journey to the past lyrics

Journey to the Past lyrics - Anastasia

• Prologue: Once Upon a December
• A Rumor in St Petersburg
• In My Dreams
• Learn to Do It
• The Neva Flows
• My Petersburg
• Once Upon a December
• A Secret She Kept
• Stay, I Pray You
• We'll Go From There

Journey to the Past

• Paris Holds the Key (To Your Heart)
• Crossing a Bridge
• Close the Door
• Land of Yesterday
• The Countess and the Common Man
• In a Crowd of Thousands
• Meant to Be
• Quartet at the Ballet
• Everything to Win
• Once Upon a December (Reprise)
• The Press Conference
• Everything to Win (Reprise)
• Still/The Neva Flows (Reprises)

Journey to the Past lyrics

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Journey to the Past

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Disney Miscellaneous Journey To The Past Heart don't fail me now Courage don't desert me Don't turn back now that we're here People always say Life is full of choices No one evet mentions fear Or how our road can seem so long How the world can seem so vast Courage see me through Heart I'm trusting you On this journey to the past Somewhere down this road I know someone's wating Years of dreams just can't be wrong Arms will open wide I'II be safe and wanted Finally home where I belong Well, starting here my life begins Starting now I'm learning fast Courage see me through Heart I'm trusting you On this journey to the past Heart don't fail me now Courage don't desert me Home, love, family There was once a time I must've had them to Home, love, family I will never be complete until I find you One step at a time One hope then another Who knows where this road may go Back to who I was Onto find my future Things my heart still needs to know Yes, let this be a sign Let this road be mine Let it lead me to my past Courage see me through Heart I'm trusting you To bring me home At last At last Courage see me through Heart I'm trusting you Yeeeah

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Anastasia – Journey To The Past lyrics

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Journey To The Past meanings

• U + 5 Unregistered 2014-09-28 10:12:54 Very nice song! I love Anastasia, it's my all time favorite animated movie! Here, Anastasia, under the name Annie, is shown to be an orphan who just got out of the orphanage now that she's all grown up. She is confused and doesn't now what to do, so she asks god for a sign. And the sign turns out to be a dog that leads her to St-Petersburg, while she sings this amazing song, hoping she'll find her family, her only clue being Paris, since, on a necklace she has worn since she was young, is written "together in paris". It was given to her by her grandma living now in paris, but she doesn't know it. Great movie, awesome song. You must watch it! 1 reply
• U + 4 Unregistered 2015-11-25 16:48:16 We can not always chose what will become of us, but when we finally have the courage to. It becomes our sole responsibility to follow that which we have chosen to the end. It may not be easy but as long as we hold fast to that which we believe in our heart, we will make it to the end. I love this song and I love the animation too. Add your reply
• U + 1 Unregistered 2014-09-30 09:06:31 It's about people's life. Their or our choices, we make in life. My favorite quote here is "don't turn back that now we're here". Its your choice, why you reach that level in life. And we all do have to make our own decisions to. We all have to choose doors and make sure to take what you really what. So that you won't regret something in the future. 'cause we know we can't change our pasts. Add your reply

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• U + 5 Unregistered Very nice song! I love Anastasia, it's my all time favorite animated movie! Here, Anastasia, under... Read more →
• U + 4 Unregistered We can not always chose what will become of us, but when we finally have the courage to. It becomes... Read more →

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Judah and the Lion talk Nashville roots and new, psych-centered album 'The Process'

It's a coincidence that bandmates Judah Akers and Brian Macdonald of Judah and the Lion were both raised by therapist mothers. But now, for their fifth studio album, they're leaning into their roots and bringing psychology and music together.

"The Process," due out May 10, captures the five stages of grief in song.

Judah and the Lion, a Nashville-based folk-alternative band, is best known for songs "Take It All Back 2.0" and "Suit and a Jacket." "The Process" follows their 2022 album "Revival" and 2019's "Pep Talks."

Macdonald and Akers sat down with The Tennessean in Akers' East Nashville home, reminiscing about the band's origins over the kitchen table and sharing about the process of crafting "The Process."

Judah and the Lion on the band's origins

Akers, the lead vocalist, and Macdonald, a mandolinist, first met at Belmont University in Nashville in December 2011. After playing some songs together at the Belmont Bell Tower with drummer Nate Zuercher — who exited the band in 2021 — the rest was history.

Akers, 33, and Macdonald, 31, seemed like brothers as they described their origin story as starving artists, hungry to make it as professional musicians.

"We were splitting a room, sharing rent and a bed, and making peanut butter Nutella tortillas for lunch," Macdonald said.

"Ramen," Akers chimed in.

"I remember you used to make egg mayonnaise sandwiches," Macdonald laughed.

In 2013, touring picked up. The band was opening for Drew Holcomb and the Neighbors and dropped their debut album, "Kids These Days," in 2014.

Since then, they've made appearances at Bonnaroo, Firefly and Music Midtown; opened for Twenty One Pilots, Incubus and Jimmy Eat World; and released five albums and dropped tracks with Kacey Musgraves and Jon Bellion.

Judah and the Lion has become one of Nashville's indie-alt staples.

Working through trauma

"So this kind of started last May," Akers said about crafting the new album. "I was going through the biggest lows of my life with a divorce and a couple of tragic deaths in my family. Just the pandemic, being in the middle of that was already just such a stressful time."

Akers said he wasn't ready to write music about the lows he was experiencing, but he remembered an idea he had while writing their record "Revival." He wanted to attempt to capture the five stages of grief in song.

Akers thought that instead of writing deeply personal songs about painful times, he could write about working through those times instead. So Macdonald and Akers set out to write a psychologically informed album about working through trauma.

Their plan was to write a few songs per each stage of grief: denial, anger, bargaining, depression and acceptance.

"It was so fun to write it that way because now, you know, two or three years past the peak of that hard time, (I) was writing it from a little bit healthier spot," Akers added.

"(I was able) to write it from this space of forgiveness and empathy versus just anger and raw sadness. It's been such a fun process, no pun intended, to write 'The Process.'"

Macdonald said his approach to the writing process was different.

"I think for this story, I was the friend that was trying to be supportive and walking through that journey with Judah," he said.

He had watched the grief process from a different perspective and was able to factor that into the writing. In fact, Macdonald even wrote a full song from the perspective of a friend who is watching their friend grieve.

The song will be released on the deluxe edition, featuring Macdonald on lead vocals for the first time in the band's history.

'The Process' consulted psychology experts

The five stages of grief is a patient-focused, death-adjustment pattern that Swiss-American psychologist Elisabeth Kübler-Ross coined in 1969. While Macdonald and Akers aren't psychology academics, it turns out they had a couple of tricks up their sleeve to make sure their music was as accurate to the science as possible.

Akers' aunt is a professor at Tennessee Tech in the psychology department, he said.

"I would send her songs and be like, 'Does this feel more like depression or bargaining? To me, it was like depression.' And she would come back and be like, 'No, this, this is clearly you bargaining.'"

Akers would bounce ideas off of his own therapist as well. Akers and Macdonald, too, would consult their therapist mothers in the writing process. In total, the band consulted at least four psychology professionals in the crafting of the album.

"We definitely feel more acquainted with the process of grief and what the science is behind it," Macdonald said. "But also, this is just our experience, and we're not experts. It's just our interpretation of it."

The album is structured so that each stage of grief gets its own shortened song, sometimes instrumental or overlaid with commentary. In between each stage are a handful of songs in each category.

Runaways from the album include "Son of a Gun," featuring K. Flay, a pulsing track with heavy percussive elements and appropriately angry lyrics — yes, it appears in the anger stage of grief.

The lyrics go: "Misfit songs in a beat up truck / I got 24 ways of not giving a single / Just got to take it and run / The bad guys win and the good die young / I got 24 ways of making my own luck."

More music: Jelly Roll opens songwriting studio at Davidson Country Juvenile Detention Center

"Self-Inflicted Wounds" from the depression stage is one of the album's most vulnerable tracks. With a palpable sorrow, Akers sings: "And it was easy for me to blame it all on you / Never looking in the mirror cause I couldn't take the truth / If hurt people hurt people I didn't mean to."

"Leave It Better than You Found It," featuring Nashville artist Ruston Kelly, comes in the acceptance stage. The song dropped as a single in December.

They sing: "And I guess that I hope, when it's my time to go / That they say I was alive, and I tried to be kind / And at times at bars with karaoke, I fully ascend / That I left this place better, than I found it."

The 19-track album brings listeners through a personal, yet universal, metamorphosis.

"I pray that it can be healing for people, too, that are walking through life with unprocessed grief," Akers said.

The sound features synths, catchy mandolin licks and powerful vocals that act as a vector for "The Process," a through-between that elevates it beyond a typical indie-alternative pop album.

To learn more about Judah and the Lion and their new album, head to judahandthelion.com .

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Journey to the Past

Liz callaway.

About Journey to the Past

"Journey to the Past" is a song written by lyricist Lynn Ahrens and composer Stephen Flaherty for the animated musical film Anastasia (1997). Originally recorded for the film by American actress and singer Liz Callaway in her titular role as the singing voice of Anastasia – who is going by her nickname "Anya" at the time – the song expresses the character's desire to follow sparse clues about her past in the hopes of learning more about her family and who she is. The third song written and recorded for the film, Ahrens and Flaherty conceived "Journey to the Past" as a means of expressing the different emotions Anya feels while she prepares to venture out on her own for the first time. Accompanying a musical sequence during which Anya travels from her Russian orphanage to St. Petersberg, the song incorporates the film's central themes about home, love and family. To market the film to a wider audience, President of Fox Music Robert Kraft recruited American singer Aaliyah to record a pop and R&B version of the song, which is played during the film's end credits. Produced by Guy Roche, some of the songs lyrics and melody were adjusted to suit Aaliyah's vocal style. The cover was released as the second single from the film's soundtrack album. Upon release, both versions of "Journey to the Past" received generally positive reviews, although film and music critics preferred Callaway's original rendition over Aaliyah's. It became a moderately successful pop hit in the UK. The song did not chart on the Billboard Hot 100; it only received minor adult contemporary airplay in the U. S. It stayed on the chart for only 4 weeks. The song was released on November 6, 1997 as the soundtrack's second single.   more »

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Liz Callaway (born April 13, 1961) is an American actress and singer, famous for providing the singing voices of many female characters in films, such as Anya/Anastasia in Anastasia, Odette in The Swan Princess, and the Adult Kiara in The Lion King II: Simba's Pride. more »

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• #1 A Rumor in St. Petersburg
• #2 Journey to the Past
• #3 Once Upon a December
• #4 In the Dark of the Night
• #5 Learn to Do It
• #6 Learn to Do It [Waltz Reprise]
• #7 Paris Holds the Key (To Your Heart)
• #8 At the Beginning

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• Anastasia   1997

'American Idol' Top 8 star McKenna Faith Breinholt honors late mom: 'She's cheering me on'

McKenna Faith Breinholt of Gilbert has sung her way into the final eight on "American Idol," where Lionel Richie responded to her cover of the Goo Goo Dolls' "Iris" by proclaiming her the "Queen of Smoky Voice" on Sunday, April 28 ' s episode.

The morning after that performance, Breinholt was reminded that he called her that.

"He did," she said, apologizing for her voice, which was sounding even raspier than usual at 8 a.m.

"And that's what you're hearing right now. To a fault," she said.

It's just what happens when she wakes up after singing, Breinholt said, assuring The Republic that she'll be fine when the Top 8 contestants go live on Monday, April 29 .

McKenna to dedicate next 'Idol' performance to her birth mom

She plans to dedicate the song she will sing on Monday's show to her birth mother, Amy Ross Lopez, a singer from Bisbee, Arizona, who was half of the folk duo  Nowhere Man and A Whiskey Girl . Ross Lopez died in October 2013 of complications from lupus.

Breinholt was adopted as a baby before her mother's death. It was a closed adoption, which meant she couldn't find out any information on her birth mother until after her 21st birthday.

The story of Breinholt discovering her birth mother had been a singer was a deeply moving highlight of her audition , where the 25-year-old singer played piano while delivering a heartfelt rendition of "There Was Jesus," a duet by Christian artist Zach Williams and country music icon Dolly Parton.

After telling the "American Idol" judges she'd made plans to meet her birth family in person for the first time three weeks after the audition, Breinholt was surprised to find that her adoptive parents had flown in several members of that birth family to be there for her.

McKenna covered A Whiskey Girl's 'Tumbleweed' twice on 'Idol'

Katy Perry asked if she knew any of her birth mom's songs, and Breinholt sat at the piano to sing "Tumbleweed" as her grandmother broke down in tears while quietly singing along.

When Perry asked if it sounded the same, her grandmother responded, "Oh, it's like a ghost."

Brienholt revisited the song on April 15 after learning she was advancing to the Top 14.

"I just kind of wanted to honor her that way," she said.

'Tumbleweed' connects McKenna to Amy Ross Lopez

What drew her to "Tumbleweed" is that it was the first song she discovered when she started exploring her mother's songs.

"And that's how I connect with her," she said, "it's about leaving your past behind and moving forward on your plans that you've had for yourself, not looking back."

She's hoping to record her version of the song when this season of "American Idol" is over, regardless of who wins.

"A huge goal of mine, right when I'm done, is to get in the studio with my birth uncle and start rewriting a lot of her songs," she said. "Maybe that's the way that I would do that, put my own spin on them."

'American Idol' felt 'super surreal.' But now it's on

Breinholt has been loving her "Idol" experience.

"Honestly, I feel like this whole thing has been super surreal," she said. "But now that I'm in the Top 8, it's getting real. Like, it feels like I'm on 'American Idol' now. It feels like there's competition. And it's intense a little bit."

She chose "Iris," the song that put her in the Top 8 , in part because she's loved it since she was little (yes, it is that old) and in part because of how she ties the lyrics into her own story.

"I just feel like everyone wants to show the world who they really are," she said.

"And we're all scared to be our true selves. I feel like that's what that song was about, for me, just getting myself out there and showing who I really am through the imperfections and the flaws and hoping that the world still loves me, even though I'm putting it all on the line."

Best part of her 'Idol' journey? The friends she's made

The best part of the "Idol" journey, Breinholt said, has been the friends she's made.

"I will keep these friendships for the rest of my life," she said.

It can get weird when the topic of wanting to win comes up.

"But for the most part, everyone is so supportive, and we cheer each other on. I think if any of us were to go home at this point, we would be happy and proud. And we'd want to come back to the shows to keep cheering each other on."

'American Idol' has made McKenna push herself to grow

She's grown a lot since her audition.

"When I first started performing on the show, I was super timid," she said. "I only wanted to stay behind the piano. I didn't really push myself vocally. Every performance, I've pretty much stretched my range and sung higher and higher. I even got out from behind the piano and moved around the stage a little bit."

No matter who wins, Breinholt plans to keep pursuing her career when this season is over.

"I want to get more music out and just get a fan base," she said. "I already have a mini fan base on Spotify. To grow that would be awesome. And to start touring."

'It has felt like my birth mom is figuring out a way to be on stage'

Breinholt said she feels her birth mom has been watching over her these past few shows.

"Honestly, the last three songs, not to be cheesy, but it has felt like my birth mom is figuring out a way to be on stage," she said.

"That sounds so weird. But last night, before my song, I had a huge piece of confetti spin down from the ceiling, just one piece, and land right at the front of the piano, right before I started singing. And before my last performance, I had a breakdown in the bathroom just because I felt so strongly that she's cheering me on. That's probably the coolest thing that's happened on the show so far."

Where and how to watch 'American Idol' tonight

“American Idol” is on at 5 p.m. PT on Monday, April 29, on ABC.

You can watch “American Idol” Season 22 on ABC 15 in Arizona at 5 p.m. You can also stream the new episode with a subscription to FuboTV or Hulu the next day, starting at 3 a.m. on Tuesday, April 30.

Past episodes are available on Hulu if you want to catch up. A subscription to Hulu costs $7.99 a month for the ad-supported plan. Students can get Hulu with ads for $1.99 a month, and Hulu with no ads costs $17.99 a month.

‘American Idol' Season 22: Who made it to the Top 8?

Reach the reporter at   [email protected]  or 602-444-4495. Follow him on X, formerly Twitter:   @EdMasley .

Support local journalism.   Subscribe to azcentral.com today.

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Judith Hill Sang With Pop Royalty. Now She Is Composing Her Own Story.

The singer, songwriter and multi-instrumentalist was close to Michael Jackson and Prince. After their deaths, her world crumbled and she had to rebuild on her own.

By Melena Ryzik

Reporting from New York and Los Angeles

The first time the musician Judith Hill performed her anguished requiem “Black Widow” for an audience, she wept, right onstage.

The song’s title is an epithet that has been directed at her for years by tabloids and trolls because as a vocalist and artist, she had been close with two of pop’s biggest stars shortly before their deaths. She was Michael Jackson’s duet partner and performed at his televised memorial in 2009. And for two years before Prince’s fatal overdose in April 2016, she was his protégée, collaborator and more. They shared what she has called “an intense relationship” ; he told her he loved her.

Prince’s sudden, accidental death derailed her promising career — which he had been guiding — and she spiraled into deep grief, depression and self-doubt as online cruelty rained down. It took years before she was able to face what happened, personally or musically.

“It was a deep wound,” she said onstage at a recent showcase at Mercury Lounge in Lower Manhattan, after the soulful, fierce “Black Widow.” Then she brushed her tears away — “enough of that” — and soon started another number, “Dame De La Lumière,” a detailed tribute to her mother and grandmother, with a rippling, urgent chorus that has become her anthem: “Bad times make strong women.”

Both songs are on “Letters From a Black Widow,” her new record, due Friday. It is a concept album that reckons forcefully with her past — not just the boldfaced part, but also the myriad woes and distortions that conspired to make her feel fearful and less-than. The dozen tracks that finally tumbled out chart her path of self-reflection and forgiveness, with achingly personal lyrics paired with muscular funk, soul and blues, and backed by her shredding, soaring guitar. It’s a new reach for an artist known mostly for her acrobatic and emotional vocals ; she wanted her determined message to resonate, too.

“I felt unmuted,” she said, “like I was free to say something now, because I felt like I had really put a muzzle on myself for so long, and was just afraid. And it was very, very liberating to do that.”

Getting there involved therapy; a hallucinogenic trip to a hot springs with friends; and the guitar, which she first picked up in 2016, before Prince’s death. The instrument proved to be transformational. “It helped me work through the trauma,” she said in an interview earlier this year at her house in Los Angeles, where a Gibson, Strat and Taylor lined a newly built studio. If the piano, her lifelong instrument, was her melodic through-line, the guitar, on which she is self-taught, gave her a different vibe. “I do kind of see her as a panther,” she said, smiling. “She’s the warrior energy.”

Hill, who will turn 40 next month, was 4 when she wrote her first song, a gospel number. She grew up in a churchgoing musical firmament in Los Angeles: Her mother, Michiko Hill, was born in Tokyo and plays the keys, organ and piano; her father, Robert Hill, who is Black with roots in Alabama, is a bassist known as PeeWee. They worked with acts like Sly and the Family Stone and Chaka Khan. Now they tour in Hill’s backing band. “It’s a family affair,” as she put it at the New York show.

They live just down the road in Los Angeles, she said a few months ago. She was cozy in a pink sweater, sipping tea in the first home she has owned, her respite from the road. Fans and those in the industry who have been rooting for Hill know her peace is hard-won.

“As they say — now she can breathe,” said the singer Darlene Love, who has known Hill for years. They were both featured in the Oscar-winning 2013 documentary “20 Feet From Stardom,” about background vocalists, for which they also earned Grammys.

Hill, fresh off being a competitor on “The Voice,” was an upstart then. “We called her the baby,” said Love, who started her career in 1960s girl groups. “We were looking at her to become the star out of this movie.”

Her ambitions were known, Love recalled. “I remember Stevie Wonder told her one time, you know, ‘Don’t get so caught up in singing background for me that you miss your shot’” at being the lead.

It started to seem like it would happen, especially when Prince took an interest in Hill after catching a TV interview where she named him as her dream collaborator. From 2014 to 2016, she jammed, recorded and performed with him, becoming a regular presence at Paisley Park , his estate outside Minneapolis. Together, they produced her debut album, “Back in Time,” in 2015. He met her parents.

Then he died, and everything unraveled. She shelved the video for her title track , on which he contributed guitar, bass, drums and vocals, and retreated to Los Angeles, awash in shock.

That’s when the online viciousness hit. “I got a lot of hate messages, some death threats. It got real dark,” she said. (And, she added, it’s still coming.)

The pop singer Daniel Bedingfield, a longtime friend of Hill’s, was part of the inner circle that tried to bolster her in the period after Prince’s death.

“I didn’t really know how it was going to go for a few years,” he said in an interview. “We’d be sitting at a restaurant, and then one of Prince’s songs would come on, and that would be the end of the day. And it was everywhere we went, all the time. A very rough moment.”

Though Hill continued to record and perform in the years that followed, she was having a crisis of conscience about her identity as an artist. “I struggled with really being able to feel like I was enough, or that my story mattered,” she said. “I always felt like my name only mattered because it was in relation to someone else.”

During the pandemic, Bedingfield (known for the early 2000s hit “Gotta Get Thru This” ) helped organize the hot springs camping trip that changed Hill’s outlook, with an assist from some magic mushrooms. While Hill’s friends were off on their own journey, “I went on a real full tilt spiritual trip,” she recalled. She had a vision of a mountain, looming; it symbolized everything she thought she had recovered from in therapy.

“It was very sobering to see that vision and just realize, wow, I’m still hurting,” she said. “I felt God’s basically saying to me: It was never your job to remove the mountain. It’s too big — you can’t move a mountain. Just allow it to be there.” That gave her permission to acknowledge her trauma, not try to run around it. “It was the first time I allowed myself to feel that way, because I kept trying to fix myself,” she said.

Her new album starts with that imagery: “I can feel the mountain,” she roars on the ballad “One of the Bad Ones.”

Her therapist, too, counseled her to face the “Black Widow” taunts through writing; she did it for herself, at first, with no thought of an audience. The song opens with plaintive piano and a whoosh like a cold wind blowing in. Her lyrics murmur of being hidden, then trapped. A spoken-word interlude is raw emotion, as a chorus of voices call her Black Widow and accuse her of killing two musical heroes. “That’s not my name!” she spits back. But then she crumbles: “Maybe it’s true.” A jagged guitar line arrives like a rescue; soft gospel-tinged humming closes it out.

As Hill composed — she wrote and produced the entire album herself — her joy in the production overcame her worry about publicly rehashing these experiences. Daniel Chae, a violinist and session string player for artists like Kacey Musgraves and Zach Bryan, said recording with Hill pushed him into new, harder territory: “Her arrangements were so complex, my jaw was on the floor.”

Hill’s goal with the album was for it to sound sophisticated but propulsive, especially live. She often starts writing with the bass line, “thinking about how I want us to rock onstage,” she said, “because we are a touring band.” Her father will add his flourishes on bass, along with her mother on the organ; their generational groove is rattling, marrow-deep — and danceable.

“Weaponizing funk is something I love to do,” Hill said, “because to me it feels like battle-cry energy.”

Sophia Whitehurst, one of her background singers, has been harmonizing with Hill since they were in a middle school church group. “At a young age, you knew that she was different,” said Whitehurst, who has performed with Lizzo at the Grammys. “I don’t know if I’ve ever seen her go off key, or lose control during the middle of a run, or anything. Her vocal strength is just out of this world — the range, the agility, the grit and soul behind it.”

At Mercury Lounge, center stage in boots and fringe, Hill closed her eyes as she tore into her guitar, erupting with powerhouse vocals. The effect was of an artist fully in command of her instrument and her gift. After her tearful “Black Widow,” the crowd — some members crying too — was briefly quiet, taking it in, then exploded into applause and bravos. Teon Brooks, a Brooklynite, didn’t know Hill’s story; he bought a ticket to the show after hearing “Dame De La Lumière” and was amazed at “the buffet” of Hill’s range. “She fed us,” he said.

For Hill, unleashing this music was release, and affirmation. “I realized," she said, “I’m a lot stronger than I thought.”

Melena Ryzik is a roving culture reporter and was part of a team that won a Pulitzer Prize in 2018 for public service for reporting on workplace sexual harassment. She covered Oscar season for five years, and has also been a national correspondent in San Francisco and the mid-Atlantic states. More about Melena Ryzik

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