#company (original broadway cast recording)

[branwyn-the-half-witch]

Hadestown West End Recording

Hadestown West End recording is on Amazon - Hadestown Live From London! It’s a live recording rather than studio, and it’s not the full show, which is pretty heartbreaking. Would love to know the reason why it’s only a selection of songs??

UK release date: 6 Dec 2024 (confirmed to be global!)

From the inside cover:

‘This album almost didn't happen

Between the original studio album, the live off-Broadway recording and the OBCR, Hadestown and its evolution was already well-documented; we weren't sure we needed another. But the London company, with its feast of nationalities, accents and jaw-dropping performances, seemed to beg for immortalisation and the hunger for it from audiences was clear.

The choice came to a head when two of our original West End case members, Grace Hodgett-Young (Eurydice) and Dónal Finn (Orpheus) announced their departure from the company at the end of August. We made an 11th hour decision to record a few shows live and then pick and choose the songs that most vividly represented this extraordinary company and era of Hadestown. There was some back-and-forth about how many shows to record, and whether or not Grace and Dónal's final performance should be among them. Emotions might be high, we thought. Was it more humane to let them savor their last show "off the record"? We went ahead and taped it. Todd (from our producer team), whose language is usually radio-friendly, texted me at intermission, describing the show as “f** king definitive.”

"They have mania level energy" He said of the entire cast, "but they're putting it straight into clarity and patience and pure emotion.” ’

Track listing:

Some big omissions here, quite tragically for me no ‘Doubt Comes In’, RIP panic-attack!Orpheus.

Really hoping there is some other information we are missing, because it’s a little heartbreaking to not have the whole show with this amazing cast preserved forever and for everyone that couldn’t make it to London.

[broadwaydivastournament]

Broadway Divas Tournament: 2A

Donna Murphy (1959) “DONNA MURPHY (Anna) received the 1996 Tony Award, as well as Drama Desk and Outer Critics Circle nominations for her performance in The King and I. She also received the 1994 Tony and Drama Desk Awards for her portrayal of Fosca in Stephen Sondheim and James Lapine’s Passion. Last summer she was featured as Dorothy Trowbridge in Mr. Lapine’s Twelve Dreams at Lincoln Center (Drama Desk nomination). Other Broadway Credits include: Edwin Drood in The Mystery of Edwin Drood, The Human Comedy, and They’re Playing Our Song. Off-B’way: The Whore in Michael John LaChuisa’s Hello Again (Drama Desk nom.), Rose in Song of Singapore (Drama Desk, Outer Critics Circle noms.), Hey Love; The Songs of Mary Rodgers, Privates on Parade, Showing Off, Birds of Paradise, A…My Name is Alice, Little Shop of Horrors. Regional work includes Miss Julie (McCarter), Pal Joey (Huntington), Williamstown, Portland Shage Co. and Goodspeed. She made her feature film debut in Jade, and co-stared (sp) in ��Someone Had to Be Benny” for HBO. Other TV includes: Francesa Cross on Stephen Bocho’s “Murder One,” “Law & Order,” “A Table at Ciro’s” (PBS Great Performances), “Another World” and the American Playhouse Production of Passion. Ms. Murphy can be heard on the original cast recordings of Passion (Grammy Award), and Hello Again, and is featured on Leonard Bernstein’s New York on Electra/Noneshuch.” – Playbill bio from The King and I, December 1996.

Mary Beth Peil (1940) "MARY BETH PEIL (Anna Leonowens), before joining the 1982 Los Angeles production of The King and I, received national acclaim for her television portrayal of Alma Winemiller in Lee Hoiby's opera Summer and Smoke (based on the Tennessee Williams play), produced by PBS and the Chicago Opera Theatre. As a member of New York's Theatre for a New Audience she has apperaed in many productions of Shakespeare. A Graduate of Northwestern University and a First Prize winner of the Metropolitian Opera Auditions, Mary Beth has been featured in opera and musical theatre with such companies as The Metropolitan Opera National Company, the New York City Opera, the Lake George Opera and the Minnesota Opera. She has appeared as soloist with the New York Philharmonic, Honolulu Symphony, Buffalo Philharmonic, the New York Young Concert Artists and the Cincinnati Area Artists Series. Favorite musical theatre roles that she has performed include Rosabella in Most Happy Fella, Magnolia in Show Boat and Kate in Kiss Me, Kate." - Playbill bio from The King and I, March, 1985.

NEW PROPAGANDA AND MEDIA UNDER CUT: ALL POLLS HERE

"We have Donna Murphy as Dolly. We have Donna Murphy as Aurelia. What are we doing to get Donna Murphy in a Mame revival so she can hit the Jerry Herman trifecta? I need this woman back on a stage immediately and genuinely, I cannot tell you how much money I'd be realistically willing to shell out. And on a more personal note? What do I have to do to get Donna Murphy to look at me like she wants to devour me whole? The things I want to do to this woman... She has chemistry with every single person she crosses paths with. I need her carnally."

"Mary Beth Peil's hair deserves a Tony Award of its own. She started going grey almost twenty years ago and never looked back. A grey-haired octogenarian who's actively out here being hot and sexy and showing skin is quite possible one of the hottest things in the world. Let me reiterate: I want to fuck this old woman."

[filipinfodump]

Kabesang Tales - Isang Rap en Rol Musical

A Filipino Musical that hasn't left my mind since the mid 2010s

Poster for Kabesang Tales posted by Palakat Batangas City via Facebook

Although the Philippines is known for its many talented singers which include many that had crossed over to Broadway such as Lea Salonga, and Rachelle Ann Go, alongside many other Filipino-American talents like Conrad Ricamora, Arielle Jacobs, George Salazar, and Darren Criss just to name a few, the musical scene in the Philippines itself isn't as popular nor as successful in the country as it really should be.

Even with Filipino-majority musicals in states like the controversial Broadway musical "Here Lies Love" which narrates the life story of Imelda Marcos, one of the most controversial figures in Filipino politics and history today, and with Filipino stars often taking in lead or secondary roles in major productions, the musical boom of the 2010s did not come with a boom for the musical industry in the local level compared to the sudden popularity of American musicals like Hamilton, Heathers, Dear Evan Hansen, or Be More Chill to name a few.

The very few musicals that did garner the spotlight did not receive the same notoriety of these foreign productions save for one of the few musical movies to have gotten major media acclaim Loy Arcena's Ang Larawan (2017) (en. The Portrait) based on the 1997 play of the same name by National Artist Nick Joaquin which became a media frenzy as being maybe one of the few if not the only original movie not based on major series or created by a large production company to be released that year for the Metro Manila Film Festival. One of the things that had skyrocketed it to media attention was the fact that most theaters did not screen it and it was only shown in very few cinemas, but that's a story for another time.

Despite the time and devotion Filipino musical fans may have for theatre, rarely do Filipino made and produced musicals ever enter the pop culture zeitgeist due to many factors like the lack of advertising, accessibility issues, and honestly the lack of cast recordings. Out of the many throughout the 2010s, one of the few I was able to watch that I still think about at times is Ricky Lee's very own rap and rock musical Kabesang Tales.

Background

Photo of Ricky Lee, the writer of Kabesang Tales the Musical via Inquirer

Kabesang Tales - Isang Rap en Rol Musical) (en. Captain Tales - A Rap n' Roll Musical) is a rap and rock musical first performed in the year 2015 and was written by renowned Filipino writer and National Artist Ricky Lee. The musical was directed by Alejandro "Bong" Ramos, with music by Jeffrey Hernandez and Alfredo Ongleo, and produced by Red Lantern Production (Inquirer, 2015).

Photo of John Arcilla, the lead actor for Kabesang Tales the Musical via Inquirer

The musical stars John Arcilla as the titular character Telesforo Juan "Kabesang Tales" De Dios, famously known for his breakout role as Hen. Anotnio Luna in the historical film Heneral Luna released the same year as the musical, alongside other talents such as Dio Marco as Karyo, Kevin Posadas as Tano de Dios, Alecx Lorica as Juli De Dios among many other talented actors (Inquirer, 2015).

A cover of one of the book's translations posted by twitter user El Filibusterismo (@/joseriz15155899) via X/Twitter

The play is based on Jose Rizal's El Filibusterismo (en. The Filibuster) and more specifically, the character of Kabesang Tales, the head of his barangay (a sort of Filipino village) and father of Basilio's main love interest Juli, who had turned into a guerilla bandit after his family and life were ruined by the Spanish friars. He becomes the feared Matanglawin (en. Hawkeye) who terrorizes the countryside. He plays a minor but important role in the books, being the father of one of the main secondary characters as well as being one of the main allies of the primary characters as they tried to start a revolution in the country.

The play primarily focuses on his perspective throughout the whole book with some scenes focusing more on the main protagonists Simoun and Basilio as well as his daughter Juli.

Performances and Releases

The musical had limited performances throughout some parts of the CALABARZON Region or Region IV-A, with some select performances in Metro Manila as well as some other provinces like in Mindoro, sometime during the years 2015-2017 with some being done in local cultural centers and schools throughout the region with very limited promotion outside of news stories.

The only promotional material I could really find are some posts on Facebook and a trailer in the Red Lantern Production's YouTube channel which could be seen here:

Trailer uploaded by Red Lantern Production via YouTube

There are no original cast recordings that I could find of any of the songs and the only material that I could find besides this are uploads on YouTube of scattered scenes from different parts of the play:

Full Playlist uploaded by YouTube channel pheejaypi here

I was also able to find a collection of clips of Karyo, a character possibly named after Karyo from Mga Ibong Madaragit which is a continuation novel of the El Filibusterismo written by Amado Hernandez, played by Terrence Guillermo.

Video uploaded by YouTube channel pinoy music maestro here

I remember some time in the 2010s seeing uploads of members of the cast singing in interviews I believe but I could no longer find any of these videos.

As of now, it is unknown if the production will ever come back with the last post on the Facebook page having been in 2021 with a post prior to posted on July 2019 calling for auditions in August 2019, possibly hinting that there was a planned 2020 tour for the musical before the pandemic hit.

Photo of the audition announcement posted on Facebook

The Plot (mostly from memory)

As there's barely any material of the live musical, I'll do my best to recollect what I could remember with the aide of the actual books to guide me. Of course, spoilers for Rizal's books Noli Me Tangere and El Filibusterismo if you haven't read them.

The plot follows the events of El Filibusterismo but mainly from the perspective of the titular character Kabesang Tales. It begins with an extremely happy and optimistic scene with him, his family, and barangay as well as the visit of Basilio, Tales's daughter's lover to their house. I remember that there was an extremely cheesy song here between the two that a lot of people squealed over.

Photo of the mentioned musical number between Basilio and Juli posted by Jayson Pascua

The perspective switches over to Basilio and his visit to his mother's grave where he is shocked to see a man there who is revealed to be the thought to be dead fugitive Crisostomo Ibarra who now goes by Simoun, a jewelry merchant from the United States. The two have a bit of an argument where Simoun tries to convince Basilio to join him and his rebellion and I don't recall exactly if there was a song, but it seems likely.

Perspective switches back to Tales as tragedy strikes as his entire family gets struck with malaria resulting in the death of his wife. I don't remember all the details here or if there was a song, but I remember a sort of depressing atmosphere for the rest of this part.

Photo showing all of the actors playing the De Dios Family posted by Jayson Pascua

The family struggles with money and friars come over to cause even more problems for them. There's a rap battle here between Tales and a friar. Here starts his downward spiral as he struggles to make ends meet as well as handle the friars that had been trying to gain his land. I don't recall if it's shown that he has to pay for a lot of lawyers, but he starts paying more and more for legal fees because of the legal drama with the friars and the government.

My sister tells me that there's a song about how good the friars are before they get properly introduced and I have a hazy memory of three friars wearing varied outfits typically associated with friars posing for the stage as people sing songs of praise and goodwill. My sister tells me that Basilio was in the ensemble here.

His son, Tano, gets drafted to the Guardia Civil (en. Civil Guard) and sent to the Caroline Islands because Tales could not pay money to prevent his draft due to their financial struggles. This is shown as a heart wrenching scene in the play where the rest of the family is left distraught.

He starts guarding his property in fear of bandits possibly taking his fields and taking whatever he has left.

Tales then gets taken by these bandits who demand ransom money for his return. There he meets Karyo, one of its leaders who tells him about the struggles of the working class and why he and the others had resorted to being bandits in the first place (?). I don't actually remember if this is the first they meet or what since I do remember that the two have a philosophical discussion about violence later and that Karyo is definitely a member of the bandits but there are scenes where he acts as the emcee during Tales's rap battle with the friar.

The bandits later lets him go back to his family where he finds that he has no one left.

Juli, in order to help with her family's financial struggles as well as pay for her father's ransom, leaves home and asks for loans and find work.

If I'm not mistaken, his father Tandang Selo goes mute with the grief of the continuous tragedies that had struck the family as well. It's hard for me to remember if this was shown in the musical.

When Tales returns, he finds himself at a loss for what has happened to his family. He is left with his daughter forced to work and his father mute. He is then met with Simoun, who comes to him as a jeweler. Simoun tempts him with some ideas of radicalization against the friars and he refuses at first before spiraling further and joining Karyo and his bandits, becoming the feared Matanglawin.

I genuinely don't remember if his meeting with Simoun was also in the musical or not but it's important context for the story.

The musical then switches perspective to Basilio, who gets implicated with a conspiracy against the government and gets arrested. A heartbroken Juli goes to Padre Camorra, a creepy priest that's been trying to corner her, to beg for his help since she saw no one else that could help her. This leads into a rather intense scene acted in shadows and lights where it is heavily implied that Juli gets assaulted.

After this, Juli sings a song about her assault where she contemplates getting revenge or retaliating but instead chooses to jump off to end her life.

The scene switches back to Tales who, unlike in the books, meet with his son again who has returned to the Philippines. This one, I know had a song in it since I remembered the extreme daddy issues punk rock vibes the scene gave off. He sang about how he no longer respected his father and that it's too late to repair things if I recall as he's now a bandit and he's a member of the Guardia Civil.

Photo of the confrontation between Tales and Tano where Tano sings about his frustration with his father posted by Jayson Pascua

Desolate and distraught at the loss of his family, Tales gets visited by a diwata (a forest spirit/fairy) and this part was extremely out of left field and absolutely not in the books.

Here, the diwata shows Tales visions of the future (???) and directly tells him, without any sort of subtlety, that the working class, and especially farmers like him, will continue to struggle in his country in the future. He is then shown a scene of farmers in a protest who were then taken down by police in what I remember as riot gear. He contemplates the future and is further given resolve to continue his rebellion.

Photo of the mentioned scene where Tales first meets a diwata who will later send him to the future posted by Jayson Pascua

Photo of the mentioned scene where Tales is sent to the future by a diwata to witness farmers being taken down by cops in riot gear posted by Jayson Pascua

Another photo of the mentioned scene where Tales is sent to the future by a diwata to witness farmers being taken down by cops in riot gear posted by Jayson Pascua

I need to cut in and say that this was so on the nose and is by far the weirdest and personally maybe the worst part of the show. I'm not even against the message, it just ruined my immersion and just left a weird taste in my mouth. I think the play was doing a plenty good job driving that point across already without the time travel diwata scene but maybe that's just me.

The scene cuts back to the climax of the story where Basilio, distraught over then death of Juli, finally joins Ibarra as they plant a bomb in a wedding reception that the Governor-General of the Philippines was attending. The scene plays out like it was in the books where the lamp gets tossed out by Isagani and the revolution doesn't start.

It goes back to a scene of Tales and his men trying to fight the Guardia Civil where he is shot and killed in action, by the gun of his own son. Tano realizes what he has done and is horrified. This leads to a song which later leads to a finale that sings about Tales as the cast come together for the curtains to close.

Photo of the mentioned scene where Tales is shot and killed by his son Tano posted by Jayson Pascua

Another photo of the mentioned scene where Tales is shot and killed by his son Tano posted by Jayson Pascua

The musical ends and the cast is called on to the stage one by one, with the loudest applause going to Basilio who a lot of the girls found hot, and of course, the man himself, Kabesang Tales.

Photo of the closing song with Tales being shown front and center posted by Jayson Pascua

After the play and final thoughts

Ricky Lee actually attended the performance I watched and I remember so many people crowding around the actors to get their autographs. My sister bought one of Ricky Lee's book, his script writing guide "Trip to Quiapo" and had it signed but she genuinely can't find it anymore sadly. My sister also got the autograph of some of the actors and the director on that same book so I'm a little miffed that we can't find it.

I would discuss more things and even show off my old ticket but I'm pretty sure that I would end up doxxing myself if I speak any more details.

That's all I remember from it and I would love to say more or even discuss the songs but as you can see, I could barely remember them, with only maybe a solid grasp in about maybe four songs.

It's a shame that it doesn't have as much of an established release and media presence because despite that one glaring issue I had with the weird diwata scene, I quite enjoyed the musical and it remains one of the few that I actually got to experience live.

It isn't Les Miserables or Hamilton, but it's still a musical I'll probably fondly remember especially since El Filibusterismo is one of my favorite books of all time with the character of Kabesang Tales being one of the most interesting — a man of honor and virtue who slowly descends into extremist violence because society had failed him. It's sad to see this musical barely recognized and very little talked about today and I do hope that it will one day return to the stage.

References

Introduction

Palakat Batangas City. (2015, May 29). "The Batangas City Government and Red Lantern Production present Ricky Lee’s KABESANG TALES - Isang Rap en Rol Musical." [image]. Retrieved on 17 February 2024, from https://web.facebook.com/palakat.batangascity/photos/a.1543377512565520/1636600273243243/?type=3&_rdc=1&_rdr

Background

El Filibusterismo (@joseriz15155899). (2019, November 13). "#TheFilibuster Ventura's salvificact made Rizal gave his original manuscript of El Filibusterismo, a pen and an autograph printed copy." [image]. Retrieved on 17 February 2024, from https://twitter.com/joseriz15155899/status/1194459895657041920

Inquirer. (2015, December 12). John Arcilla stars in Ricky Lee ‘rap en rol’ musical ‘Kabesang Tales’. LIFESTYLE.INQ. Retrieved on 17 February 2024, from https://lifestyle.inquirer.net/215824/john-arcilla-stars-in-ricky-lee-rap-en-rol-musical-kabesang-tales/

Inquirer. (2015, August 29). Ricky Lee writes rap, hip-hop libretto for new musical ‘Kabesang Tales’. LIFESTYLE.INQ. Retrieved on 17 February 2024, from https://lifestyle.inquirer.net/204943/ricky-lee-writes-rap-hip-hop-libretto-for-new-musical-kabesang-tales/

Lee, R. (2015, August 29). Ricky Lee: “I have been longing to do a musical, music being a driving passion in my life.” PHOTO FROM RICKY LEE [image]. LIFESTYLE.INQ. Retrieved on 17 February https://lifestyle.inquirer.net/204943/ricky-lee-writes-rap-hip-hop-libretto-for-new-musical-kabesang-tale

Red Lantern Productions. (2015, December 2012). John Arcilla. PHOTO FROM RED LANTERN PRODUCTIONS [image]. LIFESTYLE.INQ. Retrieved on 17 February 2024, from https://lifestyle.inquirer.net/215824/john-arcilla-stars-in-ricky-lee-rap-en-rol-musical-kabesang-tale

Performances and Releases

Kabesang Tales - Isang Rap en Rol Musical. (2019, July 27). Picture of the audition announcement posted on Facebook [image]. Retrieved on 17 February 2024, from https://web.facebook.com/kabesangtalestherockmusicale/photos/a.459803204196123/1309076952602073/

pheejaypi. (2016, October 3). Kabesang Tales: Isang Rap en Rol Musical clip 1 [video]. Retrieved on 17 February 2024, from https://www.youtube.com/watch?v=jftRyZOpxAA&list=PL1Yv-w-s-ETvRYsDWtaMPw2q0QO0q8Nfc

pinoy music maestro. (2021, January 1). Kabesang Tales excerpts feat. John Arcilla and Terence Guillermo [video]. Retrieved on 17 February 2024, from https://www.youtube.com/watch?v=QlOkDi8_D_A

Red Lantern Production. (2015, August 15). Kabesang Tales Trailer [video]. Retrieved on 17 February 2024, from https://www.youtube.com/watch?v=6CKKJsuBiuc

Plot

Pascua, J. (2015, October 11). Various photos [images]. Retrieved on 17 February 2024, from https://estranghero.weebly.com/photo-blog/john-arcilla-on-ricky-lees-kabesang-tales-isang-rap-en-roll-musical

[glassprism]

I may not explain this the best but are there any sort of unofficially "public domain" bootlegs? Like older ones that have been posted to YouTube or have had so many clips posted from them that people simply don't care anymore? Or are people who post clips without explicit permission but they aren't really leaks because they've already been publicly shared? I'm only asking because I'm unfamiliar with the expectations of trading and curious about how those things are viewed

No worries, I think I get what you're asking, and it's something I've discussed in other places, like Discord, but not so much here.

Anyway, I think Phantom is an interesting show in that it's so old, and the people in charge of copyright striking bootlegs are so lax, that I think there's less fuss in general about people uploading clips or even the full show to YouTube compared to newer shows where the creators are more likely to go after bootlegs and their recorders. So yes, it should count as a "leak", but as the saying goes - if a bootleg is uploaded and the filmer is no longer around, does it create any sort of trouble for them?

Another thing too is that many of the original filmers have long since left trading and unlikely to care what happens to their videos, which again, is just because Phantom is an older show (I know of one Phantom filmer who has actually passed away, that's how old some filmers are). It also helps that Phantom has had many international productions that closed years ago, which again, means it's less likely that there's anybody in the company who's going to come after a bootleg being uploaded. Like, do we really think the original Hamburg production, which closed in 2001, is going to go after the filmer of a bootleg from 1997? Probably not, so nobody's really going to be be a bother if you upload a video of it.

(Incidentally, this is also probably why members of the cast and crew will start leaking audios and videos - after enough time has passed, who cares? I'm almost certain the Mexico City proshot of Phantom was from a cast or crew member, as was the monitor video of the original Stockholm production, and I think everyone knows by now that it was Anton Zetterholm himself who decided to toss out the proshot of the Stockholm revival.)

Additionally, other filmers might be around but are not on social media because again, an older show means an older generation of filmers, meaning even if they did care about their stuff getting uploaded, well, it's unlikely they'll find out. Compare this to a musical like Six the Musical where the fans tend to be newer and younger, meaning it's very likely that the filmers are newer and younger, are still in the trading and bootlegging scene, are very active and adept at moving about on social media, and will take serious umbrage if you go uploading their stuff, especially combined with the fact that the company is more likely to come after them for bootlegging.

And yes, with some bootlegs, they have been uploaded so much it feels like you're fighting against the current to even go against it, especially when there are no repercussions. For example, the video of the original Broadway cast of Phantom has been posted so much, and by multiple people, that I don't think anybody cares at this point. That can certainly count as what you might consider "public domain" videos in that so many people have it, have uploaded it, or have seen it, that it's just taken as a free for all, do-what-you-want video.

That said, there are some unofficial rules that people tend to follow. Stuff filmed by people who are still active in the trading scene tends to not get uploaded. Stuff from post 2019 or so is a bit uncommon, again tying into the fact that people who filmed more recent boots are still very much around. If a filmer asks you to take something down, take it down. Name it something obscure (but that does not involve the words "slime tutorial" anywhere).

Anyway, I hope that answers your question!

[haveyoulistenedtothisalbum-poll]

Tracklist:

Road To Hell • Any Way The Wind Blows • Come Home With Me • Wedding Song • Epic I • Livin' It Up On Top • All I've Ever Known (Intro) ("In Spite Of Herself...") • All I've Ever Known • Way Down Hadestown • A Gathering Storm • Epic II • Chant • Hey, Little Songbird • When The Chips Are Down (Intro) ("Songbird vs. Rattlesnake...") • When The Chips Are Down • Gone, I'm Gone • Wait For Me (Intro) ("Hey, The Big Artiste...") • Wait For Me • Why We Build The Wall • Why We Build the Wall (Outro) ("Behind closed doors...") • Our Lady Of The Underground • Way Down Hadestown (Reprise) • Flowers • Come Home With Me (Reprise) • Papers (Intro) ("You're Not From Around Here, Son") • Papers (Instrumental) • Nothing Changes • If It's True • How Long? • Chant (Reprise) • Epic III • Epic III Instrumental (Intro) ("They Danced...") • Promises • Word To The Wise • His Kiss, The Riot • Wait For Me (Reprise) (Intro) ("If You Wanna Walk Out Of Hell...") • Wait For Me (Reprise) • Doubt Comes In • Road To Hell (Reprise) • We Raise Our Cups

Spotify ♪ YouTube

[music-interpretation-review]

Adjucation request: Wait for Me (reprise) from Hadestown :)

[dear-indies]

if anybody wants to check who is signed to a zionist record company, all names listed below, quoted from zionistsinmusic "we need to demand that all pro-Palestinian artists make a real impact by divesting from these major labels. The label cannot profit without the artist."

100 gecs

A Boogie Wit da Hoodie

A7S

Alex Warren

Anti Up

Arden Jones

Ava Max

Balu Brigada

Benjamin Scheuer

Bic Fizzle

BigWalkDog

Billy Gillies

Birdy

Bizzy Banks

Blusher

BRELAND

Briston Maroney

Bruno Mars

Burna Boy

Cardi B

Charli XCX

Charlie Puth

Charlotte Cardin

CKay

COBRAH

Coldplay

Colton Dixon

Cordae

corook

daine

Daisy Jones & The Six

DCG Brothers

Dear Evan Hansen (Original Broadway Cast Recording)

Death Cab for Cutie

Don Toliver

Ed Sheeran

Eli Winders

Enchanting

Enisa

Faouzia

Finesse2Tymes

FKA twigs

flwoerkid

Flyana Boss

Foogiano

Forest Black

Fred again..

gabby start

Gabriel Black

Galantis

Gang51e June

GAYLE

Genevieve Stokes

Gucci Mane

Halestorm

Hamilton: An American Musical (Original Broadway Cast Recording)

Hotboy Wes

Iggy Pop

IV JAY

Jake Harlow

Jake John

James Blunt

Janelle Monae

Jason Derulo

Jax

Jaymes Young

Jayson Cash

JesseR

joe p

Joel Corry

Johnny Yukon

Josh Levi

jules is dead

julie

Kali

KAMAUU

KATO2X

Kehlani

Kelly Clarkson

Kevin Gates

Knox

Kojey Radical

Kyler Weston

Lauren Daigle

Li Rye

Lil Eazzyy

Lil Uzi Vert

Lil Zay

Lilly Williams

Lizzo

Luh Tyler

Mac Critter

Mahalia

Major League Djz

Malu Trevejo

maryjo

Mason Ramsey

MAY-A

Matchbox Twenty

Matt Maeson

MICHELLE

Melanie Martinez

Missy Elliot

NCognita

Niko Rubio

NoCap

Noga Erez

Nolan Taylor

Ogi

OGHEESY

Oliver Tree

Pa Salieu

Paolo Nutini

Pooh Shiesty

Portual. The Man

Quando Rondo

Raiche

Ravyn Lenae

re6ce

Rico Cartel

Rico Nasty

Rob Thomas

Robin Schulz

Roddy Ricch

Rowan Drake

Royal & The Serpent

Sara Kays

Sett

Shaina Taub

Shinedown

Sia

Skrillex

SIDEPIECE

Silk Sonic

Skrillex

Sonny Digital

Sophie Power

Sugar Pit

Symba

Tank

Tanner Usrey

Teenage Disaster

TG Kommas

The Hellp

The Marias

The War on Drugs

Tiesto

TLE Cinco

Traetwothre

Ty Dolla Sign

Vance Joy

Wallows

Weezer

[lboogie1906]

Thalmus Rasulala (November 15, 1939 – October 9, 1991) was an actor with a long career in theater, television, and films. Noted for starring roles in films, he was an original cast member of One Life to Live from its premiere in 1968 until he left the show in 1970.

Born Jack Crowder in Miami and a graduate of the University of Redlands, he appeared in many films and made guest appearances on television shows. He attended some classes at Shaw University. Notable film roles include Sidney Lord Jones in Cool Breeze, Dr. Gordon Thomas in Blacula, and Robert Daniels in Willie Dynamite; he was the assistant director of The Slams. On television, he was known as Skeeter Matthews on Sanford and Son, Ned in The Autobiography of Miss Jane Pittman, Lt. Jack Neal on One Life to Live, Bill Thomas on What’s Happening!!, and Omoro Kinte in Roots. He appeared on the first-season episode of Saturday Night Live hosted by Richard Pryor as a priest in the “Exorcist II” sketch.

On the Broadway stage, under his original name Jack Crowder, he appeared as Cornelius a Hackl in the hit musical Hello, Dolly! He was a leading member of the all-black cast. The Bailey Company opened on Broadway on November 12, 1967, and was recorded by RCA Victor for a best-selling cast album in which he is featured in several songs.

He appeared on Perry Mason, Mannix, The Twilight Zone, All in the Family, The Jeffersons, Good Times, Star Trek: The Next Generation, and The Sophisticated Gents. His other film roles include Cornbread, Earl and Me, Mr. Ricco, Bucktown, The Last Hard Men, For Us the Living: The Medgar Evers Story, The Boss’ Wife, and New Jack City.

His last film role was as General Afir in Mom and Dad Save the World. He died shortly after completing his scenes, and the film, released a year after his death, is dedicated to his memory. #africanhistory365 #africanexcellence

[rose-of-oz]

⇝ if they were canon ask game: 🎬 + ivy keoka pls!! -✨

Thank you so much for the ask, @oneirataxia-girl!! I’m also gonna tag @luucypevensie, @ginger-grimm, and @dancingsunflowers-ocs since I know they love my girl as well. <3

HOW THEY’D BE INTRODUCED:

Ivy’s first scene would be the same as that of most of the main cast in the pilot episode: singing during her audition for New Directions while a voice-over introduces her by her name and what she’s singing. She’d be singing “Roxie” from Chicago, and it would probably be made clear how similar she was to Rachel, talented and very well knowing it.

WHO THE FANDOM SHIPS THEM WITH:

Probably a decent mix of a bunch of other characters. Her main ship would be Sam, of course, but there would also be people who shipped her with Artie and Mike and even Santana or Rachel or Quinn.

WHY THE FANDOM LOVES THEM:

Ivy is very similar to Rachel but not half as arrogant or stuck-up, so I think a lot of people would like her because they consider her a better alternative to Rachel - all of the talent and determination but none of the big head about it. They would probably also appreciate how often she calls other characters out on their bullshit, even Rachel and Finn and Mr. Schue, and a lot of her snappy comments and feminist lines would probably be the source of a lot of memes and GIFs and incorrect quotes.

WHY THE FANDOM HATES THEM:

Despite not being as arrogant as Rachel, Ivy is still uber-competitive and refuses to let anybody but Mercedes and her family closest to her for the longest time, especially the Unholy Trinity and any of the football boys, because she doesn’t trust them to really want to be her friend. This can definitely come off as cold and bitchy, which she honestly is a little bit, but I think a lot of people would only see it on the surface level and hate her because of it.

WHAT THE CAST RELATIONSHIP WOULD BE LIKE:

Auli’i Cravalho is an absolute gem, so I can totally see her getting along great with the cast! She’d probably be real-life besties with Amber Riley as well as on the screen, and I can definitely see her cracking jokes in interviews with Kevin Hale and Dianna Agron and just being really cute friends with everyone.

WHAT THEIR AUDITION SCENE WAS:

I imagine the audition scene for Ivy’s role would have been her first scene, auditioning for New Directions, accompanied by a reading of her first voice-over, even though that wouldn’t come until a few episodes later. It would be a perfect way to test auditioning actresses’ singing and how they could introduce the character, and reading the voice-over lines would allow the casting staff to see how they could embody the character beyond the first episode.

DEPENDANT ON THE FANDOM, WHO THEY’D BE AT PRESS TOURS/AT COMIC CON WITH:

I don’t think the Glee cast ever went to Comic Con, but during interviews I imagine Auli’i would probably mainly be with Amber Riley, since they play best friends, and probably Chord Overstreet in later seasons once Ivy and Sam’s relationship progresses.

IF THEY SPOIL THINGS:

I don’t really think Auli’i seems like the spoiling type, so probably not.

IF THE MOVIE/SHOW HAS ENDED, IF THEY’RE HAPPY WITH THEIR CHARACTER’S ENDING AND THE ENDING AT LARGE:

I think Auli’i would be - by the end of the show, Ivy’s getting ready for her first big Broadway role, she and Sam are in a really good place in their relationship, and she’s even sold some of her original songs to a recording company. What’s not for an actor to be happy about?

send me 🎬 + an oc!!

[topoet]

Sweeney Todd

When Sweeney Todd: The Demon Barber of Fleet Street with music and lyrics by Stephen Sondheim hit the stage in 1979 it was a sensation. I have an lp to cd transfer of the Original Cast recording from 1979 – with Angela Lansbury and Len Cariou. Sondheim’s music is more Broadway than opera but is far as from Oklahoma! as you can imagine. I’ve seen two stage productions: one a touring company…

[cooking-with-hailstones]

Music tag game

Thanks for the tag @onewingedsparrow !

Put your music library on shuffle, then list the first five songs that come up in a poll to let people vote for which one they like the most!

0 pressure tags @hot-flippin-mess @sulkybender @louwhose @citrinediamondeyes @pastelsandpining

[ashwithapen]

url song tag game :D

thanks to @yesireadbooks and @fire-but-ashes-too for tagging me! i love music so much so i love little games like this :))

what you have to do is spell your url with song titles and then tag as many people as there are letters.

shout out to my playlist with literally all of my music for making it easier to find + pick songs lmao

A - Aerie by Lena Raine

S - Scott Pilgrim vs. My GPA by Mom Jeans.

H - Hours Outside in the Snow by Modern Baseball

W - White Winter Hymnal by Fleet Foxes

I - It's Getting Wild Getting Older by Loupe

T - Theseus by The Oh Hellos

H - [The] Humours of Whiskey by Hozier

A - About You by The 1975

P - Polite Company by Rainbow Kitten Surprise

E - Everlong by Foo Fighters

N - Nervous Young Inhumans by Car Seat Headrest

TAGGING (11): @leisoree @enne-uni @caffeine-powered-aroace @palebdot @tea-and-mercury @holdmyteaplease @purplehandshumanfeelings @junypr-camus @guessillcallitar @desastreus @the-stray-storyteller

below the cut: me being unable to just choose one/two for each letter lmaoo

A:

All Eyes On Me (Song Only) by Bo Burnham

Alpha by C418

S:

Safe by Surf Curse

Safe and Sound by Capital Cities

Sarah by Alex G

Satisfied by the original Broadway cast of Hamilton

Seventeen by the cast of Heathers: The Musical

Sex by The 1975

Sober to Death by Car Seat Headrest

Somebody To Love by Queen

H:

Happier Than Ever by Billie Eilish

haunt me (x 3) by Teen Suicide

Heartache by Toby Fox

Here I Am (Classic Version) by Bryan Adams

Hide by Rainbow Kitten Surprise

History Maker by DEAN FUJIOKA

Home by Toby Fox

Hopes and Dreams by Toby Fox

Hysteria by Def Leppard

W:

Whatever It Takes by Imagine Dragons

when the light turns red by Miki Ratsula

WORDS WORDS WORDS by Bo Burnham

Would That I by Hozier

I:

I Didn't Change My Number by Billie Eilish

IDK You Yet by Alexander23

I'll Be Good by Jaymes Young

I/Me/Myself by Will Wood

In My Room by Chance Peña

Into Númenor by Bear McCreary

Intro by C418

Iris by The Goo Goo Dolls

I Say No by the cast recording of Heathers: The Musical

It's All Futile! It's All Pointless! by Lovejoy & by Wilbur Soot

It's Only Sex by Car Seat Headrest

T:

Take It Back by Darci, OZZIE

Taswell by C418

Teenager In Love by Neon Trees

Teenagers by My Chemical Romance

Teen Idle by MARINA

Tell It to My Heart by Paris Paloma

Therapy by Jonathan Larson

Time Travel Kool Aid by Half an Orange Ephixa

Toothless Lost by John Powell

Two Time by Jack Stauber's Micropop

P:

Painkillers by Rainbow Kitten Surprise

Passerine by The Oh Hellos

Poison Root by Alex G

Possum Queen by Rainbow Kitten Surprise

Pothole by Modern Baseball

Privately Owned Spiral Galaxy by Lovejoy

Pursuit of Happiness by Kid Cudi, MGMT, Ratatat

E:

Edge of the World by DESERT STAR

Edward 40hands by Mom Jeans.

Enterlude by The Killers

Eurus by The Oh Hellos

Everybody Gets High by MISSIO

Everyone but You by The Front Bottoms

Exitlude by The Killers

N:

Nellie by Dr. Dog

Never Coming Home by Scruffpuppie

New Person, Same Old Mistakes by Tame Impala

[A] New Victim by Nathan Hanover Synthonic Orchestra

Non-Stop by the original Broadway cast of Hamilton

Not Alone by Darren Chris & by the cast of StarKid's Apocalyptour

Notches by Crywank

notice me by ROLE MODEL BENEE

Now or Never by Halsey

[michaelgruberfan]

A first person story from Michael for the Broadway Buzz! about his experience with A Chorus Line! (X) Published Feb 19, 2008

Michael Gruber: My Twice-in-a-Lifetime Experience in A Chorus Line

---

About the author: Through a combination of talent and timing, Michael Gruber is making theatrical history as the only actor who appeared in both the original Broadway company of A Chorus Line including the legendary final performance, no less! and in the current Broadway revival of the show. In a career spanning almost 20 years, Gruber has amassed a resume that includes yet another record-breaking Broadway show Cats, in which he played Munkustrap, plus Kiss Me, Kate, Swing, Miss Saigon, My Favorite Year, The Wizard of Oz and the Encores! production of Stairway to Paradise. His regional credits include starring roles in Singin' in the Rain, Easter Parade, White Christmas, Godspell and many more. A former all-American diver who trained for the Olympics, Gruber has also composed three musicals himself. He recently shared memories of his unique experience of appearing in A Chorus Line then…and now.

---

A Chorus Line was my first Broadway show. I was only 24 years old when I got the role of Mike Costa, the cheerful young dancer who sings "I Can Do That," and I was so stagestruck about being in the show. It's the typical story: I had seen A Chorus Line in Cincinnati when I was a junior in high school and said, 'This is what I want to do.'"

What I remember most vividly about the final Broadway performance on April 28, 1990, is that it was out of control! It was a Saturday, so the matinee that day was really the last time we as a company felt we were doing the show itself. The final performance that night was more about the audience, which included a lot of original cast members and others who loved the show and had come back to say good-bye. I remember the wonderful neon sign that flew in to center stage with the number of performances—6,137—lit up.

For me, the most startling thing was having to stand there after my number for what seemed like a full minute. They just wouldn't stop applauding. I've never experienced anything like that, even when I was in Cats on the night it passed A Chorus Line as the longest-running Broadway show. I realize now that the applause was not really about me; it was about the show itself. It was the end of an era.

I met the original Mike, Wayne Cilento, at the closing night party, which was held at the old Mamma Leone's. He was charming, but the original cast didn't socialize with us much; they were all on one side of the room and we were on the other. It hurt our feelings at the time, but now that I'm over 40, working with kids in their 20s, I understand. They were all friends, and they had their own nostalgic bond.

Since then, I've auditioned for several companies of A Chorus Line, but I'd never done the show again until I was offered the opportunity to replace Michael Paternostro as Gregory Gardner in the Broadway revival. It's been such a fantastic gift to work with Baayork Lee, the original Connie, who was at the epicenter of the creation of the show and has restaged it all over the world. Director Michael Bennett had passed away by the time I joined the cast, but Baayork remembers everything: Anything you want to ask, even after all these years, she can tell you.

I was fascinated to hear about the original Greg, Michel Stuart, who reinvented himself as a cultured, artistic personality. Playing a Jew from the Bronx is far from me, a Midwestern Catholic, but I can understand someone who creates a character from his own life and aspires to taste and sophistication. The fact that Greg is gay should be somewhat of a surprise to the audience; the character has a superiority and a confidence because he's been around. Baayork and Michel were very good friends, so my character's relationship with Connie is strong, and also with Cassie because they're the older dancers. That's why Cassie stands between Sheila and Greg onstage. The audience may not get all that, but knowing the background of the show anchors and orients me.

As I look at the show now, I'm struck by how contemporary it feels. It was ahead of its time back then; that's what made it revolutionary. Michael Bennett embraced the idea of presenting the real-life stories of ordinary people, knowing that audiences would be interested. It's a testament to Nicholas Dante and Ed Kleban, who wrote the book, that A Chorus Line doesn't feel dated. It's timeless because it's so truthful and not based in pop culture. The show is as perfect as it can be, which means that as an actor, I don't need to reinvent the wheel. When you muck about with it, it loses its crispness. My task is to take my ego out of it and serve the show so that its truthfulness comes through. Keep it simple. Keep it real.

I went into the revival last summer with nine other actors, and during rehearsals, we skipped the numbers that didn't involve the replacement cast. So it wasn't until our first performance that I had the great thrill of watching Jeffrey Schecter's brilliant performance of "I Can Do That." Feelings of nostalgia washed over me as the realization of how lucky I was to be standing on that white line again after all these years came vividly into focus. Later, Jeffrey and I shared another "full circle" moment: He remembered seeing a tape of "I Can Do That" on Nightline during a story about the original production just before it closed. "You were in that last company," he said to me. "Did you do a standing back somersault at the end of the number?" When I said yes, he replied, "I saw you on TV when I was 14. And I said to myself, 'I want to do that.'"

[jeremy-queere]

Been asking around random bmc blogs to see what their favorite bmc song is. So you’re next! A full rant and everything would be nice >:)

I'm answering this 3 weeks late. sorry. don't @ me

Shoot, okay, that's a toughie. I think I'm going to go by "odds of me skipping when it comes up on shuffle" rules. So unfortunately, that immediately knocks out many of them - The Play (obviously...), Do You Wanna Hang; both Christine songs (SORRY CHRISTINE I HAVE NO EXCUSE) (i just like singing dude songs ;-;); the instrumentals. Do You Wanna Ride may well be called Do You Wanna Singreallyhigh :/

More Than Survive is the best for when I want to sing along loudly and flex my "acting" but it's also a million years long and starts out with porn, making it harder to play in mixed company.

Two Player Game - OK, so this one is good but. But. If we're including the big band version in our ranking, it might manage to eke its way out on top.

I'm calling this an unfair advantage since the other songs, if similarly arranged, might also slap this hard. Might.

Michael in the Bathroom and the Pants Song are on the same tier for me (SORRY AGAIN!!!) in that they are both very easy to get stuck in your head, you gotta get weirdly heartfelt singing them, and you really gotta be in the mood for them specifically. MitB is iconic for a reason but I'll skip it more often than not if I want to keep my energy up (which is usually the only reason I listen to music whoops). Loser Geek Whatever is also in here if it's the Broadway version. I know in my heart that the Christine songs also belong here.

Halloween, Smartphone Hour, Pitiful Children, and hell, Be More Chill Pt. 1 - These are all bops that are really plot important but that also means you gotta be willing to engage with the story if you want to jam out about it. I dunno if that makes sense? But like you can't sing along to Halloween without paying attention to what's going on with Jake's house during the song. (Sync Up may also fit in here but like. it doesn't go quite as hard as these 4)

Upgrade also fits in with the above category because um. Sorry to all again but. I used to love the first half and then just skip it as soon as the SQUIP verse was done. Again, for singing-along hype building.

So I think that narrows us down to Voices in My Head and the SQUIP Song.

Voices in My Head is an all-mood all-ages fun ditty. It's got heart, dammit. Does anyone not like this one?

But the SQUIP song......... That's the moneymaker, I think. I used to not be able to get my voice low enough, but either I've gotten better at it or I've stopped caring. This one is just fucking FUN. BUT. But but but but. But it has to be the original cast recording.

The Broadway version, someone send me an ask and I'll give my opinions on it. tl;dr they cut out a section of the song for NO reason.

HOWEVER, ON THE FIRST HAND. I have incorporated the Broadway version's little fake audio glitches into it whenever I sing the SQUIP Song. That's good shit.

If you were asking me what my fav is to listen to and not to sing along to, I couldn't tell you. If BMC is playing and I'm not singing along, there is something wrong with me. I don't say that jokingly. That's literally how I realize I'm in a bad mood/really tired is if I'm not singing in the car lol.

[romirola]

Spell Out Your Username with Songs!

Tagged by the wonderful @frenchiefitzhere! This was a fun game. I will tag @ejunkiet, @pinksparkl, @zozo-01, @falkea, @slushiepizza, @persephotea, @dominimoonbeam, and (at the risk of stuffing your inbox with too many pings during your Dahlia adventure) @floofdeloop to do the same. Spotify links included!

R: Right Hand Man (Original Broadway Company of Something Rotten)

O: Once and For All (Original Broadway Company of Newsies)

M: Me and thy Sky (Original Broadway Company of Come From Away)

I: I'll Make a Man Out of You (Original Motion Picture Soundtrack of Mulan)

R: Red and Black (Original Soundtrack of Les Misérables)

O: Out of Sight, Out of Mind (International Studio Cast Recording of A Tale of Two Cities)

L: Live By the Hook (Original Broadway Company of Finding Neverland)

A: A Step to Far (Original Broadway Company of Aida)