Brave 2012 Songs

[Gene Honnette]

Braveis the soundtrack to the 2012 Disney-Pixar film of the same name composed by Patrick Doyle and performed by the London Symphony Orchestra. The soundtrack features Doyle's musical score and features two original songs performed by Scottish singer Julie Fowlis (written by Alex Mandel and Mark Andrews, produced by Jim Sutherland), and one original song performed by Birdy and Mumford & Sons.[1] Walt Disney Records released the soundtrack on both CD album and digital download on June 19, 2012.[2]

All tracks are written by Patrick Doyle, except "Touch the Sky" (music by Alex Mandel, lyrics by Mandel and Mark Andrews), "Into the Open Air" (music and lyrics by Mandel),[3] and "Learn Me Right" (music and lyrics by Mumford & Sons).[4]

There were so many amazing projects and experiences that pushed me to new horizons. However, I would have to say my capstone project was the coolest. It was a six-song original album recorded and mixed by me. It was an exhilarating feeling to apply everything I had learned in my classes to a complete album. It also gave me the opportunity to get more one-on-one instruction from my professors. Writing the songs was a blast!

After minutes on end of writing and rewriting, I worked up the courage to ask my close friend, who I was hopelessly smitten with, what her favorite songs were. I was hoping to impress her by listening to the same music.

Though I was fiercely insecure, I managed to make friends. One of those friends invited me to a concert for a band we both liked: AJJ. I was over the moon. I begged my parents to let me go, pleading my case as though my life depended. They allowed it.

I was excited for the concert, my first ever. Punks, goths and other people more knowledgeable about the scene would be there. In the hours leading up to it, I went to great lengths to look authentically cool, not like I was trying too hard. I curated the perfect outfit: black ripped jeans, a black tank top, a black denim jacket, black spiked boots and a black leather collar.

In an explosion of energy and sound, I was transported to another world for one-and-a-half minutes. In blurry, flashing still-frames, I caught glimpses of the stage, other people in the audience and my friend across the room. Gulping down breaths of air, I was subsumed by the sea of sweaty bodies smacking against each other. As I screamed the lyrics at the top of my lungs, the uproar carried my voice away. I melted into the chaos.

The most magical experience of my life was the euphoria of belonging and the relief of surrendering to the pandemonium around me. After the concert came to a close (way past my curfew), I returned home bruised and exhausted, but carefree.

Alexandra Kauffman (26C) is an English & Creative Writing major from Phoenix, Arizona. At the Wheel, she is an Emory Life section editor and Arts & Entertainment campus desk. Outside of the wheel, she is a member of Alloy Literary Magazine. She is also a science fiction enthusiast and enjoyer of the bizarre.

Spanish Love Songs made one of my favorite albums, Brave Faces Everyone. Now, after a hellish few years, they are re-visiting those songs, and creating something new from them on Brave Faces, Etc. This album reinvents their emo-inspired, socially conscious songs into something new and exciting, and brings new life to them.

I took a class for work a few months back, the Trauma Nurse Core Course (TNCC), to renew my certification. In the textbook, there was a chapter on the psychological effect that repeated exposure to intense emotional situations has on the human psyche. Mind, body, spirit, the components that make up our humanity, bear the effects of stress and pain, both physical and emotional. No element escapes untouched.

Though that is quite a thought-provoking question, the answer is easy. I should hope not! I hope to grow and mature and gain wisdom as I continue to live my life, however long that may be. While this question has prompted several quick jaunts down the path of self-awareness, I really hope to make it a life-long journey; one that I revisit from time to time in honest self-assessment. Now that takes bravery.

There is both danger and promise in walking down this path. It is easy to get caught up in what we fail to be. The exemplar that prances through our minds (i.e. The Proverbs 31 woman), that sets our goal for who we desire to be, becoming the unattainable standard that we constantly fail to meet. Demoralized by our failures, we focus on an ideal that we will never seem to reach and despair.

I feel more and more whole these days, but there are holes too. As I move continually forward I find strength in each new accomplishment, every class passed, every semester completed, each new milestone. Have I excelled in every area of my life? Heavens, no. I have let people down, failed to follow through, and dropped plenty of balls along the way. I have had to apologize and try to make things right. I only hope that I learn something each time and take it forward with me.

I hope someday to look back at my life, at this article, and be thankful for where I have been and more importantly look at the ground I have gained and see a life that has counted, mattered, and made a difference in the lives of those I touch even for a moment.

Andrew Marlowe, the top dog and creator of Castle, sent me the script with a brief note: "Call me." I could see why - the (brilliant) script centered around a band and the murder of their lead guitar player. In Castle tradition, we would need to make everything as authentic as possible, that meant creating songs that ABC could own that sounded like real songs, coaching actors to mime instruments convincingly to the songs and personify musician-ness, plus it all had to be done weeks ahead of time, for the shoot day instead of just within the editing bay. In short, there's really nothing that creates more work for music supervisors than bands on-screen ... but nothing more fun either!I tapped Simon Petty, one of my favorite songwriters of all time (see: Minibar: Road Movies for just one example) who turned around the killer song that closes the episode, "Back Out On The Road Again", in an extremely short amount of time. Per the script, the song had to sound like a new direction for "Holy Shemp", the TV band, as well as feature bass prominently to go with the storyline, and additionally needed to allow for backing vocals that "Esposito" would chime in for the final scene. After delivering on all counts on the songwriting front, he teamed up with Los Angeles via New Zealand producer/songwriter Greg Johnson to record the song in Greg's Santa Monica studio and delivered it just in time to get final approvals and take to the set for the shoot! Simon accompanied me on shoot day to coach the musicians and we had fun being mini-TV moguls for the day. (Which really meant we tried to stay out of the way and do exactly what the director wanted at all times.)

The other song in the episode, "Lies", is rehearsed by the band when Castle and Beckett confront the lead singer, and it has a story all its own. This episode was written by Castle co-producer Rob Hanning. His son Noah is an extremely talented guitar player and while Rob was working on the episode he heard Noah composing a song that he quite liked ... you guessed it, Rob added some lyrics and that song ended up becoming "Lies" - a team effort!

So I think you can tell, a good time was had by all ... after 11pm west coast time, there will be links below for a (24 hour) free download of "Back Out On The Road Again" and a behind-the-scenes-interview with Jon Huertas (Esposito) in the recording studio with Simon & Greg! Meanwhile you can use the links below to follow this story to some good songs!

The direct product of the British Broadside and Scotch-Irish folk music, the traditional folk music of New England is primarily vocal expression, through which family stories and popular legends are passed from generation to generation. Many of the lyrics and melodies found on this disc derive from popular migrant ballads, nursery rhymes, children's street songs, camp dances, maritime ballads, and labor songs. They came to what is now Rhode Island, Connecticut, Massachusetts, Vermont, New Hampshire, Maine, and Nova Scotia with English, Irish, and Scottish settlers in the waves of immigration to the New World that began in the late 17th-century and ended at the time of the Irish potato famine, around 1850.

Recorded mostly by musicologist Sandy Paton between 1959 and 1978, these archival field recordings are warm and honest. As Paton notes in the detailed liner notes that accompany the disc, "You will hear exactly what the collector heard, and perhaps this is as it should be, for this is the environment in which the music exists." No doubt, today the music still thrives, surfacing in seemingly unlikely places, even in popular folk rock. Try to decipher the odd vernacular used by James Brown on "The Good Old State of Maine."

Josh: Josh Czarda, co founder of Rvler

So which came first? Orbital Music Park or Rvler? And how do the two things mix together as a concept that exists in the same space?

Tom: Yeah. When Morgan and I were first contemplating this Orbital Music Park thing, one of the first people we sat with was Josh to get opinions about how to bring something like this to life.

Tom: It was a lucky break. Mostly easy keys. Haha. We moved to Richmond together in 1991 in a punk rock band that was destined for despair. But-

What was that the name of it? Is that a no? No, you have to tell me the band name because our readers dig this shit.

May 80s Nights never die! Return to the decade of decadence at the Science Museum Thursday August 1st and dance your Jordache off. The event gives you unfettered access to all of the museum's exhibits, including its very popular BODIES installation. Have some adult...

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