#golden child lyrics

[buruzami]

"Don't you know there's suffering Don't you know this is humanity Don't you know what the truth is And why we are here" … "So, now you know that this is for real Child, don't you know Don't you know that I love you"

[artemlegere]

Anacreon Sacrificing to the Three Graces

Artist: Antonio Zucchi, RA (Italian, 1726-1796)

Date: 1767

Medium: Oil on canvas

Collection: National Trust Collections, United Kingdom

Description

The Greek lyric poet Anacreon lifts a garland up to a marble statue of the Three Graces whilst a child attendant, draped in a red ribbon, stands behind him, on the right holding a golden tazza on a tray. Two more children sit at the urn base of the statue, on the left, holding more flowers.

Anacreon

Anacreon (c. 573 – c. 495 BC) was a Greek lyric poet, notable for his drinking songs and erotic poems. Later Greeks included him in the canonical list of Nine Lyric Poets. Anacreon wrote all of his poetry in the ancient Ionic dialect. Like all early lyric poetry, it was composed to be sung or recited to the accompaniment of music, usually the lyre. Anacreon's poetry touched on universal themes of love, infatuation, disappointment, revelry, parties, festivals, and the observations of everyday people and life.

[cherrythepiratefox]

tell me why a fucking fnaf song is so relatable....

These days I don't feel like myself anymore

I've grown distant with who I used to be

But I am your daughter, do you love me still?

Even though the things I do could make you ill

If you cared, but that's thing, I guess you don't care

I was not the kind of girl who would've thought of killing

Oh, but yet here I am

Have I become him?

I am scared to admit I might be crazy

I don't understand these urges

What is happening to me?

[mermaidinthecity]

Sure, we're making good money thesе days, but we ain't making babies. Trying to figure out how we're gonna do both is driving both of us crazy. When does giving each other grace turn into too much space? When does time run out on saying we got time? Yeah, I'm chasing my dream, but the man of my dreams is three states over. And it's heavy on our shoulders. A few more miles down the road. Hope we reach that milestone but we're getting older. And damn, I wish I knew how to hold onto all of this without letting go of you. You, you. You, you. Yeah, I'm chasing my dream, but the man of my dreams is three states over, riding that same rollercoaster. A few more miles down the road 'til I reach the next milestone and I'm getting closer. But damn, I wish I knew how to hold on to all of this 'cause I wanna hold onto all of this without letting go of you.

Letting Go Of You by Meghan Patrick

[hellomystraightlacedfriend]

But there's fire burning in your bones tonight Desire hiding in your glowing eyes

Look through the glass to the other side

[i-write-stories-not-sins-bitch]

‘Little Miss Perfect’ just gives such Steve Harrington vibes.

It’s just him.

[fakemonalisa28]

Swifties for father day listen to Taylor’s unreleased song called “Brought Up That Way” and feel free to cry

Your welcome

[kpoplrcfiles]

[Single] JOOCHAN (주찬) - Still Thinking About You (어떤가요)

[Single] JOOCHAN (주찬) - Still Thinking About You (어떤가요) Release Date: 2024.02.18 Genre: Ballad Language: Korean Track List: 1. 어떤가요 Download .lrc file here:

JOOCHAN – 어떤가요Release Date: 2024.02.18Genre: BalladLanguage: Korean Track List:1. 어떤가요Download .lrc file here:Link 1

[audiophiliacfan]

[Verse 1: Jibeom, Daeyeol] I just wanna taste, taste, 음미해 다시 돌아오지 않을 순간 I don't wanna, waste, waste, waste my time 깊은 구덩이 속에서

[Pre-Chorus: Jaehyun, TAG] 난 어두워 눈을 뜨지 못해, dark 불빛이 없는 밤 좀 서툴러진 bye 이젠 미련이 없어 더

[Chorus: Joochan, Seungmin] Feel me, 나를 느껴봐 지금 now 피하지 못한다면 받아들일게, yeah 이미 나는 완벽해 지금 이걸로 Give me, give me, 네 사랑 그거면 돼 Feel me, 나를 느껴봐 지금 now 어쩌지 못한다면 웃어넘길게 이 모든 순간이 완벽하니까 Feel me, feel me, 지금 now, 그거면 돼

[Verse 2: Jangjun, Bomin, Jibeom, Donghyun] Let's go Come on, 이리 와, 같은 춤을 춰 같은 노랠 불러 같은 옷을 입어 세상을 가진 듯한 기분이야 이건 금은보화도 돌처럼 대할 수 있어 지금 Don't think about bad situation 멀리 있는 건 예뻐 보이더라 우리 같이 만드는 거야 지금 이 순간보다 중요한 것은 없으니까

[Pre-Chorus: Bomin, Jangjun] 어두워 눈을 뜨지 못해, dark 불빛이 없는 밤 좀 서툴러진 bye 이젠 미련이 없어 더

[Chorus: Seungmin, Joochan] Feel me, 나를 느껴봐 지금 now 피하지 못한다면 받아들일게, yeah 이미 나는 완벽해 지금 이걸로 Give me, give me, 네 사랑 그거면 돼 Feel me, 나를 느껴봐 지금 now 어쩌지 못한다면 웃어넘길게 이 모든 순간이 완벽하니까 Feel me, feel me, 지금 now, 그거면 돼

[Bridge: TAG, Donghyun, Bomin, Jaehyun, *Seungmin*, **Joochan**] Can you feel me? 환상 속에 Can you feel me? 느껴졌던 Can you feel me? 너의 온기 그게 날 어둠에서 꺼내주었어 또 겨울이 와 추워진대도 난 알아 어차피 봄은 또 온단 걸 *I love this moment, 온전히 난 숨 쉬어* **하루 이틀이 지나 일년이 지나도, oh-woah**

[Chorus: Jibeom, Daeyeol, Joochan] Feel me, 나를 느껴봐 지금 now (지금 난) 피하지 못한다면 받아들일게, yeah (받아들일게) 이미 나는 완벽해 지금 이걸로 Give me, give me, 네 사랑 그거면 돼 (그거면 돼) Feel me, 나를 느껴봐 지금 now (지금 난) 어쩌지 못한다면 웃어넘길게 (웃어넘길게) 이 모든 순간이 완벽하니까 Feel me, feel me, 지금 now, 그거면 돼

[Outro: Jangjun, TAG, Donghyun, Jaehyun] Let's go (La-la-la) Feel me, feel me (La-la-la) Feel me, feel me (La-la-la) Feel me, feel me (La-la-la) 그거면 돼

[we-survive-endlessly]

Brb SOBBING

[bbydoll18xx]

How Do I Get to Heaven?

'Without changing a piece of me, how do I get to heaven?'

Paige Bueckers x reader

Word Count: 1.8k

Themes: angst, slurs, religious trauma, HAPPY ENDING i promise

A/N: hiii so this one is super angsty and sad. I've been going through a rough time, and this is my way of coping. I kinda touched on these subjects in 'She's Such a Good Girl' part 2, and this is similar. I was obsessed with 'Heaven' by Troye Sivan when I was like 15-16 and the lyrics hit a little too hard. If you're gay and were raised in a religious household, I suggest taking a listen.

~

“He’s a fuckin’ faggot!”

“Hate the sin, love the sinner.”

“Those kinds of people are going straight to hell.”

Your face remained neutral. It had to. But you had years of practice, and while you were internally sobbing at the bigoted remarks, there was nothing you could do to stop it. So you stayed quiet, and you maintained your usual look of disinterest. 

Running up the stairs, you finally make it into the safehaven of your bedroom. You shut the door quietly, trying to avoid seeming as if anything is wrong or out of the ordinary. Nothing could possibly be wrong. You were the perfect child; straight As, never in trouble, and you always were eager to help out around the house. But you were harboring a dirty little secret that threatened to rip you from the grips of being the golden girl of your family. 

Sobs wracked your body as you slid onto the carpeted floor of your room. What had started off as an innocent dinner had turned into a nightmare. Slurs were thrown around casually, and unbeknownst to your family, you were the unidentified target. Your sexuality was the reason you had become an empty shell of a person, riddled with fear of accidentally outting yourself. And the anxieties you felt were bubbling up, threatening to ruin the perfect image of yourself that you had crafted for your loved ones. 

This wasn’t the first time. And it surely would not be the last. 

Your family had always claimed to love you. Your childhood was a happy one, but you feared the truth would break everyone. And even if they found out and still claimed to love you, you knew they would always see you differently. Gone would be the girl they knew, and their eager touts would be replaced with hushed whispers. You’d forever be known as “the gay one.” And you fucking resented that.

So here you sat on the floor, trying to quiet your sobs as you mourned the loss of the life you once knew and the people who would eventually turn their backs to you. 

Summer was ending, and soon you would be fleeing back to college, where your guard could be let down just enough to show the world a glimpse of who you really were and who you really wanted to love. 

There was just one girl who you wanted to love you back.

Paige Bueckers was your best friend. And she was so very gay. 

Since meeting her at the beginning of freshman year, she had pulled you out of a darkness that had resided in you since you had realized your feelings towards girls. It did not take long for you to fall madly, head-over-heels in love with her, but you had vowed to ignore it. 

Even if there was any hope of reciprocated feelings, you knew deep down that being in love with a girl would mean having to come out to your family. And you were just not ready for that. You weren’t sure if you would ever be ready for that. 

The thought terrified you. You knew you were willingly inhibiting a possibility of incredible happiness and love, but because it was at the risk of losing your loved ones, you were shutting it all out. 

‘Fuck. I really need therapy,’ you think miserably. 

That was the understatement of the century.

~

The new school year starts, and Uconn’s campus is ablaze with excited students and the possibilities of what is to come. You are finally starting to feel like yourself again, and the second your parents leave your apartment, you don a t-shirt plastered with Diana Taurasi’s face on it. 

You could finally get your gay card back.

A loud knock rings through the empty apartment, and before you could get to the door to answer it, Paige is peeking her head through it, a huge grin covering her face. 

She wastes no time barreling through the room, sweeping you up in a hug and spinning you around. Your feet leave the ground, causing your stomach to flip, and your legs automatically wrap around her waist for leverage. 

“Someone missed me,” you giggle, feeling breathless from being back in Paige’s tight embrace. You had been dreaming of this since you last saw her, back in July. 

“Course I did,” she chuckles, voice muffled against your hair. “You glad to be back?”

You groan. “Fuck, yeah I am. Lookin’ forward to not hearing some slurs for a bit,” you say, fist-pumping the air with a dramatic roll of the eyes. “And I’m especially looking forward to not having to listen to Fox fuckin’ News,” you add, pretending to gag.

Paige’s eyes rake over you, and she pouts, already knowing how your family could be. She had listened to your endless rants and your pathetic cries for the past three years. 

“I think you should just move in with me after this year ends. That way you don’t have to put up with that shit. Then we can be together after graduation,” she says earnestly. 

This was not the first time she had proposed this idea. And while you were internally jumping at the idea, the fear of how it would look to your family made you shy away. Paige wasn’t exactly the most straight-looking girl. Living with her would make things complicated. Your covert feelings had no place in a situation like that. 

You sigh. “I’ll think about it, P,” you promise, linking your pinky with hers, as you always did. 

~

Christmas break quickly rolls around, and Paige’s words are still playing in the back of your mind. Your feelings for her had grown, as if that was even possible, and having to leave her and the safety and warmth that came with her, was agonizing. 

Sitting against the hard back of the pew in your family’s Catholic church, you look around, thinking about how these people would be okay with you burning in hell forevermore. The familiar feeling of shame creeps back into your chest, the flames licking at your wounds. 

You wanted to run and hide. You wanted Paige. 

The Christmas activities persist, and amongst the holiday cheer and piles of gifts, uncomfortable conversations emerge, and you shrink back to your room, desperate for respite.

You felt so fucking abandoned. This was supposed to be a time to enjoy with your family, and instead you were hiding.

There was one person, though, you knew would not abandon you, and that was Paige. Her presence was enough to lessen the sting of the inevitable rejection of your family, and in that moment, it was enough. 

Pulling out your phone, you dial her number, longing to hear her voice, all the way from Montana. Christmas break could not end quickly enough. 

Paige’s smiling face is soon on your phone screen, but it falls as soon as she sees the tears falling down your cheeks and your wobbling bottom lip.

“Oh, baby, what happened?” She asks in a hushed whisper, voice full of anger and concern. 

“They hate me,” you cry. “They fucking hate me, and they don’t even know it yet.”

Paige sighs, trying to find the right words. While she had always had acceptance from those around her, she knew how difficult it was for you to be at home, and she desperately wished to take away your anguish. 

“I love you,” she stresses. “And I know that doesnt fix your family treating you like shit, but soon you’ll be back and everything won’t seem as shitty, I promise.” 

You nod, wiping at your eyes with the sleeve of your sweatshirt. 

She loved you. And you knew that. But you wanted her to love you in the way you loved her. For now, you would take what you could get.

“Just a few more days,” she assures, and you feel the tiniest bit better.

Just a few more days. 

~

The start of the new year always engenders change, and you had promised yourself as the clock chimed to signify it was midnight that this would be the year you would hike up your big girl panties and figure out your shit with Paige. Your senior year had to slow down, and Paige’s proposal had been in the back of your mind since August. 

If you could get over your stupid crush on her, things would be all good and dandy, but your efforts to eradicate her place in your heart were futile. You had mused it over nearly a million times. Maybe you’d eventually get over her, and maybe she would have some bizarre habit that would inevitably give you the ick, ridding you of all romantic feelings toward her. 

You could only hope. 

You pump yourself up on the way over to Paige’s apartment, encouraging words forming on your lips, leaving a trail of fog from your warm breath against the cold air. 

You knock on her door, cheeks pink from the frigid temperatures of Connecticut in January, grateful that it hides your blush. Paige opens the door, eyes wide and hopeful. She always looked so damn alluring. 

Your words leave your mouth before your chary mind could overtake you. “I want to move in with you after school ends. I can’t go back to living like that.”

Paige’s features twist into a smile, and she pulls you in for a hug. “Gonna take such good care of you,” she whispers, and you believe her. Your arms wrap around her middle, anchoring you to the floor. 

“I should probably tell you, though,” she trails, her voice getting smaller as she takes a deep breath. 

You look up at her, confusedly. “Tell me what?”

“I love you. And not just like as a friend. So if you don’t want to live with me because of that, I get it,” she mumbles, eyes trained on the floor.

Your breath quickens at the realization. Paige loved you. And the thought of being a colossal disappointment to your family and potentially cast out did not seem to matter as much anymore. Because here was someone who loved every part of you and accepted the good, the bad, and the ugly. 

The look of shock swiftly morphs into one of unbridled euphoria, and without another thought, you pull Paige in for a kiss. It was filled with the pure longing and want of years of uncontrollable urges and repressed thoughts, and it nearly made all the shittiness worth it.

Pulling away, Paige links her pinky with yours again, just as she had back in August. It was an unspoken promise of love. And while you knew the journey would be inexorably difficult, Paige was worth it in the end. 

~

dang that was rough lol but thanks for reading as always:) I really hope this wasn't too triggering or anything for anyone. This has been such a nice outlet for my pain and anger, as I really don't have anyone to talk to about this stuff. I am here for everyone who can relate. My inbox is open if you guys ever want/need to talk

xoxo katy

[tuherrus]

päivänsäde ja menninkäinen ☀️

illustration of a classic finnish children's song that translates to "the sunbeam and the goblin" and tells the story of a love that can't be

there's a lot of translations of the lyrics but i'll put my favorite one i found under the cut!

It happened as the Sun set down That a sunbeam, for a moment Of its sisters left behind. The dusk it crept in already And the beam, with her golden wings Was about to fly from underfoot When she detected this littlest goblin approaching That had only just emerged from its den. For goblins cannot roam the earth until after sunset They do not live in daylight, no.

Peeping there at one another The goblin, in chest felt rather Strange kind of flame and ardor Said he: "Burn my eyes, this you do But never in my life have I Seen anything as wonderful! It matters not that your shine will blind my eyes forever - In darkness I trudge with ease wherever. Stay with me, please, and I'll show you the way to the home den - Keep you as my precious own then!"

The beam answered: "Gremlin, darling, Darkness would be my undoing And I have no wish for death. Away I must now forthwith fly If I'm not back in daylight soon Then I will live not a moment more." Thus left the sunbeam that beautiful But to this day still As the goblin plods alone in the dark He wonders why one of us here a child of light should be And the other, he loves the night.

[artemlegere]

Sappho Playing the Lyre

Artist: Léopold Burthe (French, 1823–1860)

Date: 1849

Medium: Oil on canvas

Collection: Musée des Beaux-Arts de Carcassonne, Carcassonne, France

Sappho

Called the Tenth Muse by Plato, Sappho was a prolific poet of ancient Greece. She innovated the form of poetry through her first-person narration (instead of writing from the vantage point of the gods) and by refining the lyric meter. The details of Sappho’s life have been obscured by legend and mythology, and the best source of information is the Suidas, a Greek lexicon compiled in the 10th century.

Sappho was born on Lesbos to a noble family. She lived most of her life in the city of Mytilene, with the exception of her family’s brief exile in Sicily shortly after 600 B.C.E. She married a wealthy man in Mytilene, and they had a daughter names Cleis. Sappho also headed a thiasos, or an academy of unmarried women. As was the custom at the time, wealthy families sent their daughters to live at these schools where they were taught proper social graces, composition, singing, and poetry recitation. Much of Sappho’s poetry was composed in this community, and she used many of her students as subjects.

Perhaps Sappho’s most famous work is her “Ode to Aphrodite”:

Deathless Aphrodite of the spangled mind, child of Zeus, who twists lures, I beg you do not break with hard pains, O lady, my heart

but come here if ever before you caught my voice far off and listening left your father’s golden house and came,

yoking your car. And fine birds brought you, quick sparrows over the black earth whipping their wings down the sky through midair -

they arrive. But you, O blessed one, smiled in your deathless face and asked what (now again) I have suffered and why (now again) I am calling out

and what I want to happen most of all in my crazy heart. Whom should I persuade (now again) to lead you back into her love? Who, O Sappho, is wronging you?

For if she flees, soon she will pursue. If she refuses gifts, rather will she give them. If she does not love, soon she will love even unwilling.

Come to me now: loose me from hard care and all my heart longs to accomplish, accomplish. You be my ally.

(Carson, If Not, Winter, 2–5)

[mermaidinthecity]

It only takes a decade if you're lucky. There ain't nothing like the come down or the high. If you make it, don't make it about the money. It ain't where I was born but I swear it's where I'll die 'cause I love this town. I love this town.

This Town by Meghan Patrick

[marybeatriceofmodena]

What did Andrew Lloyd Webber do to make Patti Lupone upset? Sorry, saw your tags and i was curious

Oh.

Oh honey.

You sweet child.

Anyway, get ready for one of the most infamous showdowns in all musical theatre history, with the guy who writes the straightest musicals on Broadway (derogatory) and the one and only, the matriarch, the queen, two three-time Tony award winner Patti LuPone.

So, Andrew Lloyd Webber was basically kind of a boy genius in his prime - he met his future collaborator Tim Rice when they were 17 and 20 respectively, he wrote his first big hit, Jesus Christ Superstar, at 22, with Tim Rice writing the lyrics. And it was kind of a big deal at the time because the topic was controversial (you know, the Passion with rock music), but also because Broadway wasn't that far off from its golden age and let's just say the music and style were very different from, say, My Fair Lady. Or The Sound of Music. Or Funny Girl. It was basically the Rent/Hamilton of its time. (Yeah, Stephen Sondheim was around at that time, he worked on West Side Story which was revolutionary in of itself, but he's kind of an oddball in this case. You'll understand why later.)

Their real follow up (I'm not counting Joseph and the Amazing Technicolor Dreamcoat for a variety of reasons) was a little musical called Evita, which you might know mainly because of a song called Don't Cry For Me Argentina. Or at least, your mom has probably heard it once at the very least. It's that song that's oversung from a musical while being out of context along with I Dreamed a Dream for Les Misérables. Or Memory from Cats.

Evita tells the story of Eva Peron, the wife of an Argentinian dictator, who basically screws her way to the top and ends up becoming the mistress of Juan Peron and the most beloved woman in her country through guile and deceit. Yes, I know the historical accuracy is very much debated but I know jackshit about Argentina's history except the bare basics so don't come at me. It was first produced in the West End in London, with Elaine Paige in the role, but because of Equity issues, she couldn't reprise her role for the Broadway production. So a Julliard graduate who was mostly starring in David Mamet plays got the part instead, and that was Patti LuPone.

Patti... did not have a good time during Evita, because the part is basically the kind of score where you can tell the composer is used to writing male parts, but most female singers have a two-octave range (yes, you got Julie Andrews who used to have a three-octave range, and many others, but they're exceptions), so she struggled a lot. That being said, if you listen to live recordings of her, you wouldn't be able to tell, and it got a lot easier later on. But she had this to say:

"Evita was the worst experience of my life. I was screaming my way through a part that could only have been written by a man who hates women. And I had no support from the producers, who wanted a star performance onstage but treated me as an unknown backstage. It was like Beirut, and I fought like a banshee."

This is from Patti's autobiography, which she wrote in 2007 - 8 years after shit with ALW went down. With all that said, she won a Tony Award for Evita, and she pretty much became a musical theatre household name from then on. She played Fantine in Les Misérables, Nancy in Oliver!, Reno Sweeney in Anything Goes. Meanwhile, ALW's next big hits were Cats (I'm not even kidding, Cats was a hit), and, you guessed it, The Phantom of the Opera, which he wrote in part to showcase his then wife Sarah Brightman's triple threat talents.

So, you need to understand before I continue that ALW, from my perspective, has always had a bit of an inferiority complex. He's basically associated to writing these commercially successful musicals that show a big spectacle but aren't ultimately substantial. I'm not sure I entirely agree with that, but I do think that if he didn't have Hal Prince, Maria Bjornson, Charles Hart and Gillian Lynne backing him up for Phantom, it would have probably been a Rocky Horror Picture Show knockoff people would have forgotten about pretty quickly. This is what I mean:

Yep, that was Phantom before any of the people I mentioned above (and Michael Crawford) were really involved.

Remember how I said Stephen Sondheim was an oddball? The thing with him is that his musicals weren't always commercially successful, but in general, in part thanks to being Leonard Bernstein's protégé, he was generally pretty well-respected and it was considered that his work was bringing musicals to a whole other level. Without Sondheim, you wouldn't have Jonathan Larson, and you wouldn't have Lin-Manuel Miranda. I am convinced ALW is resentful of that, and when you stop and think about it for more than 10 seconds, it's so obvious he REALLY wants to be Sondheim or at least command the same level of respect, but that's a story for another day.

So, after Phantom, ALW had other musicals that followed that either got a meh reception or outright flopped. Then there was Sunset Boulevard, which is based on the movie of the same name with Gloria Swanson. Despite all of her griefs for Evita, Patti LuPone agreed to partake in the musical as Norma Desmond, for its production in London, with the promise that she would transfer to Broadway once that production would open. And overall, after a string of flops, Sunset was actually doing pretty well.

HOWEVER. One day, while reading the gossip column of a newspaper, Patti found out that contrary to what she was promised, Glenn Close, who was meanwhile starring as Norma in the Los Angeles production, was to play Norma on Broadway. That was a complete surprise for her since no one on the production team had bothered to tell her it was happening - and keep in mind that for the news to come up the way it did in a gossip column, it probably would have necessitated a delay of a few weeks between the producers and the newspaper, which would have given them plenty of time to break the news to Patti. And Patti kind of needed the leg up because she was pretty bitter that a) Madonna was cast in the Evita adaptation instead of her; b) they actually lowered the key to fit Madonna's voice range, and she still had to expand her own to be able to sing the (lowered) score. And trust me, Patti is mad about it to this day.

So of course, she trashed her dressing room, the cast and crew weren't even mad about it because they were as shocked and angered as she was by the news. Patti sued Andrew Lloyd Webber for breach of contract, namely for 1 MILLION DOLLARS (yup, those are the real numbers), won, used the money she got from the lawsuit to get a swimming pool, which she called (and I SHIT YOU NOT) the Andrew Lloyd Webber Memorial Pool. Since then, Webber is dead to her, to the point rumor has it she had part of a building blocked during an event so she could get out of it without coming across Webber, because she hates him so flipping much she doesn't even want to be in the same building as the guy.

(There's also drama that happened with Faye Dunaway who was supposed to replace Glenn Close after she went from Los Angeles to Broadway, except they abruptly closed the show down after Close left, but that's a story for another day)

So with all the bad press, and with ALW forced to pay 1 million dollars for Patti's lawsuit, that led Sunset's productions to close earlier than expected. ALW has stayed around since, with... mitigated output, so to say. The lowest point for a lot of people is Love Never Dies, the sequel to Phantom, which some people love, and that's fine, but it didn't do well with either critics nor fans of the original show, which ALW is EXTREMELY BUTTHURT ABOUT. And like, there are so many stories I could tell about LND alone, but I will share my own crack theory about it, since it does relate to the ask.

Anyway, buckle up.

So. There have been jokes going around for years that the Phantom in LND is basically ALW's self-insert, where he displays to the world that he's totally not over Sarah Brightman leaving him (in part because making Phantom kinda ruined their marriage lmao), despite, you know, having married since. (Aaaaaakward.) So LND basically becomes this really uncomfortable therapy session where a man writes a self-insert musical about how his ex-wife made a big mistake of leaving a sensitive artistic soul such as himself. The characters from Phantom who appear in LND are all more or less unrecognizable as a result, and one who gets it worse (in my humble opinion) is Meg Giry, who was basically Christine's sweet and loyal ballerina friend who basically went into the Phantom's lair on her own to save her friend despite the danger. In LND, she's basically a bitter hag (because ALW hates women, guess Patti was right about that), who really likes the swim and even has a stripping vaudeville number about it, written in universe by the Phantom, no less.

For comparison, here's Don Juan Triumphant (the Phantom's opera in the original):

And here's Bathing Beauty (the vaudeville number):

Yeah, so... do you see why people hate LND already?

And that's not the only thing with Meg! She's also pining for the Phantom to pay attention to her and threatens to drown the Phantom and Christine's secret love child when he makes it clear that he's gonna love Christine for EVA AND EVA.

So, with everything we learned today about ALW, would someone like him view someone like Patti LuPone as some sort of crazy, bitter diva who's obsessed with him for whatever reason? Absolutely. Would he be petty enough to insert Patti LuPone into his self-insert musical, which gave us the version of Meg Giry we got in LND? Of course. Why does Meg love to swim so much and why does she drag Gustave out ostensibly for a swim? Is it a dig at Patti's Andrew Lloyd Webber Memorial Pool? Maybe.

I kind of hope we find out one day if that theory is true. And maybe start a kickstarter so Patti can add this painting from the 2004 movie in her collection.

Fun fact: during the process of casting for the 2004 movie adaptation of POTO, ALW allegedly suggested Patti LuPone to play Carlotta... only for Joel Schumacher to have to awkwardly remind him that they were not on speaking terms. The idea was therefore promptly dropped.