Blasphemy & Genocide: Unpopular Green Day Opinions, Part 2

[Spike]

I think I've seen all of Green Day's music videos once, but the only ones I've seen a number of times are Walking Contradiction, Nice Guys Finish Last, American Idiot and 21st Century Breakdown. The rest are either crap or unmemorable. Is that unpopular?!

Oh my god, Hitchin' A Ride and Redundant, motherfucker. Basket Case too, if only for the production method.

[munns6691]

First of all, most of the songs became somewhat unrelatable lyrically. I find Kerplunk to be much more relatable, but I think this is due to the fact that I am around the age that BJ was when writing Kerplunk.

Also, I kind of dislike how hyped up AI was/still is. I think that people tend to overvalue the album just because it exploded. Well, yes, it was a political statement which might have been unusual beforehand, but no one who hypes it up really cares about that fact. I'm not even sure what the reason actually is.

Moreover, I've started losing the grasp of the storyline the more I listened to the album. It might have a good idea but the JoS video and Broadway in a way (especially the former one) killed the whole story by making it a super cliche one, where every 15 y/o who hates his/her parents basically thinks of themselves as JoS, the hero/savior that has to be saved.

However, I would give credit to AI for the development and growth of the story and character throughout the album. Yet, I think that the fact that it's a conceptual album yet is never played in its entirety (with the exception of Storytellers only, I think), once again diminishes the overall bond between the songs and the meaning gets lost somewhere in translation when the bits and pieces of the album are fitted around the setlist. Same thing goes for the Broadway - as the new derived characters also turn the attention away from the main story somewhat. However, it's not that I hate the musical or anything, as for now actually, I have a neutral opinion on it.

I would actually even go to doubt the consistency of the conceptuality of the album, as the title track seems to concentrated on politics rather than giving more insight into the character, and then bam - JoS goes to him leaving the town, without much context given beforehand without the obvious one of the fucked up political state of the time. Similar situation is with WMUWSE. However, I think the concluding songs of the album are worth applauding, as the character does come to conclusions and they're somewhat clear, yet more can be read into it, if the listener wishes to.

In addition, She's A Rebel and Extraordinary Girl are so damn weak as songs. I do realize they describe Whatsername, but they seem so out of context and not really contributing to the whole story.

Plus, I think the singles were very well chosen for the album, that's what helped to hype it up. I don't personally see JoS as a good choice for a single, even when radio edited to be shorter (cause the time is not the issue with the song), but it was a smart reason in order to attract and appeal to a bigger audience of teenagers, and especially with a music video like that.

I, myself, as a 14-15 year old felt very proud of JoS and strived to be like characters in it, thought it was top-notch punk at that time.

As for the sound, as previously mentioned, I've been growing dissatisfied with Billie's vocals. The filters sound too manufactured to me and takes away the heartfelt feeling that is supposed to be transmitted through the story that is usually very relatable to any rebelling teenager. Therefore, through the loss of feeling the album becomes somehow unappealing.

I feel like I have more to say but I can't really seem to wrap my head around my thoughts and be able to type them down. But if I'll have something more to say later, I'll add to it.

I pretty much disagree with all of this haha. If you're the age that Billie was at Kerplunk (high school?) I understand why kerplunk is more relatable, I still relate to Kerplunk too. But I disagree that AI isn't all that relatable. It's extremely relatable in fact and the album isn't about the characters as much as it is about what they represent.

Also I think Billie's vocals (and mike's backing vocals) are pretty much at their best throughout American Idiot. The production is great too. She's a Rebel and Extraordinary girl are also better than people give then credit for, to me. Its the rest of the album that make them seem inferior.

[beejeezee]

Unpopular Green Day opinion? I think Kill the DJ live is pretty fucking amazing. Just give it a shot to perfomances like the one at the Echoplex or Tokio.

They need to play it more!

[Anaïs.]

But it's probably one of the best off the trilogy.

That's like saying that Korea was the best land war in Asia.

[Anaïs.]

First of all, most of the songs became somewhat unrelatable lyrically. I find Kerplunk to be much more relatable, but I think this is due to the fact that I am around the age that BJ was when writing Kerplunk.

Also, I kind of dislike how hyped up AI was/still is. I think that people tend to overvalue the album just because it exploded. Well, yes, it was a political statement which might have been unusual beforehand, but no one who hypes it up really cares about that fact. I'm not even sure what the reason actually is.

Moreover, I've started losing the grasp of the storyline the more I listened to the album. It might have a good idea but the JoS video and Broadway in a way (especially the former one) killed the whole story by making it a super cliche one, where every 15 y/o who hates his/her parents basically thinks of themselves as JoS, the hero/savior that has to be saved.

However, I would give credit to AI for the development and growth of the story and character throughout the album. Yet, I think that the fact that it's a conceptual album yet is never played in its entirety (with the exception of Storytellers only, I think), once again diminishes the overall bond between the songs and the meaning gets lost somewhere in translation when the bits and pieces of the album are fitted around the setlist. Same thing goes for the Broadway - as the new derived characters also turn the attention away from the main story somewhat. However, it's not that I hate the musical or anything, as for now actually, I have a neutral opinion on it.

I would actually even go to doubt the consistency of the conceptuality of the album, as the title track seems to concentrated on politics rather than giving more insight into the character, and then bam - JoS goes to him leaving the town, without much context given beforehand without the obvious one of the fucked up political state of the time. Similar situation is with WMUWSE. However, I think the concluding songs of the album are worth applauding, as the character does come to conclusions and they're somewhat clear, yet more can be read into it, if the listener wishes to.

In addition, She's A Rebel and Extraordinary Girl are so damn weak as songs. I do realize they describe Whatsername, but they seem so out of context and not really contributing to the whole story.

Plus, I think the singles were very well chosen for the album, that's what helped to hype it up. I don't personally see JoS as a good choice for a single, even when radio edited to be shorter (cause the time is not the issue with the song), but it was a smart reason in order to attract and appeal to a bigger audience of teenagers, and especially with a music video like that.

I, myself, as a 14-15 year old felt very proud of JoS and strived to be like characters in it, thought it was top-notch punk at that time.

As for the sound, as previously mentioned, I've been growing dissatisfied with Billie's vocals. The filters sound too manufactured to me and takes away the heartfelt feeling that is supposed to be transmitted through the story that is usually very relatable to any rebelling teenager. Therefore, through the loss of feeling the album becomes somehow unappealing.

I feel like I have more to say but I can't really seem to wrap my head around my thoughts and be able to type them down. But if I'll have something more to say later, I'll add to it.

1. I'm gonna sound like Hermione here, but whether you relate to a song is really a subjective question. I related more to AI than any other album when I was fourteen, and still do.

2. As for the hype—I wasn't aware of AI being huge when it came out. I only stumbled upon it by complete chance years later and still loved it. Not everyone who loves it does because of the hype, and I'd go so far as to venture those who do are in the extreme minority here.

3. Of course it's not a particularly original story—neither is Star Wars or Harry Potter. Both of those work because they're familiar stories well told, and AI is no different.

4. I disagree that the title track doesn't contribute to the story—it sets the stage for the entire atmosphere of the album and the time in which it's set. It's like a short prologue before diving into the meat of the story. As for there being no context for JoS leaving—that's what the first six minutes of the song are for. WMUWSE is a bit of an oddly placed song, but I think it can be acceptably read as Jesus's grief over Whatsername leaving.

5. The filters contribute, I think—they're used sparingly, and when they're used it's often to create the idea of the media-saturated world that the culture is set in. And sometimes they're just used to provide a pleasing audio contrast with the unfiltered vocals—for example, the drop from filters to all-natural Billie in "The Death of St. Jimmy".

[The Disappearing Boy]

That's like saying that Korea was the best land war in Asia.

But it was ...

Nah ktdj is top 10 of the trilogy for me. Not quite top 5 though.

[Anaïs.]

But it was ...

Nah ktdj is top 10 of the trilogy for me. Not quite top 5 though.

My point is that being the best of something doesn't make it good.

[The Disappearing Boy]

My point is that being the best of something doesn't make it good.

Not by definition, no, but I do quite like kill the dj anyway.

[Anaïs.]

Not by definition, no, but I do quite like kill the dj anyway.

I enjoy the sound of the Dookiefied Guitars version; if only the lyrics weren't so goddam stupid.

[armatage]

I pretty much disagree with all of this haha. If you're the age that Billie was at Kerplunk (high school?) I understand why kerplunk is more relatable, I still relate to Kerplunk too. But I disagree that AI isn't all that relatable. It's extremely relatable in fact and the album isn't about the characters as much as it is about what they represent.

Also I think Billie's vocals (and mike's backing vocals) are pretty much at their best throughout American Idiot. The production is great too. She's a Rebel and Extraordinary girl are also better than people give then credit for, to me. Its the rest of the album that make them seem inferior.

I would disagree in terms of the level of relatability. What the characters represent is exactly what is way more commonly relatable (and where I'd agree too), meanwhile the shape given to characters is what puts me off. That's where the cliche comes in - in characters, not the ideas they represent.

I kinda want to agree with Billie's vocals possibly being at the peak, but that doesn't justify the filtering which I hatehatehate.

Also, not only are those two songs inferior in the context of the album, but also in the context of the whole discography, too. I'd honestly rather listen to trilogy front to back, and prefer to do so, than listen to those two tracks.

1. I'm gonna sound like Hermione here, but whether you relate to a song is really a subjective question. I related more to AI than any other album when I was fourteen, and still do.

2. As for the hype—I wasn't aware of AI being huge when it came out. I only stumbled upon it by complete chance years later and still loved it. Not everyone who loves it does because of the hype, and I'd go so far as to venture those who do are in the extreme minority here.

3. Of course it's not a particularly original story—neither is Star Wars or Harry Potter. Both of those work because they're familiar stories well told, and AI is no different.

4. I disagree that the title track doesn't contribute to the story—it sets the stage for the entire atmosphere of the album and the time in which it's set. It's like a short prologue before diving into the meat of the story. As for there being no context for JoS leaving—that's what the first six minutes of the song are for. WMUWSE is a bit of an oddly placed song, but I think it can be acceptably read as Jesus's grief over Whatsername leaving.

5. The filters contribute, I think—they're used sparingly, and when they're used it's often to create the idea of the media-saturated world that the culture is set in. And sometimes they're just used to provide a pleasing audio contrast with the unfiltered vocals—for example, the drop from filters to all-natural Billie in "The Death of St. Jimmy".

I believe if we're enforcing the subjectivity point here, none of your arguments become relevant in order to contradict mine.

As for the story, there's still a fine line between cliche and "somewhat heard of.. hmm, spaceships, wizardry.." Also, find and abundance of replicates that are somewhat successful for Star Wars and HP. I can't mind any off the top of my mind. Now name some bands in the very vague frames of punk (meaning, pop-punk included, even the crappy kind; bands who sprung out of the success of AI) which sing about leaving the town and all that. Basically every second band.

I'd say the title track captures the atmosphere in USA (agreeing here with you), but seriously, it's just doesn't contribute. Looking up the release date and being sophisticated would give enough insight into the context and would help to catch the ideas easily. Despite the track not contributing to the story, I think it is a goodie and I'm glad it was written and released.

I don't think WMUWSE should and could be interpreted differently than what its actual meaning is, well at least not to the extent of veering from Billie's dad to Whatsername.

If there was a thoughtful contrast, I wouldn't mind. Vocals on 21st CB somewhat don't bother me too much, especially in comparison with AI. It might even not be the fact of using them not sparingly enough, but the fact of how unsubtly/in the manner that killed the vibe it was done.

The media-saturated argument, I guess, goes mainly for the title track? That one's alright, I guess. But vocals on BOBD, for example, are vile at times and it just makes me cringe and wanna turn off the song.

I enjoy the sound of the Dookiefied Guitars version; if only the lyrics weren't so goddam stupid.

I disagree. I think the lyrics are smart, well, except for the chorus. But it's endurable.

[Anaïs.]

As for the story, there's still a fine line between cliche and "somewhat heard of.. hmm, spaceships, wizardry.." Also, find and abundance of replicates that are somewhat successful for Star Wars and HP. I can't mind any off the top of my mind. Now name some bands in the very vague frames of punk (meaning, pop-punk included, even the crappy kind; bands who sprung out of the success of AI) which sing about leaving the town and all that. Basically every second band.

I'm referring to their stories, not the environments they're in—Star Wars is famous for being the most archetypal, standard Hero's Journey of all time because Lucas wrote it to channel the monomyth.

[beejeezee]

Yeah man, I really like the trilogy.. I don't think it deserves the amount of hate that people gaves hahaha.

Kill the DJ Live is tripping.

Absolutly, I still really fucking love it. I think everyone was too pushy about getting the next one after one was released and didn't really take the time to listen.

[Z J]

The vocal filters on Homecoming are perfect. PERFECT.

They have an intangible quality that I just can't explain. And the opening is so good that even casual Green Day fans are hooked on it.

[Spike]

I feel like now would be a good time to post the isolated vocal track from Homecoming. How could anyone ever claim it's anything short of perfect? From Billie's raw intro, to Mike's harmonies throughout most of the song, the filters and delay, Mike and Tre's lead parts... oh my god. This really showcases what sets them apart from other punk bands: backing vocals. The same goes for Jesus of Suburbia. Fantastic.

[DookieLukie]

I feel like now would be a good time to post the isolated vocal track from Homecoming. How could anyone ever claim it's anything short of perfect? From Billie's raw intro, to Mike's harmonies throughout most of the song, the filters and delay, Mike and Tre's lead parts... oh my god. This really showcases what sets them apart from other punk bands: backing vocals. The same goes for Jesus of Suburbia. Fantastic.

Or good vocals at all lol

[Z J]

the "So send my love a letterbomb and visit me in hell" part gives me chills. So fucking good even without the music. Homecoming is just so spectacular. Part I and V (especially the beginning of V) are some of the best work they've done. Jesus Of Suburbia, Holiday, and Homecoming are what should forever place this album above all else.

[Anaïs.]

Past unpopular opinion: "Prosthetic Head" used to be my favorite Green Day album closer.

Then I had my heart broken by a girl I loved for the first time. Lo and behold, it changed to "Whatsername". Funny how that'll change your perspective on things.

[Spike]

Past unpopular opinion: "Prosthetic Head" used to be my favorite Green Day album closer.

Then I had my heart broken by a girl I loved for the first time. Lo and behold, it changed to "Whatsername". Funny how that'll change your perspective on things.

Vaguely related, I've never quite grasped what's meant to be so 'different' about Prosthetic Head. It's standard Green Day yet people seem to put it on a pedestal as though it's something different. It's a great song, but nothing out of the ordinary.

As for Whatsername... yeah . Best album closer ever, end of.

[Anaïs.]

Vaguely related, I've never quite grasped what's meant to be so 'different' about Prosthetic Head. It's standard Green Day yet people seem to put it on a pedestal as though it's something different. It's a great song, but nothing out of the ordinary.

Nor have I. I don't think it's special, just fucking awesome. I think maybe it could be that it's so distinctively a closing song in terms of its sound--you couldn't have put it anywhere but the end of the album. Same goes for "Whatsername" and "F.O.D."

[Spike]

Nor have I. I don't think it's special, just fucking awesome. I think maybe it could be that it's so distinctively a closing song in terms of its sound--you couldn't have put it anywhere but the end of the album. Same goes for "Whatsername" and "F.O.D."

And Macy's Day Parade!

[Anaïs.]

And Macy's Day Parade!

Aaah, I forgot! That one's one of my lesser favorites from Warning, so I tend to forget it. Still great, but it and "Waiting" are at the bottom for me.

[HolyHandGrenade]

And Macy's Day Parade!

I always thought See the Light should have opened instead of Song of the Century

For all the flaws Oh Love has, I think it's placement at the end redeems it in the context of the album

[Anaïs.]

I always thought See the Light should have opened instead of Song of the Century

HOW DARE YOU. NO. FUCK THAT. FUCK THAT IN THE FACE.

[Spike]

Aaah, I forgot! That one's one of my lesser favorites from Warning, so I tend to forget it. Still great, but it and "Waiting" are at the bottom for me.

Macy's is easily my favourite on Warning. Waiting is pretty good really, top 6 or 7 on the album for me.

I always thought See the Light should have opened instead of Song of the Century

For all the flaws Oh Love has, I think it's placement at the end redeems it in the context of the album

Gotta agree with Oh Love, it wouldn't work anywhere else on Uno and it's a lot better in context. As for See The Light, it's positioning is perfect and makes the album come full circle.

HOW DARE YOU. NO. FUCK THAT. FUCK THAT IN THE FACE.

Nice ninja edit

[Anaïs.]

Macy's is easily my favourite on Warning. Waiting is pretty good really, top 6 or 7 on the album for me.

Nice ninja edit

Hey, when I realized I'd accidentally double-posted I had to do something.

Macy's is great, but there's just so many spectacular Warning songs--Castaway, Blood Sex and Booze, Misery, Fashion Victim, Minority--and, while I'm sure it wasn't intended this way, it can come off as an inferior attempt at another Good Riddance.

For the love of God, man. STAHP.