saw music

im so sick of katy perry’s stupid ass song being praised as like this holy grail of social justice (by whites and white gays in general) when it has the most minimalist of meaningful lyrics ive ever seen yet the entire concept of the lemonade album and formation were attacked for being attention seeking and just using issues to get attention but anyway

5

봄날 / spring day - bts (lyrics)

Alright I’ve already seen criticism that Percy has not been cast as a twelve-year-old and I’m going to list two good reasons why he’s not:

1) Child Labor Laws. For the musical Matilda they had to cast four girls to play one role so that they didn’t overwork them. They could do that here, except you have many, many twelve-year-olds to cast. Quadruple that amount, at least for the leads, and thats a lot of extra money to pay. It’s easier to just hire a few adult actors.

2) They would have to cast a girl to play Percy, or at least not a cis boy. Because twelve-year-old cis boys are just at the beginning of puberty, and you know what happens then? Their voices drop. Often, overnight. Imagine if the kid’s voice droppedjn the middle if a preformance? You know how hard it is to sing when your voice ISN’T on the fritz because of hormones? Cause I do.

It is so much easier to hire an adult, especially for a live musical. Movies, you can get around stuff like that, because it'a not filmed in order. You can film with your child actors up to the limit each day and make a movie in a decent amount of time, movies have no excuse. Live musicals are harder to make, they have to preform EVERY NIGHT. Usually MULTIPLE TIMES. Give them credit for the work they’ve done so far!

8

Because I miss you, my friend. 

Things from musicals that are so perfect they are borderline erotic

When Jonathan Groff first comes in in The Bitch of Living.
Timothy Omundson’s voice in Goodnight My Friend. Also in Finally.
The third and fourth “burn"s in Burn and like Phillipa Soo’s voice all the time. Shoutout to the final "mine” too; that’s gorgeous.
Pia Douwes’s voice, and how it is somehow simultaneously smooth and pure and beautifully rough.
The harmonies at the end of Make Up Your Mind/Catch Me I’m Falling.
“Would you think so badly of me” in Sonya and Natasha.
That thing in The Bitch of Living when they are all jumping around chaotically and then suddenly are frozen singing “oh, who knoooooowwwwws?” (start at 2:40 for the full effect)
That thing Karen David does in like every song in Galavant where her voice changes pitch slightly and damn.
The way “sadness” is sung in Don’t Do Sadness.
The harmonies in Boote in Der Nacht.
Magaldi’s verse in On This Night of a Thousand Stars.
When Eva starts singing in High Flying Adored.
Natasha singing both “nothing, it was nothing, I didn’t lead him on at all” and “back in the theatre full of light” in Natasha Lost.
How syrupy and rich Jasmine Cephas Jones’ voice is in Say No to This.
That part of Seventeen when JD and Veronica are singing “seventeen” together and he’s singing higher than her.
The end of My Eyes. Vocally, and the choreography.
Everything about Sophie McShera’s voice, especially when she’s singing her parts of A Happy Ending for Us.
The slight roughness in John Gallagher Jr.’s voice.
How drowsy and sexy Idina Menzel’s voice is in As Long As You’re Mine.
Also when she sings “it well may be” in For Good. (It’s nice for different reasons of course.)
Chris Jackson’s voice in One Last Time. And in every other song.