Green day

How good are the Rolling Stones’ alter egos, the Cockroaches?

Would you pay a tenner on the door to see the Cockroaches, the Fireman, Patchwork, the Network and Bingo Hand Job play your local pub? This unpromising line-up becomes a little more appealing (perhaps) upon learning that these are pseudonyms used by, respectively, the Rolling Stones, Paul McCartney, Pulp, Green Day and R.E.M. over the years. Pop stars spend the first part of their careers trampling over their grandmothers in the unseemly rush to demand the world take notice of who they are, and the second part whining about being pigeonholed. The only thing harder to escape in the music industry than your name is your original haircut. Hence, the pseudonymous offshoot, offering a degree of separation with very little sense of jeopardy.

Can American idiots renounce their US citizenship?

From our US edition

American idiot and Green Day lead singer Billie Joe Armstrong said he is going to renounce his US citizenship and move to England because he is so upset over the Supreme Court overturning the landmark abortion case Roe v. Wade. The singer made the comments to a crowd at the band's show in London, specifically "F*ck America, I’m f*cking renouncing my citizenship. I’m f*cking coming here." He called the justices "pr*cks" and said "f*ck the Supreme Court of America." Can he do that? Does it make any sense? Armstrong should first check on what abortion laws look like in the United Kingdom. Assuming he understands the difference, the UK is composed of Scotland, Wales, England, and Northern Ireland.

The last great purveyors of a vanishing art form: Green Day’s Fathers of All… reviewed

Grade: B+ It is an eternal mystery to me why Britain has never had much time for power pop, seeing as we gave this often charming genre to the world through the Beatles and, to a lesser extent, Badfinger. But we never really swung for it, post-Abbey Road. When power pop had its mild renaissance in late ’78, we looked away, bored, tugged by disco on the one hand and po-faced boring angular post-punk on the other. The Knack’s ‘My Sharona’ — the epitome of power pop — got in the charts, sure. But there was no groundswell. In the USA it was different. Almost everything labelled punk that wasn’t art rock (i.e. Television and Talking Heads) was actually power pop, none more so than the Ramones. We remained aloof.