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re: Hey, Charles Isherwood: SCREW YOU!

Posted by: ryhog 12:28 pm EST 12/06/13
In reply to: re: Hey, Charles Isherwood: SCREW YOU! - Michael_Portantiere 11:29 am EST 12/06/13

This thread is superficially amusing but it actually is revealing fundamental questions: should a song be evaluated based on its association with noble (or ignoble) causes,or independently? should a song's music (when written collaboratively with the lyricist) escape criticism if it would (arguably) be more palatable without the lyrics?

I think the answer to both ought to be no. Regarding the latter, which is the point you raise, we spend a lot of time here arguing about whether music and lyrics are integrated in a satisfactory way. I don't think a composer can or should be let off the hook when the product of his or her work ends up in a song that some would define as treacly. This is not a case where someone's music is appropriated to support someone else's lyrics. I think it is important (and time-honored) that both members of a songwriting team hold each other's feet to the fire.


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re: Hey, Charles Isherwood: SCREW YOU!

Posted by: Michael_Portantiere 02:35 pm EST 12/06/13
In reply to: re: Hey, Charles Isherwood: SCREW YOU! - ryhog 12:28 pm EST 12/06/13

I agree, ryhog.

Also, as others have pointed out, "That's What Friends Are For" was not originally written as an anthem in support of people with AIDS, but as a song for the movie NIGHT SHIFT.

I never knew this, or maybe I had just forgotten, but I would say the original intent has a large bearing on how "treacly" the song is or isn't.


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re: Hey, Charles Isherwood: SCREW YOU!

Posted by: ryhog 02:48 pm EST 12/06/13
In reply to: re: Hey, Charles Isherwood: SCREW YOU! - Michael_Portantiere 02:35 pm EST 12/06/13

I think it has to. Think of all the beloved songs that have recently been heard in really embarrassing context in TV commercials, and that kinda make you sick at the stomach.


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