"The most important thing is that you like the music"
About this Quote
A deceptively simple line that quietly takes a swing at nearly everything surrounding art except the art itself. Coming from Ken Hill, a playwright best known for nimble, audience-first musical adaptations, "The most important thing is that you like the music" reads less like a Hallmark reassurance and more like a practical manifesto. Hill worked in a tradition where taste-makers can turn culture into a credentialing system: the right references, the right posture, the right kind of approval. He cuts through that with a sentence that centers pleasure, not permission.
The intent is democratic. "You" is doing heavy lifting here: the individual listener, not the critic, not the gatekeeper, not the industry. Hill isn’t arguing that craft, history, or ambition don’t matter; he’s arguing they don’t matter first. The hierarchy is the point. By naming "the most important thing", he demotes the usual suspects - prestige, pedigree, genre loyalty - to supporting roles.
The subtext carries a knowing impatience with snobbery and with the anxious modern habit of outsourcing taste. People often ask if they should like something because it’s "important". Hill flips that insecurity: liking is not a failure of sophistication but the entry fee to any meaningful relationship with music. For a playwright, especially one translating classics into crowd-pleasing theater, it’s also a defense of accessibility: if art can’t seduce, it can’t stay. The line works because it’s both permission and provocation - a reminder that enjoyment isn’t the enemy of seriousness; it’s the proof of contact.
The intent is democratic. "You" is doing heavy lifting here: the individual listener, not the critic, not the gatekeeper, not the industry. Hill isn’t arguing that craft, history, or ambition don’t matter; he’s arguing they don’t matter first. The hierarchy is the point. By naming "the most important thing", he demotes the usual suspects - prestige, pedigree, genre loyalty - to supporting roles.
The subtext carries a knowing impatience with snobbery and with the anxious modern habit of outsourcing taste. People often ask if they should like something because it’s "important". Hill flips that insecurity: liking is not a failure of sophistication but the entry fee to any meaningful relationship with music. For a playwright, especially one translating classics into crowd-pleasing theater, it’s also a defense of accessibility: if art can’t seduce, it can’t stay. The line works because it’s both permission and provocation - a reminder that enjoyment isn’t the enemy of seriousness; it’s the proof of contact.
Quote Details
| Topic | Music |
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