Question: What is the title of the track Ryan Seacrest erroneously announced was available for purchase on the iTunes Store? Answer the above question based on the context below: Although a low-quality version leaked on December 31, 2014, a full version of the recording was not made available for the public. A limited quantity edition CD single was issued in January 2015, and sent to the Academy of Motion Picture Arts and Sciences as part of the submission process to be considered for the Academy Award for Best Original Song. The single was included in the list of 79 contenders for the award, but it did not receive a nomination.A lyric video was uploaded onto The Weinstein Company's YouTube channel on January 13, 2015. It was a minute and 35 seconds, and featured clips from the film. The video received over two million views in 24 hours. The video featured scenes from the film in which "the iconic Peruvian bear finds himself in all manner of mishaps while trying to find a home and ultimately working his way into our hearts". The visual was included on the DVD and Blu-ray releases of Paddington along with a behind-the-scenes feature on the making of the track. Matthew Jacobson of The Spectrum, a newspaper which is part of the USA Today Network, criticized the video for being "just clips of the movie set to a song" rather than a proper music video. Alternatively, Cinemablend.com's Jessica Rawden found the video to be "satsifying"."Shine" is featured in the American trailer and the closing credits for Paddington, but was not included in the British version of the film. Idolator's Christina Lee wrote that the track was an exclusive release for the United States and Canada. The song was excluded from the film's soundtrack album, as well as Stefani's third studio album This Is What the Truth Feels Like (2016). During an interview with Stefani and Williams on January 21, 2015, radio host Ryan Seacrest erroneously announced the track was available for purchase on the iTunes Store.
Answer: Shine
[Q]: What is the name of the myth that Poulnec feels is excusable, because he does everything to conceal his efforts? Answer the above question based on the context below: See also: FP (Catalogue of compositions), List of compositionsPoulenc's music is essentially diatonic. In Henri Hell's view, this is because the main feature of Poulenc's musical art is his melodic gift. In the words of Roger Nichols in the Grove dictionary, "For [Poulenc] the most important element of all was melody and he found his way to a vast treasury of undiscovered tunes within an area that had, according to the most up-to-date musical maps, been surveyed, worked and exhausted." The commentator George Keck writes, "His melodies are simple, pleasing, easily remembered, and most often emotionally expressive."Poulenc said that he was not inventive in his harmonic language. The composer Lennox Berkeley wrote of him, "All through his life, he was content to use conventional harmony, but his use of it was so individual, so immediately recognizable as his own, that it gave his music freshness and validity." Keck considers Poulenc's harmonic language "as beautiful, interesting and personal as his melodic writing ... clear, simple harmonies moving in obviously defined tonal areas with chromaticism that is rarely more than passing". Poulenc had no time for musical theories; in one of his many radio interviews he called for "a truce to composing by theory, doctrine, rule!" He was dismissive of what he saw as the dogmatism of latter-day adherents to dodecaphony, led by Rene Leibowitz, and greatly regretted that the adoption of a theoretical approach had affected the music of Olivier Messiaen, of whom he had earlier had high hopes. To Hell, almost all Poulenc's music is "directly or indirectly inspired by the purely melodic associations of the human voice". Poulenc was a painstaking craftsman, though a myth grew up "la legende de facilite" that his music came easily to him; he commented, "The myth is excusable, since I do everything to conceal my efforts."The pianist Pascal Roge commented in 1999 that both sides of Poulenc's musical nature were equally important: "You must accept him as a whole. If you take...
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[A]: la legende de facilite
input: Please answer the following: What is the name of the band that covered "Hot Like Fire?" Answer the above question based on the context below: While students at South London's Elliott School in 2005, childhood friends Romy Madley Croft and Oliver Sim formed the xx with Jamie Smith and Baria Qureshi. Croft and Sim played guitar and bass, respectively, and dueted as the band's vocalists, while Smith programmed electronic beats for their songs, and Qureshi doubled as a keyboardist and additional guitarist. During late nights, Croft and Sim either shared lyrics with each other through instant messaging or rehearsed quietly with Smith and Qureshi in their bedrooms so they would not disturb the rest of the household. The xx were greatly influenced by American R&B producers such as The Neptunes and Timbaland, whose minimalist productions incorporated vocal harmonies, clapping percussion, unconventional samples, and pronounced beats. The band covered Aaliyah's "Hot Like Fire" (1997), Womack & Womack's "Teardrops" (1988), and other past R&B hits when they performed live and recorded their demos.After posting the demos on their Myspace page, the xx drew the interest of Young Turks, an imprint label of XL Recordings. They submitted the demos to XL's head office at Ladbroke Grove and were subsequently signed to a recording contract. The group worked with producers such as Diplo and Kwes, to no success before they were introduced to audio engineer Rodaidh McDonald by the xx's manager Caius Pawson, who gave him three CDs of demos titled "Early Demos", "Recorded in Rehearsal Space", and "What Producers Did Wrong". McDonald was impressed by the intimate quality and use of silence on the demos, which both he and the band felt may have challenged other producers who wanted to incorporate their individual tastes: "They'd worked with about four other producers before then that hadand no discredit to themI guess they'd seen a lot of space to add a kind of stamp on. There was a lot of empty space in the xx's music, even then, in the 'Early Demos'. But we just found that the best stuff was the most sparse."
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output:
The xx