Feldmania said: "forfivemoreminutes said: "YvanEhtNioj said: "forfivemoreminutes said: "YvanEhtNioj said: "TimeOut New York is positive - 4/5 stars"
But hard disagree on TimeOut New York saying that "All You Wanna Do" is the least well-crafted song...I think that song is the MOST well-crafted song and the one that does the most to actually transform the story of the six wives into something new and progressive."
Yeah I gave that the side-eye.I think the least well-written song is “No Way”
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Yes...and probably the least progressive/transformative song is "Don't Lose UrHead." That one, while in my opinion a fun song, is relying on the same old tropes about Anne Boleyn. But "All You Wanna Do" actually does something new and fresh and transformative...I feel like the reviewer just didn't "get it," maybe."
Hi, folks! Someone called my attention to this thread so I'd like to jumpin and clarifya bit, because there seems to be some confusion surrounding what I think about "All You Wanna Do." What I wrote in my review was this: "Katherine Howard (Samatha Pauly), under Ariana Grande’s fountainous ponytail, performs “All You Wanna Do,” a sexy pop-princess strut that turns sour. (Perhaps Six’s most ambitious song—it’s the only one that involves a real dramatic arc—this is also the least well-crafted. But in a show as meta as this one, that may be an intentional jab at pop lyric-writing.)"
I didn't "notget"the song.I do know what the song is doing, including specifically what it is doing in gradually casting a different light on what it appears to be initially. That's why I described it as the show's most ambitious song. (In fact, I like the song overall and I actually wish there were more songs like it in the rest of the score.)When I mention the craft, I'm talking specifically about the technical craft. "We have a connec-TION" and "He's DE-vo-TED" are just plain bad prosody: The syllables don't sit on the melody right. As I noted, that may be intentional, because songs in the subgenre being pastiched here tend to do that kind of thing all the time. But if so, I think it's a mistake, because in a way this is the song that needs to be taken most seriously in theshow, and I think the sloppiness (or the deliberate evocation of sloppiness) compromises that effect a little.
You may disagree, which is fine! Carry on. :)
Best,
Adam"
That’s fair! I did misunderstand what you meant in terms of “well-crafted” - I’m not an expert on the technical craft of songwriting, so I think your point is fair and you probably know much more than I do on that front. I thought you were referring to the broad arc of the song and the story it’s telling, which I think is the highlight of the show and the most subversive part. I think the emotional beats of the song (from Howard almost bragging about her “relationships” with older men as a thirteen year old to realizing that what she experienced was actually abuse and manipulation and coercion) are right on point and very cleverly done, and also very true to how trauma survivors make sense of their own reality over time (as someone who works with survivors of sexual violence in my job). But I take your point about prosody and these two perspectives can co-exist. :)
