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The Lullaby of Broadway Edition

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Welcome to hit a podcast of pop chart history from sleep magazine about the hits from coast to coast. I'm Chris Milan fee chart analyst, pop critic and writer of slates wise, the song number one series on today's show, sixty years ago in nineteen Fifty-nine, a stage musical by the legendary team of Richard Rodgers and Oscar Hammerstein made its debut on Broadway within a few months in January of nineteen sixty. It's original cast recording was the number one album in America. That mel. Springs. These rough you. To this day this recording of the sound of music, led by Broadway star Mary Martin remains the best charting cast album of stage musical in billboard history. Having spent sixteen weeks on top of the album charts and this song, my favorite things is one of its most indelible standards indeed. The song is so well known by the general public that six decades later pop megastar, Arianna, 'Grande built a number one, smash out of it. News in bottles. The chart topping seven rings is a knowing Omar to my favorite things its use of the sound of music song is so overpowering that reportedly the estate of Rogers and Hammerstein wound up taking the majority of the Arianna 'Grande songs publishing rights. This is the closest that Broadway music gets to the top of the charts in the twenty first century, even win a Broadway show is utterly massive. Shot. Makuuchi scrappy. Away. Hamilton Broadway, blockbuster of the twenty tens composed by and starring Lin Manuel Miranda has generated gold and platinum albums filled with a blend of modern hip, hop and show tunes. But you won't hear it's claimed songs on the airwaves, of course, to be fair, original cast, Broadway music has long been a hard fit on top forty radio but in the mid twentieth century, the music of Broadway was the lingua franca of American popular culture, both in the early days of the hit parade. And even several years after the birth of rock and roll. Joe? At times, Broadway originated music has even topped the hot, one hundred although attempts to hybridize post rock pop music into show. Tunes have at times been anomalous. Hey now. Even as Broadway has become technically detached from the pop charts its impact on popular music remains unmistakable whether it is sampled by rappers, and Popstars. Brought into the cinema before it makes its way to the great blight way. In the twenty tens Broadway musicals are their own. Hip pre. Today on our hit parade just weeks after the annual Tony awards. We offer a brief survey of the history of Broadway and the billboard charts that history has been eradicated sporadic, and for fans of the great American art form known as the musical often frustrating, but to better understand Broadway's relationship to the charts in the rock and hip hop eras. It might help to go back to the last time Broadway swept the charts. In fact, it was almost fifty years ago. And that's where your hit parade marches today, the week, ending may tenth nineteen sixty nine when the Broadway musical hair not only held down the number one spot on the billboard album chart songs from the musical covered by then current pop acts. Simultaneously held down the top two spots on the hot, one hundred led by the fifth dimensions medley of Aquarius, and let the sunshine. I'm trying to winter, I'm almost a LeBlanc. Welcome to chosen family. It was the first time I've ever watched standards. And thought that woman speaking to me, the very first time I heard anyone ever in my life, speak about gay people, positively, we were always the butt of the joke. No pun intended. But you're gonna vote every second week. We talk about art sexuality identity with special guests, usually queer but not always I completely struggled coming out to my parents, as a comedian being in the entertainment industry for a Middle Eastern, people is unheard of Madonna was sort of like the first example of what's possible, and you dedicate, the remind everybody that she is fifty percent, French Canadian, I can ever save on his name of you mentioning, listen to chosen family wherever you get your podcasts. This is from Oklahoma is the lyrics history with fringe. Yes. Perfect. San ducks and geese better story when I take you out in my surveys, when you out with. With on. By the time Billy crystal's Harry, in the nineteen eighty nine when Harry met Sally, sang Surrey with the fringe on top in front of his ex wife's new boyfriend IRA, the Broadway musical had been vital form of American popular culture for more than half a century, no wonder the song felt so familiar to Harry and Sally the show it came from Oklahoma helped invent the very idea of what the staged musical was. Better scurry when not yet out in the Surrey when not take get out in the cerebral, the John. A single episode of our podcast does not offer room enough to take on the full rich history of the musicals, the musical remains, one of America's great, cultural exports beloved, the world over and Oklahoma helped define it co defying the so-called integrated musical that we now take for granted a staged narrative, not only punctuated by music, but driven by it in nineteen forty-three a recording of the first Broadway cast of Oklahoma issued in a booklet of seventy eight RPM records, even helped invent the very idea of the cast. This is what interests us on hip raid. The billboard charts were themselves invented in the early nineteen forties. And as seventy eight RPM shellac gramophones gave way to the thirty three and a third vinyl L p cast albums were some of America's earliest and biggest chart hits the same went for the songs Broadway musicals were reliable generators of hit singles, especially in the pre rock era of tin pan alley. When catchy songs were like currency and a hit could be recorded by multiple acts. Sometimes in a single year, for example, the nineteen forty-nine Broadway, smash by Rodgers and Hammerstein South Pacific added the song some enchanted evening to the great American songbook. This version of opera and Broadway singer SEO pizza came from the original cast recording of South Pacific, but Pinza wasn't alone, every major singer of the age took the song on some enchanted evening, made Billboard's top ten four more times in nineteen forty-nine alone weather by Frank Sinatra. Ning. Being crosby. You may see ranger. Joe stafford. Strange. Or Perry coamo who took it all the way to number one in billboard in the summer of forty nine. Even. Of course, the breakthrough of rock and roll in the mid nineteen fifties would pose a challenge. Not only to these big band, and crooner irrev- Okla STS but to the very idea of the pop standard. Got. To putin. However, on the charts this shift was hardly instantaneous, even after the breakthrough of rock Broadway music, was still at the center of popular music. And its greatest hits would still be re recorded multiple times. For example, the Leonard Bernstein, Stephen Sondheim Broadway, classic west side story, opened in nineteen fifty eight three years after rocks breakthrough, and west side, story added several classics to the western canon, the Tony and Maria duet. Tonight, originally performed on Broadway, by stage actors, Larry Kurt and Carol Lawrence. Was eventually recorded by everyone from piano duo, Farrand and teacher who took it into the top ten. Two British singer Shirley Bassey who brought it to the UK charts. Team. Beyond these singles, the real chart blockbusters of the nineteen fifties and early sixties both before and after rock were Broadway cast albums. Because the integrated musical told a coherent story through song, a cast LP could present a narrative even for those who could not afford a Broadway ticket Americans who lived nowhere near New York City bought Broadway cast albums, both as content for their new hi fi systems, and as souvenirs of a modern post-war middle class lifestyle in nineteen fifty six the album that knocked Elvis Presley's debut LP out of the number one spot was the cast album to the Julie Andrews, Rex Harrison, smash my fair, lady. My fair lady was the long distance runner of Castile spending, nearly five hundred weeks somewhere on the billboard album chart and returning to number one multiple times in nineteen fifty seven fifty eight and fifty nine charting alongside my fair lady was the original cast in nineteen fifty eight's Tony winner. The music man which itself spent a dozen weeks at number one. Right here city. Ryan with stands for the following year, the cast album to Rogers and Hammerstein most. Exotic musical the Asian flavored flower drum song, spent three weeks on top in nineteen fifty. Hair? Nashes. John. In nineteen sixty the top album of the year, as I mentioned, at the top of the show was the original cast to Rogers, and Hammerstein celebration of the von Trapp family, the sound of music. Lenti of nothing. You have and how can Love's five. And in nineteen sixty one the year's top album was the original cast to the, Julie Andrews, Richard Burton, Broadway, smash that, reimagined the court of King Arthur camel. June december. The second on the dunk. In. In short from nineteen fifty six through nineteen sixty one a Broadway cast, LP, not only topped the album chart, multiple weeks, each year in most of these years. A cast album was the country's bestseller. If we expand our definition of show tunes to include movie adaptations of Broadway hits nineteen sixty one's Oscar best picture, winner, generated the biggest album, blockbuster of them all the soundtrack to west side, story. Way. Starting in may of nineteen sixty two just after the movie won best picture and lasting through may of nineteen sixty three the west side story LP, credited to Hollywood star Natalie wood, but actually sung by ghost vocalist. Marning Nixon set an album chart record it still holds to this day fifty four weeks at number one across billboards. Then separate mono and stereo album charts these album blockbusters captured Broadway at the tail end of what theatre historians would later, call the golden era of the musical, generally agreed to span the early nineteen forties through the start of the nineteen sixties before this period. Sputtered out Broadway would see one more spurt of chart dominance. Thanks to a smash Jerry Herman musical from nineteen sixty four that portrayed a matchmaker from the. Turn of the twentieth century. The Carol Channing showcase. Hello, dolly. Bell is. Bell is. In the first half of nineteen sixty four Hello, Dolly was a full blown cultural phenomenon. Of course, if you know, anything about music in nineteen sixty four you may recall there was another even larger cultural phenomenon breaking in America. The Beatles arrived on US shores in February nineteen sixty four landing in New York, just weeks after Hello, Dolly premiered at the Saint James theater, oddly, the Beatles were minor fans of musical theatre themselves since their days playing red light district clubs in Hamburg, Germany, the Fab Four had in their repertoire, a cover of the song till there was you from the music man and in their televised. Live performance on the Sullivan show. The second song in the Beatles set a song their US label capitol records encouraged them to play for their new American fan base was till there was you. Ringing. Never was. As we told you in an early episode of hip rave, the Beatles billboard feats, during their US breakthrough were staggering. They set several chart records that hold to this day. One of the most amazing was the fab four's uninterrupted streak of three back to back, number one hits on the hot, one hundred I want to hold your hand. She loves you and can't buy me love. Belong. But one ironic footnote of this period of Beatlemania was the song that finally ended the bans streak at number one after fourteen weeks in may of sixty four the Beatles were ushered out of the top spot by a man roughly three times their age sixty two year old Louis Armstrong with his cover of Hello, Dolly. Data. Nine. Where you. Short. Beatle mania briefly gave way to Dahlie on the album chart to the Beatles second album was booted from the number one spot. I by the Hello, Dolly Broadway cast album, then immediately by Armstrong's own Dali titled album, and it is appropriate that Dolly went head to head with the Beatles on the charts as has been, well, chronicled by pop historians the Liverpool group, led by the songwriting duopoly of John Lennon, and Paul McCartney would deliver a blow to the songwriting factories that had churned out hits in the first half of the twentieth, century tin, pan alley and Broadway, aka the great white way on the charts. The integrated musical the story set to music in essence gave way to the self contained performer in Hollywood. The era of the mega-musical movie was also nearing its. End. The nineteen sixty five film of the sound of music. Starring Julie Andrews gave the Rodgers and Hammerstein school of musical. One last box office and chart hurrah. Its soundtrack topped the billboard album chart in November nineteen sixty five alongside albums by the Beatles. And Bob Dylan. But while Hollywood in the late sixties entered its now storied youth quake period of Bonnie, and CLYDE the graduate and easy rider. There was one last Broadway cast album that achieved a total billboard chart conquest, and it was anomalous in virtually every way. Haring was both a musical theater and pop chart vent in hippie parlance. You might call it a happening developed in nineteen sixty seven in the wake of the summer of love and debut in on Broadway in nineteen sixty eight hair was arguably the pivot point for understanding how America's relationship to show chains changed in the late twentieth century hair was the great white ways. First serious attempt to reckon with rock and roll music, it featured nudity, and a song, whose lyrics literally listed sex acts, it helped usher in the era of the so-called concept, musical, hair is less narrative than a collection of songs, thematic, sequences and character interactions. In later years, other less freaky, but more form breaking musicals like company and a chorus line would echo hairs. Conceptual. A looseness, finally hair crossed over to the pop charts, not just the album chart, but the radio in a bigger way than any show had since the heyday of the nineteen forties and South Pacific. The fifth dimension were a loss Angeles based adult contemporary pop vocal group, led by the couple, Maryland, the coup and Billy Davis junior. The five person male female combo had already scored top ten hits with up up and away and stoned soul picnic, while touring New York in nineteen sixty eight Billy Davis met the producer of hair and invited him to see the fifth dimensions New York show in return, the producer invited the group to see hair by the time they left, the built more theater, the fifth dimension members were so taken by the musical's opening number Aquarius with its memorable line. This is the dawning of the age of Aquarius that they agreed. They should record the song themselves. The only catch was that Aquarius felt like half a song in the musical. It is a couple of minutes long and ends rather abruptly. Louis. So they're producer suggested that they graft Aquarius onto a song from the very end of the musical, a rousing gospel flavored singalong, titled the flesh failures with the parenthetical, subtitle. Let the sunshine. The fifth dimensions Aquarius slash let the sunshine in debuted on the hot one hundred in early March nineteen sixty nine. As their single rose on the hot, one hundred the hair original cast album, soared into the top twenty then the top ten by mid April. The fifth dimensions Aquarius reached number one, by the way becoming one of only two songs that originated in stage musicals ever to top the hot one hundred after Louis Armstrong's. Hello, Dolly, two weeks later, the Broadway cast album of hair was also number one in its thirty ninth week on the album, chart and back on the hot one hundred two songs from hair were in the top five. The house sills a family band from New England that would leave her provide the inspiration for TV's. The Partridge family recorded a cover of the title song from hair for a TV variety show. The council's cover proved so popular that they issued it, as a single and got swept up into hair mania by mid may with the fifth dimensions Aquarius. Let the sunshine in still at number one. The cow sills hair rose to number two this unlikely fusion of Broadway hippie, rock and now light pop had fueled the top album, and the top two singles in America two weeks later, as Aquarius and hair finally slipped from the number one and number two spots, yet, another hair cover debuted on the home hundred. William Oliver Suard, aka all over jumped in with a cover of good morning Starshine by mid-july his single, had risen to number three on the hot one hundred and a month later, yet another, unrelated pop act debuted with yet another cover taken from the Broadway musical. Three dog night's who would go on to become one of the top charting acts of the early seventies broke through in the summer of nineteen sixty nine with a pair of back to back top five hits, a cover of the Harry Nilsson song one and another cover of the hair song easy to be hard by late September nineteen sixty-nine three dog night had taken easy to be hard to number four, and the hair cast album serving as an accidental compilation of the originals of all of these hits was still in the top ten frankly, none of the performers covering hair songs was edgy. The Broadway show was arguably more daring than they were on the other hand all of this radio. Attention made a show that could have remained a New York phenomenon half a decade after the peak of Broadway cast albums more accessible to national pop. Audiences the show gave the performers edge and the performers made the show winsome and approachable this perhaps explains why the hair phenomenon proved unrepeatable to this day, half a century later hair remains the last Broadway cast album to top, the billboard album, chart though no album, no chart happening would ever replicate hair precisely they're worthy attribute projects that strongly resembled it, and one top the charts, just two years later, even though it was to that point all album and no show. If any production was going to benefit from the success of hair, it should have been. Jesus christ. Superstar, a retelling of the story of Jesus of Nazareth, and his betrayer Judas as a rock musical, accept British composers and librettist's. Andrew Lloyd Webber, and Tim rice both in their early twenties. Couldn't get it on state even after winning acclaim for a very small late. Sixties production of their future. Hit Joseph, and the amazing technicolor Dreamcoat, no theatrical producer in London's West End or otherwise would touch. She's Christ superstar. So their manager got them a contract to produce the show as an album instead in the rock world, the concept album or rock opera, a LA the who's Tommy had finally made the form commercially viable. Jesus Christ superstar would be. A stage show onto LP's without the stage Lloyd, Webber and rice, even hired an actual rockstar. Ian Gillan of the band, deep purple to play Jesus for Judas. They hired theater. Actor Murray head who had just come off acting in the West End production of hair. The album, succeeded beyond anyone's imagines released in nineteen seventy by February of nineteen seventy-one. Jesus Christ, superstar was the number one album in America, even though there was as yet no stage show. Jesus Christ superstar was helped along by tender ballad, the composers wrote for their Mary, Magdalene character. I don't know how to love him sung on the Alabama by future rock and disco singer. Yvonne element. Before elements version was even issued as a single and up and coming hitmaker named Helen Reddy, took her majestic cover onto the charts in June of nineteen seventy-one both versions, readies and elements peaked on the hot, one hundred simultaneously Reddy's version of, I don't know how to love him was the bigger hit reaching number. While Jesus Christ, superstar was finally now, noted as a Broadway show in late nineteen seventy one and it would become a theatrical perennial in the decades to come, including a recent hit televised live production on NBC. No version ever did better on the charts than the original rock. Opera double LP concept album, critics and Andrew Lloyd Webber himself, panned, the nineteen seventy-one, Broadway version, and at one Noto wards, perhaps more dismaying from the perspective of seventies Broadway fans was that actual Broadway. Music was no longer serious commercial prospect, hair had connected the musical to rock at the end of the sixties, but Jesus Christ superstar affirmed that rock albums, and cast albums were now operating on different tracks. The theatrical, God rock mini fad of the early seventies did produce one more top forty hit the musical. God spell, which actually reached the Broadway stage before Jesus Christ, superstar, despite seeming, like a hybrid of superstar and hair generated a number thirteen hit in nineteen. Seventy two with the biblical ballot day by day. For the rest of the nineteen seventies, no matter how acclaimed or culturally resonant, the Broadway show. The music even songs that seemed to blanket, TV talk shows, and enter the pop canon would remain absent on the radio and on the billboard charts that included such Tony winning smash musicals as a chorus line. Anne. And even the wiz an African American retelling of the story of the wizard of Oz that helped launch the career of singer, Stephanie. The bifurcation of the theatrical cast album from the pop charts in this period was often bizarre because songs from musicals could and did still top the charts, just not from the stage, for example, a smash seventies Broadway show, commemorating, the nineteen fifties called Greece ran on Broadway for then record eight years from nineteen seventy two to nineteen eighty but the cast album didn't even appear on the billboard album, chart and the songs were largely known by theater aficionados until the musical was turned by producer, Robert stint would into a blockbuster nineteen seventy eight movie starring John Travolta, and deliver Newton John that soundtrack hit number one went multi-platinum and produced several chart topping hits. Or consider the signature song from Andrew Lloyd Webber and Tim, Rice's. Follow up to Jesus Christ. Superstar Evita a musical about Oltra populist Argentine first lady. Eva Perron, as with superstar Lloyd Webber, and rice. I mounted vita as a concept album, fronted by stage, actress, and singer, Julie Covington and the songs centerpiece ballad don't cry for me. 'argentina actually topped the UK singles chart in early nineteen seventy seven. However, after the show was mounted in the West End of London in nineteen seventy eight and on Broadway in nineteen seventy nine the cast albums produced, no hits either with UK vita, actress Elaine page or New York's vita Patti LuPone. This divergence between the charts and the stage. Persisted into the nineteen eighties. The decade of the transatlantic mega-musical spectacles, like cats. Liz, rob, and the phantom of the opera generated songs that entered the show tunes cannon and made Broadway audiences swoon, but none was a serious chart hit Andrew Lloyd Webber's long running cats in particular, spawned, the seemingly inescapable pageant, favorite memory and two titans of adult contemporary pop took it on Barbara Streisand, who single reached number fifty two in the spring of nineteen eighty two. And Barry Manilow who surprisingly round up with the version that made the top forty in the winter of nineteen Eighty-three. But even Barry could only get it as far as number thirty. As for Tim rice, after he parted ways with Lloyd, Webber and struck out on his own. He teamed up with Benny Andersson and Bjorn vase of the Swedish band OB to create the musical chess, this project would generate hits on both sides of the Atlantic except as with Jesus Christ. Superstar and Evita. It was the pre stage concept album of chess that generated the hits, not the cast album in England, the ballot, I know him so well, topped the UK chart in early nineteen eighty five. And in America in an even bigger surprise the exotic sized pop song one night in Bangkok sung, by the way by Murray head the same stage performer replayed. Judas infuses Christ's superstar reached number three on the hot one hundred in the spring of eighty five. It was a rare US chart victory for an eighties Schoten. But again, there was no show chess would not be mounted on London's West End until nineteen Eighty-six or the Broadway stage until nineteen Eighty-eight and anyway, in the decade of Dexia midnight runners and men without hats one night in Bangkok read, mostly as another charming, MTV fueled new wave fluke for you trivia, fans out there. Can you name the only single from an actual Broadway cast album to top a billboard chart in the nineteen eighties? No, it wasn't from cats or lay MS, and it wasn't on the hot, one hundred this song, topped the Aren beach art, and it was by stage, actress Jennifer Holliday in nineteen eighty-two holiday. Not only won the Tony for her portrayal of f. In Broadway's Dreamgirls, a reimagining of the story of Motown and the Supremes that summer, she took the epic soul torch solemn. And I am telling you I'm not going to number one on Billboard's black singles chart for a full month. Beloved by Aren be audiences and black radio. And I am telling you did not make the pop top forty indeed. No actual show. Tune from an eighties cast album, made the upper reaches of the hot, one hundred whether it was a contemporary artist recording a Broadway song such as L D barges title song from the ill-fated musical, Starlight express. Or the phantom of the opera's, Michael Crawford universally praised for his singing as the mega musicals title character. But he was unable to cross over to the charts with his signature aria the music of the night. Did trust the mules of the? Yet, quietly cast albums continued to sell phantom of the opera was issued in two versions, a double disc full cast recording and a single disc highlights edition, and even though neither version cracked, the top thirty on the album, chart they sold steadily consistently week by week for decades. In fact, each edition of phantom has been on the album chart more than two hundred fifty weeks each ranking among the longest running album chart hits in billboard history. If added together the two phantom cast, albums would come in second among all albums behind only pink Floyd's the dark side of the moon going into the nineties, the Broadway aesthetic seemed utterly removed from the center of pop music, cultural critics began observing that the very idea of characters spontaneously breaking into song. Had come to seem old hat to generation X, except here was the thing Americans in the eighties and nineties may have seemed allergic to flesh and blood humans breaking into song, but animated characters that was no problem at all. Whether it was a moment. Could be. An anthropomorphic is d- teapot. These. On the, an animated street urchin and Middle Eastern, Princess. Wore a meek rat, and a wart hog living in the pride lands of Africa. The Disney animation renaissance of the late eighties and early nineties was driven by show tunes indeed, the writers of such features as the little mermaid, beauty and the beast, Aladdin, and The Lion King were largely Broadway veterans star composers, Alan Menken, and Howard Ashman who worked on the first three of these features cut their teeth on the eighties stage smash little shop of horrors. That's. Feature films would one day become actual stage musicals in their day. They not only dominated the box office their music crossed over on the pop charts. Disney was especially good in the early nineties to veteran, Aren b crooner Peabo, Bryson who scored two hits from Disney animated films, his top ten duet with selene Dion beauty and the beast. And number one duet with Regina Belle from Aladdin a whole new world. This was what made the chart blocking of actual show tunes in the final years of the twentieth century, so mystifying Americans were consuming virtually the same product musically integrated story songs that advanced plot and character like the best of Broadway, but they would not abide. Actual Broadway music to be fair. The corporate is Asian and narrowcasting of radio formats by the nineteen ninety s did more to prevent Broadway crossover than any actual stated preference. By the average American, the fact that these Disney songs were seen as children's material likely served as a Trojan horse with radio programmers for mingka's and Ashman stage worthy compositions, or perhaps the great white way. Just needed to try connecting with a new generation of potential young theatregoers. Maybe Broadway had to go fully ninety s. Rent was a reinvention of the Puccini opera Laba whim, as a story of New York, bohemians living in the shadow of HIV aids, and it emerged as the first major generation X musical its creator, Jonathan Larson, quite literally gave his life for the show. He died unexpectedly. The morning of rents. First off Broadway preview performance from an AA order, tear that was misdiagnosed as stress when the rock musical transferred in the spring of nineteen ninety six from downtown New York theatre workshop to an uptown Broadway theater the Tony winning rent became the most enduring show of its era, eventually running for a dozen years for time rent caught on with young people as if it were a rock band teens and twenty somethings would see the show multiple times camping out. For discounted day of show Tippett's as for the music when the rent original cast album arrived in the early fall of nineteen Ninety-six its debut at number nineteen instantly made it the highest charting cast album in a decade and a half since dream deals in nineteen eighty-two, rents signature song, seasons of love would eventually become a top forty hit, although it would take the better part of a decade when the musical was remade, as a movie in two thousand five most of the original Broadway cast, both appeared in the film, and re recorded the music the second version of seasons of love peaked at number thirty three on the hot one hundred in December two thousand five fueled not by radio airplay, but by strong digital sales of the track on the then relatively new, I tunes music store. Depending on your perspective. It was either remarkable that the song broke through on the charts at all or shocking that it didn't short higher. But again, Broadway music was no longer considered pop chart music, at least not in original show, tunes form. But in an era when hip hop was ascendant and sampling and musical interpolations was the path to a hit single show tunes started showing up in some of the most improbable places. Brooklyn rapper Jay z, titled his nineteen ninety eight album, volume too hard, knock life, and the album's title track, and highest charting single was built off a sample of the song. It's the hard knock life from the nineteen seventy seven musical and. Z's show tunes Omar proved inspiring to other performers Gwen Stafani, former lead singer of the scar rock band. No doubt who went solo as a hip hop. Flavored pop singer. In the mid 'oughts was clearly, a fan of musicals. She built two top ten hits out of interpolations of show tunes. I in two thousand four she turned fiddler on the roofs, if I were a rich man into her number seven hit rich. And then in two thousand six she turned the sound of music's, the lonely goatherd into her number six hit wind up. This has been the unmistakable trend in the twenty first century, the last two decades have seen practically every cultural, medium, pop music, the cinema television reestablish its connections to show tunes while in the other direction Broadway itself has rebuilt its connections to mainstream pop. Culture Hollywood's breakthrough came just a couple of years into the new century after several decades in the movie wilderness, Hollywood characters, not just the animated ones were finally breaking into song. Again. The two thousand two film adaptation of Chicago. The nineteen seventy-five John candor, Fred F show, directed by former Broadway dancer, rob Marshall. And starring Renee, Zellweger, and Catherine Zeta Jones was both a box office smash and an Oscar best picture winner. It's soundtrack even hit number two on the album chart more importantly, Chicago. Reopened the floodgates to the movie musical leading to a string of box office and often Oscar success stories, all with billboard number one soundtrack, albums from the two thousand six film adaptation of Dreamgirls. To the two thousand eight Meryl Streep. Starring film, mama Mia. Choosing twenty twelve big screen adaptation of limousine. Mama Mia in particular, also typified another distinctly twenty-first-century trend. The rise of the jukebox musical a show built out of a catalog of pre existing pop songs, though. The term and the concept dated back decades, the arrival at the turn of the millennium of mama Mia, which built a cheeky fluffy story out of the hits of Swedish band. Abba set a new template for the jukebox musical and gave it rocket field, if the pop charts were no longer going to coronate the music of Broadway. Broadway was going to co up the music of the pop public. Eventually these musical, contraptions would even become respectable five years after momma NIA made its blockbuster Broadway debut. Another jukebox musical built out of the sixties and seventies hits of the four seasons. Called jersey boys would take home, the Tony for best musical. Three. Or how about a musical that began its life as a joke on a foul mouth TV show, the book of Mormon was developed by Trey Parker and Matt stone creators of the witheringly satirical animated television show, south park, Parker and stone on ironically, loved musicals there. First pre fame project was the film cannibal the musical and their acclaimed nineteen ninety nine south park movie bigger longer. And uncut was also a full blown musical that even earned an Oscar nomination for the book of Mormon which began as a two thousand three south park episode skewering the Mormon religion Parker and stone teamed. With composer, Robert Lopez. The creator of the Tony winning avenue, Q helped them, right? Witty sardonic but awfully poignant songs like I believe. Jews. Two. I am a more. Mormon. After star. Andrew Reynolds, performed believe on the twenty eleven Tony awards, telecast the night that the show took home. Nine Tony's the book of Mormon original cast album, soared on the billboard album chart all the way up to number three that instantly made it the highest charting Broadway album in thirty two years. The book of Mormon was the first top ten cast album since hair reached number one in nineteen sixty nine so winning Tonys for a jukebox musical. Jersey boys was hard returning show, tunes to the billboard top ten Alah book of Mormon was even harder. But perhaps the hardest Broadway feet of all was meeting current popular music where it lived coming up with a credible original musical, based around hip hop and playwright and composer, Lin Manuel Miranda did it. Twice. Expensive, but we with just enough. In the heights was the first major hip hop musical. But it was more than that set in the Latin American New York neighborhood of Washington heights near where maranda himself grew up in the heights merged not only wrap with Miranda himself, dropping some bars on stage, but also salsa and met enga in ways that felt unusually contemporary when the show made its stage debut. It's cast album did respectably but not exceptionally on the charts peaking at number eighty two. The same month that in the heights won the toning for best musical, maranda was only twenty eight when he took home, the Tony already making him a precocious left-field award winner and marking him as an exceptional young playwright, and composer, but who could have guessed that he would top all of these achievements with his theatrical. Follow up. And even if you've been nowhere near New York City in the last five years, I strongly suspect you're familiar with this one. Vast. Son of oh, core into Scotsman dropped in the middle of gotten spot in the in providence. Impove Ariston squad grow up to be the Scott Hamilton is a national and international smash not just on Broadway. Where lin-manuel Miranda's adaptation of Ron chernow's biography of Alexander Hamilton swept the Tonys and regularly sells out at the Richard Rodgers theatre. But in every city, it has toured across America, and in London's West End, what is equally remarkable, especially for us at hit parade is the chart impact of Hamilton. Particularly with generation Z. The Hamilton original cast album, not only reached number three on the billboard album chart matching the peak of the book of Mormon it reached number one on the rap albums chart. It is also. A chart perennial as I record this podcast. The Hamilton cast album is still hovering around the top forty in it's one hundred and ninety fourth week on the billboard album truck. This is largely due to the generation of so-called Hamill kids who discover the musical every week every month and every year, teaching themselves to drop bars. Rapid-fire like dovey digs is Ross. Or you swoon to the Schuyler sisters. Valid helpless. Hamilton even generated a left field. Chart topping album in December of twenty sixteen of various artists. Compilation produced by Lin, Manuel Miranda called the Hamilton mixed debuted at number one on the billboard album chart own officially. It was the first Broadway related album to top the chart since hair, although it isn't really a Castel true to its title. The Hamilton mix tape is a collection of recordings by contemporary, rap and pop stars covering the songs of Hamilton in their own idiot. From the streets of pre the definition of what it was and me know what I mean. My way, it has been argued that Hamilton has raised an entire generation of new show tunes fans further evidence for this came in twenty seventeen in the form of the Tony winning, dear Evan Hansen a musical. Starring young TV and movie, actor, Ben Platt, that adapted millennial pop and rock styles to show tunes much the way, Hamilton adapting round. Ever being more than of always been. Tap in on the glass. When the deer Evan Hansen cast album debuted on the billboard album chart in February of twenty seventeen all the way up at number eight it became the first Broadway cast LP to debut within the top ten since Camelot in nineteen. Sixty one in general twenty seventeen was a good year for deer Evan Hansen. Composers bench PASOK and Justin, Paul. They are emerging as the multi hyphen duo of twenty tens show to a Rodgers and Hammerstein for their generation that year alone. They won both the Tony for deer. Evan Hansen and an Oscar for their contributions to the movie musical. Lala. Two. Just how youth friendly was dear Evan Hansen. It's emotional centerpiece anthem waving through a window was remixed EDM style by club deejays. And in December twenty seventeen this remix reached number one on Billboard's club. Play chuck. As we near the end of the twenty tenth show tunes are virtually everywhere Disney continues to produce Broadway, style movie musicals, there twenty thirteen smash frozen which won an Oscar for the hit let it go has already become a hit Broadway show and will soon spawn a sequel. Similarly, the live action movie musical, the greatest, showman produced by, and starring sometime Broadway. Actor Hugh Jackman will also be a Broadway at tation in reverse. It is due to reach the great white way later this year, a fictionalized retelling of the story of circus creator. P T Barnum, the greatest, showman stunned the music industry last year by becoming not only twenty eighteen top selling soundtrack, but the year's biggest album period in pure sales shifting more than one point five million copies. Even in this age of streaming. For all this recent show. Choose vicky. It's fair to ask. What would it take for an actual Broadway song to become a pop chart hit in the twenty twenties as we noted at the top of the show, Arianna Grandes hot, one hundred topping interpretation of my favorite things as seven rings offers, one answer? Perhaps Broadway stars will provide their own interpolations as Lin Manuel Miranda and Ben Platt did in twenty eighteen with their duet found tonight, a mash up of Hamilton's the story of tonight, and dear Evan Hansen is you will be found the single was the number one download the week of its release, but in an age when screaming music rules, the hot, one hundred it missed the top forty. For clues on what it might take for Broadway to score a chart hit in the digital age, perhaps we should look to this month's Tony awards. No, not the many wins, by the daring, new musical, Haiti's town or the acclaimed Broadway revival of Oklahoma rather. Let's decode the strangest segment on the James corden hosted. Tony's broadcast many viewers of the telecast were scratching their heads at this comedy vignette which took place in the Radio City Music hall's wrestling. On the show. No mention was made of the specific song that James corden, Sarah Burrell's and Josh Grogan were parodying with new lyrics about being too scared to leave the bathroom and resume hosting the Tonys. But the song they were singing was from a current Tony nominee. In fact, it was this song from the show be more chill nominated that night for best original score. Just Michael in the bathroom, Michael in the bathroom at a party. Get Highmore chill went home empty-handed that night. But the fact that its creators were even at the Tonys let alone seeing their song, lovingly parodied by the host would have seemed improbable a year or two earlier a musical about a high school student who swallows and experimental pill to make him more confidence be more chill was first produced at a theater in red Bank, New Jersey in twenty fifty. It's composer, joi- conus, calls it, quote, a celebration of misfits and geeks and people who feel like they don't quite belong, actual young people. The late to the characters unquote, this off off off Broadway show closed quietly in twenty fifteen but not before releasing its cast album online to the producer shock this cast album, went viral like Jesus Christ, superstar generation earlier it. It was a hit even in the absence of show, the cast album has been streamed more than two hundred million times and young fans. Enthusiasm led the creators to reopen the show I at a New York off Broadway theatre. Then on Broadway itself, be more chill is running at the Lysiane theater as I speak in short a show with little critical acclaim produced in New Jersey is now on Broadway. And it is being referenced albeit indirectly on the Tony's, and it was teenagers. Who got it there. They shared the be more chill music online, like crazy the way they share memes, and hashtags. This is broadly speaking the same way recent hot one hundred number ones. Like in my feelings, or old town road got to the top of the charts. If both Broadway shows and pop songs can cross over through viral memes. How long will it be before a pop song from a Broadway show tops the charts? It's anyone's guess, but virology among the Hammill kid generation will be. Speaking of that generation before we wrap up this edition of hit parade, a personal note. Exactly. One week after this podcast episode is released. I will be getting married to an amazing woman, and proudly becoming stepfather to her two amazing kids, Ana age fourteen and Thomas age, twelve are both self proclaimed theater kids and indeed in their world show, tunes are the hit parade in the last couple of years, driving around in our family car. I've heard more Ben Platt, Jessie Mueller and dovey digs than I have Drake or Arianna 'Grande, so Ana, and Tom were the inspiration for this episode accordingly. I have invited Tom who's been playing guitar for a few years now to come into the sleet studios and play a song for. For this Broadway themed episode of hip rate. That's Tom you're hearing in the background now. We've asked him to do our out tro this episode as evidence of the devotion, his on his generation has to a new generation of theatrical music. It's what the kids are playing these newly beloved show tunes giving Broadway composers wider platforms than ever. And after I finish these credits Tom going to close our show with his rendition of the deer Evan Hansen song requiem. But I, I hope you enjoyed this episode of hit parade. My producer is Cameron Druce, and we had helped this episode from Daniel Hewitt, the managing producer of slate podcasts is June. Thomas, our senior producer is TJ Raphael, and Gabriel, Roth is the editorial director of sleep podcasts. Check out their roster of shows at sleep dot com slash podcast. Casts, you can subscribe to hit parade wherever you get your podcasts. In addition to finding it in the sleet culture gabfest feed, if you're subscribing on apple podcasts, please rate and review, while you're there, it helps other listeners find the show. Thanks for listening. And I look forward to leading the hit parade back your way until then keep on marching on the one, I'm Chris landfill. And this is Tom age, twelve with his favorite song from dear Evan Hansen requiem. Play the his game of returned. Remember rings? Secondhand saw. Such agreed son, and wonderful friend. Is just for. I bent. The reminded. That's sobbing. I could give in to the. Me some you. Why should I have Hannity? To break in pieces. Why should I go and father partnered for you? The grieving. Miss you. With. It will sing no. Do you serve little? Leaving these broken pieces behind you. Everything wasted nothing to say. So can sing. No requiem hear your voice. His in these awards. I finally find you know now that I know that you are still. We'll see. Why should I have a heavy hovered was should, I say okay with me? Why should I go and follow the Bard for you? Giving land. Saying that I miss you. Gone. Dogwood. We'll sing no. His one the villains. The kingdom's never. No one lied to candle to. No one mourns. On them down to. So don't tell me that I didn't have. Don't tell me that it wasn't luck. After good meat through, don't say it wasn't true. The we're not the monster. That. Have pray the grieving. That I miss you. Gun. Singh. Who wreck we? We'll say, no, we. I will say no. We. Oh.

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