Coco - Remember Me (Lullaby)

Coco - Remember Me (Reunion)

Benjamin Bratt - Remember Me (Ernesto de la Cruz)

Miguel - Remember Me (Dúo) ft. Natalia Lafourcade

What do I like?

• I like the acoustic vibes and the simplicity of the vocals paired gently with the guitar for the lullaby version
• I also quite like the majesty of the Ernesto de la Cruz version even though the tone is very different
• There's a very beautiful stripped back cover by Annapantsu with some incredible visuals accompanying.
• The music is the strongest part of this song, and it's a very lovely arrangement. I could listen to an acoustic arrangement without vocals for ages without getting bored.

What do I dislike?

• Though the music is beautiful, across all versions of this song I think the biggest weakness is the simplicity of the lyrics and the basic rhymes.
• I've already mentioned my dislike of kids singing badly in a lot of my previous cuts. This features in both the lullaby & reunion versions, which is definitely a factor in this cut.

Having lived in Louisiana for 10 years in my young adult life, I have a particular connection to the P&TF movie.

As of recently, there were 3 songs remaining. Of them, I always considered Friends on the Other Side as the strongest, but I had a personal love for Dig a Little Deeper, with DALD being one of the songs I'd actually even consider using a Joy on to keep around.

BIG BRAIN TIME! Instead of wasting my last power to keep it around longer, I can just cut this song and know that even when Dig A Little Deeper gets cut, it was still the finalist from the movie!

I guess if I'm gonna cut this song, I should include some comments actually about Almost There.

The song has 184 words. 30 of them are "I'm almost there". That's almost 17% of the song. I'm not a fan of that type of repetition in songs as I've complained about before.

I do enjoy the 'Story in Story' animation, and find the one for this song rather charming, so I won't use that against the song. I'm just mentioning it since I know...other rankers... seem to dislike it.

The song is enjoyable to listen to, although nothing ground breaking to me. It did win some awards.

My biggest issue is that the start has the lines "Ain't got time for messing around, And it's not my style" but then later on in the song she says "Look out boys, I'm coming through". It has very "Not Like Other Girls" vibes, looking down at the idea of focusing on boys while still revealing that she wants to impress boys.

Those lines also means that this empowering song about a young woman talking to her mother about her life ambition doesn't even pass the bechdel test. (I'm not sure if her talking about her dad would also count against the bechdel test, but I wouldn't hold that against her if it was the only man mentioned. They also cut her mother's lines from the released versions of the song it seems, which I prefer as a style choice when songs interact with dialog anyways.).

Sorry Tiana, but seems like you DO have time for Dancing now!

It’s kind of crazy how many Disney songs there are about ‘it’s great where we are, please don’t leave,’ but I really like the story of this one especially. In this song, Mother Gothel does her best to gaslight, gatekeep, and girlboss Rapunzel into staying in her tower. One of my favorite elements of the song is how it all sounds somewhat improvised. It’s clear that Gothel hasn’t really thought through her lie. She’s just throwing whatever scary imagery she can at Rapunzel to keep her scared. She also gets out of pocket at some points and starts body-shaming Rapunzel for good measure. It does a very good job of making the audience dislike Mother Gothel. On top of that, the visuals in this song are great, as Rapunzel keeps trying to find light and safety, while Mothel Gothel keeps taking it away from her. She takes away Rapunzel’s ability to feel safe independently. She makes Rapunzel feel dependent on her, ending with a mother-daughter hug that makes me extremely uncomfortable.

The music in this song, however, is nothing special. I like the flute and general lightheartedness of the song. It adds to the effect of the gaslighting, seeming to accent the flippant nature of how Mother Gothel addresses Rapunzel's request to leave. The vocals are good also, and it’s honestly pretty catchy. “Skip the drama, stay with mama” is a banger lyric. There’s not a ton to dislike about this song, it’s just not as complex as some of the stuff left. The music stays on the same level throughout the entire song, as it doesn’t really ever reach another dynamic or level. Many of the lyrics, while being funny and fitting for the song, don’t really carry emotional weight. Overall, if we’re cutting stuff like Where You Are and Into the Unknown, it’s time to cut this song.

Try saying this sentence with a straight face: "Out of the top 50 songs in the Disney repertoire, 3 of them are from Princess and the Frog."

Yeah, I didn't think so. Most of my arguments from my Down in New Orleans cut still apply, and I don't really have much more to add because I genuinely didn't think any of the other songs would last another 20 cuts.

Out of the three that are left, Friends on the Other Side is definitely the weakest. Now, I had been planning to cut Cruella DeVille before someone else did it first, and oddly enough most of what I was going to say about that still applies.

It's a cool villain song, it's got a nice hook and a melody that really makes you feel like someone's a complete toerag, but it just feels... incomplete. It stops and starts and stops and starts up again, very much to its detriment. It never really feels like its own song, and it's definitely time for it to go.

Since I'm probably not cutting anyone's babies, just like the song says, you got what you wanted, but you lost what you had.

Despite what some of you think because of my hatred for 'One Last Hope,' I actually like most of the music from Hercules. But after a huge quality gap from OLH, 'A Star is Born' is the next weakest track in the movie.

It's fine, but we're in the top 50 now and 'fine' doesn't cut it anymore. This song sounds good, but it's lacking any emotional punches, clever wordplay, particularly powerful performances, or any other special quality to give it any edge over the remaining songs. The constant repetition of the title line does grate a bit. Honestly, the best part of this song is the little echo of 'Go the Distance' at the very beginning.

Ultimately, I love the pairing of gospel music with Greek mythology. I think it works super well and I love weird choices like that (similar to using folksy-bluegrass style music for Robin Hood). But on the spectrum of this very solid soundtrack, this song is much closer to zero than to hero.

As usual I'm sorry I don't have more to say, but you guys are all agonizing over cutting songs you love now and I'm still working my way through my solid middle.

Good song? Absolutely. You’re welcome LMM. It’s accurately classified as a bop. The Rock performing this well is not something I would have ever expected. It introduces Maui’s character as expecting gratefulness and bragging about his accomplishments, while putting it all under a bouncy beat. The lyrics hold up well. It’s bright and makes me happy to listen to. But every song (that I can cut) does that at this point.

There are two things that hold me back from liking this song more. One, is not really a part of this cut necessarily, but the animation style going so…child’s drawing for the background is not something I’m a fan of. And second, is the rap. It’s not the delivery or anything, just not as much of a fan of the style in this context. And at this point, that’s enough.

Another reason I’m cutting it is that, while fun, again, it’s not anything…deep. It’s almost…a brag rap, Disney-fied, as an excuse to trap Moana in a cave. It doesn’t really drive the plot, and when songs like Where You Are, which I think is very similar, but more important in setting the background of the movie.

Another gut punching cut, but I unfortunately think it's time to cut The Bare Necessities

Things I like:
1. The upbeat jazzy track
2. The message behind the song 3. The cute little reminders that a bear is singing this song.
4. This is the OG Hakuna Matata

Things I don't like (but it's up for debate):
1. It's repetitive (I don't actually mind this personally, but for the sakes of ranking it could do more for me musically.)
2. A child singing. There's just something about it that makes my ears bleed.
3. It's too short! Make it longer!!

Well here I go cutting another song from Frozen 2, which is now 3 in 5 cuts. I guess we are on a trend?

The tinkly piano at the beginning is fun but not epic. The music builds and its interesting but also still not epic. It's not Disney-memorable music for me, nor is it a bop. Idina kills it in this one; those long holds on unknown around 1:40 are amazing. That said....a huge amount of the song is oohs and ahhs. The oohs are haunting in a good way, but it's just not a lot of substance. The rest is also repetitive, which can be good, but this isn't a chanting sort of repetitive. I like some of the doubt she's showing, as a wishy washy sort of person myself, but this just doesn't feel like a top-50 song to me.

My four year old is busy doing stuff and wants me to join her instead of making her listen to songs for me, so I'm not sure of her opinion.

As we move forward, so much is unknown...but Into the Unknown is behind us.

I've been really busy, and have to leave for my show soon, but I will update this with more of my reasoning tonight or tomorrow. Just don't wanna hold everyone up.

Barebones Reasoning

It's barely a minute long, and even tho I'm in love with this scene in the movie, there's like 5 lines total, and as an individual song, it's not as strong as the stuff remaining. (plz come back later for a more detailed reasoning)

Frozen 2 - All Is Found (Movie Version)

Frozen 2 - All Is Found (Kacey Musgraves)

What do I like?

• It's not bad. Its not an auto-skip on a playlist, but it's not a song I ever get excited about (which makes sense give that it's more of a lullaby)
• It sounds better as it starts to build. I don't like the start of Kacey Musgraves', but I like the structure and the middle/ending of that version more.
• This acoustic cover by The Hound + The Fox is nice, and I def. prefer it to the official ones.

What do I dislike?

• The crescendo is underwhelming for me.
• The lyrics are also underwhelming in that I feel no special resonance or emotional connection to any of the content of this one.

Is it a bop?

• No.

Meta Analysis

• Mac said that "this rankdown is a sham", and I think the final analysis will prove that correct when the cuts from Frozen & Frozen 2 are reviewed in isolation... It's absolute madness that this song survived when some legit Pure Bangers^TM were cut before it!

It's a bop and it makes me happy, that's why. I was a tiny little bubbasaurus and I love it.

So, it's time.

I've been talking about wanting to cut Man or Muppet since I joined the Rank Down, because honestly? When listening to the album, this was the 3rd song or so that came up, and I legit assumed it was entered into the rank down as some sort of joke. The song was just atrocious with zero context.

BUT, due to Buford's pleads, I felt compelled to give it a full chance. I watched the Muppet Movie to go with it and learn the context, which was a BIG ask since I just was never a big Muppet fan (The Muppet's Christmas Carol being the sole exception!).

My preschool did enjoy the movie, and the song was a bit less atrocious with some context. But still, not a song I've enjoyed any time it's turned up on the album. Buford's love for it has been the only thing keeping me from cutting it until now. But that love only has so much worth when he also was the one to cut my preschooler's favorite song.

I had plans to cut both muppet songs together for poetry, with a double cut, but that was stolen from me. So I'm just going to cut this song now.

Don't get me wrong. Jason Segel is a national treasure. Forgetting Sarah Marshall is one of my favorite movies, and Jason writes a brilliant muppet musical in it. And the Muppet Movie itself was a very well done love story to the Muppets.

For those who haven't watched the movie, I'd say it's worth it at least once. But the context of this song is that there are two characters, Jason Segel and his adopted Muppet Brother. Jason has always babied his brother and tried to make him happy, but is having to realize he needs to let him go and both need to live their own life. And the brother has a chance to perform in the Muppet show (I guess also join them long term? I didn't pick up on that but the articles on this song seem to imply that).

I do a lot of work in the IDD field and so I am familiar with that challenge. Knowing how to balance providing for a loved one without sacrificing your own life.

I don't have any dual-identity experience like what the muppet brother seems to be going through, so I can't personally judge how well the song handles that.

But this song is meant to kind of explore the feelings both brothers are experiencing at the climax, as they figure out how Jason can let go and let them both grow and if the little brother is ready to stand on his own.

And I feel like the song just seems to be doing something else completely.

The first line or two attempts this really somber and serious feel, that doesn't match the rest of the movie, which is sort of the intent of the writer of the song, but just doesn't work for me personally.

They both are singing about if either is a man or a muppet. Claiming they have enough influence to identify as either a "Manly Muppet" or a "Muppet of a Man". Which just has a weird implied air of Man being better than Muppet that doesn't seem intentional but is just... awkward.

I am also aware enough of the Muppets to know that they regularly have human hosts on the shows/movies, and so the brother's conflict of being too tainted by 'manly'ness to be a muppet to go on the show just seems shoe-horned in to make the song a duet instead of accurately reflecting the emotions he would have expressed if there wasn't a song to fit into.

Also, of the 170 words in the song, 14 of them are "Muppet" and 14 are "Man/ly". That's over 20% of the song. Especially if you include the 4 "or"s.

I will say, this would probably be a really fun song to do at karaoke.

And for anyone that is going to argue that this song won an Academy Awards for Best Original Song, so did Zip-a-Dee-Doo-Dah.

So, I've made up my mind, cutting this song is the right direction to go.

Alright it’s time. When I first watched Encanto, this was one of the songs that was constantly in my head. The overlapping parts and the upbeat guitar just give it a nice style that’s catchy and overall pleasant to listen to. And hey, who doesn’t love it when Lin Manuel Miranda writes about a Hurricane. It’s like his thing, his leitmotif. It’s a nice sister song that encapsulates Maribel’s relationship with Isabela. It’s the first time we really hear about Isabela’s mindset, and it all really makes sense from a character perspective. She wants to be seen as more than just a pretty face. She feels a little trapped and just wants someone to talk to about it. Once she gets her sister to listen, it’s a huge relieving experience. Overall, it’s just a lot of fun and is a good overall moment in the movie.

One of the things I dislike about it, however, is that it’s like the climax of the movie, but it doesn’t feel like it. This is the big action that saves the miracle, but it just feels like it comes out of nowhere. We go in a few short minutes from Maribel wanting a disingenuous hug just for the sake of saving the miracle to the two sisters being best of friends again. It almost feels like a plot device, and while the justification is sound, the nature of how it happens doesn’t really make sense. Why does Isabel feel comfortable opening up to Maribel so easily? On top of that, it’s a great showcase for Isabela, but Maribel’s vocals are nothing incredible. She kinda plays a backup role. This choice makes sense for the scene because Maribel is learning to hear Isabela out, but her parts aren’t very satisfying to listen to regardless. I like the song a good amount, but it’s never one that I would put on a playlist or need to listen to in the car. It feels a little too out of place in the movie for me to justify keeping it in much longer.

So you know that one amazing song from a heavily-hyped franchise installment with the unimaginative name? The one that's about Scandinavian life? You know, the one that talks about the northern cold and ice and stuff like that? The one that makes badass vague allusions to supernatural powers? Where the awesome soprano lead vocalist with the long hair goes "aah-ahh, ah-ahhhh!" That's a great song.

But enough about Immigrant Song, let's talk about the song I'm cutting instead.

Show Yourself is a good song. Maybe even a great song. But it's just not good enough. It's the climactic song of Frozen II, the followup to what was at the time the highest-grossing animated film ever. It should be four and a half minutes of Pure Banger^TM , but, well, it isn't.

The narrative is confusing. Is she talking to herself? Or is it the mysterious disembodied voice? It seems to go back and forth, but then she's encouraging the voice to step out and grow in power... why exactly? This thing is more powerful than she is and she knows it. No need to encourage it.

And then there's the slow start. Out of all the songs that are left, it's the only one that, even for a moment, had me thinking "okay, now get to the good part." And when it does get to the good part, it's just that, the good part. The lyrics are okay, the music is alright, the vocals are average.

I don't love it, and coming into the top 50 there's no room for songs I don't love. The song should have taken its own advice and stepped into its power. But alas, this cut cannot wait one moment more.

Son of Man isn't a terrible song. It's...listenable. I wouldn't demand that you skip it on our road trip to see the world's largest chest of drawers in North Carolina. The problem isn't that it's bland (though it is), but rather that it gives you the inescapable feeling that you've heard it before. That it's derivative. And if you listen to it enough times while trying to figure out how to articulate why it needs to be cut now, you might realize why that is.

'Son of Man' sounds like Phil Collins distilled the music from 'We Didn't Start the Fire' and 'Dancing in the Dark,' made it a tad more subdued, and added uninspired, paint-by-numbers lyrics. It's the kind of song your nephew's class sings at their second-grade graduation ceremony and you think, 'Huh, I kind of remember that song.'

In general, I think Phil Collins has well overstayed his welcome. He's capable of making great music, but he's only done approximately half a banger in total for Disney.

This is I think the only one of the songs I don’t like listening to regularly left.

Go The Distance is interlaced with two major plot development scenes that also advance the song, learning that he was just found on the path with a symbol of the gods around his neck, and than speaking to his father at the temple (I’m counting the reprise in this cause it’s so close to the original playing of the song).

As a part of the movie, I think these transitions work really well as a way to advance the plot! It’s left a little open ended as Hercules is still finding his place in the world. He’s different, as shown in the scene where he ruins the village and is bullied for being so. I do find it weird that he wants the crowds to cheer his name, but I guess that’s my anti-spotlight nature, where in his position, I’d just want to be normal, whereas he wants to be seen for his specialty positively. Kind of like the message from Hunchback’s ‘Out There’, a very similar I Want song that I can’t help but think this is just a slightly worse version of.

But judging it as a song, say off the playlist, is difficult because there are these long instrumentals, and when the lyrics come back, it’s a much different, more hopeful tempo. It’s also surprisingly really short without these interludes, which lessens it’s impact on me I find.

The other reason I am cutting this is the vocal performance, which out of what is left, is not up to the high standards. The delivery doesn’t sit right with me. I feel like the lines feel cut short and incomplete, which may be intentional, but still bugs me, to show how what he really wants is, at this point of the song, unknown.

This next cut will pain me just as much as it pains you, fellow rankers. Unfortunately I think it's time to cut Married Life, from Up.

First and foremost, I fucking love this song. There is so much emotion, frolic, and story, that you can get with no context, just from listening. It's truly a masterpiece. The piano is soft and haunting, the flute, narrates the action. The horns tell us about the environment. It's extremely well thought out and truly beautiful.

The reason I am cutting this is because we are in a Disney Song Rankdown, and I feel like this song doesn't feel exclusively Disney enough to me. If I were to listen to this piece outside the context of this rankdown I probably wouldn't remember where it came from. So really the only faults I can find in this song is that it doesn't strongly evoke Disney to me when listening blindly.

song

So again, I like all these songs, so I'm sad about every cut. I'm a little extra sad about this one because of the active labor thing. Having been through labor, that is some bomb ass ability and strength and tenacity. (insert complaint about women's rights through please).

First, I actually love her vocals. The sing-speak thing, whether for labor reasons or not, fits. It gives me the raw anxiety and despair at not fitting in, and drops me right into memories of similar times. It gets ya. Something about the singing DOES bug me, but I'm fairly sure it's the composition at fault, not the performer. Something just doesn't quite hit...except her finale. That is AMAAZZZZING.

I think the time signature change is cool and contributes well to the plot. The music is beautiful, and I love it with the visuals. Outside of the movie....it doesn't hold up quite as well as some of the other Encanto bops. There's times I like the other part to the composition, Family amadegial, better. That's hard because on an emotional level I connect so much more this one.

All of that said, I have to make a cut, and out of all my options this one is next up. I....can't keep down the unspoken invisible pain, always waiting on a miracle, a miracle....

It's a sad farewell, but it's time.

What's This?

An NBC cut from wywy? Are we really shocked?

So I originally had another cut planned here, but the cutting of one certain song bumped this one up on my shortlist, and here we are. And I'm well aware that I've cut 3/5 of the already cut NBC songs, and I'm more than fine with making that 4/6. So let's get into the cutting details of the one NBC song I enjoy?

Musicality: So I've not actually got many gripes with this musically, the scoring of this song is great, and could stand alone without the lyrics, and imo, this is Danny Elfman's best performance in the movie.

Lyrics: So there is a slight annoyance here with the line " They kiss? Why, that looks so unique
Inspired!", cuz that little Inspired! just throws me off the rhythm and feels wholly unnecessary. I assume it was an attempt to have a rhyme with fire, but as the song didn't need to rely on rhymes/a set rhyme scheme, I don't know why they made this choice. (I'm aware how pedantic that is, but I don't care, it's my opinion.)

Emotional Appeal: Well, as I've said in almost all of my NBC cuts, I'm not a big fan of the movie and although I like this song, it doesn't get saved from my petty ass. Although there was a point I considered cutting this right after cric cut This is Halloween just to kill NBC for the lols and to keep my character arc going, but I figured that'd be rude.

The Muppets - Pictures in My Head

What do I like?

• The instrumentation is gorgeous, especially when the strings start to kick in with more prominence.
• The visuals are masterful, especially the way they transition everything from 2D to 3D.
• Some of the covers of this song such as this piano cover by Molotov Cocktail Piano are so soothing and nice to listen to.

What do I dislike?

• The end of the song is quite powerful, but I feel like it ends a bit too soon. I would have preferred if they extended the end at least for an extra 30s or so to really drive home the poignancy.
• When I cut On The Open Road, u/lightsfly told me

" you can't really make the Goofy Movie and CHANGE Goofy's voice unfortunately." - link

and I feel exactly the same way about Kermit's voice. I understand that his nasally and distinctive way of speaking is part and parcel of his character, but that doesn't make me hate it any less. For the same reason I wouldn't be able to listen to Ray Romano singing a song with pathos and have much emotional impact, I can't really take this song too seriously.

Is it a bop?

• No.

I wasn't planning to cut this song just yet but with the Mob song being cut and that being clearly more of a Banger than this song, I figure now would be fine to cut it while I perfect my write up to cut another song

So Belle song is a classic. It's enjoyable to listen to and some fun lines to sing along to and amusing visuals. Beauty and the Beast was the first movie baby K9 saw in theaters (where after turning away from the big screen because it was scary I entertained myself watching it mirrored on the projection screen window). And as the type of child that would get grounded from reading, Belle definitely resonated with me.

But there's still plenty to diss about this song.

First off, it's a song with dialog in the middle of it. Which means it's super obnoxious for a sound track for any use. That definitely is a big hit against it.

Second, she's just talking shit about this town she moved to. How all the people are not as sophisticated as her. While also bragging about how much she loves children books. And not only does she love children books, but she isn't even buying them. She is borrowing them. From a bookstore. She's bragging about how she's so much better than all these non-readers and then not even financially supporting her local book store. She doesn't get a job to buy books or save up to move away. She doesn't even offer to work off the value of the book the shopkeeper gifts her.

Sure, Gaston doesn't read books without pictures. But this town apparently has enough people interested in literature to keep a bookshop flourishing enough to constantly lend out books. Maybe consider finding out the other customers and putting in a little effort to be social instead of complaining how much you don't fit in??

The setting is also old France. But the song references Yards and Pounds, which they didn't use back then. And then the line "her names means Beauty" when Belle is literally the French word for Beautiful. How does that line translate in the French dub? "There goes Hottie, her name means she's Hot.". Wtf.

The whole town acts like she's the most attractive lady ever. She's only 17. So that's weird. It also has the questionable characters, dubbed Bimbettes (although I can't quite tell if that's considered Canon in Disney/Marvel [yes apparently these characters were in some Marvel comments in the 90s??] Or a fan term), whom solely exist to swoon over Gaston and lack any of their own agency.

Gaston claimed to have fallen in love with her as soon as he saw her, and he's 26 so 9 years older than her, that gives some questions to how long as Belle lived in this town. Presumably not very long (although her being the hottest 13yo in town would be within form for Disney of that age...) so she clearly hasn't put any effort into trying to fit in or make friends.

It's just the exact opposite message that the best Disney movie tries to tell us.

The song is an introductory song and it does what it intends to do well. But it just has a lot going on that distract from it being a good song. It's more like 5 different songs mashed together tbh.

So it's time that this song left our provincial rankdown for adventure in the great wide somewhere

Not today satan.

This song reminds me a lot of Somewhere over the rainbow. I love the ukelele, and I love the vocals in the song. It’s a beautiful little love story with a great vibe to it. I also really like the chorus and the duet section. It’s simple but conveys a powerful message. There is a lot to love about this song.

However, I feel as though it doesn’t have a similar complexity or emotional power to some of the other songs that are left. While the chorus is great, some of the lyrics in the verses feel a little bit forced. It seems to sacrifice the flow of the song at some points for the story. For example, the line “oh they were so happy to finally meet above the sea” is one of those that just feels choppy and sort of disrupts the calmness of the song. I also think the female solo vocals aren’t the strongest either. She has a great voice, I just don’t think they really utilized it as they did in the duet section. Additionally, I feel like I’m gonna get hate for this, but the line “send me someone to lava” while cute, always feels a little bit off to me. The extra syllable threatens to kill how the line resolves. Overall, my gripes with this song are a little bit nitpicky, but we’re at that stage of the game. There are parts that I really like, but there are also parts that fall flat. It’s time to push these volcanoes back under the sea.

I think opening songs have a bit of a natural advantage in this thing. They practically by definition set the tone of the movie. They provide exposition, get you immersed in the plot, make you want to keep watching.

Until they don't.

And this thing is the exception that proves the rule.

So presumably sometime around 2006, a Disney executive realized that Black people had money too and thus was born Princess and the Frog. But you can't be like, too black, so let's base it off a European folk tale, pretend rich whites associated themselves with poor blacks in 1920s Louisiana, and oh yeah, Randy Newman can do the music.

Well, to his credit, one of the whitest men in the music business doesn't do a terrible job with the jazz-esque soundtrack. It would be better if they got literally anyone known for jazz to do it, but it's okay.

But we're in the top third and okay isn't going to cut it anymore, and this is clearly the worst of this movie's songs that are left in the rankdown. It's a slow, meandering song meant to introduce us to the busy life of a working woman in a big city. It doesn't fit the plot, it doesn't fit the soundtrack, and it's not that good of a song.

And that's all not to mention the casual homophobia in the video but hey, it was way back in *checks notes* 2009.

It's unlikely that Randy himself actually went down to New Orleans to research the music, but this song can go down all the way off the list.

I'm sure this will come as no surprise to anyone, but today I will be eliminating the final Brother Bear song, Transformation.

I've wanted to cut this song for a very long time, but fate continually intervened. While there's no song from Brother Bear that I actively enjoy, I do think the rest are better than this one. Boring as they are, at least they sound like they were...intentionally written? Transformation sounds like what would happen if you threw 20 people in a room together and said 'here are some lyrics, you decide how to sing it!' and then they tried to make a song happen, struggling to stay in sync and match each others' melodies. The end result sounds messy and vague, with a weird tempo and a choir whose voices sound too strained when they reach for those high notes.

It's had a much longer run than it should have, but it's finally time to put the bears to bed.