Exactly why I don't take things any further than maybe being able to pull off Swiss 3's for bop ride pattern type applications. There's way more advanced stuff, but when would you ever use them? Singles, doubles, triplets, the various diddles and 6-stroke rolls, flams and flam taps, and fast rebound-control singles with each hand cover about all I can ever imagine playing in the real world.
I've heard it many, many times. A drummer on stage inserting rudiments to a song because they can. It sounds horrible and is pretty far away from playing musically in my opinion.
For those one in a million times when a rudiment perfectly compliments the musical riff or motif, fine... But that's almost never.
50 ways to leave your lover literally makes me cringe every time. It doesn't sound good or fit to my ear, it sounds like a drummer jerking off on the song. That roll is way too prominent in the soundscape and drags on too long to sound musical to my ear.
Musical mileage is something I've recently started to invest in, and have noticed it may not be explored to the extent it should be. I have been guilty off trying to digest loads of information and in the process neglected developing the Useful application of material presented.
I think it would be a disservice to say that there's rare opportunity to apply rudiments, without delving deeply into their application beyond speedy snare work. For example, the ever so simple RLL can go from dotted 8th accents, to triplet rolls progressing to tight drags and ruffs, all by playing with the space between notes. An obvious and basic application of one three note pattern has tremendous usage and application. Work on getting the most out of each rudiment, and perhaps they will no longer seem impractical.
This coming from a guy whose efficiency with rudiments is incredibly lacking, I will say. So take it for what it is, just my own beliefs.