
American Idiot
Green Day's punk opera arrived as Bush-era America deserved its own Tommy, trading Pete Townshend's spiritual quest for strip mall ennui and cable news rage. Billie Joe Armstrong's Jesus of Suburbia navigates a landscape where rebellion means anything beyond channel surfing, whilst Boulevard of Broken Dreams soundtracked a million MySpace profiles.
Rob Cavallo's production polished their three-chord fury into arena-sized anthems without neutering the snarl. The album's Broadway destiny was always lurking in these power ballads disguised as protest songs, proof that punk's greatest trick was learning to sell its own opposition.
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