![]() Even then, many Great White Way legends did not score hits. Only Heights briefly made the Billboard 200, and it missed the album chart’s Top 40.Īs I chronicled in an episode of my Hit Parade podcast, it has been decades since Broadway composers had a major chart impact, back in the era of My Fair Lady, The Music Man or Camelot. (It’s hard to say, since Boom! is also on Netflix, which doesn’t release viewership data, but Nielsen has not reported Squid Game–size ratings.) As for the Billboard charts, the soundtracks to these non- Encanto films were all nonentities. Among Miranda’s 2021 endeavors, the film adaptation of his Tony-winning musical In the Heights was a much-debated, COVID-era box-office failure his other ’21 animated-film soundtrack, to Sony’s Vivo, while a solid Netflix hit, has been largely forgotten six months later his directorial debut, a superb stage-to-screen adaptation of Jonathan Larson’s Tick, Tick…Boom! is so far mostly a succès d’estime that has delighted showtunes nerds but done little to improve the fortunes of the movie-musical. But he is far from commercially bulletproof. I am one of those olds who feels that the overexposed playwright-composer-actor-director-singer-rapper–guy that, okay, should maybe stop casting himself in his own projects earned all those prizes for a reason. ![]() Yes, whether this thrills or exasperates you, it must be said: Lin-Manuel Miranda is indeed a genius. (“Easy,” nothing: It takes a small army to take down Adele.) Together, they have not only propelled the Encanto soundtrack to the top of the Billboard 200 album chart ( now in its third week), but they’ve also scored the first No. 1 song from a Disney animated film since Peabo Bryson and Regina Belle’s “ A Whole New World” from Aladdin, 29 long years ago. And now, here we are: Our beloved British balladeer has been ejected by six first-time chart-toppers: actor-vocalists Carolina Gaitán, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero and Stephanie Beatriz, plus the rest of the cast of Encanto-the largest credited group of artists on a single No. ![]() There we were, taking down the tree while bathing in the warmth of Adele’s “ Easy on Me,” the seemingly inevitable, virtually eternal ( 10 weeks at No. 1!) culture-dominator. The first new No. 1 song of the year-“We Don’t Talk About Bruno,” a contrapuntal ensemble song from Disney’s Colombian fable Encanto, built out of a Cuban guajira-was not something anyone could have predicted just a month ago. In 2021, the Billboard Hot 100 was topped by an array of bespoke popular song forms: power-torch balladry (“ Drivers License,” “ All Too Well”), bubbly ’80s-style synthpop (“ Save Your Tears,” “ Stay”), Chicago drill–slash–New Orleans bounce (“ Up”), flamenco-inflected hip-pop (“ Montero”), classic pop-punk (“ Good 4 U”), comic trap (“ Way 2 Sexy,” “ Industry Baby”), and even ukulele rap (“ Rapstar”).įor 2022, if you had “Latin showtunes fugue” on your Bingo card, come up and get your prize.
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