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Photo: Lorne Thomson/Redferns
list
The beauty of well-executed power pop is how effortless it can sound, and as this year's releases have proven, even a song that clocks in under 2 minutes can make a long-lasting impact.
Power pop may not necessarily be a genre en vogue, but there is something admirable about an artist who devotes their energy to crafting the perfect pop song with nothing but a guitar and a story to tell.
Like many things in music, its origins start with the Beatles, the Beach Boys, the Byrds, and the Kinks. While the likes of Led Zeppelin, Cream and Jimi Hendrix were pushing the limits (and volume) of the delta blues, power pop upstarts like the Raspberries and Badfinger were trying their best to recapture the sound of Beatlemania. Cheap Trick, whose shows received Beatle-like hysteria abroad, brought power pop to the masses with songs like "Dream Police," "Surrender," and of course their effervescent jam "I Want You to Want Me."
But it was singer/songwriter Alex Chilton and his band Big Star who have remained power pop’s heroes. The band’s first two albums — #1 Record and Radio City — are considered cult classics in the genre. Chilton had a knack for writing catchy, danceable rock songs like  "September Gurls," "When My Baby’s Beside Me," and "In the Street," while at the same time delivering gentler ballads like "I’m In Love With A Girl" or "Thirteen" with the lovesick sincerity of a teenager with a crush.
Their music would go on to influence countless bands, many of whom had commercial success Big Star could only dream of. From Nick Lowe to the Cars, the Bangles to R.E.M., there is a long history of Chilton disciples who have plied their trade creating jangly and bright rock 'n' roll as sweet as candy-o.
Perhaps no disciple was more devoted than Paul Westerberg of Minnesotan misfits the Replacements. For Westerberg, Chilton was both his mentor and muse as a songwriter. "I never travel far without a little Big Star," he sang on the rollicking ode "Alex Chilton" from the Replacements' classic Pleased to Meet Me. On this track, Westerberg envisioned a world in which "children by the million sing for Alex Chilton." Thirty-five years later since that song was written, Westerberg’s power pop utopia has arrived.
2022 saw an explosion of vital power pop releases from artists who both carried that torch and pushed the genre in exciting new directions — a reminder that power pop isn't just fodder for grocery stores or radio replays, but rather music worthy of dissecting and embracing. The beauty of well-executed power pop is how effortless it can sound, and as this year's releases have proven, even a song that clocks in under 2 minutes can make a long-lasting impact. Here are five essential power pop albums from 2022 that you need to check out.
For 15 years, Ben Cook was a guitarist for Canadian hardcore punk heroes F***ed Up, a band known for pummeling its listeners with loud guitar riffs and barking vocals. It’s about as far from power pop as you can get, which is why it’s surprising that since leaving that band, Cook has made a name for himself making gentler, catchy power pop under the moniker Young Guv.
In 2022, the band released not one but two albums: GUV III & GUV IV, each of which were recorded in the spring of 2020, when Young Guv’s tour was halted in Texas due to COVID. Cook and his bandmates spent the next nine months living at the foot of the Taos Mountains in New Mexico in an "earthship" made from Adobe clay, tires, and bottles. They spent their days writing music, swimming in the Rio Grande, and listening to a lot of Miles Davis, and emerged on the other side with two album’s worth of new music.
While the album covers may look similar, the two records have different feels. Songs on III like "It’s Only Dancing" and "Couldn’t Leave U If I Tried" offer a more immediate rush of danceable, jangle rock, while IV feels a bit more meditative and lived in — like the wilting "Change Your Mind" or minimalistic "Cry 2 Sleep." To put it in a different perspective, III is made for the days out swimming under the sun, while IV sounds like a night best spent gazing at the bright stars in the middle of the desert.
For more than a decade, Philadelphia has become the  hotspot for indie rock. Artists like The War on Drugs, Japanese Breakfast, Kurt Vile, and countless others have made a name for themselves in the City of Brotherly Love before becoming embraced by fans far beyond Broad Street. Peter Gill, frontman of Philadelphia’s 2nd Grade, may not be a household name just yet, but after releasing his band’s excellent new album Easy Listening in September, perhaps album opener "Cover of Rolling Stone" won’t be a work of fiction for very long.
The best power pop doesn’t take itself too seriously, and on Easy Listening, Gill writes with a childlike playfulness about Keith Richards’ guitar and the episode of "Seinfeld" when Kramer moves to L.A. Then there are songs like "Me & My Blue Angles" and "Teenage Overpopulation'' that feel as if they have been around forever — like old friends back in town for a beer. "Strung Out On You," in particular, sounds like a classic left off of one of Big Star’s first two records. Easy Listening is exactly as the album title advertises: a breezy and fun power pop gem that makes power pop sound easy.
James Goodson is a music publicist living in Richmond, Virginia who, on a whim during the pandemic, recorded and released songs as DAZY, a solo-project of loud, fuzzy power pop. Following a collection of demos MAXIMUMBLASTSUPERLOUD: The First 24 Songs and 2022’s "Pressure Cooker," the one-off hookfest of a collab single with Militarie Gun, DAZY unleashed a debut full-length.
Clocking in at just over 25 minutes, OUTOFBODY is a quick and dizzying hit of electric dopamine, delivered solely via computer and a guitar. These songs rip with huge refrains, thumping drum machines, and buzzy guitars.
Goodson was a child of punk rock, and grew up listening to the likes of Nirvana, Green Day and Rancid. "I wanted to tap into the music that I’ve always loved and will always love so it will never get old to me," Goodson told Stereogum.  Throughout the record, Goodson uses these  influences as a sort of cathartic expression of the existential dread he maps out on OUTOFBODY. You can hear that early pop-punk, college rock, and grunge on "Split" and "On My Way," as well as Oasis and Britpop within the hooks on "Ladder" and "Choose Yr Ramone."
Within all the noise, however, is the comfort in knowing that music you love will never leave your side.
It’s easy to take what the Beths do so well for granted. Since they first arrived on the scene with 2018’s Future Me Hates Me, the New Zealand quartet has done nothing but write sincere, lasting power pop. In 2022 the Beths released their best album yet, Expert in a Dying Field, a collection of songs that dive into the anxieties and heartbreak of everyday life.
On "Silence Is Golden," the album's loudest song, frontwoman Liz Stokes propels into the unending noise.  Elsewhere, on "Your Side," "Knees Deep," and the excellent title track, Stokes’ lovelorn characters toggle between relationship autopsies and dreams about what’s next, "mixing drinks and messages." "When You Know You Know" wouldn’t sound out of place next to Avril Lavigne on the radio, and features some of Stokes’ best turn of phrases ("Running down the road to jog the memory"). Whether or not the album title is a bit self-deprecating remains to be seen, but the Beths are the heroes that power pop needs.
Toronto indie darlings Alvvays first arrived on the scene in 2014 with their self-titled debut that included the indie-pop anthem "Archie, Marry Me." They leveled up on their next record, 2017’s Antisocialites, and then… well… the band went silent. For a little while, it felt like Alvvays would never return, but it turns out that the band had to overcome roadblocks of biblical proportions to record their fantastic new record. Not a pandemic, a studio flood, and stolen demos could derail Blue Rev.
On Blue Rev, Alvvays teamed up with GRAMMY-winning producer Shawn Everett to turn power pop on its head and send it in new directions. Blue Rev is awash in shoegaze-y guitars and lush synths, and songs such as "After the Earthquake," "Many Mirrors," and "Easy On Your Own?" sound like if R.E.M.’s Murmur and Monster were put into a blender.
Meanwhile, singer/guitarist Molly Rankin has a unique talent for making life’s mundanities feel high stakes; she writes about running into an ex-lover’s sibling on "Pharmacist," a tale that lands with a gut-punch, singing "You know it happens all the time, it’s alright. I know I never crossed your mind." It’s endlessly captivating and inviting, and with Blue Rev, Alvvays have established themselves as power pop’s new pioneers.
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Image courtesy of the Recording Academy
interview
Riding the headwinds of their breakthrough album 'Blue Rev,' Alvvays have scooped up a nomination for Best Alternative Music Performance at the 2024 GRAMMYs. Read an interview with their leader, Molly Rankin, and watch a clip of her in conversation.
On a scale of one to 10, how crazy was 2023 for the rock band Alvvays?
“I would say an eight, probably,” frontwoman Molly Rankin deadpans to GRAMMY.com. If that's true, she doesn't show it. “I'm pretty sedate as a person,” she explains during an on-camera portion of the interview, “So, if you want anything with more energy, I can certainly try.”
This belies that Alvvays poured a lot of energy into Blue Rev, their imagination and melody packed third album, which put them on the map for many back in 2022.
Blue Rev's third single, “Belinda Says,” was an instant favorite among the indie set — and now, it's netted a nomination for Best Alternative Music Performance at the 2024 GRAMMYs.). (They're up against Arctic Monkeys (“Body Paint”), boygenius (“Cool About It”, Lana Del Rey (“A&W”), and Paramore (“This Is Why.”)
Sure, Rankin might have a stoic air. But she's clearly also thoughtful, intent on cannily navigating these unfamiliar waters, shoulder-to-shoulder with her bandmates: keyboardist Kerri MacLellan, guitarist Alec O'Hanley, bassist Abbey Blackwell, and drummer Sheridan Riley.
“Just being included or mentioned has been exciting, because when we started, we couldn't even get a show. I just want to have that same mentality,” Rankin says. “I just don't ever want to feel entitled to an award or a review or a piece.”
Whatever happens at the 2024 GRAMMYs, Rankin's holistic attitude will ease the way forward — and we'll always have Blue Rev as an exemplar of lush, witty indie rock, with more hooks than a tackle box.
Read on for an interview with Rankin about Alvvays' [pronounced always] whirlwind 2023, and their road to Music's Biggest Night — along with a bonus, exclusive clip of her in conversation with GRAMMY.com.
This interview has been edited for clarity.
You've said you “didn't want to get swept up” in the GRAMMYs thing. What do you mean by that?
Well, the truth is that you apply for GRAMMYs. So, for anyone to say that they're not intrigued by that, after applying or having someone apply on your behalf, it's a little bit strange.
What do the GRAMMYs mean? We've always watched them as kids. I don't know, in recent years if I've been so up to date, but [there have been] a lot of big performances.
When we were recording Blue Rev, we were sitting on [engineer/producer] Shawn Everett's couch and he had probably four or something GRAMMYs just sitting on his console. It is a large presence.
Where do you personally place the GRAMMYs in your musical universe?
I think that it's cool to see lesser known artists crack into that world, whatever that ends up meaning. But awards as a concept have had such a low bar for expectation, and I've always just thought that every development with us has been this really rare bonus. Expecting anything, for me, has not been the right approach.
What do you remember about guiding the band out of the bar circuit — aiming your arrow a little higher?
We generally tried to play in the United States as much as we could, because staying in Canada and becoming a Canadian band can be limiting. I don't really know why, but it can be.
We always just wanted to crack into other regions and see if we could sustain ourselves. But I have so many friends who are so much more talented than I am that haven't gotten to do things like that with their music. So, again, it's all just exciting to us.
What do you remember about the biz 10 years ago as opposed to now?
It did seem like there were more venues. Maybe it was easier, in a way, to blow up.
Like, if you were mentioned on a blog, that would just be kind of like a platform for you to just take off and tour and be everywhere. But it's not so much that anymore. I think just with the cost of everything, and people [not being] so reliant on reviews, they can pick and choose what they like.
Things have changed. I don't know where things are going to go. We're all just hanging onto the bumper.
As streaming continued its grip on everything and touring became even more of an insane, expensive ordeal, what do you remember about keeping the band ballasted?
We didn't have an overnight success type thing. Our album was out for probably a year before we really felt like we were touring in a really big way. And everything felt so gradual that we did have time to have those growing pains, but we also had jobs.
So, I don't know. Everything has been so incremental for us, even though maybe it doesn't seem like that to some people. But Alec's been in so many other bands and paid a lot of his dues — worked at various poutine restaurants. I'm trying to think of how to extrapolate on that.
What were you aiming to do with Blue Rev, as per your creative and professional trajectories?
Well, first, the goal was to write more songs, and that seems like a mountain to climb sometimes.
And then, to actually complete an album, for Alec and I to have the same opinion on where a song has ended up versus what the demo sounded like. And just coming to a place where we both feel the same way. That is such a process for us, and a labor of love.
But finishing the record was all that I was really pinning my hopes and dreams on, and everything else has so much more to do with the timing and who is believing you and listening to you and understanding what you're saying. And people put out things all the time that don't land, and a lot of it is not really in their hands.
I guess with this album, I did want everything to be a little bit more reflective of our live show, too, because I think that we can be a pretty aggressive band, guitar-wise, and can be an energetic band. But I'm not sure that was necessarily reflected in our previous recordings.
What do you remember about bringing Blue Rev to the finish line?
I think that there were so many different nights where me, Kerri, Alec, and Sean just never slept. And that can bring out the best in you and the worst in you.
But we did have a lot of fun doing it. And we did it in person, we did it on computers, like this [remote video interview], and Sean was there with us the whole way to help us through it.
Just going back at the end of mastering and listening to all the demos that I had lived with for years, and felt so unhealthily attached to, and realizing that every finished song was vastly better than those artifacts — that was really gratifying.
I recently interviewed Adrian from the Black Pumas about working with Shawn Everett; he remembers Shawn cranking up a minor detail until it became the soul of the song. Were there any particular instances like that?
He [Shawn] has such a great sense of moments of impact, and he just understands when something needs to feel moving and when something needs to shift.
I really think that we connected on that in a big way. And he has such a grasp of expansive sound. But yeah, he also hears things. He hears hooks, and is a musician in his own regard. So there were so many things that I feel like we've learned from him.
There's a bridge in this song called “Very Online Guy,” where he created this whole other experimental portion melodically in the chunk of the bridge because he will just take a random thing you say and copy and paste it into a song just as an experiment.
So that was basically what he did, and it ended up working with some editing. But he is a very unpredictable person and not afraid to be rejected, which is so important.
How are you preparing for the GRAMMYs? And what are you looking forward to in 2024 and beyond?
I think just us showing up and going there is really surreal for us. So we're excited to just put on an outfit and sit in a seat for six hours and watch the crazy production that is the GRAMMYs.
But I want to just keep making music that I like and that I feel good about putting out into the world. And hopefully that'll continue to be in the form of albums and pop songs that I like to write and mess around with.
I'm so lucky to have also the people that are in the band with us. And Alec has always been such a fruitful collaborator, and that collaboration is something that I really feel passionately about — and editing each other and bouncing ideas off of one another It's this really intangible element that I really appreciate, and just to continue to do that would be ideal.
Are you planning to go for the full monty on the red carpet? Are you guys going to serve looks or stay out of that racket?
I don't know if we're capable of being polished to that degree, but we'll see what's in store for us. I know that we have a lot of people that care about us. They might come through for us and get us some new pants. God knows we need them.
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Photo: Tim Mosenfelder/Getty Images
video
On Aug. 11-13, Outside Lands returned to San Francisco's Golden Gate Park for the 15th time. Check out some stellar performances from the multi-day music and food festival.
In the midst of an unseasonably chilly August — a San Francisco trademark — Outside Lands raged once again.
Some 75,000 attendees flocked to the Bay Area to enjoy delicious food and an eclectic array of entertainment — among them Janelle Monáe, Foo Fighters, Kendrick Lamar, and other leading lights of today's music.
GRAMMY.com was there to soak up the tunes and the atmosphere — and film some truly inspired sets. Below, revisit Outside Lands — or, if you weren't there, experience it from afar — with some top-tier performances.
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Photo: Patrick Melon
interview
Maroon 5 keyboardist PJ Morton details creating his new album in an intuitive and freewheeling manner while traveling up and down the African continent.
Maroon 5 keyboardist PJ Morton's guest-stuffed new album, Cape Town to Cairo, is built on an attention-grabbing conceit. He wrote and recorded it within a 30-day span, while journeying the African continent, visiting Johannesburg, Lagos, Accra, up to Cairo, back down to South Africa.
But a good story is just that, and the entire project — which features Fireboy DML, Mádé Kuti, the Soweto Spiritual Singers, and others — would collapse without quality songs. "The songs were the main thing," the five-time GRAMMY winner says. "It doesn't matter who I have on these songs if I don't have any good songs, so that was the priority."
It's a chicken-or-egg situation; the raw materials of Cape Town to Cairo are solid, but the guests helped them truly pop. Of Nigerian native Fireboy DML, who Morton worked with in his home country: "I had a bit of my song 'Count on Me' already, and he sat there and wrote that in 20 minutes," he says, with awe still palpable in his voice.
Elsewhere, Morton hails South African trumpeter and composer Ndabo Zulu's sense of instrumental space on "All the Dreamers" (which also features singer/songwriter Aṣa), and on the highlife "Who You Are," Mádé Kuti's channeling of his grandfather Fela Kuti's essence.
What was Morton's primary takeaway from the experience? Most of us abstractly understand how much Africa influenced American music; it's another ballgame altogether to witness it firsthand — as this native New Orleanian did.
"When I'm in Lagos, Nigeria, and I'm seeing the horn players play, I'm like, Man, this feels like home," Morton enthuses. "I'm in Ghana, and I hear highlife, I'm like, This feels like a second line or something. And then, I eat jollof rice, and I'm like, Man, this is jambalaya. This is their version."
Read on for the full interview about Cape Town to Cairo, and what Maroon 5's working on in 2024.
This interview has been edited for clarity.
When our CEO, Harvey Mason jr., traveled Africa, he called the experience "mind-bending," "game-changing" and "eye-opening." What was your reaction?
Oh, man. That was constantly happening for me over and over. When someone says, "Welcome home," or I look at money and see a Black man on the money, I'm like, Man. This is a different place, and so much love.
But for me, it was all the connections I was making to my home. I mean, being from New Orleans, a lot of the food, the music, the way they dance in the streets, and the way they celebrate, it just was really a bunch of connections happening for me. I'd say it was a life-changing trip for me.
I totally hear that syncopation and swing in Maroon 5.
Yeah. This is a big statement, but ultimately all our music is African music. It's hard to unsee once you see that. Now, all I see and hear is Africa a lot of times. We've used those three chords and the truth forever. These banjos, these things were created in Africa.
I've been in Maroon 14 years, and I think a reason I connected with the guys is because we're influenced by the same things — even in different worlds that we didn't realize were the same things.
Can you talk about the process of making Cape Town to Cairo while on the road?
That's what was so crazy about this — I created the album in 30 days while in Africa from scratch.
So, there was no time to process and then put it together, which was also just fascinating — something I never do. I take my time. I'm intricate. I cross every T and dot every I, so this was an experiment in trusting my instincts and just trusting what I know that has gotten me this far in music.
That was a really interesting part — because I had to quickly process what I was feeling, or not even fully process, but allow my soul and my body to process it and just write whatever was coming out, and create whatever music that was happening in South Africa.
Sounds like a heavy readjustment of your usual thinking.
As soon as I stepped on the ground and the first day we were in the studio, everybody was kind of on edge because they didn't know what I was going to write. I didn't know what I was going to write, but three songs came immediately.
Three ideas came that very first day I was in the studio, and that kind of relaxed me a bit, but that was the process. It was feel where you are, go in the studio, write some melodies, create some music, come back a few days later, put lyrics to that, and then redo.
And so, we did from South Africa, we started in Cape Town, obviously to Cairo, but with Cape Town. Then we went to Johannesburg, and all in between this, I was doing shows. We were doing concerts. I was doing radio interviews, TV interviews. I really wanted to just engulf myself as fast as I could.
When we got to Lagos, we landed on Fela Kuti's birthday, who's the father of Afrobeat. And man, it was so inspiring for me. I went in the studio the next day in Lagos, and the same thing happened — three songs just like that, three ideas.
One thing that was also different from my process is, sequencing is so important to me, but I couldn't leave Africa without knowing that these songs worked together. So I had to kind of work through that process in a truncated period of time, but I'm so proud of what happened. It's just really listening to my instincts, and it is raw emotion, this album is.
Some of the songs, I didn't realize what I was talking about until after I listened to them, and it was like, oh, I thought I was talking about this, but I'm talking about this.
Such as?
"Please Be Good to Me," specifically, it was like, I thought it was like a sexy love song, vibe song, but I feel like I'm talking to Africa.
Like, Take me to another place. I don't need to be in control. I've promised all these people I'm going to write an album in 30 days. Continent, please be good to me. Just give it to me. I have bad writer's block sometimes, so I was hoping that didn't happen, and it worked out.
Fela Kuti… speaking of people who should be on money. But what's his significance to you, personally?
I just think the way he was a fighter, the way he was a band leader, I really pride myself on musicianship.
Again, being from New Orleans — Afro Orleans is the name of my new band that we're going out with in the summer, and it's the horns, it's the percussion and all of that. So it is in that spirit of Fela. Also, his grandson, Mádé Kuti, is on one of the songs, "Who You Are."
He's the first person that made me pay attention to African music in general. My gateway was Fela. And so, to connect it this way, and to finally be in Lagos where he did it — to be at the shrine — was just special.
You made Cape Town to Cairo in such an intuitive and freewheeling manner. How did you ensure an album came out the other end, and not a bunch of outtakes or something?
It was trial and error, man, because initially I was trying to do so much stuff that I was like, Wait, I lost my voice. You know what I'm saying? I was just trying to do too much, and I was like, OK, let's kind of refocus and keep the main thing. So, I had to cancel some interviews; I had to cancel some things and really focus on the main things.
For me, it was trusting those ideas, the things that felt good. What happens in the studio with me is, sometimes I'll have a good idea, but I'm like, well, I can beat that. Let me try to beat it, and then I'll try to beat it. Sometimes, that first one was the one that was supposed to happen, but technically I'm beating it.
But am I beating it? I don't know, because maybe it wanted to come out in that pure form, and not have me get in the way with all my knowledge and years of [experience].
So I started to really trust that. I really just was like, OK, first idea, let's go. This first melody, that's what came out. Let's go with that. Then, I would write lyrics to my mumble track of the melody that I felt right, that moved me immediately. Thankfully, I've been writing songs for a long time, and we got to it, man.
But you're right — it wasn't just about writing songs in 30 days. It's about writing a complete album that I thought was good in 30 days, which is a completely different thing. But I just locked in, man, and I'm still kind of tripping that it happened this way, but I can literally place every song and remember where I was because it's such a short period of time.
I can't wait to fully see the footage of me creating from scratch. We're working on the documentary now, but I've never seen myself make something from nothing [like] this. So, I'm excited to see the inception to the full thing.
What's Maroon 5 up to?
We just did Questlove's podcast and talked about it a little bit, but we're definitely working on a record. Adam's been on fire writing lately, and we just finished the residency in Vegas days ago. We'll be back in Vegas in September, at Park MGM.
But it's going great, man. The music is coming out really cool. I joined at a unique time, which is after Hands All Over and before "Moves Like Jagger" and all of that stuff. It was a transition when Adam started to bring in co-work, and Hands All Over is the last time they didn't use co-writers.
So, now it's back to just him writing, and it's refreshing. I can't lie. It's exciting.
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Photo: Jeremy Daniel
feature
From original groundbreaking production to its current Broadway revival, "The Wiz" stands the test of time. A new cast recording will be released June 14, which honors the strength of the music and the message behind it.
Of the many reviews of "The Wiz" over the years, one of the most famous comes from none other than Broadway legend Stephen Sondheim.
When asked what his favorite Broadway show is (besides his own), Sondheim named "The Wiz" and said it’s because, "it's the one show which makes you feel better when you come out of it than you did when you walked in." 
The original production of "The Wiz" had its pre-Broadway tryout in 1974, with a Broadway premiere in January 1975. In the decades since, it's remained beloved among musical theatre fans, as well as a staple of community theatre. Not only does "The Wiz" boast a 50 year legacy and the distinction of being one of the first shows with an all-Black cast, but the musical itself stands the test of time because of the strength of the music and the message behind it. To accompany a tour and Broadway revival at the Marquis Theatre, the 2024 revival cast recording comes out on June 14, paving the yellow brick road for a new generation of fans to ease on down and enjoy the journey.
While many people remember the 1978 Diana Ross film The Wiz (which also starred a young Michael Jackson), it was a critical and box office flop. The Broadway show, meanwhile, had more success. The show won seven Tony Awards including Best Musical. The original cast recording is the 30th highest selling cast album of all time. In 2017, the original Broadway cast recording of "The Wiz" was selected for preservation in the National Recording Registry by the Library of Congress as being "culturally, historically, or aesthetically significant." 
The tale of Dorothoy's arrival in and travels through Oz has been in the cultural lexicon for over 100 years. "The Wonderful Wizard of Oz" was written in 1900 and, 39 years later, the Technicolor Judy Garland movie cemented the iconic story. While "The Wiz" (full title "The Wiz: The Supersoul Musical ‘Wizard of Oz'") is still primarily set in the magical land of Oz, the creators and production team made significant, conscious choices to place "The Wiz" among Black culture of the time. The new production, with an updated book by Amber Ruffin, strives to do the same. 
Of "The Wiz," the Smithsonian — which displays costumes from the original production in their National Museum of African American History and Culture — says it is "a tale that celebrates African American street style as a unique subculture and unapologetically American way of life. The song lyrics, script, sets, and costumes all reference and champion the struggles and triumphs of African Americans." 
Analysis of the original cast album cites influences from popular music of the time, along with jargon. Most notably, however, and what Sondheim responded to, is that all the songs in "The Wiz" have a message and emotional core that moves the story forward both literally and within each characters’ arc. Instead of the repetitive "Follow the Yellow Brick Road" from the film, "The Wiz’s" "Ease on Down the Road" encourages the characters and then the audience to keep on keeping on with their goals. Lyrics such as "Cause there may be times/ When you think you lost your mind/ And the steps you're takin'/ Leave you three, four steps behind/ But the road you're walking/ Might be long sometimes/ You just keep on truckin'/ And you'll just be fine, yeah," can be applied to anyone’s life problems not just Dorothy and Company on their fantastical journey. 
After vanquishing the Wicked Witch, Evilene, the principals and ensemble sing, "Everybody Rejoice/ Brand New Day," a celebratory song that exudes joy. They sing, "We always knew that we'd be free somehow," which, when placed in American theatre and sung by an all Black ensemble, holds more historical significance than a simple song about escaping capture. Glinda appears and doesn’t just tell Dororthy to click her heels; she tells her to "Believe in Yourself" not only that she can go home, but that she should believe in her own feelings and power inside her heart.
Finally, "Home," which some say takes the place of the classic "Somewhere Over the Rainbow," speaks to a broader character arc and feels more like a pop anthem than a musical theatre song. It has been released as a single throughout the show’s history, including last year by Brandi Carlile to go with the "Ted Lasso" finale. While Garland’s Dorothy learns in the end, "There’s no place like home," "The Wiz’s" Dorothy sings, "And I've learned that we must look/ Inside our hearts to find/ A world full of love/ Like yours, like mine/ Like home." 
The original Broadway cast recording is hard to find. It can be purchased on streaming services like Apple, but on Spotify, only the single version of "Home" is playable. "The Wiz: Live!," a well-received televised version, does have a readily streamable soundtrack, but a new Broadway cast album is very welcome. The cast features Nichelle Lewis as Dorothy and television and Broadway veteran Wayne Brady as the titular role; the stage production updates both script and set to feel more more contemporary. Meanwhile, the score has been lightly "refurbished" with additional songs. 
"The original ‘Wiz’ was a definitive product of the 1970s in its glam and excess," Brady told the New York Times. "Ours is of this time: We have this place and can just be. From the queerness onstage to the costumes, the musicality, light and bricks. I think instead of fighting to be seen, this ‘Wiz’ is, ‘Oh, you see us.’"
Sondheim’s praise of "The Wiz" is particularly magnanimous because Sondheim’s own show "Gypsy" had a revival in 1974, the same year as the original production of "The Wiz," which meant the two shows battled it out both in box office and awards. A revival of "Gypsy" starring Audra McDonald and directed by George C. Wolfe has just been announced, so both "The Wiz" and "Gypsy" will again be on Broadway. This time, both shows will be led by Black actors and directors. 
Broadway has struggled post-pandemic, and America has a lot to learn about love when it comes to race, but, with the release of "The Wiz" back into the world, we get a much-needed infusion of joy. Throughout the last 50 years, there have been many stories and real events that point to a world that is anything but full of love, but, through it all, "The Wiz" holds onto hope. 
New Broadway Musicals To See This Spring: "Hell's Kitchen," "The Wiz" & More
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