One of the most fundamentally interesting things to me about YJ and writing fic, specifically, is how the blame changes hands depending on the story. On whose perspective you're writing from. On whose story it is at a given moment. The very thing I dislike about viewers missing the point becomes so fascinating to me from within the narrative. Who are these characters when seen through the eyes of their peers?
Who does Jackie become? If you're Shauna, she's the love of your life, and your greatest rival, and the other half of your soul, and the person you blame for your dead dreams. If you're Van, she's the respected captain who earns none of your respect in the woods, the one who left you to die without blinking, the easiest target for teenage malice. If you're Natalie, she's competition for affection, the blabbermouth who can't leave well enough alone, the hands putting themselves to no good use. If you're Jackie? You're just a girl. You're so tired. You're so scared. You're losing face a little more every day, and you're made of despair, and you can't even trust your best friend. It's not your fault. It's not your fault. It's not your fault.
Who does Lottie become? If you're Natalie, she's your direct foil, the splinter under the edge of your thumbnail, the smart mouth to match your own, the confusing amalgamation of normal friend and mad ritual. If you're Misty, she's the first shred of obvious power in months, a leader who might need to be nudged back into line, a fascinating exercise in hitching your wagon to the right star early on. If you're Taissa, she's flat-nuts and endlessly frustrating, she's got your girlfriend's full attention, she's incredibly dangerous. If you're Lottie? You're just a girl. You're so tired. You're so scared. You've built a pedestal you can't keep your balance on, and you're not sure if you're right or going crazy, and you didn't want this. It's not your fault. It's not your fault. It's not your fault.
From outside the narrative, there is no bad guy. There is no blame. It is no one's fault. It is Man v. Nature, they are doing the best they can with an impossible situation. They're all trying to contribute what they can to the story, for better or worse.
From inside the narrative, you are a teenager trapped in a society constructed entirely of bare-bones-survival with the wildest assortment of girls. From inside the narrative, to stay human, you have to love and fight, respect and judge. Every story changes the game. Every story shifts the blame. A hero in one has the bloodiest hands in the next. And that, to me, is such a thrilling sandbox to play in.
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julien baker live lyric changes masterpost
the many ways that julien changes her lyrics over time and seamlessly alters the lyrics and meanings of her songs to maintain a level of personal authenticity has become so fascinating to me and many others so i thought it'd be nice to do some research and compile as many as i can.
enjoy! or cry! whichever!
the original lyrics are in parenthesis, changes are bolded, roughly in chronological order and i’ve added timestamped links to performances [x] where i can! i use mostly youtube because it's the most accessible. some of these seem to be permanent changes and others are just occasional, probably depending on how she's vibing with the song at the time (i'm assuming). let me know of any i’ve missed!
Rejoice: [x] [x] [x] pronoun change, does this lots!
"i know there's a god and they hear either way"
("i think there's a god and he hears either way")
[x] she uses the 'she' pronoun here this time!
[x] she sings 'force' here and also in a version she performed pre-release
"asking why did you let them leave and then force me to stay?"
("asking why did you let them leave and then make me stay?")
Good News: [x] [x] [x] these are not full lyric changes but rather some gut-wrenching repetition. side note she performs a cover of paul by big thief in the first clip here too!
"it's less about you / it's all about how i ruin everything oh everything i do / everything i do / god i ruin everything oh everything / oh everything i think could be good news."
("it's less about you / it's more about how i ruin everything--- i think could be good news")
Distant Solar Systems: [x] pronoun change speaking of god, she also omits the second last verse.
"I send postcards from the road and now and then she answers"
("and now and then he answers")
Turn Out the Lights: [x] [x] [x] this one hurts! a few times in late '18 and in '19
"maybe i'd do it but it's not a joke"
("i'd never do it but it's not a joke")
Sour Breath: [x] [x] another one that hurts!!
"think all the liquors gonna keep me warm / burn everything down just to prove i could / leave you inside a body made of wood"
("think all the liquors gonna keep you warm / burn everything down just to prove you could / leave me inside a body made of wood")
[x] audio only from 1:16 (same changes as above +)
"i don't do too well when everyone's worried about me"
("i don't do too well when nobody's worried about me")
Appointments: [x] [x] [x] in lots of performances post-2018. she switches between using 'know' and 'think' occasionally
“i know that i ruined this / but i think i can live with it / nothing turned out how pictured it ... i think that i failed again / but i know you’re still listening”
("i think if i ruin this / that i know i can live with it / nothing turns out like I pictured it ... i think if i fail again / then i know you’re still listening")
[x] audio only - from 2:45 (same changes as above +)
"i hope you're still listening"
("i know you're still listening")
Happy to Be Here: [x] tiny changes. not sure if she's done this more than once
"different me would be inhabiting my body / have two cars, a garage, a dog..."
("different me would be inhabiting this body / have two cars, a garage, a job...")
Something: [x] [x] [x] [x] (she adds 'again' a lot, even since 2015)
“asking aloud why you’re leaving again”
(“asking aloud why you’re leaving--”)
[x] (this was prior to release)
"asking aloud why you're leaving again / i know you won't answer me"
("asking aloud why you're leaving --- / but the pavement won't answer me")
Red Door: [x]
"beneath before you won't follow me down"
("beneath before you wont follow me there")
Shadowboxing: [x] [x audio only - from 3:09]
"tell me that you love me / tell me you love me / i wanted so bad to believe you / so tell me you loved me / tell me you loved me / i wanted so bad to believe you" )
("when you tell me you love me / tell me you loved me / i wanted so bad to believe it / so tell me you love me / tell me you loved me")
Ziptie: [x] [x] [x] [x] (side note the end of the second clip rules!!)
“someone’s/somethings got my heart in a ziptie”
(“someone’s got my head in a ziptie”)
Tokyo: [x] [x] [x audio only - from 1:30] in a few performances in 2022
“a seven-car pile-up of every disastrous thing that i am"
(“a seven-car pile-up of every disastrous thing that i’ve been”)
+ also sings "accident" instead of "aftermath" in the audio clip
Relative Fiction: [x] [x] [x] [x] does this lots!
"honey you're the only thing i'll wait around for"
("--you’re the only thing i’ll wait around for")
Highlight Reel: [x] [x audio only from 1:45 ] original chorus lyrics are 'you feel' but now in one chorus she sings 'to' and the other she sings 'you'
"ooh it's a highlight reel / tell me how to feel"
("ooh it's a highlight reel / tell me how you feel")
Ringside: [x] [x] [x audio only from 3:50] two separate lyrics changes in these clips!
"like a scratch-off ticket how i dig my nails into your skin"
("like a scratch-off ticket how you dig your nails into my skin")
(from final verse)
“nobody deserves a second chance / so why do i keep getting them?”
(“nobody deserves a second chance / but i keep giving them”)
[x] [x] (from the second last verse)
“nobody deserves a second chance / but somehow i keep fucking getting them”
(“nobody deserves a second chance / but honey i keep getting them")
Anti-Curse: [x] [x] [x] [x] [x] she doesn't always change 'foreign characters'
"writing the words to the best love song you've ever heard" ...“sounding out familiar characters”
("writing the words to the worst love song you've ever heard"...“sounding out the foreign characters”)
Favor: [x] [x] [x] [x] first change - changing to 'why?' in most live performances
“why couldn’t you make me do it?”
(“well you couldn’t make me do it”)
[x] [x] new change from MSG in 2023!
“how did you make me do it?”
(“well you couldn’t make me do it”)
HONOURABLE MENTIONS:
Funeral Pyre: [x]
this is just a funny thing i found on my hunt. the audience accidentally corrected her grammar, theyre singing along and sing "needed so badly" instead of the original "needed so bad" and everyone took a lil' moment to laugh.
Funeral Pyre: allegedly. i just read about it somewhere so have no proof!!
“while i drank gasoline 'cause it's what i needed so bad”
(“while you drank gasoline 'cause it's what you needed so bad”)
Shadowboxing: [x]
she doesn't really change any lyrics significantly but repeats the final verse for emphasis.
Good News: [x] (i think an early/demo version but i cant find any other recordings/videos of this version!)
"how i fuck up everything i think could be good news"
("how i ruin everything i think could be good news")
Rejoice: [x] house show performance from 2015 before official release. a few different lyrics!
"ask you why did you let them leave and then force me to stay?"
("asking why did you let them leave and then make me stay?")
(final verse)
"i rejoice anyway / i rejoice either way"
("i rejoice i rejoice / i rejoice i rejoice")
Sour Breath: [x]
she added a new mini verse repeating "the harder i swim" where there are usually just instrumentals or 'oohs.' then she continued with the original final "the harder i swim the faster i sink" verse.
Sour Breath: [x] house show performance from 2015 before official release. there's an entire additional verse where the repeated 'the harder i swim the fast i sink' usually is. proceed with caution.
"...too late to talk just go to sleep
been up too long and you've been drinkin' all night
it's almost a week and you haven't said a word
been thinkin' it isn't worth the tryin'
it takes to fix everything you hate about me
all that you wouldn't wanna see
the harder i swim, the faster i sink
and all i ever wanted was to pull you down with me
was to pull you down with me
don't you wanna sink with me?
don't you wanna drown with me?
just let me pull you down..."
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What was the point of Scrooge's trip with the Ghost of Christmas Yet to Come? On a structural level, it makes sense--three is the fairy tale number, and you can't visit the past and present without also including the future--but on a character level, it doesn't quite seem necessary. Showing a man that he'll die alone, unloved, and unmourned seems like the strategy you take as the last-ditch effort to convince a guy that he needs to change his ways. But that situation doesn't apply to Scrooge. He started softening immediately after he first arrived in his past. By the time he finished with the Ghost of Christmas Present, he was fully onboard with the need to reform, so the Ghost's vision of his future seems like unnecessary cruelty. Why show him all this when he was already planning to change his ways?
A few things come to mind. One is that this vision of the future wouldn't have affected Scrooge unless he had already changed his ways. A cold, hard businessman could have seen his lonely death as just the way of the world, might have viewed the people who stole the clothes from his corpse as just people doing what's practical in this world. He needed to relearn the value of the intangibles--human connection, respect for others--to see the true horror of the lonely death and the vultures who defiled the dead man.
But why the horror? Can't he reform without being threatened with doom? It's possible--but it's also possible such a reform would be temporary. After all, Scrooge started as a friendly, loving young man, but retreated into himself and his business out of fear of poverty and fear of the way the world looks down upon poor people. Even if a reformed Scrooge started on a course of Christmas charity, there was always a chance that the enthusiasm would fade, and the worldly fears would start creeping back in. The only way to beat those fears is to give him something to fear that's even worse than poverty. He needs to see the horrible end that his selfish ways would lead to, so he won't be tempted to slide back into them.
There's also the fact that seeing his death makes him ecstatically happy to find that he's alive after the Ghost is gone. Had Scrooge been spared the vision of his future, he might have been happy to find himself on Christmas Day, but his joy would have been nowhere near the manic glee he experiences after coming back from the future. Now, he doesn't just get a new start--he gets a second chance. Coming back from his own grave makes him mindful of his death, but it also makes him hyperaware of the fact that he's still alive. He isn't in the ground yet. He still has time to do good and make connections with others so he doesn't die alone.
Seeing the past reminded him of the innocence he'd lost. Seeing the present reminded him of the people whose lives he was missing out on. Seeing the future reminded him that death is waiting, so it's important to live virtuously while we can. All three are important because all three brought him outside of himself and taught him to value the wider world, just in time to live through another Christmas Day.
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