NBC’s decision to re-work the original 1974 Broadway musical rather than the 1978 film was an unfortunate choice, despite some interesting changes and a generally stand-out cast. The original musical, with first-rate songs by Charlie Smalls (except for four songs, including “Brand New Day” by Luther Vandross), was a re-telling of the beloved MGM film
The Wizard of Oz, its novel approach mainly being an all-black cast and African American stylistic influences. The original Broadway production almost didn’t succeed. The producer considered closing the show after its opening night, but the show’s major producer, 20th Century Fox, poured in additional funds while everyone agreed to royalty cuts until the eighth week when the production costs were recouped. Motown and Universal Pictures produced the film version, and here the adaption was truly innovative.
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Paranormal historian, writer and publisher Paul Adams has written a superb post for Spooky Isles on the top ten British composers of horror music. He includes three composers renown in classical music circles as well as a woman—a delight to see in a male-dominated profession. All ten composers hail from the twentieth century. Adams’ article includes sound selections so you can get a taste of each composer’s style. His list got me thinking about a similar list of American composers. So here are the two lists. Continue reading →
Since it’s 1939 release, The Wizard of Oz has become an enduring part of American popular culture. For the film adaptation, the writers took liberties with Frank L. Baum’s novel. The film, rather than novel, has come to define the elements of the Oz story. The annual holiday broadcast, starting in 1956, ensured a lasting presence for generations of children. The film gives us memorable songs, a classic epic hero quest, and a powerful message, topped with Judy Garland’s endearing performance. More remarkably, the movie has inspired several reinterpretations. Each one has become great in its own right. While there have been a number of retellings, three examples stand out. 
After a successful run on Broadway where it garnered two Emmys, the musical Fela! has now started a national tour. I missed it during a trip to New York earlier in the year (tickets were too difficult to obtain), so I was thrilled to hear that it was coming to DC. Based on the life of Nigerian musician Fela Kuti, the musical recounts how he developed his popular Afrobeat sound and used music to protest the corrupt Nigerian government. After the mass popularity of songs like “Zombie,” which lampooned the methods of the military, the government felt so threatened that in 1977 it attacked Kuti’s commune, beating men and women and killing his mother.