#prelim 22

[characterswithcolorsnamesfight]

Prelim Poll 22

Propaganda here

[sasiaucompetition]

Prelim Round Poll

22. Eucatastrophe - @/arealsword (ao3)

vs.

36. Lost & Found AU - @/rollthewhatever (tumblr)

Propaganda:

Eucatastrophe:

Image ID: A screenshot that reads: Amazing Fae AU, crossover with Tam Lin myth, bizarre in all the best ways

End Image ID

Lost & Found AU:

Image ID: A screenshot that reads: one of the best canonverse stories out there. story is touching, art is beautiful, sides are very in-character

[animemusicbrackets]

Vocaloid Song Showdown!!: Prelims Part C

Please listen to the songs before voting!

"Meteor" by Jonsann; feat. Hatsune Miku

"The Madness of Duke Venomania" by MOTHY; feat. Camui Gackpo (with KAITO, GUMI, MEIKO, Megurine Luka, and Hatsune Miku)

"Honey I'm Home" by GHOST; feat. DEX

"Crazy ∞ nighT" by teamOS; feat. Hatsune Miku, Kagamine Len, Kagamine Rin, GUMI, Camui Gackpo, Megurine Luka, KAITO, and MEIKO

[purplegreenbracket]

32-Seeded Bracket

This is how things are currently looking! I’m trusting the ways of traditional bracket making because I don’t want to mess with math (I’m bad at it) HOWEVER!! if there’s constructive enough criticism I’ll look into changing a few things here and there! I’ll leave this up for today, and we can hopefully start tomorrow if potential changes aren’t too difficult!

SIDE A:

Raven & Beast Boy [Teen Titans] vs. Kirigiri Kyoko & Naegi Makoto [Danganronpa]

Rui Kamishiro & Nene Kusanagi [Project SEKAI] vs. Edward Nygma & Oswald Cobblepot [Gotham]

Twilight Sparkle & Spike [My Little Pony] vs. Fear & Disgust [Inside Out]

Cyno & Tighnari [Genshin Impact] vs. Purple & Green [Animation vs Minecraft]

Professor Venemous & Lord Boxman [O.K.! KO Let’s Be Heroes] vs. Luca & Alberto [Luca]

Lollipop & Gelatin [Battle for Dream Island] vs. Donatello & April [Rise of the Teenage Mutant Ninja Turtles]

Garmadon & Lloyd [Lego Ninjago] vs. Enderman & Creeper [Minecraft]

Purple Guy & Springtrap [FNAF] vs. Susie & Kris [Deltarune]

SIDE B:

Amethyst & Peridot [Steven Universe] vs. Wave & Jet [Sonic]

Bruce Banner & The Hulk [Marvel] vs. Espio & Vector [Sonic]

Luz & Amity [The Owl House] vs. Senku Ishigami & Gen Asagiri [Dr. Stone]

Yesod & Netzach [Lobotomy Corporation] vs. Jumba & Pleakley [Lilo & Stitch]

Rose & Kanaya [Homestuck] vs. Mollymauk Tealeaf & Fjord [Critical Role]

Mike Wazowski & Celia Mae [Monsters Inc.] vs. Virgil & Remus [Sanders Sides]

Link & Zelda [Legend of Zelda] vs. Gon & Killua [Hunter x Hunter]

Liam de Lioncourt & Brian Yu [Monster Prom] vs. Waluigi & Luigi [Mario Bros.]

behind the scenes bonus thoughts below

🟢 despite jjba showing up a lot in submissions, duo dynamics were inconsistent. a bunch of characters were only submitted once. i tried to get jojo rep in there by putting the most submitted duo in the prelims but it ultimately didn't work im sorry 😭

🟣 i was surprised by the lack of killua and gon submissions, i guess bc killua might be more blue-coded. i mean they're still in there but they're placed lower than i expected at #22

[theanticool]

Ranking UFC 301 fights by my level of interest. It's not a great PPV card but there are match ups that do interest me.

Alexandre Pantoja (C) vs Steve Erceg - the UFC constantly does bs to undermine the flyweight division. Remember when they had John Moraga fighting on the facebook prelims before being thrust into a title fight against DJ? Well, Erceg is only getting slightly better treatment. But at least Erceg has shown himself to be a unique and diversified threat. He's got some really clean boxing and a solid wrestling game that pair well together. Will that be able to lift him up despite his limited experience against elite flyweight competition? We will see. Pantoja is nothing if not consistent. He will find his way to his dangerous grappling game, even if it involves starting firefights to do it. Should make for an exciting fight.

Joanderson Brito vs Jack Shore - We got two interesting 29 year old featherweights on the rise. I really like both fighter's games. Brito is a dangerous man who has finished his last four opponents. He's not the most technically sound but he's an athletic, aggressive and a fantastic opportunist when given the chance to finish. Jack Shore is a workman. He's crafty and skilled everywhere. Not as much of a danger as Brito but has a more cohesive approach to fighting. Should be a banger fight.

Jose Aldo vs Jonathan Martinez - The dire state of this PPV called for the UFC to ask for Aldo to come back. And they're giving him a fantastic leg kicker, which should be interesting. Martinez is on a big run. He's won 6 straight, where he's won two fights by leg kick KOs. He's got a Nurmagomedov on the resume (Said), Yanez, and Swanson. If there was a time to get a big win and establish himself as a true bantamweight contender, this is the fight to do it. Especially against an Aldo that has been retired for 2 years and only doing boxing in the interim. But Aldo has never had issues with kickers.

Elves Brener vs Myktybek Orolbai - Brener has built himself a ton of momentum. The Brazilian 155er knocked off a couple of former highly regarded prospects in Zubaira Tukhugov and Guram Kutateladze to kick off his UFC career and then knocked off fellow Brazilian Kaynan Kruschewsky. Orolbai came into the UFC and neck cranked the hell out of Uros Medic. This should be a good one!

Iasmin Lucindo vs Karolina Kowalkiewicz - After losing 5 straight fights, Kowalkiewicz has managed to rebuild her career. Brick by brick. She has rattled off four straight wins. And while I wouldn't call any of the women she has beaten elite, the fact she's still adapting as she is pushing 40 is impressive. Lucindo has also been impressive. The 22 year old has been putting on impressive performances in the UFC from the jump and has started looking like a legit prospect to watch out for at strawweight.

Michel Pereira vs Ihor Potieria - Michel Pereira was always too much of a meme fighter to not be a middleweight. And while the crazy flips and capoeira kicks are gone, he has just turned to knocking people out instantly since moving up. Ihor Potieria is coming from the opposite direction, moving down from 205lbs. And he looked good in his debut in the weight class. Not a world beater but he's looking more and more like a complete fighter. This should be good. Plenty of potential for a mess.

Alessandro Costa vs Kevin Borjas - Costa is a guy that is athletic enough to be UFC flyweight champion. He's got dynamite in his hands and is extremely fast. He turned Erceg into a wrestler with his physical advantages. With some direction and more cage time, guy could be a legit challenger. I just hope to see him active. I don't have much to say about Borjas, so down the ladder this goes.

[silly-name-tourney]

Silly Name Tournament General Prelims #22

top 4 get in!

[myfaveisfuckable]

Rants!

Luis Cabrera/Ness: Also lost in @unpopularshipbracket prelims...

This is both a submission for Vannis (where Ness is Vanny and NOT Necessarily (and usualy just not) Officer Vanessa) and Lunessa (Where Ness is Officer Vanessa but not always Vanny). It's genuinely easier to scour Luis's character tag than it is to search the ship tags (plural), and there are only only 66 fics in Luis's character tag, at all, so finding a Vanny x Luis or Vanessa x Luis fic is a chore as it is. Weather you ship Vannis or Lunessa, finding a fic that is either of those things is a pain in the neck.

Their dynamic is odd, and if you thought reading the situation was tough for Anna x Dan, you've got a storm. Is Luis just socially awkward, is he the only one worried about Ness or is he actually just the only one putting himself on the line to try and help her. Also, we will never know what they talked about in person, so for all we know, Ness could have been crushing on Luis and he just omitted that bit to make it harder for 'brad' (who is obviously a way of encoding "help me Luis (or anyone I don't care) I'm being threatened by this guy (glitchtrap) who's making me buy flowers for my own grave") to keep hurting her. Luis said himself he gets the red flag reports; Both of them are just using it to their advantage to keep as much on the down-low as possible.

The fact she just searched for 'help' on it's own, knowing that Luis was the only human who would be able to see that cry for help, is enough for them to at least be on good terms/ friends with one another.

all of the beatles/light yagami/penguins of madagascar MINUS skipper: self explanatory

[fatherfigurefistfight]

Vote for who you want to see in the fistfight proper!



[dwsidecharacterpoll]

These polls are to determine bracket seeding and diminish the number of contenders to a manageable number. To get the first bracket down to something reasonable, the lowest-scoring contenders from each of these preliminary polls will be eliminated. To see all prelim polls, click here!

[dweemeister]

2022 Movie Odyssey Award for Best Original Song (preliminary round)

Because tumblr still cannot show indented bullets on the dashboard, this is best viewed on my blog via the direct link.

Informal invites go out to @asexual-idiot-ramblings, @biglifehightides, @birdsongvelvet, @blumes, @cinemaocd, @dog-of-ulthar, @exlibrisneh, @ideallaedi, @kataka-taka, @life-traveller, @mehetibel, @memetoilet, @mundi41, @myluckyerror, @shadesofhappy, @sunsetpanic, @phendranaedge/@twosontooter as longtime followers or folks who have participated in previous editions in MOABOS but have been on the inactive side lately. You are all invited to participate in either the prelim and/or just the final round. If you wish to participate in the prelim, please contact me so I can get you sorted into a group ASAP.

INTRODUCTION If you are being tagged on this post, that is because you graciously accepted the invitation to help out with this year's edition of the Movie Odyssey Award for Best Original Song (MOABOS) or were perhaps active in the past. This is the milestone tenth edition of MOABOS (MOABOS X?) and the ninth time with outside help from family, friends, and followers on tumblr. In other words, it's also the tenth year for my classic movie blog that is responsible for this end-of-year tradition! Thank you all for agreeing to participate in this admittedly peculiar tradition that continues to endure despite a pandemic and personal difficulties.

For newcomers (and oh boy there are many of you this year): my classic movie blog traditionally ends the year by honoring some of the best achievements from movies that I saw for the first time this calendar year (the "Movie Odyssey") with an Oscar-like ceremony. It is, for the most part, no democratic process. I choose all the nominees and winners from each category, save one: Best Original Song. It is the only category that does not require you to watch several movies in their entirety. MOABOS is also a sort of cinematic-musical thank-you for your moral support and a way to make the idea of watching older movies more accessible for those who might not seek them out.

SET-UP

An unspecified number of songs have already advanced to the final round. 22 songs will contest this preliminary round in two groups - Group A and Group B. With the pandemic still taking a toll on contemporary filmmaking, many of you will notice right away there are no 2022 entries for this year's MOABOS. And for another year running, very few of this year's entries are from the twenty-first century (although one particular movie from this century has quite a few entries this year). Danny Kaye - who was in last year's winner "Lullaby in Ragtime" from The Five Pennies (1959) - does not return to defend MOABOS this year. But we'll see Kaye again another year. There is no perennial Elvis contender this year either - cue the celebrations from the many Elvis ambivalents among you.

One year after the most multilingual field MOABOS had ever seen, we take a sharp turn. Reflecting how difficult this year has been for me (and I've needed more comfort movies this year), there are zero entries this year from a language other than English. This is a monolingual field, down from last year's record of eight languages represented. No anime films I saw this year had compelling contenders for MOABOS, nor did anything that I saw for Viet Film Fest (VFF). And I didn't see a lick of classic Bollywood this year again (this needs to be rectified).

2019's MOABOS preliminary remains the gold standard for sheer chaos. The miraculous comeback of "I Dug a Ditch" from Thousands Cheer (1943) in the prelim's final hour brought a song that seemed dead as a doorknob back to life. A song about digging a hole got out of its hole, if you will. No group since has ever matched that drama. Might this be a nailbiter of a result?

INSTRUCTIONS Please rank (#1-11) at least seven of your group's songs. Please consider to the best of your ability (these are only suggestions, not strict guidelines):

How musically interesting the song is (incl. and not limited to musical phrasing and orchestration);

Its lyrics;

Context within the film (contextual blurbs provided for every entry for those who haven't seen the films);

Choreography/dance direction (if applicable);

The song's cultural impact and context/sociopolitical context/life outside the film (if applicable, and, in my opinion, least important factor)

Because of the difficulty to find clean recordings of much of this music, imperfections in audio and video quality may not be used against any song.You are encouraged to send in comments and reactions with your rankings - it makes the process more enjoyable for you and myself! The top six songs in each group automatically advance to the final round. Unlike previous years, no songs finishing outside the top six will be considered as an at-large finalist. The deadline for submission is Friday, December 16 at 11 PM Pacific Time. That is 9 PM Hawaii/Aleutian Time. That deadline is also Saturday, December 17 at 1 AM Central Time / 2 AM Eastern Time / 7 AM GMT / 8 AM CET / 9 AM EET. This deadline - as we have seen in the last few years - will be pushed back if there are a large number of people who have not submitted in time. However, I very much do not wish to extend the deadline because the final round is more intensive and usually involves more participants. A small group of longtime MOABOS veterans have been asked to do both groups, if possible (but they are required to complete their assigned group first before moving on). Tabulation details are under the “read more” cutoff.

Please participate in the group you have been sorted into, if you have not yet been sorted into a group and would like to participate, please contact me. You can access most, not all, of your group’s songs in these YouTube playlists: (Group A) / (Group B). Again, please note that not all of your group’s songs may not be in the playlist for various reasons.

GROUP A (playlist)

“Good Morning”, music by Nacio Herb Brown, lyrics by Arthur Freed, Babes in Arms (1939)

Performed by Judy Garland and Mickey Rooney

Early in the first Judy Garland-Mickey Rooney musical of several (the two had previously appeared together in the fourth film of the Andy Hardy series) for Metro-Goldwyn-Mayer (MGM), two vaudeville kids from different families – "Mickey" Moran (Rooney) and Patsy Barton (Garland) – are attempting to sell one of his songs to a musical publishing company. Babes in Arms was released a month after Garland starred in The Wizard of Oz. 

If this song sounds familiar, it's because its most famous use was when it was recycled for Gene Kelly, Debbie Reynolds, and Donald O'Connor during Singin' in the Rain (1952) – a movie that recycled many MGM songs to immaculate results (MGM liked to recycle its songs multiple times for some of its musicals).

“Island in the Sun”, music and lyrics by Harry Belafonte and Irving Burgie, Island in the Sun (1957)

Performed by Harry Belafonte

Played over the opening credits of this romantic drama, complete with aerial footage of the island where the film takes place. Set on a fictional Caribbean island (and shot on location in Barbados and Grenada), Island in the Sun was controversial when it was first released due to its depiction of interracial relationships, adultery, and colonial politics.

Jamaican-American singer and actor Harry Belafonte introduced calypso music to American audiences in the 1950s. The genre, originating in Trinidad and Tobago in the 18th century, is influenced by the storytelling tradition of West African griots and often employs a syncopated 2/4 beat derived from West African musical beats. Calypso is a precursor to ska and reggae.

“The Lady in the Tutti Frutti Hat”, music by Harry Warren, lyrics by Leo Robin, The Gang's All Here (1943)

Performed by Carmen Miranda and chorus

This is Carmen Miranda's signature song. It appears midway in the first half of this musical as part of a dinner show onboard a ship bound for a destination the movie never makes clear. The choreography was by director Busby Berkeley, best known for his mass choreographed song-and-dance numbers that he popularized in the 1930s (but had become out-of-fashion by the '40s).

This song – tame by today's standards – was considered risqué when it was released (see: the lyrics and all of that... citrus). The Gang's All Here was made during a time when the major studios were making certain movies adhering to the U.S. State Department's Good Neighbor Policy, as the studios attempted to show Latin American culture and persons in a positive light to counteract any sympathies with the Axis. Miranda, more popular in the U.S. than in her native Brazil during the height of her career at 20th Century Fox (RIP "Fox"), was typecast in "exotic Latin" roles during this time. Only closer to the end of her career and after her death, was she more venerated by her fellow Brazilians, as a South American who "conquered" American culture for a time.

“Never Look Back”, music and lyrics by Chilton Price, Love Me or Leave Me (1955)

Performed by Doris Day

Ruth Etting (Day) has left the rough-and-tumble Chicago nightclub scene, thanks to her gangster (and now ex-) boyfriend Martin Snyder (James Cagney). At this point, Ruth has made it in the recording industry and is now recording a song for a Hollywood movie she just starred in. A jealous Martin watches on in the recording booth.

“No Love, No Nothin'”, music by Harry Warren, lyrics by Leo Robin, The Gang's All Here (1943)

Performed by Alice Faye

A dinner-and-a-show club is in dress rehearsal for their newest show and, more urgently, a war bond party. Eadie Allen (Alice Faye) is the performer here, with U.S. Army servicemember Andy Mason Jr. (James Ellison; whose character is on a furlough) among the few people permitted to preview the performance. Andy and Eadie had a chance encounter a few years back, with the two clearly interested in each other but nothing transpiring.

In the days of Old Hollywood, key cast and crewmembers were contracted specifically to the major studios. Some of the major studios had their signature musical stars. Among musical actresses? Judy Garland was contracted to Metro-Goldwyn-Mayer (MGM); Doris Day to Warner Bros; Deanna Durbin for Universal; Ginger Rogers for RKO while partnering with Fred Astaire. Until her being blackballed for a perceived breach of contract, it was Alice Faye who was 20th Century Fox's principal musical actress (she was supplanted by close friend Betty Grable). Faye makes her MOABOS debut, and it won't be the last time we see her.

“Once and For Always”, music by Jimmy Van Heusen, lyrics by Johnny Burke, A Connecticut Yankee in King Arthur's Court (1949)

Performed by Bing Crosby and Rhonda Fleming

From a movie based very loosely on Mark Twain's comedic novel of the same name, “Once and For Always” is the signature love song between Hank Martin (Crosby) and Alisande la Carteloise (Fleming). In this film, American mechanic one day wakes up in King Arthur's (Cedric Hardwicke) land of Camelot. And while gracing Camelot with jazz, mid-century machinery knowhow, and "magic" to piss off Merlin (Murvyn Vye) and Morgan le Fay (Virginia Field), he falls for Arthur's niece, Alisande.

“Once Upon a Time in New York City”, music by Barry Mann, lyrics by Howard Ashman, Oliver & Company (1988)

Performed by Huey Lewis

Played over the opening credits of this movie in the Disney Animation Studios canon. Oliver & Company is an adaptation of Charles Dickens' Oliver Twist to the streets of New York City. Instead of human street urchins, the characters are mostly sassy talking animals.

Oliver & Company was the last Disney animated movie before the beginning of the so-called "Disney Renaissance" with The Little Mermaid (1989). This film was released on the same day as Don Bluth's The Land Before Time, and was soundly beaten at the box office during a brief, intense period of rivalry between Bluth (a former Disney animator) and a struggling Disney.

“Pass Me By”, music by Cy Coleman, lyrics by Carolyn Leigh, Father Goose (1964)

Originally performed by Digby Wolfe; provided version performed by Cy Coleman

Played over the opening credits of this WWII comedy. Cary Grant plays the slovenly and usually inebriated American beachcomber Walter Eckland, who lives on an otherwise deserted Pacific island, and has an agreement with the Allied forces to report any Japanese warplanes or ships that he sees. His routine is interrupted one day when he encounters Frenchwoman Catherine Freneau (Leslie Caron) and seven young schoolgirls she's been tasked to take care of.

“Pillow Talk”, music and lyrics by Buddy Pepper and Inez James, Pillow Talk (1959)

Performed by Doris Day

This is the title song – played over the opening credits – to this romantic comedy starring Doris Day and Rock Hudson.

This was the first of three groundbreaking romcoms (an informal trilogy) starring Day and Hudson. Tony Randall also starred in all three of these movies in supporting roles. Along with Lover Come Back (1961), Send Me No Flowers (1964), Pillow Talk was considered risqué for the time and helped to contribute to the demise of the Hays Code (a series of self-censorship guidelines for almost all major Hollywood movies released from 1934-1968). For the classic film buffs out there, Pillow Talk is like a pre-Code picture that just happened to show up in the late '50s.

“Someone's Waiting for You”, music by Sammy Fain, lyrics by Carol Connors and Ayn Robbins, The Rescuers (1977)

Performed by Shelby Flint

Six-year-old orphan Penny (Michelle Stacy) has been kidnapped by the greedy Madame Medusa (Geraldine Page). Medusa has imprisoned Penny in a bayou in Louisiana. But the resourceful Penny has sent a message in a bottle that has been received by the Rescue Aid Society, an international mouse organization housed in the U.N. in New York. This song plays non-diegetically as our two mice heroes, Bernard and Ms. Bianca (Bob Newhart and Eva Gabor), arrive.

“When You're Next to Me”, music and lyrics by Eugene Levy, A Mighty Wind (2003)

Performed by Mitch & Mickey (Eugene Levy and Catherine O'Hara

(soundtrack/end credits version) / (“public broadcast” DVD extra version)

Heard over the end credits of this mockumentary comedy spoofing American folk musicians. A Mighty Wind is about a folk music reunion that sees three acts reunited for a send-off public TV special. The “public broadcast” version provided here is a DVD extra and was not part of the film.

Group A participants include: @addaellis, @emilylime5, @halfwaythruthedark, @maximiliani, @rawberry101, @rosymeraki-blog, @shootingstarvenator, and @theybecomestories​. Sixteen others including myself and my sister will be joining you in this group.

GROUP B (playlist)

“Anyone Can See I Love You”, music and lyrics by Allan Roberts and Lester Lee, Ladies of the Chorus (1948)

Performed by Marilyn Monroe

Early on in this B-picture romantic musical, burlesque showgirl Mae Martin (Adele Jergens) secretly arranges for her daughter, fellow showgirl Peggy (Monroe), to take her place for a special number. It's a hit, and Peggy lands a lead role at the burlesque.

“I’ll Never Stop Loving You”, music by Nicholas Brodszky, lyrics by Sammy Cahn, Love Me or Leave Me (1955)

Performed by Doris Day

(use in film) / (single version)

Nominated for the Academy Award for Best Original Song

Ruth Etting (Day) has left the rough-and-tumble Chicago nightclub scene, thanks to her gangster boyfriend Martin Snyder (James Cagney). Ruth wants to break into the recording industry and, early on that journey, partakes in this early rehearsal with singing coach Johnny Alderman (Cameron Mitchell; whose character falls for Day's).

“A Journey to a Star”, music by Harry Warren, lyrics by Leo Robin, The Gang's All Here (1943)

Performed by Alice Faye; reprised by film's cast

(initial performance) / (reprise)

Onboard a ship bound a destination to, erm, somewhere, onboard entertainer Eadie Allen (Alice Faye) starts falling with Andy Mason (James Ellison), who is shortly about to report for duty in the South Pacific. The reprise occurs as a film-ending fantasia, complete with Busby Berkeley's oftentimes kaleidoscopic mass choreography, which he popularized in the 1930s (although they were already out-of-fashion by the time he made The Gang's All Here).

In the days of Old Hollywood, key cast and crewmembers were contracted specifically to the major studios. Some of the major studios had their signature musical stars. Among musical actresses? Judy Garland was contracted to Metro-Goldwyn-Mayer (MGM); Doris Day to Warner Bros; Deanna Durbin for Universal; Ginger Rogers for RKO while partnering with Fred Astaire. Until her being blackballed for a perceived breach of contract, it was Alice Faye who was 20th Century Fox's principal musical actress (she was supplanted by close friend Betty Grable). Faye makes her MOABOS debut, and it won't be the last time we see her.

“Love Survives”, music and lyrics by Al Kasha, Joel Hirschhorn, Mike Curb, and Michael Lloyd, All Dogs Go to Heaven (1989)

Performed by Irene Cara and Freddie Jackson

“Love Survives” appears as the first song in the end credits of this animated musical fantasy directed by Don Bluth (1986's An American Tail, 1988's The Land Before Time). To preempt your questions about the YouTube comments in the provided link, it should be noted that this song was dedicated to voice actress Judith Barsi – who plays the human protagonist, Anne-Marie, in this movie (and Ducky in the original Land Before Time) – after she and her mother were both murdered by her father before this film was released.

“A Mighty Wind”, music and lyrics by Eugene Levy, Christopher Guest, and Michael McKean, A Mighty Wind (2003)

Performed by The Folksmen (Christopher Guest, Michael McKean, and Harry Shearer); Mitch & Mickey (Eugene Levy and Catherine O'Hara); and The New Main Street Singers (John Michael Higgins, Jane Lynch, Parker Posey, Christopher Moynihan, David Blasucci, Mark Nonisa, Steve Pandis, and Patrick Sauber)

In this mockumentary comedy directed by Christopher Guest, the son (Bob Balaban) of an acclaimed folk music producer tries to put together a memorial concert on public TV to honor his late father, asking the three most famous of his father's acts to participate. After some drama among all three groups, they all come together for the concert, with this number concluding the occasion.

The video provided is from the public television alternative print that was offered as a DVD extra, not how this scene was shot in the movie. I have decided to provide the public TV alternative because the original is not available on YouTube (and also because the public TV version mirrors closely how it was shot in the film). No apologies for that dirty lyric.

“Old Joe's Place”, music and lyrics by Christopher Guest, Harry Shearer, and Michael McKean, A Mighty Wind (2003)

Performed by The Folksmen (Christopher Guest, Michael McKean, and Harry Shearer)

In this mockumentary comedy directed by Christopher Guest, the son (Bob Balaban) of an acclaimed folk music producer tries to put together a memorial concert on public TV to honor his late father, asking the three most famous of his father's acts to participate. In this segment covering the Folksmen, we see some archival footage of one of their performances back at the height of their popularity. Please don't make me explain the punchline in this song.

The sharp-eyed and widely-watched among you will notice that those three men are the same people who comprise the fictional band Spinal Tap from the mockumentary This is Spinal Tap (1984). At the very few concerts that Spinal Tap have given, the Folksmen are usually the opening act.

“Paducah”, music by Harry Warren, lyrics by Leo Robin, The Gang's All Here (1943)

Performed by Benny Goodman and His Orchestra, Carmen Miranda, and Tony DeMarco

Appearing late in The Gang's All Here, “Paducah” – in yet another example of American songwriters taking their song titles from funny-sounding American placenames – is the opening number of the war bond party that wraps up this film's narrative.

See my note for “The Lady in the Tutti Frutti Hat” in Group A.

“Roll Up Sailorman”, music by Eric Ansell, lyrics by Henrik Ege, Big Fella (1937)

Performed by Paul Robeson

(use in film; begins at 21:44, ends at 23:32) / (soundtrack)

In a racially integrated, blue-collar neighborhood in Marseille, dockworker Banjo (Robeson) comes to the local café to enjoy an evening. Earlier in the day, the local police – noting Banjo's good reputation in the hardscrabble community, request him to listen and report back on the local gossip. As he and the café patrons sing together, he is wrestling with his own sense of morals and place among his friends.

“The Sneak Song”, music by Ben Please and Beth Porter, lyrics by Mikey Please, Robin Robin (2021 short)

Performed by Bronte Carmichael, Adeel Akhtar, Amira Macey-Michael, Tom Pegler, Endeavour Clutterbuck, and Megan Harris; reprise also performed by Richard E. Grant

Robin Robin was one of last year's Academy Award nominees for Best Animated Short Film. The film, an Aardman Animations (Wallace and Gromit, Shaun the Sheep, 2000's Chicken Run)  production, stars a Robin (Carmichael) raised by a family of mice. Robin joins the family's attempt to sneak into a "Who-Man's" house and take away some food. The provided video includes the initial performance and reprise.

“Tomorrow is the Song I Sing”, music by Jerry Goldsmith, lyrics by Richard Gillis, The Ballad of Cable Hogue (1970)

Performed by Richard Gillis

In this American Western film's opening minutes, Cable Hogue (Jason Robards) has been abandoned in the desert by his two companions. He wanders the Arizonan desert, speaking in a folksy demeanor to no one but God as if trying to bargain over his desperate situation. The opening credits play during this song and Cable's exhortations to the Lord. For film score fans: this movie was released one month after Patton (which Jerry Goldsmith also scored).

“Why Should I Worry?”, music and lyrics by Dan Hartman and Charlie Midnight, Oliver & Company (1988)

Performed by Billy Joel

(use in film) / (soundtrack version)

Early in this adaptation of Charles Dickens' Oliver Twist (but where almost all the characters are sassy talking animals), the dog version of Billy Joel, Dodger, reneges on a deal with young orphan cat Oliver (Joey Lawrence) to steal hot dogs from a human vendor.

Group B participants include: @idontknowmuchaboutmovies, @introspectivemeltdown, @plus-low-overthrow, @umgeschrieben, @underblackwings, @yellanimal, Sixteen others including myself and my sister are currently slated to be voting in Group B.

Have a question or comment about MOABOS's processes? Maybe you would like to know something more about a song or a movie featured in this year's competition? Well, just ask yours truly! If you are having difficulty accessing any of the songs (especially if region-locked) or if there are any errors in the links above or the playlist, please let me know as soon as possible.

To all of you, my thanks all for your support for the Movie Odyssey, the blog, and for me personally over this last calendar year and beyond. It's a privilege and a pleasure to share all this music and (at least excerpts of) these movies with you. It's my hope you find this entertaining and enlightening about cinema and the music that goes along with it. You will be contacted for the final round regardless of your participation or non-participation in the preliminary. If turnout in one group is lagging behind compared to another, I will ask some of the more senior participants to participate in the other group, too. Do not worry too much about this if you cannot participate, although I will be checking in as the deadlines get close. Happy listening, and I hope you have fun!

TABULATION FOR THE PRELIMINARY ROUND This preliminary round uses a points-based, ranked choice method which has been used since the first time I asked friends, tumblr followers, and family to help out. A respondent’s first choice receives 10 points, the second choice receives 9, the third choice receives 8, etc. The winner is the song that ends up with the most total points. The tabulation method described here for the preliminary round is used only as a tiebreaker in the final round (more on how the final is tabulated when we get there).

The tiebreakers for the preliminary are:

total points earned;

total #1 votes;

song(s) which is/are ranked higher on more ballots than the other(s);

average placement on my and my sister's ballots;

tie declared

[disney-film-tourney]

Tie breaker went up late, so this heads up isn't super optimal, but 16 hours left, with Chai (56.2%) in the lead.

And 8 hours left for Prelims Round 4, with the following in the lead:

- Big sister: Fucsia (42.7%), Hazel (18.3%)

- Cranky: Apollo (37.3%), Static (22%)

- Jock: Scoot (37.3%), Hamlet (18.2%)

- Lazy: Punchy (40.4%), Beau (31.6%)

- Normal: Fauna (35.9%), Lolly (28.3%)

- Peppy: Bunnie (55.4%), Piper (23.1%)

- Smug: Marshal (60.3%), Henry (17.2%)

- Snooty: Julia (27.9%), Purrl (23%)

- Special: Flick (48.5%), Mabel (22.1%)

Please vote if you haven't yet! Have a good night/day 🌻

[characterswithcolorsnamesfight]

Propaganda for Prelim Poll 22

(Vote here)

Amber Brown (Amber Brown series) :

"Look, ok these were the first books I actually read, on my own, as something I wanted to do, for fun. I HATED reading, but the title Amber Brown is Not a Color made me laugh so hard I had to read it. They're good books from what I remember. With good lessons for kids, that are very good at reading the way most kids that age think!

I know she's not gonna get any other votes but I just had to enter her!!"

Oocoo (Legend of Zelda) :

"Named after the color code 00CC00, the color of Link's tunic in the first Zelda game. "

Violet "Vi" (Bug Fables) :

No propaganda yet

Gurin Midori (Yandere Simulator) :

"Her name literally translates to "Green green", so I think she's a pretty good fit for this tournament lol"

Narancia Ghirga (Jojo's Bizarre Adventure) :

"Ok so technically he's named after the fruit orange in italian (arancia) but at the end of the day it's night. and the word for the color and fruit in italian is the same. Anyway he's really cool and his power is literally a toy aeroplane that shoots real bullets and it's called Aerosmith. like the band. and he's a funny little guy"

Mr. Gray (The Raven Cycle) :

"The character is an assassin that is only known to most of the characters by his code name. No one in the books refers to him by his real name"

Madam Red a.k.a Baroness Angelina Dalles-Burnett (Black Butler) :

No propaganda yet

Violet Bridgerton (Bridgerton)

No propaganda yet

Yellow Diamond (Houseki no Kuni) :

No propaganda yet

[animemusicbrackets]

Vocaloid Song Showdown!!!: Prelims Part C Brackets

You can find the preliminary brackets, as well as the full list of submissions here

ALL MATCHES CAN BE FOUND AT THIS LINK

All prelim matches were made with a random sorter. They will all be posted at noon EST, and will last for one week. This is the final preliminary round, and there will be two winners per match that will advance to the final bracket (8 total winners).

The Preliminaries Part C will be released as follows:

Sunday, March 3rd

Match 19:

"Electric Angel (Giga-P Arrangement)" by Yasuo-P and Giga-P; feat. Kagamine Rin & Len

"Doctor=Funk Beat" by nyanyannya; feat. KAITO (with maimie, Shindou Gaku, Amaoto Junca, and Dashio)

"Children Record" by Jin; feat. IA

"World is Mine" by ryo; feat. Hatsune Miku

"Love Me, Love Me, Love Me" by Kikuo; feat. Hatsune Miku

Match 20:

"Remote Control" by WONDERFUL☆OPPORTUNITY; feat. Kagamine Rin & Len

"Reckless Battery Burns" by GHOST and Vane; feat. Kevin

"Common World Domination" by Pinocchio-P; feat. Hatsune Miku

"↑Game of Life↓" by Yuzuhiko; feat. Hatsune Miku

"Jailbreak" by Neru; feat. Kagamine Rin

Match 21:

"Karakuri Pierrot " by 40mP; feat. Hatsune Miku (with GUMI)

"Can't I Even Dream" by Fumii; feat. Hatsune Miku

"Sand Planet" by Hachi; feat. Hatsune Miku (with Hachi)

"Jitterbug" by Kuriyama Yuri; feat. Hatsune Miku and MEIKO

"*Hello, Planet." by sasakure.UK; feat. Hatsune Miku

Match 22:

"Meteor" by Jonsann; feat. Hatsune Miku

"The Madness of Duke Venomania" by MOTHY; feat. Camui Gackpo (with KAITO, GUMI, MEIKO, Megurine Luka, and Hatsune Miku)

"Honey I'm Home" by GHOST; feat. DEX

"Crazy ∞ nighT" by teamOS; feat. Hatsune Miku, Kagamine Len, Kagamine Rin, GUMI, Camui Gackpo, Megurine Luka, KAITO, and MEIKO

[mango-pup]

British Riding Club Area 22 competition this weekend. Blue pony danced his socks off to win the Prelim dressage 😊. Love him.

[mar-why-am]

22/06/23

June exams are finally over!!!

I feel a bit disappointed in myself. These exams gave me a beating 😞

I plan on using this holiday to study topics I didn't fully understand.

Prelims I will be more prepared.

[actualbird]

22?

eyyo anon :DDD

22. How organized are you with your writing? Describe to me your organization method, if it exists. What tools do you use? Notebooks? Binders? Apps? The Cloud?

my organizational skills

are bad

they are bad.

they are very bad everywhere, and that includes in writing.

i primarily use googdrive and googdocs and at first glance, my fanfic folder looks aight. it’s color coded per fandom (archive downloads r works of mine downloaded the pdf for as a backup)

but once u go into the folder, it’s no man’s land. heres the tot folder, zoomed out VERY MUCH to see a glimpse

i have over 100+ docs in the tot folder and uh

this is cuz whenever i have Any Idea, i make first a preliminary doc for it. that prelim doc, if i develop it enough, eventually becomes the outline doc as well. for the actual fic, i create a new doc so i can have the outline doc and the actual fic doc open in different windows, split screen, as i write

but when fics get long, i have the tendency to split each chapter into a separate doc

and if u can see, some docs are blank. those are Actual Fic docs i made as a placeholder cuz i developed the outline doc but have yet to do the actual writing bit

additionally, INSIDE every outline doc is a mess. bcuz im an insane person who can only write w a detailed skeleton first, so my outline docs usually end up as half the wc of the actual finished fic. my outline for the shovel talk fic, for example, is 5k words long. and that doc isnt just arranged like CHAPTER 1, CHAPTER 2, noooo, it’s also arranged with subheaders that say “STUFF I WANT TO HAPPEN, USE THIS AT SOME POINT” and “DONT FORGET THESE THEMES” 

additionally additionally, i have a discord server that only has me in it and i use the channels just for keeping info. i have an entire channel just for dumping fic ideas that popped into my head, fic ideas that have only gone through 0.000005 development

the fic ideas in there span from just a paragraph of description or it’s just a link to a twt thread i did at some point, leaving me completely clueless as to where it goes

basically what ive done to myself is create endless labyrinths upon labyrinths of words. hilariously, this is the only way i know how to function JHVKJSHFVKJSHDFJ

thank u for the ask, anon :DDD