until then; catapulting the song to No.
The video became so popular that viewers would leave MTV on in the background, just waiting for the chance of it coming on. However, the idyllic ending of The Big Snit shrouds its bleak antiwar message in a colorful collage of flowers and flying Scrabble pieces.
The short ends on a relatively high note, despite these dark undertones. Directed by The Brothers Quay. Siblings Stephen and Timothy Quay were born in Pennsylvania, but their aesthetic feels so innately European in its influences that they might as well be from across the Atlantic in spirit. Regardless, their work, which combines stop-motion and live-action footage with a dark sensibility, feels both familiar in its touchpoints and fresh in how it builds on those references toward something new.
In their best-known work, the short Street of Crocodiles , a puppet inside a curio box is freed from his strings by a man looking down through a viewing window from the outside. Pixar may be one of the most recognized brands in animation today, but its icon status found its start in a little lamp that could. Luxo Jr. At the time, Pixar was a new, small studio where John Lasseter and a team of part-time animators were working with very little funding and low expectations.
Though Luxo Jr. At the time of its release in , the short was the first work of animation to use procedural animation and marked a breakthrough in CGI , using shadow mapping to show shifting light and shadow animated objects.
Its emotional realism established inanimate objects as having lifelike qualities that could inspire both comedy and drama. Later that year, Luxo Jr. Studio Ghibli Directed by Hayao Miyazaki. Totoro has some fun with making water fall on the umbrella before his ride comes: an enormous bus shaped like a cat. Or rather, a cat shaped like a bus? It is an extremely simple scene and also one of the most beat-by-beat delightful movie moments ever.
Each mundane gesture — Mei stomping in a puddle while Satsuki makes string figures, a streetlight coming on as night falls, Satsuki hefting Mei onto her back when she wants to nap — gradually builds to the intrusion of the fantastic. Every action has an equal and opposite non-action, a moment of consideration and reflection. Studio Ghibli Directed by Isao Takahata.
One of the most emotionally draining animated films ever was originally released in theaters as part of a double bill with My Neighbor Totoro , which would have made for quite the evening. But despite the drastically different tones of the two films, Miyazaki and Isao Takahata share an innate understanding of animation as a combination of movement and non-movement, one built by their long working relationship before they co-founded Studio Ghibli.
Nowhere else is a still drawing of a human so agonizing as in this scene. Each time it cuts to Setsuko lying on the floor of their makeshift shelter, you expect this to be it. Grave of the Fireflies is indicative of two related historical impulses: the collective act of a population still processing grief decades after the end of World War II and the individual drive of an artist to depict it. Animation and live action had co-existed on the big screen well before Who Framed Roger Rabbit , dating all the way back to the silent era.
Even now, it remains astonishing to see how seamlessly the real people interact with the animated characters, a testament to the work of the legendary Richard Williams , animation director on Roger Rabbit and director of the famously unfinished The Thief and the Cobbler , who sharpened every line of sight between toon and person to make sure that an animated rabbit yanking an actual coat looked completely real.
Arriving in at a time when animation was on a cultural downswing, Who Framed Roger Rabbit , with moments like that initial sequence and its many homages to beloved cartoons of the past, reminded members of its audience of their deep affection for the medium. It also reminded critics just what animation could do. As a result, it paved the way for the next decade of cartoons, which would include The Simpsons , the Disney Renaissance, the revived popularity of Hanna-Barbera and Looney Tunes, and the return to the gleeful slapstick of yore on networks like Kids WB and Nickelodeon.
Yes, this motion picture was half—live action. But it was percent a love letter to the humor and magic of animation. For the man himself, the answer was simple: with nothing short of a big bang followed by a scintillating high-speed battle through the streets of a futuristic metropolis teetering on the brink of destruction. The opening 13 minutes of Akira are a master class in cinematic precision. Click here to watch on Hulu. Gracie Films Various directors.
Starting as a segment on the Tracey Ullman Show before moving on to its own series, The Simpson s proved to American audiences once again that animated programs were not merely for children. For over 30 years, the series has given us many quotes and moments that have been referenced in everything from other cartoons to the cesspool that is Twitter. In the last three decades, the couch gag has gone from very simple actions such as the Simpsons performing a dance routine to gloriously outlandish ones that sometimes stretched for more than two minutes.
The gag also allowed the family to meet other classic cartoon characters, such as Gumby, Rick and Morty, the Flintstones, and even the version of themselves that appeared on Tracey Ullman. It also offered an opportunity for outsiders to come in and present gags animated in their own personal style.
It is perhaps the most iconic aspect of one of the most iconic animated programs in history as well as its most adaptable. When Ashman started working with Disney in after he was commissioned to pen the lyrics for a song in the creative failure that was Oliver and Company, it began a relationship that would help birth the so-called Disney Renaissance and chart a path for the animation giants that they are still following to this day.
Much of the animation in this sequence is catered to the way Ariel moves, with her gorgeous flowing hair seeming to have a life of its own and her skyward gaze to emphasize her longing for more. Disney knows this too, as it has been tapping into the Ariel model ever since with the likes of Elsa from Frozen.
The two leads perform a weird butt-slapping dance, followed by Ren bashing himself in the head with a hammer in time to the music while Stimpy bounces around, well, joyfully. It channels the weird antics, cringey behavior, and silliness the show was known for into a catchy tune whose popularity helped propel the show to new heights and does so with odd parodies of classic cartoon tropes. In , two women came forward with accounts of how Kricfalusi sexually harassed them when they were teens, accusing him of grooming them and starting a sexual relationship with one when she was just Kricfalusi admitted to the claims and said it was motivated by undiagnosed bipolar disorder and ADHD.
Toei Animation Directed by Junichi Sato. In the mid-to-late s, Japanese imports began to find their way to American television sets, becoming massively popular among children in particular. Both of these series presented superheroics as an act of transformation. In the case of Sailor Moon , its function was in the transformational power of dress-up, and its most iconic sequence was birthed from that very idea.
In Japan, the magical-girl anime was nothing new in the s, but it was for American audiences. There was an indefinable magic about this sequence that still resonates, as the magical-girl transformation has directly inspired the creators of popular shows like Steven Universe and She-Ra and the Princesses of Power. With their transformation, the Sailor Guardians became superheroes who were powerful and elegant in equal measure — and because these characters were only 14 years old, they all existed in that in-between space of girlhood on the precipice of womanhood.
This made the sequence all the more relatable to the preteen girls who were obsessed with the series. During this sequence, the camera spins around lead character Usagi as she becomes Sailor Moon, as if she were a ballerina mid-pirouette. No longer is she clumsy, but rather assured of her movement, and bit by bit she becomes glamorous and strong; tipped fingernails, mascara, a sailor suit, and a tiara — and with a determined look on her face, she was ready to not only save her friends but the entire world.
The intro sequence of Batman: The Animated Series , aside from prefacing one of the greatest animated television series of all time, is itself irrefutably one of the greatest sequences in the history of animation. Nearly three decades later, the image of a heroic silhouette illuminated by a bolt of lightning against a blood-red sky stands as one of the most iconic depictions of the Dark Knight ever conceived and serves as a benchmark for animated action television to come. Animation is the only medium that could truly keep up with Robin Williams.
In , in the middle of the Disney Renaissance, The Nightmare Before Christmas showed up on screens and immediately thrust vampires, skeletons, and clowns with tearaway faces into the eyeballs of audiences much more used to Disney princesses and genies with the comedy gifts of Robin Williams. The story of Jack Skellington and Halloweentown was made via the painstaking stop-motion process, which was rarely used in feature-length animated motion pictures at the time.
When the film opened on Halloween weekend, it rocketed to the top of the North American box office, a success story that brought the format back into vogue. Across the pond, stop-motion animation director Nick Park and studio Aardman Animations achieved feats of their own the same year, with the The Wrong Trousers, a short Wallace and Gromit film with an iconic train chase that nods to Indiana Jones.
The short is full of visual humor that builds layers of sight gags in every handcrafted, incredibly detailed scene. The two run amok, turning each other into various animals throughout the lab and then up into their house, as their oblivious mother calls them down for breakfast.
The crisp animation and visual humor made the segment stand out, nowhere more so than in the ending — a battle between a tortoise and the snail racing for the remote. Holiday specials have been around nearly as long as television, with virtually every popular serialized TV show, animated or otherwise, incorporating at least one Christmas-themed episode.
But it took until and the arrival of Rugrats before we saw a Jewish-holiday special in an animated show. In the episode, the babies attend a Seder with the maternal grandparents of protagonist Tommy Pickles, Ashkenazi Jewish immigrants who talk with heavy Yiddish accents and at times even in full Yiddish phrases.
The episode was a big hit with critics and audiences alike, with the New York Times even reviewing the episode , and it became the highest-rated episode in the history of Nickelodeon to date. It also proved influential within the network, with Hey Arnold! The epochs of feature-length animation are measured in the years before Toy Story and after Toy Story , the first film to be completely animated using CGI and the first collaboration between Disney and Pixar Animation Studios.
Following the success of their short Luxo Jr. Facing what then seemed like a Sisyphean task, they created an advanced rendering system, named RenderMan. A huge cast of comedic actors led by Tom Hanks and Tim Allen do the voices. And its themes of changing friendship, jealousy, doubt and fear resonated with adults and children alike.
The seams never showed, though. In one of the most memorable sequences in animated film history, the climax of Toy Story has Buzz Lightyear and Woody racing to catch a truck, cheering each other on as they fly. The scene exhibits the camaraderie of the film, as well as the lifelike emotions and features the animators were able to imbue through new technology. Following its release, John Lasseter received a special Academy Award for leading the Pixar team, and the film became the first animated feature to be nominated for an Oscar for Best Original Screenplay, Score, and Song.
In the fall of , a 3-D toddler doing what kind of looked like a cha-cha took the internet by storm. In the era of CompuServe and AOL, years before social media as we now know it would take hold, this meant that it spread by way of forums, personal sites, and email forwarding. After that, it was everywhere, a milestone of early memedom as a well as a sign of how central raw and interactive animation would become to the culture of the internet.
In Neon Genesis Evangelion , a story about a boy forced to fight monsters from within a monster of his own becomes much more: simultaneously homage, deconstruction, and annihilation. Then came the ending, a pair of episodes that abandoned the forward momentum of the plot for an extended impressionist tone poem, a groundbreaking finale borne of necessity and catharsis. Offscreen, the Human Instrumentality Project, a last-ditch effort to save humanity from the monstrous Angels that may also wipe it out, begins.
Yet the decision to end the show in a cathartic work of avant-garde art is completely breathtaking. It rebuilds its world into a more complete one, one where its characters, perhaps even its creator, could be happy, all as the apocalyptic story it was telling comes to a horrible end.
Click here to watch on Netflix. OLM, Inc. Directed by Kiyotaka Isako. The series was immediately suspended, and a new set of industrywide guidelines was created to prevent animation triggering photo-sensitive epilepsy. In the U. But there was no media panic. Like Heidi, Girls of the Alps, and other touchstone anime, it was designed with the perfect cultural balance for export: foreign enough to stand out, but easy to localize.
There was a visual language to learn, but the target audience — young Nintendo customers — quickly learned what sweatdrops were, what it meant when eyes became dots or shadows, and so on. The internet was new, but anime fandom was already online. When they saw characters bowing, or wearing yukata, they could look up the significance. Pokemon flattened the learning curve to appreciate anime and opened a gateway to Japanese culture. This paved the way not just for similar anime like Digimon , Yu-Gi-Oh!
Madhouse Directed by Satoshi Kon. A flight through the city streets ensues, in which Mima is pursued by … herself. Through heart-skipping editing, this chase fragments both Mima and Rumi. Kon would revisit these types of deliberate absurdities, fractured identities, and breathtaking chase scenes throughout his works later in titles like Millennium Actress , Paprika , and Paranoia Agent.
Though his career was unfortunately cut short when he died in , his impact on the Japanese animation community was undeniable. Before his death, he helped establish the Japanese Animation Creators Association, a group that works to improve labor conditions for animators in the country. Williams Street Animation directed by C. Martin Croker. One of the first Cartoon Network originals and an unlikely harbinger of the likes of The Eric Andre Show , the talk-show parody Space Ghost Coast to Coast has a legacy far greater than its roughshod resurrection of a s Hanna-Barbera icon could have foretold.
Rather than something serious and narrative-focused, Coast to Coast parodied the late-night format and was cobbled together from recycled clips from the original series. The show would pit the oblivious and incompetent Space Ghost and his reluctant co-hosts Zorak and Moltar against very real guests, who would usually suffer through a gauntlet of ludicrous questions and non sequiturs. Each of those series shared animators with SGC2C as well as its style, using recycled stock footage from Hanna-Barbera cartoons while lampooning them mercilessly.
Even among all those new and long-running shows, so many of the most memorable moments belonged to SGC2C , perhaps the best of which is the introduction of Grandpa Leonard Ghostal — voiced by an extremely game Macho Man Randy Savage in a remarkable bit of casting — and portrayed with essentially the same character model and animation as Space Ghost but with a long gray beard and walking stick.
Typically, interviews on the show would unfold as a series of strange miscommunications, which sometimes were pushed into open antagonism, often to incredible effect, and no sequences in the show did so better than those featuring Grandpa Ghostal. RIP, Macho Man.
Click here to watch on HBO Max. Cowboy Bebop announced itself to the world in an erratic burst of black and white type punctuated by a salvo blast of brass horn trumpets. While the sentences that raced across the screen may have been rendered all but subliminal to first-time viewers when it aired, the message between the space of their words rang out loud and clear: Cowboy Bebop was an anime unlike anything that had come before it. What the decision-makers at Sunrise and Bandai got was more than they, or anyone for that matter, could have expected: a neo-noir space-western comedy action series that drew from such diverse and far-flung inspirations as French New Wave cinema, Hong Kong action flicks, and mid-century New York jazz.
While the series may not have become a new genre in and of itself, as its manifesto so boldly proclaims, Cowboy Bebop nonetheless remains a masterwork of animation all its own. Toei Animation Directed by Daisuke Nishio. The history of Dragon Ball Z in America is long and at times confusing. The seminal anime had already finished airing in Japan before Funimation licensed the show for an English-language release to be syndicated by Saban Entertainment in The fight itself encapsulates everything that made Dragon Ball Z special and unlike anything audiences had ever seen.
The Frieza fight comes in at over four hours long, stretching across 20 episodes, and it made kids tune in every day to see how the fight would progress. It also weaves emotional character development and the deaths of beloved characters together with moments of epic action. It was the first televised anime import whose success flew in the face of its so-called cultural odor , its otherness from what American audiences were used to.
And it paid off. The season-three premiere of DBZ became the highest-rated program ever at the time on Cartoon Network, cementing it as a pop-culture juggernaut and Toonami as a powerhouse of programming, heralding a new era for anime in North America. The fight itself introduced a new generation to the idea that anime was more than just cartoons; they were shows with long-running arcs you had to follow religiously.
South Park was always criticized for its crude nature, both in its animation and its overall content. Like the Terrence and Philip bits on the Comedy Central series, the animation of those two Canadian obscenity machines is about as primitive as the contents of a flip-book.
The construction-paper aesthetic looks even more cut-out and glued together than it does on Stan or Cartman. Staff Directed by Kunihiko Ikuhara. Animation director Kunihiko Ikuhara, dissatisfied with the amount of creative control Toei allowed him while he was a series director on Sailor Moon, formed his own creative group, Be-Papas, in Its first series, Revolutionary Girl Utena, was created by a super-group of sorts, with Ikuhara and Neon Genesis Evangelion animator Shinya Hasegawa collaborating to rewrite the magical-girl anime as something distinctly queer and transgressive.
After the success of the anime, Be-Papas made a feature-length film to accompany the anime and called it Adolescence of Utena, which took the themes and forms of the series to heights that had never been seen before. At the climax of the film, heroines Utena and Anthy must escape from the angular, boxed-in, constricting world full of harsh lines and cyclical violence. The only way to transcend those boundaries is through literal transformation.
So, obviously, she becomes a badass pink hot rod, blazing down the open road. In context, this is an image of liberation for a minority group that is still beholden to conservative ideas in Japan and America , smuggled through the breathless wonderment of cinematic imagery. Adolescence of Utena does for the magical-girl anime what Neon Genesis Evangelion did for the mecha anime: lay waste to the rules that came before to craft a bold new language all its own. And love it or hate it, we started off the new millennium with the animated landmark that was Shrek.
With its opening sequence, Shrek announced that the old ways were dead. Click here to watch on Peacock. Square Pictures Directed by Hironobu Sakaguchi. But cost overreaches outweighed box-office returns, and it was deemed a failure. Photorealism is expensive and tends to yield diminishing returns. Someone who talks to their Roomba like a pet will cringe at the crying and kissing in this Spirits Within scene, a visceral response.
You cannot cross the uncanny valley, at least not yet. Motion-captured performances of the most charismatic actors in Hollywood have led to flops from The Polar Express to Gemini Man You can only go back, like when Shrek made human characters more cartoony after children cried in test screenings.
Improving CG animation requires a continuous cycle of artistic innovation and technological advancement. After Spirits Within , Japanese producers largely rejected CG, using it only sparingly and functionally for the next decade.
Since CG became cheaper and foreign money increased budgets in the s, Japan has been playing catch-up. But getting here took time and talent cultivation that could have begun in But the films of Hayao Miyazaki consciously move away from that. But if you take a moment, then the tension building in the film can grow into a wider dimension. After rushing headfirst into an uncanny otherworld, young protagonist Chihiro finds herself at a bathhouse for spirits. Later, Chihiro has a moment to stop and simply cry.
His films breathe. The greatest moment of calm in Spirited Away is a sequence about two-thirds of the way through the film. A train appears over a seemingly endless, shallow sea — yet another mystical doorway, leading even further beyond the boundary that Chihiro already crossed. But where her arrival in the spirit world was almost instantaneous, this journey is more decompressed.
The film revels in the wordlessness of the journey, only the score swelling in the background as different places pass by, and the sun sets, and the audience, along with Chihiro, is brought further and further from the chaos of the bathhouse. Its meaning remains mysterious, maybe even to Miyazaki: Perhaps the sequence represents the restfulness of escaping the working day, or the passage of adulthood, or the quiet certainty inherent in the acceptance of responsibility, or fate.
Regardless of the lesson, the moment is moving in its embrace of respite and contemplation, and in the years since, even Western animators have learned to incorporate more patience in their pacing as a result — but never with the same grace as the master. It feels just as miraculous now. Though motion capture had originally come out of the medical industry and had been used for studying joint-related illnesses and observing movements for medical purposes, it had begun to be used in video games.
Serkis would wear a special suit and computers would translate visual data into a totally new creature. The technology would also be used for orcs, though many of them were created using prosthetics. In the last decade, the method has grown in popularity, evangelized by Serkis, who has directed motion-capture sequences in films like Avengers: Age of Ultron and in films of his own, like Mowgli: Legend of the Jungle.
Marmor, Stein Und Eisen Bricht. Hakuna Matata! Mean Green Mother From Outerspace. Goodbye Love. Happy New Year B. Voice Mail 1. Voice Mail 4 The Loft. The Phone Rings You Okay Honey? The Street. You And Me Song. Lucky Seven Sampson. The Good Eleven. The Great American Melting Pot. I Got Six. Sufferin' Til Sufferage.
The Busy Prepositions. The Tale Of Mr Morton. Tongue Twister. Come And Follow Me. This Time Next Year. Gimme A Break. Wkrp In Cincinnati. Mr Downtown. Apple of Sodom. I'm Deranged. Song To The Siren. The Perfect Drug. Hold On. Lose My Life With You. Raised In Harlem. Stand By You. Finally Home. Not In Our House. Murder On Their Minds. No Te Extrano. Como Un Tatuaje. Blowin' in the Wind.
Beautiful in My Eyes. Don't Turn Around. Been so Long. Falling Away from Me. Doin' It. Come On Come On. You Are. Stand By Me Single Version. I Know a Little. The ABC's of Love. Grease - Summer Lovin'. Let's Go to the Movies. Poetry In Motion. Sugarhigh Radio Edit. You Are Holy. Down at the Twist and Shout. Call On Me Filterheadz Remix.
I'm Ready to Go. Who Needs Forever? Thievery Corporation Remix. Tom's Diner. Billy, Don't Be a Hero. One Mic Clean Version. Our Great God. Children's Story. You Are Good. Rae and Christian Remix. Heroes - The Wallflowers. Mo Money, Mo Problems. Hatebreed - I Will Be Heard. If I Had No Loot. Twice As Hard. What If I Said. My Baby's Gone. I Wanna Live.
On the Wings of Love. Tonight From "West Side Story". Let the Sunshine In. Laughing Stock. Have You Ever Been in Love. Deep Purple. Silence Michael Woods Remix. The Truth. Sooner or Later. Friend Like Me. One Jump Ahead Reprise. Prince Ali Reprise. Chanson D'enfance. Journey Of A Lifetime. Mermaid Song. Other Pleasures. The First Man You Remember. There Is More To Love. Belle [reprise]. Something There. The Mob Song. Ice Cream. Independent Love Song. Nervous Heart. Someone Else's Story. Aves De Noche.
Bajo Las Estrellas. El Juicio. El Monje Ha Muerto. El Mundo Y Cristina. Guerra Tibia. La Otra Virgen. Ruido De Estrella. Better The Devil You Know. Comment Te Dire Adieu. Every Shade Of Blue. Generations Of Love. I'm Not Scared. Losing My Mind. Relight My Fire.
Smile 'n' Shine. To Deserve You. Holding Out for a Hero. God Give Me Strength. Girl For All Seasons. Score Tonight. Besame Mucho. Like A Friend. Hasish [london ]. Where Do I Go? Claudine Hooper Bukowski [ Script].
Dead End [ Script]. A Star Is Born. Go The Distance Reprise. The Gospel Truth3. Zero To Hero. Do You Believe Me Now? Heartaches By The Number. Somebody Lied. Lost In The Darkness. Seretenize Multi Kulti. A Little Bitter. What the Hell Have I. Somewhere That's Green.
Feed Me Git It. Finale Don't Feed The Plants. Grow For Me. Skid Row Downtown. Some Fun Now. The Meek Shall Inherit. Born Under A Wanderin' Star. Contact Various Fantasy Bed Locales. Finale B. I Should Tell You. Life Support. One Song Glory. On The Street. Out Tonight Mimi's Apartment. Over The Moon The Lot. Santa Fe. Today 4 U The Loft. Tune Up 1. Tune Up 2. Tune Up 3. Voice Mail 2. Voice Mail 3.
Voice Mail 5 Various Locations. What You Own. Will I? Without You Mimi's Apartment. You'll See. Your Eyes. Everybody's Free. Kissing You. Local God. Talk Show Host. Young Hearts Run Free. A Victim Of Gravity. Elementary, My Dear. Little Twelvetoes. Mother Necessity. Naughty Number Nine. Rufus Xavier Sarsaparilla. Telegraph Line. The Body Machine. The Energy Blues. Them Not-So-Dry Bones.
The Preamble. Verb: That's What's Happening. Electricity, Electricity. Figure Eight. I'm Just A Bill. Interplanet Janet. No More Kings. The Four-Legged Zoo. The Three Ring Government. Three Is A Magic Number. Unpack Your Adjectives. In His Eyes. Girl Meets Boy. Let's Have Lunch. Let'S Have Lunch Reprise. New Ways To Dream. The Greatest Star Of All. The Lady's Paying. The Perfect Year. With One Look.
Girl Meets Boy Reprise. Surrender Reprise. The Perect Year Reprise. Everything's Archie. Josie And The Pussycats. All My Only Dreams. Drive Faster. Little Wild One. Lovin' You Lots And Lots. My World Is Over. She Knows It. That Thing You Do! Johnny Angel. Heirate Mich English Translation. England Reigns. Garden Path To Hell. Never The Luck. There You Are. Wages Of Sin. First Love.
Pumpin' And Blowin'. Alsatia's Lullaby. Battle Introduction. Let Joy And Innocence Prevail. The Closing Of The Year. The General. The Happy Worker. The Mirror Song. Winter Reveries Instrumental. All For Love. Reversal Of A Dog. Do What You Gotta Do. Man On A Mission. A Few Good Men. Good Morning Baltimore. You Cant Stop the Beat. America, Fuck Yeah. Freedom Isn't Free. The End Of An Act. So Fly. This Is How It Happened. Wedding Celebration.
Fire Of Love. Secrets Of The Heart. Stand Up And Walk. Take My Hand. Love's Declaration. They're Callin' Him Hero. Say The Word. Party In The House Today. In Remembrance Of Me. Hero's Agony. Kill The Hero. He's Not Here. The Truth Comes Out. Ya Es Muy Tarde. Te Llame. Necesito Mas De Ti. Celular El Presumido. Almas Gemelas. Lo Intentamos. Llevame Contigo. Quiero Que Me Quieras. Se Me Antoja Tu Piel.
Quiereme Mas. Este Corazon. Solo Por Ti. You Really Got Me. Gimme Some Lovin'. Victory In Jesus. Video Killed the Radio Star. What Is Love Reloaded. All This Love. Summer Nights. Not Fade Away. All in All. Across The Nation. This Is Our Emergency. Diamond Dogs. Lady Marmalade. Sweet Life. I Say a Little Prayer. Case of the Ex. Aaron's Party Come Get It. I Wanna Be Bad. Further On Up The Road. I Wanna Be With You. Back Here. Do It Again. Boogie Nights.
My Guy. First Degree. I'm Over You. I Touch Myself. My Heart Belongs To You. The Red Light. Need You Tonight. From My Head to My Heart. Waitin' for You. Go Back. You Shine. All The Pretty Little Ponies. Westside Slaughterhouse. Ain't Too Proud to Beg. Hey Man, Nice Shot. There's Gotta Be More to Life. Rock 'n Roll, Hoochie Koo. The Look of Love.
Lookin' for Love. Reach Out I'll Be There. One Thing Leads to Another. Dial My Heart. My Prerogative. Praise Adonai. Einstein on the Beach For an Eggman. Mama Didn't Lie. Tuff Enuff. Blame It on Your Heart. Break Stuff. Keep Hope Alive. The Second Time Around. If I Stand. Little Green Apples. Microphone Fiend. We Fall Down. Jimmy Brown. It Is You Live. Like a Pimp. Good Lovin'. More and More. Forever and Ever, Amen. Working for the Weekend.
Welcome to Atlanta. By Myself. When I Call Your Name. Wake Up Everybody. She's Got You. Let's Get It On. Limbo Rock. I Know You Got Soul. That's Entertainment. Easy Come, Easy Go. Turn Back the Hands of Time. Get Together. I Walk the Line.
Fight the Power. She Is a Diamond. Buenos Aires. Die for the Government. Street Glory. I Don't Know. Last Dance. Go Light Your World. No One Left. You Ain't Seen Nothing Yet. What It Is. My My My. Road Runner. Rock 'n Roll High School. Somebody Should Leave. Down In The Boondocks. You Are the One! How Many Moons. Auto Rock. Istanbul Not Constantinople. An Affair to Remember. Party Up. Everybody Have Fun Tonight. Guerillas in tha Mist. There's a Tear in My Beer. Love 1st Sight. Super Freak.
Baby I Need Your Loving. Cab Driver. All About the Benjamins. I'm Your Hoochie Coochie Man. My Culture. The Polar Express. Texas Flood. Got to Be There. The Wind Beneath My Wings. The Long and Winding Road. Don't Tell Your Mother. I Want to Be Your Man. Destroy She Said. Rock the Bells. Send for Me. Keep On Smilin'. Born to Bounce. Shine On Us. Motherless Children.
On the Other Hand. God Has Not 4got. Agnus Dei. I Second That Emotion. Proceed With Caution. I Won't Run Away. Hang 'Em High. Kelis - Milk Shake. The Things We Don't. The Road. Rodeo Road. Have a Little Fun With Me. Daddy's Home. Could This Be Magic. Fishin' in the Dark. Singing the Blues. Crying in the Chapel. Rock and Roll, Hoochie Koo.
Move It On Over. Keep On Truckin'. You Sang to Me. I'm a Man of Constant Sorrow. And the Beat Goes On. Wolverton Mountain. Your Love, Oh Lord Psalm Polk Salad Annie. Forever My Lady. I Just Want to Celebrate. Miracle of Love. The Harder They Come.
One Hundred Ways. Hello, Goodbye. Golden Brown. Suga Suga Reggae Remix. Braided Hair. Love Hurts. Thugz Mansion 7" Remix. Save Me. Diamond in the Rough. Friends and Lovers. You Alone. Have I Told You Lately? Peggy Sue Got Married. From California. Molly's Chambers. What a Crying Shame. The Ride. Can't You Hear Me Calling. Your Love Is Extravagant.
The Very Thought of You. Timber I'm Falling in Love. Twice the First Time. Chain of Fools. Call It What U Want. Give Your Baby a Standing Ovation. Policy of Truth. The Yellow Rose of Texas. Flash Light. Cemetery Drive. Thank You For The Venom.
The Ghost of You. To the End. Now You Know. Beauty Queen. Sweet Home Alabama Live. Street of Dreams. Gentle on My Mind. Don't Bogart Me A. Don't Bogart That Joint. Maybe It's Just Me. Mississippi Queen. A Thousand Miles Away. Doo Wop That Thing. Love Machine, Pt. All the Young Dudes. Hear Our Praises. Beautiful One. Drink, Swear, Steal and Lie.
Easy Tonight. Welcome to the Terrordome. Your Precious Love. Oh, Pretty Woman mono, CD only. Halo of Gold. Mercy Mercy Me The Ecology. Spent On Rainy Days. Bring tha Noize. Brass Monkey. Paul Revere. Twenty Five Miles. Moments to Remember.
Since I Lost My Baby. Better Is One Day. Let's Chill. Rebel Without a Pause. Goody Two Shoes. Rockin' Down the Highway. Willie and the Hand Jive. What Becomes of the Brokenhearted. The Hoppity Song. Baby Love.
Wang Dang Doodle Single Version. For the Love of You, Pts. Public Enemy No. Shop Around. Ballad of Jayne New Recording. The Rhythm of the Night. Shine Your Light. Locked Up. The Next Episode.
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Voice Mail 2. Voice Mail 3. Voice Mail 5 Various Locations. What You Own. Will I? Without You Mimi's Apartment. You'll See. Your Eyes. Everybody's Free. Kissing You. Local God. Talk Show Host. Young Hearts Run Free. A Victim Of Gravity. Elementary, My Dear. Little Twelvetoes. Mother Necessity. Naughty Number Nine. Rufus Xavier Sarsaparilla. Telegraph Line. The Body Machine. The Energy Blues.
Them Not-So-Dry Bones. The Preamble. Verb: That's What's Happening. Electricity, Electricity. Figure Eight. I'm Just A Bill. Interplanet Janet. No More Kings. The Four-Legged Zoo. The Three Ring Government. Three Is A Magic Number. Unpack Your Adjectives. In His Eyes. Girl Meets Boy. Let's Have Lunch. Let'S Have Lunch Reprise.
New Ways To Dream. The Greatest Star Of All. The Lady's Paying. The Perfect Year. With One Look. Girl Meets Boy Reprise. Surrender Reprise. The Perect Year Reprise. Everything's Archie. Josie And The Pussycats. All My Only Dreams. Drive Faster. Little Wild One. Lovin' You Lots And Lots. My World Is Over. She Knows It. That Thing You Do!
Johnny Angel. Heirate Mich English Translation. England Reigns. Garden Path To Hell. Never The Luck. There You Are. Wages Of Sin. First Love. Pumpin' And Blowin'. Alsatia's Lullaby. Battle Introduction. Let Joy And Innocence Prevail. The Closing Of The Year. The General. The Happy Worker. The Mirror Song. Winter Reveries Instrumental. All For Love.
Reversal Of A Dog. Do What You Gotta Do. Man On A Mission. A Few Good Men. Good Morning Baltimore. You Cant Stop the Beat. America, Fuck Yeah. Freedom Isn't Free. The End Of An Act. So Fly. This Is How It Happened. Wedding Celebration. Fire Of Love. Secrets Of The Heart. Stand Up And Walk. Take My Hand. Love's Declaration. They're Callin' Him Hero. Say The Word. Party In The House Today. In Remembrance Of Me.
Hero's Agony. Kill The Hero. He's Not Here. The Truth Comes Out. Ya Es Muy Tarde. Te Llame. Necesito Mas De Ti. Celular El Presumido. Almas Gemelas. Lo Intentamos. Llevame Contigo. Quiero Que Me Quieras. Se Me Antoja Tu Piel. Quiereme Mas. Este Corazon. Solo Por Ti. You Really Got Me. Gimme Some Lovin'. Victory In Jesus. Video Killed the Radio Star. What Is Love Reloaded. All This Love. Summer Nights.
Not Fade Away. All in All. Across The Nation. This Is Our Emergency. Diamond Dogs. Lady Marmalade. Sweet Life. I Say a Little Prayer. Case of the Ex. Aaron's Party Come Get It. I Wanna Be Bad. Further On Up The Road. I Wanna Be With You. Back Here. Do It Again. Boogie Nights. My Guy. First Degree. I'm Over You. I Touch Myself. My Heart Belongs To You. The Red Light. Need You Tonight. From My Head to My Heart. Waitin' for You. Go Back. You Shine. All The Pretty Little Ponies. Westside Slaughterhouse.
Ain't Too Proud to Beg. Hey Man, Nice Shot. There's Gotta Be More to Life. Rock 'n Roll, Hoochie Koo. The Look of Love. Lookin' for Love. Reach Out I'll Be There. One Thing Leads to Another. Dial My Heart. My Prerogative. Praise Adonai. Einstein on the Beach For an Eggman.
Mama Didn't Lie. Tuff Enuff. Blame It on Your Heart. Break Stuff. Keep Hope Alive. The Second Time Around. If I Stand. Little Green Apples. Microphone Fiend. We Fall Down. Jimmy Brown. It Is You Live. Like a Pimp. Good Lovin'. More and More. Forever and Ever, Amen. Working for the Weekend. Welcome to Atlanta. By Myself. When I Call Your Name. Wake Up Everybody.
She's Got You. Let's Get It On. Limbo Rock. I Know You Got Soul. That's Entertainment. Easy Come, Easy Go. Turn Back the Hands of Time. Get Together. I Walk the Line. Fight the Power. She Is a Diamond. Buenos Aires. Die for the Government. Street Glory. I Don't Know. Last Dance. Go Light Your World. No One Left. You Ain't Seen Nothing Yet. What It Is. My My My. Road Runner.
Rock 'n Roll High School. Somebody Should Leave. Down In The Boondocks. You Are the One! How Many Moons. Auto Rock. Istanbul Not Constantinople. An Affair to Remember. Party Up. Everybody Have Fun Tonight. Guerillas in tha Mist. There's a Tear in My Beer. Love 1st Sight.
Super Freak. Baby I Need Your Loving. Cab Driver. All About the Benjamins. I'm Your Hoochie Coochie Man. My Culture. The Polar Express. Texas Flood. Got to Be There. The Wind Beneath My Wings. The Long and Winding Road. Don't Tell Your Mother. I Want to Be Your Man. Destroy She Said. Rock the Bells. Send for Me. Keep On Smilin'. Born to Bounce. Shine On Us. Motherless Children. On the Other Hand.
God Has Not 4got. Agnus Dei. I Second That Emotion. Proceed With Caution. I Won't Run Away. Hang 'Em High. Kelis - Milk Shake. The Things We Don't. The Road. Rodeo Road. Have a Little Fun With Me. Daddy's Home. Could This Be Magic. Fishin' in the Dark. Singing the Blues. Crying in the Chapel. Rock and Roll, Hoochie Koo. Move It On Over. Keep On Truckin'. You Sang to Me. I'm a Man of Constant Sorrow. And the Beat Goes On. Wolverton Mountain. Your Love, Oh Lord Psalm Polk Salad Annie.
Forever My Lady. I Just Want to Celebrate. Miracle of Love. The Harder They Come. One Hundred Ways. Hello, Goodbye. Golden Brown. Suga Suga Reggae Remix. Braided Hair. Love Hurts. Thugz Mansion 7" Remix. Save Me. Diamond in the Rough. Friends and Lovers. You Alone. Have I Told You Lately? Peggy Sue Got Married.
From California. Molly's Chambers. What a Crying Shame. The Ride. Can't You Hear Me Calling. Your Love Is Extravagant. The Very Thought of You. Timber I'm Falling in Love. Twice the First Time. Chain of Fools. Call It What U Want. Give Your Baby a Standing Ovation. Policy of Truth. The Yellow Rose of Texas. Flash Light. Cemetery Drive. Thank You For The Venom. The Ghost of You.
To the End. Now You Know. Beauty Queen. Sweet Home Alabama Live. Street of Dreams. Gentle on My Mind. Don't Bogart Me A. Don't Bogart That Joint. Maybe It's Just Me. Mississippi Queen. A Thousand Miles Away. Doo Wop That Thing. Love Machine, Pt. All the Young Dudes. Hear Our Praises. Beautiful One. Drink, Swear, Steal and Lie. Easy Tonight. Welcome to the Terrordome.
Your Precious Love. Oh, Pretty Woman mono, CD only. Halo of Gold. Mercy Mercy Me The Ecology. Spent On Rainy Days. Bring tha Noize. Brass Monkey. Paul Revere. Twenty Five Miles. Moments to Remember. Since I Lost My Baby. Better Is One Day. Let's Chill. Rebel Without a Pause.
Goody Two Shoes. Rockin' Down the Highway. Willie and the Hand Jive. What Becomes of the Brokenhearted. The Hoppity Song. Baby Love. Wang Dang Doodle Single Version. For the Love of You, Pts. Public Enemy No. Shop Around. Ballad of Jayne New Recording. The Rhythm of the Night. Shine Your Light. Locked Up. The Next Episode. Book of Love. Leave Get Out. If I Didn't Care. Hit or Miss. I'm Coming Out. Band of Gold. Harbor Lights. Long Black Train. Anchors Aweigh. Independence Day. Mad About You. Groove Thang.
I Think God Can Explain. Date to Church. Christmas Time Again. Shit On You. Yummy, Yummy, Yummy. Mister Sandman. Redneck WomanGretchen Wilson. Down With The Sickness Disturbed. We're Dancing. Everyone Has Aids. I'm So Ronery. Open Arms. I Don't Mind.
It's All Over. Tryin' Ta Win. One Night Only. One Night Only Disco. Family First. Come All You Coal Miners. The Bramble and the Rose. I'm Good. Tears At The Birthday Party. The First Cut Is the Deepest. SpongeBob SquarePants Theme. Let the Music Play. Points of Authority. Where the Hood At. Goofy Goober Rock. Sister Christian. Still Tippin. Now That We're Men. Sadie Hawkins Dance. Footloose From "Footloose". No More Words.
Drivin' My Life Away. Romans One Bud Wiser. If I Were Your Woman. Love Is a Crime. Satin Sheets. Be Quiet and Drive Acoustic. Harden My Heart. Looking for a New Love. Baby, Come to Me. Soul Finger. You're the Top - From "Anything Goes". The Love You Save. Take Ya Home.
Crying Time. Weird Science. I've Always Loved You. Me and Bobby McGee. Word of God Speak. Where Did Our Love Go. Crazy Love. Don't Get Above Your Raising. There Goes My Baby. My Grown-Up Christmas List. Stand by Your Man. We're in This Love Together. I'm Gonna Be Ready. Good Golly Miss Molly. I'm That Type of Guy. Going Back to Cali. Please Come to Boston. The Ballad of Jayne.
Anybody Wanna Pray. I Can't Be Satisfied. Don't Fear The Reaper. The Things We Do for Love. This I Swear. Best of My Love. As I'm Leaving. When I'm Gone D-Pro. Sweet Thing. Shall We Gather. Only You New Anniversary Mix. Our House. Air Force Ones. Reach Up for The Sunrise.
Rocky Mountain Way. Just One of Those Things. Detroit Rock City. Santa Clause Is Coming to Town. If We Could Remember Reprise. Teach Me Tonight. Please Come Home for Christmas. You Really Had Me Going. This One's for the Girls. Sugar Daddy. No Sleep Tonight. Oh What A Circus. You Must Love Me. Girl Can Rock. Come What May. Another Time, Another Place.
Harbor of Love. Talkin' All That. Hard To Say Goodbye. Cadillac Car. Whatever You Want. Pistol Pistol. There He Is. A Change Is Gonna Come. Sweet Home Alabama. Step by Step. First Cut Is the Deepest. Ramblin' Man. When You Say Nothing at All. Girls Just Wanna Have Fun. Since U Been Gone. Papa Was a Rollin' Stone. Boyz-N-The Hood. Save Tonight. Stuck in the Middle with You. Rollout My Business. Like a Prayer. The Lady in Red.
The Rainbow Connection. Let's Get Married. Wide Open Spaces. Here Without You. Breathe, Stretch, Shake. In a Big Country. A New England. Master of Puppets. Bring on the Bling. I Love a Rainy Night. Mama Told Me Not to Come. Be Glorified.
I Can't Get Next to You. Break Down Here. Our Love Is Loud. Got the Life. When You Close Your Eyes. I Don't Have the Heart. Time Has Come Today. Forever, for Always, for Love. Smiling Faces Sometimes. The Tracks of My Tears. Jimmy Mack. Music of the Night From "Phantom of the Opera". Hole Hearted. Freak On a Leash. Everything's Ruined Acoustic Version. Within an hour or two, the track acquired shaker, tambourine and four flourish-filled runs on a full drum kit, just to give the production team some different options.
Chamberlain is an elegant player; no movement is wasted. He plays with a traditional underhand grip, which is more often associated with jazz than rock. By p. Then he went home to make pasta with his wife. Chamberlain was 15 when he decided to learn how to play the drums.
As a kid in Los Angeles, he had access to some real talent. He found David Garibaldi, the drummer for the soul band Tower of Power, and began taking lessons. Afterward, he would hang around at the Professional Drum Shop on Vine Street, to pick up drum books and listen to older local drummers talking shop at the counter.
North Texas State now the University of North Texas accepted him into its music program on a scholarship, but he lasted less than a year. For a while he slept in his practice room with his head on the pillow in his kick drum. After he left school, Chamberlain moved to the Deep Ellum neighborhood of Dallas, about 40 miles away, where he played in several bands, often just for food or enough cash to put gas in his car.
The band, without Chamberlain, has since reunited. After a year, though, Chamberlain decided to move to Seattle. But demand for his services remains strong. In a poll to be published later this year, the readers of Modern Drummer have named him the best studio player in the business.
On another perfect California day, Chamberlain was back in his Sound City studio, laying down beats for a company called the Loop Loft. The job was notable largely because it involved no musical collaborators at all. The Loop Loft pays virtuosic drummers to create bulk rhythms that the company sells for a lump sum. The software is designed for people who are making records in their garages and basements or for commercial producers scoring an advertisement or the end of a television program.
For Hakim, Gruss had typed out descriptions of beats and suggested tempos to go along with them, but there was no such list for Chamberlain. As an engineer got the kit sounding right in the control room, Chamberlain roamed over the drums and settled into a rhythm that Gruss liked.
Over the next four hours, Chamberlain would roll through nine other grooves and five different setups, swapping out drums and cymbals in search of new sounds and textures. When the Loop Loft session was over, Chamberlain wandered in and out of the control room, packing up his gear for another recording stint with Keith Urban. This time the sessions would include the Welsh bassist Pino Palladino, one of the most respected players around.
Instead of adding drums to a previously recorded track, Chamberlain would be playing live with Palladino in the studio. Chamberlain loves playing live above all else, for those moments when the music takes an inexplicable turn but somehow everybody stays together. No machine could match it. Musical duets are usually ordered by heterosexual difference and its various dramas.
As in: She gives, he takes. He pleads, she refuses. They may reconcile, but the performers always observe the classic sex distinction — making the circumstances of the female vocalist a good barometer for the circumstances of female speech in general. The women put on their respective versions of a placid attitude — Rihanna sings with cheek, SZA cheerlessly.
Each is calm but, you suspect, coursing toward some possible furor. The closeness approaches uncanny, suggests an erotics of the self. Rihanna often returns to Barbados, the landmass that bore her. What kind of pedals? What amp? Actual bugs. It was cute.
It has received around , views on YouTube. This invitation, like much about DeMarco, might seem tongue-in-cheek but is in fact sincere. The house he rents in Arverne, Queens, is an unprepossessing four-bedroom cottage in a lower-middle-class neighborhood, with cigarette butts peppering the lawn.
When I rang his bell, he came to the door in boxers and a rumpled Hugo Boss T-shirt, greeted me with slightly bleary-eyed politeness, then led me past guitar cases and piles of laundry and a cluster of half-inflated party balloons to the kitchen, where Kiera McNally, his girlfriend of five years, was baking gluten-free banana bread. Over a cup of diner-style coffee — from an industrial steady-drip machine that DeMarco pointed out to me with pride — I asked what the repercussions of inviting hundreds of thousands of fans to his house had been.
It can get a bit weird. King Sunny Ade came to mind as I listened, as did Jerry Garcia, an acknowledged influence, but I found it nearly impossible to pin down the music I was hearing, or even to date it. There just happens to be this thing called the Internet around.
The family has musicians on both sides: a lyric soprano, a jazz saxophonist, an uncle who lives in London and sings standards. Agnes herself had a stint, as a teenager, singing at parties and weddings around Edmonton. At 16, Mac started recording songs in his room, by himself — the way he still records all his music — and playing in a band called Belgium with two friends from high school, Alec Meen and Peter Sagar.
I always hated the name Belgium. In Vancouver, where he lived for a time in the boiler room of a printmaking studio for Canadian dollars a month, DeMarco continued recording songs, posting them on Myspace under the name Makeout Videotape. They were all these great, noisy, lo-fi bands, and I halfway fit in, mainly because I had no idea how to record. But I was trying to write Beatles songs the whole time.
While performing at a music festival in Calgary, DeMarco reconnected with McNally, whom he knew in high school, and within the year they moved to Montreal together. But I found something in those songs that I could use. After a barely perceptible hesitation, he played the songs gently, sincerely and with a devotion and skill that were never entirely obscured by the grin on his face or the jokes he cracked. I take a helicopter to work. I was reminded, watching them together, of something DeMarco told me on our drive.
Not a thing. The platinum-selling doo-wop duet features the artist Meghan Trainor who, like Puth, has thus far used her considerable songwriting talent to create songs so depthless they feel like waxworks. In , Gaye recalled to his biographer, he was listening to one of his songs playing on the radio when it was interrupted by a news bulletin about the riots in Watts.
For the first time, homeboy is furious, as if he has just realized that the only response to the stereotype of the angry black man is to get angrier. Black artists, as they conquered the mainstream, were getting even blacker. Black love, black empowerment, black history and black wisdom are explored so deeply and intelligently that you assume that conservative media fetish, black-on-black crime, will never show up. I was right there with him until that third verse.
The second verse widens the focus and ups the power. Part of the thrill as a listener is hearing him go there, go further than anybody else. In the first instance, exploitation and indifference make him a killer. It was almost unbearable to anticipate what this prophet of rage was going to drop next. I could feel the verse pulling away from me as soon as he got halfway into it.
It turned into call-and-response, me and this third verse, which went a little something like this:. No, dude, those are two nations going to war. Xhosa get compared to gang warfare? Because it weakened them both in the face of the real enemy? Either all war is hell, or all war is thuggery. Me: No, brother, no! Here was a black man invoking the detestable slogan of black-on-black crime to prevent himself from mourning the unjustifiable homicide of a black boy by a Neighborhood Watch vigilante.
All I could think was: Where the hell was Kendrick going? Things can get messy when the black gaze turns inward, to this thing called personal accountability. Personal responsibility. Personal respectability. A woman has the right to wear what she wants, but.
Black men can wear hoodies and let their pants sag, but. Rap has never been scared of being contrarian, and so here I thought that maybe he was deliberately playing with the idea, deliberately embodying the perspective to eventually show it up for what it was. Nas once wrote a song from the point of view of a gun. It starts from within. Martin Luther King Jr. That kind of thinking almost suggests that racism makes sense.
But racism makes no sense. And in scrambling for answers, you look everywhere, even within: Did I do something to bring this on? Was a part of this outcome in even the slightest way my fault? Fact is, black people have always believed in respectability politics. We achieved. Everybody knows how hard we Jamaicans work. Maybe you should stop whining about your troubles and own up to your laziness. Maybe if you do what I did, you would be manager of that Chase branch on the corner, just like me.
Bootstrappism is the chocolate echo of white racism. You can find it in black self-help and how-I-became-a-millionaire books. Nearly every time Steve Harvey addresses black people. It was Kendrick doing what he does better than anybody else: complicating a discussion at exactly the point where everybody, including me, tries to simplify it. And this is what he was aiming for all along, questioning what even many black people would never dare question, arguing that yes, every argument, even this one, has two sides.
More sides. And then I got to that song, No. Almost implosive. Who is the one expecting the black man to be Everyman, black man to reflect the universal good will, or at the very least a carefully curated black rage directed at a carefully identified target? Hip-hop has always been about spinning clever fictions, doing what great narratives do: inventing stories that tell the real truth.
We do this over and over, judging artists of color based on a warped idea that legitimacy can come only from experience. You would think I would know better, given that as a novelist, I deal with the same assumption in nearly every interview. Young men, murderers before 15, murdered before Nearly everybody assumed that I had experienced some of this. And here I was doing the same thing to Kendrick. How someone can feel rage at murder while being fine with suicide. He was exploring these themes as concepts — you know, that thing that artists do.
He was posing tricky, difficult questions, for which there were no answers, getting into the middle of his song, feeling it, breathing it, but still inventing. That it must be autobiography or documentary. Or thought Johnny Cash ever murdered anybody or knew anyone who did. Marlon James , a novelist, is the recipient of the Man Booker Prize.
Free Max B! A cultural ferment, frozen in amber. Run the Jewels, continue to push boundaries with their latest music video. Watch it in virtual reality. Listening makes the blood rush to your cheeks, your heartbeat pulse behind your eyes. The value of the album is held between those two songs: It captures the variegated sides of black life in America and its specific feeling, a dizzying mix of frustrated helplessness and joyous survival.
Run the Jewels gets this. If you listen closely, through their artful grandstanding, you can hear a radical politics. Which is another way of saying the truth; listen, and hear the world change. It used to be, if you wanted to vibrate at the same frequency as the Mayan spacemen, you needed to move to a Southwestern city that specialized in horse art.
It used to be, if you wanted your aura photographed, you had to go to a cramped Chinatown crystal shop. Places that are, for lack of a better word, hip. It used to be, if you bought an album from a small Vancouver electronic-music label, you could expect some kind of weird minimal techno.
These days? Do you catch my drift? It sounds like a poster of a wolf. It sounds like a hologram sticker of a dolphin. It sounds like a tattoo of an open eye. It sounds like the font Papyrus. Why would urban-dwelling gentrified-Brooklyn types embrace the atavistic philosophies of conspiracy theorists and mononymous zither players?
One answer is that this is how cool works: Things that used to be uncool become cool, and vice versa. We live in an age of aggressive positivism, a world overtaken by metrics and markets. To accuse New Age revivalism of insincerity — reducing the possibilities of belief to a binary — is to miss the point. The gentle woo-woo spirituality of New Age is attractive because it refuses the grinding realities of life spent in the shadow of Wall Street and Hollywood and Silicon Valley.
If a minute New Age symphony can make you feel good — instead of harried or judged or pandered to — why should you care that it sounds like the soundtrack to a s nature documentary? A band that signs up to play the Super Bowl halftime show is making a declaration of immense confidence in its ability to hold a spotlight. This brand of wide-screen pop attracts easy put-downs: edgeless, corny, white.
Imagine it: Sincerity will once again be on its way out of music, only for a familiar and tender voice to ring throughout the future blogosphere. High-profile pop songs like this are conceived as nothing less than events, ready to be performed at mega-happenings like the Super Bowl halftime show. What his audience wanted was the warmth of familiarity. The band is built to endure. As good-and-evil Christian morality falls out of fashion among the women in my social universe, a new binary has arisen to organize our outlook.
In hell, there is everything else. There are no nonbelievers, and there is no limbo. Beyond just the pleasures of a classic party anthem — an infectious hook, synth chords to ramp up your heart rate — the song offers an American love story for the ages. Fetty is a drug dealer weak-kneed for the girl who can match his hustle. When he cooks crack, she cooks crack with him. When he dreams of Lamborghinis, he dreams in matching pairs.
The couple make money together, and they spend it together too — at strip clubs, on weed, on gifts for each other. What could be more romantic than two equals teaming up to build their fantasy in a difficult and unjust world?
We sang about cooking crack with our babies in the aisles of Duane Reade and on the dance floors of bat mitzvahs. Rattling trap snares drowned out the sound of ice-cream-truck jingles, and summertime was better for it. The requisite councils convened to assess. Blogs weighed the evidence.
On one hand, the song was an ode to the working woman by a man secure enough to love her. On the other hand, a pop-rap song about selling drugs — written and performed by a man — seemed an unlikely entry into the feminist canon. The women in my social circle, most of whom had never sold or even seen crack, breathed a collective sigh of relief. We had received the necessary clearance to enjoy.
Apparently, anyone could be one. I wonder about the purpose of this exercise. Is it not good enough on its own? Is the gutted, feel-good pop feminism of that Bustle post the same one that moves a panel of black women to declare Fetty Wap a feminist? In the year that conversations about identity finally entered the small-talk realm of white folks, we seem to have lost sight of the fact that not everything is created for us — not even all feminist things.
Identity politics is not always about identifying. Perhaps, in the future, we can find a way to say so without needing to claim it for ourselves. The song crept into the collective consciousness in similarly stealthy fashion. The highlight comes in its final scene, when the sculptor-heroine unveils a hideous terra-cotta bust of Richie.
Richie has spent several years barnstorming arenas, quietly re-emerging as a top-grossing touring act. Still, the highest sort of esteem is denied him. A reappraisal may be in order. That mix of understated and overwrought is pure Richie. Say it for always — naturally. The miracle is that Richie makes such sentiments stick.
Credit his melodic gift and his knack for arrangements that wash over listeners in cresting, tumbling waves. In short, Richie is a great singer-songwriter and a world-historical cheeseball. Richie knows how this game is played — how to laugh at himself, politely, and all the way to the bank. When Richie performs, though, the irony melts away. It was a reminder that some of the most powerful songs are the most gauche, scrambling together beauty and vulgarity, exquisite craftsmanship and appalling taste, exalted chivalric love-oaths and the queasy come-ons of a dork with a mullet.
JR is an artist and filmmaker who works with large-scale prints of photographs. It took place at the same time as the Big Ten championship football game, which featured the undefeated University of Iowa Hawkeyes, and on my way there the town seemed to be enveloped in a ghostly hush. Still, the recital hall was crowded, with a sizable contingent of skinny-jean-clad locals.
This incursion of youth into the securely aged domain of the classical-music audience was owed, it seemed, to the promised appearance of a guest performer, Caroline Shaw. A few years ago, Shaw, then 30, shocked the classical-music world by becoming the youngest-ever winner of a Pulitzer Prize in music.
In swift fashion, Shaw emerged as the face of a flourishing scene of young composers — people like Nico Muhly, Gabriel Kahane and Missy Mazzoli — who were blurring the lines between classical and indie music. In Iowa, Shaw came onstage and sat cross-legged on her chair among the string players.
Small and pixieish, she could easily have passed for a college student. Her slow, ribbonlike phrases, hovering just this side of harmonic resolution, might have risen from the Middle Ages as much as from the middle of Appalachia.
The players plucked their instruments with picks, banjo-style, and occasionally broke into odd, agitated strumming or sawed away at their strings with the wooden part of the bow. But the strewn-out pieces of sound kept finding their way back to one another. For all the hints of disruptiveness in the music, this was crowd-pleasing stuff, and the young members of the audience responded with shouts. Not long after the concert, Shaw and I struck up a phone and email correspondence. She grew up in Greenville, N.
After Yale, she moved to New York and gravitated toward the edges of the classical-music scene. She played a lot of thorny contemporary music, which often left her yearning for the full-bodied pleasures of traditional harmony, and which set her to wondering what she might have done differently had she written the score herself.
She had also developed into a specialist in Baroque violin and sang early music in the choir of Trinity Church in Lower Manhattan. In , she heard about an a cappella group that was being put together to explore vocal practices rarely found in standard classical music. The eight young members settled in to study with a master throat singer from Tuva, a region of southern Siberia.
And then I wanted to hear that strange sound turn into a big, beautiful chord, sung by all eight of us, a split second later. It gave the group a chance to practice some of the effects they had been working on, like the lawnmowerish textures of throat singing and the sudden transition between head and chest voice that characterizes yodeling. She was walking along the Hudson on a spring afternoon when a friend called to tell her she had won the prize.
The group now has bookings for close to 75 performances this year. She ended up co-writing, co-producing or contributing vocals to several songs. It was like being given an amazing coloring book and being told to use all your crayons, use your paint and scissors, anything at all.
She recognized an affinity, though. And then the moment comes and it just breaks out, everything explodes. He also tends to be served a global helping of ire. Jamaica and Cuba have enjoyed a friendly relationship since the early s, when the former lobbied the Organization of American States in support of the latter. But every beat clearly illustrates the way immigrants have learned to flip that disdain to their advantage.
The R. Some of this is surely attributable to the Swedish superproducer Max Martin, who favors a punchy, airless, symmetrical approach to rhythm. You hit the beat and hit it squarely. In the Martin era, so much pop music has been violent in its fastidiousness: no stumbling, no retreat, no lackadaisical exhalations.
His falsetto is all crags and sweetness. The song drifts downstream, with no discernible itinerary. This is not so unusual in R. While a listener might find it easier, at first, to holler along with a more fastidious singer like Taylor Swift It is extraordinarily satisfying! Shouting each fixed syllable! Participating in the one! And only! The song! Allows for!
It feels, instead, like a subversive act: a revolution of patience. Amanda Petrusich is a music critic. She teaches writing at New York University. At a rally after a party office was destroyed in a suspected arson, Vaz speculated on whether the crime had been politically motivated. Born Adidja Palmer, Kartel built his reputation with graphic songs about guns, sex and unapologetic social transgressions, like bleaching his skin.
In , he was convicted of murdering an associate, Clyde Lizard Williams, who disappeared in and whose body was never recovered. As the two political parties fought to form the next government, Vaz was not the only politician to take his cues from Kartel and dancehall. In their appeals to dancehall fandom, these politicians hoped to inspire an electorate exhausted by empty promises. For young people — almost half of whom would, according to a recent poll, relinquish their Jamaican citizenship to live abroad — party politics is increasingly dispiriting.
Dancehall is the perfect accompaniment to their mood: a jaded and bacchanalian lament for the Jamaican future as envisioned by its young. All told, before the voting, at least four people were shot to death at campaign events, and dozens more were injured in a stampede.
When the votes were tallied last month, the nation got what it expected: a virtual tie between two nearly identical parties, with the Jamaica Labour Party eking out a slim majority. Vaz, Holness and Hanna won their seats handily.
Artist: The Frozen Princess. The snow glows white on the mountain tonight Not a footprint to be seen. A kingdom of isolation, and it looks like I'm the Queen The wind is howling like this swirling storm inside Couldn't keep it in; Heaven knows I've tried Don't let them in, don't let them see Be the good girl you always have to be Conceal, don't feel, don't let them know Well now they know Let it go, let it go Can't hold it back anymore Let it go, let it go Turn away and slam the door I don't care what they're going to say Let the storm rage on.
The cold never bothered me anyway It's funny how some distance Makes everything seem small And the fears that once controlled me Can't get to me at all It's time to see what I can do To test the limits and break through No right, no wrong, no rules for me, I'm free! Let it go, let it go I am one with the wind and sky Let it go, let it go You'll never see me cry Here I stand And here I'll stay Let the storm rage on My power flurries through the air into the ground My soul is spiraling in frozen fractals all around And one thought crystallizes like an icy blast I'm never going back, the past is in the past Let it go, let it go And I'll rise like the break of dawn Let it go, let it go That perfect girl is gone Here I stand In the light of day Let the storm rage on The cold never bothered me anyway!
Note: When you embed the widget in your site, it will match your site's styles CSS. This is just a preview! Cannot annotate a non-flat selection. Make sure your selection starts and ends within the same node. All News Daily Roundup. Album Reviews Song Reviews. Song Lyrics. Review: RIFF-it. It's time to see what I can do To test the limits and break through No right, no wrong, no rules for me I'm free! Let it go, let it go I am one with the wind and sky Let it go, let it go You'll never see me cry!
Here I stand And here I'll stay Let the storm rage on! My power flurries through the air into the ground My soul is spiraling in frozen fractals all around And one thought crystallizes like an icy blast I'm never going back The past is in the past! Let it go, let it go And I'll rise like the break of dawn Let it go, let it go That perfect girl is gone!
Here I stand In the light of day Let the storm rage on The cold never bothered me anyway! Submit Corrections. Thanks to Hajur for adding these lyrics. This track was released alongside the pre-order of the soundtrack album on iTunes on the 22nd of October The film version of this song is performed by Idina Menzel, whilst Demi Lovato sang the version included on the film's soundtrack album.
Beauty and the Beast From for best actress in a. The track was released alongside. She won the Tony Award this song appears on the musical for her performance in. PARAGRAPHRIFF-it good. This won for Best Song. Beauty and the Beast From "Beauty and the Beast" 4. Let It Go From "Frozen" from a Disney movie. Tell us what you think. com sports investment group vargas management great voltigeur stakestake willberg. Is it your favorite song about Let It Go.Slow down, you move too fast, you got to make the morning last A Beautiful A Canine Christmas Concerto Traditional/May Kay Beall. A Whole New World (Aladdin's Theme) Words by Tim Rice & music by Alan Menken. By the Light of the Silvery Moon [Soft Shoe medley] Gus Edwards & Edward Madden. Pharrell Williams - Happy (Despicable Me 2 - Lyric Video) - YouTube FROZEN - Let It Go Sing-along | Official Disney HD I bet my life by Imagine Dragons High School Musical stars singing the final song, "We're All In This Together" Köthen)Freiburger BarockorchesterChapters Bach: Brandenburg Concerto No. Tip: You can type any idea into the box above to find related lyrics. From "St. Louis Blues (Concerto Grosso)" by Louis Armstrong: (wont care) All hell do is keep me at home, wont let me go nowhere From "The Frozen Ones" by Ultravox: Army green was no safe bet There had been many moons before I met ya.