Josh Homme: ‘Fuck Imagine Dragons and fuck the Grammys’

Josh Homme

Josh Homme

Queens Of The Stone Age singer blasts LA band during gig

Queens Of The Stone Age frontman Josh Homme ripped into both Imagine Dragons and the Grammy Awards during a gig in Texas.

LA band Imagine Dragons, who released their debut album ‘Night Visions’ in 2012, took home the gong for Best Rock Performance with their single ‘Radioactive’ at last month’s Grammy Awards (January 26). They beat Queens Of The Stone Age in the category, who were nominated for their track ‘My God Is The Sun’
Homme addressed Imagine Dragons’ victory while performing in Houston, Texas earlier this week (February 9). He introduced their track ‘I Appear Missing’ by joking “This next song is by Imagine Dragons” and, when the crowd heckled, he added: “Fuck everything. Fuck the man. Fuck Imagine Dragons and fuck the Grammys.”

Earlier this week, concert footage of Homme pushing a stage invader off the stage and calling him a “fucking douchebag” also surfaced online. After pushing the man back into the crowd, Homme said to audience cheers: “Don’t do that… I don’t know what you’re trying to do. You’re lucky I didn’t fuck you up, bro. I’m here to play for you, not jerk you off, you fucking douchebag.”

Homme recently said that his band will record the follow-up to 2013’s ‘…Like Clockwork’ later this year. Asked by Rolling Stone if they’d be recording another album soon, Homme commented: “Absolutely. We have more than enough songs. We’re booked ’til September, but after that we plan to jump in the studio and get going.”

Meanwhile, Homme is set to make a guest appearance on American sketch comedy Portlandia when it returns for its fourth season this year. The show, which is written and performed by Sleater-Kinney and Wild Flag singer Carrie Brownstein and ex-Saturday Night Live regular Fred Armisen, takes a satirical look at the hipster scene in Portland, Oregon and the various characters that inhabit the area. Season four of Portlandia will premiere in the US on February 27

Trent Reznor Blasts Grammys With ‘A Heartfelt F–k You’ Tweet

Queens of the Stone Age Thrash Grammys With Dave Grohl, Trent Reznor

Daft Punk’s big night at the Grammys turned into Taiwanese animation!!!

The Big question at the Grammys: Can someone tell me who the fuck Daft Punk is?

As you may recall, following Arcade Fire’s earth-shattering Album of the Year win at the 2012 Grammys, a Tumblr page was launched compiling various tweets asking, “Who is Arcade Fire?”. Though music writers and bloggers chuckled along, it wasn’t that outrageous of a question. At the time, Arcade Fire was still a relatively unknown band to mainstream America, a quirky group of Canadians signed to an independent record label and who dressed in funny outfits.

Surely, Daft Punk wouldn’t suffer from similar obscurity. After all, Thomas Bangalter and Guy-Manuel de Homem-Christo have been heavyweights in music for two decades, with more than a few chart-topping songs to their name. They’ve even performed at the Grammys before, teaming with Kanye West for “Stronger”. So, yea, surely no one would tweet, “Who is Daft Punk?”.

"I thought we were known here.... "

“I thought we were known here…. “

Music fans weren’t the only ones disappointed by CBS pulling the plug early on the Grammys finale last night. About 45 minutes after the broadcast, Nine Inch Nails frontman Trent Reznor unleashed an invective on Twitter at the awards show’s organizers, playing with its tagline. “Music’s biggest night. . . to be disrespected. A heartfelt FUCK YOU guys,” he wrote.

“Music’s biggest night. . . to be disrespected,” NIN leader wrote after show-ending performance was cut off.

Although Nine Inch Nails, Queens of the Stone Age and Dave Grohl were all nominated for Grammys this year, only the drummer took home a trophy what Jay Z affectionately called a “gold sippy cup.” The Foo Fighters frontman Grammys for Best Rock Song – for “Cut Me Some Slack,” his collaboration with Paul McCartney and former members of Nirvana – and for Best Compilation Soundtrack for Visual Media for Sound City: Real to Reel, an album that featured him playing with Reznor and Queens’ Josh Homme on the track “Mantra.”

Queens of the Stone Age had been nominated in three categories. And finally, likely adding to Reznor’s ire, Nine Inch Nails’ 2013 LP Hesitation Marks had been nominated for Best Alternative Music Album. It lost to Vampire Weekend, whose Modern Vampires of the City earned them the trophy.


Video: Dave Grohl, Trent Reznor, Josh Homme, and Lindsey Buckingham destroy Grammys


Trent Reznor Blasts Grammys With ‘A Heartfelt Fuck You’ Tweet.

What better way to close out the 2014 Grammys then with a super group for the ages. Dave Grohl, Trent Reznor, Josh Homme, and Fleetwood Mac’s Lindsey Buckingham joined forces for an epic, once-in-a-life performance of rock and roll excellence. Homme and Buckingham manned guitar and Grohl did his thing on drums as Reznor got things start with a rendition of Nine Inch Nails’ “Copy of A”. Homme then took over lead for Queens of the Stone Age’s “My God Is the Sun”, though was tragically cut short in favor of a Delta commercial. Bet that would never have happened to Taylor Swift. #NoRespect. Catch the replay below.

For a complete list of Grammy winners (who cares???), click here. Watch other Grammy performances, including Beyoncé and Jay Z, Paul McCartney, Kendrick Lamar, Metallica, Lorde, and more, by clicking here.

The awards show had been running about 15 minutes late by the time Nine Inch Nails took the stage with Queens of the Stone Age, Fleetwood Mac’s Lindsey Buckingham and Dave Grohl. The supergroup was able to play two songs – NIN’s “Copy of A” and most of Queens of the Stone Age’s “My God Is the Sun” – before the TV network ran ads for its programming and for an airline sponsor, all with the music going on in the background. Considering the group members had all played together in various configurations, the rest of their set remained a mystery to TV viewers.


An All-Star Grammy Tribute To Joe Strummer


Joe Strummer

“Joe was into the individual: You’ve got to do what’s right for you,” said Slattery. “You’ve got to follow what’s in your heart and not what’s in someone else’s heart. Tuning in to your own spirit: that’s what people should take from Joe.”

Who doesn’t love a supergroup? That’s a rhetorical question — we all do. For instance, if you had the option of watching a band made up of Bruce Springsteen, Dave Grohl, Elvis Costello, and Steven Van Zandt take the stage, how could you say no?

You don’t. You can’t.

But wait, it gets so much better. What if this fab foursome came together to honor the late Joe Strummer? At the 2003 Grammy Awards, just months after Strummer’s untimely death in December 2002, they did just that, bound together in solidarity to honor a fellow iconoclastic rock giant with one of the most iconic songs in rock and roll. “London Calling” always had a certain grandiosity to it, but that night it took on a whole new kind of awesome righteousness. There they were, the Four Horsemen of Rock if there ever was one, standing side by side, trading off verses one by one in memory of Strummer and The Clash. It was enough to bring a tear to the eye of every self-respecting punk.

Tributes are nothing new, especially on a stage as big as the Grammys. Still, when they’re done right and with true grit and spirit, it makes for an indelible memory that stays with you even a decade later. For all of the bombast and over-indulgence that can often saddle big award shows, all it takes is a moment like this to make it all worthwhile.


Pop Music’s Unyouth Movement: Why We Want To Remain 25 Forever

Britney Spears

Britney Spears

In a rare moment of candidness during last Sunday’s 2013 Grammy awards, pop music finally showed its age. An incredulous Nate Ruess, singer from the indie pop band Fun, had just taken the stage to accept the Best Pop Song award for the tune he had penned, the inane yet inescapable “We Are Young.” The diminutive, almost elf-like Ruess has been in the music business for over a decade, originally fronting indie rock band The Format from 2001 to 2008. He’s the kind of guy you’re happy to see win; he’s certainly had his share of failures. The Format’s debut album Interventions + Lullabies had the kind of major key melodies, strong vocals, and catchy choruses that seemed destined to make it a crossover hit, but it never came close to panning out, languishing in bargain bin purgatory instead. I think my mother is one of the six of people who actually bought that record.

What’s fascinating is why Fun succeeded where The Format did not. Maybe alternative radio wasn’t ready for something so pop-sounding in 2003. But I think the reason is something a little sneakier. For all their polish and sweet harmonies, the Format professed serious worries about adult problems: “The thought of death just scares me to death” Ruess sang on “Try Try Try.” But a decade later, with appropriately named Fun (no confusing his intentions there), Ruess adopts a more light-hearted tone: “Tonight, we are young/ Let’s set the world on fire/ We can burn brighter/ Than the sun.” This song and it’s cousins “Some Nights” and “Carry On” have become self-appointed anthems of happy-go-lucky high schoolers and beer bong hitting college kids everywhere. They carry the distinct aura of youth’s promise, endless possibilities, and immortality. It doesn’t hurt that Ruess sounds like he’s about 19.

Upon accepting the award, the thirty-one year old lead singer began his speech with a wry observation: “I don’t know what I was thinking when I wrote the chorus to this song. This is in HD, everyone can see our faces, and we are not very young.” It got a lot of laughs. But Ruess is getting the last laugh because he, along with several other musicians, have discovered a little secret in today’s entertainment business. Pop music may be for the young, but these days you don’t have to be young to make it.

Nate Ruess

Nate Ruess

Historically, artists in their teens and twenties have always been the epicenter of popular music — from the Beach Boys and the Monkees, to Little Stevie Wonder and Michael Jackson, to Debbie Gibson and NKOTB, to Britney Spears and N’Sync. When a pop star like Wonder or MJ experienced success into their 30′s, it was typically as a result of some “artistic maturation” or “creative evolution” that they underwent. Artists who couldn’t make that leap typically faded into obscurity (or Celebrity Apprentice and 20 year reunion tours). It’s almost like every musician gets a memo before their 30th birthday that read: “Sorry, your guest pass to Pop World has expired. It’s time to grow up now.”

Nowadays, the memo gets tossed. There are a rising number of pop artists — the Unyouth Movement we’ll call them — who don’t play by the rules. They have crossed the chasm into their thirties (or even beyond), but still make music for adolescents, which in many cases causes them to act like adolescents. Its a curious, glorious, and occasionally indecent phenomenon to witness.

Britney Spears (four kids and all) still wants all eyes on her in the club at age 31. Katy Perry (who at 28 is still hanging on) wrote a song in which she professes to “be your teenage dream.” Oddly enough, this satisfies the desires of her current beau John Mayer, a 35-year old who’s been known to date other musicians just out of high school. Maroon 5′s Adam Levine, he of body tattoos, young Victoria’s Secret model girlfriends, and deep v-necks, is 33. The list goes on: Pitbull – 32. Pink – 33 Usher – 34 Enrique – 37. JLo – 43. (Ever see the “On the Floor” video where Lopez presides like a slutty puppet master over a room of sycophantic club goers half her age? Awkward.) Madonna still wears spandex and pointy bras at age 54. There’s nothing wrong with people being over 30 (thank heavens) — it just seems a little weird when their day job is making music for the age 8-25 demographic.



All of this might help explain how and why the themes of pop music have…. shall we say, matured. In the old days, pop music was associated with youthful notions of joy, optimism, yearning, and (naturally) pubescent curiosity. Even in 1987 when Tiffany co-opted the Tommy James and Shondell’s song “I think we’re alone now,” there was a certain naïveté to it — you thought she might be stealing kisses in the library.

But something happened along the way to 2013. Youthful notions got redefined. 17 year old Britney Spears did that Catholic schoolgirl thing, 15 year old Miley Cyrus was photographed in what appeared to be only bedsheets, and 18 year old Justin Bieber got busted playing beer pong. Underage pop stars began doing very overage things. And so, of course, did their fans. Maybe the pleasures of “being free” in pop music have always been code language for being trashed, getting laid, and owning the world, but today’s kids have certainly become more forward about it. When Ke$ha sings: “Young hunks, taking shots/ Stripping down to dirty socks/ It’s pretty obvious that you’ve got a crush/ That magic in your pants, it’s making me blush/ We’re gonna die young,” she’s as subtle as a fart in church. She’s 25, performing for 15 year olds who are behaving like they’re 21.



Is this a surprise? Not really. Peering through the glass of the Hollywood fishbowl guarantees you a warped view of life, but society’s entertainment reflects its values at some level. It’s no secret that given Western culture’s obsession with beauty and fame, we are forever looking for the perfect combination of the best things in life. Who doesn’t want to be good-looking, rich, and talented, yet still have the physical prime of your life just ahead of you? Big deal if the older folks want to be younger and younger kids want to be older. The grass seems greener on both sides, but we’re all aiming for the same holy middle ground — the one that houses a fountain of youth from which to insatiably quaff. Unfortunately, the result is often just a hangover. Or the sort of devil’s bargain that exists only in movies — like Justin Timberlake’s straight to video sci-fi thriller “In Time” in which everyone stops physically aging at 25, so they can stay hot, avoid beer bellies, and keep clubbing til the break of dawn. Until they genetically self destruct, that is.

Interestingly enough, Justin Timberlake was one of the two exceptions to the Unyouth Movement on display at the Grammys. His performance, while scintillating, somehow felt age appropriate. (It was even shown on TV in tasteful black and white) The new songs he played, “Suit & Tie” and “Pusher Love Girl,” have been criticized for not pushing pop boundaries enough, but they feel just right for him. At age 31, he’s stepping back from the cutting edge, utilizing full band ensembles, horn sections, and harps instead of sleek synth-driven beats, exhibiting a fashion sense that never goes out of style, and enjoying the finer moments of newly wedded bliss. It just so happens that he’s married to Jessica Biel and hosts dinner parties with Jay Z and Beyonce. A little unrealism is good for everyone.

The second exception to the rule was Prince, and he didn’t play a single note of music. He simply presented the Record of the Year award, exuding so much charisma that people gave him a standing ovation just for strutting on stage. Award winner Gotye appeared awestruck, but then again, we all were. Prince scratches his ass, and people think its cool. He carried a cane and wore bug-eyed wraparound shades, perfectly splitting the difference between 15 and 50. Remember, this is the man who once famously sang “act your age, not your shoe size,” and he practices what he preaches — partying like it’s 1999 never seemed so old-fashioned.



The fact is, whether they like it or not, pop musicians are getting older by the minute. In fact, we all are. We just want to pretend that we aren’t. I guess, in that regard, pop music is doing what it always has — providing a healthy form of escapism. It just feels so much more obvious these days. We’ll probably never be able to pinpoint the exact moment when America’s youth staring losing its innocence and middle aged singers’ efforts to look young became pathetic (though its probably Madonna’s “Like a Virgin” and fat Elvis circa 1977, respectively), but I think we can all agree that the trend has turned into a trainwreck of epic proportions. Pop stars aren’t without hope, though. Ruess’s admission that Fun was a bunch of old dudes capitalizing on the fact that they were pretending to be young was actually quite endearing in its honesty. It was also very smart, since the best way to dodge the slings and arrows of your detractors is to launch them at yourself first.

Grizzly Bear’s Ed Droste Upset About Grammys, Justin Vernon Reminds Him Grammys Are Bullshit

Watch the Brooklyn band Grizzly Bear performing @ Letterman Show – Dec 13, 2012

Vernon: “the grammies aren’t a measure of much that is calculable or quantifiable by our own contexts for music. why you create is most important.”

The nominations for the 2013 Grammy Awards were named. Frank Ocean, Fiona Apple, Jack White, M83, the Black Keys, and many more are up for awards. But not Grizzly Bear, which appears to have upset the band’s Ed Droste, who expressed his feelings in a string of Tweets last night. His thoughts provoked Justin Vernon of Bon Iver, who took home several awards last year, to reply with words of encouragement for Droste and disdain for the Grammys. It seems winning those Grammys has not changed Vernon’s feelings towards them.

Here’s how the conversation went down. First, Droste described his sad (“:(“) feelings:

2k12 has been a mixed vibe.
We won’t win the Grahmees! 😦
So the Grammies are literally based off sales and nothing else?#bummerzone
Super relieved Taylor Swift is up for another award. Was worried she didn’t have enough! #phew

He then @-replied Vernon:

@blobtower bb, want to know the Grammy secret! ❤
Don't know how you managed to infiltrate @blobtower, what's the secret?
or maybe we gotta make better music :/ point is a year ago I was so excited you were nominated, and nobody from "our world" 😦

Vernon then explained why he hates the Grammys:

this is why i hate the grammies. because it allows you to question what you've done. don't question what you’ve done Ed.
y'alls music is pure as fuck and there is nobody making music like you and i think it's truly unique. the grammies aren’t a measure of much that is calculable or quantifiable by our own contexts for music. why you create is most important.
All this being said, FUCK those morons for not knowing enough about GB [Grizzly Bear] #jordongotcutfromhighschoolbasketball

Finally, Droste said, "thanks boo! Not really questioning what we've done, definitely questioning other things tho."