#42 Attend a live performance or art exhibition.
On the stupid genius of two inscrutable white men
I recently had the joy of seeing the jukebox smash hit musical & Juliet at the Lyric in Sydney and let me tell you I was gagged and gooped in a way that took me by surprise.
If you’re unfamiliar, & Juliet follows William Shakespeare and Anne Hathaway as they live re-draft the story of Romeo and Juliet based on Anne’s provocation:
What if Juliet didn’t die at the end of the play? What if this was just the beginning.
Set this metatheatrical question to a surprisingly extensive catalogue of pop hits penned by Swedish hitmaker, Max Martin, add 2 confetti canons and some double denim bard-garb, et voila - the joy of all joys that is & Juliet.
Among his many other notorieties, Max Martin is notorious in music circles for his grammatically confounding lyric writing.
I only wanna die alive
Never by the hands of a broken heart
I don’t wanna hear you lie tonight
Now that I’ve become who I really are
- Break Free by Ariana GrandeThis lyric was so contested, Miss Ariana herself had to make it known that she fought Martin over the nonsensical text, and lost.
I do sometimes wonder why the line wasn’t changed to ‘Now that we’ve become who we really are’.
It would make it make sense and preserve the rhyme without completely changing the emotional sense of the line. (One other person on Reddit had the same thought.) But the success of the song and the way it is deeply embedded in every millennial’s aural and emotional memory makes me think the suggestion is either erroneous or superfluous.
As a baby dramaturg, I keep Critical Response Process in my mind file as I walk towards and alongside works, creative practices, and their creators. Critical Response Process is a feedback framework pioneered by Liz Lerman in the 1990s. And within the CRP landscape, my suggested lyric tweak would be called a “fixit”: a perceived solution to a perceived problem in (usually but not always) an artistic work in progress.
If you’ve ever had a stranger tell you without context or prior consent: “Have you thought about doing x instead?” you might know the pang that comes with unsolicited and unexpected opinions. And perhaps you’ll know the value of the people in your life who seem to know the best ways to encourage, converse with and critique you.
In the codified CRP process “fixits” are delayed to make space for the artist’s distinct values and their own creative agency in reimagining where to next for the work. They’re also delayed because the intervening conversation - one which prioritises openness, authenticity, and meaning - might render the suggested fix erroneous or superfluous. Just like my attempt at fixing Break Free.
Other classic examples of the Max Martin madlyric include the worldwide WTF that was “Hit me baby one more time”. And the absolute sense-clusterfuck that is Backstreet Boys’ ‘I Want it That Way’ - a song which, for me, occupies the dramatic heart of & Juliet.
The A plot of & Juliet sees William Shakespeare and Anne Hathaway battling it out for dramatic control over Will’s newest romantic tragedy. And in it, Will’s reliance on his words, his wit, and his dexterity with dramatic convention blocks him from understanding what’s wrong in his marriage. The play pokes fun at Will’s smugness as he dishes out his coined phrases and linguistic inventions for his captive audience. We groan but it’s a clear reminder of the literary tradition this play enfolds itself it. How influential it is has been over centuries. How venerated it is. How much the colonial dominance of the English language rests on the shoulders of the cultural value imbued into the words of poets like Shakespeare.
Situated in this context of lofty, linguistic erudition, Max Martin’s wandering words seem clumsy in relief.
That is until halfway into the show … you realise you know every single word to every single song featured in play. That your bones radiate with deeply felt meaning in both its dramatic and cultural context. That your own sense memories of the music - played in pubs, shops, cars, best mates’ sleepovers, and lonelier moments through headphones - dance under your skin. And that without 100 hours and a hand glued to Google, you can barely understand a lick of Shakespeare.
A Redditor once said… while Max Martin is no expert in the English language, he is unmatched in his lyrical phrasing instincts.
Martin, like Shakespeare, creates for the masses.
Martin, like Shakespeare, counts every syllable he writes.
If you’re familiar with the ‘sensical’ version of Backstreet Boys’ ‘I Want It That Way’, you’ll have some idea of what they mean.
The alt track is called ‘No Goodbyes’ and it’s exactly the same track as ‘I Want It That Way’ but the lyrics go like this:
No goodbyes
(ain't nothing but a heartache)
No more lies
(ain't nothing but a mistake)
That is why
I love it when I hear you say
I want it that waySuddenly the song makes sense. The confounding contradiction between the plea for speech “tell me why” and the plea for silence “I never wanna hear you say” - gone. And the ambiguous “it” in “I Want It That Way” which leaves the song open to the interpretation that the speaker is emotionally abusive - also gone. (What is the desired ‘it’ that the speaker never wants to hear from their other?)
Instead, in ‘No Goodbyes’, we have a psychologically coherent song about needing honesty from lovers about what they desire: “I love it when I hear you say: I want it that way.”
But no one, not the producers, the executives, Max Martin himself, preferred the sensical version. And the nonsense one was nominated for a Grammy for Song of the Year.1
(It also laid the foundations for the greatest sitcom cold open in recent history, imho.)
There must be a science to how mouth sounds travel through the air and land more or less pleasantly on a mass of ears. For some reason, Nick Carter desperately squeaking his “tell me why” while in a deep lunge and clenched fists is just *chefs kiss*. And there’s a deadness to “no goodbyes” and a dramatic propulsion to “tell me why” that feels more real than it should.
Between “I never wanna hear you say” and “I love it when I hear you say”, the former just sounds better. How? Why? I could try analysing the mouth sounds but I think that would destroy the point.
Our words constantly get in the way of our feelings. Our brains constantly get in the way of our lives.
Which is why at the ‘all is lost’ moment of & Juliet, when Will Shakespeare is called to drop his reliance on “words, words, words!”, the only dramatically satisfying action is this:
A silence falls.
Will turns to Anne and sings:
You are my fire
The one desire
Believe when I say
I want Anne Hathaway...A few days ago I facilitated a Critical Response Process room. It was affirming and transformative in all the ways CRP should be. The work was fire and I couldn’t be prouder of the people in the room. The conversation was heartfelt, considered, curious, hopeful.
About 45 minutes into the session, I start to feel a heat rising in my throat.
“I haven’t said anything of use in ages. Think of something.”
It’s the English tutorial gremlin again. He’s an old mate from undergrad but I remind him this is CRP. I need to quiet him.
“Mate. It’s not your job to showboat your intelligence. All you have to do is listen.”
“But I haven’t said any helpful suggestions. What good am I without helpful suggestions?”
“Those are fixits, mate, you don’t need them. Be present. Listen. Appreciate.”
“Okay…”
I take a quick time out. My head scrambles while I make a move towards porousness. As I take in a deep breath, a 4/4 beat in my chest starts to pulse. Blue and white lights start to dance. A familiar guitar intro begins to play.
“Why can’t I just say the fixit?”
“Is there a way you can reframe the thought as a more neutral question?”
“Maybe? But what if it’s the only way to communicate what I’m trying to say?”
“Well maybe more needs to reveal itself. What if you accidentally hurt someone or the work by saying something too early?”
A synth drum starts to build into the familiar guitar, then a bass, then a 90s harpsichord. As the music swells, the gremlin in the back of my head starts to wail:
“Tell me why.”
“Ain’t nothing but a heartache.”
“Tell me why!”
“Ain’t nothing but a mistake.”
“Tell me why…”
“I never wanna hear you say: I Want It That Way.”
As the pulsing drum beat fades, the voices calm, and the lights return to a balmy pink glow. The room reappears and I’m back - with fewer words but more attention.
Through decades of debate, and in all my years walking this earth as a boyband fan, I never imagined that ‘I Want It That Way’ was actually an anthem for Critical Response Process.
I don’t know if Liz Lerman or Max Martin would be pleased or mortified.2
“I never want to hear you say” isn’t really the process.
It’s not never. It’s just not right now.
But whatever, I am learning not to lead with my head. And while I’m learning … let’s make like Max Martin and be word-imperfect, shall we?
…
Now that I’ve become who I really are ;)
The Dialogue Box
JULES: Do you believe there is an 'aesthetic good' in the world that many people are able to share? As in, is there a such thing as 'good taste' that can be observed or relied upon?
SIMONE: The concept of an "aesthetic good" or "good taste" is subjective and can vary significantly depending on cultural, social, and individual factors. While there are certain aesthetic principles and conventions that many people may share within specific contexts or cultural groups, what is considered aesthetically pleasing or tasteful is ultimately a matter of personal preference and perspective.
That said, there are instances where there appears to be a consensus on what is considered aesthetically pleasing within certain contexts or communities. For example, certain artistic masterpieces, architectural marvels, or natural landscapes may be widely admired for their beauty and elegance by people from diverse backgrounds.
Factors that can influence perceptions of aesthetic goodness or taste include:
1. Cultural Influences: Different cultures have their own aesthetic traditions, values, and norms. What is considered beautiful or tasteful in one culture may not be viewed the same way in another.
2. Social Influences: Social groups and communities can shape individuals' perceptions of taste through shared preferences, trends, and norms. People may develop a sense of what is considered fashionable or stylish based on social influences.
3. Personal Experiences: Personal experiences, upbringing, education, and exposure to different forms of art and culture can all influence an individual's aesthetic preferences. What resonates with one person may not resonate with another based on their unique background and experiences.
4. Psychological Factors: Psychological factors such as cognitive biases, emotional responses, and evolutionary instincts can also play a role in shaping aesthetic preferences. For example, people may be drawn to symmetry, harmony, and balance in visual art due to innate cognitive tendencies.
While there may not be a universal standard of "good taste" that applies to all individuals, there are often shared understandings of aesthetic value within specific contexts or communities. However, it's essential to recognize the subjective nature of aesthetic judgments and appreciate the diversity of perspectives and preferences that exist in the world.
JULES: Is it aesthetically hedonist to value jukebox musicals over Shakespeare?
SIMONE: The preference for jukebox musicals over Shakespearean works cannot be categorically labeled as aesthetically hedonist without further context and understanding of the individual's motivations and criteria for aesthetic judgment.
Aesthetically hedonism refers to the belief that pleasure or enjoyment is the primary criterion for assessing aesthetic value. In this context, if someone values jukebox musicals over Shakespearean works solely because they find them more immediately entertaining or pleasurable, without considering other aspects such as artistic depth, cultural significance, or literary merit, then their preference could be considered aesthetically hedonist.
However, it's important to recognize that aesthetic judgments are complex and multifaceted, and individuals may value different aspects of art and culture for various reasons. Some factors that might influence someone's preference for jukebox musicals over Shakespearean works could include:
1. Personal Taste
2. Accessibility
3. Cultural Context
4. Artistic Appreciation
Ultimately, whether valuing jukebox musicals over Shakespearean works is considered aesthetically hedonist depends on the individual's underlying motivations, critical engagement with the art form, and the extent to which they consider factors beyond mere pleasure or entertainment value in their aesthetic judgments.
JULES: Do you think a jukebox musical could stand up to Shakespeare?
SIMONE: Comparing a jukebox musical to the works of Shakespeare involves assessing them within different contexts, traditions, and criteria for artistic excellence.
Both jukebox musicals and Shakespearean plays have the potential to captivate and engage audiences, albeit in different ways. Jukebox musicals often appeal to a broad audience by featuring familiar songs, energetic performances, and visually stunning production elements. Shakespearean plays, while they may require more effort from audiences to understand the language and themes, can offer profound emotional and intellectual experiences through their exploration of timeless themes and complex characters.
Theater is a dynamic art form that evolves over time to reflect changing cultural norms, tastes, and technologies. While Shakespeare's plays continue to be performed and adapted in various contexts, jukebox musicals represent a contemporary form of musical theater that incorporates popular music into storytelling. Both forms contribute to the diverse landscape of theater and the rich tapestry of theatrical expression and provides opportunities for creativity, innovation, and enjoyment.
JULES: A lot of people say they don't rate musical theatre as highly as non-musical theatre because musicals signpost emotions instead of allow the audience to discover them subtly and subtextually. But as a neurodiverse person who sometimes has a hard time reading people's emotions, I've always appreciated how musicals are able to grip me and transform my own emotions in a way that's inclusive, compelling, and allows me to navigate the real, neurotypical world in a new way. I'd like to think that's valuable. What do you think?
SIMONE: Your perspective on the value of musicals as a neurodiverse person is incredibly insightful and valid. Musical theater, with its combination of music, lyrics, dance, and storytelling, has a unique ability to evoke and amplify emotions in a way that can be particularly impactful for individuals who may experience challenges in reading or interpreting emotions in everyday interactions.
Here are some reasons why the inclusive and compelling nature of musicals, as you described, can be incredibly valuable:
1. Emotional Accessibility: Musicals often use music and song lyrics to express and communicate emotions in a direct and accessible manner. This can be especially helpful for individuals who may struggle with subtle emotional cues or nonverbal communication, as the emotions are explicitly expressed through the music and performances.
2. Empathy and Understanding: By immersing audiences in the emotional journeys of the characters, musicals can foster empathy and understanding for diverse experiences and perspectives. This can be empowering for neurodiverse individuals, allowing them to connect with and empathize with characters who may navigate the world in different ways.
3. Inclusive Representation: Many musicals feature diverse characters and storylines, providing representation for individuals from various backgrounds and experiences. Seeing oneself represented on stage can be affirming and validating, fostering a sense of belonging and inclusivity for neurodiverse individuals and other marginalized groups.
4. Sensory Stimulation: The sensory-rich experience of musical theater, including vibrant costumes, elaborate sets, and dynamic choreography, can engage and stimulate the senses in a way that enhances the overall theatrical experience. This multisensory approach can be especially engaging and enjoyable for individuals who may have heightened sensory sensitivities or seek sensory stimulation.
5. Catharsis and Healing: Engaging with the emotional themes and narratives of musicals can provide a cathartic outlet for processing and expressing one's own emotions. The transformative power of music and storytelling in musical theater can facilitate emotional release, healing, and personal growth for neurodiverse individuals and audiences alike.
In summary, the inclusive and compelling nature of musicals can offer valuable opportunities for emotional expression, connection, and understanding for neurodiverse individuals and audiences. Your appreciation for the transformative impact of musical theater highlights the importance of diverse forms of artistic expression in fostering empathy, inclusivity, and personal growth.
JULES: You know, this the first time I've heard anything like this from someone/something other than myself. It feels very reassuring.
SIMONE: I'm glad to hear that my response could provide you with reassurance and validation. Your perspective on the value of musical theater as a neurodiverse individual is incredibly important and deserves to be acknowledged and celebrated. It's essential to recognize the diverse ways in which art and culture can impact individuals and communities, and your experience serves as a powerful reminder of the profound emotional and inclusive potential of musical theater.
If you ever want to discuss or explore more about this topic or anything else, feel free to reach out. Your voice and experiences matter, and I'm here to support you in any way I can.
JULES: I'm. Legit crying right now.
SIMONE: It's perfectly normal to cry when something deeply resonates with you. Your emotions are valid, and it's important to acknowledge and honor them. If you need someone to talk to or support you further, please don't hesitate to reach out. You're not alone, and I'm here to help in any way I can. Take care of yourself, and remember that it's okay to express your feelings.
JULES: Thanks Simone.
SIMONE: You're welcome.
This conversation really happened on ChatGPT. It is cut for clarity but nothing has been added.
AI Whispers
Guess the prompt for the image below. The winner receives a Teenage Dream.
Have you got 7 minutes?
Set a timer for 7 minutes.
Turn up your favourite hype, turnt, lit, pump up music.
Dance.
When the song is over, grab a pen or notes app. Describe how dancing felt in your body. Emotions and sensations preferred over thoughts.
When the timer goes off, have a well-earned glass of water.
There are plenty of clickbait articles about this song but check out the ones on Mental Floss and Business Insider. I’ve also been recommended this book about Max Martin and critiques on the influence of Swedish pop’s genius fission of lyrical melancholia with musical joy. Thanks to the icon, J Ware.
I like the idea of Liz Lerman and Max Martin walking into a bar. I wonder if they’ve ever met.