Aftershock announces 2025 lineup: Deftones, Blink-182, Korn, Marilyn Manson among headliners
SACRAMENTO – A massive lineup of rock legends will be rolling through Discovery Park in Sacramento for Aftershock 2025.
The lineup for this year's Aftershock festival was announced on Wednesday.
More than 115 bands will be playing across the four stages from Oct. 2-5 for the festival.
Each night will see a different headliner, with opening night honors will go to Blink-182.
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Sacramento's own Deftones will be back at Aftershock for the first time since 2018 and headline Friday night. Korn will be Saturday night's headliner.
Closing out the festival on Sunday will be Bring Me The Horizon, Rob Zombie, and Marilyn Manson.
Four-day and single-day tickets for the festival are already on sale on the Aftershock website.
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Yahoo
17 minutes ago
- Yahoo
And just like that ... we're obsessing over Carrie Bradshaw's style again
When Sarah Jessica Parker first met with the Sex and the City costume department ahead of the series premiere in 1998, two items sat on a couch awaiting her inspection: a vintage clutch and a vintage fur. To Molly Rogers, costume designer for both SATC and its spinoff, And Just Like That…, those items instantly set the tone for years of fashion to come. 'It wasn't like we went to Barneys,' Rogers tells Yahoo Entertainment. The purse and coat, purchased at a downtown consignment store, could only have been found by a true fashionista who embraced the eclectic. Parker's Carrie Bradshaw is the ultimate Cinderella story — an aspirational romance in style and substance. The character didn't become an instant icon by following the rules. Instead, Carrie invented a style all her own: showing up for picnics in dirndls, wearing belts around her bare midriff and pairing $5 tutus with stilettos that most of us could only dream of purchasing. That playful, seamless high-low blend — thrift store finds paired with designer couture — is her fashion fingerprint. It endures to this day, as young shoppers scour their local thrift stores for treasures to pair with more modern finds. Maiia Krylova, founder of the popular Instagram account @carriebradshaws_outfits — which meticulously tracks down items from Carrie's closet — believes the character's signature style is 'the ultimate expression of fearless individuality and emotional storytelling through fashion.' 'She didn't dress to impress others or to follow rules; she dressed to express exactly who she was at that moment,' Krylova told Yahoo Entertainment. Nevertheless, Carrie's fashion maximalism seems to be hitting differently these days. Her outfits on And Just Like That…, the sequel series to SATC, have repeatedly gone viral, and not always in a good way, as fans scrutinize Carrie's giant hats and pigeon purses and declare them over-the-top. But why all the sudden pearl-clutching over the woman who once wore a bird on her head to her own wedding? Isn't all of this in character? One could attribute a healthy portion of the critiques to ageism. 'People really did not want the girls to change' in AJLT, Rogers says. 'They want to keep them in this time capsule, where Carrie's at the gay club with the bandana around her arm and a see-through tank on.' Now in her 50s, some might think it's time for Carrie to give up the wacky accessories and give Chico's a try. But viewers' sudden heel-turn might stem from deeper factors as well. By all accounts, Carrie's specific approach to dressing herself should be a huge hit right now. "Loud luxury" is 'in' and has been for years. Think: fluffy furs, bold animal prints, conspicuous logos and clothing in rich shades of red and emerald green. Productions like The White Lotus and Another Simple Favor have flaunted an ostentatious style, and as the Cut notes, artists like Chappell Roan and Doechii have also embraced (and subverted) the "boom boom" aesthetic of the '80s with playful power suits. That's not the only Carrie-coded trend that's surging right now, either. There's also fashion maximalism, which, like loud luxury, often thrives during times of economic uncertainty. On runways and on TikTok, people are going all in on high-concept outfits, playful accessories and lots and lots of layers. Carrie and her hybrid wardrobe are just the tip of the iceberg when it comes to SATC's fashion influence. Consider also younger generations' dedication to curating hyper-specific 'aesthetics' as a way to wordlessly introduce themselves to the world. What was Carrie's BFF Miranda Hobbes (Cynthia Nixon) if not the original 'office siren' in a power suit? Meanwhile, Charlotte York (Kristin Davis) had the 'old money aesthetic' on lock in pearls and twin sets, and the brash, sexy Samantha Jones (Kim Cattrall) was basically the "boom boom" queen, always wearing her wealth and power on her immaculately tailored sleeve. When it came to personal style, Rogers says each of the four main characters' 'lanes' was clearly defined and easy to articulate. SATC costume designer Patricia Field often described the show as 'the first moving fashion magazine,' Rogers says, with Carrie as its cover girl. With that in mind, it's even easier to understand why the core four each have such distinct wardrobes. 'We dressed them, in the beginning and now, a little more heightened than normal-life reality,' Rogers says, 'and I think that has a lot to do with curating a look by an aesthetic.' Decades after the original show's release, Krylova can draw a direct line from its approach to style to the shopping habits of younger generations today. The show 'showed us that style wasn't just about looking good; it was about telling the world who you are without saying a word,' she explains. Each generation has taken slightly different lessons from that ethos. 'Generation Z, for example, fully embraces the show's fearless experimentation,' Krylova says. 'They're not afraid to color clash, mix high fashion with second-hand finds and wear something purely for the drama, even if it breaks all the so-called 'fashion rules.'' Meanwhile, millennials 'approach the show's influence from a more lifestyle-focused perspective. They deeply connect with the emotional undertones behind each character's wardrobe choices. For them, fashion isn't just about being seen; it's about being understood.' Elizabeth Castaldo Lundén, a research fellow at the USC School of Cinematic Arts who has published books and articles about fashion, media and communication, explains to Yahoo that film and TV have shaped consumers' understanding of fashion for more than a century. For example, the experimental films that preceded the silent era often showcased Parisian fashions, exposing American women who could never attend a runway show to the trends of the time. The fashion tie-ins to films of the 1920s and '30s foreshadowed the product placement deals to come, and American television, in particular, stemmed directly from the advertising industry — which made it the perfect vehicle to inform consumer choices. The 1980s were a formative time, Castaldo Lundén says, as costume departments partnered with department stores to not only sell certain dresses seen on shows like Dynasty to the middle class, but also to sell patterns for those ensembles to audiences who could not afford the ready-made garments. Years later, Sex and the City perfected the art form with prolific product placement both in the original series and subsequent films — making itself essentially synonymous with brands like Jimmy Choo and Manolo Blahnik. 'They are not only selling the fashions in the show,' Castaldo Lundén says. 'They are selling the idea that womanhood comes through the out-of-control consumption of fashion.' Devout fans might see SATC's influence a little differently. 'Television has always had a profound impact on how viewers see fashion because it doesn't just show clothes, it tells stories through them,' Krylova says. 'Unlike fashion shows or magazine editorials, which often feel unattainable, television brings fashion into real-life narratives. Viewers don't just admire what their favorite characters wear; they emotionally connect with them.' People's favorite shows don't just influence the clothes people want to wear, according to Krylova; they also shape why they want to wear them. 'And that's where the real power lies — in showing viewers that fashion isn't just about trends; it's about telling your own story through the choices you make every day,' she says. And Just Like That… costume designer Danny Santiago, who also worked on the two SATC movies, noticed that a lot of younger audiences who've newly discovered the show find inspiration in its '90s and Y2K fashions. 'They want to have that sort of aesthetic to them,' he says, 'so they do seek that type of look out — the certain type of handbags and the way that the skirts are falling, and the crop tops and all that sort of stuff, layering … I see it on Instagram all the time,' he tells Yahoo Entertainment. In that sense, we could call Carrie Bradshaw our first fashion influencer. So why are self-appointed style critics on social media hating on her gonzo outfits? The simple answer is that many people hold an antiquated, narrow-minded view of how 'women of a certain age' should dress and behave. Rogers and Santiago certainly heard more than their fair share of these opinions in the lead-up to the series premiere of And Just Like That … in 2021. 'We got so many questions about, 'What are you gonna do with them? They're at a certain age,'' Rogers recalls. 'I am at that certain age … and I was like, 'I don't know why we would dress them like they'd had lobotomies.'' Santiago agrees that the idea that older women should abandon their personal styles is 'old-fashioned.' Maybe women felt this way 30 years ago, he posits — 'like they needed to become something else, in a way of maturing as who they are in their lives. But I feel that [idea] doesn't exist anymore.' But to some fans, Carrie's wardrobe has slowly crept away from its original genius. While Krylova believes that the writer's personal style evolved beautifully in the original series, subsequent appearances of the character in film and on AJLT are a different story. In those productions, she says, 'Carrie's style gradually wore itself out. It became less and less realistic and more and more theatrical, eventually turning into something completely unsupportable.' The way Krylova sees it, she and other fans began shying away because Carrie's 'fits 'had become too theatrical and out of touch with reality.' Nevertheless, she admires the way that Carrie 'continues to challenge the outdated notion that women should remain invisible, modest or reserved as they grow older.' Love them or hate them, Krylova says Carrie's new outfits have 'sparked conversations about women's freedom and the right to dress however they want at any age. And in that sense, Carrie's fashion still does exactly what it was always meant to do — provoke, break boundaries and, most importantly, remind us that self-expression has no age limit.' There might also be a third reason that Carrie's wardrobe is not playing quite as well with its target audience. In the original series, Carrie's unique fashions amplified her position as an outsider — which made her more relatable to an audience that, for the most part, would also have felt out of place among New York's high society. Now, she's as wealthy as anyone else, with the palatial Gramercy Park townhouse to prove it. Within that context, her expensive, enviable wardrobe could feel like an expression of a social standing that viewers will never achieve. In the original series, Carrie's high-low wardrobe mirrored the way she stood with one foot in each of two worlds. On one hand, her spending was the stuff of fantasy. 'It wouldn't be possible to acquire that closet — even in terrible debt — without going bankrupt,' Castaldo Lundén says. At the same time, she says Carrie's wardrobe echoes a concept that first emerged in the 1800s: Those from outside the aristocracy often adopt wardrobes that mimic that class in the hopes of joining it. Men would do so in order to do more business with old money, while women did it in order to marry rich. Just look at who Carrie married. By achieving her ultimate fantasy with Mr. Big (Chris Noth), Carrie completed her Cinderella story — the one that made viewers fall in love with her in the first place. That might have fundamentally shifted the way audiences relate to her, clothes and all. The good news? Carrie has never dressed for anyone but herself. Rogers and Santiago argue she wouldn't give anyone's wardrobe criticisms a second thought. 'If real-life Carrie was walking through the park and people were commenting on her hat like they comment on Instagram, I think she'd ignore it,' Rogers says. 'She'd ignore it,' Santiago agrees. 'Totally.'
Yahoo
22 minutes ago
- Yahoo
Jennifer Lopez Looks Like an Entirely Different Person in Her Blondest Hair Ever
Jennifer Lopez has long been the queen of highlights. I bet if you polled colorists to find out which celebrity photo they're shown the most when a client wants honey-blonde balayage, J. Lo comes out on top. She truly is the gold standard—no pun intended—and she rarely strays far from her bronde base, never going too far into the decidedly brunette or blonde zones. But with the new Kiss of the Spider Woman trailer officially dropped, we're seeing Lopez in a whole new light. A whole new light hair color, that is. A big day for movie musical trailers, June 5 welcomed a look at not only Wicked: For Good, but another highly anticipated musical-theater blockbuster hitting theaters this fall: Kiss of the Spider Woman. Lopez plays Ingrid Luna, aka Aurora, aka the Spider Woman, a movie star about whom a gay Argentinian prisoner fantasizes. Although the film is set in the early 1980s, one look at the trailer tells you that her character is an Old Hollywood starlet. The rivetingly edited clips show Lopez in nearly platinum blonde Veronica Lake-style waves and curled updos—a look we've never seen on the multi-hyphenate before. The red lips and matching nails complete the classic moment. And just when we thought we couldn't be more surprised by a major hair departure, Lopez changes it up again in the trailer with a black flapper-style bob with spiky bangs—a major contrast from the soft blonde, but just as glamorous. You can watch the entire official trailer—and take notes for your gorgeous 2025 Halloween costume—right here: More celebrity beauty news: It Doesn't Matter If the Kardashians Are Honest About Their Plastic Surgery Megan Thee Stallion Shared All the Summer Nail Art Inspo You'll Ever Need Dua Lipa's Simple Nail Art Is the Perfect Summer Manicure Now Nicole Kidman break down her most iconic looks: Follow Allure on Instagram and TikTok, or subscribe to our newsletter to stay up to date on all things beauty. Originally Appeared on Allure
Chicago Tribune
40 minutes ago
- Chicago Tribune
Review: Powerful play ‘Memorabilia' explores the hope and limits of memory through the eyes of a clown
Jean Claudio, a formidable Chicago-based talent who lives on Instagram as @el_clown, can dance, juggle, tumble, perform handstands and unleash a variety of -style clowning, a function of having a remarkably pliant and supple body and having trained in circus and physical theater in Buenos Aries and at the Actors Gymnasium in Evanston. Claudio is not an actor who moves. He's a legitimate circus professional with an uncommon facility for generating empathy. And in 'Memorabilia,' a very enjoyable solo show now at the Filament Theatre in Portage Park, Claudio sets about extending his skills and engaging persona into a bigger narrative, one that explores the limits of memory and the possibility of its reawakening. The show is produced by Teatro Vista, and if I add that the Alzheimer's Association is one of the show's sponsors, you probably have a sense of the world that Claudio is inhabiting here. But it's far from conventional or based on just one of life's travails. Claudio is, after all, a clown. And the 80-minute show, which is perfectly fine for family audiences, is a mostly joyful experience as an inventor named Salvador interacts physically and comedically with a whole bunch of stuff from his prior life (a plate, a piece of fabric, a coffee pot, a song, a body, a love), the significance of which he often struggles to remember (or is it to face?). But on designer Lauren Nichols' set, Salvador has a Rube Goldberg contraption to aid him in his quest to recall what matters most. It's a sculpture made up of old televisions and monitors, drawers filled with objects, maybe a toaster oven to gobble up life's cues. In its best moments, which are fantastic, Claudio dives deep into the unsettling nature of memory loss and denial but also into our incredible ability to recall and survive things from long ago. It's an affirmative piece that really challenges the notion that 'I can't remember' has to be a permanent state. If your family (as was mine) was or is touched by Alzheimer's, you'll know that one of the main challenges faced by those with the condition is to sort out what is significant (a loved one, say), and what can and should be discarded to the sands of time. After all, the ability to forget is the only way we can manage to stay content; if we recalled every past slight and example of unfair treatment, we'd spend our days in a stew of resentment. It's to his great credit that Claudio's show brings all of this up. Like a lot of clowns trained in South and Central America, Claudio has developed an expertise in what is known as crowd work, the name given to audience interaction. This, too, here, is about prompting memory, mostly through a very extensive accompanying sound design from Satya Chávez that really becomes a second character in the show. I think 'Memorabilia' still needs some work: its potentially potent emotional trajectory, its arc of feeling, sometimes get pushed aside as Claudio gets too involved with all of his stuff on stage and the thread gets lost. Ironically, given the subject, the show has some ways yet to go when it comes to signaling what is and is not the most important and, although the conclusion is inspiring, it would be yet more powerful if it were allowed more room to breathe. It's mostly a question of finding the right focus and pairing down what does not get used, and I thought those issues most acute in the less cohesive second part of the evening. If Claudio could focus as much on the audience's journey of feeling as he does on trying to make us laugh, he'd really have something here. That said, 'Memorabilia' is still a very rewarding and unusual show and a piece of new work with formidable potential. As I watched, I kept thinking about how great it would be for a child with grandparents struggling with memory to see this piece with someone who could explain what it was trying to say, but then the same would apply for an adult with a forgetful parent or, indeed, to persons themselves working mightily to remember, in all the complexity of that word. Memory is a wonderful theme for el_clown to explore because he is so vulnerable and empathetic. All he has to do now is ask himself what in his show matters the most. Review: 'Memorabilia' (3 stars) When: Through June 29 Where: Teatro Vista at Filament Theatre, 4041 N. Milwaukee Ave. Running time: 1 hour, 20 minutes Tickets: $20-$55 at
