For a tight-knit Bronx community, these neighbors sure get startled by every little development. The song selection, while appropriate enough for the show’s nostalgia, is composed almost exclusively of the same rock ’n’ roll classics Dion claims no longer represent him artistically.Īt least two scenes try to lend the book’s forced arguments weight by having the music stop, onlookers staring in awe. And there are moments of writerly ridiculousness, like when a thunderous downbeat follows his tour-mate Buddy Holly’s suggestion that they charter a plane.Īside from the typically inoffensive rise-and-fall-and-rise narrative, Charles Messina’s book hands Dion a lot of vaguely righteous tantrums about being sick of the doo-wop that made him without ever exploring why it is he’d rather be performing acoustic, singer-songwriter sounds. There are setbacks, of course, like Dion’s plunge into a heroin habit, maintained by a shady friend (Joey McIntyre of, yes, New Kids on the Block). There are flashes of glory - winning over, and eventually marrying, the new girl on the block (a sweet Christy Altomare). Bio-musicals have a formula that’s certainly “tried” but less convincingly “true.” There are Dion’s humble beginnings, with his initial backing trio, the Belmonts, named after the Bronx neighborhood where they grew up. Despite its falling into the genre’s tiresome tropes, this long-gestating production, which opened at Paper Mill Playhouse in New Jersey on Sunday night, succeeds on sheer sonic strength.Īnother story of a singin’ Italian American who could, “The Wanderer” features a divinely voiced Mike Wartella as Dion, best known by his first name. That’s mostly what gets “The Wanderer,” a new jukebox bio-musical about the rise of the singer-songwriter Dion DiMucci, across the finish line.
DION THE WANDERER UPDATE
We’ve contacted ZeniMax Media about the pending lawsuit and will update with its response.Sometimes, all a show needs is a harmonizing ensemble perched out of windows and fire escapes in a well-appointed street scene to win you over. The document goes on to note that, had DiMucci been able to look over the commercials before they aired, he would have requested them to focus on the “post-apocalyptic struggle for survival without craven violence.” Since DiMucci wasn’t given the chance to reject the ads, according to the complaint, he’s now owed both financial damages and the opportunity to take them offline. Defendant’s Commercials have no redeeming value, they simply entice young people to buy a videogame by glorifying homicide, making the infliction of harm appear appealing, if not also satisfying.
Without Plaintiff’s consent, Defendants dubbed The Wanderer into commercials in which the protagonist, a wanderer, roams from one location to the next, armed and hunting for victims to slaughter. The song describes isolation during coming of age. In The Wanderer, Dion gives life to the story of a sad young man who wanders from town to town, not having found himself or the capacity for an enduring relationship. The killings and physical violence were not to protect innocent life, but instead were repugnant and morally indefensible images designed to appeal to young consumers. This is how the complaint describes the ads:ĭefendant’s Commercials were objectionable because they featured repeated homicides in a dark, dystopian landscape, where violence is glorified as sport. The court documents detail his extreme displeasure with how “The Wanderer” was used to underscore Fallout 4’s violent, mutant-filled landscape. Its the content of the ads that DiMucci sounds most frustrated by. ZeniMax failed to participate in either part of these terms, according to DiMucci, resulting in his decision to file suit. He was also entitled to bargaining with the company about a licensing fee. In California state district court documents obtained by Polygon, DiMucci calls out ZeniMax Media, parent company of Fallout makers Bethesda Game Studios, for neglecting to abide by his terms when using the song in the ads, which he called “repugnant and morally indefensible.”Ī contract agreed to by both parties stipulated that DiMucci had right of refusal on the commercials, giving him the authority to bar ZeniMax from using “The Wanderer” if he didn’t approve of their content. But its singer, Dion DiMucci, wasn’t a fan of the dystopian role-playing game using his work, and now he’s asking publisher ZeniMax Media to take them down - and pay him a million dollars in damages.
The commercials for Fallout 4 are memorable in part for their use of “The Wanderer,” a classic pop song from the 1960s.
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