Why is Encanto’s song huge on TikTok.

This week, “We Don’t Talk About Bruno” – a song from the soundtrack to Disney’s latest animated feature, Charm– He climbed to the top of the music charts, ranking among the likes of Lil Nas X and Adele on the Billboard Hot 100 and Spotify’s Most Played Tracks. The song forms one of the film’s dramatic climaxes, and consists of a revolving door of magical characters cutting a whirlwind of melodies. It all culminates in the film’s protagonist, Mirabelle, putting together one of the film’s central puzzles: What’s the deal with Bruno?

There are many aspects of this track that contribute to its popularity after weeks CharmSong Version: Not only is the song compelling narratively, but it’s also a complete pop song. The music is a wonderful blend of Broadway and Latin American influences, with a particularly distinct beat. While each character sings the catchy, tight melodies we’ve come to expect of Lin-Manuel Miranda, she almost always avoids singing to the beat. And the song’s recurring bass line constantly raises our expectations – of the 30 tones that make up this lick, only two go along with the beat! This pervasive song is precisely why we can’t come to terms with this song; When music evades the beat, it evokes a sense of movement in listeners, pulling our own centers of gravity as they narrowly avoid syncope with where we expect it to land.

The track “We Don’t Talk About Bruno” is equally dramatic. The song runs through a series of verses, with different members of the Mirabell family singing different tunes. However, unbeknownst to the listener, Miranda composed both of these tunes to work together. As the song approaches its climax, we hear a tornado of lines mashing together as the characters sing their singles at the same time. The moment produces an unexpected and exciting musical climax, cleverly indicating similar overlapping dramatic climaxes in Les MiserablesAnd West side storyeven Sesame StreetThe famous breakfast struggle.

But the song is more than just a catchy, danceable tune. the movie Charm It is about an enchanted family who loses their magical power due to some unseen force. As Mirabell struggles to make sense of this power, she questions each of her relatives about her absent uncle, Bruno. But the song isn’t “about” Bruno in the same way that the movie isn’t about magic. Instead, the movie Really about unresolved intergenerational trauma (particularly in immigrant and politically oppressed cultures), while the song actually It reveals the characters’ frustrations, shortcomings, and biases.

For example, the first verse shows Mirabelle’s aunt Peppa and Uncle Felix blaming Bruno for anticipating rain at their wedding. However, Peppa’s magical powers control the weather. The underlying meaning behind her hair isn’t about Bruno’s alleged curse at her wedding, but more about the couple’s underlying frustrations at Pippa’s inability to control her own power (“in doing so my mind overwhelms my mind”).

Perhaps the most compelling moments in the song are those sung by Dolores, Mirabell’s cousin, whose magical ears allow her to hear every movement and conversation miles away. However, the family treats Dolores as a magical postal service, only requiring her to mechanically report events and ignoring her feelings and input. In We Don’t Talk About Bruno, Dolores’ poetry recounts what she heard and inferred about her supposedly absent uncle. In the few 19 minutes she sings, her twisting, spinning lyrics reveal that she can still hear Bruno around the house (“I can always hear him mumbling and muttering”) and that he has tried to use his talent to help out the family (“She’s a heavy load with a very humble gift”), but he He became estranged from his mother and siblings when his prophecies failed to match their expectations (“dealing with prophecies they could not understand”). But while Dolores drops these narrative bombs, the music is too fast and too quiet for us to fully comprehend. It’s delivered twice as fast as any other syllable, and its syllables whisper (compare full-throated Pepa with silent Dolores), making her words difficult, if not impossible, to understand.. By being so fast and so soft, the music cleverly forces the audience into the same relationship with Dolores that it has with the rest of the family: it tries to tell us the truth about Bruno, but we’re unable to fully comprehend it.

As the track continued, the song itself included its hidden musical prophecies. When Mirabelle’s perfect sister Isabella delivers her story, she recounts Bruno’s prediction that her strength and happiness will continue to grow (“Tell me that the life of my dreams…will one day be mine”). While these lines initially seem lively and lively, this clip ultimately plays a major role in Isabella’s transformation later in the film. In Isabella’s song “What can I do?” As Isabella admits “I’m sick of beauty, I want something real,” Mirabelle sums up her sister’s poetry from “We Don’t Talk About Bruno” to encourage Isabella to embrace her own wants and needs. Here, Mirabell reinterprets Bruno’s prophecy musically, showing Isabella how she can finally achieve her “dream life.”

Even the key “We’re not talking about Bruno” hides information about the final decision of the scheme. The song is in the key of C – that is, C serves as its main note – a key that actually played an important role on the soundtrack, with scenes highlighting familial love and connection defined in that key. By contrast, songs that highlight Mirabelle’s increasing distance from her family (“The Family Madrigal” and “Waiting on a Miracle”) present the C-tone as sharp as one note away from the C; These moments show a musician Mirabelle is pulled away from her C key. Conversely, when the family confronts their problems and traumas later in the film, the music reverts back to the C key. “What Else Can I Do?” She moves into this key during Isabella’s crucial penetration, and Abuela (Mirabel’s obstinate grandmother) makes her own lead on “Dos Oruguitas” in this key. We Don’t Talk About Bruno describes family problems while foretelling their solutions, and using the key of C, the music makes a clear connection between these solutions and the ultimate solutions to the family’s trauma.

In many ways, “We’re Not Talking About Bruno” is a surprising candidate for that distinction as the first Disney song since frozenThe hit hit “Let It Go”. After all, it’s not a love song, not a solo anthem, not even a mainstream pop style. but the song Very pleasant The many reasons—musical, lyrical, and narrative—give us all many reasons to talk about (and sing about and make TikToks about her) “We’re not talking about Bruno.”

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