Do you know what's worth fighting for/When it's not worth dying for/Does it take your breath away/And you feel yourself suffocating
"OUGH KEY CHANGE AT THE END OUGH VIBEYS OUGH FELLAS BE JOININ IN OUGHHH HARMONIES OUGH THE END OUGHHHHHHHHHH REBECCA NAOMI JONES OUGH IM DYING"
Twenty Long Years (Lord Huron)
I've a thought or two to share with you/But thе dope tends to cloud my mind/I destroyed my health searching for myself/But there ain't nothing there to find/There's a debt or two I owe you/But the gambling left me poor/I put up my name in the sacred game/And forgot what I was playing for
"The song is about the feeling that you've ultimately wasted your self with bad choice and focusing on things you won't remember in twenty years. There's a feeling of acceptance in a "well what can you do?" way that feels so tragic. There's an unwillingness to change because at this point, what good would it do? Also there's a consistent theme of nostalgia and time lost. At the end of the song there's audio of what sounds like a bar with it's patrons drunkenly and happily singing along, until the song (and the memory) is cut short suddenly. good shit"
american idiot is a musical that everyone forgets exists, and honestly, it’s a crime. i had the pleasure of seeing hornsby musical society’s production and they absolutely did it justice.
the actors portraying johnny and whatsername had undeniable chemistry and beautiful voices. the choice to cast tunny as younger and more vulnerable than other productions was a brilliant one, and his rendition of “are we the waiting” was hauntingly beautiful. the extraordinary girl and heather both had lovely voices and moved with plenty of confidence, both in their respective roles and in the ensemble. will spent most of the show at the couch on stage right, observing from a distance with his beer, bong, and emotional support pillow. the decision to embrace the actor’s natural baritone was surprising but not unwelcome. and last of the leads, st jimmy stole the show. the actor had fantastic vocals and stage presence, going from cheeky to cunning in no time at all.
special credit must go to the ensemble. all the ensemble numbers were full of energy, flawlessly executing the fast-paced choreography and smashing the ridiculous harmonies. the performances of “holiday”, “favorite son”, “before the lobotomy” and “21 guns” were highlights of this production. combined with the intricate set and dynamic band, this was a fantastic production and i am excited to see what hornsby puts on next!
Two thousand years ago, a man is impaled to a gibbet of wood and left for dead atop a rocky knoll. Before he passes, he cries out to his mother. The wind is warm and chokes him. Outside, the city rain continues drumming its beat against the apartment windows.
a rewrite of the first american idiot fic i ever published, all the way back in 2015.
My friend challenged me to create an illustration that looked like a movie screenshot, I went a step too far and made an animatic/storyboard with sound(?) not sure how it’d be classified technically. I used my toon design for Johnny from American Idiot the musical go make this since the toon style is easier to work with in terms of backgrounds, at least in my opinion.
Do you know what's worth fighting for/When it's not worth dying for/Does it take your breath away/And you feel yourself suffocating
"OUGH KEY CHANGE AT THE END OUGH VIBEYS OUGH FELLAS BE JOININ IN OUGHHH HARMONIES OUGH THE END OUGHHHHHHHHHH REBECCA NAOMI JONES OUGH IM DYING"
Turning Out Pt.ll (AJR)
I think I probably wasn't in love with you/I think I maybe loved the idea of you/And even though I'm missing the feel of you/I think I maybe wasn't in love with you/I said it cos I no longer want to hurt/I said it back to you cos you said it first/And though I maybe wishing it wasn't true/I think I probably wasn't in love with you
"I don't know how to put it into words other than... it's an aromantic love song. I doubt ajr intended it to be like that, but that's the only way I can interpret it. People think aro people can't feel love but we CAN. In this song he's talking about how he 'wasn't in love wih you, loved the idea of you' and that hits me SO HARD. I said I love you and I think I meant it, but maybe it wasn't the right kind of love, or maybe I'm not the right kind of person (i'm going thru some stuff right now okay). The lyris and melody are all so sad and it sounds like he's BEGGING the world to just let him be in love with this person, to not break their heart, just this once, but of course that's not how things work out, and the guilt from that just crushes you. It doesn't have to be an aro song if you don't read it that way, but by god have I cried to this while I try to accept myself."
Poll runner: This song is a part 2 of another song by AJR, and the fact that part one has such a hopeful overtone, this relationship isn't storybook perfect, but you're going to try and so am I, the contrast between that and this is DEPRESSING. It's like the journey from the end of the honeymoon phase, to the end of the relationship, that moment where they actually have to try and make it work, and it just doesn't. Fuck man...
Come From Away - Jennifer Caldwell (she/her) as Beverley Bass
Birthday: August 6, 1989 (age 33)
Birth Place: Manchester, England
Theatre credits include: Anne Boleyn (Six), On-Stage Swing/Cover Heather (American Idiot), Ensemble/Cover Fiona (Shrek), Ensemble/Cover Sophie/Ali (Mamma Mia!), Swing/Cover Emily (Knights of the Rose). Caldwell also previously alternated the roles of Anne Boleyn and Katherine Howard in Six.
(Pictured on the right is Rachel Tucker, who played the role in multiple productions)