1492 Conquest Of Paradise

Pop Culture: Looking out for No. 1

I recently came to a realization: I do not pay much attention to the pop charts more.

Do not get me wrong, I am always very aware of the current No. 1 hit - just not in a specific way. I mean, if I hear a song and someone says, "is the top song in America, I say," You know, I think you're right. "

The last time I paid special attention to the cards was probably 1982. On today's date this year the song was more than "Chariots of Fire" by Vangelis. Two days later, May 9, 1982, "Ebony and Ivory" returned to No. 1.

I remember that day well. Our track team was on the way to a great appointment. During the trip, I heard the voice of Casey Kasem's radio from the school bus.

"We have a new No. 1 this week, he said. "This is Paul McCartney and Stevie Wonder" Ebony and Ivory. "

If you think it is rare that we travel on a secondary track meet Sunday night - and I admit I bent the truth a little. I did it to make a point. What this is, I do not know.

Come to think of it, most of our bus did not even have a radio.

One thing that is true. "Ebony and Ivory" I remember when "Chariots of Fire" passed the baton to Specifically, I remember two songs being No. 1 for 10 years who is straight.

It's impossible, of course, because the record for consecutive weeks at the most No. 1 is significantly less than 10 years - approximately 504 weeks. There is a strong contrast between "Chariots of Fire" and "Ebony and Ivory". "Ebony and Ivory" used a simple (perhaps obvious) metaphor of a piano to illustrate racial harmony.

As for "Chariots of Fire," I've never understood those words.

It's fun to see the dynamics of change in the Billboard pop music. Paul McCartney and Stevie Wonder had the song up on May 9, 1982. A decade later, No. 1 belonged to Kris Kross, with "Jump".

I remember that day well. Paul McCartney was recording 'Off the Ground ", Stevie Wonder has been between visits, Shado Stevens was the host of" American Top 40 "and Vangelis did" 1492: Conquest of Paradise "(although I did not know at the time).

Meanwhile, I have not been directed to a track meet on a bus not equipped with a radio, and it was not Sunday. So you know I'm not bend the truth.

1492: Conquest of Paradise (Vangelis) | MovieCues

Their previous collaboration was Blade Runner, Ridley Scott met with Vangelis on its draft 1992 1492: Conquest of Paradise. If the score is actually higher than Blade Runner, the mess it is in the film itself earned criticism from many critics, especially by the critic Roger Ebert, who wrote in his review: "Version Scott is particularly handicapped by a score by Vangelis, who alternates between the angelic choirs of breath and brooding jungle music. The soundtrack instructs us what to think about many of the shots; the quasi-ecclesiastical strains seem to suggest the church will indeed save many souls in the New World, while the Indian theme suggests that these simple forest people were already well on the way to inventing New Age music.” It’s a pity that critics don’t seem to listen to the music away from the film, since in reality; this score is possibly the best that Vangelis has ever written listened to as a stand-alone.

The instrumentation for the score is exactly as one would predict for a score by Vangelis. His usual bank of synthesizers and other electronic instruments are joined by a mandolin, a violin, The English Chamber Choir, and various flutes. The score itself is dominated by one primary theme, heard first in the cue “Conquest of Paradise”, a truly wonderful chanting choral piece. Aside from the main theme, the other main highlight from the score is the cue “Monastery of la Rabida”, which comes immediately after the main theme, which wonderfully introduces an element of religion into the score with wonderful choral movements.

Whilst there are indeed a great many disappointments to be found in this score when heard in the film, you can be pretty certain the majority, if any, of them won’t be present here. Although it may not be the sort of score that you’d expect to hear in a film set in the 15th Century, along with his score for Alexander twelve years later, this is Vangelis at his best.

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