"Dreamers" is a 2022 song by South Korean singer Jungkook of BTS. Part of the 2022 FIFA World Cup official soundtrack, the song was released on November 20 to coincide with the first match of that year's FIFA World Cup and its opening ceremony.[1][2]
On November 19, Jungkook's agency Big Hit Music announced via Weverse his participation in the opening ceremony.[3] The next day, FIFA's official Twitter account shared a video of the singer teasing his upcoming performance.[4] The performance featured Jungkook in an all black suit surrounded by background dancers, being joined by Fahad Al Kubaisi wearing Qatari clothing midway through the performance.[5][6]
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That said, this one does very nicely. The instrumental is packed with goodies. It teases about a reggae beat without sticking to a strict reggae beat. In true Japanese style releases, the song cruises along at a good 10 or 20 bpm faster than any other style would think prudent. And then adds layers upon layers of percussion and flute sounds to fill space.
9th Anniversary Song "LIMIT BREAK DREAMERS" is a special album featuring performed by ES All Stars, which refers to all the idols at Ensemble Square, as well as the teachers of Yumenosaki. Its title track commemorates the 9th anniversary of Ensemble Stars!!. It also features versions of the song for all the units in Ensemble Stars and a karaoke version. It is only available digitally.
Norwegian songwriter Pl Knutsen, better known as Moddi, is all set to release his fourth studio album Unsongs in September, which is a collection of covers of protest songs. Today, we bring you his take on Kate Bush's "Army Dreamers".
Political before he was a musician, Moddi has continued to express this streak of activism in his recording career and in 2014 he cancelled a show in Tel Aviv in protest at the Israeli occupation of Palestinian territories. This act set something in motion for the Norwegian, with the seeds of an idea brought to full bloom after being contacted by Birgitte Grimstad, another singer from Norway who had recorded a protest song of her own about the Middle East.
Searching out other songs which suffered a censorship, Moddi narrowed a list of 400 down to the twelve songs which make up Unsongs, a brave and bold album where he covers Pussy Riot, Billie Holiday and executed Chilean folk singer Victor Jara. In making a record like this Moddi repairs a broken link between art and politics, refusing - as he did with the decision to cancel that show in Israel - to allow those in power to threaten or control what is allowed to be expressed in song.
Wisely, Moddi doesn't do much with the arrangement other than making Bush's waltz-time melody even more lush through swooping strings, beautiful droplets of xylophone and mournful piano. By dressing the track in such shimmering loveliness, it only serves to enhance the sadness, loss and anger of Bush's lyrics. In a world which feels like it's falling apart, the words and the music of this song have never felt more vital. Don't fucking ignore what's happening.
After the song was recorded that night, the person who helped align the stars, Maine, not only began campaigning to make sure this record made it on the final tracklist for the ROTD 3 album, but Travis remembered Maine being the one who suggested Bas join the song. A few days later, Bas was on and the song was complete.
The song can be compared to someone learning to love themselves in direct contrast of the toxic love from their significant other. But, there was no love interest in mind when Travis penned the lyrics. That is, unless you consider the Dreamville sessions, as a love.
Everything was fast in order to maximize time and be on as many songs as possible on the album. So, he wrote this verse in 30 minutes and recorded it in no more than two takes. Even at that quick pace, Hitchcock was diligent and deliberate with his lyrics to the delight of one of the most powerful people on Dreamville.
When the decade started, artists like J. Cole, Drake and other luminaries of the blog era were graduating to major label debuts. But, those were the days when blogs were bustling with talent that would progressively shape the sound of the next decade. ROTD 3 could very well be the final collaborative album from a rap label this decade to top the Billboard charts and a sketch of what the next 10 years will be.
Canadian Art Song Project is pleased to announce the release of our seventh commercial recording of Canadian art song repertoire for voice and piano. Known to Dreamers: Black Voices in Canadian Art Song / La mlodie canadienne travers les voix de la communaut noire is a recording project that speaks to the need of ensuring that voice and piano recital repertoire reflects the diverse experiences of Canadian performers and audiences.
This recording project celebrates contributions by Black composers and writers to Canadian art song. The songs programmed include works by composers Maria Thompson Corley and Larry Strachan alongside repertoire by James Rolfe and Robert Fleming that sets texts by celebrated writers Andr Alexis and Owen Dodson.
Judy Collins, one of the most iconic folk singer activist divas of our time, has lent the pristine beauty of her voice to many social justice causes over the years. Her incomparable version of "Amazing Grace" was selected for preservation in the National Recording Registry by the Library of Congress for its cultural, historic or artistic significance. But perhaps her most moving songs were the ones that gave statistics a face and a voice. Collins's own compositions have included powerful songs narrating a woman's response in the throes of domestic violence ("Lily in the Valley") as well as a song for a young musician friend who committed suicide ("Song for Martin.")
Now, in response to watching a news show about a young "dreamer" who fears deportation if DACA was rescinded, Collins composed a song telling that story from the perspective of Maria, a dreamer's mother.
As Collins speaks on the phone from her New York City home about the process of composing "Dreamers," conversing with her is a delight. Her words are polished yet direct, spoken with the clarity and beautiful precision of a master songwriter and poet who has a self-imposed discipline of writing one poem or song per day.
At the essence of that process is what she calls, "Naming the name, telling the story." This means the power of the poem and the song is at the heart of humanity's essence. "As human beings we live and thrive from stories," she says.
The birth of "Dreamers" began precisely as the result of her daily writing discipline and was originally written as a poem. After singing it to herself for nearly two years while practicing on the piano and repeatedly trying to create its instrumental accompaniment, her husband suggested she sing the ballad a capella, which she did for the first time earlier this year in Seattle.
Collins recounts singing "Dreamers" that first time, astonished at the long silence in the auditorium that then erupted into a thunderous standing ovation. "It led me me to believe everybody needs to get validated ... in the things they know are right about our country and what's wrong about what's happening here," she muses.
Collins punctuates her comments with an easy, hearty laugh as she describes the wisdom that has come about in living through several decades of protests. As a young woman, she went to Mississippi to assist with voter registration and also did sit-ins during the Vietnam era. She even went to France during the meetings that led to the Paris Peace Accords.
Today, she describes being "beside herself" at what is happening in the United States under the current administration. Nevertheless, Collins does not spend any energy on disappointment. She exclaims,"I believe in picking up your sticks and going on to the next fight," adding quietly, "I also know the fight is never over."
"Everyone has a haiku in them. Everybody has a song in them. They may not be able to sing it, but they can write it. We all have the artist gene somewhere that can help us stay on the planet," Collins says.
Art is essential because it keeps us "hopeful" she affirms, echoing the refrain of her song: "This land was made by dreamers, and children of those dreamers / We came here for democracy and hope / Now all we have is hope."
Because in the end, the real resistance is to go on having a creative life, Collins says as she approaches 80 years of age. For her that means "speaking up when you are confronted, speaking out about what's going on that you know is wrong, continuing to fight fascism and racism and elitism as long as you live."
Urban returns Wednesday to "country music's biggest night" for a performance of his latest single "Wild Hearts," a semi-autobiographical tune Urban co-wrote for the "born to be rockstars" throwing fuel on a fire of ambition.
In the chorus, he raises a call to those aspiring for similar heights: "This goes out to the drifters/ And all of the dreamers ready to fly/ All those born to be rock stars/ Lifting their guitars and painting the sky."
"I'm one of [the dreamers]," Urban told The Tennessean backstage Tuesday ahead of the CMA Awards. "To come from a little town in Australia and be able to come to Nashville and record, make music, get it on the radio, be able to tour. ... To get to be able to do that? It still feels like I just got here. It's crazy."
Performed by Danny and Dusty. Written by Dan Stuart and Steve Wynn. Click here to listen to the original recording. You can check out a 2007 live version here. You can buy the song on iTunes here and buy the album, The Lost Weekend, here.
The music is as improbably wild and idiosyncratic as the characters running around in this song. Danny (Stuart) sings the first half of each verse, with Dusty (Wynne) responding in the second half. The song opens:
Here, we can hear the song playing in the background to the animation of the Digimon characters. The song itself has a tropical vibe and feels very optimistic. It definitely conveys that the characters will win and succeed.
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