Songs for the Struggling Artist

My Pandemic Guide to International TV – Part One

My guess is that international TV got its hooks into me these last two years because there’s something about getting so far away from the world I live in, they don’t even speak my language. Or maybe the extra “labor” of reading subtitles kept my attention when it was inclined to wander? Or maybe it’s like traveling in a period where I mostly just saw the kitchen table? Whatever the reason, the various streaming platforms have afforded me the opportunity of diving into international TV shows galore. Just in case you’ve been wanting to branch out, I thought I should write up some of my favorites and bring you into my international orbit.

I’m going to do this in a Two Part series as there’s, um, a lot here and I think it might be too much to sort through in one sitting. This first part features: Spain, Italy and Turkey

As you may know if you’re a regular reader of the blog, this journey began with Spanish TV shows. I’ve talked already about Cable Girls, The Time Between, Gran Hotel, 45 rpm and Velvet. I believe I’ve also made mention of High Seas (a show on which there is the world’s fastest vaccine development). Missing from this list are:

The Cook of Castamar – which was an absolutely lush period drama set in an estate in the 18th Century. It features an upstairs/downstairs love story, a few Dangerous Liason-y sort of love affairs and some royal batshittery. The ending is really abrupt, like they ran out of film and just had to hurry up and wrap it up. But other than that, this was one of my favorite shows of the year. The cinematography was like a Vermeer painting sometimes and the performances were extraordinary.

Morroco: Love in the Time of War which takes place at a military hospital in Morocco in the 1920s. It is full of strong lady nurses in crisp white uniforms having complicated affairs with handsome doctors. It also features some really impressive racism – and I don’t mean it’s good, of course, just kind of fascinating in its awfulness. I get the sense that Spain hasn’t quite grappled with these things yet. My favorite part of this show is something I’ve nearly written about multiple times but just never found the way.  It’s this love affair one of the Spanish nurses has with the Moroccan handy man. Everyone on the show is baffled by it. They just cannot understand what she’s doing with the uneducated Moroccan guy! And they never mention the fact that he’s just preternaturally handsome. Like, the man is an Adonis and not one single character is like: “Listen, I get it. He’s nice to look at. But – you should keep in mind he can’t read your letters.” The whole scenario made me laugh a lot. I mean – look at this guy:

“What do you SEE in him?” they cry, incredulously!

Oh, and Jaguar – a period drama about a spy ring who are trying to bring down Nazis who are harboring each other and helping one another escape in Franco’s Spain. It features the stars from Cable Girls, Velvet and 45 rpm so of course I had to watch it, even though there aren’t enough women in it. It’s a rough ride. But spies! Fighting Nazis! In the middle of a fascist regime!

One of the few shows I’ve watched that ISN’T a period drama is The Neighbor, which is a very boring title for a very eccentric and fun show. It’s a superhero story – but the man given the superpowers is kind of a shithead and he cannot figure out how to use his powers appropriately. The show goes to some extremely unexpected places. Never once have I been able to predict where it was going. It’s also very funny in a delightfully wacky way. I can’t figure out how to tell you the best parts of it without spoiling it, so, you know, watch a trailer.

Other contemporary Spanish shows I’ve watched:

Valeria which is a sort of contemporary Spanish Sex and the City. Watch it if you want to watch Spanish millennials pretend to have sex with each other in colorful apartments and to get a glimpse of some good looking Spanish Tortillas.

Money Heist which features actors from many other shows I’ve watched so though I tried to resist it (as it seemed like it was going to have too many guns and explosions for me) ultimately I succumbed and joined the rest of the world in being mildly obsessed with this show for a while. If there’s a Spanish show you’ve heard of, it’s probably this one. It has a dumb name in English, but its Spanish title translates to The House of Paper, which is much better. I only just finished watching it so I’m still digesting. I may have more to say about it later.

I believe I’ve already told you everything about the Italian shows I’ve watched: Zero, Luna Park, Luna Nera and Generazione 56k. I also watched An Astrological Guide to Broken Hearts which was a charming contemporary love/work story.  

One of my favorite shows of anywhere has been The Club, a show from Turkey that Netflix sold me on almost as soon as it came out. Sometimes they really nail it. (Most times they don’t. I find it hilarious how often they suggest shows I have already watched. Like, you know I watched that already. I watched it HERE!) Anyway – The Club mostly takes place in and around a nightclub in Istanbul, so it’s a show biz show and you know I’m a sucker for a show biz show. But it’s also about this period in the 50s where Nationalism and racism were on the rise. The Turkish Business Council seems to be gaining in power and targeting anyone who isn’t Muslim. Living in a country where Muslims are often the targets as I do, I found it very interesting to see these power dynamics reversed. One thing I learned from reading about it that wasn’t obvious in watching it, is that there are several languages spoken in the series. To my ear, it all just blended together, so I had no ideas folks were identifying themselves by their language sometimes. There’s one moment where a character speaks Greek to another who isn’t actually Greek and it condemns him. I’d love to be able to understand at least one of the languages spoken to catch some of these distinctions (or to have it noted in the titles which language was being spoken) but it’s just as thrilling with the subtitles as they were. And the musical numbers are both good theatre and good music. The story is complicated and I didn’t always trust where they were going but it made for some really interesting questions about redemption and loss.

The Club was so good, I instantly searched for other Turkish shows or movies but failed to find anything yet.

We’ll leave it here with my new taste for Turkish TV simmering.

Part Two will feature shows from France, Germany, Mexico, Colombia, Brazil and beyond.

Look! Somewhere that’s not my apartment!

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The Time Machine of Music

Music can be a time machine. Play Duran Duran’s “Rio” and I am instantly transported to a carpeted spot in front of the Barbie doll mansion I’d created in my closet in the mid 80s. Put on Primus’ “Nature Boy” and I’m in a cargo van in 1997 with several Shakespeare dudes who are wildly flinging themselves around, while the Shakespeare dude driver nods his head in time. I did not like this song at the time but now I do, not just because I’m angrier these days, but because of how quickly it can return me to the past.

Music can evoke a time and place more directly and precisely than just about anything. (Smell can be a direct line to the past. It’s maybe more immediate but, it’s also often less specific about time.) Music is an incredibly powerful tool – which is why I’m entirely flabbergasted at a trend I’m noticing on television. Why would you use music from a different era than the one you’re trying to evoke?

The otherwise delightful Pursuit of Love mini-series used 80s and 90s tunes throughout, despite the fact that this show takes place in the 30s and 40s. I enjoyed hearing that Joan Armatrading song after so many years but I couldn’t tell you what happened in the show during it as I was pulled into the late 80s for its duration. (It’s from 1977 but it was much later that I discovered it.)

Then there’s the show that got me all fired up about this. 45 Revoluciones or 45 rpm. It’s a Spanish show (surprise!) about a pop music business in 1962. I enjoy a lot of things about it, like the way the woman music producer and her assistant deal with some overt sexism from her tech crew or the way it models a male boss fighting for his female “mano derecho.” But…the music is a disaster. The pop star’s hit song, the one we hear over and over again, is not a song from 1962, nor is it a contemporary song written to sound like it’s from 1962. It is, instead a song from 2012 that went to number one in 24 countries. It is a hit song from 7 years before this show was aired and 50 years after the show is meant to take place. Where exactly do they want to take us in that music time machine?

I hate this song choice so hard. I think they’re trying to say “This artist is so ahead of his time he sings songs from the future!” Or they’re trying to connect contemporary music listeners with this period drama? Or they’re trying to evoke some kind of blend of time periods? I don’t know. But the story of the show is a singer who nobody’s seen the likes of before playing fresh new music that blows everyone’s minds. Then to represent him, the creators choose some of the most middle of the road music from the last couple of decades. “Let her go” may have gone number one around the world (Number 3 in Spain) but it is a song so banal that I only recognized it from hearing it in the grocery store on occasion and found it entirely unremarkable. No disrespect to lovers of this song but it does not represent a stunning innovation in pop music.

Similarly, Lady Gaga’s “Bad Romance” which also makes an appearance on this fictional Spanish rock star’s album from 1962 is not a pop revolution in any way. Lady Gaga is glorious but she’s not out here busting up pop norms. She IS pop norms, albeit with wild costume and style innovations.

As I continued to watch 45 rpm, it got even more ridiculous with its music, careening wildly through time, moving from “Total Eclipse of the Heart” to “Shiny Happy People.” I shouted at the screen more than once.

I’ve learned that this show had the lowest viewer ratings EVER on that channel – and I don’t know if the music was what tanked it but I feel pretty confident it didn’t help.

Here’s the thing. All of that music featured in the show must have been VERY EXPENSIVE. With the money they spent to clear several worldwide hit songs, they could have hired multiple songwriters and composers who could have written them songs that evoked the period and ALSO felt a little modern. They could have had a soundtrack of new and exciting music that might have been a hit and might have drawn people to their show. Look at “That Thing You Do” which is a movie about a hit song from a similar period. The title song that Adam Schlesinger wrote for it became a hit and was nominated for both a Golden Globe and an Oscar. Hit movie. Hit song. Could have been you, 45 Revoluciones!

Or alternatively, they could have used actual music from 1962. They name checked Los Pekenikes – which is such a great band name, I had to look them up and listen to them and apparently, a band called Los Brincos was an inspiration for the story. They’re really fun to listen to! Is there some belief that the youth won’t respond to old music? I’d like to direct you to the soundtrack of Stand By Me (which I played relentlessly as a teen) which came out in the mid 80s and was filled with mostly old 50s tunes. Because of that film, the title song (from 1961) made another journey to the top ten in 1986. All that music placed that film firmly in its period and it was a giant hit. It’s happened before that contemporary youth get super into music of the past.

But maybe the youth of today are different from the youth of yesteryear and somehow can only tolerate banal contemporary pop? Somehow I don’t think so. I do think they’re being fed an unusually dull music diet, though. There is a flattening of sound, of genre, of time that has been happening over the last 20 years and it can’t be good for us. As Jaron Lanier has pointed out, there hasn’t been an innovation in pop music since Hip Hop and Grunge  – several decades ago. Can you distinguish the sound of something from the first decade of this century from this last decade? I sure can’t. It has a timelessness in its consistency and conformity. This is weird, folks. Can you imagine not being able to distinguish music from the 70s from music of the 60s? Or the 40s from the 50s? There’s a little crossover, sure, but you can make a kind of generalization about pop sound decade by decade until you get to this century. I suspect that one of the reasons this weird time bleed is happening on TV has to do with that strange sameiness of music: Who cares when music is from, when you have no way to tell any of it apart?

I start to wonder if this is connected to the conglomeration of the music business. There are currently really only three music companies. Warner, Sony and Universal own pretty much everything. Things like the Grammys are company celebrations of those three corporations. With a distinct lack of diversity in the business end, is it any wonder the music has had all its edges smoothed over? (The same thing is happening in publishing, btw. There are three major players who just eat up the little guys.) I suspect all this leads to an ahistorical music business which bleeds into an ahistorical film and TV business and now we have TV shows where the music time machine takes us to all the wrong places. You set it for 1962 and half of you ends up in 2012. That is a problematic time machine.

And it may extend beyond just the music in the shows. 45 Revoluciones, which, I’ll remind you, is set in 1962, made casual references to both The Beatles and the Rolling Stones in the dialogue. Now – I was not yet born in 1962 but even I know that neither of these bands was a worldwide sensation yet in 1962. You know how long it took me to confirm that fact? Less than a minute. I didn’t even have to go to the library. The Rolling Stones hadn’t even heard of the Rolling Stones until July of 1962 so there’s just no way a Spanish rocker would be excited to open for a band that did not yet even have a single recorded. (This sort of error, btw, is a great example of why it’s important to have age diversity on a team. I cannot believe NO ONE on this show flagged this highly irritating detail.)

I think being cavalier about music’s role in time is a huge mistake. It’s a mistake for broken time machine purposes in that you might take your audience to a different place than you were aiming and it’s also a huge mistake in making it harder for all the other elements in a scene to establish the era. The costumes can’t do all the work. Neither can the props or the production design.

If you want to pull the audience in two directions time-wise, okay, but if you choose only really popular songs, then your audience will inevitably have prior associations with that music. The odds that something bad has happened while listening to that song for any of the millions of people who have heard it many times before are very strong. Just…you know – triggering someone’s memories of their assault is one reason why you might not want to use super popular songs in your TV show. Hire a composer! The average song on Spotify has 8 listens. Maybe use one of those?

I don’t mean to pick on 45 rpm – everyone is doing this dumb music flattening – but there’s something particularly ironic about a show that has the word revolution in its title that shows us music neither historical nor revolutionary. The show takes place in a moment in Spain where pop music was creating some interesting cracks in the regime of the fascist dictator. The show gives us glimpses of what the collision of rock n roll and Franco’s Spain was like. It shows us the big dilemma of being obliged to sell out to a dictator and how people resisted, either directly or covertly. (Ironically, this show has literally sold out to an entirely different sort of regime by virtue of the flagrant Coca Cola product placement.)  The regime creates real problems in the lives of artists and record execs alike. Apparently, instrumental music, as well as music in French and English, escaped the censors in those early years or rock n roll just because the regime didn’t take any of it seriously. I’ve been listening to the actual music from that era in Spain and sure, it doesn’t sound revolutionary now, because we’ve had 50+ years with things that sound like it.

But since no one’s invented a new genre in decades, since we can’t experience a current music revolution, why can’t we take a trip in a musical time machine and discover, at least, what a revolution sounded like in the past? When The Rite of Spring was first performed, it was so new, so revolutionary, people rioted. We’ve lived in a world with that music in it for over a century, so it’s not a revolution for us, but if you make a show set in the early 20th century about modernism and you don’t use The Rite of Spring, you better play us something that sounds like a modern riot. Maybe you’ll even find us our modern Stravinsky. But why not take us on a trip in your music time machine? It’s a mellifluous way to travel.


I reference a lot of music in this post so I made a playlist of it so if you’re curious to hear any of it, it’s here.

Concert à la vapeur by J. J. Granville
It’s not technically a time machine but wouldn’t it be cool if it was?

This post was brought to you by my patrons on Patreon.

They also bring you the podcast version of the blog.

It’s also called Songs for the Struggling Artist 

You can find the podcast on iTunes, Stitcher, Spotify or wherever you get your podcasts.


Every podcast features a song at the end. Some of those songs are on Spotify, my websiteReverbNation, Deezer and iTunes


Want to help me make more time machines?

Become my patron on Patreon.

Click HERE to Check out my Patreon Page


If you liked the blog and would like to give a dollar (or more!) put it in the PayPal digital hat.

Or buy me a coffee on Kofi –

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