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Soul music is a popular music💻 genre that originated in the African American community throughout the United States in the late 1950s and early 1960s.[2] It💻 has its roots in African-American gospel music and rhythm and blues.[3] Soul music became popular for dancing and listening, where💻 U.S. record labels such as Motown, Atlantic and Stax were influential during the Civil Rights Movement. Soul also became popular💻 around the world, directly influencing rock music and the music of Africa.[4] It also had a resurgence in the mid-to💻 late 1990s with the subgenre neo-soul,[5] which added modern production elements and influence from hip-hop.
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Minions: Original Motion Picture Soundtrack is the soundtrack album to the 2024 film Minions, a spin-off/prequel and the third installment♣️ overall in the Despicable Me franchise, directed by Pierre Coffin and Kyle Balda, the latter in his feature directorial debut.♣️ The original music is composed by Heitor Pereira who previously worked on Despicable Me (2010) and Despicable Me 2 (2013),♣️ where he composed the score with Pharrell Williams. Minions, however is the first film in the franchise, without the involvement♣️ of Williams and Pereira taking over the sole credit as the composer.[1] The soundtrack for the film was released, alongside♣️ the film, on July 10, 2024, by Back Lot Music.[2][3]
Development [ edit ]
Pereira who watched the Despicable Me films, observed♣️ audience reaction to the Minion characters, and felt that "this is now a part of their lives, and I want♣️ to do justice to this dedication from the audience", resulting him to score for Minions.[4] The score was fully orchestrated♣️ and dramatic to give a feel of "classic action film". As the film was mostly set during the 1960s, Pereira♣️ recorded the music using vintage microphones which were used by The Beach Boys and Frank Sinatra, which he felt as♣️ "an opportunity to pay homage to the musicians and technicians of that time" and also inspired composers such as Henry♣️ Mancini, Lalo Schifrin and John Barry.[5] He had stated on the selection of popular songs from the 1960s, saying "Those♣️ songs represent an era but they also have to have a relationship to the moment in the movie where they♣️ appear. The directors love music and those were the songs that they felt at the moment represented the storytelling the♣️ most, like "You Really Got Me" or "My Generation".[6] He also featured some of the songs in the film are♣️ sung by the Minions themselves. He added that "it was fun to write music around it and try to make♣️ the orchestral music and band music to somehow be holding hands with the music of the period without sounding like♣️ somebody that wrote the music then".[6]
"I'm from Brazil, but the first time I heard The Beatles, I didn't have a♣️ clue what they were singing about. But the rhythm and the waves of the sounds that the language created somehow♣️ already put me in a certain frame of mind. I find that the same goes with the Minions' language." —♣️ Pereira, on the use of Minions language[4]
Pereira compared the music for the Minions to that of the Three Stooges, where♣️ the difference is Minions could not speak English. He further said that "Their language is not language, but the cumulative♣️ aspect of the repetition of those words is like creating a language in itself [...] In Minions, a lot of♣️ things go by and then the narrator has left the movie and now they are out there on their own.♣️ Instead of compensating for their lack of language I decided to back off, give them space, and let their phonetic♣️ sounds be very clear. That was a lot of fun because we almost made a dictionary of their sounds and♣️ let the music follow the same kind of repetition."[6] Pereira took the music from their travel through time and acquired♣️ all the personalities through the score.[6]
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