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Green Day Alters Lyrics to Reference Israel-Palestine War During Epic Coachella Set: ‘Runnin' Away From Pain Like the Kids From Palestine'

Green Day Alters Lyrics to Reference Israel-Palestine War During Epic Coachella Set: ‘Runnin' Away From Pain Like the Kids From Palestine'

Yahoo13-04-2025

Green Day is nothing, if not always, a political act. And so of course there was something to be expected as a statement during their debut headlining performance at Coachella on Saturday night, when they tweaked the lyrics of 'Jesus of Suburbia' to reflect the ongoing war between Israel and Palestine.
While performing the song, lead singer Billie Joe Armstrong sang, 'Runnin' away from pain, like the kids from Palestine / Tales from another broken home.' The original song lyrics from 2004's 'American Idiot' were, 'Runnin' away from pain when you've been victimized.'
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'RUNNING AWAY FROM PAIN LIKE THE KIDS FROM PALESTINE' !!!! pic.twitter.com/thlKX67sgm
— riley ④ 🐡🥁 SAW GREEN DAY 12/2/25 🎸🌈 (@queefiestt) April 13, 2025
Last month, Armstrong pulled a similar lyric alteration from the same song while performing in Australia, singing, 'Am I retarded, or am I just J.D. Vance?' The lyric replaced, 'Am I retarded, or am I just overjoyed?'
These political moments are nothing new for Green Day, who gave a career-spanning epic set at Coachella, largely banked on their arsenal of hits and top-shelf performance. There's only so many times that you can beat the drum that longevity is based on showmanship at the crossroads of excellence. And yet, the drum beats on, at least for the band's show, stacked with decades of generational smashes without any of the wear that a life in rock superstardom can imbue.
It was compelling to bear witness to the breadth of activism that's coded into their discography throughout their hour-and-a-half set, which came just after Bernie Sanders introduced Clairo at the adjacent stage with a condemnation of the current administration. Green Day's music is an act of rebellion, as is the punk scene that molded them, and amid the pop and rock smashes that powered their set, it gave their performance that much potency as they ran back hits from the early 1990s through their most recent album 'Saviors.'
Queen's 'Bohemian Rhapsody' blared in full to set off the performance, somewhat serendipitous, given that Benson Boone gave a career-defining appearance the night before with a rendition of the hit alongside Brian May. What ensued was an assailing factory line of hits, accented by political statements: 'I'm not part of the MAGA agenda,' sang Armstrong on opener 'American Idiot.' 'This song is anti-war,' he stated before 'Holiday.'
Their politics were clear, but it's the freedom of opinion and assuredness that propelled them. Coachella was rife with the biggest hits — 'Basket Case,' 'Wake Me Up When September Ends,' 'When I Come Around' — mixed with fan favorites like 'Brain Stew' and 'Minority.' Green Day has the uncanny ability to make every song sound like a hit, regardless of its initial impact. It's a testament to the value of personality, something that they regularly exude.
Indeed, who else but Armstrong would invite not one, but two, separate audience members to support the band on a few songs? During 'Know Your Enemy,' a girl named Brooke came on stage to sing alongside Armstrong. She nailed the moment, covering her mouth in disbelief. Later, another audience member strapped on Armstrong's guitar for closer 'Good Riddance (Time of Your Life),' much more assured in his abilities. Few bands are so finely chiseled that they can count on the confidence of strangers; that only happens when you know you've achieved full potential.
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Queen Joins Eminem And Michael Jackson In A Historic Feat
Queen Joins Eminem And Michael Jackson In A Historic Feat

Forbes

time20 hours ago

  • Forbes

Queen Joins Eminem And Michael Jackson In A Historic Feat

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Directing ‘The Rose: Come Back To Me' Felt Just Right To Eugene Yi
Directing ‘The Rose: Come Back To Me' Felt Just Right To Eugene Yi

Forbes

timea day ago

  • Forbes

Directing ‘The Rose: Come Back To Me' Felt Just Right To Eugene Yi

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Call Her Alex Isn't a Portrait of Alex Cooper—It's an Infomercial for Her Brand
Call Her Alex Isn't a Portrait of Alex Cooper—It's an Infomercial for Her Brand

Time​ Magazine

time2 days ago

  • Time​ Magazine

Call Her Alex Isn't a Portrait of Alex Cooper—It's an Infomercial for Her Brand

In the breakout third episode of Call Her Daddy, the podcast's co-hosts, Alexandra Cooper and Sofia Franklyn, encouraged a male listener to track his crush's movements via Snapchat, advised a woman that there was no need to tell her boyfriend about her sugar daddy, and plotted to sell dirty Coachella shoes to foot fetishists. But the bit that really made 'Gluck Gluck 9000,' posted on Oct. 3, 2018, a classic was Cooper's lively and detailed description of the eponymous, supposedly game-changing oral sex technique. Six years and three days later, Cooper hosted an episode of the same podcast in which she posed to Kamala Harris, then the Vice President of the United States and Democratic candidate for President, questions about mental health, reproductive rights post- Roe, and the economic challenges facing young people. 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Of course, as the trope dictates, last-minute disasters give way to an unequivocally triumphant opening night. The biographical portions can feel evasive—weirdly so, considering that messiness and candor are central to Cooper's brand—often swerving away from uncomfortable topics. She recalls escaping the pain of boys' bullying, as a skinny redhead, by bonding with other girls on the soccer field and making videos with friends. Then, suddenly, the awkward childhood photos are replaced by images of the perfectly proportioned and coiffed blonde she'd become by the time she matriculated at Boston University. There's no talk of how this glow-up might've affected her personal life or career, or the messages it might send to skinny redheads who worship Father Cooper, as she calls herself. The defining contradiction of Call Her Daddy, like Cosmo and the 'female chauvinist pigs' of Y2K pop culture, is its frequent implication that female empowerment requires catering to male desires. But Russo-Young never really interrogates Cooper's gluck-gluck feminism. Also conspicuously downplayed is the Cooper-Franklyn split, a perennial hot topic for the Daddy Gang. Talking heads who lived through it allude to a breakdown of the women's personal relationship as well as their professional partnership, as they renegotiated their initially meager Barstool contract—old news. Cooper doesn't have much to say about this. And while Barstool's controversial founder, Dave Portnoy, who also became a character in the contract drama, offers a few anodyne words of praise for Cooper in the doc, Franklyn is only glimpsed in archival footage. Anyone hoping to learn more about the end of the friendship, which isn't necessarily unreasonable for fans of a show premised on the intimacy of girl talk, will be disappointed. Still, Cooper is too savvy to put out a product entirely devoid of revelations. The morsel of news that started circulating in the days leading up to the series' release concerns the accusations of sexual harassment she levels in Call Her Alex against a since-retired BU soccer coach. Framed by Cooper's return to Boston for her tour, her story of a female coach who she says pried into her sex life and touched her inappropriately and used the students' scholarships to manipulate them—and of the university's alleged refusal to act on her scrupulously documented complaint—is infuriating. (Boston University has yet to comment on these allegations.) It also complicates Cooper's memories of soccer as a safe space and her choice to build a career around what is often euphemized as locker-room talk, though those aspects of the ordeal are barely explored. Instead, it's framed as yet another chance for Cooper to demonstrate her strength and tenacity. 'I was so determined,' she says in a voiceover that accompanies her stroll across an empty BU soccer field, 'to find a way where no one could ever silence me again.' Cooper is indeed a force—shrewd, ambitious, dynamic, hard-working. She knows her worth and fights for it. But that much has been obvious for years, to anyone with a casual awareness of her ascent to media-mogul status, as she's built an empire that now includes a media company (Trending), a podcast platform (Unwell Network), and an electrolyte drink (Unwell Hydration). The Daddy Gang certainly gets it. Which raises the question of who the audience for this documentary is supposed to be. Potential business partners, maybe? Watching Call Her Alex, at times, I felt as though I was being pitched a product: an empowered woman whose brand is female empowerment. All this marketing detracts from an element of Cooper's personality that is far more fascinating and rare and, I think, critical to her appeal than the stuff Russo-Young focuses on: she's great with people. The glimpses we do see of her interactions with fans are among the doc's highlights. When an audience member at one of her tour dates tearfully recounts how Call Her Daddy helped her cope with her father's death from cancer, Cooper calls her up to the stage, gets her a chair, sits at the young woman's feet, holds her hand, listens and reacts to every sentence of her story. Any performer could go through these same motions, but Cooper's care and curiosity—whether she's talking to a fan or a disgruntled employee or the most powerful woman in U.S. history—always come across as genuine. When she tells someone 'I f-cking love you,' which she often does, it sounds like she means it. This is probably why so many of her Gen Z listeners have likened her to a big sister. Yet she's something more complicated, too, a comforting but also aspirational figure, whose ugly-duckling-to-sex-goddess-swan transformation has left her with an unusual combination of empathy for the everygirl and the charisma to make that Daddy Gang diehard feel special. In a world that plays mean girls against mere mortals, she plays the part of the people's Regina George, her burn book replaced by an endless supply of sincere compliments.

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