Can I just be honest? I have the Skyrim theme stuck in my head 99% of the time and it’s basically the theme song to my life now but it’s great because everything I do feels so epic. I’ve never felt more bad ass taking care of my green babies.
hey! so im the person who asked for musical recs and im hella new to musicals so i've only listened to hamilton, tgc, deh, and heathers. thanks!
okay, awesome. i think the best way to do this would be to break it up into a few categories. and of course, there’s tons of shows out there that i can’t possibly all mention here! so keep that in mind. these are just a few of my personal faves. (and don’t think you need to listen to all of them! think of this as just a list of possibilities.)
1. THE OLD-SCHOOL CLASSICS–pre 1970, very traditional music, relatively straightforward plots, resolutions, etc
•west side story! you’ve heard of this one. romeo and juliet, but nyc gangs. classic tragic love story with some damn good music.
•the sound of music! don’t watch the carrie underwood version lmao. takes place in 1930s austria. a young aspiring nun isn’t quite fit for the job, so her convent sends her to work as the governess for the seven children of a widower. cute love story, but also they flee from nazis. julie andrews is everything.
•seven brides for seven brothers! this isn’t quite as much of a true classic as much as those first two are, but it’s a personal favorite. a mountain man in 1850s oregon sets out to get a wife; when he successfully returns home, she realizes she’s meant to take care of his 6 uncivilized brothers, too. she whips them into shape, and eventually they all fall in love with 6 of HER friends. shenanigans ensue. questionable gender dynamics but w/e.
2. THE NEW CLASSICS–more recent shows that have established themselves as Important Musicals, may be more experimental or innovative, may just be super popular, either way ought to be remembered down the line
•wicked! a musical prequel to the wizard of oz that explores the relationship between the wicked witch of the west and glinda the good witch…as college roommates. crazy popular show, you might know “defying gravity” or “popular” already.
•rent! be prepared to cry and want to rage against society, dude. centers around a group of artists in new york city near the middle/end of the AIDS epidemic. about half the main characters are lgbtq, and about the same number live with HIV/AIDS. focuses on the artists trying to fight against gentrification and society while also dealing with personal struggles.
•fun home! a very recent show, won the best musical tony in 2015. explores the life of lesbian cartoonist alison bechdel (ever heard of the bechdel test? she inadvertently created it) through three perspectives: her as a young girl, a college student, and an adult reflecting on her life. follows her journey with regards to her sexuality as she grew up and her relationship with her father, a gay man who committed suicide when she was in college. so heartbreaking, so amazing. a personal favorite.
•in the heights! lin manuel miranda’s first show. it follows a close knit community of black and latinx people who all live on the same block in washington heignts. the plot focuses on how the community is rocked by 1. the revelation that one of them has won $96,000 in the lotto and 2. a massive blackout. super funny, super emotional, amazing music.
3. SHOWS THAT ARE JUST REALLY FUN
•hairspray! it takes place in the 1960s (super cute costumes/musical styles) and follows an overweight teenage girl named tracy turnblad who wants to dance on her local tv station’s after school teen dance program. it also addresses the racial struggles of the time as the black dancers fight for the tv station’s integration. super funny, really fun music, lovable characters.
•legally blonde! yes, there’s a musical adaptation of the movie, and i love it. you might know the plot; elle woods, a sorority girl from california, is dumped by her trust fund boyfriend who wants to find someone more “serious” at harvard law, so she decides to get into harvard law to prove her worth to him. along the way, she finds out she’s worth a lot more.
•the book of mormon! i’m not exaggerating when i say this is probably the funniest show i’ve ever seen/listened to. like, the music is laugh-out-loud hilarious. it was actually written by the dudes from south park, so there’s that. it’s about two young clueless mormon missionaries who get sent to uganda and have to try to spread the word of god while trying to fight back against a warlord. so. fucking. funny.
4. AMAZING SCORES–like, i don’t necessarily mean here that i love every single individual song, but if you like incredibly intricate music with beautifully recurring themes (like great comet), these you might like.
•les miserables! one of my personal all-time favorites. it takes place in the early nineteenth century in france, and it’s about this dude named jean valjean, who went to prison for years for stealing bread. he gets out and decides to basically remake his whole life. later, he becomes a successful factory owner and adopts the daughter of one of his former workers, then the daughter grows up and falls in love…there’s a lot going on. just watch the show.
•into the woods! you like fairy tales? well, here’s ALL of them mashed into one show. seriously, sondheim is sorta a crazy genius. it’s about a generic baker who, to lift a curse, has to get jack (and the beanstalk’s) cow, some of rapunzel’s hair, little red riding hood’s cape, cinderella’s shoe…a lot happens, yo.
•sweeney todd! sondheim again, and this one is pretty dark and crazy, lmao. a vengeful barber named sweeney todd starts cutting the throats of his clients, and his accomplice/friend/lover(?) mrs. lovett, who runs a pie shop, starts baking the clients into pies to help get rid of the evidence.
5. WEIRD SHIT–broadway can be weird and experimental, idk.
•spring awakening! based on a german play from the late 1800s, i believe. german farm teens discover the strange wonders of sex for the first time, accompanied by mid-2000s indie rock.
•avenue q! it’s like sesame street rated r. it’s all puppets, except the puppets swear and fuck and stuff. the music is catchy as hell, though.
•little shop of horrors! a classic, tbh. a mild-mannered nerd works in a flower store, comes across a weird-ass alien plant. the plant can talk and stuff. turns out the only thing that can satisfy it is human blood! lots of murder by plant. really funny, though.
6. PERSONAL FAVORITES–things that didn’t fit in any other category precisely but i still like, idk.
•newsies! there’s a movie with baby christian bale lmao, but the stage show is better. newsboys in 1899 go on strike when newspaper suppliers raise prices. VERY dancey. very catchy songs.
•falsettos! oh man, i love crying. a gay man, marvin, leaves his wife (and son, a bit) for his lover, and after everyone finally gets sick of his shit, is forced to reckon with his own maturity and problems. then, in the second act, more stuff happens, but i don’t want to spoil it. PLEASE listen to falsettos. it’s one of my favorites of all time.
•the last 5 years! this show actually has only 2 people in it. it tells the story of a relationship from both people’s perspectives. the thing is, her songs go from the end of their relationship backwards to the beginning, and his go chronologically from the beginning to the end, and they meet just once in the middle. it’s just songs going back and forth, and the songs are pretty wonderful.
•next to normal! it’s about a woman with severe mental health problems and her family trying to make it through as she struggles to find a treatment that will help keep her “balanced.” kinda heartbreaking, kinda wonderful, raises some fascinating questions about mental health and if treatment is right for everyone.
•heathers! you’ve already listened to it. i just love it so i’m gonna say it anyway.
this is, well, TONS of shows, so i think i’m good! happy listening!
This post is an in-depth analysis of how I interpret Fiyero and why I made certain changes to his character in Wickedly Queer, not only for his character to work in a slightly alternated version, but also to try and give him more of an arc than he actually has. So with a final note that this is just my interpretation, let us begin!
There are very few things Fiyero Tigelaar and Fiyero Tiggular have in common. (For one, they don’t even share the same last name). I feel it’s hard to pin down book!Fiyero because we only get to really see him one chapter and I think that’s also why the musical writers didn’t really bother sticking to the character. But there is one aspect I found that both of them have in common: boredom.
Vocalist VIC FUENTES tells the stories behind each song on PIERCE THE VEIL’s Selfish Machines.
Besitos This song very openly features the Spanish side of Pierce The Veil’s music. We always try to incorporate at least a hint of Latin influence in every song, but with this one, we just went all the way with it. Lyrically, it’s about my dysfunctional relationship with a girl I couldn’t stop hurting over and over again. It’s meant to be her speaking to me, asking me why I’m not satisfied with what we had. I wanted to write it from her perspective to try and understand what she was going through at the time. It ends with her wanting to kill me for all the stuff I’ve put her through.
Southern Constellations This is basically just the intro to “The Boy Who Could Fly.” We decided to separate the tracks because otherwise, the song would be around six minutes long. This short, little tune describes my unexplainable and undeniable recent obsession with Southern girls. The clean guitar tone is one of my favorite tones on the entire album. We used a Stratocaster with a custom amp to get the glassy and unique sound we were looking for.
The Boy Who Could Fly We went back to our SoCal punk roots for this song. The entire thing is punk beats and super-fast guitar work. It’s almost therapeutic for me to play, because it represents everything that we loved playing as kids. Mike [Fuentes] is the fastest single kick drum player I’ve ever seen, so this song features him in all his glory. The lyrics talk about an unhealthy co-dependent relationship in which I couldn’t live without the other person because if you took her away, I would lose half of myself. It’s about obsession and desperation, and the stupid things you do when you’re in love. Musically it’s the craziest, most intense song we’ve ever written.
Caraphernelia The last time I saw my ex-girlfriend, she left all kinds of random things behind at my house: travel shampoo, a razor in the shower, hair clips, etc. It was basically just a bunch of stuff that kept reminding me of her. After a while, it made me miss her, and I wondered why we ever broke up in the first place. When I wrote the music for the chorus, I knew right away that I wanted to ask my friend Jeremy McKinnon [of A Day To Remember] to do the screaming parts on the chorus and bridge. A few weeks after I wrote the song, I approached Jeremy with the idea and he agreed to sing on the album. It turned out to be one of my favorite tracks once we collaborated. One of my favorite things to do is make music with my friends. That collaboration makes the songs very special to me.
Fast Times At Clairemont High This is a very selfish song that basically says, “If I can’t have you, then no one can.” I think this has gone through everyone’s head at least a couple times in their life. The theme of this album talks about these natural thoughts and feelings to want and take–the desire to be in love and the desperation for someone else to love you. This song deals with human nature and our selfish tendencies. I like the music because it has a hint of Michael Jackson influence.
The New National Anthem I used to drive six hours just to see this girl that I liked. She was beautiful, but didn’t know it because she was from a small town. I went to her place once and it was completely empty because she was in the process of moving into another apartment. I remember making out with her in the dark in the middle of her empty carpeted floor. A lot of the lyrics are about that night. I recorded the intro to this song in our apartment in L.A. We used a lot of the original sounds from my ghetto little recording on the album.
Bulletproof Love I’ve always been obsessed with happy songs that have morbid lyrics. Lyrically, this song is one of the darkest I’ve ever written. It’s about being obsessed with someone to the point where you’re hurting yourself. A lot of it is written almost like a suicide note meant to be found by the one you love. It’s completely crazy and extreme, but it’s also comforting to say out loud the things you’re thinking sometimes.
Stay Away From My Friends This is about my ex-girlfriend trying to stay in close contact with my friends even after we had broken up. We all need our friends to be there for us and help us out during hard times. I wrote the piano parts in my living room at home in San Diego. We wanted to challenge ourselves with this song and make it as different as possible from the rest of the album. We threw it right in the middle of the album as a sort of a breath of fresh air. My friend Dave Yaden played all the keys on this record, as well as on [2007’s A Flair For The Dramatic], and that took everything to the next level.
I Don’t Care If You’re Contagious I wrote a great deal of these lyrics after a young fan had explained to me that her boyfriend had just recently died in a car accident. She told me that he held her hand for the first time at our one of our shows. She told me that she just wanted to thank us for being a part of their lives. This was one of the most shocking and heartbreaking things I’d ever heard. I wrote the song as a gift to her. It’s meant to be her boyfriend speaking to her, telling her that he is still watching over her and that he will love her forever.
Disasterology This song is basically about a typical guy’s dream. It talks about girls, drinking and having the time of your life. It’s very poetic and drifts around just like a person’s mind would inside of a dream. I purposely just wrote down the first things that popped into my head. The chorus talks about building something beautiful only to destroy it. This is a very philosophical idea that I’ve played around with for a long time. I wrote most of the music in Florida with my good friend [former ADTR guitarist] Tom Denney. He and I worked on the music for this song, “The Boy Who Could Fly” and “The Sky Under The Sea.” Love you, Tom!
Million Dollar Houses (The Painter) I wrote this song as a gift to my parents. It’s meant to be my dad talking to my mom. My dad has worked very hard his entire life as a painting contractor, struggling and fighting to make enough money to keep us going. We recently had to sell our house because things were just getting too expensive to afford anymore. This song is about how through all the years, my mom and dad have never let money tear them apart, and no matter how bad things got, they’ve always had each other. I strongly express my hatred for money and the way it sometimes fucks with people’s lives and families. All you need is love. The Beatles were right all along. Go figure.
The Sky Under The Sea This song is about admitting, “I am the selfish machine.” It’s about being selfish with love and taking what you want without regret. The selfish machine refers to the animal inside all of us that no one ever wants to admit is there. I consider all of our evil thoughts and desires that we are ashamed of to be perfectly natural. We are all humans and no one is perfect, despite how morally good someone may think he or she is. alt
I'm out of songs to listen to, and I am probably bothering you, but also requesting a list of your fave Starset songs, and what they remind you of. (I want a lot of SW feels-y songs please!!) Thanks :)
A list of my favorite Starset songs? How about the full tracklisting of both their albums? :D
More seriously (in tracklist order, because I couldn’t rank them…), Down With The Fallen, Telescope, Dark On Me, The Future Is Now, Point Of No Return, Satellite, Frequency, Die For You, Ricochet, Starlight, Unbecoming, Monster, and Telepathic. Still a very long list, but at least it’s not just “all of them!”
For a more specific breakdown of why:
Down With The Fallen - it starts with respirator and heart monitor sounds. Hmm… *cough*Vader*cough* The lyrics are very Vader as well. “Turn away from all that I know, burning this bridge behind me.” Plus, all the talk of being fallen. And “Light the way and I’ll follow where you go,” is him talking to Luke.
Telescope - This one is less specifically for a character, but I can see the first verse as Luke on Tatooine pre-ANH, looking up at the stars and longing for his father. The second verse is after they’ve met and both know the truth. “I find you in the night” is when Luke goes to him on Endor. But the chorus is more Anakin and Padmé. My tag for them is from there: “in the light of all the stars aligned.”
Dark On Me - This one is obviously Luke and Vader. My tag for them is from this one. It’s hard to tell which one would be singing. It would kind of trade off line by line.
The Future Is Now - Very Vader, longing to have Padmé back, but also calling to Luke. “With the full force of a dying star, I will find you, if you’re near or far, wherever you are.” The line “I have half a life to rewrite” I see very much as Vader deciding to save Luke in the end of ROTJ.
Point Of No Return - This is pretty much Vader’s theme song. “There’s a memory of how we used to be, that I can see through the flames.” “But I can’t go back.” “The ashes call my name.” “Embracing the fear, chasing the fight,” “the bridges are burning, the heat’s on my face, making the past an unreachable place.” “I know, this is the point of no return.” It’s basically the end of ROTS, and not just Mustafar, but from the moment he cut off Mace’s hand, that was the first bridge he burned, and it all went up in flames (terrible pun intended) from there.
Satellite - Vader and Luke. “My satellite, I am here tonight. Shine your light and set me free, take the darkness out of me, shine on me.” It took Luke and his Light and love to free Vader from the darkness. “Far across the emptiness I walk the night, and search the silence in the dark you left behind. I seek the stars above the worlds to be the guide, they are pale against the light in your eyes.” This could be Vader talking about Padmé or Luke after he jumped at Bespin.
Frequency - Vader and Luke, again. Is anyone surprised? After Bespin, when he’s trying to contact Luke and find him, and Luke’s having none of this. “And now the silence screams that you are gone, you’ve tuned me out, I’ve lost your frequency.” He messed up, he lost his chance to have his son at his side (or so he thinks). There’s also memories of Padmé: “Left inside a half life, irradiated memories, these memories, they never leave.” And of course, the consequences of him turning to the Dark Side to try to save her: “I’m in the shallows, stuck in the gallows, I tried to save you now I’m swallowed.”
Die For You - I’ll give you one guess for this one! This one mostly goes both ways. The first bit, “I will run alone tonight, without you by my side,” is very Vader to Luke. “I know inside, the walls you hide behind, and I saw the truth inside the real you,” is Luke to Vader. The pre-chorus is Luke to Vader: “Because I know you’re lost when you run away, into the same black holes and black mistakes … when are you coming home?” Luke just wants his father to break free and come with him. The chorus itself goes both ways. “Even if the sky does fall, even if they take it all, there’s no pain that I won’t go through, even if I have to die for you.” Luke was willing to risk death to try to save his father, then willing to die when he refused to kill Vader. Then of course, Vader returns this and actually does die for Luke.
Ricochet - Both Padmé and Luke to Vader. “But when I send my heart your way, it bounces off the walls you made, ricochet.” And of course when Vader asks to see Luke with his own eyes, just one time: “But I’ve been dying just to see your face, and all I wanted was to say goodbye.”
Starlight - Rogue One! For something different. :) For one thing, the first word is “Stardust.” Then the ending: “Farewell, the void is calling. Don’t fear for futures and dreams. They’re fleeting, retreating. It’s okay, I promise.” They all die, but they don’t have to worry, because they accomplished their mission. “I’ll turn, I won’t look away, I’ll stay here,” is very Jyn and Cassian at the end.
Unbecoming - Also Vader’s theme song. “I lost myself inside the night, and flew higher than I ever had … I clipped my wings and fell from flight to open water and floated farther away from myself.” He turned to achieve a goal, but his fall destroyed any chance he had of saving Padmé and instead was the catalyst for her death and the destruction of who he had been. “There’s no dreams in the waves, only monsters, and the monsters are my only friends.” He didn’t get what he wanted by turning, and now all he’s left with is Palpatine, his new slave master, and painful, haunting memories. “Cauterized and atrophied, this is my unbecoming.” Again, the destruction of who he had been. And then of course, Palpatine rubs it in: “And you laugh as I search for a harbor, as you point where your halo had been … there’s no angel in you in the end.” Palpatine betrayed him, pretending to be a mentor and a friend, someone who could help, but destroyed him in the end.
Monster - This song is fittingly right after Unbecoming on the album. If the last song was about how Anakin unbecame himself, then this is about what he became as Vader, thanks to Palpatine. His reconstruction after Mustafar: “Under the knife I surrender, the innocence yours to consume, you cut it away and you fill me up with hate. Into the silence you sent me, into the fire consumed.” Palpatine and the Empire is all he has left: “You’re the pulse in my veins, you’re the war that I wage … will you cage me?” “Can you change me from the monster you made me?” Palpatine built the Empire by manipulating and using Anakin/Vader: “This is the world you’ve created, the product of what I’ve become. My soul and my youth, seems it’s all for you to use.” Vader regrets ever letting himself be fooled and manipulated into losing everything, but he can’t free himself of Palpatine or the darkness: “If I could take back the moment I let you get under my skin, relent or resist? Seems the monster always wins.” He’s lost everything. “My heart’s an artifice, a decoy soul. Who knew the emptiness could be so cold? I’ve lost the parts of me that make me whole. I am the darkness, I’m a monster.”
Telepathic - Back to Vader and Luke. “And if I had my way, I would run to the rescue.” This is both Vader, wanting to keep Luke from the Emperor, and Luke, wanting to rescue his father from the Emperor and the Dark Side. Vader wants Luke to join him, “You can run, you can run away, but I will wait in the dark for you. Should’ve never felt this way, cuz you’re the sun and I’m just a moon.” Luke is so full of Light, and Vader is just a reflection of who he used to be, a reflection of the person he can see in Luke. “I’m in the dark ‘til you light the way, cuz I’m see through. You can read my mind.” He can’t break free until Luke shows up and guides him back. Even though he tries to say it’s too late for him, Luke can see that for the lie it is and see to who he really is.
So this got longer than I was expecting it to. But there’s some Starset/Star Wars feels for you!
Okay, so, I’m not sure, because the lyrics are hard to figure out, but I think all the songs in Head have the same basic theme- that is, trying to break free and figure out who you are. That’s clearly the theme of “Porpoise Song,” “Ditty Diego,” and “Long Title.” "Can You Dig It?“ makes no sense to me, but it has that "breaking free” feel to it. I can’t figure out “Circle Sky,” either, but as I understand, it’s about being on stage, which to The Monkees- especially the song’s composer- was freedom. "Daddy’s Song" almost seems to break pattern, until you realize that, if Daddy left, then son is gonna spend the rest of his life not knowing who he is.
THIS SONG IS ABOUT GOING TO HOLLYWOOD AND REACHING FAME, BUT ONCE THE PERSON REACHES FAME THEY GET CAUGHT UP AND GET ADDICTED TO DRUGS AND ALCOHOL.
THE BALCONY SCENE IT IS ABOUT TAKING CHANCES WITH THE ONE YOU LOVE. SUCH AS HAVING ADVENTURES OR GIVING A RELATIONSHIP A CHANCE.
BESITOS SPANISH FOR KISSES, TELLS A STORY. THE CHARACTER’S A BOY AND A GIRL, A PAIR OF OPPOSITES. HE IS ORGANIZED AND UNADVENTUROUS, AND SHE IS QUITE THE OPPOSITE. SHE LIVES IN THE FAST LANE, ADDICTED TO DRUGS AND CONSTANTLY SHOWING UP AT HIS PLACE UNEXPECTED. HE IS LIVING A HORRIBLE REALITY THAT IS INDUCED BY HER FAKE REALITY THAT IS HER GUILTY PLEASURE - HER DRUGS - AND WHILE SHE IS HAPPY HE HAS TO DEAL WITH IT. AND ALTHOUGH SHE IS TEARING APART HIS LIFE, AND SHE IS CONSTANTLY USING HIM FOR BOTH SEX, MONEY, AND A PLACE TO STAY, HE LOVES HER, AND CONTINUES TO TRY TO HELP HER AND LOVE HER THE BEST HE CAN. HE IS CONSTANTLY HAVING DREAMS ABOUT HER AND HER PERFECTION, AND HE IS CONSTANTLY WORRYING THAT SOMETHING WILL GO WRONG. SO HE DOES WHAT ANY WORRIED FRIEND WOULD DO - HE WARNS HER THAT HER DRUG ADDICTIONS WOULD KILL HER IN THE LONG RUN. SHE DOESN’T LISTEN TO HIM, AND SOON AFTER, DIES OF A DRUG OVERDOES. HE, UPSET AND CONFUSED, BEGINS TO USE THE VERY DRUGS THAT KILLED HER. AFTER VIC (THE SINGER) SCREAMS RED ROSES, THE SONG TAKES A TURN TO TWO DIFFERENT PLACES. THE DRUGS BEGIN TO DRIVE THE MAN TO INSANITY, AND HE DOESN’T KNOW WHERE HE STARTED AND WHERE HE BEGAN, AND HE CAN’T TELL WHAT’S REAL OR FAKE. HE KNOWS NOT WHETHER THE GIRL WAS EITHER A REAL PERSON, SONG, OR A FIGMENT OF HIS IMAGINATION; ALL HE KNOWS IS HIS OWN BEDROOM, WHICH HE REALIZED THROUGH HIS DRUG INDUCED DREAM COMING TO AN END, THAT ALL MAY HAVE BEEN A DREAM- BUT HIS DRUGS ARE KILLING HIM.
KISSING IN CARS VIC WROTE THIS SONG FOR A FRIEND TO GIVE TO HIS WIFE FOR THEIR ANNIVERSARY.
SOUTHERN CONSTELLATIONS THIS IS BASICALLY JUST THE INTRO TO “THE BOY WHO COULD FLY.” WE DECIDED TO SEPARATE THE TRACKS BECAUSE OTHERWISE, THE SONG WOULD BE AROUND SIX MINUTES LONG. THIS SHORT, LITTLE TUNE DESCRIBES MY UNEXPLAINABLE AND UNDENIABLE RECENT OBSESSION WITH SOUTHERN GIRLS. THE CLEAN GUITAR TONE IS ONE OF MY FAVORITE TONES ON THE ENTIRE ALBUM. WE USED A STRATOCASTER WITH A CUSTOM AMP TO GET THE GLASSY AND UNIQUE SOUND WE WERE LOOKING FOR.
THE BOY WHO COULD FLY WE WENT BACK TO OUR SO-CALLED PUNK ROOTS FOR THIS SONG. THE ENTIRE THING IS PUNK BEATS AND SUPER-FAST GUITAR WORK. IT’S ALMOST THERAPEUTIC FOR ME TO PLAY, BECAUSE IT REPRESENTS EVERYTHING THAT WE LOVED PLAYING AS KIDS. MIKE [FUENTES] IS THE FASTEST SINGLE KICK DRUM PLAYER I’VE EVER SEEN, SO THIS SONG FEATURES HIM IN ALL HIS GLORY. THE LYRICS TALK ABOUT AN UNHEALTHY CO-DEPENDENT RELATIONSHIP IN WHICH I COULDN’T LIVE WITHOUT THE OTHER PERSON BECAUSE IF YOU TOOK HER AWAY, I WOULD LOSE HALF OF MYSELF. IT’S ABOUT OBSESSION AND DESPERATION, AND THE STUPID THINGS YOU DO WHEN YOU’RE IN LOVE. MUSICALLY IT’S THE CRAZIEST, MOST INTENSE SONG WE’VE EVER WRITTEN.
CARAPHERNELIA THE LAST TIME I SAW MY EX-GIRLFRIEND, SHE LEFT ALL KINDS OF RANDOM THINGS BEHIND AT MY HOUSE: TRAVEL SHAMPOO, A RAZOR IN THE SHOWER, HAIR CLIPS, ETC. IT WAS BASICALLY JUST A BUNCH OF STUFF THAT KEPT ME REMINDING ME OF HER, AFTER A WHILE, IT MADE ME MISS HER, AND I WONDERED WHY WE EVER BROKE UP IN THE FIRST PLACE. WHEN I WROTE THE MUSIC FOR THE CHORUS, I KNEW RIGHT AWAY THAT I WANTED TO ASK MY FRIEND JEREMY MCKINNON (OF A DAY TO REMEMBER) TO DO THE SCREAMING PARTS ON THE CHORUS AND BRIDGE. A FEW WEEKS AFTER I WROTE THE SONG, I APPROACHED JEREMY WITH THE IDEA AND HE AGREED TO SING ON THE ALBUM, IT TURNED OUT TO BE ONE OF MY FAVORITE TRACKS ONCE WE COLLABORATED. ONE OF MY FAVORITE THINGS TO DO IS MAKE MUSIC WITH MY FRIENDS. THAT COLLABORATION MAKES THE SONGS VERY SPECIAL TO ME.
FAST TIMES AT CLAREMONT HIGH THIS IS A VERY SELFISH SONG THAT BASICALLY SAYS, “IF I CAN’T HAVE YOU, THEN NO ONE CAN.” I THINK THIS HAS GONE THROUGH EVERYONE’S HEAD AT LEAST A COUPLE TIMES IN THEIR LIFE. THE THEME OF THIS ALBUM TALKS ABOUT THESE NATURAL THOUGHTS AND FEELINGS TO WANT AND TAKE—THE DESIRE TO BE IN LOVE AND THE DESPERATION FOR SOMEONE ELSE TO LOVE YOU. THIS SONG DEALS WITH HUMAN NATURE AND OUR SELFISH TENDENCIES. I LIKE THE MUSIC BECAUSE IT HAS A HINT OF MICHAEL JACKSON INFLUENCE.
THE NEW NATIONAL ANTHEM I USED TO DRIVE SIX HOURS JUST TO SEE THIS GIRL THAT I LIKED. SHE WAS BEAUTIFUL, BUT DIDN’T KNOW IT BECAUSE SHE WAS FROM A SMALL TOWN. I WENT TO HER PLACE ONCE AND IT WAS COMPLETELY EMPTY BECAUSE SHE WAS IN THE PROCESS OF MOVING INTO ANOTHER APARTMENT. I REMEMBER MAKING OUT WITH HER IN THE DARK IN THE MIDDLE OF HER EMPTY CARPETED FLOOR. A LOT OF THE LYRICS ARE ABOUT THAT NIGHT. I RECORDED THE INTRO TO THIS SONG IN OUR APARTMENT IN L.A. WE USED A LOT OF THE ORIGINAL SOUNDS FROM MY GHETTO LITTLE RECORDING ON THE ALBUM.
BULLETPROOF LOVE I’VE ALWAYS BEEN OBSESSED WITH HAPPY SONGS THAT HAVE MORBID LYRICS. LYRICALLY, THIS SONG IS ONE OF THE DARKEST I’VE EVER WRITTEN. IT’S ABOUT BEING OBSESSED WITH SOMEONE TO THE POINT WHERE YOU’RE HURTING YOURSELF. A LOT OF IT IS WRITTEN ALMOST LIKE A SUICIDE NOTE MEANT TO BE FOUND BY THE ONE YOU LOVE. IT’S COMPLETELY CRAZY AND EXTREME, BUT IT’S ALSO COMFORTING .
STAY AWAY FROM MY FRIENDS THIS IS ABOUT MY EX-GIRLFRIEND TRYING TO STAY IN CLOSE CONTACT WITH MY FRIENDS EVEN AFTER WE HAD BROKEN UP. WE ALL NEED OUR FRIENDS TO BE THERE FOR US AND HELP US OUT DURING HARD TIMES. I WROTE THE PIANO PARTS IN MY LIVING ROOM AT HOME IN SAN DIEGO. WE WANTED TO CHALLENGE OURSELVES WITH THIS SONG AND MAKE IT AS DIFFERENT AS POSSIBLE FROM THE REST OF THE ALBUM. WE THREW IT RIGHT IN THE MIDDLE OF THE ALBUM AS A SORT OF A BREATH OF FRESH AIR. MY FRIEND DAVE YADEN PLAYED ALL THE KEYS ON THIS RECORD, AS WELL AS ON [2007’S A FLAIR FOR THE DRAMATIC], AND THAT TOOK EVERYTHING TO THE NEXT LEVEL. -VIC FUENTES
I DON’T CARE IF YOU’RE CONTAGIOUS I WROTE A GREAT DEAL OF THESE LYRICS AFTER A YOUNG FAN HAD EXPLAINED TO ME THAT HER BOYFRIEND HAD JUST RECENTLY DIED IN A CAR ACCIDENT. SHE TOLD ME THAT HE HELD HER HAND FOR THE FIRST TIME AT OUR ONE OF OUR SHOWS. SHE TOLD ME THAT SHE JUST WANTED TO THANK US FOR BEING A PART OF THEIR LIVES. THIS WAS ONE OF THE MOST SHOCKING AND HEARTBREAKING THINGS I’D EVER HEARD. I WROTE THE SONG AS A GIFT TO HER. IT’S MEANT TO BE HER BOYFRIEND SPEAKING TO HER, TELLING HER THAT HE IS STILL WATCHING OVER HER AND THAT HE WILL LOVE HER FOREVER.
DISASTEROLOGY THIS SONG IS BASICALLY ABOUT A TYPICAL GUY’S DREAM. IT TALKS ABOUT GIRLS, DRINKING AND HAVING THE TIME OF YOUR LIFE. IT’S VERY POETIC AND DRIFTS AROUND JUST LIKE A PERSON’S MIND WOULD INSIDE OF A DREAM. I PURPOSELY JUST WROTE DOWN THE FIRST THINGS THAT POPPED INTO MY HEAD. THE CHORUS TALKS ABOUT BUILDING SOMETHING BEAUTIFUL ONLY TO DESTROY IT. THIS IS A VERY PHILOSOPHICAL IDEA THAT I’VE PLAYED AROUND WITH FOR A LONG TIME. I WROTE MOST OF THE MUSIC IN FLORIDA WITH MY GOOD FRIEND [FORMER ADTR GUITARIST] TOM DENNEY. HE AND I WORKED ON THE MUSIC FOR THIS SONG, “THE BOY WHO COULD FLY” AND “THE SKY UNDER THE SEA.” LOVE YOU, TOM
MILLION DOLLAR HOUSES I WROTE THIS SONG AS A GIFT TO MY PARENTS. IT’S MEANT TO BE MY DAD TALKING TO MY MOM. MY DAD HAS WORKED VERY HARD HIS ENTIRE LIFE AS A PAINTING CONTRACTOR, STRUGGLING AND FIGHTING TO MAKE ENOUGH MONEY TO KEEP US GOING. WE RECENTLY HAD TO SELL OUR HOUSE BECAUSE THINGS WERE JUST GETTING TOO EXPENSIVE TO AFFORD ANYMORE. THIS SONG IS ABOUT HOW THROUGH ALL THE YEARS, MY MOM AND DAD HAVE NEVER LET MONEY TEAR THEM APART, AND NO MATTER HOW BAD THINGS GOT, THEY’VE ALWAYS HAD EACH OTHER. I STRONGLY EXPRESS MY HATRED FOR MONEY AND THE WAY IT SOMETIMES FUCKS WITH PEOPLE’S LIVES AND FAMILIES. ALL YOU NEED IS LOVE. THE BEATLES WERE RIGHT ALL ALONG. GO FIGURE.
THE SKY UNDER THE SEA THIS SONG IS SAYING HOW HE THINKS THAT SUICIDE IS SELFISH.
HELL ABOVE I WROTE THIS SONG FOR ALL OF OUR FANS WHO FEEL LIKE THEY DON’T HAVE A HOME OR A PLACE THAT THEY DON’T FIT IN. IT WAS ALL INSPIRED BY THE LETTERS, MESSAGES, AND CONVERSATIONS THAT WE’VE HAD WITH THEM OVER THE LAST COUPLE OF YEARS. IN THE CHORUS I SAY ‘THIS IS A WASTELAND, MY ONLY RETREAT. ’ I AM REFERRING TO THE SHOWS THAT WE PLAY AS A TEMPORARY HOME FOR THOSE WHO NEED IT. IT MAY NOT BE MUCH, BUT AT LEAST IT’S A PLACE WHERE WE CAN FORGET ABOUT OUR PROBLEMS FOR A LITTLE WHILE.
A MATCH INTO WATER I WROTE THIS SONG FOR MY EX-GIRLFRIEND WHO HAS BEEN FIGHTING BREAST CANCER. SHE RECENTLY FINISHED HER LAST CHEMO-THERAPY TREATMENT AND I WROTE THE LYRICS ABOUT HOW PROUD I AM OF HER FOR MAKING IT THROUGH ALL OF THE PAIN AND THE TREATMENT ALL ON HER OWN. SHE’S THE STRONGEST GIRL I’VE EVER KNOWN AND I AM INSPIRED BY HER EVERYDAY.
BULLS IN THE BRONX WHILE THEY WERE RECORDING, SOME KIDS TOLD VIC THAT A YOUNG GIRL (16) HAD JUST COMMITTED SUICIDE. THEY EXPLAINED THAT THE BAND MEANT A LOT TO HER AND SHE FELT THAT THEY SHOULD CONTACT THEM AND LET THEM KNOW WHAT HAD HAPPENED. ATTACHED TO THE MESSAGE WAS A LINK TO HER TUMBLR PAGE WHERE SHE HAD POSTED A VIDEO EXPLAINING WHY IT HAD ALL COME TO THIS AND BASICALLY SAYING HER GOODBYES. THE VIDEO HAUNTED VIC FOR WEEKS AND HE ENDED UP WRITING ABOUT HER EVERY ONCE IN A WHILE.
TANGLED IN THE GREAT ESCAPE THIS IS ABOUT VIC’S FRIEND WHO WAS/IS ADDICTED TO DRUGS AND HE WAS AFRAID HIS FRIEND WAS GOING TO DIE.
ONE HUNDRED SLEEPLESS NIGHTS THAT SONG IS ABOUT A GIRL THAT REALLY MEANS A LOT TO ME; KIND OF LIKE THAT GIRL YOU FEEL COULD BE “THE ONE. ” WE WERE KIND OF TOGETHER, BUT WE WEREN’T REALLY OFFICIAL. WE WERE BOTH STILL SEEING OTHER PEOPLE. SHE ENDED UP GETTING PREGNANT AND HAVING A BABY WITH SOMEONE ELSE. THAT KIND OF ENDED THE WHOLE THING. IT WAS AN INTENSE, CONFUSING EXPERIENCE FOR BOTH OF US. SHE’S A YOUNG MOM NOW AND I STILL REALLY CARE ABOUT HER, BUT SHE WAS WITH ANOTHER GUY. THAT SONG EXPLAINS THE NIGHT SHE TOLD ME WHAT HAPPENED AND WHAT WAS GOING TO HAPPEN.
HOLD ON TILL MAY A GIRL I USED TO DATE ONCE TOLD ME THAT HER PARENTS NEGLECTED HER AS A CHILD. SHE REMEMBERED CLIMBING THIS TREE IN HER BACKYARD AND HIDING FROM THEM JUST TO SEE IF THEY WOULD LOOK FOR HER, OR EVEN NOTICE THAT SHE WAS GONE. I ALWAYS THOUGHT IT WAS SUCH A SAD STORY AND I WROTE THIS SONG FOR HER. IT ALSO TALKS ABOUT THE UPS AND DOWNS IN THE RELATIONSHIP THAT WE’VE HAD RECENTLY.
Okay Echoes low key messed up my entire thought about Celica’s life before Ram so I might be canon divergent on this too. So Liprica was a priestess, presumably at the priory, that met Lima the IV and blah blah blah. Celica lived with her mother and the other wives and children in the villa until Liprica died from some unknown disease (I’m kind of leaning towards her being poisoned and them saying it was just a disease but that’s a story for a different day ). After that, Celica was probably around 5 or 6 before the villa burned down and Mycen saved her. When she had to leave again, Mycen took her to the place her mother lived at and to Nomah.
Alexander Hamilton?? was ur first crush??? ho w????
Okay sit down my dude I got a story to tell you.
So anybody with an elementary school teacher for a mom or dad knows that it’s PBS or die. Your tv is permanently on PBS, the station for PBS is the first station you fucking remember. But y’all know that if a break is coming up, your about to get the good shit on DVD or VCR (yeah- I said VCR I know what I’m about). I’m talking Between the Lions, SchoolHouse Rock, the good fucking shit.
So I’m bout 5 years old and my mom brings home Liberty’s Kids which is about these three little fuckers growing up and trying to be journalist during the American Revolution. So my mom pops that shit in and my life is IMMEDIATELY CHANGED.
First off, the theme song is a fucking bop. And it’s just a good fucking show. And then just when your like, “okay fun and educational.” this motherfucker Alexander Hamilton shows up and.
look at those jawbones, he’s a fucking qt.
So basically five year old me just immediately has a crush on this animation of this crusty ass dead guy. He’s only in like three episodes but just damn, that show was my shit. Who am I kidding Liberty’s kids still is my shit.
THE BIRTH (1920 - 1941. From pre-serum Steve toughing it out on the streets of Brooklyn to enlisting into the army and receiving the serum.)
american beauty / thomas newman ☆ thiskidsnotalright / awolnation ☆ get up / all good things ☆ luck / american authors ☆ america’s son / air review ☆ birth of a hero / two steps from hell ☆ the legend begins / audiomachine
THE RISE (1941-1945. Captain America has been born, and Steve Rogers’ blossoming relationship with Peggy Carter until he crashes the plane in the ice.)
a real hero / college ☆ believer / american authors ☆ beast / nico vega ☆ boogie woogie candy man / christina aguilera vs the andrews sisters ☆ i’m gonna be (500 miles) / sleeping at last ☆ the girl / city & colour ☆ we could happen / aj rafael ☆ when we first met / hellogoodbye ☆ accidentally in love / counting crows ☆ berlin / snow patrol ☆ young and beautiful / the bryan ferry orchestra ☆ we’ll meet again / vera lynn
THE FALL (1945-2011. The first two songs are Steve lost in the ice, the third song is Steve being found, and everything from thereon is him coming to terms with waking up nearly 70 years into the future.)
an ideal of hope / hans zimmer ☆ band of brothers requiem / michael kamen ☆ arrival of the birds & transformation / cinematic orchestra ☆ things we lost in the fire / bastille ☆ these streets / bastille ☆ lost in the world / kanye west ft. bon iver ☆ the war was in color / carbon leaf ☆ is it any wonder / keane ☆ world spins madly on / the weepies ☆ soldier on / the temper trap ☆ stay and defend / wolf gang ☆ look how far we’ve come / imagine dragons ☆ brother / x ambassadors
THE STAND (2012 - present. Captain America rises again in the wake of the Chitauri, the Kree, the Skrulls, the Civil War, and the Incursions. No matter the betrayal or torture or tribulations, he’s always going to stand up.)
coming home pt ii. / skylar grey ☆ always gold / radical face ☆ battle born / the killers ☆ choosing dauntless / junkie xi ☆ theme of captain america / marvel vs capcom 3 ☆ skyrim theme / jeremy soule ☆ atlas / coldplay ☆ trouble man / marvin gaye ☆ breathe of life / florence + the machine ☆ i see fire / ed sheeran ☆ soldier’s orders / akira yamaoka & melissa williamson ☆ iron (string) / woodkid ☆ lachrimae / audiomachine ☆ taking a stand / henry jackman ☆ my demons / starset ☆ overcome / oceans divide ☆ captain america march / alan silvestri
I was introduced to your music via the Animated Music Video everyone has fallen in love with, and after listening to the song 'Ghost' several times, I can't help wondering what the theme of the song actually is. I can assume from the lyrics, but I need to know for sure- Is the song Ghost really about suicide and depression? Or am I reading too much into it.
When I wrote that song I was living In Dallas where I had gone to High school and basically grown up. I was feeling super fucking stuck and decided to move to Los Angeles and so I packed up my car and without telling a single person I just left. Thats what the song is really about.
Life is mostly about proximity. Where you work, who you date, what you like, is often directly affected by whats in your direct proximity. If your life isn’t working change your proximity and your life will change.
Mr. Jefferson died tonight. He was suffering from a few things. Mostly just being an old cat. He killed a rat 2 weeks ago. I guess now, that he’s not around to hear it, I can tell you his first name, it’s Lou.
Lou is what his first owners called him. They didn’t love him very much, so we never called him Lou. It just felt wrong. Samantha named him Mr. Jefferson. She picked that name because he was basically a stray. So it was like Mr. Jefferson from the 80’s TV show, “The Jeffersons”. The theme song was like “Moving on up…” And it was about moving into a nice place / Improving you life, and since Mr. J. was basically homeless, Sam kept singing “Moving on up…” to him. We tried really hard not to have a cat. I didn’t want a pet. I didn’t want the responsibility and I didn’t want to buy meat-cat-food to feed him. It seemed weird to be a vegan/freegan and buy dead animals to feed another animal. And I also never wanted to find my self the situation I just found myself in a few hours ago.
In a Vet’s Office, being told that my cat is dying and that the only good thing to do for him was to send him away to cat hell or whatever. It was VERY VERY VERY VERY horrible. But, he was dying. I knew he was. I could feel it.
I had at least 13 lucky years with him and he made my life so MUCH BETTER. He was my best buddy, though all the changes and through all the people that came in and out of my life over the last 13 years, Mr. J. was always there for me, begging for butter, or clawing my face to wake me up.
Some facts: 1 People who are allergic to cats were not allergic to him. 2 He hated all other animals with a passion. 3 He only ever had one animal friend, a small kitten named Weezy. 4 Sam and I were in a band called the TROLLS and we Sam wrote a song about Mr. J. Called “DISOWNED” 5 Mr. J. Loved butter and Pizza. He would get excited when the Pizza Person delivered the pizza.
I buried him a few minutes ago under a huge rising moon in the backyard of the horrible shack that I recently bought.
I buried him wrapped in one of Sam’s old T'shirts, with catnip and his most recent toy and a bit of sage.
I buried him in a Doc Martens Shoe box, because Mr. J. was very punk… I think. He may have been a conservative. I’m not really sure.
Anyway, I am VERY SAD about this and I DO NOT WANT TO TALK ABOUT IT. Sorry. Mr. Jefferson is gone. I hate everything. Goodnight. -chris
GUESS WHAT I SAW TODAY?!?!? a Ladybug! AND you know what my immediate reaction was? I said, "Hello, my lady" in the most suave tone i didn't even know i had.. the heck? and then resumed to hum the theme song all the way to my dorm. ugh this show has taken over my life (in a good way though! lol
Me every time I see a ladybug, lol. XD My life is… just… red with black dots. Everywhere.