Hope all is well Bruno

Congrats Jeremy

Probably intentional!

No stress🖖🏼

Honestly, I think even people without hearing issues would struggle. There’s British accents, unusual words, outdated slang, etc.

me agree same

Thank You!

Same

Now listen here buddy

I like to sprinkle in some spice. Like the actual video aspect If you're gonna spend a whole month making a lyric video: at least make sure it isn't boring

That's facts. But if you watch the 2019 version and the one where the Rum Tum Tugger becomes a rastafarian rapper, you will be forever altered

Next time I'm in Genoa, I'll make sure to find you💪🏼

Time stamps are in the description you poser🥵

်နနဖ ာငပဖ

Munkustrap. My favourite is Growltiger's last stand

NP Man. Thanks for the comment

Furry🫵🏻

Me too, after knowing nothing about it. Now I'm obsessed.

Which stage? What Country?

@@JohnnyP_17 The Peace Center in Greenville, South Carolina, USA

@@JohnnyP_17the Sharon morse center in florida

ditto ❤

@@emcloudsTritto

I totally agree. I’ve also been a fan since I was 5-6yo (though not being native), and it means so much to me that I can’t express my love for this musical. I really like the Broadway version for the modernity and the adaptation, but the original one will always be my favorite. I’ve been very lucky to be able to watch it live in 2019, it was one of the best day of my life (cried a lot, haha). I’m glad the community is still expanding to this day. I hope future generations will never let the show die. ❤

ျြငပ ပြမ ါငခူ ငဟ

Thank You fellow KZfaq editor man

kzfaq.info/get/bejne/jLdnn66BuLvHYps.html

How are you people still finding this video?

@@JohnnyP_17I looked for this video

@@YoungFlyz644 and now you have found it. My child

if you love it so much, why don't you marry it??????

Same here, he seems chilled

@@JohnnyP_17 😭 He's truly amazing

Of course Dude Man19

Of course Dude Man19

I didn't catch the morality bit! If you have the time or patience can you please explain it or find somewhere that does?

@@felixmcbean7002 it's ig the most subtle thing in the musical, but it plays off of its main themes of community and companionship. First off, the premise of the musical is that all the cats are working together to help each other make their case for why they should go to the Heavyside Layer. While it could be a contrivance for why a bunch of cats are singing together and assembling fake trains out of junk, the cats are also very communal, and express it through regular physical contact. Grizzabella, due to her apparent exile, is excluded from this contact, and is only shown anger and fear until the end of the play. When Old Deuteronomy appears, Munkustrap organizes a play about the Awefull Battle of the Pekes and the Pollicles, which itself is another form of the cats working together to help one of their own appear good to Deuteronomy. However, while the song would seem at first to be pretty meaningless or non sequitor, it presents this idea of dogs being prone to bark at each other without listening, engaging in mindless conflict, by telling a story of two clans of dogs who are "proud and implacable, pasisonate foes". This is followed by the Jellicle Ball, the Glamour Cat Reprise, and the Prelude to Memory, ending Act 1. This end to Act 1 gently juxtaposes the apparent difference between cats and dogs, being that dogs are prone to 'dog'matic aggresion between themselves while the cats pride themselves on their communal group, while directly contrasting it with their steadfast disdain and aggression towards Grizzabella, a contrast heightened by the Prelude to Memory, where we see for a moment how this treatment is making her suffer. We also have a moment before the Jellicle Ball where Deuteronomy talks about how "Jellicle cats and dogs all must, Pollicle dogs and cats all must, like undertakers, come to dust", comparing the two groups through their mortality and suggesting an idea that both can be controlled by the other's tendencies. Act 2 opens with the Moments of Happiness, where Deuteronomy sings to Grizzabella's theme about how reliving memories recreates the experience anew with deeper understanding, which Jemima simplifies into the first part of Memory, together highlighting how these memories can become lessons carried across generations "not forgetting something that is probably quite ineffable." The message here is about how new life can be brought into old memories, thematically establishing the eventual victory of Grizzabella. Afterwards, we get the final few candidates for rebirth, interrupted by Macavity, and the final form of Memory. The inclusion of Macavity, in my opinion, helps to bolster the idea that cats are as prone to agression and enmity as dogs, given that they have a designated Crime Cat. It's also worth mentioning the Naming of Cats, which deeply characterizes the cats as creatures of pride and secrecy, who while they are sociable and communal throughout the play, never give themselves away entirely. It also presents the idea that cats enjoy self-contemplation, although it is presented in a way that the cats don't seem to have much understanding about their "inscrutable" names, suggesting a possible parallel to self-identity or the soul. At the Ad-dressing of Cats, Deuteronomy, openly stated that "cats are very much like [the audience]", directly addressing the audience about the nature of dogs and cats. In a usually omitted passage, he discusses how dogs are more bark than bite, and are really more simple and easy-going than they've been shown before. Then, he talks about how to talk to a cat, saying he believes that you should be open with them but also that they resent familiarity, directly indicating that we shouldn't be afraid to talk to people even as we ourselves are scared of being Known. He discusses how someone would address a cat--with kindness, compassion, understanding, and respect--because a cat's entitled to expect these evidences of respect. This refers, more literally, to the idea that everyone is entitled to basic respects before they can be addressed. All in all, the musical presents an initial enmity between cats and dogs, as well as the Jellicles and Grizzabella, which eventually resolves into familiarity, presenting the idea that our implaccable inner "names" shape our experiences, which shape our name in turn and give us new life as they're passed between or reflect within other people. It also draws connections between universal experiences like death, and presents examples of othering and resulting hardship that resolves in values of communal compassion, repentance, and second chances for those that deserve them. Ultimately, the musical draws a direct connection between the Jellicles and the audience, speaking to the complexity of people and their unwillingness to connect despite their social nature, and suggests that treating people with respect and compassion will help their "names" come forward--that is, for the mask to drop and their true selves to come forward. That's all I have time to say right now, anyway. Hope it helps!