Terrence Howard Rejected Marvin Gaye Biopic Because He Didn't Want to Kiss a Man
During a recent appearance on the Club Random podcast, Howard told host Bill Maher about the 'biggest mistake' he ever made in his career. The actor recounted how he was invited to dinner by Smokey Robinson because 'he wanted me to play his life' in a movie. Unfortunately Howard had to turn Robinson down because he was in a conversation with Lee Daniels about playing Marvin Gaye in another biopic.
More from Rolling Stone
Bruce Springsteen Jams With John Fogerty, Tom Morello, Smokey Robinson at American Music Honors
Bill Maher Slams Larry David's Satirical Hitler Essay: Insults 'Six Million Dead Jews'
Library of Congress Defends National Recording Registry After Bill Maher's 'New Rules' Jab
Maher responded, 'You would've been perfect as Marvin Gaye, and that is a story that needs to be told.' However, Howard confirmed he ended up in neither project. He ended up turning down the role of Gaye once he learned how the singer's sexuality would be explored in the film.
'I was over at Quincy Jones' house and I'm asking Quincy, 'I'm hearing rumors that Marvin was gay' and I'm like, 'Was he gay?,'' Howard recalled. 'And Quincy's like, 'Yes.'' Ultimately, Howard decided he 'could not' play the singer.
'They would've wanted to do that, and I wouldn't have been able to do that,' Howard told Maher of portraying a gay relationship. He explained that he couldn't kiss a man onscreen because 'I don't fake it.'
He continued, 'That would fuck me. I would cut my lips off. If I kissed some man, I would cut my lips off.'
Howard explained that 'it does not make me homophobic to not want to kiss a man.' He added that it's about being able to represent something accurately onscreen. 'I can't play that character 100 percent,' Howard said. 'I can't surrender myself to a place that I don't understand.'
Howard most recently appeared in Fight Night: The Million Dollar Heist, a Peacock miniseries that aired last year. He is best known for portraying Lucious Lyon on Empire, which was co-created by Daniels, and for his Oscar-nominated role in Hustle & Flow. The actor shared similar sentiments on the PBD Podcast, saying he had turned down gay roles because he didn't want to lose his 'man card.'
'I've lost businesses because I don't bend over in that way,' he said. 'I don't compromise. I don't play gay roles. I don't kiss a man. I don't do that shit because the man card means everything.'
Best of Rolling Stone
The 50 Best 'Saturday Night Live' Characters of All Time
Denzel Washington's Movies Ranked, From Worst to Best
70 Greatest Comedies of the 21st Century
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
2 hours ago
- Yahoo
Doechii announces Live from the Swamp tour to mark the end of an era: 'Let's close it out together'
The Florida-born rapper made the album announcement during her Lollapalooza performance on Saturday. The self-proclaimed 'Swamp Princess' has spoken: We're nearing the end of the Alligator era. On Monday, Doechii confirmed the plan for her upcoming 'Live from the Swamp' tour to celebrate the one-year anniversary of her breakout mixtape, Alligator Bites Never Heal. The Tampa, Fla., native will kick things off in Chicago on Oct. 14 and conclude her run in Seattle on Nov. 11. She'll take 'Live from the Swamp,' her first headlining tour, to a total of 12 cities before closing this chapter of her career. 'One last time,' she wrote in a post on Instagram. 'this project just turned one, and before i disappear to create the next world, I'm going back on tour. the final chapter of this era. Thank you for the memories, the magic, the love. —let's close it out together.' Doechii first announced the tour during her performance at Chicago's Lollapalooza festival on Saturday. She ended her set by telling the crowd, 'Before we get out of here, I wanted to make an announcement. I'm gonna be going on tour on Oct. 14. What's up, y'all? Bye!' Cameras then followed the rapper offstage as she got into the driver's seat of a white Nissan Altima with the words 'Doechii Tour' written on it. With Alligator Bites Never Heal, Doechii boldly set herself apart from the pack; with its swampy sound and fierce lyricism, it's as polished as it is gritty. She's focused and self-realized, but she isn't immune to a meltdown either. Doechii is an artist recognized for her intentionality. When putting together the track list for Alligator, the 'Nosebleeds' hitmaker wanted to ensure that it gave an honest if imperfect picture of what she endured and when she endured it. 'It was important for us to go in chronological order of what has happened to me, how that has made me feel, how I overcame it, and where I am now,' Doechii told Rolling Stone in 2024. 'That was my goal — for us to hurt in the beginning, for us to heal in the middle, and for us to celebrate at the end. And that's why I feel it doesn't feel long, because you're on a journey emotionally.' It wasn't long before Alligator Bites Never Heal received wide recognition. It earned Doechii her first-ever Grammy win for Best Rap Album, making her only the third woman to ever receive the honor, following Lauryn Hill and Cardi B. In addition to receiving Grammy nominations for Best New Artist and Best Rap Performance for her track, 'Nissan Altima,' the mixtape earned Doechii her first top-10 charting album on the Billboard 200. She also took home the honor for Best Female Hip-Hop Artist at the 2025 BET Awards, at which she spoke out against the immigration raids in the U.S. Even with one of the year's most critically acclaimed releases, Doechii isn't keen on calling herself a superstar just yet. 'We don't really have a superstar of this generation just yet, because there hasn't been enough time,' Doechii told British Vogue last month. 'When I look at pop culture right now, I'm just trying to figure out, 'OK, what does a Doechii superstar look like? What does it take to make that?' I have no clue. I'm still figuring it out.' While Doechii hasn't disclosed much about her upcoming record, the rapper told Variety last year that she intends to release her debut studio album in 2025. Solve the daily Crossword
Yahoo
4 hours ago
- Yahoo
How Two Songwriters From K-Pop and Musical Theater Built This Summer's Surprise Chart Smash
When songwriters Mark Sonnenblick and EJAE were first contacted to work on Netflix's ambitious animated musical KPop Demon Hunters, the two thought it would be a fun and unique project to add to their musical résumés. A madcap animated film following a K-pop girl group that moonlights as the mystical destroyers of an invisible demon realm — what's bolder than that? But now, five weeks after KPop Demon Hunters' Netflix premiere, the film has skyrocketed to take the title of the streaming platform's most-watched animated film ever. As for the music, it's surpassed everyone's expectations, peaking at Number Two on the Billboard 200 albums chart and becoming the highest-debuting soundtrack of the year. And how are EJAE and Sonnenblick feeling about this surprise success? Absolutely golden. More from Rolling Stone This Author Wants Better Deals for Audiobook Narrators. She's Using Smutty Romance To Get It Smash Drives, Not Clubs With the New Callaway Golf x 'Happy Gilmore 2' Collab 'Happy Gilmore 2': Hooray! Adam Sandler's Brawling Golf Bro Is Back 'It's crazy! Unbelievable,' EJAE tells Rolling Stone over Zoom from her home studio in New York. 'Has any songwriter been like, 'It's charting? What a disaster!'' Sonnenblick adds, laughing. 'We loved the songs and believed in the music. It's just a testament to the hundreds of people who worked on this film. The film supports the music. The music supports the film. It's amazing.' In the past decade-plus, K-Pop has grown into a global phenomenon and a multibillion-dollar industry, driven by incredibly devoted fanbases and the constant introduction of new groups to drive up interest. Against this backdrop, directors Maggie Kang and Chris Appelhans introduce audiences to fictional singers Rumi, Zoey, and Mira — or, as their hordes of screaming fans know them, superstar girl group HUNTR/X. What those fans don't know is that when HUNTR/X hit the stage with their synchronized struts, sharp harmonies, and killer outfits, their music is really strengthening the Honmoon, a magical barrier that protects humans from the hungry, soul-sucking demons on the other side. Everything is going according to plan, until rival group the Saja Boys reveal their true purpose: They're demons on a mission to steal HUNTR/X's fans and their souls. That mystical battle is buoyed by a 12-song soundtrack built by some of the biggest names in K-pop production, including THEBLACKLABEL, co-founded by Teddy Park. But while fans continue to be obsessed with HUNTR/X — the fictional group has even outpaced Spotify records set by real-life superstars BTS and Blackpink — Sonnenblick and EJAE tell Rolling Stone that writing their songs wasn't as easy as hitting the right notes. It required each of them to learn a new musical language. 'I was pretty new to K-pop,' says Sonnenblick, who's better known for his work as a composer and writer for musicals, including the 2022 film Spirited and the stage version of The Devil Wears Prada. 'I knew some of the baseline stuff that had broken out in America. But I'd never heard NewJeans. That's what's exciting about entering into new collaborations with new genres. The music is so expansive and theatrical — the minute I heard it, it's like 'This is music to kill demons to.'' EJAE, by contrast, has lots of experience with K-pop. Born in Seoul, she's spent her career immersed in that world, writing with groups like TWICE, Aespa, Le Sserafim, and Red Velvet. Much of her learning curve involved staying true to the genre's musical maximalism while also keeping the storyline front of mind in a way she'd rarely had to before. 'We both have partners, but Mark was like my other partner, my writing boyfriend,' EJAE jokes. 'We had the best collaboration, because Mark's from theater and I'm from K-pop and pop writing, so we were both kind of each other's police. Like, 'No, no, EJAE — back to the storyline,' and then I'd go, 'No, no. Mark, I don't like that lyric. Let's make it more in the pop world.'' In addition to her role in writing several of the KPop Demon Hunters songs, including 'Your Idol,' 'Golden,' and 'How It's Done,' EJAE was also the onscreen singing voice of Rumi, a role where she found herself drawing on her history in the K-pop world. K-pop groups are typically built by labels and management groups, who sign potential stars to contracts and then take them through a rigorous vocal and dance training program to see if they can fit in any new groups. The idol hopefuls are called trainees, and for almost 10 years, EJAE was one of them, working with SM Entertainment, one of the biggest companies in the industry. 'I got in when I was 11,' she says. 'I feel like I experienced all facets of K-pop. I was a trainee, I became a songwriter, I also vocal directed for K-pop idols. So I really resonated with Rumi. She's such a perfectionist and trying to hide her shame, hide her flaws. And that's a huge part of when you're training. You're trying to put your best foot forward. 'Golden' really means a lot to me, because I feel like at that time, I needed a song like that.' 'I'm done hidin', now I'm shinin'/Like I'm born to be/We dreamin' hard, we came so far/Now I believe,' the lyrics declare, building to a frenetic harmony as she belts out the chorus that's become a staple everywhere from grocery store aisles to EDM festivals: 'We're goin' up, up, up/It's our moment/You know together we're glowin'/Gonna be, gonna be golden.' Both of the songwriters credit the strength of their collaboration to the vision of the film's directors and executive music producer Ian Eisendrath, which allows all of the songs to do double duty as bangers on the charts and also necessary narrative devices onscreen. 'The main goal was, is this a song that can actually compete with other K-pop idols?' EJAE says. 'Can it fit in?' Sonnenblick adds that he feels the songs can stand on their own outside the film. 'You go and watch the movie, and 'Golden' is this kind of misguided thing that they have in the beginning so that they can break open and find their real voice at the end,' he says. 'But you'd never know that from listening to this on its own.' 'Golden' has become the biggest hit from the soundtrack, with Netflix confirming plans to submit it for consideration in the Best Original Song category at the 98th Academy Awards. It's a major win for Sonnenblick and EJAE, considering the two spent nearly five years and countless hours perfecting the songs that are now dominating playlists. 'It's 3 a.m., we're almost in tears, my God, on our fifteenth round of notes or whatever,' Sonnenblick recalls. 'But we were like, 'If we pull this off, it could be huge.'' For EJAE, the success of 'Golden' reflects a more personal breakthrough, something that she feels makes the film's connection to Korean culture even stronger. 'The thing about Korean culture I've noticed is that we try not to burden other people with our issues. That's a big part of the culture,' she says. 'But I love how the movie really tries to say, 'When you need help, you can't do it alone. Do it with people who you love. Ask for help.'' She takes a deep breath before continuing: 'I don't know if Mark knows this, but when I wrote 'Golden,' I was going through a hard time. I actually cried singing the demo, because it resonated with me so much. Maybe that's why 'Golden' is 'going up up up.' Because everyone's going through a hard time. And they want to feel hope.' Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked Solve the daily Crossword
Yahoo
4 hours ago
- Yahoo
The Perpetual Pop-Punk Love Affair: Why Both Genres Keep Coming Back for More
When 5 Seconds of Summer were invited to join the nostalgia-heavy When We Were Young Festival in 2023, their immediate response was an eager yes. They likely would have ended up on the Las Vegas Festival Grounds even if they weren't performing. The bill was an exhaustive list of nearly every band they loved and learned from while growing up in Sydney, Australia. 5SOS would be taking the stage after Yellowcard and preceding sets from Sum 41, Good Charlotte, and headliners Green Day. It was a no-brainer. But once their initial enthusiasm dissipated, they were slightly perplexed by the offer. More from Rolling Stone Olivia Rodrigo Brings Out Weezer, Korn Return After 28 Years at Lollapalooza 2025 Hayley Williams Is Fiercely Independent, and Four Other Takeaways from Her 17 Singles Lollapalooza 2025 Livestream: Watch Olivia Rodrigo's Headlining Set Online 'The question comes up of, like, 'Do we fit?'' guitarist Michael Clifford tells Rolling Stone. 'And, I mean, the answer was still no.' Glancing at the barricade, he could tell who was clearly there for the more veteran acts performing later that night, who first discovered 5SOS during the three years they spent touring with One Direction, and who came across 'She Looks So Perfect' during one of its recurrent viral surges on TikTok. They couldn't quite nail down their own classification: 'Are we an alternative band? Are we pop stars? Are we rock musicians? Are we a boy band? Are we nostalgic?' Everyone there might answer those questions differently, depending on their own entry point into the intersection between pop and punk. The two genres perpetually orbit each other. Every few years, punk goes pop (or vice versa), by way of an unexpected crossover hit or comeback. Veteran acts shift their sound and break into a new era, or a younger generation will capitalize on the hunger for nostalgia. The waves rarely last longer than a few months in the mainstream, but the surge always returns. Territorial fans who didn't want commercial pop audiences infiltrating their scene in the first place are never too thrilled about new listeners or the pop-leaning pivots from their rock gods. But others who may have once found the genre unfamiliar are introduced to the thrill of hearing a killer pop chorus filtered through riotous guitars and punk percussion. Clifford's earliest pop-punk memories include playing Guitar Hero and watching Blink-182 drummer Travis Barker cover 'Crank That (Soulja Boy)' on YouTube in 2007. That same year, Paramore released the disruptive LP Riot!, Fall Out Boy teamed up with Jay-Z and Babyface on Infinity of High, Avril Lavigne became The Best Damn Thing to hit pop in a while, and Boys Like Girls were making 'The Great Escape.' Over the years, the route pop-punk could take to the mainstream was similarly altered by crossover hits from Machine Gun Kelly, Lil Peep, Halsey, Willow, and more. Each new surge showed straight-laced pop fans that there was always more happening on the outskirts of their favorite genre. 'With songwriting, it's interesting because the pop punk and emo genres [have] simple chord progressions, not a lot of parts, very clear concept, good emotional lyrics, really catchy melodies, are highly energetic — that's essentially pop music,' says producer and songwriter Andrew Goldstein, whose collaborators have spanned from Blink-182 and Bring Me the Horizon to Addison Rae and Britney Spears. 'Most pop music is three to four chords, a really catchy melody, and a concept that almost anyone can understand. That's what really connects with people. Those similarities are what really allows for these artists to become a lot bigger.' Pop-punk first sunk its teeth into Goldstein at the turn of the millennium. He came across New Found Glory and Sum 41, as well as emo leaders Taking Back Sunday and Thursday, but it was Blink-182 that rewired him musically. Finding them right on the cusp of Enema of the State made him want to pick up a guitar and connect with an audience the way that his new favorite band did with him. 'I remember my friend's older brother was like, 'Oh, they sold out,'' he says. 'If somebody becomes popular, it's easy to say that they're selling out because there's different steps you have to take to accommodate the fan base.' Playing bigger venues, mass ordering merchandise, recording in high-tech studios — all of that could be considered selling out. For pop fans, it's unfathomable that anyone would want anything else. That was the case with 5SOS. 'We always said from the beginning, we want to be as big as fucking possible,' Clifford says. Coming from Australia, they had to make their shot count. Before they'd released any music of their own, 5SOS shared A Day to Remember and Go Radio covers alongside renditions of One Direction and Justin Bieber tracks on YouTube. Green Day and Blink-182's influence was impossible to ignore across their self-titled debut album, released in 2014, and the lasting impression of acts like Mayday Parade and All Time Low appeared clearly on its follow-up, Sounds Good Feels Good. But their sticky melodies and hooks always wore the touch of pop, too. 'That style of music had taken such a downturn, and nobody was into it,' Clifford says of the pop-punk scene at the time. 'We were like, 'Well, hold on, we have a good idea where we can bring that back into the mainstream.' And, yes, there are going to have to be some changes when you evolve to bring that style of music somewhere else.' 5SOS leaned into 'the traits people were liking about boy band culture' since it was 'all anyone would fucking talk about,' anyway; but they were still 'longing for acceptance from a community that we were so passionately representing.' It came at a cost. 'We were just shunned by the community instantly,' Clifford says. 'They sort of just looked at how we looked and wrote it off.' If the genre wanted to thrive and survive, it couldn't keep treating pop success like a death sentence. 'Sometimes people are ahead of the curve, and it takes time for them to realize the brilliance of a record when it comes out,' says producer-songwriter John Feldmann, whose sprawling credits include Panic! at the Disco's Vices & Virtues. Change can be hard — and there was no tougher time for OG pop-punk fans than 2013. They were already reeling from My Chemical Romance breaking up and feeling disconnected from Panic! at the Disco's directional shift on Too Weird to Live, Too Rare to Die. They were also being reintroduced to Fall Out Boy following an extended hiatus while Paramore marked the beginning of a creative transformation with an explosive crossover hit. Feldmann saw Paramore lay the foundation for that moment years prior, when he first heard 'That's What You Get,' a blazing rock track from Riot! with an undeniable hook. He remembers Fueled by Ramen founder John Janick telling him, 'We can't put this out. It's too early for this band. They can't be that popular quite yet.' They'd already broken through with 'Misery Business,' but this could have gotten them stuck on the other side. 'With pop, it's harder to create a legacy because it takes a lot of time,' says Goldstein. 'It takes a lot of fans.' Fans in the pop-punk scene fostered a different sense of loyalty than pop did, and they expected it to be reciprocated. Paramore's progression to that point needed to be natural in order for it to work. 'You can really see the writing on the wall with that song,' Feldmann says. 'You know how 'Still Into You' became one of their biggest songs? That was already set up with 'That's What You Get.'' By 2013, Paramore were on their fourth album and umpteenth lineup change. They'd get nothing but false security out of moving backwards and rehashing the music they already made while clearly yearning to evolve. It's understandable why listeners would crave the kind of music they discovered during their formative years. 'Those are the records that shape your whole existence,' Feldmann adds, but notes that 'every artist should be able to experiment and not be harassed for expanding their sonic horizon.' It's the same crossroad Fall Out Boy faced when they recorded their fifth album, Save Rock & Roll. 'I wasn't interested in making a pop punk record with anybody. I was kind of burned out on that, just like I think most people were,' producer Butch Walker tells Rolling Stone. 'They didn't care about that. They were like, 'No, we're gonna lose a lot of fans, but we need to make new fans. We need to appeal to a whole new generation of people. Or why are we doing this? We're not growing as a band.'' When they re-entered the pop arena at the time, it was dominated by artists like Rihanna, One Direction, and Macklemore. Their lane was wide open. For an entire wave of pop fans, the band helped translate pop-punk into a format they could easily access. When Fall Out Boy released 'My Songs Know What You Did in the Dark,' Taylor Swift told her 25 million Twitter followers that she'd listened to it 43 times in one day. 'I love Fall Out Boy so much,' Swift told Rolling Stone in 2019. 'Their songwriting really influenced me, lyrically, maybe more than anyone else. They take a phrase and they twist it.' The two acts shared a collaborator in Walker, who can recall the first time he heard Green Day's Dookie in a Nebraska parking lot as clearly as he can remember Swift showing him 'Everything Has Changed' the morning she wrote it. As producer, he had 'no notes.' The Red single arrived in near-perfect shape, even with the bathroom tiles reverberating through the voice note. Walker ranks Swift as 'one of the best songwriters in pop music ever,' and expresses the same enthusiasm when praising Pete Wentz. 'She made the right call by being influenced by that, because I think that is the DNA in her music,' he says. When Walker first encountered Fall Out Boy, they were unsigned, 'a fucking trainwreck on stage,' and already writing ingenious lyrics. 'How are they thinking this big and how are they thinking this poetically?' he remembers wondering. 'Pete has just got a way with words like no one else.' 'My Songs Know What You Did in the Dark' ended up being Fall Out Boy's biggest hit since 'Thnks Fr Th Mmrs.' For Walker, it represents 'a classic example of a band taking the guard rails off, taking the boundaries off, pushing the walls down.' The song started with John Hill during pitch sessions for another artist's album, but collected dust for a year before Walker played the rough demo for the band. They lunged for it. 'The guys were like, 'That's our sound. That's our new record. Urgent, powerful, hooky, dirty, loud, aggressive — but poppy.' During our call, Walker digs up that original voice note and hits play. It confirms that the melody of the chorus has always been that irresistible. 'Do you want to hear the punch line?' he asks. 'That was actually written for Rihanna.' It's intriguing to imagine what the pop star could have done with it. The closest we've gotten to Rock Rihanna is Rated R's 'Rockstar 101' with Slash and 'Disturbia' — not the original Good Girl Gone Bad single, but the cover The Cab recorded for Punk Goes Pop in 2009. 'Punk Goes Pop was such a tremendous thing,' Goldstein says of the Fearless Records compilation series in which pop songs get rock makeovers. 'It showed the strength of good songs. It was a big gateway into pop music for people to be like, 'Wow, I like the song, it's just maybe I don't like the presentation of it.'' Mayday Parade and Pierce the Veil reimagined Gotye's 'Somebody That I Used to Know,' and years later State Champs revamped Shawn Mendes' 'Stitches.' Punk Goes Pop offered the best of both worlds. 'There was something about these pop songs that I already knew all the lyrics to because they were constantly on the radio suddenly having screams and heavy guitars and drums,' says Ada Juarez, drummer in the pop-punk band Meet Me @ the Altar. During their live shows, they often cover Kelly Clarkson's 'Since U Been Gone' and Jonas Brothers' 'Burnin' Up' with an intense rock edge. 5SOS, who they joined on the road in 2023, did the same with Katy Perry's 'Teenage Dream' early in their career. 'Everyone who would come see us was like, 'Dude, if you guys could write a song like 'Teenage Dream,' you'd be the biggest band in the world,' Clifford recalls. 'And I was like, 'Well, that is the hardest fucking thing to do.'' And while it's essential for a song to be great, the performance has to be convincing, too. 'If you go to completely what your fans want, you could please them very well, but it might not connect,' says Goldstein. 'But if you go too far into, 'Man, I'm going to make something mainstream' or 'What do people want? What's relevant right now?' — that's when you can get in trouble. It doesn't sound real anymore. I can tell what you were referencing and it's that song that was out six months ago. By the time the record comes out, whatever sound you were going for is done.' When pop-punk surged back into the mainstream in 2020, fueled by lockdown angst and Machine Gun Kelly, corners of the industry rushed to capitalize on it. 'You guys have to jump back on and do what you did in the beginning,'' Clifford recalls being told. 5SOS are more pop than punk these days, though the guitarist's recently-released debut solo album Sidequest does revive those influences. 'We were all very clearly like, no,' he says. 'It wasn't our place.' Other artists figured it was worth a shot. For years, Demi Lovato's OG fans yearned for her return to rock. Her Disney-era records were influential in showing a young audience that they could be rockstars, too. But when she finally gave in with Holy Fvck in 2022, it failed to crossover despite her pop capital and emo kid roots. 'It definitely felt just like a cash grab, in a way,' Meet Me @ the Altar's Edith Victoria says. 'Had she done that years prior, I think we all would have loved it.' The prior year, breakout star Olivia Rodrigo drew comparisons to Hayley Williams, Avril Lavigne, and Alanis Morissette when her pop-punk singles 'Good 4 U' and 'Brutal' crashed onto the Hot 100, establishing her as a genre-transcending force. 'Olivia Rodrigo pushed that genre further than anybody else in as long as I can remember,' Clifford says. 'She took the DNA and the foundation of what made pop-punk and gave it this fresh new life.' When she leaned into the sound even more on Guts, it never felt contrived. Feldmann praises 'All-American Bitch,' drawing parallels to the alternative edge of Sonic Youth and Green Day. To his credit, Machine Gun Kelly also 'opened the doors for a lot of people to be influenced by him, to make whatever pop-punk music will turn into in the future,' Juarez says, just like Paramore and Pierce the Veil did for them. 'It's just evolving forever.' At this point in 2025, nothing on the Hot 100 sounds even slightly reminiscent of pop-punk. The familiar is prevailing. But another surge could be right around the corner. The hardcore punk band Turnstile could open the gateway with their new genre-blurring album Never Enough, or Pierce the Veil could ride the unexpected viral fervor swelling on TikTok around their deep cut 'So Far So Fake' straight through pop's barricade. If the next installation in Beyoncé's genre-shifting album trilogy really is rock, that could be another prominent entry point for the bands who can't wait to sell out. They don't have to fit into the pop landscape immediately. They just have to go for it. It's that passion that keeps pop-punk's perpetual love affair alive. Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked Solve the daily Crossword