As a seasoned musical theater composer with a career spanning over five decades, I can confidently say that “Wicked” has been one of my most fulfilling and challenging works. The intricate structure of the songs, with their multiple choruses and interpolations, is a testament to the richness of the story and characters. It’s like crafting a symphony for the stage, where each note, each motif, carries a deeper meaning and contributes to the overall narrative.
However, I must admit that I sometimes wonder if people will be able to keep up with Ariana and Cynthia during those sing-along screenings. But then again, who am I to question the passion of musical theater fans? They’ll sing along as they wish, and we’ll just sit back and enjoy the beautiful chaos!
Oh, and by the way, if you ever find yourself humming a tune from “Wicked” days after hearing it, remember: that’s not just memorability, that’s Stephen Schwartz magic at work!
I’m fortunate enough to meet with Stephen Schwartz today, the brilliant mind behind the hit musical “Wicked.” Over two decades since his groundbreaking Broadway work, his timeless song scores are now poised for another triumph in the form of a film, strongly tipped for Best Picture nominations. Interestingly, I’m not alone on this project as I find myself collaborating once more with Stephen Oremus, the original arranger and music supervisor from the stage production.
This team, led by Stephen Schwartz, is highly acclaimed. He was instrumental in adapting “Wicked” from Gregory Maguire’s book into a stage musical, and he is famous for earning six Tonys and three Oscars as the composer or lyricist for shows like “Pippin” and “Godspell,” and films such as “Enchanted.” On the other hand, Oremus has won a Tony for his work on the orchestrations of “The Book of Mormon” and “Kinky Boots,” and has also spearheaded the development of scores for Broadway shows including “Frozen” and “Avenue Q” as well as the film “Frozen 2.” (Note: Music producer Greg Wells, who they collaborated with closely, will be featured in a separate interview.)
Schwartz is at the moment nominated for an Oscar due to his collaboration with John Powell on the instrumental score of “Wicked.” However, he’s previously made his mark through song-related accomplishments, such as defining what a “war cry” sounds like when it’s sung by divas. EbMaster had a conversation with him and Oremus about the creative choices behind the music, shortly after the movie surpassed $600 million at the global box office, establishing itself as the highest-grossing Broadway musical film adaptation ever made.
For those who have been fans of “Wicked” for the past two decades, some lesser-known tracks have been resurfacing among the well-known hits. Is there a song from the soundtrack that you’re glad is being rediscovered by the audience?
John: Not really, I’d say. But it’s fascinating to witness the unique interpretations of popular tunes that people have been sharing lately. For instance, I came across librarians at the Library of Congress who had memorized and performed the choreography for “What Is This Feeling?” in the aisles. It was quite extraordinary, and they executed it flawlessly, which left me wondering how they managed to learn such intricate moves. And just today, I received a humorous video from someone, featuring a young girl who transformed her garage into a mini stage for a lip-sync version of “Defying Gravity.” She was painted green and used a wagon to simulate flying while her father rotated the wagon. At the end, as she belted out the war cry, he lowered the garage door like a curtain, closing the show. So, I’m finding joy in seeing these creative expressions of enjoyment for songs. As for a favorite, I don’t have one. By chance, do you have a favorite, Stephen?
I must admit, it’s been quite astonishing to witness the global dance phenomenon surrounding “What Is This Feeling” on the internet. But what truly took me by surprise is the overwhelming love and admiration for “I’m Not That Girl,” a poignant emotional gem nestled in Act 1 of our production. Following the film, countless people have shared their heartfelt reactions: “Oh my gosh, her rendition of that song, the way it unfolds from the scene…it’s so beautiful and touching.” I must say, I’ve been genuinely touched by this response.
Schwartz: Absolutely, one of the adjustments Stephen Oremus and I made for the film compared to the series involves the way we approach the song, as well as its tempo. We deliberately slowed it down after hearing Cynthia (Erivo) sing it, in order to let her voice shine and provide space for a beautiful instrumental interlude. The variations we’ve made are receiving positive feedback, which I’m really pleased about.
As a dedicated admirer, I found it intriguing to note that among all the pieces in the score, only one was altered – the key. Remarkably, we elevated the key for the captivating Cynthia. This change brought the melody into a register that resonated profoundly within her, enriching her performance.
It’s intriguing! The customization of costumes and vocal approaches for actresses dates back to the initial Broadway production. I discovered that the way Kristin Chenoweth portrayed Glinda’s voice evolved because she yearned to showcase her pure soprano range in public scenes, leading to the creation of this concept: she would sing in her soprano range as Glinda when speaking to the audience, but adopt a different approach for her everyday voice within the play.
As a movie enthusiast, I find musical theater truly unique in its collaborative spirit, especially compared to traditional plays. The way lead actors sing can significantly shape the final tune, something I believe is less prevalent in non-musical plays. While I may not have experience as a playwright for straight plays, I suspect actors’ influence on the final product isn’t as significant. However, in musicals, the performers have a considerable impact because we aim to tailor every note, rhythm, and tempo to their unique interpretation of the character. This way, it feels seamless and natural. Interestingly, this personalized performance serves as a blueprint for future productions.
Cynthia and Ari (Ariana Grande) shared their thoughts about this during the press tour, but during rehearsals, they hesitantly experimented with new ideas, to which Stephen and I would respond with encouragement and ask, “Why not try even more?” They seemed surprised by our invitation, asking if they could do other things. They approached the material with great respect, eager to fully embody these characters and find their unique interpretations. For us, it was essential to strike a balance between honoring the original music from the 20-year-old “Wicked” cast recording while also creating a fresh, stunning new vision of this world for our audience. This challenge was exciting for us, as we asked everyone on the music team to think creatively and push boundaries, urging them to continue exploring and have fun with their ideas.
Can you recall any other instances, apart from “I’m Not That Girl,” where changes were made in the script or casting due to the unique qualities of the actors’ voices and personalities?
Schwartz: While there were indeed other alterations, I don’t believe they were primarily due to that particular factor. For instance, the song “Dancing Through Life” evolved mainly because of the unique choreography Chris Scott envisioned and the variety of rhythm tracks we could access with more options and instruments at our disposal. John Bailey’s innovative vocal performances that made it into the film and soundtrack were not specifically modified for him; instead, they were more about what resources were available to us.
Oremus: Well, I would also remind you of the end of “Popular”…
Schwartz: Initially, Ariana was hesitant about adding more to “Popular,” fearing it might appear we were focusing on Ariana Grande instead of Glinda’s character. However, I reassured her by saying, “If this idea had come to me earlier, I would have included it in the show. But I didn’t think of it until now. In fact, it feels more authentic for Glinda.” After that, she was on board. Both Ariana and Cynthia were particularly cautious about ensuring every decision reflected the character and the storyline, rather than their individual personas outside of the narrative.
What specifically was that change in “Popular” that Ariana was worried about?
As a passionate fan, I’d like to share a unique touch we added: a sort of concluding section, an elaboration on what could be referred to as the “la-las” finale, which isn’t part of the original show. However, it resonated strongly with us during this particular stage, and we felt it was fitting to include it.
Let’s reflect on this: There was a moment of doubt. You may recall Jon and Chris suggesting, “Perhaps we should go back to the initial conclusion.” However, everyone persisted in their efforts…
Schwartz: The music team were like, “No, no, we have to do this.”
Let’s Pray: Then, everyone began to interact with the sandbox and discovered an incredibly fun method for their engagement.
Schwartz: Yes, I believe Stephen Oremus articulated the process quite effectively when he mentioned that everyone approached it with a deep respect for both the original material and the fans. Over the years, many people had come to know the “Wicked” soundtrack and show. Our goal wasn’t to disappoint them or make them feel we were careless with what they cherished about it. However, since it was 20 years later, we had new team members and an abundance of modern musical tools. We wanted to explore what could happen if we fully utilized these resources.
Wasn’t it was a 23-piece orchestra that you had on Broadway?
Schwartz: That’s correct, yeah.
Initially, neither those who watched the performance nor heard the original cast recording commented that it lacked depth. However, having the ability to experiment with endless orchestration possibilities – no pun intended – did it feel like a chance to realize our long-held dreams of creating a truly expansive version? Or is it more like we achieved exactly what we aimed for on Broadway…?
At the time, neither spectators nor listeners of the original production expressed that it needed to be filled out. Yet, with the limitless options for orchestration – no hidden meaning there – did it seem like an opportunity to finally bring our dream version to life, the one we’ve always wanted to create? Or was it more about maintaining the scope we intended on Broadway…?
Both versions aim to convey the same idea while maintaining a natural and easy-to-read style.
Schwartz: In my opinion, what we presented was closer to the truth. During our performances, we actually managed to secure a good number of musicians thanks to some successful negotiations with union 802. Simply put, we were lucky to have as many musicians as we did.
Oremus: We got grandfathered in. They actually had cut the musicians and we got five more.
Schwartz: In the agreement, we managed to secure a larger orchestra than is typically found in contemporary Broadway productions. Initially, we were content with our orchestra and arrangements, but naturally, we added some depth to the string section when recording the cast album, which is a frequent practice in such instances. However, we never yearned for an 87-piece ensemble, thinking that it would significantly alter our work. Nevertheless, having the expanded orchestra for the film enhanced our sonic and musical capabilities.
Let’s not forget: We need to remember that Stephen and I were creating it with the screen in mind during our process. We wanted it to be more than just voices over a piano track throughout most of the film, so we prepared MIDI demos with Greg Wells to make it sound expansive and grand before production began. In post-production, once they had captured everything on camera, we could then bring it all to life based on what was actually filmed.
Schwartz: Stephen’s correct in reminding me, and you too, about how our orchestration was heavily impacted by what we observed. To be honest, I didn’t have much experience transforming a stage musical into a film musical at the time. So, initially, when working on “The Wizard and I,” which was one of the first songs we orchestrated, without considering the visual aspect. Stephen, I, and our orchestrator, Jeff Atmajian, liked what we created and exchanged numerous ideas, thinking we had it perfected. However, upon comparing it with the footage, we realized our mistake. From then on, we established a rule to always prioritize the visuals first, ensuring that our orchestration complements what’s displayed on screen.
Is there a way to describe what felt different when you worked more to augment what was on screen?
Schwartz: At times, a recording didn’t perfectly align with what was displayed visually. Upon re-recording, it still made sense from an audio perspective, but it was altered because now it also corresponds more accurately with the visuals shown. Essentially, our intention was to match precisely the visual elements such as build locations, flow, breaths, motion and its absence, all for a harmonious viewing experience.
You mentioned having 87 pieces in the orchestra. Is that the actual number?
Let me estimate: I believe it was approximately 85 pieces when you include the percussion and saxophones we incorporated. Adding Greg Wells to that total would be another consideration.
Schwartz: That’s true. If you count him, it would be over a hundred.
Let’s say: Primarily, it was Greg who handled the entire rhythm section for the movie. While Dom Amendum, myself, and Greg also played keyboards, the majority of the guitar parts, bass lines, and drum beats were performed by him.
Schwartz: In a song, there might be multiple guitar parts… Greg, being quite versatile, essentially functions as a one-man band. Initially, I knew him as an exceptional pianist at 19, but now he’s also proficient in playing the guitar, bass, and drums. This allowed him to establish the rhythm tracks independently. The songs varied in terms of pop influence, so the process was gradual. In some instances, Jeff handled the orchestration lead, and we’d suggest to Greg, “We think a guitar vibe is needed here. Could you add it?” Then, as Stephen describes, often it began with a rhythm track, and later we would enhance it, which was a technique called sweetening in the ’70s when I started as a record producer.
Regarding Greg Wells, I had a chat with him and he shared something interesting from Stephen Schwartz. Apparently, when they were recording the soundtrack for “No One Mourns the Wicked,” some spooky, foreboding chords emerged. Someone in the studio found these chords quite unsettling, to which Stephen reportedly replied, “Indeed, it is a horror movie.
As a Movie Connoisseur: Indeed, Jon Chu masterfully blends various film genres in this production, creating an exhilarating cinematic experience that is both terrifying and captivating. His ability to seamlessly transition between horror, action, romance, comedy, and psychological drama is truly remarkable.
In the climactic balloon escape scene, for instance, he delivers a pulse-pounding action sequence that showcases his exceptional storytelling prowess. The flying monkeys, with their eerie presence, serve as chilling horror movie antagonists, adding an extra layer of suspense and fear to the narrative.
What’s remarkable is how these diverse cinematic elements harmoniously coexist within a single film, forming a unified world that pays homage to Chu’s versatility as a director. The result is a visually stunning and emotionally engaging masterpiece that will undoubtedly leave audiences on the edge of their seats.
People who were fond of the show 21 years ago may acknowledge spending some time afterwards with apprehension about the movie, worrying that it wouldn’t capture all the essential elements and might dismiss the darker aspects. However, it appears that die-hard “Wicked” fans seem to concur that their anxiety was unwarranted.
As a devoted cinephile, I can’t help but express my heartfelt appreciation towards the studio that has brought this project to life. Unlike many studios who often replace original creators, this one chose to keep us on board, which is truly rare and commendable. Moreover, they listened to our ideas, a testament to their understanding of the creative process. This open-mindedness is particularly noteworthy considering that, having worked with other studios in the past, I’ve come to know those who are more intrusive and less respectful of creators’ visions. In contrast, Universal’s executives have been a breath of fresh air, and for this, I am eternally grateful.
Reflecting back, I recall discussing the potential of a “Wicked” film with Marc Platt in his office around fifteen years ago. Given that it’s taken about twenty years from the show’s debut for this project to materialize, did your persistence and patience play a significant role in its eventual realization?
As someone who has spent over two decades immersed in a project, I can attest to the fact that it wasn’t a matter of simply waiting for the right moment to start working. Instead, my collaborator Stephen Oremus and I were constantly brainstorming ideas, investigating possibilities, and considering different approaches for our movie. We knew that this wouldn’t be an easy task, and we weren’t afraid to explore dead ends or wrong turns in search of the perfect solution.
Winnie Holzman and I also spent a lot of time discussing various scenes and sequences that might not have been part of the original show, but could add depth and richness to our movie. We were always thinking about and working on the project, so when we finally got the opportunity to bring it to life, we had a wealth of ideas, discussions, and preparations to draw upon. I believe that all this work paid off, as the timing for making the movie was just right, and we were ready to hit the ground running.
Does it seem peculiar to reflect on a production like “Wicked” on Broadway, considering all the last-minute adjustments and additions made during its creation – even between the pre-Broadway run in San Francisco and its opening night – only for those changes to be set in stone and whatever was improvised almost spontaneously to become something timeless… if you’ve been fortunate enough to have contributed to it?
Schwartz: Essentially, musical theater is all about teamwork and audience involvement. This means we don’t fully grasp what our production is until it’s in front of an audience. Through this interaction, we make many discoveries. Some of these revelations can be gained through readings, workshops, and inviting people, but the true magic happens when strangers walk in off the street, take their seats, and the show begins. It’s at this moment that we uncover even more secrets, and much revision and enhancement occur just before the performance. So while it may seem like a last-minute scramble, it’s expected and not unexpectedly chaotic since it’s part of the creative process.
And now, 21 years later, a chance for more tweaks, albeit not many major ones.
Let’s Pray: During the process of transforming the stage musical into a movie, people I worked with during filming would often ask me questions like, “So, are they incorporating material from the book? Are they altering this or that?” … And I would respond by saying, all I can assure you is it’s an incredibly faithful adaptation of what we initially created. In essence, it’s a testament to John Chu and the authors, as anything new added to this film compared to the original version was primarily done to enhance the storyline, character development, and deepen the world. What I find particularly delightful is that, as theatre artists, we are accustomed to telling stories swiftly. The thrilling aspect of this movie that everyone has appreciated is that it allows time for character development and story progression without losing anyone’s interest. I believe that achieving this delicate balance between speed and depth is the remarkable achievement of this adaptation.
Schwartz: Yes, indeed. Marc Platt set a rule right from the start that any alteration must be constructive, not just for the sake of change. It couldn’t be merely to switch things up or for any other reason than what you’ve explained, Stephen. We always returned to this principle when making decisions: Is this truly constructive?
Let’s Pray: We were absolutely thrilled when Kristin and Idina Menzel, the original Broadway stars, decided to rejoin our group. It was a fantastic experience!
Schwartz: But we always wanted to do that.
Let’s also mention… Furthermore, this information enlightened us on the deceptive tactics used by the Wizard to manipulate the public.
The “Wizomania” expansion was already on our agenda, but it was Jon Chu’s fantastic notion to center it around Kristin and Idina instead.
As a dedicated fan of the original show, I can’t help but be eagerly anticipating the additional songs you’ve penned for Part 2, set to debut next year. I understand that you won’t divulge any spoilers, but as someone who has immersed myself in the intricacies of the story, I’m curious about whether your creative process for Part 2 drew upon elements you wish you could have included in the stage show due to pacing constraints, such as Elphaba’s visit to the Badlands. In crafting new material, did you revisit some of those discarded ideas or did you find yourself venturing off in entirely new directions? Your work has always been a source of inspiration for me, and I eagerly await the next chapter of this captivating tale.
As a longtime fan of Schwartz’s work and someone who has spent countless hours dissecting and analyzing various TV shows, I can confidently say that his latest statement about the expansion of the story in the upcoming movie sequel is quite intriguing. Having been through the process of adapting stories for different mediums myself, I understand the challenges that come with condensing a narrative to fit into a specific timeframe. So, it’s exciting to hear that Schwartz and his team were able to take advantage of the extended runtime to delve deeper into certain aspects of the story that were previously glossed over or left unexplored in the original show.
Furthermore, the mention of a scene that was initially written but not included in the original series, only to find its way back into the sequel movie, piques my curiosity even more. As a fan, I can’t help but wonder what that scene could be and how it will enhance the overall narrative.
All in all, I’m eagerly awaiting the release of the sequel, as Schwartz’s promise of story expansion and potential inclusion of previously omitted scenes makes for an even more enticing viewing experience.
Oremus: It’s still early.
From my personal perspective as a seasoned filmmaker with years of experience under my belt, I must say that it’s always refreshing to work on projects where there are no last-minute changes or surprises in the creative process. When a song doesn’t make the cut, it can be disappointing, but in this case, the lack of such unexpected alterations is a breath of fresh air. It allows us to focus solely on the task at hand and ensures a smoother production timeline, which is crucial for any filmmaker who values organization and efficiency.
As someone who has been a devoted fan of musical theater for years, I must say that the journey of “Wicked” from the stage to the screen is a fascinating tale of vindication. Now, I don’t mean to boast or imply any personal stake in its success, but it’s astounding to me that such an outstanding production didn’t receive immediate critical acclaim back in 2004. In fact, some reviews at the time were almost comically dismissive, which I found hard to comprehend given how obviously brilliant the show was. It’s a testament to its enduring quality that it has since been embraced as a classic and enjoyed by millions of people worldwide.
Schwartz: It seems some reviewers missed the essence of our production. They focused on its grandeur and visual appeal, overlooking the deeper content we intended. The public, however, quickly grasped the political undertones and societal themes in our story. Initially, some New York critics, along with a few from London, tended to dismiss anything visually impressive as devoid of substance. Our production’s opulence might have raised eyebrows in certain circles. Fortunately, the audience’s appreciation overshadowed the critics’ opinions, making their views irrelevant in the end.
Upon reading it now, it seems that ordinary people are grasping the deeper themes and relevant topics of this piece better than one might anticipate… the grimmer elements of the narrative that weren’t compromised for light-hearted enjoyment. This movie is not just about fascism, but also female camaraderie and empowerment. To most, it’s merely entertainment, but people are expressing strong feelings about what makes this story feel particularly relatable in today’s world.
John: I’ve seen my fair share of movies in my lifetime, and I can honestly say that some of them have had a profound impact on me. However, there are certain films that I wish were less relevant to our society today. If these movies didn’t exist or weren’t as widely viewed, I believe we would all be better off as a whole. They often promote harmful ideas and values, which can have negative consequences for individuals and communities alike. It’s not just about entertainment anymore; media has the power to shape our thoughts, actions, and even our worldview. So, while I appreciate the artistry and creativity that goes into making these films, I wish they were less relevant in our daily lives.
Some folks believe that “Defying Gravity” works well as a movie’s final scene instead of serving as a cue for a bathroom break. What were your thoughts on this being the climax rather than an opening act? Given the content of the song, it seems safe to assume you’re pleased that it managed to send viewers out feeling content and not aggravated.
Schwartz: Our intention, carefully planned by the team, was for each film to be able to stand alone as a completely satisfying story. We found it challenging to move beyond “Defying Gravity,” and felt the audience needed a break after such an intense climax. It’s like reaching the end of an event; it’s hard to imagine what comes next right away. So, we decided to structure the story in this way from the beginning.
Indeed, Jon M. Chu magnificently brought this concept to life on screen and introduced creative elements that hadn’t crossed our minds before, such as the climactic confrontation which I shan’t reveal, but trust me, there are some surprising ideas in there that Jon conceived of which we didn’t anticipate at the film’s conclusion. “Defying Gravity” is a scene that leaves you momentarily speechless for several reasons, making it difficult to carry on without pausing for a breath.
Anything to say about Cynthia’s performance of that?
Schwartz: Just that it’s hair-raising and astonishing. Ferocious is the word I used in the studio.
And singing live… did you imagine they’d go to some of the further lengths they did?
Schwartz: It was planned from the start to have as much of the performance live as possible. However, everything was pre-recorded and meticulously arranged beforehand, allowing for some spontaneous changes if desired. But rest assured, it went through rigorous rehearsals.
Let me tell you, it was absolutely exhilarating! They were truly like athletes, and Cynthia even ran a half-marathon during the shoot! It was incredible! The transformation from rehearsals to the actual shooting day was remarkable. Having two top-notch singers performing live on set was simply breathtaking. It was a real treat to witness such a thrilling spectacle.
John: Frankly, I must admit that I wasn’t anticipating Cynthia to be belting out tunes while hanging upside-down, or Ariana pulling off high kicks all while serenading us live. But boy, were they ever surprising! Their talent blew me away, given my own experiences as a struggling performer myself. I can only imagine the years of dedication and practice it took for them to reach such heights.
You have to be pleased that the score got shortlisted for the Oscars by the music branch.
In my own words: I’m thrilled and it’s a pleasure to acknowledge John Powell, my partner in creating the music for this project. His skillful integration of thematic elements and smooth blend with the tunes is truly impressive. I had doubts about whether it would receive recognition, so I’m grateful just to have reached this point. Therefore, I offer the highest praise to John Powell for his artistic talent, musicality, and selflessness in ensuring that his contributions fit harmoniously within the overall composition rather than standing out as a bright, attention-grabbing neon sign.
As a musician with years of experience under my belt, I find John Powell’s work truly remarkable, especially when it comes to his work on the songs written by Stephen Schwartz for various productions. What sets him apart is his ability to effortlessly weave moments together within these songs, creating a seamless and beautiful flow that enhances their impact. This skill is not easy to master, but John Powell makes it look like child’s play. His talent lies in his ability to connect different moments within a song, elevating them and making them more meaningful. It’s a testament to his incredible musicianship and attention to detail that he can do this so effectively, and I have great admiration for his work.
John’s performance was so flawless that it went unnoticed, making it seem effortless. But I’m happy to see that some people have recognized the finesse in his work.
In the work you’re describing, similar to the captivating “Wicked” song score, Stephen Powell masterfully weaves a tapestry of intricate melodies. This intricacy is evident in the interplay between leitmotifs, reprises, and self-interpolations, often seamlessly integrated with dialogue. It’s a rich, layered experience that can be overwhelming at first glance. Reflecting on some early 2000s reviews from San Francisco, I remember some critics labeling the songs as “unmemorable.” However, it’s essential to understand that not everyone can grasp all the complexity on a first listen.
Schwartz: Indeed, when people describe something as “memorable,” they essentially mean that it has been frequently repeated. This was our secret behind the success of “Day by Day” in “Godspell.” The reason it stood out is because it was consistently repetitive, which made it more likely to be remembered. Consequently, I find the term “unmemorable” to be quite nonsensical when critics use it about something. If you listen to it a few times and still can’t recall it, then perhaps it’s fair. However, for a piece to need to be memorable upon first hearing seems like an unwise standard to me.
One standout tune from the series isn’t actually a unique song, but rather a recurring theme that pops up often. This repeated motif is known as “Unlimited.” Today, we might call it an interpolation or sub-theme.
Schwartz: Indeed, you employed the word ‘motif’, and I believe it’s fitting. Prior to the scoring process, John Powell, Steven Oremus, and myself had numerous discussions about these motifs. We pondered over their significance in relation to the characters and the narrative. Our aim was to understand how they could be effectively utilized to strengthen storytelling. I admire John’s exceptional ability to skillfully employ this technique.
The memory-sticking quality of these songs will be reinforced during the sing-along events taking place across the country.
Schwartz: I might have to sneak into one of those just to see what that’s like.
However, with numerous choruses embedded within each chorus, and talented vocalists like Ariana and Cynthia being challenged by these songs, it prompts a query as to whether these tunes are actually easy for the average person to join in on.
Schwartz: Well, we’re not saying that people are gonna sing along well.
Oremus: Nor do they have to. You sing along because you love it.
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2024-12-31 21:50