Random Green Day News

[amonstergd]

Have you seen Billie’s video about doing a backyard show? I’m buying plane tickets to LA for 4-11.02, maybe they will do something near the album premiere

[Little Boy Named Booze]

Dont know where to post this. 

Anyway The Voice Kids (in french) from yesterday. 

 

[Rumpelstiltskin2000]

Wasn't sure whether to post this news snippet or not because of the discussion that might ensue!

It's a piece from Radio X about "10 musicians who don't drink"!

https://www.radiox.co.uk/features/x-lists/musicians-who-dont-drink/?fbclid=IwAR1czLjMX_selfuChWmWaGBArmqObZx96Q7_yFLodhCSaQooVSjtxxkgg1k

Need some inspiration for Dry January? These are the artists who've forsaken the booze for a healthier lifestyle.

Some have given up alcohol for health reasons, some have just never fancied it... but here are 10 musicians who've decided that the rock'n'roll lifestyle doesn't need to come with a hangover. If you're doing Dry January, good luck!

Billie Joe Armstrong

After an onstage meltdown in 2012, the Green Day frontman quickly checked himself into rehab. He re-emerged a cleaner, happier man. "It got pretty scary for a while", he told USA Today in 2016.

===

Also a Kerrang article here with FOAMF included in their "20 ALBUMS TO BE EXCITED ABOUT IN 2020" (the FOAMF thread had grown 50 pages whilst I'd been away for two weeks so someone may have posted this in there already - apologies if so):

https://www.kerrang.com/features/20-albums-to-be-excited-about-in-2020/?fbclid=IwAR1TczGvNB9u-eouAlJr1J-1CSVpwFp4ho4sI8Yw-0Mx7yFBotHCie_zS5Q

2019 might have disappeared into the rearview, but the rock don’t stop. Here are the records that’ll make 2020 bang even harder…

2019 was mega, wasn’t it? From legends like Rammstein, Tool and Slipknot via underground heroes Baroness, Chelsea Wolfe and Alcest to young guns Knocked Loose, LINGUA IGNOTA and Dream State, killer albums were dropping thick and fast like asteroids ready to set our world ablaze. The festive break provided a little respite but it’s not the bottom line, just the eye of the storm, and now we’re back into the maelstrom!

So forget those New Year blues, because with some serious heavyweights out to prove they’ve still got what it takes and a whole new roster of upstarts ready to stake their claim, there are more reasons than ever for rockers to get rowdy in 2020. Hell, we might even get a surprise or two along the way!

Here are the 20 upcoming albums already warming up our wish lists…

GREEN DAY – FATHER OF ALL…

We can’t lie: the thirteenth album from Green Day might just be the most exciting prospect of the lot. Following-up 2016’s Revolution Radio, the Berkeley punks are promising zero indulgences, with their shortest album ever stripped of fat and weighing in at a pin-sharp 26 minutes.

“Rock and roll sometimes has become so tame because a lot of rock acts are always trying to look for the feel-good song of the year or something,” frontman Billie Joe Armstrong explained, stressing the band’s playful form during an interview with Apple Music’s Beats 1. “Everything gets really watered down and wimpy, and I think rock music should make you feel bad.” The freewheeling two-and-a-half title-track/lead-single sure lives up to the promise to get wild, and we can’t wait to see the rest of the record hold pace for the duration. “Our motto? ‘Nothing says fuck you like a unicorn’,” Armstrong wrote under the YouTube video of the same. Read into that what you will…

 

______

Another article from Paste magazine here "Why Green Day Will Always Matter to the Young and Uncool"

https://www.pastemagazine.com/articles/2020/01/why-green-day-will-always-matter-to-the-young-and-1.html

If your uncle was deemed a “drunk” and not the more refined-sounding “alcoholic,” Green Day probably meant something to you. If most of your clothes used to be someone else’s, or your parents’ bank was inside of a Walmart, or your favorite toys came from Odd Lots, Green Day probably meant something to you. If you ever ate Dinty Moore in front of a television, Green Day probably meant something to you.

“I declare I don’t care no more,” Billie Joe Armstrong shouts in the first line of “Burnout,” the opening track to 1994’s Dookie. That Dookie managed to be the smash hit that it was seems more and more surprising as years go by. Listening to rock radio in 2016, awash in nature-loving bearded men who lament over a banjo that love is, man, hard, the grimy class-conscious specificity and shrugged off shamelessness of Dookie’s singles sound even more distant and unusual.

You have “Longview” with its lazy eye roll of a bass line and the actual word “masturbation.” There’s “Basket Case,” which documents Armstrong’s struggles with anxiety with surprising specificity and wry, sharp humor (“Sometimes my mind plays tricks on me”) and alludes to his bisexuality with a sex-positive, pronoun-switching reference to a prostitute. And then there’s “Welcome to Paradise,” which furiously exerts its independence and urges the listener to “pay attention to the cracked streets and the broken homes,” not as some sort of charity, but because, hey, actually “some call it slums, some call it nice.”

[Woodstock video here]

Imagine kids hearing any of those short, puerile singles on the radio sandwiched between, say, Stone Temple Pilots and Pearl Jam. Those songs went there because there was nowhere else to go. It’s where they were.

Bratty and vulnerable, young Armstrong sings like a teen—like a kid, really, especially earnest when he puts on the faux-British accent inspired by his many punk idols. It’s common to talk about the divide between pre-and post-Y2K youth, but in many ways it really was harder to grow up before the internet and Tumblr—before you knew how your life and your personality stacked up against those around the world. It was easier to dig into the dirty realities of your own inconsequence, and it was also easier to claw your way into unselfconscious, low-stakes declarations of your own significance. Easier to see you don’t matter, more vital to find DIY ways to disagree.

Dookie is the sound of kids kicking rocks and yelling and not giving up. Dookie is teenagers making themselves heard. Dookie is the same reason I write.

There’s an accepted narrative that, after Dookie, all of Green Day’s work has, to some degree or another, been a “selling out”—a decline into self-seriousness and mediocrity. But even with shined-up production and designer pinstripes, Green Day has always at its core remained sincere and uncool in ways that never abandoned the teenagers they used to be—nor do they abandon the teenagers who still connect to their music.

Much of their 1995 follow-up Insomniac delved into Armstrong’s struggles with self-esteem, addiction and panic disorder. On “Geek Stink Breath,” he calls methamphetamines a “slow progression, killing my complexion and rotting out my teeth,” and exclaims “I don’t know what I want / And it’s all that I’ve got / And I’m picking scabs off my face.” That’s so gross, and also raw and direct and honest and ugly, and all of those things are what you need to be allowed to feel and relate to when you’re young and exploding with awkwardness and rage and pus.

[Geek Stink Breath video here]

1997’s Nimrod showcased grim bitterness but also featured the band’s most romantic songs since the youthful panicked lovesickness of much of their second album, Kerplunk! Note that Green Day doesn’t traffic in beautiful, elegant, tragic romance. Theirs is bald-faced, embarrassed, what-the-hell-am-I-doing, “where do we go from here and what did you do with the directions,” romance. It’s too real and too imperfect, and yet perfectly melodic in a way that, when you’re a lost kid with a bad home life and a crush that will never notice you behind your braces, can seem lifesaving.

On “Deadbeat Holiday” from 2000’s Warning, Armstrong sets a scene of domestic chaos (“Wake up / The house is on fire / And the cat’s caught in the dryer”) and encourages the listener to “celebrate your own decay,” evoking an image of a vacant sign hanging on a noose over a home. The chorus concludes that “at least you’re not alone.” This emphasis on survival, on making the best of the gross and real, has never left Green Day’s music.

Then came the jaded detachment of the B-sides and rarities compilation Shenanigans, before, of course, rock opera American Idiot conquered pop music but was viewed by some as the final nail in Green Day’s “cool” coffin. And that understandable: American Idiot was glossy, full of bombast, melodramatic and above all, ambitious.

October 1 brought the annual, inevitable snarky calls to “wake up that guy from Green Day.” But even “Wake Me Up When September Ends,” so overplayed on corporate radio that diehard fans stopped wanting to hear it, displays the same unashamed straightforwardness of emotion that Green Day has maintained since 1990’s 1,039 Smoothed Out Slappy Hours, which boasted songs about being overlooked by a girl at the library and being ignored like a “disappearing boy” at home. “Wake me up when September ends,” Armstrong begs, speaking of his father’s death from cancer in September of 1982. Out of context, the lines aren’t half as brutal as many of the lyrics from the band’s early days, but the delivery, especially when listened to with fresh ears, is raw and fragile and serves as a reminder that grief is, among many things, not “cool.” It’s too all-consuming for that.

[Wake me up when September ends video here]

The band’s post-Idiot work has received less attention, though Armstrong’s struggles with addiction were thoroughly covered after a trip to rehab, In 2012, two decades after Dookie, Armstrong reached out in song to one of the patron saints of the troubled, the working class and the true: Amy Winehouse. Green Day’s tribute song, “Amy,” begs her to stay (“Amy don’t you go / I want you around / Singin’ woah, please don’t go”). Winehouse, like Armstrong, struggled with addiction, and she was notorious for bucking up against traditional British ideas of class and propriety. Winehouse was frank, candid and crass, seemingly living out her own form of a deadbeat holiday with pride and fear and trembling resolve. It seems only natural that Armstrong would feel a kinship with her.

So life is long, and people grow up and grow old and change and lose their edge. Or perhaps it’s dulled by the world they are forced to bump up against or charge recklessly into. But there are parts of Green Day, no matter how many arena anthems they make or awards shows they play, that cannot be unshaken. In the sounds screamed loud and played fast from the trashy brats of Oakland are the dirty carpets, grinding teeth, bloodshot eyes and throbbing heart of the uncool, and there will always be those who celebrate it.

[Squashie]

Welll... part of that radio x story isn’t true. Thanks for sharing @Rumpelstiltskin2000

[Rumpelstiltskin2000]

NME article "Green Day reveal new album title was inspired by Slayer’s Kerry King"

https://www.nme.com/news/music/green-day-reveal-new-album-title-was-inspired-by-slayers-kerry-king-2592020

"It's just a badass title"

Green Day have revealed how the title of their upcoming third album was inspired by advice from Slayer‘s Kerry King.

Speaking to Kerrang, singer Billie Joe Armstrong revealed how the album title ‘Father Of All…’ was chosen because it sounded “badass”.

“It’s just a badass title,” he said. “I think it was Kerry King from Slayer – they have an album called ‘God Hates Us All’, and someone asked, ‘Do you really think God hates us all?’ And he goes, ‘I don’t know! It’s just a badass title!’ As soon as the title came up, I was like, ‘Oh man, this is good.’”

The punk icons also revealed how they explored a wide variety of genres as they geared up to start making the record – including Motown.

“We don’t want to do what everyone would expect us to do, so it was just kinda mischief and making it fun,” Tre Cool explained. “That was the bottom line of it.”

“There’s a very fine line threading the needle for us, because we do want to try new things, but we always want to make sure it’s absolute Green Day, you know?” Armstrong added.

It comes as Green Day prepare to head out on the Hella Mega Stadium tour later this year – which sees them hitting the road with the likes of Fall Out Boy and Weezer. The dates will kick off in Europe, with UK and Ireland gigs taking place at the end of June. All three will then return to North America for a headline tour across July and August.

On 1/8/2020 at 1:38 AM, amonstergd said:

Have you seen Billie’s video about doing a backyard show? I’m buying plane tickets to LA for 4-11.02, maybe they will do something near the album premiere

Lots of articles about this if anyone is interested:

https://www.billboard.com/articles/columns/rock/8547634/green-day-looking-for-fan-house-album-release-show

https://loudwire.com/green-day-backyard-party/

https://www.spin.com/2020/01/green-day-backyard-show-dennys-show/

https://www.sfgate.com/subculture-events/article/Green-Day-wants-to-play-in-your-backyard-new-album-14963270.php

https://www.radiox.co.uk/artists/green-day/green-day-are-offering-to-play-a-fans-back-yard/

____

Article here from Far Out Magazine "Remembering Green Day’s muddy and bloody performance at Woodstock 1994":

https://faroutmagazine.co.uk/green-day-woodstock-1994-performance-mud-fight/

There are several moments of grubby grandeur amongst the long career of iconic pop-punkers Green Day. Yet if you’re looking for a seminal moment in the band’s career it’s hard to look past the mud-caked revelry of their 1994 Woodstock set, the 25th anniversary of the legendary festival.

Going back some 25 years, the trio was far from the festival headliners they are today and found themselves playing the less than desirable South Stage during Bob Dylan and the Allman Brothers’ sets on the main stage. It would split the crowd and drive a young audience towards the pulsating punk energy of Green Day.

When you place a young crowd (without the watching eyes of the Dylan-viewing parents of the event) in front of a band like Green Day were in 1994 – full of beans, off the back of their seminal record Dookie, and with a lead singer with the bit between their teeth – all hell is more than likely to break free from its shackles. Prior to the band’s performance, the event experienced a heavy downpour which turned the dustbowl space into a mud pit. You can see where this is going.

With Dookie having been out for nearly five months when Green Day took to the stage, the trio of Billie Joe Armstrong, Mike Dirnt, and Tre Cool saw the stage at Woodstock as an opportunity to make their name. That opportunity landed even more squarely at their feet with a huge, wet, filthy splat of the first mudball launched from the crowd.

There are several moments of grubby grandeur amongst the long career of iconic pop-punkers Green Day. Yet if you’re looking for a seminal moment in the band’s career it’s hard to look past the mud-caked revelry of their 1994 Woodstock set, the 25th anniversary of the legendary festival.

Going back some 25 years, the trio was far from the festival headliners they are today and found themselves playing the less than desirable South Stage during Bob Dylan and the Allman Brothers’ sets on the main stage. It would split the crowd and drive a young audience towards the pulsating punk energy of Green Day.

When you place a young crowd (without the watching eyes of the Dylan-viewing parents of the event) in front of a band like Green Day were in 1994 – full of beans, off the back of their seminal record Dookie, and with a lead singer with the bit between their teeth – all hell is more than likely to break free from its shackles. Prior to the band’s performance, the event experienced a heavy downpour which turned the dustbowl space into a mud pit. You can see where this is going.

With Dookie having been out for nearly five months when Green Day took to the stage, the trio of Billie Joe Armstrong, Mike Dirnt, and Tre Cool saw the stage at Woodstock as an opportunity to make their name. That opportunity landed even more squarely at their feet with a huge, wet, filthy splat of the first mudball launched from the crowd.

Drummer Tre Cool recalled the moment the crowd (and later the band) took part in a gigantic mud fight. “It got all chaotic, we kept trying to play, but Billie [Joe Armstrong] was getting mud hitting his guitar and Mike [Dirnt] was getting it on his bass and hitting him. Luckily my drum set was just far enough back where I was less in harm’s way… It was punk as fuck, and nobody expected that to happen.”

All hell finally broke free from its shackles and as the mud flung from the crowd rained down on the stage like some kind of biblical dirty protest. A security guard would mistake Mike Dirnt for a crazed fan and smashed his front teeth out.

The next moment in a long line of punk revelry would see Billie Joe Armstrong pulled down his trousers and flash the crowd while being pelted with mud, it was not something that would go down well with his mother, Ollie Armstrong.

“She sent me a hate letter afterwards,” the singer told Rolling Stone‘s Chris Mundy in 1994. “She said that I was disrespectful and indecent and that if my father was alive, he would be ashamed of me. She couldn’t believe that I pulled my pants down and got in a fight onstage. She even talked shit about my wife, Adrienne, and how she’s supposed to be my loving wife, but she’s never even come over and visited. It was pretty brutal.”

As brutal as it may have been, it remains one of the punkiest moments that has ever happened at Woodstock and a shining merit badge on the rock and roll scout sash of Green Day.

[Video of GD's performance at Woodstock follows]

[Rumpelstiltskin2000]

Not sure if this has been posted elsewhere but apparently "Father of All" has been added to Rock Band 4:

http://www.thexboxhub.com/green-day-and-weezer-bring-2-new-tracks-to-rock-band-4/

[Squashie]

Mike about his investment on GoldenSeed (cannabis) and some Green Day too

https://culturemagazine.com/green-days-mike-dirnt-joins-cannabis-industry-with-goldenseed/

[Rumpelstiltskin2000]

Think this might be new from SJC:

TRÉ COOL "BLACK MAMBA" SIGNATURE SNARE

https://www.sjcdrums.com/products/tre-cool-black-mamba-signature-snare

 

[jengd]

Not news, but good old Hardtimes 😁

 https://thehardtimes.net/music/town-still-ravaged-decades-after-dookie-airstrike-of-94/

[WorryRock02]

Green Day're on the new Blast Magazine 

 

 

 

 

[Rumpelstiltskin2000]

Article about Warning here from Louder magazine:

https://www.loudersound.com/features/green-days-warning-at-20-reappraising-an-overlooked-folk-punk-classic

Green Day's Warning at 20: reappraising an overlooked folk-punk classic

By Felix Rowe 6 hours ago

20 years on, we revisit Green Day's Warning and discover there's more to the overlooked gem than you might realise

2020 marks the 20th anniversary of Green Day’s sixth studio album, Warning. But the milestone is unlikely to be met with great fanfare. Perhaps it might illicit an indifferent shrug at best. 

While it didn’t exactly bomb – lead single Minority spent over a month at the top of the Billboard Modern Rock chart and it received ‘generally favourable reviews’ – their first release this side of the millennium was a critical and commercial low point for the band. 

The album saw the gain turned down a notch on their distortion pedals, coupled with the increasing use of acoustic guitars. Billie Joe Armstrong’s solos were substituted at various points for harmonica, plucked mandolin and – perhaps most jarring of all – a screaming sax break more typically at home on a Bruce Springsteen album. It was a deeply uncool proposition for a punk band at the turn of the millennium, when the angst and attack of nu metal was beginning to dominate the rock charts.

For many fans, Warning will forever be remembered as the band’s first true stinker – the one where they lost their fire and went a bit soft. For others, the verdict was even more damning: it wasn’t a bad record, it was just ‘OK’. Either narrative pitches Warning as a momentary blip in an otherwise spotless catalogue up to that point. (The merits of 2012’s ¡Uno!, ¡Dos!, ¡Tré! trilogy are for another debate.) 

Warning’s sorry fate was only cemented by the globe-conquering, politically-charged magnum opus that followed. 2004’s American Idiot was dubbed a triumphant ‘return to form’... or in other words, ‘their last album was a bit shit’. Evidently 16 million fans agreed. But was Warning really that bad?

Musically, the acoustically-driven Warning revealed a love of British rock icons from Elvis Costello to The Kinks. Lyrically, it demonstrated a political awakening that pre-dates the post-9/11 paranoia of its successor. Far from a momentary mellowing of spirit, a closer listen reveals how Warning actually sowed the seeds for the sharp social critique of American Idiot. But viewed entirely on its own merits, Warning is a solid, overlooked collection of songs from a band finally transcending the genre from whence it came.

Going soft?

It’s the classic taunt levied on many a band that’s had to the audacity to stick around long enough to grow up: ‘they’ve lost their edge’ (see Pixies, Idlewild, Oasis, [insert name of your favourite ageing band here]). 

But rather than a blunting of Green Day’s power, Warning was a coming of age, a progression from adolescent frustration to a world-weary adulthood. ‘Maturing’ is often a byword for ‘going boring’ and, sure, it didn’t rock as hard as their snappy youthful efforts that won millions over in the first place. 

But the change of pace wasn’t a sign of losing stamina. The rhythm section of Mike Dirnt and Tre Cool remained as tight as ever, while paradoxically assuming a looseness that suited them rather well. What’s more, taking their foot off the gas a little allowed them to explore a wider palette of sounds and textures. It might be a bit of stretch to call Warning their London Calling, but it was certainly a concerted attempt to explore new territory.

A key gripe seemed to be that it didn’t sound like Dookie. But what would be the point of that? There’s only so many times you can repeat the same trick before falling into self-parody – a fate Green Day were already in danger of by this point. 

Album number four, Insomniac was essentially Dookie 2.0, and 1997’s Nimrod – though stuffed with great songwriting – would’ve been, too, if not for its two stylistic outliers: the ska-infused dressing-up ditty, King For A Day, and Good Riddance (Time of Your Life). The latter’s stripped-back acoustic ballad was something of a Year Zero for the band, providing their biggest crossover hit. Once Armstrong had exposed himself so completely, they could hardly just put the suit back on and return to business with another straight-up punk album.

That said, Warning – for the most part – was hardly a radical departure. The song structures are essentially what you’d expect from Green Day; they’re just enhanced with the subtle introduction of new textures, often leaning to a more folky sound. Tellingly, Warning was the first album that the band entirely self-produced, signalling the desire to take creative control and explore fresh avenues. But, most importantly, the songwriting remained razor sharp throughout.

Green Day’s melodic brand of three-chord pop punk is obviously hugely indebted to their fellow countrymen the Ramones, and Green Day are as American as John Wayne and pumpkin pie. But listen again to Warning and you’ll witness a clear love of British rock icons. The title track’s revolving riff and walking bass line borrow liberally from The Kinks’ Picture Book; Church On Sunday is essentially Oliver’s Army played a bit faster; and both Minority and Jackass have echoes of The Clash. It’s worthy of note that The Kinks, Clash and Costello are all artists who have stepped beyond the narrow confines of their original scenes to become great rock acts full-stop.

Elsewhere, Waiting breathes new fire into Petula Clark’s Downtown to create one of their finest overlooked singles. Closer Macy’s Day Parade is another underrated gem in Green Day’s catalogue. Emotional without being sappy; simple but genuinely affecting in its delivery, it takes the classic Stand By Me chord progression and shows Armstrong’s growing maturity and grasp of melody. It’s a clear precursor to Wake Me Up When September Ends.

Armstrong’s bratty persona and snotty delivery have always belied his lyrical dexterity. He’s far more poetic than often given credit for. Routinely abstract and oblique, his turns of phrase nonetheless produce some colourful imagery that goes way beyond his contemporaries Blink 182’s typical fart gags. Bille Joe treats us to ‘economy-sized dreams of hope’ and bleeding mascara ‘leaving traces of my mistakes’.

The album’s centre-piece, Misery, is the greatest detour from Green Day’s well-trodden path, and as a result stands up as their finest oddball moment ever committed to tape. Ironically, by restricting themselves to just two chords (rather than the usual luxurious three) and slowing the pace right down, it actually frees them up to deviate further off the map. Musically, it’s a gypsy folk punk road trip that journeys through a range of European and Latin American traditional styles, complete with flourishes of twangy guitars, Mariachi horns, mandolin and strings. It’s also an opportunity for drummer Tre Cool to grandstand a mean accordion. 

All of that might sound awful on paper – and yes, it’s totally ridiculous – but it’s the best song Gogol Bordello have never written. It’s the kind of track that gets people going, ‘What the...? Was that really Green Day?’ It’s certainly not playing safe.

A political awakening

By Billie Joe’s own admission, Warning was the point where he started to become more politically aware. His lyrics had often broached ideas of alienation and disenfranchisement on a personal level, but now the discontent became more overtly political and socially conscious. 

No longer a frustrated youth kicking out at the world, Warning saw Billie Joe begin to assume of the role of reluctant figurehead for the dispossessed. On Minority he rants ‘down with the moral majority’ and pledges his allegiance to the underworld. Meanwhile, the opening title track conjures up imagery of an Orwellian government controlling its hapless populace with endless menial commands. Railing against the powers that be, he offers a choice to either ‘live without warning’ or ‘shut up and be a victim of authority’. 

Ok, so it’s hardly Rage Against The Machine in its nuance or Public Enemy in its shock value. But it marks a shift in outlook, Armstrong lifting his gaze from his own naval to observe and comment upon the wider world around him. By no means an out-and-out political record in its entirety (much of it feels optimistic in tone), Warning set Armstrong upon a path lyrically that would ultimately prove fertile ground in the years to come.

The verdict

Warning may not be the first point of entry into Green Day’s catalogue for the uninitiated – that honour should always belong to Dookie. And, yes, it was American Idiot that undoubtedly injected new purpose into a flailing career, winning them an entire generation of new fans. 

But in reality, each ensuing album that followed Dookie’s breakout success offered diminished commercial returns. In this sense, Warning wasn’t an outlier, but rather a continuation of that trend. It was, however, their first proper attempt to create a new thematic sound across an album, rather than a token novelty track. Some may have found its folk leanings to not be ‘punk’ enough (whatever that means), but it helped to set the template for later acts like Frank Turner who’ve gone on to enjoy success with a similar sound. Warning should stand proud in Green Day’s canon and not cower in the corner as an embarrassment best forgotten.

While all four of Warning’s singles made it onto 2001’s International Superhits!, only Warning and Minority survived for 2017’s Greatest Hits: God’s Favorite Band. The band do themselves an injustice there, erasing two fine cuts from their retrospective. The album has had something of a reappraisal in the years since its release, yet Warning won’t ever find itself in the ‘all time best album lists’, nor will it get the Broadway treatment afforded to its successor. 

But it’s no stinker. And far from just a necessary step in the band’s progression, it’s a solid set in its own right. It certainly deserves another outing, whether you’re dusting off that underplayed CD or discovering it for the first time. Forget your preconceptions of what a Green Day album ‘should’ sound like, and just enjoy a fine example of song craft from a band with the confidence to finally break free from the scene that made them.

[Rumpelstiltskin2000]

Obviously I don't know if GD will accept but an invitation from SC Barcelona to GD to be included in their #nocheamarilla2020:

 

[Jean]

 

[Give_Me_Novacaine90]

Billie Joe on Life & Style Weekly https://www.pressreader.com/usa/life-style-weekly/20200127/281745566329576

 

 

 

[pacejunkie punk]

14 minutes ago, Give_Me_Novacaine90 said:

Billie Joe on Life & Style Weekly https://www.pressreader.com/usa/life-style-weekly/20200127/281745566329576

 

Oh good lord 🙄 And also, it was a reference to a lyric in the song 😒

[Virginia Lot Lizard]

14 minutes ago, pacejunkie punk said:

Oh good lord 🙄 And also, it was a reference to a lyric in the song 😒

Omg what shitty “reporting”. So dumb. But it’s fun that Billie Joe was in a gossip/lifestyle magazine or whatever. That shit is always to be taken at less than face value. Horray for being a rockstar in a gossip mag. He’s a rockstar! 

[Beerjeezus]

The madlad did it!!!

[Rumpelstiltskin2000]

Another article about Mike's Goldenseed project here:

https://www.globenewswire.com/news-release/2020/01/09/1968480/0/en/Green-Day-Co-Founder-and-Bassist-Mike-Dirnt-s-Goldenseed-Becomes-First-Private-U-S-Cannabis-Farm-To-Sell-SEC-Qualified-Stock-To-The-Public.html

[Rumpelstiltskin2000]

Couple of tweets with pics of the boys from what I can make out with my limited Spanish was the company taking care of the lighting and sound for an interview at the Hotel Bless in Madrid which is yet to surface :

 

 

 

[Squashie]

Here is the "google translate" of what these tweets say:

Tweet 1:

During the last promotional visit of the #trío#norteamericano @GreenDay  so they could record their #entrevistas All national and international media. We work with two cameras and take care of all the lighting and sound from the #HotelBlessMadrid .

 

Tweet 2:

They came to play at the MTV Awards in Seville and surprised Madrid people with a concert for fans in La Riviera. At the moment, their next European tour will not bring them to Spain.

[HAPPY ZOMBIE UNICORN]

From the Wolf Sauce account IG story, it looks like the Tyla video where Billie is supposed to appear will be released this Friday. 
The story is a repost of this: 

Is "High right now remix" the song title? 😄

@Hermione not sure if we want to have a separate thread for this, since we are not sure if Billie will actually be on it.

[Billie Joes Eyelids]

14 minutes ago, HAPPY ROOTING UNICORN said:

From the Wolf Sauce account IG story, it looks like the Tyla video where Billie is supposed to appear will be released this Friday. 
The story is a repost of this: 

Is "High right now remix" the song title? 😄

@Hermione not sure if we want to have a separate thread for this, since we are not sure if Billie will actually be on it.

Oh god, now I have to start following this guy again.

[HAPPY ZOMBIE UNICORN]

So this is the video of the original song, it's actually pretty interesting despite it not really being my genre  It also got 12 million views in 9 months, maybe having him in the Oh Yeah! music video would have been a pretty smart idea  

 

 

[Rumpelstiltskin2000]

Members from Argentina. MTV Argentina will be playing GD hits from 1800 (plus 5 GD facts in the tweet):

 

They also tweeted that "Jesus of Suburbia is 9.08 minutes of pure pleasure"!

 

[Hermione]

11 hours ago, HAPPY ROOTING UNICORN said:

From the Wolf Sauce account IG story, it looks like the Tyla video where Billie is supposed to appear will be released this Friday. 
The story is a repost of this: 

Is "High right now remix" the song title? 😄

@Hermione not sure if we want to have a separate thread for this, since we are not sure if Billie will actually be on it.

I think it doesn't matter too much either way, I guess there's no need yet but can always make one if he turns out to be in it.