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In the film The Reader (2008) it stood for a time shift from 1958 to the mid sixties playing as background music. [4] It was also used in an Audi USA commercial in 2018. [5] Since 2017, it has been the theme song of The Great Pottery Throw Down. [6] The mid-1980s band Makin' Time was named after the song. [citation needed]
"Mrs. Potter's Lullaby" is a single by American rock band Counting Crows. It is the second track on their third album, This Desert Life (1999). The song reached number three on the US Billboard Adult Alternative Songs chart and number 16 on the Canadian RPM Top 30 Rock Report.
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Follow the Yellow Brick Road is a television play by Dennis Potter, first broadcast in 1972 as part of BBC Two's The Sextet series of eight plays featuring the same six actors. The play's central theme is of popular culture becoming the inheritor of religious scripture, which anticipated Potter's later serial Pennies from Heaven.
"Hedwig's Theme" has been interpolated in the fourth through eighth Harry Potter film scores, including in those by Patrick Doyle, Nicholas Hooper, and Alexandre Desplat and the spin-off Fantastic Beasts scores by James Newton Howard. It also appears in the scores to the last four Harry Potter video games, all composed by James Hannigan ...
The track is named for Harry Potter's pet owl, Hedwig. Since being featured in The Philosopher's Stone soundtrack, the piece's main theme was further developed by Williams for The Chamber of Secrets and The Prisoner of Azkaban, and by Patrick Doyle, Nicholas Hooper, and Alexandre Desplat for the remaining five Harry Potter films.
The song "Harry" was previously released as "Sami" for the web-series Little White Lie (2009), [5] and was later re-recorded for Darren Criss' Human EP [5] [11] and A Very StarKid Album, once again as "Sami." Darren Criss also re-recorded "Not Alone" for his Human EP [5] [11] and A Very StarKid Album.
The reception for the soundtrack of Part 1 was overall positive. The first review of the soundtrack was released on 31 October 2010 by Jonathan Broxton, who rated the score 5/5, saying that "This score is one of Desplat’s greatest achievements and highlights everything I love about his work; the orchestral textures, the intricate use of unexpected instruments in unexpected settings, the ...