—☖— We are happy to announce the new name of this musical is (*insert dramatic drumroll here*)... "Of Golden Sands and Crimson Snow"! As you can see here and in our other socials, we have changed our username, display names and profile pictures —commissioned from @Valexvynn_ on Twitter— to the new name and look of the musical! Thank you for staying and supporting us as we have finished our rebranding, and now, onto the updates!
・⚞①⚟ ◊ Auditions Are Now Open !
—☖— We have reopened auditions with many new positions for the musical! These are just a few that we need sometime within these next few months: lyricists, singers, instrumentalists, and composers, as well as concept designers, storyboarders, and many more that you can see be hosted on both our CastingCallClub and Discord (both links in our linktree: https://linktr.ee/goldensandscrimsonsnow)! These are all open for public submissions, and if you're interested in auditioning, we ask you to read the instructions and requirements in the Google Doc in the Drive folder carefully!
・⚞②⚟ ⧫ Script is in Progress !
—☗— The script is currently in the middle of its rough draft page, Episodes 1 through 6 have a basic foundation, with Episode 1 now having full dialogue. Once the first iteration of foundation —the structure and story of this musical— is done, we will go back through and add any foreshadowing or detailing we may have missed on the first time writing!
—☗— There will be screenshots at the end of this post of how it looks currently for anyone curious! However, keep in mind that this is only our first draft, and things are subject to change as we move forward!
・⚞③⚟ ◊ Community Activities !
—☖— We now have a Tumblr community for you all to join! As of posting this, the design and rules will be worked on shortly after this announcement is posted! We have a lot fun events that are planned or are currently in the works for both Tumblr and Discord, so keep an eye out for future announcements!
Roundtable: The Hunchback of Notre Dame (1996) dir. Gary Trousdale, Kirk Wise
Description on Disney+:
Quasi leaves his tower on Notre Dame to help a kind and beautiful gypsy.
The Hunchback of Notre Dame is a true hidden gem of Disney's animated filmography, and a movie I've found so fascinating, shocking, and genuinely terrifying since I was a kid. The film was produced and released by Disney in a period retroactively referred to as the "Disney Renaissance," in which the company released several cutting edge animated musicals within a few years of one another, almost all of which were based on literature, history, or cultural mythology as opposed to classic fairy tales. While many of these films were relatively progressive and boundary pushing, Hunchback remains one of Disney’s most daring ventures with its criticism of religious hypocrisy and dark themes of xenophobia, lust, and morality.
Based on Victor Hugo’s 1831 Gothic novel of the same name, The Hunchback of Notre Dame occurs in Paris in the late 15th Century and highlights tensions between Catholic officials and Romani migrants. The film tells the story of Quasimodo, a deformed man who rings the bells of the Notre Dame Cathedral and must remain in the bell tower under the orders of Judge Claude Frollo, a corrupt minister who took a baby Quasimodo from Romani people attempting to flee twenty years prior. Frollo has made it his lifelong mission as the “Minister of Justice” to rid Paris of its Romani population, and hires Captain Phoebus to find the Romani’s safe haven hidden in the city. Frollo’s efforts are complicated by Esmerelda, a defiant gypsy woman whom he lusts after. Esmerelda befriends Quasimodo and the two help one another escape their situations of imprisonment. Meanwhile, Frollo begins to burn down the city of Paris until he finds Esmerelda, adamant that if he can’t “have” her, he’d like to kill her.
The film is partially narrated by Clopin, a Romani jester-type figure who also plays a role within the story in the second-act. Other secondary characters are Quasimodi’s three talking gargoyle friends (one of whom is voiced by Jason Alexander/George Costanza).
Scoring and Narrative Context
Hunchback’s music is very crucial to distinguishing and defining the cultural identities of its characters, and its distinct musical styles are often associated with the space and physical location in which a musical number is performed. Given that the narrative centers on cultural differences between religious and ethnic groups, the film’s music takes influence from both Romani folk music and Catholic hymns. The uses of these two musical styles are differentiated by who is singing each number and where the number occurs.
Romani folk music, for instance, makes up the introductory song “The Bells of Notre Dame” and the festival number “Topsy Turvy” which are both performed by Romani people and peasants on the streets of Paris. These numbers are fast paced, colorful, and lively, with percussion instruments and discordant chants by the crowds. Lyric and dialogue are indistinguishable from one another as these songs blend seamlessly into the diegetic space of the film and move the narrative forward.
The film uses Catholic music to underscore its scenes in the Cathedral, with deep bells and choral singing creating a contrast to the lively folk music signifying the world outside. It’s with this haunting music that the film’s critique of religious hypocrisy, characterized through Frollo, takes form. The sound of bells often linger as characters wander throughout the cathedral, a precarious space with guards at every turn despite being promoted as a “Sanctuary” for Romani people.
Quasimodo’s songs take elements from both musical styles while also embodying Disney’s more traditional “hero” songs, as he is confined to the cathedral yet yearns for the world of folk music and “freedom” on the streets of Paris.
Familiar Musical Framing
In her essay on the Western musical lens of Disney’s Moana entitled “Time to Face the Music,” Armstrong writes “This musical containment of unfamiliar sounds by familiar ones limits the audience’s access to the unfamiliar, controlling the representation of the otherness of Polynesian music” (113). This idea is quite relevant in reading Hunchback’s selective uses of Romani music and culture, specifically in regards to the character of Esmerelda (who is voiced by white actress Demi Moore).
As Quasimodo and Esmerelda become friends, Quasi remarks that Esmerelda is “not like other gypsies.” Though Esmerelda immediately refutes this claim and encourages Quasi to unlearn the discriminatory ideas which Frollo has taught him, I find that the film itself upholds Quasi’s sentiment through its formal elements. It is particularly through music that Esmerelda becomes more associated with Western culture than with the Romani culture to which she actually identifies. Her solo “I Want” song, “God Help the Outcasts,” is sung in the Cathedral and fuses elements of an archetypical Disney princess song with a Catholic prayer/hymn. It is through this Western visual and sonic environment that we are expected to most sympathize with Esmerelda.
Additionally, this number emphasizes the extent to which Esmerelda is chiefly an object of the male gaze. This is already apparent at a surface level, with her sexualized outfit, constant references to her appearance (see Disney+ description above), and the way her sexual allure brings about Frollo’s most villainous inclinations. Even further, there are only a few scenes in the whole film where Esmerelda is not being looked at by one of the three principal male characters.
For instance:
(play last 30 seconds)
Even in what seems to be a private moment of prayer, Esmerelda is being watched by Quasimodo and the gaze of the camera for nearly the whole song. Her positioning within the way of light from the stained glass window at the end of the song makes her seem angelic, contrasting Frollo’s depiction of her as a seductive demon (coming up below). I argue that this over-positive representation of her is still dehumanizing, as she is represented as a conceptual figure of goodness rather than a whole person. The angelic way that Quasi views her also contributes to the film’s penultimate act of white saviorism in its climax:
Character Performance
As I began to touch on before, the musical direction of the film intrinsically links Frollo with the church, and even further associates his “religious” motives of justice and morality with evil and monstrosity. Frollo is displayed as corrupt and irredeemable from the first minutes of the film, with the chords of his song “Hellfire” played around his acts of evil several scenes before he performs the song. The film thus toys with the idea of “authenticity” by attaching Catholic-inspired music to one of Disney’s most evil characters to date. I don’t exactly think that the film is making a statement against Catholicism as a religion, but is rather pointing out the sense of evil that lies within those who believe themselves to be the most morally sound.
This brief moment from “The Bells of Notre Dame” and the iconic song “Hellfire” should speak for themselves:
(0:25-0:55)
(0:20-1:45)
Still, in making the unmistakable point that Frollo’s objectification of Esmerelda is very bad, all other acts of objectification towards her (and Romani people in the film more broadly) seem “good” in sheer comparison. The heightened attention to her beauty and sexuality also not only sexualizes Romani women, but echoes wider cultural notions of who is deemed “worthy” of saving.
Roundtable Presentation: Painting With All The Colors: Encanto (2021)
Encanto (2021) is the story of the Madrigal family. The Madrigal family was bestowed a miracle that gifted each member of the family a special ability when they came of age, all except for Mirabel that is. Despite not having an ability, Mirabel must uncover the secret of her family's miracle, and save the Encanto. This story is one of discovery and healing, as the Madrigals navigate the effects of generational trauma on their family dynamics and relationships.
In what ways does the film’s score situate the story with its narrative context?
The music in the film's opening credits is vallenato, a style of music native to Colombia. Many of the songs within the score are native Colombian music styles such as bambuco, vallenato, and folk. However, the songs are still meant to retain a level of "radio-friendliness", and this is achieved through Lin-Manuel Miranda's poppier Broadway influence.
The film's first sung score, "The Family Madrigal", is influenced by vallenato, however it was not written by a Columbian, nor was it performed by one. As the opening song, it has the responsibility of introducing the narrative, however, this responsibility is not entirely met as it lacks a Columbian voice.
Now, as the film is one that explores the complexities of family and hardship, the score works to convey that. Though the lyrics do not say much to the Colombian culture itself, they do very efficiently express the tensions the family face alone and together. For example, the song "Surface Pressure" performed by Julieta's eldest daughter and Mirabel's eldest sister, Louisa. In the song she expresses her feelings of inadequacy as the eldest, as someone who is expected to carry much of the weight of her parent's expectations for both herself and her younger sisters.
The film's most popular song--and to no surprise the least Colombian sounding one--is "We Don't Talk About Bruno". This song is extremely important in communicating the entire family's trauma and refusal to face the past as it is an entire enable number with overlapping lyrics, and a combination of many styles of music. It is meant to bar overwhelming in order to show audiences the depth of the family's pain surrounding Bruno's vision of the future. He foresaw the family's ruin, and instead of changing their ways and accepting their past, they cast him out, attempting to bury the inevitable consequences of their denial.
Now the film's second to last score, "Dos Orugitas" is an extremely important piece. The song is sung solely in Spanish unlike the other scores, and is performed by a Colombian performer. This song comes at a pivotal moment in the film, when Mirabel helps her grandmother face her past. This song plays as we see Mirabel's grandfather sacrifice himself to save his family when the Spanish invaded. This scene paired with the song cuts deep emotionally, as it is responsible for communicating generational trauma to audiences. A scene such as this, which speaks so much to Colombia's past had to be performed in Spanish by a Colombian performer, or it would not have had the same effect.
All these songs work to immerse the viewer into the family's both internal and external battles.
How do songs use character performance to push cultural authenticity in the film’s diegesis?
The way in which songs use character performance to push cultural authenticity is relatively weak in this film. Though much of the cast is Columbian, the main character, Mirabel, who sings in most of the songs, is Argentinian.
When we do hear performances by Colombian artists they are non-diegetic, and therefore do not contribute as much as they should to the cultural authenticity in this context. However, it is important to remember that most of the cast is Colombian, and they represent the story even if the music's lyrics are not telling of the culture.
Unfortunately, the songs I feel best push cultural authenticity are both non-diegetic. "Dos Orugitas", by Sebastían Yatra is not a character performance, but it is sung in Spanish by a Colombian artist. The second song "Antonio's Voice". This song was composed by Germaine Franco, and features women vocalizing in Spanish as Antonio receives his ability. The importance of having the music be sung in Spanish for this scene is great, as the concept of the Madrigal's special abilities is what the story itself revolves around. After all, the inclusion of the family's special abilities in the film is deeply inspired by a Latiné born writing style, realismo mágico.
In what ways does the film use musical “framing” to structure the score within familiarized styles?
Despite three crucial musical contributors to the film being Columbian, the songs they perform were not written by them. Each number with sung lyrics was written by Lin-Manuel Miranda, a Puertorriqueño. This way, as Robin Armstrong writes in their essay, "Time to Face the Music: Musical Colonization and Appropriation in Disney’s Moana", "control always stays in the hand of the colonizers" (Armstrong 3). Of course, though Miranda is Latino, he and his music style represent a narrative more tailored to the expectations of Disney, Hollywood, and Broadway.
What I also found quite interesting was how even though three of the major singer contributors to the film's score are Columbian artists--Maluma, Sebastián Yatra, and Carlos Vives--the songs they perform are non-diegetic and written by Miranda. Only Maluma is on the cast, and his role is quite small as he is not even part of the familia Madrigal. So, though this inclusion of Columbian artists does contribute to the film's authenticity, they are only given limited access to the narrative, and virtually no say in what they sing. This is a concept that was greatly discussed in Armstrong's article, about even though native voice are given a space to be heard, they are used only where the colonizers see fit.
Furthermore, the instrumental pieces were also not composed by a Colombian composer, so it is hard to claim authenticity even if the music is reflective of traditional Colombian musical styles. This choice implies that the authenticity of the music did not matter enough to Disney to hire a Columbian composer.
So even though vallenato, folk, and bambuco styles are present, they are still contained within familiar sounds of pop, broadway, and reggaeton. Now, though reggaeton originated from many Latin American music styles including Colombian, it is still a more familiar sound with western audiences.
In what ways does the film’s score situate the story with its narrative context?
timestamp: (1:19)
The film’s score acts as a major storytelling device. Each song provides key information about the narrative, explores developments in characters, and can show the passage of time within the story. In “Deliver Us”, we learn about the context of the enslaved Israelites in Egypt, the order from Pharaoh to kill every newborn Hebrew boy, and Moses’ mother Jochebed’s attempt to save him from the infanticide. “The Plagues” serves a similar plot-based purpose and definitely situates the narrative within the book of Exodus while maintaining the rivalry between brothers. The film’s score uses an overture and several reprises to fully embed the songs into plot and characterize this narrative as epic.
How do songs use character performance to push cultural authenticity in the film’s diegesis?
Songs include Hebrew language in their lyrics to push cultural authenticity. For example, Ofra Haza’s vocal performance in “Deliver Us” is one of the few vocal performances from a non-white person in the film. Like Armstrong notes, “Moana is not the first production for which Disney hired cultural ‘natives’ to grant cultural authority to offset criticism of imperialism”.
Haza's inclusion as the mother of Moses is a powerful and meaningful role, but she only appears at the beginning of the film. This character performance is used to push cultural authenticity as Ofra Haza is a famous Israeli singer who sings Hebrew in the song. The fact that she “stands out” is indicative of the limited casting—she is casted alongside famous, mostly white American actors.
In what ways does the film use musical “framing” to structure the score within familiarized styles?
Like in Moana, musical framing is also present in The Prince of Egypt’s score, composed by Hans Zimmerman. Traditional and culturally significant instruments like the shofar (which sounds like a horn), the flute, and percussion like the Darbuk and Toft, seem to be included in the score. These "unfamiliar" instruments however are sandwiched by and interspersed with “a familiar set of ‘normal’ musical sounds” like Armstrong mentions. The score is “framed” with choir vocals, french horn, strings, and other Western instruments.
In "Zoey's Extraordinary Playlist," the dual-focus narrative technique serves as a strategic storytelling tool, transcending heteronormative romantic pairings to explore a rich tapestry of relationships and connections. While romance undoubtedly plays a significant role, the series delves much deeper, intricately weaving narratives of friendships, familial bonds, and professional dynamics.
Central to the series are the "inevitable" couplings, such as Zoey's relationships with Max and Simon. These relationships are not merely depicted as romantic pairings but are rather complex and multifaceted connections that evolve over time. Zoey's bond with Max, for instance, is portrayed with warmth, familiarity, and a shared history, while her connection with Simon is characterized by tension, chemistry, and a sense of the unknown. These nuances are accentuated through cinematic similarities and contrasts, underscoring the intricate dynamics of human relationships.
A defining feature of "Zoey's Extraordinary Playlist" is its innovative use of musical numbers to enhance storytelling. Drawing inspiration from fairy tales, backstage dramas, and folk musicals, these sequences serve to replicate the enchanting essence of these genres while simultaneously deepening the narrative experience. Whether it's characters breaking into spontaneous song or participating in elaborate dance numbers, the musical elements of the series create a vibrant, immersive world that invites viewers to become fully immersed in the characters' lives and experiences.
Furthermore, the series utilizes musical numbers to convey characters' innermost thoughts, desires, and emotions in a way that transcends traditional dialogue. Through song and dance, viewers gain unique insights into the characters' motivations and struggles, fostering a deeper connection with their journeys. This innovative approach not only entertains but also resonates on a profound emotional level, touching upon universal themes of love, loss, and self-discovery in a way that is uniquely captivating.
In what ways does the film's score situate the story with its narrative context?
The score makes extensive use of Middle Eastern and Arabic musical influences to establish the setting of the fictional city of Agrabah. Composer Alan Menken incorporates instruments like the oud, duduk, and ney to lend an authentic ethnic sound and flavor to the music. This helps transport the audience to the film's Arabian setting. It also uses musical themes and motifs to represent key characters and narrative elements. For example, the heroic "A Whole New World" theme is closely associated with Aladdin and Jasmine's blossoming romance, while Jafar's sinister intentions are conveyed through ominous, minor-key musical cues. These thematic associations help guide the audience through the film's story.
How do songs use character performance to push the cultural authenticity in the film's diegesis?
The songs in Aladdin also use character performance to enhance the cultural authenticity of the film’s diegesis. The film mostly showcases kind of an energetic, campy-comic flair that evokes the spirit of classic Hollywood musicals. On the other hand, Jasmine's solos are more introspective, contemporary-sounding ballads that reflect her personality and desire for agency, as she lives overprotected under her father's wing.
The music in Aladdin goes beyond just setting the scene. It borrows heavily from Middle Eastern musical traditions. This is clear in the prominent vocals, a common feature in Middle Eastern music. The instruments used, like percussion, strings, and wind instruments, also mirror those found in the region. Even the melodies themselves are crafted to evoke Middle Eastern music through the use of chromaticism and ornamentation, which helps capture the unique musical qualities of that part of the world. It's important to remember though, that despite the inspiration from "One Thousand and One Nights," Aladdin remains an American animated musical at its core. The music reflects this by blending these Middle Eastern influences with classic Broadway elements.
In what ways does the film use musical "framing" to structure the score within familiarized styles?
The entire story itself is presented as a performance by the Genie. This echoes the traditional concept of a frame narrative, where a story is told within the context of another story. Musically, this is reflected in the opening number, "Arabian Nights," which establishes an exotic, Arabian Nights-inspired soundscape that serves as the backdrop for the film's musical journey. Within the Arabian Nights frame, the songs incorporate familiar musical styles from various cultures and eras—which in my opinion, goes against the whole point of making this an "Arab musical film." Similar to when they make Latinx musical films from, for example, Mexico, but they include songs or influences from many Latinx countries.
Moreover, "One Jump Ahead" uses a Broadway showtune style with a fast tempo, kind of emulating Aladdin's frenetic life on the streets. On the other hand, “Prince Ali" is a big, bombastic production number with influences from Bollywood and pop music, and A Whole New World is a romantic ballad with an orchestral sound, reminiscent of classic Hollywood musicals.
South Park: Bigger, Longer & Uncut (1999) by Trey Parker
In Trey Parker's comedy musical, South Park: Bigger, Longer & Uncut (1999) is a film in connection to the TV show South Park, as the show is known for it's satirical humor and obscene narrative. In terms of plot of the musical, Eric, Kenny, Kyle, and Ike watch a foreign Canadian movie made by Terrance and Philip consisting of strong profanity and fart/poop jokes. The kids, easily influenced by the film, start to imitate and use the language in school, supporting other kids to watch the movie. This leads to parents, and the central antagonist of the film, Kyle’s mother who has a personal hatred for Canada (despite having an adopted son from Canada), to boycott the film that leads to a war between the US and Canada when the US captures and plans to execute Terrance and Philip. In connection to the event, a prophecy from hell that brings Satan and his partner, Saddam Hussein, back to earth if Terrance and Philip’s blood are shed in US grounds; it is up to the boys to stop this from happening.
In what ways does the film's score situate the story with its narrative context?
Within the realm of South Park, audiences who have watched the show are well aware of the blunt and unfiltered nature of the narrative. This concept is embedded within the film's score to bring consistency with the dark nature of the show and emphasize the plot.
The introduction scene sets up our environment, introducing the characters and settings through Stan's want to watch the Terrance an Philip film "Asses of Fire." Through this, audiences become shocked, but also immune to the blunt and dark lyrics and dialogue. The shows focus of satire is a way to normalize and represent the bad thoughts that majority of people may have towards Western politics, society, popular culture, and etc.
How do songs use character performance to push cultural authenticity in the film's diegesis?
The themes of censorship and social cynicism are well connected within the character’s performance, whilst implementing the consistent dark humor.
Mr. Mackey's lesson to the kids to use different phrases to replace the cuss words as a way to rehabilitate the kids not only presents a catchy song, but also realistic measures that are taken towards this topic. In other scenes, parents also developed a chip that shocks kids when they speak profanity. The lengths that are being taken to change the ways of children's behavior is due to the parent's blame and hatred on the film, not truly understanding the full impacts of how this came to be. This comments on how society easily blames media as a way to excuse youth's mental state and capabilities.
In what ways does the film use musical "framing" to structure the score within familiarized styles?
The musical’s score situates the story with its narrative context in different ways like expressing how a character may be feeling or a certain event that is occurring or is about to happen. We see this through there use of "I want" songs that is particularly a method that Disney uses. In a way, it’s similar to the traditional musical “framing,” but understanding and knowing the context of the nature of South Park, it merely feels like an imitation to other musicals and their structures.
For example, before all hell breaks loose, all the different characters and perspectives sing along to a song similar to the musical Les Miserables to initiate these important goals that are set within each respective party. Moreover, it is realistic lyrics mixed with the concept of a musical contrasts together that may feel like an imbalance. But, this method reflects onto the concept of the show, as imitation and bluntness are instilled to clearly point out the message of the film. This is shown through dark humor and satirical comments connect to the unmentioned flaws of society to represent the morally, but realistic, bad.
In what ways does the film’s score situate the story with its narrative context?
The Little Mermaid (1989) utilizes its score to immerse viewers in the enchanting and fantastic underwater world of Atlantica while also underscoring key emotional beats and developments. In “Part of Your World”, bright, shimmery strings and uplifting major chords accompany Ariel’s longing exploration of all things human. This evokes a sense of wonder and possibility for somewhere beyond her underwater world. Additionally, whimsical woodwinds and bouncy brass instruments enliven the vibrant world of Atlantica, particularly in numbers like “Under the Sea”, immersing viewers in the magical realm.
How do songs use character performance to push cultural authenticity in the film’s diegesis?
The Little Mermaid (1989) has a weak cultural identity as it is not based in a real culture or experience. The source material that the film is very loosely based on, The Little Mermaid by Hans Christian Andersen, is theorized to take place near Denmark and that influence is not present in the film. Prince Eric’s Kingdom is vaguely Mediterranean and lacks any distinct traits outside of white and coastal. There is the inclusion of a French-styled musical number in the form of Les Poissons but its inclusion has little to do with the world of the story and more with the stereotype of the neurotic French chef.
A shot of Prince Eric's kingdom.
In The Little Mermaid (1989), while songs like “Under the Sea” and “Kiss the Girl” incorporate elements of Calypso music, a common music style across the Caribbean, with the inclusion of steel drums, call and response, and syncopated rhythms, the film does not distinctly portray Caribbean culture or locations. Instead, it focuses on creating a general oceanic, island feel for its aquatic settings. This approach overlooks the cultural heritage and origins of Calypso music, attributing the style to a generic “island” vibe rather than specifically acknowledging its Caribbean roots.
The film may have chosen to avoid specific cultural references in order to create a fantastical, universal story to appeal to the masses as Disney usually does. However, this approach leads to usage of Caribbean music and culture as an aesthetic rather than a genuine cultural representation.
Additionally, while Sebastien the Crab is voiced with a Jamaican accent, he is portrayed by an African-American actor, making it more of a character choice than a cultural one. This reinforces the film's lack of authentic use of Caribbean music culture.
In what ways does the film use musical “framing” to structure the score within familiarized styles?
In “Under the Sea”, Calypso elements and the familiarized classical Broadway/Disney style intertwine, serving as an example of musical “framing”. The song’s lively instrumentation, including steel drums and percussion, along with syncopated rhythms and call-and-response vocals, show the incorporation of Calypso elements into the film’s score. However, “Under the Sea” uses familiar Western elements to make the less common Calypso style more familiar to wider audiences. The elements are blended in a pretty harmonious way which leads to a fun and catchy song but the framing of the Calypso elements may diminish the authenticity of its influence by prioritizing accessibility to mainstream audiences.
Moreover, “Under the Sea” also incorporates elements that are typical in Broadway and classical Disney musicals, made very obvious by the presence of Alan Menken on the soundtrack. Some of the elements are the upbeat tempo,whimsical lyrics, brass, woodwinds, and string. The arrangement of the piece also follows a structured and melodic format commonly seen in Broadway and Disney musical numbers, with distinct verses, choruses, and instrumental interludes.
The elements of Calypso music are mixed with elements of Menken’s formula to create a distinctly Disney piece of music. The inclusion of the Calypso style is little more than window dressing.
