#lyrics of superstar by carpenters

[martitheevans]

don't you remember you told me you loved me babyyyyy. Said you'd be coming back this way againnn baby. baby baby babbyy ohhh babyyyyy. I loooove you. I really do.

[calicoheartz]

need need need something about Caitlin dating a famous popstar, think Sabrina carpenter

☆ espresso ; Caitlin Clark

summary : caitlin clark x pop star reader!

synopsis : you are the music scenes next hot thing , who happens to be dating worldwide famous wnba player (set a tiny bit into the future)

warnings : tiniest bit suggestive if you squint , pure fluff !

my master list ㇀♡

a/n: thank you to the lovely person who suggested this! i changed some of the lyrics in the song for it to make sense but it shouldn’t be too noticeable. Enjoy ◡̈

You were the music industry’s next hot thing. From performing at smaller venues, to headlining at Coachella; you were everywhere. Along with your wnba superstar, Caitlin Clark.

The two of you had met while you were preforming a gig at a local bar , a little right before you got your big break. Ever since then, the two of you had been inseparable. Both instantly drawn to each others passion and drive for your careers.

But with Caitlin’s demanding basketball schedule and your international shows and tours , maintaining your relationship proved to be a challenge. Only relying on calls , texts , and surprise visits whenever you can to steal a moment together amidst your busy lives.

It had been almost 3 weeks since you’ve seen your loving girlfriend. With the wnba draft and Coachella starting to kick off, the universe was simply pulling you two away from eachother.

You were sitting in your dressing room , preparing to go on stage to kick off the second weekend at the bustling festival , the biggest festival of the year for that matter. Your nerves were practically eating you alive, you knew she would be in audience. You toyed with your hair as your makeup artist finished the final touches of your look , as you fidgeted with the hem of your skirt. The skirt that perfectly hugged your curves , delicately adorned with lace and bows , your signature look.

You soon snapped back to reality, with the cheers from the audience slowly making its way into your mind. There was no doubt in your mind that this was the moment that could make or break your career. You planned on preforming your newly released song espresso , as a way to give your girlfriend a little treat on her first day back.

You made your way to the stage , sporting your signature beach waves and skimpy clothes, the intro to the song soon began and your eyes darted across the crowd. Begging to meet with the one pair of eyes you can call her own.

You hear the crowd begin to chant your name , you lock eyes with Caitlin briefly, sending a smirk your way. Prompting you to slowly begin to sway your hips as you begin to sing..

❝ now she’s thinkin’ ‘bout me every night oh, is it that sweet? I guess so ❞

you turn towards caitlin , seeing a big grin on her face , as she very well knows the melodic tune is referencing your whirlwind romance. Your hips continue to sway as the lyrics danced off the tip of your tongue , hitting every note in the process.

❝ And i got this one girl

And she won’t stop calling

when they act this way..

I know i got ‘em ! ❞

The crowd begins to scream , noticing your small wink towards caitlin , making it painfully obvious of your ode to her throughout the song

As the lyrics then again roll off your tongue like sweet honey, you continue to prance around the stage earning gasps and applause from the audience, and most importantly; a hungry gaze from your girlfriend. Her eyes practically undressed you as they wandered from your hips to your face, and vice versa. You immediately felt butterflies in your stomach, it had been so long since shes looked at you with those eyes. And as much as you wanted to jump off the stage and into her arms, you only had to finish the rest of the chorus and verse before concluding your set.

You began…

❝ I'm working late 'cause I'm a singer…Oh, she looks so cute wrapped around my finger! ❞

The music continues and you feel as if you are on cloud nine. If this doesnt fully establish your relationship with cait, then youre not sure what will. You practically feel her eyes burning into you as you resume your soft sways, slowly becoming more provocative as you reach near the end of the song. You hair slowly flows with the gentle breeze, as you shoot a glance towards your girlfriend, receiving a approving nod in return. You hear your cue, and make your way to the front to face the audience head on, you quickly hit your iconic signature pose while belting

❝ Mmm, that's that me espresso❞

And the audience erupts with claps and chants as you quickly exit the stage, locking eyes with your manager who signals you to head to the back. As you make your way down there, you feel a strong and warming embrace wrapped around your hips, with soft kisses peppering your neck. “Cait!” you squealed, unable to hide your excitement to see the brunette, she grins at your reaction, snaking her arm beneath you as she slowly begins to carry you to your dressing room.

She soon gently puts you down, as she gently begins caressing your cheek. “You did amazing” she muttered, “everytime you preform you never refuse to amaze me with the amount of talent that you have-” you cut her off with a deep and tender kiss, tasting the mango flavored lipbalm that glistened on her lips.

You giggle, simply muttering , youre my honey bee.. Come get this pollen ;)

anywaysss this is my go at pop star reader x cc !! tbh i feel like this is train wreck but you be the judge of that! tysm for reading 🎀

[retropopcult]

"Superstar" is a song written by Bonnie Bramlett and Leon Russell in 1969, performed by various artists but by far the most popular version was recorded by the Carpenters in February 1971.

Rita Coolidge came up with the original song idea, based on observing the relationships of female groupies with rock stars in the late 1960s; in its first recorded incarnation, the song was called "Groupie (Superstar)" by Delaney & Bonnie.

Richard Carpenter became aware of the song after watching Bette Midler sing it on the February 15, 1971 edition of The Tonight Show with Johnny Carson and quickly obtained a recording to play for his sister Karen. Intrigued, they both thought they could put a new spin on it; Because the original subject matter of the song was more risqué than was typical for them, Richard changed a lyric in the second verse from "And I can hardly wait/To sleep with you again" to the less suggestive "And I can hardly wait/To be with you again." Karen was very moved by the idea and mood of the song, and laid down her haunting vocals in a single take.

Her version of the song was widely praised for its intensity and emotional nature.  The duo decided to include it in their next album Carpenters. The single quickly climbed the charts to #2 on the Billboard Hot 100 in the US but was unable to dislodge Rod Stewart's "Maggie May" from the top spot.

[myugabeon]

지저스 크라이스트 수퍼스타 // Jesus Christ Superstar

마음 속의 천국 // Heaven on Their Minds

YouTube: 뮤지컬 지저스 크라이스트 수퍼스타 뮤직비디오 공개! 최재림 - Heaven On Their Minds (마음 속의 천국)

가사ㆍ번역 // Lyrics & translation

모든게 분명해

결국 당신은 마지막 결정을 내렸어

인간의 몸을 벗어 던지고

신이 될 결정을 내렸어

지저스

Everything is clear

At last you have made your final decision

The decision to throw off your human body

And become a god

Jesus

당신을 신이라 외치는 말들에

당신은 미쳤어 더 무얼 원하나

수많은 기적을 이룩한 이 순간

모든걸 다 버리고 왜 죽으려 하나

These cries that you're a god

Have made you lose your mind. What more do you want?

At this moment when you've achieved countless miracles

Why do you want to throw it all away and die?

지저스 제발 이건 말도 안돼

난 결코 당신 뜻 이해못해

난 다 보여 당신이 가려 하는 그 길이

결국 시작 된건가

하늘이 예언한 메시아

배신 당해 죽어야 할 운명

Jesus, please, this doesn't make sense

I can't understand your intentions

I see it all, the path you're trying to walk

Has it finally begun?

As a messiah prophesied by Heaven,

Your fate is to be betrayed and die?¹

우리 함께 꿈 꾼 그 모든건

신보다 위대한 인간의 길

난 아직도 그 뜻을 굳게 믿고 있는데

왜 다 버리려 하나

왜 하필 이 선택인가

배신당해 죽어야 할 운명

Everything we've dreamed together

A path for a man greater than God²

I still firmly believe in that, but

Why do you want to throw it all away?

Why, of all things, this choice?

Your fate to be betrayed and die

나사렛의 목수인 아버지와 같은 삶

택했다면 차라리 현명했지

의자 따위 만들던 예수는 어디로 가고

위험하신 혁명가 되버렸나

It would have been wiser had you instead chosen

A life like your father's, a carpenter in Nazareth

Would a Jesus who made chairs and such have gone anywhere³

And become a dangerous revolutionary?

지저스 지금 여기 생각해봐

결국 빼앗긴 우리의 땅

짓밟힌 채로 피흘려 고통받는 우리를

저기 침략자들과 당신 목숨 건 거래

이 선택은 너무 위험해

너무나 위험해

Jesus, think, here and now:

Our land that has in the end been stolen

We who have been trampled, who are bloodied and suffering

This business with our occupiers, with your life in the balance⁴

This choice is too dangerous

Far too dangerous

지저스 우린 여길 지켜야해

우린 이겨내고 살아야 해

당신 선택 멈추고 다시 한번 생각해

지친 사람들 모두 헛된 천국 생각뿐

이 선택은 너무 위험해

너무나 위험해

Jesus, we need to defend here

We need to overcome and live

Put a stop to your choice, think it over again

All these weary people think only of a false Heaven

This choice is too dangerous

Far too dangerous

메시아 따윈 다 잊어버려

남겨진 우릴 기억해줘

지저스 우린 여길 지켜야해

우린 이겨내고 살아야 해

다시 생각해 제발

지저스

Forget all this messiah nonsense

Remember those of us left behind

Jesus, we need to defend here

We need to overcome and live

Think it over again, please

Jesus

주석ㆍ소감 // Notes & Thoughts

1. Judas makes it clear here that he knows Jesus will be betrayed and die as a result, which possibly suggests the interpretation where Jesus came to him and told him what was going to happen. However, Judas doesn't clarify if he knows that he will be the one to actually do it.

2. Original is literally something like "greater than god, human path". I'm not sure if means a path for humanity being greater than (can be achieved through) God, or if it refers to Jesus as a man being greater than Jesus as a god.

3. Here Judas refers to Jesus as 예수 (yesu), the typical Korean name for Jesus, instead of 지저스 (jijeoseu), which they normally use in this show. What does it mean?!

4. Original is literally something like "with occupiers over there, deal(ings) upon which your life hangs". Not sure if this means a deal has been made, or if it just means dealings in general.

[its-just-hyper]

Music make me gain control

*Annihilates your immortal soul*

Boss dead, Level clear, Where do I go from here?

Walk home, Try to eat, I'm not hungry, Go to sleep

I can't sleep, Lie in bed, Think about what bad guy said

"Even if you did defeat me, what would you do then?”

Online course, Back to school, Pass the bar, Superstar!

Sue a guy, Win big, Walk home, Try to sleep

Level Clear!

Lie in bed, Think about what bad guy said

"Even if you did defeat me, what would you do then?"

Buy a ticket, See the world, Move to Spain, meet a girl, fall in love, have four kids. Learn the joy a family gives

Live my life, Love my wife, Share a bed every night, Still can't sleep, Lie in bed

Level Clear!

Start again

Isaiah Rashad 'Heavenly Father' Official Lyrics & Meaning | Genius Verified

Raise money, Charity, Save the whales, save the trees, save the bees, save all life, win the Nobel Peace Prize

Preach that kindness is an art, live in all of mankind's heart, Try to sleep, Lie in bed

Level clear!

Start again

Alright

Thank you

Hadouken

You win

"Even if you did defeat me, what would you do then?"

Grab a guy, Beat him up, Threaten his life, Take his stuff

Fight more people take their shit

Start a crime syndicate

Deal some drugs to kids

Hide some bodies in a fridge

Get killed by my second in command

Level clear

Start again

Still can't sleep, Lie in bed

Ready? GO!

Look to god say wow preach the book and make the vow

Leader of the whole congregation

Level clear!

Start again

Train in 9Gs, space trip

Three years in a rocket ship

Be the first player on Saturn

Level clear!

Start again

Practice medicine pay my fees

Raise awareness around Cheese Knees

Cure the famous deadly Cheese Knees disease

Don't even try to sleep

TikTok live stream take a big ball of ham

Put it in my mouth, get a lot of likes, subscribes hashtag Ham Guy

Level clear!

Start again

Train that body 7 days a week, protein cardio, Level up!, no sleep

Become the greatest sportsman in the world!

Golf, Tennis, Race car Driver, Olympian, umpire

Level clear!

Plumber, Carpenter, Composer, Doctor, Builder

Level clear!

Fighter, Painter, Royal family negotiator

Level clear!

I forgot break dancer, Turtle killer f-freelancer

Level clear!

Astronaut, Indentured cleaner on a beach resort

Alright!

Thank you!

Hadouken

You win

"Even if you did defeat me, what would you do then?"

Alright!

Thank you

H-H-Hadouken

You win

"Even if you did defeat me, what would you do then?"

[hummingbee-lievable]

Song of the Day #13:

'Loose Lips' by Kimya Dawson (released 2004).

So if you wanna burn yourself, remember that I love you

And if you wanna cut yourself, remember that I love you

And if you wanna kill yourself, remember that I love you

Call me up before your dead, we can make some plans instead

Track #2 on 'Remember That I Love You' and track #8 on the 'Juno' soundtrack.

Fun fact: Kimya Dawson is very proactive in the LGBTQ+ society, even going so far as to share their preferred pronouns: 'she/they/grandpa'.*

Personal blurb: I have a playlist (are you sensing a theme) for when I'm feeling broken, or actually more for when my friends are feeling the way, and I pick songs to send them from it. For the aforementioned lyrics, this is one of them. I will be honest, the sound isn't totally my preference, there's something about the melody that doesn't reach me, at least, not now (music taste is an unreliable and morphic friend).

This is from the 'Juno' soundtrack, a movie I've loved for a long time, and the whole soundtrack is this wild and chaotic creature. The whole movie carries with it with this strange sense of reality that is so real it feels warped as a result. It is a wonderful movie, and the songs in it include such wonders as: 'Tire Swing' (also by Kimya Dawson), which I love for being that same kind of strangeness that makes the movie endearing.

'Anyone Else But You' by their band, The Moldy Peaches, which Michael Cera (who has unexpectedly beautiful and fun music sense, highly recommend the song 'Clay Pigeons') and Elliot Page covered.

'All I Want Is You' by Barry Louis Polisar which I love dearly for being one of the few songs I know whose meoldy fits the lyrics so exactly. Every time I listen to it, the into with 'If I was a flower growing wild and free/All I'd want is you to be my sweet honey bee' conjures that exact image in my head.

The Kinks' 'A Well Respected Man' which will always have a space in my heart for being one of those songs that embraces the drivel of daily life and makes it more. I love the energy and desperation of the song.

Belle & Sebastian's 'Piazza, New York Catcher' which has such a fun beat and lyrics.

Sonic Youth's version of The Carpenter's 'Superstar', which is fanatic and Sonic Youth gets extra points for being the band I do to when I need to feel, right next to System of a Down.

Cat Power's 'Sea of Love', and she is just wonderful, highly recommend her 'Crossbones Style'. She did some covers of Bob Dylan sons, too. Love her soft, intense style.

Lastly, 'I'm Sticking With You' by the Velvet Underground, my favourite version of which is an outtake on their album 'The Velvet Underground Loaded'. I could listen to that and 'Heroin' any time, any day, and get something new out of it.

These are just some of my favourites. The whole soundtrack is so fun for me to listen to, when I'm in a very specific mood. There are certain movie soundtracks where it almost feels wrong to listen to individual songs in it without listening to the whole thing, like the 'Garden State' soundtrack, or the one from 'O' Brother Where Art Thou', or 'Donnie Darko', or 'City of Angels' (which I actually don't like, but I loved the music in it). Or literally any movie that Michael Nyman, Harold Shore, and John Williams has composed in.

Do you have a soundtrack where, when you hear one song from it, you have to listen to the whole thing?

*Reference:

[dan6085]

The Carpenters, consisting of siblings Karen and Richard Carpenter, left an indelible mark on the music industry with their smooth vocals, impeccable harmonies, and timeless melodies. While it's challenging to select just 20 songs from their extensive discography, here's a list of some of their top songs, along with details about their significance and impact:

1. **"Close to You" (1970):** This song became The Carpenters' breakthrough hit, reaching No. 1 on the Billboard Hot 100. Its sweet lyrics and Karen Carpenter's distinct voice captured the hearts of listeners.

2. **"We've Only Just Begun" (1970):** Known for its association with weddings, this song's optimism and promise of new beginnings resonated with audiences, making it one of their signature tunes.

3. **"Rainy Days and Mondays" (1971):** Reflecting on feelings of melancholy, this song showcased Karen Carpenter's emotive vocals and Richard Carpenter's skillful production.

4. **"Top of the World" (1972):** With an upbeat melody and catchy chorus, this song became one of The Carpenters' most memorable hits, reaching No. 1 on the charts.

5. **"Superstar" (1971):** Originally written by Bonnie Bramlett and Leon Russell, The Carpenters' version of this song highlighted Karen Carpenter's ability to convey emotion, earning it a special place in their repertoire.

6. **"Yesterday Once More" (1973):** A nostalgic ode to music's power to evoke memories, this song celebrated the sounds of the past while showcasing The Carpenters' vocal and instrumental prowess.

7. **"(They Long to Be) Close to You" (1970):** A reprise of their earlier hit, this song became a fan favorite, underscoring The Carpenters' knack for delivering heartfelt performances.

8. **"Goodbye to Love" (1972):** This rock-tinged track stood out from their usual style, demonstrating their versatility and ability to experiment with different musical genres.

9. **"Merry Christmas, Darling" (1970):** An enduring holiday classic, this song captures the warmth and sentiment of the Christmas season, and it remains a beloved part of festive playlists.

10. **"I Won't Last a Day Without You" (1974):** Karen Carpenter's soulful rendition of this song conveyed vulnerability and emotional depth, making it a standout in their catalog.

11. **"For All We Know" (1970):** Winning an Academy Award for Best Original Song, this track's inclusion in the film "Lovers and Other Strangers" further solidified The Carpenters' reputation.

12. **"Sing" (1973):** This uplifting song embodies The Carpenters' message of unity and harmony, serving as a testament to their enduring appeal.

13. **"Jambalaya (On the Bayou)" (1973):** The Carpenters' rendition of this Hank Williams classic showcased their ability to put their own spin on well-known songs.

14. **"Please Mr. Postman" (1974):** A cover of The Marvelettes' hit, this song demonstrated The Carpenters' skill in reimagining and revitalizing older tunes.

15. **"Only Yesterday" (1975):** A reflection on the passage of time, this song resonated with listeners and continued The Carpenters' streak of chart-topping hits.

16. **"Touch Me When We're Dancing" (1981):** Released towards the later years of their career, this track maintained The Carpenters' trademark sound and connected with their loyal fan base.

17. **"A Song for You" (1972):** This heartfelt ballad showcased Karen Carpenter's ability to convey complex emotions, solidifying her reputation as a vocal powerhouse.

18. **"Love Me for What I Am" (1973):** Embracing themes of self-acceptance, this song underscored The Carpenters' ability to convey relatable and poignant messages through their music.

19. **"This Masquerade" (1973):** This jazzy track highlighted Richard Carpenter's musical arrangements and Karen Carpenter's vocal versatility.

20. **"Hurting Each Other" (1972):** Showcasing their gift for delivering emotionally resonant performances, this song further emphasized The Carpenters' ability to connect with audiences.

Let's delve deeper into some of The Carpenters' iconic songs, exploring their impact, background, and the emotions they evoke:

1. **"Close to You" (1970):** Written by Burt Bacharach and Hal David, this song's success marked a turning point in The Carpenters' career, launching them into stardom. Its charming melody and Karen Carpenter's warm vocals created an unforgettable track that resonated with listeners worldwide.

2. **"We've Only Just Begun" (1970):** Originally a bank commercial jingle, Richard Carpenter reimagined it into a heartfelt love song that became a wedding favorite. Its message of hope and the promise of a bright future captured the hearts of couples and remains a cherished classic.

3. **"Rainy Days and Mondays" (1971):** Written by Paul Williams and Roger Nichols, this melancholic tune encapsulates feelings of isolation and longing. Karen Carpenter's poignant delivery strikes a chord with anyone who has experienced a rainy day mood.

4. **"Top of the World" (1972):** A feel-good anthem, this song's upbeat tempo and Karen Carpenter's radiant vocals embody a sense of joy and exuberance. Its universal appeal and catchy melody contributed to its chart-topping success.

5. **"Superstar" (1971):** Karen Carpenter's haunting rendition of this song captures the ache of unrequited love. Her emotional depth and vulnerability shine through, making it an unforgettable portrayal of longing and heartbreak.

6. **"Yesterday Once More" (1973):** Celebrating the power of music to evoke memories, this song features a medley of nostalgic tunes. Its intricate harmonies and homage to the past resonate with listeners of all ages, connecting them to their own memories.

7. **"Goodbye to Love" (1972):** Standing out with its rock-inspired guitar solo, this track showcases The Carpenters' willingness to experiment while maintaining their signature sound. The juxtaposition of vulnerability and assertiveness makes it a unique addition to their repertoire.

8. **"Merry Christmas, Darling" (1970):** An essential part of holiday playlists, this song captures the warmth and longing of the Christmas season. Its enduring popularity is a testament to The Carpenters' ability to infuse emotion into their music.

9. **"I Won't Last a Day Without You" (1974):** Karen Carpenter's emotional delivery in this song conveys a sense of dependence and love. The delicate orchestration complements her vocals, resulting in a moving and relatable track.

10. **"A Song for You" (1972):** Often regarded as a masterpiece, this ballad showcases Richard Carpenter's intricate piano work and Karen Carpenter's soulful vocals. Its depth and complexity have cemented its place as one of The Carpenters' most beloved songs.

11. **"Only Yesterday" (1975):** Reflecting on memories and the passage of time, this song captures a sense of nostalgia and introspection. Karen Carpenter's emotive vocals make it a standout in their later catalog.

12. **"Touch Me When We're Dancing" (1981):** Released in the final years of their career, this track retains the timeless quality of their earlier hits. Its gentle melody and Karen Carpenter's vocals provide a sense of comfort and familiarity.

The Carpenters' ability to convey emotions, whether it's longing, joy, heartbreak, or nostalgia, sets them apart as musical storytellers. Their songs remain a testament to their talent, resonating with listeners across generations and continuing to leave a lasting impact on the world of music.

The Carpenters' music continues to evoke emotions, inspire nostalgia, and captivate listeners around the world. Their distinctive sound, coupled with their memorable hits, has left an enduring legacy that spans generations. From their early success to their lasting influence, The Carpenters' songs remain timeless treasures in the world of music.

[newmusicradionetwork]

Pop Sensation Sapphire Releases new Single “Love Again? ‘’

Pop newcomer artist Sapphire is set to captivate audiences worldwide with her highly anticipated new single, “Love Again? ‘’ The track has already garnered significant attention, being named BBC Radio 1’s ‘Poppest Record of the Week’ and BBC Introducing’s ‘Record of the Week’ in the South of England. Sapphire’s undeniable talent and mesmerizing vocals have propelled her into the spotlight as a force to be reckoned with in the music industry. “Love Again” showcases her ability to craft  pop melodies that resonate deeply with listeners. The song’s heartfelt lyrics provide a relatable and uplifting experience that speaks to the universal theme of finding love and hope after heartbreak.  Sapphire’s distinctive sound sets her apart from her contemporaries.   Her previous releases have received critical acclaim, and “Love Again” promises to be another milestone in her burgeoning career.  Sapphire shares: ‘‘love again?’’is a song I wrote using a journal entry I wrote in the studio. I had so many thoughts and emotions spirally in my head that I needed to let out. Every lyric in this song was taken from the scribbles in that notebook.  I’ve waited a long time to show my fans this new era of my music. It’s the most vulnerable & honest I’ve ever been, and hopefully my fans will be screaming the lyrics at the top of their lungs. It is truly humbling to see the positive response from listeners, and I am excited to share more of my music with the world.” “Love Again” is now available on all major streaming platforms and promises to be an anthem of resilience and renewed hope for fans worldwide.  About Sapphire Pop-Newcomer SAPPHIRE has been in the public eye since age 7, initially launching her music career on YouTube, and garnering over 100m streams for her music and cover video series. With a social media estate of now over 1m fans across YT/IG/TikTok, SAPPHIRE has carved out her own brand of hybrid commercial pop, that blends classic relatable songwriting, harmonies and contemporary sonics; taking influence from peers such as Sabrina Carpenter, Lennon Stella and Madison Beer.  At just 20-years-old, 2023 sees the planned release of SAPPHIRE’s original EP, working with producers/writers Cashy Bear, Matt Wills, and Alex Stacey. This follows SAPPHIRE’s highly successful ‘Eddie’s Song’ that put SAPPHIRE in the TikTok Viral Sounds with millions of global views.  SAPPHIRE has amassed a global audience, with fans across Europe, USA, Asia and LATAM (Brazil). And has collaborated and written with other artists, such as superstar DJ/Producer Alan Walker, having penned and sung the topline for single ‘Unity’, a record that’s culminated over 100 Million streams to date across digital services. www.sapphireofficial.com Read the full article

[lyricdude]

[cherryinterrupt]

I fell in love with you before the second show Your guitar, it sounds so sweet and clear But you're not really here, it's just the radio

Superstar - Carpenters

[lyricallymnded]

superstar // carpenters

[cloudabserk]

dean as a metaphorical carpenter. first set of lyrics is judas’s song “heaven on their minds” in jesus christ superstar, second is “if i were a carpenter” by johnny cash.

[tillidontneedfantasy]

‘emails i can’t send’ - Sabrina Carpenter REVIEW: a star’s stream of consciousness

On Sabrina Carpenter’s fifth studio album, emails i can’t send, the former Disney star has a variety of songs where she deftly balances between taking and not taking herself seriously. She knows how to have fun but does not shy away from discomfort. While the album has a handful of great pop tracks, her sound is confused, feeling more like a copy of its influences rather than a byproduct. 

STRONGEST TRACK(S): “emails I can’t send,” “Tornado Warnings”

Carpenter is at her best when she is writing confessionally. “emails i can’t send,” the opening and titular track, is a short song about how her father’s infidelity has negatively impacted her ability to trust and feel secure in her relationships with men. Many people can relate to such an experience, and is a profound way to begin an album about relationships and honesty. 

Part of that honesty is admitting dishonesty. On “Tornado Warnings,” she reflects on why she might be lying to her therapist. When you tell your therapist something, you’re in tandem being forced to face it yourself, to acknowledge your own feelings and mistakes, which she is not yet able to do with this relationship. “I deserve an hour in a week to focus on my thoughts / not so obsessed with yours, I can’t hear myself speak,” she sings, showing how much he’s infiltrating her safe space, and yet, she likes it. The stream of consciousness of both of these songs feel like a therapy session, which is why they work so strongly here. Maybe she lied to her therapist, but at least she’s being truthful with the listener.

WEAKEST TRACK: “how many things”

The first lyric of this song is, “You used a fork once / it turns out forks are fucking everywhere.” I mean, enough said, right? She could’ve used literally any other object and maybe it would’ve worked. While the sentiment she is trying to portray makes sense in theory, it just doesn’t land at all, and feels like false profundity. 

THE IN-BETWEENS

Another song where Sabrina’s execution of an idea doesn’t work as intended is on “skinny dipping,” where the stylistic choice of the verses was clearly meant to feel conversational and bring something unique to the track, but just feels bland and out of place in comparison to the rest of the song, which does work quite well and has a lovely ache to it. Otherwise, the album has a good number of appealing songs, where influences such as Ariana Grande, Billie Eilish, and Kacey Musgraves stand out on upbeat tracks like “bet u wanna” and “Already Over.” Her two latest singles, “Vicious” (which sounds almost identical to Selena Gomez’s “Bad Liar”) and “because i liked a boy,” are both strong songs that address her previous relationship with actor and singer-songwriter Joshua Bassett, and the fallout of the public painting an unkind picture of them as a result of the passionate response to Olivia Rodrigo’s Grammy-winning Sour album (most of which is presumedly about Bassett, making Carpenter the “blonde girl” mentioned in the smash hit “drivers license.”) The latter explores how internet culture and the power of anonymity can negatively impact someone so, sending people death threats because of a narrative they want to create for their entertainment. The entertainment of music shouldn’t be picking apart the supposed subjects of a song, but rather relating to its content and immersing in the feeling instead of projecting onto strangers. The conviction in Sabrina’s voice as she sings “now I’m a home wrecker, I’m a slut” exemplifies her ability to overcome the situation by taking her power and voice back (in a much more effective way than her attempted 2021 single “Skin”).

BEST PROSPECTIVE SINGLE: “Nonsense”

“Nonsense” acts as both one of the strongest songs on the album and one of the least original. The track feels like a direct cut from Ariana Grande’s 2020 album positions; even her vocal tone and techniques imitate that of the superstar almost perfectly. If I don’t think too much about it, I think I’m listening to Ariana. All that being said, perhaps that’s why the song works so well. It is fun and infectious and would do really well on pop radio. And when she cleverly sings, “When you got your arms around me / Oh it feels so good I had to jump the octave,” it truly does feel so good. 

***

emails i can’t send is perhaps Carpenter’s most vulnerable project to date. The closing track “decode” is a nice bookend to the title track, the need not to leave a single stone unturned engrained in her by her father’s betrayal, has her racking her brain to decode every little thing that remains in the ashes of this relationship. But finally, “there’s nothing left here to decode,” she concludes. And with everything in the emails she can’t send that she’s published in these songs, there’s nothing left for us to decode either. Grade: 3/5

DISCLAIMER - REVIEWER’S BIAS: I’ve known who Sabrina is since the ill-fated Girl Meets World, of which she was the true breakout star, and have been rooting for her on the sidelines since. I think she is a very talented young woman who did not deserve the internet’s vitriol towards her last year, and has done a better job at addressing it this time through this album as opposed to what she tried to do with “Skin.”  Overall, she has great vocal ability and you can see she has the songwriting chops there, but despite this being her 5th album I feel like she still has yet to discover her own true sound. It feels like a lot of borrowing, which of course, all music is to an extent, but not in a way where I feel like I could identify like, “Oh, that sounds like a Sabrina Carpenter song.” I think the more she practices and continues to write the closer she’ll get to finding it.

[cakeemoji]

giving the obey me brothers music headcanons based on the artists i listen/listened to (because why not?)

i just want to put a disclaimer that this is all based on how i view the boys and the kind of music i think they'd listen to (essentially, it's just me projecting)! just a heads up; the artists/songs/albums that are linked lead to spotify if you'd like to check them out yourself. anyways i'm always open to your thoughts, so feel free to add on ^_^

LUCIFER

so, we all know it's canon that he enjoys listening to classical music

(i like to think of big musicians such as beethoven, chopin, and tchaikovsky just to name a few. do you guys think there are any classical composers from the devildom? there might as well be a demonfied vivaldi lurking around somewhere)

but i ALSO believe he'd enjoy 80's alternative kind of songs (old music for an old man haha <- guys this is a joke)

something similar to the vibes holden laurence's cover me in roses has

or something slow and melodic, lyrics with meaning like carpenter's superstar

songs like love boat, can't take my eyes off you, and copacabana are his jams!

OH he'd be an ABBA stan too like 100 percent

MAMMON

now i know nothing about hypmic EXCEPT i think their songs go hard. if i said mammon would enjoy their music would you guys yell at me

anyways, the kind of music he'd be into are ones similar to his character song! so i'd say hip-hop and r&b kind of music

unfortunately, i don't listen to a lot of hip-hop / r&b so i can't really come up with any examples BUT i think insane clown posse is a fun duo

BUT i think he'd listen to whatever he vibes with. i like to associate that "whatever" with something like chase atlantic's swim or 3OH!3's DONTTRUSTME

songs with an outgoing energetic beat (like cobra starship's pete wentz is the only reason we're famous or i guess the entire hot mess album in general) have his heart

party / clubbing music basically.

and songs with a jazzy feel, like just the two of us, is another kind of style he enjoys!

i strongly believe he'd be a bruno mars enthusiast (treasure would be his favourite song because it reminds him of a person he likes!). idk it's just a hunch

LEVIATHAN

i think you and i can agree that levi listens to anime openings / endings and video game OSTs

from the top of my head, i would say stuff like TWEWY's ost and catch you catch me from cardcaptor sakura

(cardcaptor sakura reminds me a lot of ruri-chan too like they're both magical girls and have an adorable little companion.. what more can i say?)

i also think he's picky with his music? like, he'll only listen to certain tracks if they speak to him emotionally and how much of an impact they had on him in an episode / game

hence why this specific song from given is one of his top songs as of right now (source: me).

OH he would also be a kpop / jpop stan !! he adores bands like radwimps and official hige dandism

listen. he can appreciate good music BUT if he can't come up with an extraordinary animatic to a song in his head, he doesn't want it.

SATAN

you know, i used to say, "satan is a theatre kid" AS A JOKE. but bro.. i don't think it's a joke anymore...

anyways, his favourite musical as of right now is the guy who didn't like musicals

with that out of the way, i think satan is pretty flexible with his music choice. he'll listen to anything

like his rebellious phase got him into the "holy emo trinity" (aka my chemical romance, fall out boy and panic! at the disco)

((speaking of patd, he's a PRE-SPLIT panic fan. she had the world is his favourite song!))

HE'S MOVED ON THOUGH. he's like a numetal fan now (if i say i see him as a slipknot fan would you let me breathe)

he also likes the hush sound, the young veins and dirt poor robins

some songs i think he would enjoy are miracle musical's dream sweet in sea major, falling in love at a coffee shop by landon pigg, jhariah's the great tale of how i ruined it all and love at first sight by the brobecks

he especially adores albums and songs that follow a storyline (lyricism in songs is extremely important to him — he enjoys analyzing and picking apart at lines)

ASMODEUS

oh he'll listen to anything

he's an idol himself, yeah? so, he knows about the different stages and hard efforts put into creating music

obviously, his own singles are at the top of the list but he knows good music when he hears it!

either way, he loves songs that uplift him

i don't know how else to put this but he would see if he can identify himself with a song and decide from there (i like to call this the act of song kinning)

kailee morgue's this is why i'm hot, bananarama's cover of venus, trouble maker by trouble maker and ayesha erotica's literal legend are some songs worth mentioning

i think he would also enjoy lil mariko's SIMP and bathroom bitch by holychild

i have a strong feeling he would like the neighbourhood too

AND he adores visual-kei as well; the music and fashion really speaks to him

BEELZEBUB

HE LOVES ROCK

like every subgenre of rock out there

there is something simply electrifying about rock music that makes him adore it so much

he likes classic rock bands such as kiss, aerosmith and queen.

honestly, he's not picky with his music either — he just has a preference for rock lol

he likes fall out boy and just one yesterday is one of his top songs atm!

slipknot's iowa is on his fav albums list too

i guess similarly to trying new kinds of food, beel explores the genre and picks out what makes a song sound good (through melody, harmony, vocals, etc.) to judge it

BELPHEGOR

i just KNOW his music taste is heavily influenced by beel and satan's

he's an avid pop-punk and lofi fan

i also think he likes those audio edits where creators overlay rain sound effects on the song

average nightcore and daycore enjoyer

he loves the used and his favourite album is lies for the liars i just know it.

he likes leathermouth as well like your friends are full of shit goes so hard

i don't know what else to say he's just a guy full of hatred

now lofi-wise? i think artists like sad boy with a laptop, lando!, in love with a ghost and biosphere are some of his favs

[freddiekluger]

please drop the essay length analysis Judas and Jesus (extra gay Swedish edition), O great and knowledgeable monarch of our times

alright, you ask i deliver! please excuse any typos, my eyes aren't exactly working rn

welcome to my probably super subjective but correct analysis, aka

Judas Was Right and Jesus Was A Victim (At Least, In Swedish)

Before we get started, a couple points: i’ll try to avoid comparisons to other specific productions, i’ve only seen the other recorded 2012 british version which i didn’t like for reasons including but not limited to the amount of white people with dreadlocks. Also, my understanding of swedish is limited to a couple words and phrases, so most of the lyrics i reference will be english subtitles from Ola Salo’s swedish translation and therefore might not be the most accurate !

There’s so much i could cover in this, but for now i’m going to focus on how jesus and judas are portrayed in the 2014 swedish arena tour of Jesus Christ Superstar (JCS) starring Ola Salo as Jesus and Peter Johansson as Judas, along with how this production more implicitly views god. 

From the opening number, translated into swedish as En Dimmig Himmelsdröm (A Foggy Heaven’s Dream), Peter Johansson’s acting and semantic differences in the lyrics present us with a deeply sympathetic portrayal of Judas. Looking purely at language, the english equivalent Heaven On Their Minds instantly paints Judas as much more of a faithless doubter- lyrics exclusive to the english version like “all your followers have gone blind / too much heaven on their minds” and “they think you’re the new messiah / and they’ll hurt you when they find they’re wrong” strongly enforce Judas’ main motivation for his actions being that he has less belief in Jesus and God’s plan than any of the other disciples with strong statements judging the other disciples for following him and claiming that Jesus ISN’T the messiah. The swedish translation doesn’t paint exactly the same picture- the focus of Judas’ number becomes his fear for Jesus’ wellbeing, not because he isn’t the messiah (the production remains fairly ambiguous on this point), but because Jesus can’t cope. The root of Judas’ concern comes from fear for Jesus’ wellbeing, and the disciples are referenced as regularly misunderstanding and wilfully twisting Jesus’ words. The swedish equivalent lyrics for the above examples are “they say, “jesus is god’s son” / but you know how people can change” (judas isn’t concerned with truth, just the danger that jesus will be in if the tide turns), and “the kingdom of heaven is within us, that’s what you said / bu they sew it, stitch by stich into some kind of foggy heaven’s dream”. Judas is showing that he HAS been listening and cares for Jesus’ teachings, but ‘they’ [his disciples] are turning them into something else entirely, and Judas’ worries that the support of the masses is fragile at best- the lines “and everything you say gets twisted by your lackeys / it will be anything but what you’ve said”  and “you are being used by people who want you in their battle” reinforces this again. When combined with Peter Johansson’s tough but tender performance, in which he dances between disdain for Jesus, the institution, and affection for Jesus, the man (an important distinction), Judas is the harsh realist doing his best to look out for the man he loves. The way he takes Jesus hands and looks at him with love and urgency straight away establishes that his motivations are pure- Judas is doing what he thinks is best, even though it feels like no one will listen to him. 

That was long, but En Dimmig Himmelsdröm is the perfect character introduction for Judas. He’s not totally unrecognisable, still delivering digs about ‘Jesus, the little carpenter’s son’, his manner is still rough and at this point we’re not sure whether or not the claims he makes about the disciples have any truth to them, BUT we can also see how much Jesus means to him, an important point that give context to the intensity of their future arguments and really makes the whole story much more heartbreaking.

This brings me to Ola Salo’s Jesus. Delightfully camp and queercoded, Judas describes him as being caught up in his own magic and mystery and buckling under the pressure, and he’s not entirely wrong. Throughout the first act, Jesus basks in the luxuries that being messiah can give him (the oils Mary paid for using disciple funds that were supposed to go towards helping the poor, him absolutely thriving in the shopping cart in What’s the Buzz?), and is shown actively avoiding any reminders of the seriousness of his position. He’s sick of the disciples asking him for a plan, he chooses the comforting Mary, who’s theme consists of telling Jesus everything is okay and he doesn’t need to think about anything, over Judas, who is less perhaps ‘cosy’ but is actively trying to warn and protect Jesus from an awful fate. During The Temple, he starts to crack as he’s overcome by the followers begging him to make him well, fear in his eyes as he raises his arms while frozen on the spot trying to avoid being devoured by the frenzy in desperate need of a messiah. Judas’ point about Jesus buckling under the pressure is starting to look more and more reasonable, and the dashes of showbiz campness add to the sense that much of Jesus is a persona constructed for the masses to give himself enough distance to prevent him from being crushed by the weight of God entirely. Jesus, the institution, prances around, lays his hands on his followers, and projects an air of easygoing calm. Jesus, the man, is scared and alone, and Jesus, the man, really comes out in Last Supper, but before we get there, I want to circle back to the Jesus/Mary/Judas thing.

Jesus, Mary, and Judas are presented as a love triangle: so much so, that Judas seeing Mary sing of her love for Jesus (I Don’t Know How To Love Him) is actually played as the inciting incident that sends him to the pharisees. Judas, the picture of the jealous lover, storms onto the scene, breaking them up and attempting to kiss Jesus, who instead shoves him to the ground in disdain. Judas, who is perhaps a little controlling, realises that any influence he had over Jesus has gone, and it’s likely a combination of jealousy and the knowledge that Jesus won’t stop that prompts him to head to the pharisees. In his meeting with the pharisees (known in english as Damned For All Time, although that phrase doesn’t appear once in the swedish), Judas’ expresses outright that “I’m the one who sees / Jesus, he can’t handle it anymore” “the truth is that this hysteria is making him lose control”, once he can get past explaining how much this plan of action feels like a last resort. He never even verbally or physically accept the pharisees’ offer of money, he denies it twice before it is eventually thrown over him after he reluctantly gives them the date and time to find Jesus- we never even see him pick it up, unlike other productions which show Judas grabbing for the cash and place a higher emphasis on Judas making sure he ‘won’t be damned for all time’, painting Judas as far more self serving. When it comes to Jesus, Judas is active- he’s running around trying to help, caressing him, embracing him, grabbing his hand, kissing him. They share countless moment of intimacy, especially at the start, establishing the fondness between them instead of instantly jumping to their conflict. When it comes to Mary (and admittedly, this is partially because she’s a secondary character- don’t get me wrong I still love her and Gunilla Backman does a brilliant job), she’s much more passive. Other than the much more gentle kisses in I Don’t Know How To Love Him and her penchant for dabbing Jesus’ forehead, she’s mostly just ‘there’. She cares for Jesus after the fact, and even when performing acts of intimacy like the oil and the kiss, she maintains a lot of physical distance- her songs touch on this as, much like Jesus (admittedly for different reasons), she actively distances herself from feelings to protect herself, so naturally she literally places distance between herself and the object of her love.

This brings me back to Last Supper, Gethsemane ( I Only Want to Say), and the kiss of death that broke all of our hearts. Throughout this segment, this is when Jesus, the man, really comes through, and it’s devastating. In Last Supper, he properly expresses the sheer amount of loneliness he feels, reiterating how he feels everyone will forget about him once he’s gone, and doesn’t really care about him as a man (”for you, my blood is not worth more than wine / for you, my body is not worth more than bread” “you will have forgotten me as soon as i give up my life”). This devolves into the disciples fighting each other and, you guessed it, ignoring him. For the first time, Jesus meaningfully lets out his anger, and as it turns to Judas, Judas does the same. Because of the set up of their complicated romantic relationship and the stakes involved, the amount of personal attacks and anger that comes out of Jesus and Judas’ repeated fights (which get physical) make complete sense- Jesus’ frustrations come from the fact that his entire fate has been predetermined and to him, Judas is just another instrument in the ways he’s been controlled (both with Judas being his betrayer, but also the way that Judas’ constant advice and interference with Jesus’ life (most obviously, the mary thing) are acted by Ola Salo as becoming increasingly frustrating to Jesus)- these frustrations are directed at their real cause, God, in Gethsemane. Judas’ frustrations come from the fact that no matter how hard he tries to help Jesus and keep him safe, Jesus keeps rejecting his efforts resulting in “all that we’ve built up [being] destroyed”- Judas’ heart hasn’t just been broken by Jesus rejecting him romantically, but on every level. Here, he’s actually shown to be the disciple most passionate about helping people practically and long term, being the only one concerned about Mary taking money which was supposed to help people, manipulated by the pharisees with the promise of doing good for the masses, and criticising Jesus for how they could be doing so much for people, ending his part of Last Supper with “every time i look at you i ask myself why you let all your things go so wrong? / all i ever wanted was to help you”. 

This is also the point where Judas’ claims about the disciples are essentially confirmed, and this productions intent to portray Judas as more of a tragic hero become absolutely clear. In the english version, the disciples chorus remains virtually the same each time it appears, generally being far too calm considering their leader is about to die, revealing their aspirations to be apostles, and their intent to write the gospels to be remembered. the swedish translation still achieve this, but with variations from chorus to chorus it becomes much more poignant. i’m just going to stick to ttwo, which are choruses 1 and 3. In chorus 1, lines roughly translate to “i’ve always wanted to be an apostle / life is so nice when you’re saved/ then when we’ve got time we’ll write the gospels / then everything will be the way we want”-  the apostles declaring that life is so good when you’re saved supports Judas’ opening statement that they care more about some idea of heaven than anything else, not to mention ignoring the absolute horrors that Jesus will have to go through to be saved, while the final line about the gospels introduces their intent to change whichever details they need to make ‘everything the way we want’: once again, exactly what Judas warned us of in En Dimmig Himmelsdröm. In chorus 3, taking place after Judas storms out for the last time, these lines change to “never really liked that judas / never saw what jesus saw in him / then, when we’ve got time we’ll write the gospels / and we’ll angle it so he gets all the blame”. Judas as a sympathetic character is confirmed here, as the disciples straight up admit how they don’t like Judas anyways and intend to write him as a villain (also inadvertently admitting that, since they have to write the gospels to make it look like only Judas’ fault, Judas isn’t really the sole one responsible for everything that is to come). It’s deeply unsettling, and for me was the point where I really began to question how good any of these disciples were, and by extension, how good is this production’s God if his truly sanctified followers are acting like this?

Jesus vents out all of his anger and desperation in Gethsemane. He acknowledges his own powerlessness and begs him to change the plan, but with the dark stage and no response (along with Ola Salo’s spectacular acting) it becomes clear that if anyone is there, they’re certainly not listening (”you, who have all the power / can you please change the plan / for i can already feel the pain burning in me”). It’s worth mentioning that a lot of the imagery in this swedish version is much more intense than the english, both in this song and the production as a whole. Jesus plainly calls god “thoughtless”, begging to understand, and it’s that this point we realise that he agrees with much more of what Judas has been saying than he’s been letting on- Jesus’ faith appears to be the only thing keeping him from listening to Judas and running away. Judas’ messages about people misunderstanding Jesus’ words also come out (”you care that everyone sees / but not that anyone understands”), and his eventual agreeing to die is played less as an inspiring act of faith, and more an act of desperation as he realises, he realise has no other choice. In this song, we see just how much of Judas Jesus has valued and taken on board, and that his air of carefree aloofness which frustrated Judas was, as we’ve already touched on, a complete act. The line “might as well finish what i’ve... what YOU’VE started” is absolutely miserable, reinforcing one of the major themes of this production: the idea that Jesus and Judas were both just ordinary men tormented by futures defined by forces out of their control. Just as Jesus has absorbed Judas’ logic, as an audience so we have, and it’s difficult to view the rest of the play’s events as anything other than an immense and unnecessary act of cruelty.

we’re almost done i promise!

Even knowing what Judas has/will do, Jesus still greets him with love. Judas, still under the impression that Jesus will be okay and that he’s doing what’s best, approaches him with the utmost tenderness, and the kiss is a beautiful signifier of two things. For Jesus, the return of his love for Judas shows his realisation in Gethsemane that Judas isn’t the one who’s sealed his fate and has only being trying to help, it’s god himself who has decided Jesus’ future. For Judas, the kiss shows that despite all of the anger and frustration that has been pouring out of him, he truly does love Jesus, and the way he cradles the scared and alone Jesus to his chest afterwards shows just how much he wishes he could be the one to help him and keep him close. Even with all their arguments and dysfunction, here Jesus and Judas find comfort in each other, and it almost seems like everything will end up alright. It’s in this moment that Judas and Jesus are most identifiable not as enemies, or as villain and hero, but as archetypal lovers from a Shakespearean tragedy. Neither of them set out to hurt each other, but through miscommunications, their own flaws, and external forces (both natural and supernatural), their love is simply never to be. Furthermore, in the following torture and spectacle, everything that Judas predicted for Jesus is about to come true. Another detail I find interesting is the way that Jesus and Judas both sport black nail polish, leather pants, and similar length hair: along with just looking cool as hell, the similarities really reinforce how close they are and how much they influence each other- it feels like a contemporary version of carrying a cameo or a lock of your lover's hair with you, a way for 'star crossed lovers' to keep a piece of their beloved no matter what.

The disaffected persona of Jesus, the institution, comes back as he’s taken by the authorities and subsequently insulted, degraded, and whipped. Also the swedish version of The Arrest, when the chorus starts singing questions, contains this dick joke and I think we all deserve it: “why were you dating a whore? / talk about a huge magic wand!”

Skipping forward to Judas’ Death, this is where both his character and the production’s conception of god beautifully (and miserably) align. When Judas runs to the pharisees, minor semantic changes (along with the genuine concern and great acting from Peter Johansson) reinforce that this Judas genuinely didn’t know that Jesus would be beaten and sentenced to death the way he has been, and Judas’ concern regarding how things look is played less as ‘oh no people will hate ME!’, but how having sentenced the man you love to death is one nightmarish thing, but for everyone to think you did it knowingly and willingly and then congratulate you for it is unthinkable. Where the english shows Judas’ attempting to evade responsibility for Jesus death, the swedish is more focused on Judas’ guilt, horror, and regret. The english “I’d save him all the suffering if I could / don’t believe our good / save him if I could” is swapped in swedish for “If anyone should die here I should / don’t say I’m good / better if I died”. While the english statements are somewhat empty (sure, Judas says he’d save Jesus’ suffering if he could, but he can’t so we’ll never truly know) and are still focused on Judas’ attempt to construct himself as a good guy, the swedish translation has Judas admit his guilt (even if it’s not really his fault), and make the promise of “better if i died” which, given the name of this sequence, he later delivers on. When english Judas sings “Christ, I’d sell out the nation / For I have been saddled with the murder of you”, swedish Judas sings “Jesus, I’ve been deceived / because of my act your blood’s now being spilt”, and instead of ending this first section with “I should be dragged through the slime and the mud”, swedish jesus returns to the theme of character assasination with “i will be cursed as the one behind your murder”. 

The swedish translation of the next rework of I Don’t Know How to Love Him also places much more emphasis on Judas’ genuine romantic love for Jesus- we’d be here for hours if i listed everything but here are a few key contrasts. The english has Judas sing “I don’t know how to love him /  I don’t know why he moves me”, whereas the swedish has Judas crying while singing “how do I show my love / all I want is to be close to you”. Along with acknowledging Judas already loves Jesus, the entirety of this segment is shifted from Judas singing about Jesus in the third person ‘he’, to a direct address. Judas isn’t performing his sadness, or venting his emotions, he’s emitting one last desperate cry to the man he loves as he sobs on a stage completely shrouded in darkness, and it’s devastating. Peter Johansson lets his voice run raw as he’s belting, and interrupts lines with sobs, and this Judas answers the question of “do you love me too? do you care for me?” with a quiet “no”- Judas is about to go to his death convinced Jesus must hate him, just as Jesus will face his knowing his love inadvertently put him there.

We finally reach Judas’ actual death, and the production’s far more ambiguous (if not negatively geared) depiction of god comes to a head. Judas’ screaming at god the moment he realises that his god essentially forced Judas to be the one to kill Jesus (an act of ultimate cruelty given their love) comes across as horrifying in it’s validity, unlike in other english language productions where it follows the more common characterisation of Judas being an unbeliever who can’t take responsibility for his own actions. When he spits on the ground, screaming “you have murdered me!”, we can’t help but agree- Judas was trying everything he could to stop Jesus from dying, and yet here he is. Most notably, Judas doesn’t set up his own suicide- a noose literally descends from the heavens, already tied, and Judas is literally trapped between the edge of the stage, and the symbol of death behind him. Much like he didn’t choose to kill Jesus, Judas has no choice in his own suicide- it’s suggested to merely be another part of the plan god has for him, and Judas raising his arms to form a crucifixion pose before he finally turns and jumps, disappearing into the depths of the theatre as the rope trails down (somewhat evocative of a leap to hell), highlight the sick joke. Much like Jesus begging in Gethsemane, a plea with god that in anyway implies fault or cruelty is met with silence followed by a death sentence. 

When Judas reappears to the broken and bloodied Jesus in Superstar, he appears as more of a twisted hallucination than the literal spirit of Judas. He’s the opposite of everything he was in life, draped in colour, surrounded by red lighting instead of the signature blue, his hair quite literally let down, joking and dancing. Despite singing about him, Judas virtually ignores Jesus for the whole song except when he’s taunting him, snatching his hand away after a broken and desperate Jesus reaches out for the image of his beloved (refuting Judas’ belief that Jesus would die hating him), along with the swedish additions of Judas repeatedly addressing him as “little Jesus”. Where the living Judas was serious, sometimes harsh but always well intention, often paying more attention to Jesus than he received, this Judas is the opposite: light hearted but cruel, not caring about Jesus one bit. It’s somewhat an inversion of the beginning of JCS, where the tormented Judas was constantly reaching out to Jesus, and often met with scorn and insult (see: most of their arguments, this line from Everything’s Alright: “the thought is beautiful but quite unrealistic / yes, even quite stupid”). As the song goes on, and even as Jesus is crucified, the victorious scoring of the Superstar theme ends up reinforcing the cruelty and questioning of god distinctive of this production: Ola Salo’s Jesus is one of the bloodiest Jesus’s (Jesii?) I’ve been able to find, with blood covering his torso, his arms, and all over his face, not in passive dribbles, but violent ‘swooshes’ spreading out from his eyes, emphasising the fear and pain contained within them. As the music suggests how great and wonderful Jesus’ death is, the images straight out of a horror movie before us don’t seem to match up: as both Judas and Jesus question, if no one is understanding what Jesus is saying, why kill him? instead of making a point, you’re ensuring that the falsehoods continue to circulate, unless spreading the true message isn’t really the intent at all. or, simply that Jesus was wrong: his interpretation and teachings of god were far too kind and practical, and the true god really is the one that he briefly saw in the garden of Gethsemane, and that Judas saw before his death- a cruel and vindictive god using them for his own sick purposes. If you're a strong Christian, I'm sure you could watch this production and still believe that God was right (although I think Jesus and Judas being in love counts as blasphemy), but I think in doing so you'd lose part of what makes this production so hard hitting and, as i keep saying, devastating.

that’s pretty much it for this one! i feel like jesus and judas as a queer couple is less significant to this production than the fact that it’s specifically jesus and judas that are in love - they don’t face explicit homophobia as such, although i do think the paratextual and historical associations of queerness (both with them each looking visibly queer, and them as a couple) adds a beautiful dimension by subverting the standard christian teaching of Jesus’ sacrifice as “a love that changed the world” and making the love that truly could have been transformative (and was, to a degree) the love between Jesus and another man, not to mention the way in which queerness is often viewed as radical perfectly upholding the ‘radical’ views of god and the story of Jesus shown in the production. Why wouldn’t the love between two men be the love which has us questioning god, faith, and that which many of us have been taught since birth? Ola Salo has talked about how he’s able to be positive and negative towards christianity, along with how he wanted Jesus and Judas to really represent two sides of the same coin (’faith and intelligence’), and being bisexual along with having alluded to being raised christian (not to mention Breaking Up With God, a song by his band The Ark), it’s not surprising he’s managed to present such a nuanced and layered interpretation of Jesus Christ Superstar that even me, a trans exvangelical, can fall in love with.

UPDATE: @bands-and-hobbits has just let me know that Ola's dad was a priest! Apparently he's said that he liked the organs and the music, but that was all when it comes to christianity, which (when combined with Ola stating in interviews that the JCS soundtrack has been one of his favourite albums since he was 14) makes a lot of sense about the level of familiarity he had with the text giving him confidence to go in and make changes to really capitalised off of some of the themes that are hinted at in the english version- you have enough information to understand how everything works together, but aren't so dedicated to preserving belief that you feel you can't improve/change things (and my god are we glad he did)

[jcs-study]

It's the start of what Christians would come to call Palm Sunday, at least at this point in the story, and, much like Titanic, we know how this movie will end: "This Jesus Must Die."

This particular recording is of the 2011 Vienna concert cast. I enjoy it partially for the character voices (one of whom, James Sbano, appeared in several U.S. productions of the show, including the original Broadway cast, early in his career before making his mark in European theater), and partially for the vitality and thrill that comes from a live performance. (In fact, I think the next few tracks will also be live performances, just for that "lightning in a bottle" feel.)

You know how we do it by now.

The Lyrics

PRIEST 1 GOOD CAIAPHAS THE COUNCIL WAITS FOR YOU THE PHARISEES AND PRIESTS ARE HERE FOR YOU

CAIAPHAS AH, GENTLEMEN YOU KNOW WHY WE ARE HERE WE'VE NOT MUCH TIME AND QUITE A PROBLEM HERE

BOYS MOB

(outside)

HOSANNA SUPERSTAR HOSANNA SUPERSTAR

BOYS & GIRLS MOB HOSANNA SUPERSTAR HOSANNA SUPERSTAR

ANNAS LISTEN TO THAT HOWLING MOB OF BLOCKHEADS IN THE STREET! A TRICK OR TWO WITH LEPERS AND THE WHOLE TOWN'S ON ITS FEET

ANNAS, PRIEST 1, 2 & 3, CAIAPHAS HE IS DANGEROUS

MOB JESUS CHRIST SUPERSTAR

ANNAS, PRIEST 1, 2 & 3, CAIAPHAS HE IS DANGEROUS

MOB TELL US THAT YOU'RE WHO THEY SAY YOU ARE

PRIEST 2 THAT MAN IS IN TOWN RIGHT NOW TO WHIP UP SOME SUPPORT

PRIEST 3 A RABBLE-ROUSING MISSION THAT I THINK WE MUST ABORT

ANNAS, PRIEST 1, 2 & 3, CAIAPHAS HE IS DANGEROUS

MOB JESUS CHRIST SUPERSTAR

ANNAS, PRIEST 1, 2 & 3, CAIAPHAS HE IS DANGEROUS

PRIEST 2 LOOK CAIAPHAS THEY'RE RIGHT OUTSIDE OUR YARD

PRIEST 3 QUICK CAIAPHAS GO CALL THE ROMAN GUARD

CAIAPHAS NO WAIT WE NEED A MORE PERMANENT SOLUTION TO OUR PROBLEM

ANNAS WHAT THEN TO DO ABOUT JESUS OF NAZARETH MIRACLE WONDERMAN HERO OF FOOLS?

PRIEST 3 NO RIOTS, NO ARMY NO FIGHTING, NO SLOGANS

CAIAPHAS ONE THING I'LL SAY FOR HIM JESUS IS COOL

ANNAS WE DARE NOT LEAVE HIM TO HIS OWN DEVICES HIS HALF-WITTED FANS WILL GET OUT OF CONTROL

PRIEST 3 BUT HOW CAN WE STOP HIM? HIS GLAMOUR INCREASES BY LEAPS EVERY MINUTE HE'S TOP OF THE POLL

CAIAPHAS I SEE BAD THINGS ARISING THE CROWD CROWN HIM KING WHICH THE ROMANS WOULD BAN I SEE BLOOD AND DESTRUCTION OUR ELIMINATION BECAUSE OF ONE MAN BLOOD AND DESTRUCTION BECAUSE OF ONE MAN

PRIESTS, ANNAS & CAIAPHAS BECAUSE, BECAUSE, BECAUSE OF ONE MAN

CAIAPHAS OUR ELIMINATION BECAUSE OF ONE MAN

PRIESTS, ANNAS & CAIAPHAS BECAUSE, BECAUSE, BECAUSE OF ONE 'CAUSE OF ONE 'CAUSE OF ONE MAN

PRIEST 3 WHAT THEN TO DO ABOUT THIS JESUS MANIA?

ANNAS HOW DO WE DEAL WITH THE CARPENTER KING?

PRIEST 3 WHERE DO WE START WITH A MAN WHO IS BIGGER THAN JOHN WAS WHEN JOHN DID HIS BAPTISM THING?

CAIAPHAS FOOLS! YOU HAVE NO PERCEPTION! THE STAKES WE ARE GAMBLING ARE FRIGHTENINGLY HIGH WE MUST CRUSH HIM COMPLETELY SO LIKE JOHN BEFORE HIM THIS JESUS MUST DIE FOR THE SAKE OF THE NATION THIS JESUS MUST DIE

PRIESTS, ANNAS & CAIAPHAS MUST DIE, MUST DIE THIS JESUS MUST DIE

CAIAPHAS SO LIKE JOHN BEFORE HIM THIS JESUS MUST DIE

PRIESTS, ANNAS & CAIAPHAS MUST DIE, MUST DIE THIS JESUS MUST JESUS MUST JESUS MUST DIE

The Plot

Caiaphas has noted the growing problems caused by the mob following Jesus. He doesn't understand how he has managed to inspire people and believes that Jesus poses a very serious threat to their authority and the fragile relationship they have with the occupying force from Rome.

Naturally, this comes up for discussion at a meeting of the Temple council with the other Pharisees and priests. When considering what to do about Jesus and his ever-growing popularity, spurred on by the noise of a growing parade outside, the powers that be ultimately agree to make a difficult, terrible decision.

The Analysis

Many great experts, often writing for the edification of other great experts (as the late Anna Russell would put it), have broken down conflict as exemplified in literature and drama into seven distinct categories. None are mutually exclusive; stories often have overlapping struggles, containing multiple characters and storylines. However, each occurs often enough to form a common "type."

This song introduces the secondary conflict in JCS, which is a shining example of one of those categories: man vs. authority. In this case, of course, the man is Jesus, and the authority is the Sanhedrin. It confirms for us Judas' worst fears. They see the situation as a serious crisis; to them, it boils down to Jesus' life or their own. They decide Jesus must be murdered "for the sake of the nation."

And yet, despite how heavy that is, as Tim Rice notes, "On stage, most directors have played this one for black laughs." (As have the performers. Just listen to the cartoonish voices employed on the original Broadway cast recording or on the audience recording of the closing night of Ted Neeley and Carl Anderson's Nineties reunion tour.) Maybe it's just the song's energy. Tim himself calls it, in the same source, "an almost comic number which yet manages to convey an aura of sinister panic."

More than that, this angle must have been somewhat intentional, as there are no less than two then-current pop culture references buried within the lyrics that can only have been intended to draw laughs. Rice calls one out himself:

I even managed to squeeze in a nod to one of my favorite pop hits of the year before, Creedence Clearwater Revival's "Bad Moon Rising" with Caiaphas' line "I see bad things arising" but no one noticed that.

What we did notice, even if unintentional, is slightly more subliminal. The way the verse is worded, is it, or is it not, a humorous allusion to John Lennon's infamous "bigger than Jesus" interview when a priest compares Jesus' fame to that of John the Baptist before him? You be the judge.

Later Lyrical Differences

Minor note before we move to a specific, controversial change: in the lyrics above, I've divided Priests 1-3's lines according to the libretto included with the concept album. I chose to do so because the original (briefly) licensed script's breakdown of which priest sings what, besides Caiaphas and Annas, does not match the score it accompanied at all. While the revised version at least matches its score (including reassigning Priest 1's opening line to Annas, as the revival did), the division of which miscellaneous priest sings what is, to me, rather arbitrary. My advice: go with whatever's in the material you've licensed, but recognize that, for the most part, anything will work, be it what's in the script and score or even assigning lines not belonging to Caiaphas and Annas in simple numerical order (1, 2, 3, etc.).

And now, the big debate… as previously mentioned, for the 1996 London revival, Rice took a second look at the show's lyrics to eliminate, as his autobiography put it, "several false rhymes, which annoy me now." Among those changes, he replaced "One thing I'll say for him / Jesus is cool" with "Infantile sermons / The multitude drools."

This is a better rhyme, technically speaking, than "Miracle wonder man / Hero of fools," and there are those who believe it improves on the old lines, but for the vast majority of JCS fans, the original lyrics are, shockingly, a proverbial "hill they'll die on." In his memoir, Tim remarks that he even "received a letter from a young friend of my son suggesting that the entire flavor of that scene, if not the first act, had been lost." (He ultimately conceded his revisions "didn't make much difference" and "[i]n fact one or two JCS fans complained about [them]," which may explain why so few remain in the licensed score today.)

It's hard not to agree. I understand why it was changed, but I also grasp the meaning of the original: the enemy nods at his opposition (whatever else we can say about him, no denying he's popular), with the other priests arguing "...and that's the problem in a nutshell. His popularity is growing too quickly, at a rate beyond our control." More of a logical flow from one to the other, as a complete thought goes.

Though the licensed score maintains the new lines, the recent Regent's Park Open Air Theatre production in London, which has since played the Lyric Opera in Chicago and is touring the U.S. at the time of writing, restored the old ones. Whether this return will prove temporary or permanent is as yet unclear, but I, for one, welcome it.

Coming Up Next:

Let's go outside and see what the parade looks like! Time for the big party, here comes "Hosanna."