It’s hard to write from viewpoints you don’t understand. Like, I’ve referenced the Three Tenors a couple of times in Bad Neighbours, as a symbol of higher art, but it’s something to which I’d never listen. I’m sure it’s whatever, but I’m way more into people being genuine in their art; singing opera never felt truly genuine to me. It’s more about technique than emotion, more about the mastery of a skill than the genuine connection to the source material.
You can cover a song and imbue it with real meaning, but it’s when you use the song as a way to show off your skills that you lose me. It’s why I never gave a shit about Eddie Van Halen. Yeah, he was technically gifted, but there was as much genuine humanity and emotion in his work as Milli Vanilli. It’s also why I think AC/DC is brilliant. No, there’s no depth of lyrics there, and yes, Angus is as gifted as Eddie Van Halen, but you can tell when you listen to their songs, they fucking love what they do. They are themselves, unapologetically, and that, on its own, makes it worthy of a listen.
It’s the difference between a song sung with meaning in a show (see Daisy Jones & The Six) versus a standard musical. The gang covering Ooh La La had meaning to the plot, and added depth to the story. When they hamhand it into something like Riverdale or pretentious garbage like Moulin Rouge, it takes away from the story.
Musicals are bad for the same reason “show, don’t tell” is the rule in good writing. It’s exposition with a backbeat, and that pulls me right out of it. I no longer feel a connection to the characters or the material; you’re just preaching at me, and using a rhythm to do it.
Target: 1200 words
Written: 1098 words, novel: Bad Neighbours
Read: King Rat, China Mieville (speaking of pretention and music, really, drum & bass as the apotheosis of music, the saviour of all things and the base for communism? Jesus, why do people like this guy? Christ, what pretentious twaddle)
Comics: Fathom v2 9-11, Fathom: Kiani 0
Music: isolation drills, gbv