"I Suffered Quite a Lot As a Goat"

Sure, why not.......?

When the rat race became too much for [an eejit the Daily Mail has decided to enable/humor/exploit] he quit London and became a goat... in Switzerland. The 35-year-old spent a year creating prosthetic 'goat legs' that would allow him to roam the Alps comfortably on all fours and an artificial stomach that would enable him to blend in and 'eat grass'. [the eejit]  said..."I was constantly falling over, and of course I had to eat grass."

Well yes, there is that.

'When I first had the idea a lot of people called me crazy, but I was fed up with my life anyway and I needed a break. I was jobless and I had a lot of personal problems, and I found everyday life so stressful.... as he was not keen on meat he decided against becoming a dog.
[The eejit]  said the idea of 'being an elephant had appealed' but then he realised they 'seem to have the same problems we do - they get sad, they get upset and they can even suffer from post-traumatic stress. That was exactly the sort of thing I was trying to get away from.'

Eventually he settled on the idea of being a goat....
'I learned something important, and that is that even goats have a hard life and need to fight for their existence. Every day was tough, and that is something that just is part of being alive.
'The one other thing I reckon I found is that goats are better people. They live much more in the moment than we do, and show us that we really do need to learn to be a bit more relaxed about life.'
Now he has written a book

Of course he has.
But wait, didn't Barth cover that?

And This Is How We Have Singers Who Rise To Fame on the Usual Vocal Skills...

.... you know, physical beauty or dance ability.
(Intonation? Nah, fuggedaboudit, we got auto-tune for that.)

Take a look at this, Andrew Balio's indictment of the standard-free education in the arts that is being pushed by some, (well, objective standards, anyway, are being thrown to the wind.)

He writes from the POV of musicians, but the plastic arts are leading the way.

Music conservatories have until now largely resisted the impulses that have transformed our art schools. But art schools long ago succumbed to the delusion that sets creativity and originality ahead of discipline. They long ago embraced the widespread cultural rebellion against tradition in all its forms; generations ago they rejected the practice of “teaching as it was taught to me.” They have effectively broken with the past. They’re even wildly successful at turning out entrepreneurs: modern artists are now rolling their “art” off of assembly lines straight into museums. A 2011 Wall Street Journal article by Stan Sesser, “The Art Assembly Line” described this phenomenon:

Alexander Gorlizki is an up-and-coming artist…[whose] work has been displayed at the Victoria & Albert Museum in London, the Denver Art Museum and Toronto's Royal Ontario Museum, among others, and sells for up to $10,000. Mr. Gorlizki lives in New York City. The paintings are done by seven artists who work for him in Jaipur, India. “I prefer not to be involved in actually painting,” says Mr. Gorlizki, who adds that it would take him 20 years to develop the skills of his chief Indian painter, Riyaz Uddin. “It liberates me not being encumbered by the technical proficiency,” he says.

We don’t have to squint to see where this road that our reformers are rushing down ends. Indeed we are fortunate to have such an explicit example to study. Before we bid our conservatories follow our art schools into the great modern experiment, then, we ought to ask ourselves—and consider carefully—whether or not the experiment has been successful.

Movies and musicals are assembled by committees and focus groups, cuteness counts, and PR trumps beauty. With Scrooge, I'll retire to Bedlam.