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between_time_and_42Since Concept Album Extravaganza/SF: ALS is not so much an original plot, as it is my interpretation of different concept albums and how their plots all play out in one universe, and because some concept albums have multiple sources from which to pick and choose certain elements, this project has started to feel more like an adaptation than a fanfiction. In this post I'd like to discuss the process of turning lyrics/music into prose, and what parts I'm borrowing from which versions. I'll try to keep this relatively brief, because I feel like if I went into a lot of detail about each album, it could get VERY long...
The Wall has proven to be the most straightforward album to adapt, because its story takes place before my story does. The plot is, for the most part, pretty grounded, too, with the only majorly subjective parts taking place around the climax and finale. During the climax, it's generally agreed that Pink is hallucinating that the concert he's meant to be performing is a fascist rally, and his guilt over this then leads to a "trial," where he imagines figures from his past testifying against him and then orders himself to "tear down the wall" that he's built to keep himself emotionally distant and unavailable. But exactly how far the hallucination goes, and what exactly Pink does onstage that night, is unclear. The album gives no clues, as the songs at the concert are in first-person with Pink assuming the role of the fascist dictator, and the Trial has each of the figures from Pink's past speaking directly to him, with minimal interjection from Pink (all he does is lament that he must be losing his mind). And the movie uses a lot of visual symbolism and therefore it's not always clear what's happening on a literal level. The rally/concert is presented as Pink literally marching through the town with his followers/fans, and the Trial is an animated sequence where the figures from Pink's past show up and talk to him directly. So, I had to make a decision- to what extent did any of this actually happen? Ultimately, I decided to take a looser approach than some fans have. Instead of assuming that Pink actually did act like a dictator and incite violence, it feels more right to me that instead, he performs one song with the band before breaking down and fleeing the stage. Basically, everything that happens in the song "In the Flesh" actually does happen, with Pink taking the stage and making xenophobic statements, singling out members of his audience and telling them to "get up against the wall." But everything that happens during "Run Like Hell" and "Waiting For the Worms," which in the movie is when the fans actually rise up and start attacking the people Pink singled out, before marching through the city with Pink, is Pink's vision of what could happen if he continues to use his position of power to make harmful statements. I'd rather imagine that he didn't make those statements at all (and in fact I'm having trouble reconciling it because I don't know how much a trauma- and drug-induced breakdown can excuse the things he says), but it felt necessary for the sake of SF: ALS for him to still be feeling guilt over this and trying to make amends.
Then there's the Trial... A lot of fans seem to interpret the animated sequence as another hallucination, as in Pink is actually seeing/hearing the people from his past, but I think it's more likely that Pink is simply imagining what they would say to him if they could see him now. I also think it's more powerful if the decision to "tear down the wall" comes from himself, rather than from the Judge character in the movie (who of course is part of Pink's psyche, but I think it takes away some of his agency for the decision to tear down the wall to be his "sentence," so I'd like to say that instead of imagining a higher force telling him what to do, Pink comes to the conclusion on his own. Just like instead of visions of the people from his past confronting him, Pink merely reflects on his memories of them and imagines what they would say).
Finally, there's the matter of adapting the ending of the story. After Pink tears down the wall, we get to hear the song "Outside the Wall," which summarizes the moral of the story. The last lines are: "When they've given you their all, some stagger and fall. After all, it's not easy banging your heart against some mad bugger's wall," implying that it's not enough for Pink to expect others to help him- he has to reach out and make an effort to form genuine connections. The movie accompanies this with a symbolic scene of a bunch of people cleaning up a city after it's been attacked in some way, possibly from a riot or a war, with ties in with the theme of reaching out to others and helping each other. This is all a very good point to make... But what happened to Pink? Neither the album nor the movie give any indication, and that's where my headcanon comes in, which forms the first part of SF: ALS. But we’ll get to more on that eventually, when the first part of the story is ready to be posted.
(I should also note that I consider the album and the movie interchangeable- I love them both, and the movie enhances the experience of the album by expanding on a lot of details. This was in fact what the musical version of American Idiot did, but unlike American Idiot, the movie version of The Wall pretty much follows the same exact story with added details, whereas American Idiot added two other plotlines that weren't mentioned in the album, so that's why I'm rejecting that adaptation whereas I'm basing my interpretation of The Wall off the movie as well as the album.)
Okay, that was much longer than I was anticipating it to be, so I'm going to talk about Ziggy Stardust now and then save the rest of the albums for another post.
Ziggy Stardust is an interesting concept album because it doesn't so much as tell a cohesive, follow-able story, as it uses its songs to characterize Ziggy. The apocalypse mentioned at the beginning of the album is never really referred to again, and even Ziggy's death is uncertain, as the song that claims that he dies is then followed by a song that appears to be addressing a very much alive Ziggy. There are even three songs on the album that I don't think were intended to be part of the story at all (and if they were, I struggle to see how they fit in). Therefore, this made interpreting Ziggy Stardust a (very fun) challenge. I'm going to have to break this down song by song to really get into it (which is what I'll probably do when talking about Mylo Xyloto as well).
Five Years: Establishes the setting of the story and the fact that the Earth is dying. I'm not really changing anything here because it kicks off the entire plot of SF: ALS.
Soul Love: The first song that I don't believe was intended to be part of the story, although I always tried to fit it in when listening to the album by imagining that it's describing the reaction that the people on Earth are having to the knowledge of their planet's impending death. The lyrics are kind of hard to figure out, but it seems to be about the various forms that love takes and what can happen as a result of loving someone or something. In SF: ALS, it's going to be one of Ziggy's songs in-universe, and that's how I'd like to leave it (I originally extended this in Will They Come? to refer to the religion that Ziggy's culture practices, but for various reasons I've decided not to keep that plot point).
Moonage Daydream: The song that introduces Ziggy, mostly full of rock star braggadocio and sexual innuendo. This is another song that I'm simply leaving as one of Ziggy's songs in-universe, since there's really not much to the lyrics other than describing Ziggy's larger than life persona.
Starman: This song describes the reaction that people have to hearing Ziggy's music over the radio, with two teenagers feeling attuned to it and wanting to hide it from their conservative parents, and people overall finding it otherworldly enough to attribute it to an alien. Originally this was going to be another one of Ziggy's songs in-universe, but then I thought that seemed too self-referential and so for SF: ALS, I'm going to depict "Starman" by describing the reactions of the young teen characters (Rael, Mylo & Xyloto, and (though he's not a teen) Johnny/Jimmy) when they first hear Ziggy on the radio.
It Ain't Easy: This song is a cover and therefore had no business being on this album. I'm not even going to mention it. (Though if you INSIST, I've always imagined it to be another song about people trying to cope with the news of the apocalypse.)
Lady Stardust: Describes an early performance of Ziggy's, where most of the audience "stare[s] at the makeup on his face," "laugh[s] at his long black hair," and thinks the band is "all right." At the same time, he attracts a lot of positive attention from both male and female audience members, including the narrator, who "smile[s] sadly for a love [they] could not obey." In SF: ALS, this narrator is Pink, who catches the show shortly after collaborating with Ziggy in the studio.
Star: This is pretty much an "I Want" song where the narrator is daydreaming about being a rock star, so I've always imagined that this is the first sign of Ziggy starting to let the fame get to his head. It's not enough for him to be on the radio and well-received at live performances- he wants it ALL. This is another song that I'm using at one of Ziggy's songs in-universe, since the lyrics are too general to form a major part of the plot- it establishes Ziggy's desire for bigger and better things, and that's pretty much it.
Hang On To Yourself: Another song that I'm leaving as one of Ziggy's songs in-universe, although it is important to the narrative by introducing the Spiders From Mars, Ziggy's backing band. The first verse describes a groupie coming to the show, and the second verse has the Spiders From Mars describe themselves to their audience, while the chorus warns against the dangers of losing oneself to the excesses of the rock and roll lifestyle. To me, this follows up on what "Star" introduced by establishing that Ziggy is focusing more now on money, fame, and all the perks that come with it (drugs! sex!) than the artistic value of the music.
Ziggy Stardust: This song honestly could stand on its own in place of the entire concept album, and you'd have the whole story. Narrated (presumably) by one of the Spiders, it describes how Ziggy has at this point begun to disdain his audience and believe his own hype, thinking of himself as above both his fans and his band. The lyrics are pretty hard to follow at times (there are some points where it sounds like it's being narrated by a fan, and other points where it sounds like it's being narrated by one of the Spiders, without a clear shift in perspective), but the most important line comes at the end: "When the kids had killed the man, I had to break up the band." Two cases could be made here for the identity of Ziggy's killer. Firstly, we could assume that Ziggy's fans killed him, as the song itself states. The line "So where were the Spiders while the fly tried to break our balls? Just the beer light to guide us" implies that Ziggy's fans feel like he and the band have abandoned them- which is a fair criticism, if we assume that Ziggy's music has been giving hope and affirmation to people (as seen in "Starman") and especially if the planet Earth is facing an apocalypse (as seen in "Five Years"). His fans may have exaggerated these positive feelings into a desire for him to uplift them and save them from what's to come, and now they're disappointed that he's acting like every other self-absorbed rock star who came before him. So, it's possible that they act on these feelings of disillusionment and violently rise up against him. On the other hand... The song also mentions that Ziggy "became the special man, then we were Ziggy's band," and at one point says "So we bitched about his fans, and should we crush his sweet hands?" So, the Spiders could be jealous of Ziggy receiving all the fan's attention, which encourages them to act on their violent impulses and attempt to murder Ziggy. The line about the kids killing the man and having the break up the band could therefore be one of the Spiders' attempt to frame the fans for the murder, or it could be metaphorical- the fans' worship of Ziggy caused his fame, which caused him to lose sight of his artistry and inflated his ego to the point where the band didn't want to work with him anymore, so the Spiders believe that the fans are responsible for killing off the good person that Ziggy used to be. As I've mentioned before, I've always believed that the Spiders literally killed Ziggy, but since the situation is so ambiguous (and since there IS in fact a song at the end of the album that appears to address a living Ziggy), I've been trying to develop a way to adapt this in SF: ALS that will be satisfying to both the people who think the band killed him, and who think the fans killed him. (And of course, in SF: ALS, Ziggy doesn't actually die...) I think I may have found something that works, but that will stay a secret for now.
Suffragette City: The last song on the album that doesn't really have anything to do with the narrative- I think it's about an inexperienced young person hiring a prostitute, or maybe just having a woman come over to his place for the first time, and trying to kick out his housemate so that he and the woman can enjoy some "wham bam thank you ma'am" (as the song says). So it’s really not relevant to Ziggy at all... but it's my favorite song on the album, so instead of ignoring it, I named the fictional city where part of the story takes place "Suffragette City" in its honor. (This is also going to be the city where the events of American Idiot take place, but we'll discuss that later.)
Rock and Roll Suicide: The album ends with this song addressed to a rock and roll burnout, presumably Ziggy, who has "lived too long" and is "too old to lose it, too young to choose it." After describing the song subject's meager existence, the album culminates in a rallying cry of "You're not alone! Just turn on with me, and you're not alone! Give me your hands, 'cause you're wonderful! Oh, give me your hands!" (And if this were being staged, the audience would then applaud at the end, thus giving their hands in a metaphorical sense... I have no idea if it was intended to mean that but I’ve always thought of that when listening to the song.) Within the context of the album, I always just imagined that this is Ziggy finally finding a true connection outside of the hero worship his fans gave him, after (if you interpret it in a literal way) surviving the murder attempt or (if you interpret it in a metaphorical way) losing support from his band and his audience. Maybe the person who narrates this song is the same one who narrates "'Lady Stardust" (and maybe even "Five Years" as well), who felt "a love [they] could not obey" for Ziggy. Now they're standing up and shouting that he may have lost his fanbase, but SOMEONE still loves him. When I first wrote CAE, the first part of this song was a song that Ziggy had written in-universe that Floyd only discovers after he dies. Assuming the lyrics were self-referential, Floyd writes the second half (the "you're not alone" section) in tribute to Ziggy. Now, the same thing is going to happen in SF: ALS... but this time, since Ziggy survives and comes back to Floyd, he's going to be able to point out that he didn't write those lyrics about himself... he wrote them for Floyd. (This is a headcanon that I'm lovingly borrowing from one of the other Ziggy/Pink shippers. I feel like it's okay to do this because you can't copyright a headcanon, but idk.) Either way, the "you're not alone" section is definitely meant for Ziggy to hear, and when he hears it, this is one of the main things that makes him realize that Floyd is in love with him (and shortly after, that he loves him back).
SO, there's my first post about adapting concept albums... The next one will take a look at The Lamb Lies Down on Broadway and American Idiot, and then I might make Mylo Xyloto its own post.
The Wall has proven to be the most straightforward album to adapt, because its story takes place before my story does. The plot is, for the most part, pretty grounded, too, with the only majorly subjective parts taking place around the climax and finale. During the climax, it's generally agreed that Pink is hallucinating that the concert he's meant to be performing is a fascist rally, and his guilt over this then leads to a "trial," where he imagines figures from his past testifying against him and then orders himself to "tear down the wall" that he's built to keep himself emotionally distant and unavailable. But exactly how far the hallucination goes, and what exactly Pink does onstage that night, is unclear. The album gives no clues, as the songs at the concert are in first-person with Pink assuming the role of the fascist dictator, and the Trial has each of the figures from Pink's past speaking directly to him, with minimal interjection from Pink (all he does is lament that he must be losing his mind). And the movie uses a lot of visual symbolism and therefore it's not always clear what's happening on a literal level. The rally/concert is presented as Pink literally marching through the town with his followers/fans, and the Trial is an animated sequence where the figures from Pink's past show up and talk to him directly. So, I had to make a decision- to what extent did any of this actually happen? Ultimately, I decided to take a looser approach than some fans have. Instead of assuming that Pink actually did act like a dictator and incite violence, it feels more right to me that instead, he performs one song with the band before breaking down and fleeing the stage. Basically, everything that happens in the song "In the Flesh" actually does happen, with Pink taking the stage and making xenophobic statements, singling out members of his audience and telling them to "get up against the wall." But everything that happens during "Run Like Hell" and "Waiting For the Worms," which in the movie is when the fans actually rise up and start attacking the people Pink singled out, before marching through the city with Pink, is Pink's vision of what could happen if he continues to use his position of power to make harmful statements. I'd rather imagine that he didn't make those statements at all (and in fact I'm having trouble reconciling it because I don't know how much a trauma- and drug-induced breakdown can excuse the things he says), but it felt necessary for the sake of SF: ALS for him to still be feeling guilt over this and trying to make amends.
Then there's the Trial... A lot of fans seem to interpret the animated sequence as another hallucination, as in Pink is actually seeing/hearing the people from his past, but I think it's more likely that Pink is simply imagining what they would say to him if they could see him now. I also think it's more powerful if the decision to "tear down the wall" comes from himself, rather than from the Judge character in the movie (who of course is part of Pink's psyche, but I think it takes away some of his agency for the decision to tear down the wall to be his "sentence," so I'd like to say that instead of imagining a higher force telling him what to do, Pink comes to the conclusion on his own. Just like instead of visions of the people from his past confronting him, Pink merely reflects on his memories of them and imagines what they would say).
Finally, there's the matter of adapting the ending of the story. After Pink tears down the wall, we get to hear the song "Outside the Wall," which summarizes the moral of the story. The last lines are: "When they've given you their all, some stagger and fall. After all, it's not easy banging your heart against some mad bugger's wall," implying that it's not enough for Pink to expect others to help him- he has to reach out and make an effort to form genuine connections. The movie accompanies this with a symbolic scene of a bunch of people cleaning up a city after it's been attacked in some way, possibly from a riot or a war, with ties in with the theme of reaching out to others and helping each other. This is all a very good point to make... But what happened to Pink? Neither the album nor the movie give any indication, and that's where my headcanon comes in, which forms the first part of SF: ALS. But we’ll get to more on that eventually, when the first part of the story is ready to be posted.
(I should also note that I consider the album and the movie interchangeable- I love them both, and the movie enhances the experience of the album by expanding on a lot of details. This was in fact what the musical version of American Idiot did, but unlike American Idiot, the movie version of The Wall pretty much follows the same exact story with added details, whereas American Idiot added two other plotlines that weren't mentioned in the album, so that's why I'm rejecting that adaptation whereas I'm basing my interpretation of The Wall off the movie as well as the album.)
Okay, that was much longer than I was anticipating it to be, so I'm going to talk about Ziggy Stardust now and then save the rest of the albums for another post.
Ziggy Stardust is an interesting concept album because it doesn't so much as tell a cohesive, follow-able story, as it uses its songs to characterize Ziggy. The apocalypse mentioned at the beginning of the album is never really referred to again, and even Ziggy's death is uncertain, as the song that claims that he dies is then followed by a song that appears to be addressing a very much alive Ziggy. There are even three songs on the album that I don't think were intended to be part of the story at all (and if they were, I struggle to see how they fit in). Therefore, this made interpreting Ziggy Stardust a (very fun) challenge. I'm going to have to break this down song by song to really get into it (which is what I'll probably do when talking about Mylo Xyloto as well).
Five Years: Establishes the setting of the story and the fact that the Earth is dying. I'm not really changing anything here because it kicks off the entire plot of SF: ALS.
Soul Love: The first song that I don't believe was intended to be part of the story, although I always tried to fit it in when listening to the album by imagining that it's describing the reaction that the people on Earth are having to the knowledge of their planet's impending death. The lyrics are kind of hard to figure out, but it seems to be about the various forms that love takes and what can happen as a result of loving someone or something. In SF: ALS, it's going to be one of Ziggy's songs in-universe, and that's how I'd like to leave it (I originally extended this in Will They Come? to refer to the religion that Ziggy's culture practices, but for various reasons I've decided not to keep that plot point).
Moonage Daydream: The song that introduces Ziggy, mostly full of rock star braggadocio and sexual innuendo. This is another song that I'm simply leaving as one of Ziggy's songs in-universe, since there's really not much to the lyrics other than describing Ziggy's larger than life persona.
Starman: This song describes the reaction that people have to hearing Ziggy's music over the radio, with two teenagers feeling attuned to it and wanting to hide it from their conservative parents, and people overall finding it otherworldly enough to attribute it to an alien. Originally this was going to be another one of Ziggy's songs in-universe, but then I thought that seemed too self-referential and so for SF: ALS, I'm going to depict "Starman" by describing the reactions of the young teen characters (Rael, Mylo & Xyloto, and (though he's not a teen) Johnny/Jimmy) when they first hear Ziggy on the radio.
It Ain't Easy: This song is a cover and therefore had no business being on this album. I'm not even going to mention it. (Though if you INSIST, I've always imagined it to be another song about people trying to cope with the news of the apocalypse.)
Lady Stardust: Describes an early performance of Ziggy's, where most of the audience "stare[s] at the makeup on his face," "laugh[s] at his long black hair," and thinks the band is "all right." At the same time, he attracts a lot of positive attention from both male and female audience members, including the narrator, who "smile[s] sadly for a love [they] could not obey." In SF: ALS, this narrator is Pink, who catches the show shortly after collaborating with Ziggy in the studio.
Star: This is pretty much an "I Want" song where the narrator is daydreaming about being a rock star, so I've always imagined that this is the first sign of Ziggy starting to let the fame get to his head. It's not enough for him to be on the radio and well-received at live performances- he wants it ALL. This is another song that I'm using at one of Ziggy's songs in-universe, since the lyrics are too general to form a major part of the plot- it establishes Ziggy's desire for bigger and better things, and that's pretty much it.
Hang On To Yourself: Another song that I'm leaving as one of Ziggy's songs in-universe, although it is important to the narrative by introducing the Spiders From Mars, Ziggy's backing band. The first verse describes a groupie coming to the show, and the second verse has the Spiders From Mars describe themselves to their audience, while the chorus warns against the dangers of losing oneself to the excesses of the rock and roll lifestyle. To me, this follows up on what "Star" introduced by establishing that Ziggy is focusing more now on money, fame, and all the perks that come with it (drugs! sex!) than the artistic value of the music.
Ziggy Stardust: This song honestly could stand on its own in place of the entire concept album, and you'd have the whole story. Narrated (presumably) by one of the Spiders, it describes how Ziggy has at this point begun to disdain his audience and believe his own hype, thinking of himself as above both his fans and his band. The lyrics are pretty hard to follow at times (there are some points where it sounds like it's being narrated by a fan, and other points where it sounds like it's being narrated by one of the Spiders, without a clear shift in perspective), but the most important line comes at the end: "When the kids had killed the man, I had to break up the band." Two cases could be made here for the identity of Ziggy's killer. Firstly, we could assume that Ziggy's fans killed him, as the song itself states. The line "So where were the Spiders while the fly tried to break our balls? Just the beer light to guide us" implies that Ziggy's fans feel like he and the band have abandoned them- which is a fair criticism, if we assume that Ziggy's music has been giving hope and affirmation to people (as seen in "Starman") and especially if the planet Earth is facing an apocalypse (as seen in "Five Years"). His fans may have exaggerated these positive feelings into a desire for him to uplift them and save them from what's to come, and now they're disappointed that he's acting like every other self-absorbed rock star who came before him. So, it's possible that they act on these feelings of disillusionment and violently rise up against him. On the other hand... The song also mentions that Ziggy "became the special man, then we were Ziggy's band," and at one point says "So we bitched about his fans, and should we crush his sweet hands?" So, the Spiders could be jealous of Ziggy receiving all the fan's attention, which encourages them to act on their violent impulses and attempt to murder Ziggy. The line about the kids killing the man and having the break up the band could therefore be one of the Spiders' attempt to frame the fans for the murder, or it could be metaphorical- the fans' worship of Ziggy caused his fame, which caused him to lose sight of his artistry and inflated his ego to the point where the band didn't want to work with him anymore, so the Spiders believe that the fans are responsible for killing off the good person that Ziggy used to be. As I've mentioned before, I've always believed that the Spiders literally killed Ziggy, but since the situation is so ambiguous (and since there IS in fact a song at the end of the album that appears to address a living Ziggy), I've been trying to develop a way to adapt this in SF: ALS that will be satisfying to both the people who think the band killed him, and who think the fans killed him. (And of course, in SF: ALS, Ziggy doesn't actually die...) I think I may have found something that works, but that will stay a secret for now.
Suffragette City: The last song on the album that doesn't really have anything to do with the narrative- I think it's about an inexperienced young person hiring a prostitute, or maybe just having a woman come over to his place for the first time, and trying to kick out his housemate so that he and the woman can enjoy some "wham bam thank you ma'am" (as the song says). So it’s really not relevant to Ziggy at all... but it's my favorite song on the album, so instead of ignoring it, I named the fictional city where part of the story takes place "Suffragette City" in its honor. (This is also going to be the city where the events of American Idiot take place, but we'll discuss that later.)
Rock and Roll Suicide: The album ends with this song addressed to a rock and roll burnout, presumably Ziggy, who has "lived too long" and is "too old to lose it, too young to choose it." After describing the song subject's meager existence, the album culminates in a rallying cry of "You're not alone! Just turn on with me, and you're not alone! Give me your hands, 'cause you're wonderful! Oh, give me your hands!" (And if this were being staged, the audience would then applaud at the end, thus giving their hands in a metaphorical sense... I have no idea if it was intended to mean that but I’ve always thought of that when listening to the song.) Within the context of the album, I always just imagined that this is Ziggy finally finding a true connection outside of the hero worship his fans gave him, after (if you interpret it in a literal way) surviving the murder attempt or (if you interpret it in a metaphorical way) losing support from his band and his audience. Maybe the person who narrates this song is the same one who narrates "'Lady Stardust" (and maybe even "Five Years" as well), who felt "a love [they] could not obey" for Ziggy. Now they're standing up and shouting that he may have lost his fanbase, but SOMEONE still loves him. When I first wrote CAE, the first part of this song was a song that Ziggy had written in-universe that Floyd only discovers after he dies. Assuming the lyrics were self-referential, Floyd writes the second half (the "you're not alone" section) in tribute to Ziggy. Now, the same thing is going to happen in SF: ALS... but this time, since Ziggy survives and comes back to Floyd, he's going to be able to point out that he didn't write those lyrics about himself... he wrote them for Floyd. (This is a headcanon that I'm lovingly borrowing from one of the other Ziggy/Pink shippers. I feel like it's okay to do this because you can't copyright a headcanon, but idk.) Either way, the "you're not alone" section is definitely meant for Ziggy to hear, and when he hears it, this is one of the main things that makes him realize that Floyd is in love with him (and shortly after, that he loves him back).
SO, there's my first post about adapting concept albums... The next one will take a look at The Lamb Lies Down on Broadway and American Idiot, and then I might make Mylo Xyloto its own post.
no subject
Date: 2022-10-19 05:39 pm (UTC)This was so interesting! I haven't listened to the albuns or seen the Pink Floyd movie, so I can't comment in detail, but I like your interpretation of Pink not really haven't caused that much violence, and having agency to feel bad for what he did do.
Ziggy sounds like it was really fun to interpret! I love how many of the songs have become his in universe songs, that's a really good solution. :) And I LOVE that Ziggy wrote the lyrics of the last song for Floyd, and it being how he realized they were in love. <3
I'm looking forward to reading the following posts, and I promise to reply to them sooner!
no subject
Date: 2022-10-26 03:14 pm (UTC)With The Wall, I was worried that I might be sanitizing the parts of the story that I find uncomfortable (although of course the whole "Pink becomes a fascist dictator" part of the plot was meant as a condemnation and not glorification). But when I rewatched the movie recently, I realized that it just makes more sense to interpret the scene as his fears of what could happen, rather than a depiction of what actually happened.
Ziggy was definitely fun! It makes me wish that there was a true stage musical for it haha.
I don't know when I'll get to write those posts, but I hope it will be soon!