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MEET THE PERFORMERS: VISITING ARTISTS Later that year, Fantasia released her platinum-selling debut album Free Yourself and became the first artist in the history of the Billboard Hot chart to debut at #1 with her first single . Fantasia Official Website. Latest News. fb/fantasia. Latest Tweets. @ tasiasWord. So it's a look I'm going for and it's going to take some “HARD” work. Artist-Fantasia are fun and colorful RP group that have setting on tropical island. The group will follow their Let's meet our heroes of ALOHAWEEN PARTY~~.
The producers felt that some break between the musical segments was necessary to "cleanse the palate", so a series of "interstitials" were directed by Disney animation producer Don Hahn. Instead of using a single narrator as in Fantasia, the individual pieces are introduced by people from different areas of the art world. After the film opens with Beethoven's Fifth, Steve Martin discusses the history of Fantasia being a continuing concept and is immediately followed by Itzhak Perlman, who introduces Pines of Rome.
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Quincy Jones leads into the Gershwin number, and Bette Midler gives an introduction to the Shostakovich concerto, both featuring on screen the piano players for the respective pieces.
When this piece concludes with Mickey Mouse's conversation with conductor Leopold Stokowski from the original Fantasia, Mickey then moves on to chat with Levine before the latter introduces Pomp and Circumstance. The final sequence of The Firebird is introduced by Angela Lansbury. This sound system was put to comical effect in the narrative segment preceding Pomp and Circumstance, where Mickey Mouse went searching for Donald Duck.
The soundtrack gave the illusion that Mickey Mouse was running about the theater, behind the audience's seating. The film premiered at Carnegie Hall in New York City on December 17,for three nights as part of a five-city concert tour. The animation was presented on a screen above the stage while the Philharmonia Orchestra performed the music under the direction of Levine, who used a video auto-cue to time the music to the images.
Its consensus states that "It provides an entertaining experience for adults and children alike". Roger Ebert of the Chicago Sun-Times describes some of the animation as "powerful" though others are "a little pedestrian", but noted the film was "splendid entertainment" and rated it three stars out of four.
In his review for The New York Times, film critic Stephen Holden wrote that the film "often has the feel of a giant corporate promotion whose stars are there simply to hawk the company's wares" while noting the film "is not especially innovative in its look or subject matter.
- Fantasia Barrino
These are currently unavailable, "locked" in the " Disney Vault ", and currently exclusively sold at Target. The Pomp and Circumstance segment was added at the insistence of Disney CEO Michael Eisnerwho had just seen his son graduate and wanted a song "everyone can relate to.
In fact, a glimpse of Nutcracker can be seen in the original trailer.
Fantasia ( film) - Wikipedia
Although never mentioned, the main characters of the Rhapsody in Blue segment all have names: The construction worker is named Duke. The man who needs a job is, appropriately, named Jobless Joe. The little girl is named Rachelnamed and modeled after Eric and Susan Goldberg's youngest daughter. Rachel's real-life sister Jenny was the model for a character in Rachel's scenes, the girl with blue hair that can perform all the actions that Rachel can not. At the time the segment was being produced, the real Jenny had blue hair.
The portly fellow is named John, sometimes referred to by the animators as " Flying John ", and he is named after animation historian John Culhane, who was also the inspiration for the character Mr.
Snoops in The Rescuers. He was originally based on Al Hirschfeld's caricature of writer Alexander Woollcott. Duke and Jobless Joe are not named after particular individuals. Mahalia Jackson, Queen of Gospel. Barrino also would receive not only the top salary in the project but a percentage of the box office revenue the film creates.
Production was originally planned to begin in October in New Orleans and Chicago with a release date of late and a premiere at the Cannes Film Festival. Barrino's reputation, character and image. With the shutdown, Barrino and all other artists previously signed to these three labels will release her future material on the RCA Records brand. On December 19,Barrino premiered her new single, " Lose to Win ".
During an interview on Steve Harvey 's morning radio show, Barrino revealed that the album's release date would be March 13, However, on February 28,via her Facebook page, Barrino announced that her album would be released on April 23, The album was available for pre-order on March 19, Barrino starred in the musical revue After Midnight which opened on Broadway on November 3,with previews beginning on October 18 at the Brooks Atkinson Theatre. Her role ended on February 9, She had received rave reviews from critics for her performance.
New York Post wrote " Barrino's heartfelt performance in "The Color Purple," I was surprised at how smoothly and intuitively she slid into the vocal persona of a jazz singer. On March 20,it was announced that Barrino will return to the production for a second stint for four weeks, beginning on May 13 through June 8. Barrino appeared on Dave Koz 's new Christmas album, December 25, which consisted of a collection of Christmas-themed duets.
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The album was released on September 30, In November, Barrino announced that she had started work on her next album. She posted a short clip of her and R. Kelly in the studio on her official Instagram account. In it, she revealed she was functionally illiterate and was unable to read the text of contracts she signed or to read to her then four-year-old daughter.
Dickens said, "'Her injuries are not life threatening Fantasound The Disney brothers contacted David Sarnoff of RCA regarding the manufacture of a new system that would "create the illusion that the actual symphony orchestra is playing in the theater.
With one containing the picture film with a mono soundtrack for backup purposes, the other ran a sound film that was mixed from the nine tracks recorded at the Academy to four: For this, a tone-operated gain-adjusting device was built to control the levels of each of the three audio tracks through the amplifiers.
Mixing of the soundtrack required six people to operate the various pan pots in real time, while Stokowski directed each level and pan change which was marked on his musical score. To monitor recording levels, Disney used oscilloscopes with color differentiation to minimize eye fatigue. RKO balked at the idea of distributing Fantasia, which it described as a "longhair musical",  and believed its duration of two hours and five minutes plus intermission was too long for a general release.
A total of thirteen roadshows were held across the United States; each involving two daily screenings with seat reservations booked in advance at higher prices and a fifteen-minute intermission.
Disney hired film salesman Irving Ludwig to manage the first eleven engagements,  who was given specific instructions regarding each aspect of the film's presentation, including the setup of outside theater marquees and curtain and lighting cues. Patrons were taken to their seats by staff hired and trained by Disney,  and were given a program booklet illustrated by Gyo Fujikawa.
He gave in as the studio needed as much income as possible to remedy its finances, but refused to cut it himself, "You can get anybody you want to edit it I can't do it. Its running time was restored to one hour and fifty-five minutes. This edit would be the standard form for subsequent re-releases, and was the basis for the restoration.
I had Fantasia set for a wide screen. I had dimensional sound To get that wide screen I had the projector running sideways I had the double frame. But I didn't get to building my cameras or my projectors because the money problem came in The compromise was that it finally went out standard with dimensional sound.
I think if I'd had the money and I could have gone ahead I'd have a really sensational show at that time. Using the remaining Fantasound system at the studio, a three-track stereo copy was transferred across noise-free telephone wires onto magnetic film at an RCA facility in Hollywood.
This was achieved by placing the cues that controlled the mechanism on a separate track in addition to the three audio channels. Only selected parts of the animation were stretched, while all live action scenes remained unchanged. Its running time was fifty-six seconds longer than the previous issue which is unexplained. Fantasia was issued on a regular basis, typically for exhibition in art houses in college towns, until the mids.
It had not been removed earlier as the credit sequence would have required to be re-shot. A two-and-a-half-minute reduction in the film's running time in this version remains unclear in existing records.
First released on April 2, this version of the film marked the first time a film's soundtrack had been digitally re-recorded in its entirety. To replace Stokowski's recordings, the noted film conductor Irwin Kostal was engaged. However, for Night on Bald Mountain he used the standard arrangement by Nikolay Rimsky-Korsakov instead of Leopold Stokowski's own edition that was part of the original soundtrack. The new recording also corrected a two-frame lag in projection caused by the recording techniques used in the s.
The film underwent a two-year restoration process which began after a six-month search to piece together the original negatives that had been in storage since This marked the first time since then that a release of the film had been processed from the original and not from a copy.
This was also the case for The Pastoral Symphony, forcing the lab to use duplicate film. In the United States, it debuted the Billboard chart at numberits peak position, for the week of November 17, In Januaryit was certified platinum for sales in excess of one million copies.
The day release prompted 9.