The genre made an imprint in most realms of recorded music in 2022 - via fusion with sounds from pop to hip-hop to Latin, with creativity and quality at a high and with the sorely-needed diversification of the scene finally starting to happen - though with much work still to be done here and in relation to how we better protect the people and places in the scene that are its founders and foundation.ĭriving it all, of course, was the music. Indeed, while the commercial viability of dance music isn’t making waves like it did during the EDM heyday, the scene has in ways never felt healthier. And when two of the biggest musical icons in pop history looked for reinvention this year, they came to clubland. ![]() Meanwhile, dance clubs and festivals are doing “ amazingly well,” after an existentially fraught two years from which other realms of live events are still struggling to return. In the United States, dance and electronic music made up just 3.3% of total recorded music volume in 2021, which means that all of our efforts - all of our emails, all of our late nights and all of our sweat expelled on the dancefloor - are contributing to a scene that’s perhaps easy for other sectors to write off as humble, hard to see, “not the commercial juggernaut it once was.”īut inside it doesn’t feel that way, does it? Inside, it seems that new genres are developing, new markets are opening and new stars are breaking through while veterans are finding success in reinvention. No surprise that generations of fans have lost their head over it.It’s perhaps hard for all of us entrenched in the dance universe to bear in mind what a small world it ultimately is, statistically speaking. Still, for anyone who has suffered obsessive love or self-loathing, the song is unbearably raw. Verse by verse, we go from morning to afternoon and evening, each phase a snapshot of depression so deep she’s paralyzed: “Sometimes I stand / In the middle of the floor, / Not going left, / Not going right.” The madness simile in the lyric is drama-queen hyperbole Sally is romantically deluded, but not clinically insane. In 26 lines of 109 words, Sondheim guides us through a day in the life of Sally Durant, former Follies girl, now middle-aged and unhappily married. While the melody is reminiscent of Tin Pan Alley pop standards, the lyric is a masterpiece of psychological probing and terse, imagistic writing. In Finishing the Hat, Stephen Sondheim modestly describes this trembling torch song as “less an homage to, than a theft of” George Gershwin’s “The Man I Love.” Even so, it has become one of his best-loved and most concertized tunes. RECOMMENDED: Full listing of Broadway musicals Either way, you’ll get an earful of tunes that are sure to stir your heart. Maybe you’ll find one to add to your karaoke rotation. Maybe they’ll introduce you to a new Broadway show to put on your list of must-sees. You may not be familiar with all the entries on this list, but trust us: You’ll love them. (And sorry, jukebox musicals and movie adaptations: Only songs written for the stage are eigible.) With that in mind, we've come up with these 50 Broadway bangers: a mix of classic musical-theater numbers from 1927 through today. Many of these come from the best Broadway musicals the Great White Way has ever known to narrow the field a bit, we've limited ourselves to a single song per show. It’s nearly impossible to create a list of something so subjective, but we’re here to try. ![]() ![]() But which are the very best Broadway songs-the ones that endure through the years because they not only stick in our heads but also capture some essense of the genre? There’s nothing quite like seeing a legendary show tune performed live in a great Broadway musical, but you can always satisfy your craving for emotion-filled performance by cranking up a cast recording or binge-watching clips on YouTube.
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