As I mentioned in the introductory installment of this series, Green Day’s American Idiot has often been compared to the Who’s 1973 conceptual opus, Quadrophenia, and it’s not difficult to understand why. After all, both records’ narratives center on rebellious teenage males whose punky individualism puts them at odds with social conventions, familial expectations, peer pressures, and romantic expectations. In other words, the protagonists of both records are sick of the bullshit that surrounds them, and they even develop alternate egos to help deal with the banality and overwhelming uncertainties of everyday life. Furthermore, both records contain rambunctious multifaceted suites in which each stylistic change represents a new emotion or perspective. Although the entirety of American Idiot contains examples of these connections, the second track, “Jesus of Suburbia”, does it the best. Broken into five distinct movements, the piece is a tour de force of catchy melodies, invigorating momentum, emotional timbres and progressions, and most importantly, wonderful transitions.