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“Sometimes I do go from the emotions of ‘Happy’ to ‘Losing Crowns’ effortlessly, that’s how I process things and I don’t think I’m alone in this,” Notez said ahead of his album release event on Sept. 13 at Oberon. As “Why the Wild Things Are” reconfirms, Notez doesn’t have much interest in walls. He’s honest with his audience about his personal struggles. He makes music and films, writes and produces. He crashes through genre borders with glee and fury — on “Losing Crowns II” alone, he collaborates with a range of guests.

As Notez worked on his forthcoming record, he was in some of the most brutal mental spots of his life, bookended by some of his most joyous. Thus swings the pendulum of duality for the Boston-based multimedia mastermind…“This album is less about the fall, or the climb up, but the existence, and how that alone with a Black body in this day and age is a key sign of elite resilience,” Notez tells Vanyaland. “I’m not broken, I’m not fixed. I’m just here, and that needs to be enough, so I can build on top of that, and maybe climb back up that cliff.”

“Why the Wild Things Are” explores race, mental health, and the ways they intersect, but this time around, Notez aimed to take a more narrative approach, genre-hopping while exploring the dualities in his own life. Lead single “Happy” offers a shot of pop-radio-primed hip-hop; Notez lays out his identity as “a walking double-negative, oxymoron, double entendre.” It builds a sense of defiant hope, even as a verse from Moe Pope interjects images of looming violence and materialism.

“You Oughta Know,” a longtime karaoke staple and the stimulus for a flawless scene in this summer’s indie film “Booksmart,” is coming to Broadway. In “Jagged Little Pill,” the rock musical inspired by the album, which begins previews on Nov. 3, this anthem looks likely to bring down the Broadhurst Theater.

When performance artist, playwright and educator Daniel Alexander Jones created his onstage alter ego Jomama Jones, Jomama wasn’t so much made as discovered. The transcendent diva was born from Jones’ memories of watching “Soul Train” as a child and imitating the music with his friend. Now, as Jomama Jones, he imparts the same wisdom, energy and spirit on his audiences as the soul stars of the 1970s and ’80s.

“The power that comes…is…reminding ourselves of who we are and who we come from, and that we are not alone. If we broaden the lens beyond our individual struggles, the struggle of our group, and also beyond our own lifetime and consider the traditions and lineage of the people that we come from, we connect to wisdom and to energy…”

The show gives its singing, dancing queens a second chance at royal sisterhood, having the leads finally band together in song. That, too, is rooted in history, say the playwrights, even if it is less well known.

When [Toby] Marlow, then a student at Cambridge University in England, first proposed writing a tongue-in-cheek, pop music-inspired show about the six wives Henry VIII, his friend and classmate [Lucy] Moss was skeptical…Marlow’s brainstorm was to stage the female-empowered show as a pop concert-turned-singing competition featuring each of the queens. Their musical styles would be drawn from Marlow and Moss’s mutual love of pop stars like Beyoncé, Ariana Grande, Rihanna, Lady Gaga, Adele, and Sia.