Tag: lin manuel miranda

Cómo la compositora de ‘Encanto’, Germaine Franco, llevó la magia y los sonidos de Colombia a oyentes de todo el mundo

February 3, 2022

De vez en cuando, se lanza una película con una banda sonora que los fanáticos no pueden quitarse de la cabeza. Tal es el caso de Encanto, que se estrenó en los servicios de streaming de Disney en noviembre y desde entonces ha presentado a la familia Madrigal a personas de todo el mundo.

La historia de Maribel Madrigal y su madre, tía, tío, hermanas y primas mágicamente dotadas tiene lugar en Colombia y cuenta con el apoyo de un elenco de actores, cantantes y productores latinos, incluida la compositora Germaine Franco, el compositor Lin-Manuel Miranda, y el cantautor Sebastian Yatra. Pero el mensaje de la película, sobre la obligación con la familia, el legado del trauma y la presión para conformarse, es universal, razón por la cual la banda sonora se ha escuchado masivamente en más de 20 idiomas y ha alcanzado el número uno entre los mejores álbumes escuchados en Spotify en 2022.*

Hasta el momento, la banda sonora de Encanto tiene más de 494 millones de streams en todo el mundo,** y los países con mayor índice de escucha son Colombia, Estados Unidos, Filipinas, Panamá, Islandia y el Reino Unido. 

Parte de lo que está atrayendo a tanta gente de regreso a Encanto son los múltiples éxitos destacados, como “Dos Oruguitas”, que le valió a Sebastián Yatra su primer sencillo entre los 20 primeros, y  “We Don’t Talk About Bruno” / “No se Habla de Bruno”, que se convirtió en la primera canción número uno de Lin-Manuel en Spotify en los Estados Unidos. a principios de enero y ahora tiene más de 100 millones de streams en Spotify.*** 

También está dominando las listas internacionales, asegurando el puesto número uno en la lista Top 50 del Reino Unido de Spotify. Otras tres canciones de la banda sonora se ubicaron entre las diez primeras en la lista de consumo de canciones de Estados Unidos, incluidas “Surface Pressure,” “What Else Can I Do?”, y “The Family Madrigal”. 

“Saber que ‘No Se Habla de Bruno’ ha tocado tantos corazones de tantas generaciones diferentes de manera orgánica es increíble, y estar en el Top 50 de las listas musicales de Spotify es enorme”, dijo Carolina Gaitan – La Gaita, quien interpreta a la Tía Pepa de Mirabel y lidera las voces en “Bruno” en las bandas sonoras en inglés y español de Encanto. “Creo que ha sido una sorpresa para todos, pero sin duda ha sido la sorpresa más bonita de mi vida”.

La creación de Encanto es quizás tan mágica como la historia misma. La huella sonora de Encanto se puede atribuir en gran medida a la compositora mexicano-estadounidense Germaine Franco, quien anteriormente había trabajado con Disney y Disney Animation como compositora, productora musical y orquestadora. Sin embargo, esta fue la primera vez que Germaine asumió el papel de compositora principal de una película de Disney, lo que la convirtió en la primera mujer en ocupar este puesto en la compañía. Después de trabajar con Lin-Manuel y Tom MacDougall, presidente de Disney Music, en una función animada anterior de Disney, la pareja le pidió a Germaine que se uniera al proyecto y colaborara con Lin-Manuel en los arreglos orquestales, la orquestación y la producción adicional de las canciones de Lin-Manuel.

For the Record habló con Germaine sobre la composición de Encanto, incluida la tarea que hizo para dar vida a la música colombiana en la pantalla.

¿Cómo te preparaste para este proyecto?

Para cada partitura que creo, me gusta sumergirme profundamente en la cultura de los protagonistas y las regiones específicas a la ubicación en la narración. Pasé muchas horas escuchando y estudiando las estructuras, instrumentación, estilos de interpretación, armonías, melodías y ritmos de la música tradicional colombiana. Sentí que los instrumentos colombianos me iban a dar inspiración, y así fue, especialmente la arpa llanera y la marimba de chonta, y sabía que la partitura sería mucho más rica si escucháramos las voces auténticas de músicos y cantantes colombianos.

¿Cómo introdujiste en la partitura elementos del “realismo mágico”, un tema literario prominente entre autores latinoamericanos/colombianos famosos?

Cuando recibí la llamada por primera vez, volví al corazón del realismo mágico leyendo a Gabriel García Márquez en español. También leí textos históricos sobre historia, música y literatura colombianas. Vi documentales y videos sobre la cultura colombiana. Quería conectar con ese mundo más allá de la “realidad” de lo que se ve. Me imaginé en ese mundo. Seguía pensando “¿Cuál es el sonido del realismo mágico?” mientras trabajaba.

Un elemento clave del realismo mágico en la partitura es la voz femenina. Imaginé que las voces de las mujeres serían representativas de este mundo. Me conecté profundamente con la tradición del estilo de cantadora presente en las regiones afrocolombianas de Colombia, y luego grabamos un coro en vivo de Colombia con Isa Mosquera, una de los coristas de la banda de Carlos Vives, y un coro de veintidós voces aquí en Los Ángeles.

Otro aspecto del sonido del realismo mágico que construí proviene del sonido de muchas flautas hechas de madera natural, bambú, tocadas por el exquisito Pedro Eustache. La voz de Pedro se puede escuchar a lo largo de la partitura. Si escuchas, escucharás la gaita, una flauta tradicional de Colombia y uno de mis instrumentos favoritos en la partitura.

¿Qué significa para ti y para otras mujeres o compositoras latinas tu participación en esta película?

Cuando me llamaron por primera vez para trabajar en la película, estaba encantada de poder trabajar con Lin-Manuel y los cineastas. No pensé demasiado en “primeras veces”. Mi objetivo principal era crear la mejor banda sonora posible para esta hermosa película. Quería tener éxito como artista y darle a la música un sonido latino auténtico. Encanto es un hito para Walt Disney Animation Studios porque es su largometraje número 60, así que sentí que era una responsabilidad importante de mi parte dar una voz larina fuerte a los personajes principales, Mirabel y su abuela, a través de la música. 

Estoy muy agradecida de tener esta oportunidad de abrir la puerta a otras mujeres y personas de color. Es importante para mí que veamos más equidad tanto delante como detrás de la cámara, y es notable que solo soy uno de los muchos creativos latinos en la película. Contábamos con Lin-Manuel Miranda, un elenco íntegramente latino, la productora Yvett Merino, la co-directora y la guionista Charise Castro-Smith, el productor de canciones Mike Elizondo, Sebastián Yatra, y Carlos Vives. Esta película es un ejemplo del poder de las voces auténticas en el cine y la música que colaboran para inspirar a nuestro mundo. Es una señal de que la industria está cambiando, aunque lentamente. ¡Celebro el hecho de que millones de familias de todos los países, mujeres y personas de color se vean en la pantalla y disfruten de la banda sonora!

La banda sonora de Encanto ya está teniendo un gran éxito comercial, alcanzando el número dos en la lista de álbumes globales de Spotify y el número uno en la lista de álbumes de Estados Unidos de Spotify en 2021. ¿Cuáles son sus esperanzas para la música más allá de la película?

Espero que Encanto toque los corazones de millones e inspire a muchos a salir y obtener su primer instrumento y aprender a tocar. Estoy muy agradecida con todos los fanáticos de la película en todo el mundo que se toman un tiempo de sus ocupadas vidas para participar en la experiencia cinematográfica que llevamos años creando para ellos. Significa mucho. Cuando veo algunas de las reacciones a la película en las redes sociales, me reconforta saber que todo el equipo creativo y yo hemos tenido el privilegio de ser parte de sus vidas de una manera pequeña. Realmente creo que la música tiene el poder de unir a las personas en todo el mundo. ¡Muchas gracias a todos los fanáticos de Encanto en todo el mundo! ¡Que se diviertan!

¿Listo para hablar de Bruno? Escucha la banda sonora de Encanto y sumérgete por completo en la historia de la Familia Madrigal. 

*Al 27 de enero de 2022

**A partir del 1 de febrero de 2022

**A partir del 20 de enero de 2022

How ‘Encanto’ Composer Germaine Franco Brought the Magic and Sounds of Colombia to Listeners Around the World

February 3, 2022

Every so often, a movie is released with an accompanying soundtrack that fans can’t get out of their heads. Such is the case with Encanto, which premiered on Disney streaming services in November and has since inducted people all over the world into the Madrigal family. 

The story of Maribel Madrigal and her magically gifted mother, aunt, uncle, sisters, and cousins takes place in Colombia and is supported by a cast of Latinx actors, singers, and producers, including composer Germaine Franco, songwriter Lin-Manuel Miranda, and singer-songwriter Sebastian Yatra. But the film’s message—about obligation to family, legacies of trauma, and pressure to conform—is universal, which may be why the soundtrack has been streamed abundantly in over 20 languages and has reached number one on the top albums streamed on Spotify in 2022.*  

So far, the Encanto soundtrack has over 494 million all-time plays globally,** and the countries streaming at the highest rates include Colombia, the United States, the Philippines, Panama, Iceland, and the U.K. Part of what’s bringing so many people back to Encanto are the multiple standout hits, like “Dos Oruguitas,” which earned Sebastian Yatra his first top-20 single, and “We Don’t Talk About Bruno,” an ensemble-driven salsa son montuno (mountain sound) that features a majority of the cast. 

“Bruno” became Lin-Manuel’s first global number one song on Spotify in the U.S. in early January and now has more than 100 million streams on Spotify.*** It has also been dominating across international charts, securing the number one spot on Spotify’s U.K. Top 50 songs list and U.K. Weekly, along with topping the U.K.’s Official Singles Chart for the last two weeks. Three other songs from the soundtrack have made it to the top 10 on the U.S. Songs Consumption chart, including “Surface Pressure,” “The Family Madrigal,” and “What Else Can I Do?” 

“Knowing that ‘We Don’t Talk About Bruno’ has touched so many hearts of so many different generations in an organic way is very big, and being in the Top 50 on the music charts on Spotify is huge,” said Carolina Gaitan – La Gaita, who plays Mirabel’s Tía Pepa and leads the vocals on “Bruno” on the English and Spanish soundtracks of Encanto. “I think it has been a surprise for everyone, but without a doubt it has been the most beautiful surprise of my life.”

The making of Encanto is perhaps as magical as the story itself. Encanto’s audio signature can be largely attributed to Mexican-American composer Germaine Franco, who had previously worked with Disney and Disney Animation as a songwriter, music producer, and orchestrator. This was the first time Germaine took the role of lead composer for a Disney film, however, making her the first woman to hold this position at the company. After working with Lin-Manuel and Tom MacDougall, President of Disney Music, on a previous Disney animated feature, Germaine was asked by the pair to join the project and collaborate with Lin-Manuel on orchestral arrangements, orchestration, and additional production on his songs. 

For the Record spoke with Germaine about composing for Encanto, including the homework she did to bring Colombian music to life on screen. 

How did you prepare for this project?

For each score that I create, I like to dive deep into the culture of the protagonists and the regions specific to the location of the storytelling. I spent many hours listening to and studying the structures, instrumentation, performance styles, harmonies, melodies, and rhythms of traditional Colombian music. I felt that the Colombian instruments would provide me with inspiration, which they did—especially the arpa llanera (Colombian harp) and the marimba de chonta (Afro-Colombian marimba), and I knew that the score would be much richer if we were able to hear the authentic voices of Colombian musicians and singers. 

How did you bring elements from “magical realism”—a prominent literary theme among famous Latin American/Colombian authors—to life in the score?

When I first got the call, I went back to the heart of magical realism by reading Gabriel García Márquez in Spanish. I also read historical texts about Colombian history, music, and literature. I watched documentaries and videos about Colombian culture. I wanted to connect to that world beyond the “reality” of what is seen. I imagined myself in that world. I kept thinking, “What is the sound of magical realism?” as I worked.

One key element of magical realism in the score is the female voice. I imagined that the voices of women would be representative of this world. I connected deeply to the tradition of the cantadora style of singing present in the Afro-Colombian regions of Colombia. And later, we recorded a live choir from Colombia featuring Isa Mosquera, one of the backing vocalists in Carlos Vives’ band, and a 22-piece choir here in Los Angeles.

Another aspect of the sound of magical realism I constructed comes from the sound of many flutes made of natural wood—bamboo—played by the exquisite Pedro Eustache. Pedro’s voice can be heard throughout the score. If you listen, you will hear the gaita, a traditional flute from Colombia and one of my favorite instruments on the score.

What does your involvement in this film mean to you and for other women or Latinx composers?

When I was first called to work on the film, I was elated to be able to work with Lin-Manuel and the filmmakers. I didn’t think too much about “firsts.” My main goal was to create the best possible score for this beautiful film. I wanted to succeed as an artist and to give the music an authentic Latinx sound. Encanto is a milestone for Walt Disney Animation Studios because it’s their 60th feature film, so I felt that it was an important responsibility on my part to bring a strong Latina voice to the main characters, Mirabel and Abuela, through the music.  

I’m very grateful to have this opportunity to open the door for other women and people of color. It’s important to me that we see more equity both in front of and behind the camera, and it’s notable that I am only one of many Latinx creatives on the film. We had Lin-Manuel Miranda, an entirely Latinx cast, producer Yvett Merino, co-director and screenwriter Charise Castro-Smith, song producer Mike Elizondo, Sebastián Yatra, and Carlos Vives. This film is an example of the power of authentic voices in film and music collaborating to inspire our world. It is a sign that the industry is changing, albeit slowly. I celebrate the fact that millions of families from all countries, women, and people of color are seeing themselves on screen and enjoying the soundtrack!

The soundtrack to Encanto is already seeing immense success commercially, hitting number two on the Spotify Global Album chart and number one on the Spotify U.S. Album chart in 2021. What are your hopes for the music beyond the film?

I hope Encanto touches the hearts of millions and inspires many to go out and get their first instrument and learn to play. I am so thankful to all of the fans of the film around the world who take time out of their busy lives to take part in the cinematic experience we’ve spent years creating for them. It means a lot. When I see some of the reactions to the film on social media, it warms my heart to know that the entire creative team and I have had the privilege to be a part of their lives in some small way. I truly think that music has the power to unite people across the world. Thanks so much to all of the fans of Encanto worldwide! ¡Que se diviertan!

Ready to talk about Bruno? Stream the Encanto soundtrack for a full immersion into the story of the Familia Madrigal.  

*As of January 27, 2022

**As of February 1, 2022

***As of January 20, 2022

The Challenges and Opportunities in Transforming the ‘Song Exploder’ Podcast Into a Netflix Show

October 13, 2020

In 2014, Hrishikesh “Hrishi” Hirway first combined music and podcasts with Song Exploder, a biweekly podcast that explores a popular song through an intimate discussion with the track’s creator. Artists ranging from The Postal Service to Dua Lipa have taken to the mic to explain their craft and process. In 2016, Hrishi started fiddling with another combination—turning the podcast into a TV show. He partnered with Morgan Neville, a film producer, director, and writer best known for some of his documentaries about musicians and songwriters, like 20 Feet From Stardom and Johnny Cash’s America. They embarked on the task of turning an audio show into a visual one, a project that would take two years—and plenty of hard questions.

This October, their hard work paid off when Song Exploder landed on Netflix. Each of the four episodes explores a singular track from creators Alicia Keys, Lin-Manuel Miranda, R.E.M., and Ty Dolla $ign in a new visual fashion that keeps the Song Exploder podcast at its core. 

Revisit the Biggest Songs, Artists, and Cultural Moments of the Last 10 Years with Spotify’s ‘The Decade Wrapped’ Podcast

December 16, 2019

With 2020 right around the corner—and the 2010s coming to a close—we’re taking a journey through the last decade in music with a new original podcast, The Decade Wrapped.

The podcast’s host, Eric Eddings, will be joined by critics, comedians, influencers, and writers as they look back at the music stories that defined pop culture between 2010 and 2019. This 10-episode series incorporates data and insights from Spotify’s popular Wrapped campaign. Launched earlier this month, the campaign revealed through personal Wrapped e-cards what our listeners have been streaming—not only over 2019, but over the past decade—as well as what the world listened to during that time. 

The first three episodes are available starting today, December 16, in the U.S. (The next seven episodes will be released daily over the course of the week.) Get a taste for the episode topics and featured songs:

2010: Nicki Minaj Tells Us to “Check It Out”/Female-Driven Pop

In the early 2010s, women like Lady Gaga, Taylor Swift, Rihanna, and Katy Perry took the stage . . . but no one matched the omnipresence of Nicki Minaj. Before even dropping a full album, she was featured on tracks by Lil Wayne, Kanye, will.i.am, and Gucci Mane. Her debut album, Pink Friday, didn’t disappoint—and over the years she became a force in hip-hop.

2011: One Direction (Re)invents the Stan

In 2011, British boy band One Direction recorded their first album, released “What Makes You Beautiful,” and finished up their first tour. One Direction’s teen audience was fully internet literate and ready to make the band their own. Fanfiction and fanart take flight. So of course we had no choice but to stan.

2012: “Gangnam Style” Introduces K-Pop to the U.S.

One of the most-watched videos in the history of YouTube, “Gangnam Style” set the stage for K-Pop hits like BTS to come. The song, which has been streamed over 208 million times on Spotify, is credited with bringing Korean culture into the American mainstream.

2013: Harlem Shake[s the Internet]

If there was any year that your grandma might be caught dancing to an EDM song, 2013 was it. The “Harlem Shake” showcased the immense viral power of crossover appeal and memes, and the song became a mainstream number-one hit, with more than 2.1 million streams on Spotify. The 2010s were the decade of user-created content—and this song embodied that ideal.

2014: “Uptown Funk” and Taylor Swift Go Retro

In 2014, the 1980s came back to the top of the charts as Taylor Swift’s “Blank Space” and Mark Ronson’s “Uptown Funk,” featuring Bruno Mars, battled for number one. “Uptown Funk” propelled producers to the forefront; it became one of Ronson’s biggest hits and underscored the increasingly key role of producers in music then and today.

2015: Kendrick’s To Pimp A Butterfly Takes Flight, Drake Has the Biggest Year Ever, and Hamilton Shoots Its Shot

There were three differing perspectives on what the biggest musical story of 2015 was. Kendrick Lamar’s To Pimp A Butterfly cemented Lamar as a cultural icon as it examined race, discrimination, anger, and violence. Meanwhile, Drake’s “Hotline Bling” and his diss track feud with Meek Mill fueled a massive year for him. And Lin-Manuel Miranda turned Broadway upside down when his hip-hop musical Hamilton exploded as a hit inside and outside the theater.

2016: Beyoncé Drops Lemonade

 With her release of Lemonade, Beyoncé solidified her status as a powerful force in music. Lemonade appeared to divulge intimate details about her life while at the same time commenting on black life in America. It was universally praised for its personal and political content—and also for crossing genres. Its controversial snub at the Grammys also marked the beginning of a broader conversation around recognizing black musicians.

2017: “Despacito” Gets All the Views

In 2017, “Despacito,” a catchy song from Luis Fonzi and Daddy Yankee, crossed a huge milestone to become the most-watched video. Not music video. Video. Oh, and it surpassed 1.3 billion streams on Spotify, making it the first Spanish-language song to reach the billion-stream milestone. 

2018: “thank u, next” and the Evolution of Ariana Grande

The year 2018 was all about Ariana Grande. She returned to music with the One Love Manchester concert and came out on top with “thank u, next,” proving that music has the power to help us process, heal, and face what’s next.

2019: The Yeehaw Agenda

The end of the decade gave us giant breakthroughs for two artists. For Lizzo, it’s a story of years of hard work that culminated in the artist’s becoming a mainstay in the mainstream. And for Lil Nas X, it was the perfect storm of a catchy song on TikTok and a cowboy hat.  

Take it all the way back with a listen to the first episode on Nicki Minaj and female-driven pop below.

https://open.spotify.com/show/4C9SyDbX6N7HfgxYAVs9NP?si=DSOxhIGkQsa7bQGpREV_cw

How the Story Pirates Team Uses Kids’ Imaginations to Create Audio Magic

November 14, 2019

What happens when you take story ideas straight from a child’s imagination and put them in the hands of some equally creative, fun-loving, musically inclined adults? You get Story Pirates—a children’s media company turned podcast with stories by kids, for kids.

According to creative director Lee Overtree and CEO Benjamin Salka (a.k.a. Jamie), Story Pirates started off performing children-inspired musicals in schools and theaters as a live touring group in 2004 and eventually evolved into a radio show, bringing heartwarming and engaging stories to even more listeners. More recently, the company transitioned into a podcast that has spawned several music albums.

So how does it work? Youngsters from all over the world submit their ideas to the Story Pirates website, then the creative team (comprised of world-class actors, comedians, improvisors, and musicians) selects and adapts them into podcast episodes filled with sketch comedy and musical theater. Episodes even have special celebrity guests each week.

Kids (and parents!) love the original songs sprinkled throughout the show. So, to give fans more of what they love, Story Pirates released two albums—Backstroke Raptor and Nothing Is Impossible—which take the best songs and remix them into standalone versions that are easy to find and play in album format on Spotify.

We sat down with Lee and Jamie to talk about what makes the Story Pirates podcast and albums such a beloved phenomenon.

What do you think it is about podcasts that makes them a great storytelling medium for kids?

Lee: Well, audio amplifies imagination, right? It allows the listener to engage in a way that a visual medium doesn’t. You have to be involved, and for kids who are eager to live in a participatory world, a medium like podcasting is very natural for them.

What’s the most surprising thing you’ve learned since embarking on this podcast and album journey?

Jamie: The thing that surprised me most is just how authentically people are responding to what we’re putting out there. Story Pirates has been a slow, steady build—the live show started in 2004. But the last couple of years have been astronomical in terms of the growth. We hear from people who drove eight hours to see us in person or even flew in from Australia. I think it’s because families are responding to what’s different about what we’re doing. I think it feels more playful, more connected, and more joyful than what they expected.

How do you differentiate between the albums and podcast?

Jamie: One of the things people love so much about our podcast is the music. But the podcast runs anywhere between 22 minutes and a half hour, and the songs are wrapped up in the whole show. So if you get obsessed [with a song], you have to rewind and fast-forward to find your favorite part, whereas with the album, you just get right to it.

Lee: The albums that we put out through Gimlet are the best songs from the podcast remixed and remastered. So most of the songs on the album are ones you’ve heard in a different form on the podcast. For example, Lin-Manuel Miranda wasn’t on the podcast version of “The Wizard Who Could Just Go Poof,” but he was on the album version.

Speaking of Lin-Manuel, who are some of the other guests that you’ve had on the show, and who are your favorites that you’ve worked with so far?

Lee: We’ve been really lucky, and it’s sort of gone from us reaching out to our contacts in the comedy community to people reaching out to ask to be on the show because their kids listen. We’ve had lots of great people, like John Oliver, Claire Danes, Dax Shephard, and David Schwimmer. And we have some more really exciting guests coming soon.

The Music of Mary Poppins Returns is Already Soaring

December 17, 2018

Mary Poppins: magical, mysterious, definitely musical. After decades of waiting, Mary Poppins Returns, starring Lin-Manuel Miranda and Emily Blunt, will be released on December 19. Mary Poppins Returns continues the story of the Banks children and their magical nanny as they encounter a difficult time in their lives—with all new, original songs.

The film brings a modern twist to a classic tale, and the soundtrack does the same, staying true to the timeless roots of the original music with moments of more current artistic flair. The movie hasn’t even hit theaters, yet people are already streaming up a storm. In order of streaming popularity, here’s what Poppins fans are listening to the most:

“Can You Imagine That?” – Emily Blunt

This whimsical number, sung by Blunt, includes sing-song speech and what seems to be the chirps of dolphins (and a reminder to “be sure to scrub behind your ears”)

“The Place Where Lost Things Go” – Emily Blunt

In this slow, comforting number, familiar to lovers of the original’s “Stay Awake,” Blunt’s soothing voice comforts the Banks children and lets us all know that “nothing’s gone forever, it’s only out of place.”

“(Underneath the) Lovely London Sky” – Lin-Manuel Miranda

In the very first song on the album, Miranda transports us back to 1964 by singing along to this traditional-sounding tune in a familiar voice, one reminiscent of Dick van Dyke’s accented sound in the original soundtrack.

“A Cover Is Not the Book” – Emily Blunt

Poppins teaches a valuable lesson on this track—a cover is not the book, so open it up and take a look. Blunt and Miranda tell tales of wealthy widows and crooked kings on this playful vocal ride that is both unshakably catchy and nursery rhyme-esque. The soundtrack also markedly moves into the 21st century around the song’s halfway point, as Miranda begins to rap in a way that’s modern yet in tune with the rest of the album and original film’s score.

“The Royal Doulton Music Hall” – Emily Blunt

With the same feeling of wondrous, nonsensical joy as “Super-cali-fragi-listic-expi-ali-docious,” this melody follows the Banks children and their nanny through a “mythical, mystical, never quite logistical” tent, complete with a “cuddly, curious, furry, and furious animal watering hole.”

Check out all of the music behind Mary Poppins Returns, and see if your favorites are among the most-streamed hits—it’s an album that’s sure to delight your children (and your own inner child, too).