Last time on the art of the Villain Song, we learned how beautiful and ennobling music and seemingly innocent lyrics can highlight the essential goodness of an apparent villain; this time we’ll see how those same techniques can be used for straight-up irony, as a horrifying contrast to the actual situation. Sondheim has always been the King of this technique; he’s used it throughout his career, especially in Sweeney Todd, where every time the music reaches its greatest heights of beauty, you know someone is plotting murder, or about to attempt murder, or just straight-up committing murder. The music in this particular musical, a twistedly comic vaudeville about real-life Presidential assassins, is disturbingly light and tuneful almost throughout, but this song is a special case. It’s a gorgeous Pop-Folk ballad, in the vein of acts like the Carpenters, except that because Sondheim is Sondheim, it’s far more beautiful and melodic than even the best songs ever released by those artists. It’s the most beautiful song in the entire show, actually…so naturally, it’s given to John Hinckley, the deranged stalker who tried to kill Ronald Reagan, as he sings of his obsession with actress Jodie Foster, and then to Lynette “Squeaky” Fromme, the Charles Manson disciple who tried to shoot Gerald Ford, as a profane hymn to her murderous leader. If that sounds incredibly disturbing, that’s the idea…it’s that kind of musical. Even limiting myself to Sondheim’s oeuvre, I could have chosen any number of songs from Sweeney Todd, or such other items as “Pretty Lady” from Pacific Overtures, as an example of this particular form, but I selected this one because its real-life connections give it a particular resonance. There’s a creeping horror to hearing Hinckley and Fromme sing a beautiful love song that you just don’t get from a purely fictional killer like Sweeney Todd, no matter how well the song in question is written.