Latest news with #WhenWeWereYoung
Hype Malaysia
12 hours ago
- Entertainment
- Hype Malaysia
(Video) My Chemical Romance To Return To Malaysia? Fans Notice Mysterious Billboard Ads In KL
Ever since My Chemical Romance (MCR) reunited to headline the When We Were Young music festival in Las Vegas last year, Malaysian fans have been manifesting the band's return to Kuala Lumpur. The last time they performed here was back in 2007 at Stadium Merdeka, where over 10,000 fans sang along to their songs at the top of their lungs. Previously, there have been hints that local concert organisers were working to bring the Grammy-nominated band back to our shores, but until now, nothing had been confirmed. That is, until fans recently began noticing something unusual projected onto billboards around the city. Here's what they saw: Over the weekend, a fan posted on both his TikTok and Twitter accounts about something he encountered while out in Bukit Bintang. In the video, he captured a large digital billboard above the McDonald's outlet briefly displaying the words 'Malaysia, are you okay?' alongside an image of a rose, before switching back to the regular advertisements. Another internet user spotted the same mysterious display on a digital billboard at the side of the road in Bangsar. For context, the rose is strongly associated with MCR, having appeared in the band's merchandise and music videos. With this in mind, the cryptic billboard ads have led many to believe that the 'Welcome to the Black Parade' artists could be performing in Malaysia later this year or in 2026. Many MCR fans reacted to the videos with hopeful excitement, saying they've been waiting nearly two decades for the band's return. Others remain sceptical, speculating that it might be a tribute concert rather than the real thing. A few have suggested that the ads may have nothing to do with MCR at all, noting that the rose alone isn't definitive proof. However, some of the biggest hints pointing to a potential concert include the fact that the band will be embarking on their North American tour, raising the possibility of dates being added in other regions. Warner Music Malaysia have also been sharing nostalgic throwbacks to MCR's music on its Instagram account, drawing more interest. Do you think the group will be coming to Malaysia? We can only hope so. Guess we'll have to wait and see if the rumours are true. Here are the viral clips: Sources: TikTok (1)(2)(3), Twitter (1)(2) What's your Reaction? +1 0 +1 0 +1 0 +1 0 +1 0 +1 0
USA Today
22-05-2025
- Entertainment
- USA Today
All-American Rejects singer answers burning questions about those viral pop-up shows
All-American Rejects singer answers burning questions about those viral pop-up shows Show Caption Hide Caption Watch as All-American Rejects perform surprise show Less than 30 hours after the show was announced, hundreds attended the All-American Rejects' surprise show in Green Bay, Wisconsin. It was after a 2022 performance in Las Vegas that the All-American Rejects realized it might be time for a comeback. Frontman and bassist Tyson Ritter acknowledges the band responsible for guitar-chiming emo-pop earworms 'Swing Swing,' 'Move Along,' 'Gives You Hell' didn't really take their gig at the When We Were Young festival too seriously. Ritter and bandmates Nick Wheeler (lead guitar), Mike Kennerty (rhythm guitar) and Chris Gaylor (drums) all dressed as Elvis Presley. They were playing opposite topline artists Paramore and Death Cab for Cutie. Yet 30,000 fans crammed in front of their secondary stage singing not just the ingrained hits, but deep album cuts as well. 'I was crying,' Ritter, 41, says. 'We all left with collective goosebumps of, maybe we should do this again.' And they are. For the past week, AAR have stormed barns, bowling alleys and backyards – places suggested by fans on their Instagram – for a series of free pop-up concerts. Notice is short, but response has been overwhelming. Crowds are filled with millennials who appreciated their spiky pop the first time and college kids eager to experience a viral tsunami. The band recently released 'Sandbox,' the first single from their first album in almost 14 years and will tour more conventionally starting Aug. 10 as openers on the Jonas Brothers' stadium tour. A few hours before storming Nashville with a secret location concert, a humble Ritter talked about the 'comet' the band has been on and why he is beside himself 'with gratitude' before ultimately declaring, 'I guess I have a horseshoe up my (rear-end) right now.' More: Kendrick Lamar: Not like anyone else Question: So how did this idea to play in backyards and barns originate? Answer: We did a show in LA that was the kind that you have to do when promoting new music. It left a sour taste in our mouths and in this giant gorilla of an industry we're clawing our way back into, we decided to put on a show the next day. Our manager had the idea to have the local college radio station host us. We gave a five-hour heads up that we were playing a kid's house at University of Southern California and we start playing and there were 40s (alcohol cans) hoisted in the air and people crowd surfing. I looked into some of their eyes and I saw a rite of passage moment was happening. That they're going, 'I saw pictures of my parents doing this, but I never got to.' The only culture most of them had was EDM and that environment is so different from rock. We were lifting that veil for kids. And then you kept on going? My wife (Elina) is due on June 11 and we saw a hole in the calendar this month and said, let's do this again. It was really the brainchild of our manager (Megan Kraemer). She's 29 and has inspired such energy in the band. The first show was in Green Bay and it started this wildfire. Honestly, we're in the Icarus moment. You seem really excited about everything happening. It feels incredible and indescribable right now. It's from this hope to have something to say again as a band and present to an audience we didn't resonate with anywhere but radio and MTV. We never had the culture that a lot of bands of our time did, like Blink-182 with fashion and skate culture. So to be able to put out new music and find our footing as a band with this activation, I'm so beside myself with gratitude. We've always been the 'songs that have that band' and now we can be 'that band that has those songs.' There is a lot of online discussion from the generation that grew up with you that the band returning is a comfort in an exhausting world. Do you feel that way? No, I mean anything you do with intention, especially writing music, you're asking for a failed experience. If we would have planned this any more than the sketch that it was designed in, it would have felt really false. We're just holding onto a comet right now. What are the biggest and smallest crowds you've played for so far? The biggest was 5,000 in Ames, Iowa, and the smallest was probably Chicago. We were in a backyard where the capacity was 120 so I walked over to the neighbor and said, 'I want to buy 45 minutes in your yard, what will it cost?' He was shaking me down (laughs). He wanted $750. I said how about $500 and after haggling we landed on $600 and got about 400 people to fit. It was a suburban area so it was people coming from the backyards around us, sitting on porches. Everything has been so cinematic. You also got a visit from the police during the house party in Columbia, Missouri. (Laughs) Oh yeah, that was great. We had heard that the police there were really firm with the college kids and when five cop cars showed up my manager had this face of doom. I walked offstage and our guitarist did this (gives a thumbs-down with both hands) and everyone booed so loudly that I said to the police, 'If you want everyone to get out of here peacefully, let us finish.' One cop was like, 'We didn't know it was YOU!' I said 'thank you, officer,' and we did 'Gives You Hell' and got out! But it's that kind of positive energy that is following us. More: Bono talks revealing film, new U2 music: 'It's time to face the future and dance' What are the criteria for where you're going to play once you get the requests on Instagram? The bigger the yard, the better. The more removed from town, the better. Roller skating rinks are welcome. I really want to play a roller skating rink. I can picture (the skating move) shooting the duck while doing 'Gives You Hell.' The new video for 'Sandbox' is such campy fun. Where did you get the idea for murderous puppets? We're DIY right now. We're not on a major label so we're boot strapping it all. My manager found (director) Joseph Kahn's info on LinkedIn. He's done videos for everyone (Britney Spears, Imagine Dragons, Backstreet Boys) and he pitched an idea that really resonated with the single. The song is about a war on a playground and … needed to be paired with something that speaks to childhood innocence and he said, 'How about murderous puppets?' When is the full album due? January. Since it's such a DIY thing, every chance to release a song is a microphone. So we'll release a new song every few weeks until the Jonas Brothers tour. So how did that pairing come about? I met them at an activation in New Jersey and was really taken aback by their professionalism and hard work. I think they played eight shows that day for their fans and I knew they were fans of ours, but I went in kind of blind and quickly realized, these guys are top shelf. Playing stadiums will be a big swing from playing house parties. Do you think you'll have to do much physical preparation? Playing a backyard stage is a perfect size. MetLife (Stadium) in August … (laughs). Keeping up with the Jonas Brothers, man, I'm going to have to jump on a treadmill. We'll be traveling with ointments. Which is probably a little different than your tours back in the day. Yeah, back then we were sleeping in vans and our bones were made of rubber.
USA Today
21-05-2025
- Entertainment
- USA Today
All American Rejects singer answers burning questions about those viral pop-up shows
All American Rejects singer answers burning questions about those viral pop-up shows Show Caption Hide Caption Watch as All-American Rejects perform surprise show Less than 30 hours after the show was announced, hundreds attended the All-American Rejects' surprise show in Green Bay, Wisconsin. It was after a 2022 performance in Las Vegas that the All-American Rejects realized it might be time for a comeback. Frontman and bassist Tyson Ritter acknowledges the band responsible for guitar-chiming emo-pop earworms 'Swing Swing,' 'Move Along,' 'Gives You Hell' didn't really take their gig at the When We Were Young festival too seriously. Ritter and bandmates Nick Wheeler (lead guitar), Mike Kennerty (rhythm guitar) and Chris Gaylor (drums) all dressed as Elvis Presley. They were playing opposite topline artists Paramore and Death Cab for Cutie. Yet 30,000 fans crammed in front of their secondary stage singing not just the ingrained hits, but deep album cuts as well. 'I was crying,' Ritter, 41, says. 'We all left with collective goosebumps of, maybe we should do this again.' And they are. For the past week, AAR have stormed barns, bowling alleys and backyards – places suggested by fans on their Instagram – for a series of pop-up concerts. Notice is short, but response has been overwhelming. Crowds are filled with millennials who appreciated their spiky pop the first time and college kids eager to experience a viral tsunami. The band recently released 'Sandbox,' the first single from their first album in almost 14 years and will tour more conventionally starting Aug. 10 as openers on the Jonas Brothers' stadium tour. A few hours before storming Nashville with a secret location concert, a humble Ritter talked about the 'comet' the band has been on and why he is beside himself 'with gratitude' before ultimately declaring, 'I guess I have a horseshoe up my (rear-end) right now.' More: Kendrick Lamar: Not like anyone else Question: So how did this idea to play in backyards and barns originate? Answer: We did a show in LA that was the kind that you have to do when promoting new music. It left a sour taste in our mouths and in this giant gorilla of an industry we're clawing our way back into, we decided to put on a show the next day. Our manager had the idea to have the local college radio station host us. We gave a five-hour heads up that we were playing a kid's house at University of Southern California and we start playing and there were 40s (alcohol cans) hoisted in the air and people crowd surfing. I looked into some of their eyes and I saw a rite of passage moment was happening. That they're going, 'I saw pictures of my parents doing this, but I never got to.' The only culture most of them had was EDM and that environment is so different from rock. We were lifting that veil for kids. And then you kept on going? My wife is due on June 11 and we saw a hole in the calendar this month and I said, let's do this again. It was really her brainchild. She's 29 and has inspired such energy in the band. The first show was in Green Bay and it started this wildfire. Honestly, we're in the Icarus moment. You seem really excited about everything happening. It feels incredible and indescribable right now. It's from this hope to have something to say again as a band and present to an audience we didn't resonate with anywhere but radio and MTV. We never had the culture that a lot of bands of our time did, like Blink-182 with fashion and skate culture. So to be able to put out new music and find our footing as a band with this activation, I'm so beside myself with gratitude. We've always been the 'songs that have that band' and now we can be 'that band that has those songs.' There is a lot of online discussion from the generation that grew up with you that the band returning is a comfort in an exhausting world. Do you feel that way? No, I mean anything you do with intention, especially writing music, you're asking for a failed experience. If we would have planned this any more than the sketch that it was designed in, it would have felt really false. We're just holding onto a comet right now. What are the biggest and smallest crowds you've played for so far? The biggest was 5,000 in Ames, Iowa, and the smallest was probably Chicago. We were in a backyard where the capacity was 120 so I walked over to the neighbor and said, 'I want to buy 45 minutes in your yard, what will it cost?' He was shaking me down (laughs). He wanted $750. I said how about $500 and after haggling we landed on $600 and got about 400 people to fit. It was a suburban area so it was people coming from the backyards around us, sitting on porches. Everything has been so cinematic. You also got a visit from the police during the house party in Columbia, Missouri. (Laughs) Oh yeah, that was great. We had heard that the police there were really firm with the college kids and when five cop cars showed up my manager had this face of doom. I walked offstage and our guitarist did this (gives a thumbs-down with both hands) and everyone booed so loudly that I said to the police, 'If you want everyone to get out of here peacefully, let us finish.' One cop was like, 'We didn't know it was YOU!' I said 'thank you, officer,' and we did 'Gives You Hell' and got out! But it's that kind of positive energy that is following us. More: Bono talks revealing film, new U2 music: 'It's time to face the future and dance' What are the criteria for where you're going to play once you get the requests on Instagram? The bigger the yard, the better. The more removed from town, the better. Roller skating rinks are welcome. I really want to play a roller skating rink. I can picture (the skating move) shooting the duck while doing 'Gives You Hell.' The new video for 'Sandbox' is such campy fun. Where did you get the idea for murderous puppets? We're DIY right now. We're not on a major label so we're boot strapping it all. My manager found (director) Joseph Kahn's info on LinkedIn. He's done videos for everyone (Britney Spears, Imagine Dragons, Backstreet Boys) and he pitched an idea that really resonated with the single. The song is about a war on a playground and … needed to be paired with something that speaks to childhood innocence and he said, 'How about murderous puppets?' When is the full album due? January. Since it's such a DIY thing, every chance to release a song is a microphone. So we'll release a new song every few weeks until the Jonas Brothers tour. So how did that pairing come about? I met them at an activation in New Jersey and was really taken aback by their professionalism and hard work. I think they played eight shows that day for their fans and I knew they were fans of ours, but I went in kind of blind and quickly realized, these guys are top shelf. Playing stadiums will be a big swing from playing house parties. Do you think you'll have to do much physical preparation? Playing a backyard stage is a perfect size. MetLife (Stadium) in August … (laughs). Keeping up with the Jonas Brothers, man, I'm going to have to jump on a treadmill. We'll be traveling with ointments. Which is probably a little different than your tours back in the day. Yeah, back then we were sleeping in vans and our bones were made of rubber.
Yahoo
10-04-2025
- Entertainment
- Yahoo
Weezer's Scott Shriner to Perform at Coachella Amid Wife's Attempted Murder Arrest
Weezer bassist Scott Shriner is still set to perform with the band at Coachella despite an incident earlier this week where his wife was shot by police and arrested on attempted murder charges, a source close to the band tells Rolling Stone. According to the news release from the Los Angeles Police Department, the incident occurred Tuesday afternoon, April 8, after California Highway Patrol requested backup in locating three misdemeanor hit-and-run suspects who fled into a residential neighborhood of Eagle Rock in Los Angeles. LAPD officers approached the back of a home where one of the suspects was seen running, and Jillian Lauren Shriner reportedly appeared in the yard of a nearby residence, armed with a handgun. More from Rolling Stone Wife of Weezer's Bassist Shot in Officer-Involved Shooting, Booked for Attempted Murder: Police Weezer and Ed Sheeran Join Coachella 2025 Lineup The Killers and Hozier Lead 2025 Soundside Music Festival Lineup After officers ordered Shriner to drop the firearm, she refused numerous times and pointed the handgun toward the officers, per the news release, and a shootout took place, during which Shriner was struck by gunfire and retreated back into her residence. 'At that point, there were some commands given, multiple commands to drop the gun, drop the weapon, unfortunately, it did result in an officer-involved shooting,' Detective Meghan Aguilar said at a press conference Wednesday. Shriner and a babysitter eventually left the residence and surrendered to the police; Shriner was taken to a nearby hospital and treated for a non-life-threatening gunshot wound. A 9 mm handgun was recovered from her residence. Jillian Lauren Shriner, an author with two New York Times bestsellers, was later booked on attempted murder charges — police allege she fired her weapon at them before she was shot — and after arraignment, was released on $1 million bail. Despite the incident, as the saying goes, the show must go on, and Weezer — who themselves were a late addition to the Coachella lineup as a replacement for FKA Twigs — proceeded with their festival obligation. Neither Weezer nor Shriner have publicly commented on the incident. Weezer are still set for a number of other festivals, including Kilby Block Party next month, Soundside in September, and When We Were Young in October. Over the summer, they're scheduled for a slew of festival dates in Europe, including U.K.'s Glastonbury festival. Best of Rolling Stone The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked The 500 Greatest Albums of All Time
The Guardian
06-04-2025
- Entertainment
- The Guardian
Forgotten fashions: rediscovered slides show off everyday flair from the Fifties and beyond
It started with an impulsive eBay purchase. When Lee Shulman received the box of vintage slides he had bought from an anonymous seller, the British visual artist and film-maker could not believe the treasure he had accidentally uncovered. Beyond the impeccable quality of each image, taken in the 1950s by unnamed photographers, these were glimpses at everyday moments from everyday lives long since lost. Birthdays, family gatherings, holidays, parties, graduations – once cherished memories lovingly captured but now forgotten. Bought in 2017, that box was the catalyst for what Shulman refers to as a 'complete obsession'. More than 1m slides, 14 publications and a dozen international exhibitions later, The Anonymous Project has grown into a global endeavour and the 51-year-old's life's work. This ever-expanding archive of Kodachrome – a once groundbreaking but now defunct colour film released by Kodak in the mid-1930s – now represents the world's largest private collection of amateur colour slides. Speaking from Paris, where he has worked and lived for 20 years, Shulman turns the camera to his light table, where a pile of the most recently delivered slides awaits his attention. The international profile of The Anonymous Project means Shulman rarely buys slides any more, instead receiving donations from around the world. 'It's still as exciting as it was the first day,' he says. 'I still open a box thinking: what's going to be in there? And sometimes it's magic, sometimes it's terrible, and that keeps me going.' With the thrill of an archaeologist making a rare find or a child tearing into a fresh pack of Pokémon cards, Shulman is first to admit: 'I'm basically just a big kid in adult clothing.' Sifting through endless boxes of slides 'still harks back to that moment of finding treasure. It's not just uncovering history, it's uncovering an emotional moment that feels strong to me.' Over the years, Shulman has painstakingly sorted and themed his archive into photobooks documenting domestic scenes (The House, 2019); children (When We Were Young, 2020); the open road (On the Road, 2021); and a collaboration with Martin Parr (Déjà View, 2021). Shulman also filmed a documentary with Parr earlier this year. For the latest publication, Dressed to Impress, Shulman turns to fashion. Having previously resisted the subject as 'too obvious', owing to the ubiquitously spectacular outfits featured in virtually all the photographs he collects, this new compilation, covering the golden years of Kodachrome between 1950 and 1970, proves the allure of dress as a stand-alone subject, with colours that pop on every page. 'Every time I was interviewed, people would ask, what's the difference between those images and today's? If I'm honest, family photography and the pictures we take for Instagram, we show our lives in the same way – birthdays, celebrations, we still take a camera out for those moments. The only thing that's different is people just dressed better back then.' Free of formal chapters, the book's structure instead moves fluidly between sartorial and swimwear, colours and patterns, young and old, couples and groups, holiday and work, male and female, weddings and workwear. Fashion advertisements from the period not only serve as loose markers for each theme, but when paired opposite photographs featuring the promised look they deepen our contextual understanding of these quotidian lifestyle shots. This 'eureka moment of the book' also exposes a more sinister edge of racial segregation, sexism and the onset of mass advertising. 'Coming out of the second world war, there's this joyous moment of celebration, especially in America; invention, technology, optimism – something happened in that period, which coalesced into fashion as well,' says Shulman. 'But the story of segregation is in this book, too, and very rarely will you see a man and woman appear in the same advert, so the [images are] very problematic.' Although the provenance of Shulman's slides is rarely known, most come from the US, the home of Kodachrome, and occasionally the UK. 'I can usually tell because of the lighting,' says Shulman. 'There's a lot less sun in the UK so there tends to be less contrast.' Due to the prohibitive cost of Kodachrome at the time, representation has been a persistent problem for The Anonymous Project and Dressed to Impress is no different. Some images show people of colour but they mainly depict a privileged white majority. For Shulman, 'The problem isn't that [photographs featuring people of colour] don't exist, it's that they don't exist together [with white people].' Shulman has previously confronted this issue head on in Being There, his 2023 collaboration with close friend and Senegalese photographer Omar Victor Diop. Digitally inserting Diop into the frame, Shulman boldly projects a black presence into a time and place from which it had been excluded. 'I was born in London and feel strongly about growing up in an incredibly multicultural society, so it's something I've tried to address in The Anonymous Project.' Like all of Shulman's publications, Dressed to Impress was carved from several thousand images, edited alongside long-term collaborator and graphic designer Agnès Dahan. 'Choice is what makes photography,' explains Shulman of the process. 'Anyone can take a picture, but not everyone can choose an image.' Relying on strength of instinct and the intuition he honed as a film editor, Shulman animates each slide in his head. 'It's almost a frame taken out of a film,' he says. 'I'm always wondering what's going on beforehand, and what's going on after. And I'm always imagining a conversation taking place – I can almost hear the sound.' Eight years after its inception, The Anonymous Project shows no sign of slowing. Shulman is already planning his next book, focusing on religion, with exhibitions in New York and Kyoto on the horizon. 'I started the project, but now I'm being led by it,' he says. Immersed in the past lives of strangers on a daily basis, has the experience shed any light on his own mortality? 'There's something comforting for me in the idea that we all end up anonymous at some point,' he says. 'In about three generations, we're forgotten. And that's something beautiful, in the end – we all go back in the box.' Dressed to Impress: The Anonymous Project is published by Prestel (£40) on 17 April. To support the Guardian and Observer order your copy at Delivery charges may apply
