| A fan favorite at their live shows, it was just a matter of time before “Gay Boy Boogie” made its way into the studio, accompanied appropriately by a bawdy video. Returning to the director’s chair was punk rock mastermind Frank Meyer of The Streetwalkin’ Cheetahs who had directed their previous video for “Highway to Hell.” An instant hard rock masterpiece, that video featured brilliant cameos from Johnny Martin (L.A. Guns), John Bush (Armored Saint, ex-Anthrax), and dUg Pinnick (King’s X). “The idea to do a video for ‘Bad Boy Boogie’ was considered soon after we completed the ‘Highway To Hell’ video’,” explains drummer Brian Welch. “It’s one of the raunchier songs lyrically that we do live, and I thought ‘Why don’t we do something fun for this?’ After all, people come to our shows expecting an R rated show, so let’s give ’em an R rated video too!” Reinterpreting the Twisted Sister iconic video for “We’re Not Gonna Take It,” GayC/DC and Meyer envisioned a prequal to their “Highway to Hell” video with L.A. Guns’ Johnny Martin reprising his role of “Waldo.” “This was our love letter to Twisted Sister and homage to director Marty Callner but with a GayC/DC twist,” says Welch. (The late Callner was an acclaimed director for videos by Bon Jovi, KISS, and Whitesnake among others, as well as “We’re Not Going to Take It.” He passed away in March 2025). “For Waldo’s parents, I asked Joanie Pimentel [bass player from No Small Children], to play the mom. For the dad, I asked Don Speziale who was the lead actor in several of my films when I was in film school and also wrote the scripts for Pansy Division when we were developing the Jonah video series for the That’s So Gay album,” adds Freeman about the casting choices. While the video (which was premiered by American Songwriter who called the video “full-on GayC/DC glam metal queer rock”) adds to their lovingly boa-frocked reverence for AC/DC, their adoration for Twisted Sister does not go uncredited, especially when it comes to that glam metal band’s colorful onstage regalia. “We love Twisted Sister who took rock and drag further than anybody at the time,” laughs Welch. “This is our homage and ‘thank you’ for giving us as young gay kids the opportunity to see fully grown men in drag every day on MTV decades before RuPaul’s Drag Race was a thing.” Reinforcing the adage “Imitation is the sincerest form of flattery,” Twisted Sister’s lead singer Dee Snider offered his unwavering approval, “I think this is great!” Taking “the songs of perhaps the globe’s most heterosexual band and turning them into something altogether more fabulous” (Classic Rock Magazine), the glitter-hugged and boa-frocked “GayC/DC is literally the gayest AC/DC cover band out there” (Metal Injection). Reworking AC/DC’s uber-hetero-leaning catalog and tweaking it ever so slightly in a gay way (not that there’s anything wrong with it), they transform the classics into songs like “Dirty Dudes (Done Dirt Cheap),” “Big Balls” (which obviously didn’t really require any changes at all), and their recent cover “It’s A Long Way To The Top (If You Wanna Rock ‘n’ Roll).” While the band and their presentation may be campy, their musicianship is pure, unadulterated rock. Founded by Freeman (who also plays bass for Pansy Division) and drummer Brian Welch, GayC/DC is rounded out by bassist Glen Pavan, Patrick Goodwin on guitar and Steve McKnight on lead guitar. |
GayC/DC Go Full Glam in Outrageous “Gay Boy Boogie” Video
From Beatles to Bach: The 1975 BBC Special That Decoded Music’s Magic
In a 1975 episode of Horizon, the BBC dug deep into the psychology of music—how a simple I-IV-V progression can tug at your heartstrings and why Muzak sparked a culture war. From Bach to Beatles, this vintage gem shows how music moves us—mind, body, and soul.
5 Unknown Facts About Peter Gabriel’s 1978 Album ‘Peter Gabriel’ (aka Scratch)
Released on this day, June 2, 1978, Peter Gabriel (often called Scratch) was his second solo album after leaving Genesis—and it was full of bold choices. With Robert Fripp as producer and a willingness to explore both structure and sound, Gabriel turned experimentation into a work of art. Here are five surprising facts about the album that made it stand out—then and now.
1. The Album’s Title Isn’t Really “Scratch”—But Fans Gave It One
Peter Gabriel released his first four solo albums under the same name—Peter Gabriel. To tell them apart, fans gave them nicknames based on their cover art. This one? Scratch, thanks to the striking Hipgnosis-designed artwork that shows Gabriel scraping his own image apart. The effect was done with torn paper, Tipp-Ex (White Out to North Americans), and a lot of clever photography. Gabriel didn’t need a title—he had a visual story.
2. Robert Fripp Didn’t Want Full Credit—So He Got Creative With It
King Crimson’s Robert Fripp produced the album but felt that Gabriel had such a strong creative hand in it, he shouldn’t take full credit. His suggestion? “Produced by Robert Fripp for Peter Gabriel.” It was Fripp’s way of saying, “This isn’t all me—this is Peter’s vision too.” Fripp also introduced techniques like “secret reverb” (if you could hear it, it was too loud) and used Frippertronics on the haunting track “Exposure.
3. “On the Air” Was About a Fantasy Radio Star Named Mozo
Gabriel’s song “On the Air” introduced Mozo, a lonely outsider who builds a new identity on shortwave radio. It was more than a song—it was part of a bigger universe Gabriel had imagined, with fragments of Mozo’s story appearing across future albums. “On the Air” became the sound of someone escaping into static and wires to become something more. Gabriel even explored turning Mozo into a film character.
4. “D.I.Y.” Was Inspired by Punk’s Spirit—but Done Gabriel’s Way
Rather than mimic the Sex Pistols, Gabriel channeled their do-it-yourself energy into something more acoustic and structured. He wrote “D.I.Y.” as a response to the punk wave but kept it uniquely his own, filled with time signature changes and playful musical details. The song even includes a processed voice spelling out “do it yourself.” The message? You have the power to create, and you don’t need permission.
- 5. Creative Tension Sparked the Album’s Raw Sound
Fripp and Gabriel didn’t always agree. They debated arrangements, argued over synths, and even clashed on vocal takes. Gabriel wanted lightness, Fripp wanted rawness. That friction didn’t break the project—it shaped it. Songs like “White Shadow” and “On the Air” show the results of those push-pull moments: intricate, unpredictable, and totally unique. It wasn’t polished—it was alive. - Peter Gabriel may have come from friction and left turns, but it laid the foundation for everything that followed. The experiments with texture, character, and sonic space became part of Gabriel’s creative DNA. That willingness to explore—musically and emotionally—would eventually lead to the refined, global, and groundbreaking sound of So in 1986. Every scratch, glitch, and whispered lyric on this album was a step toward something even bigger. Massively bigger.
5 Surprising Facts About Charlie Watts That Make Him Even Cooler Than You Remember
Before there were pyrotechnics, tour buses, and 60,000 fans singing “Jumpin’ Jack Flash,” there was a quiet, jazz-obsessed kid from Wembley with a banjo head for a drum and a dream of playing like Chico Hamilton. Charlie Watts never chased the spotlight—he brought dignity and swing to it instead. Here are 5 fun and surprising things about the man behind the drum kit that prove his story is just as fascinating as his beat.
1. He Didn’t Even Want to Be a Rock Drummer—At First
Charlie Watts grew up with jazz in his bones. His earliest heroes weren’t rockers—they were bebop giants like Charlie Parker and Jelly Roll Morton. When someone first asked him to play rhythm and blues, he thought they meant jazz played slowly. He joined the Rolling Stones almost reluctantly, never chasing stardom but eventually helping to define it with every understated stroke. His approach brought a jazz sensibility to rock and roll—and made him utterly irreplaceable.
2. He Sketched Every Bed He Slept In on Tour
Starting in 1967, Watts began drawing the hotel beds he slept in on the road. By the early 2000s, he’d filled over a dozen diaries. These weren’t doodles but meditations. While others partied after shows, Watts quietly opened his sketchbook, documenting his strange and temporary homes. It was one of many ways he stayed grounded, showing the inner life of a man who always kept one foot in the real world, even as his band soared through history.
3. He Designed the Rolling Stones’ Tour Stages and Album Art
Before joining the Stones, Charlie worked as a graphic designer, and he never stopped using that eye for detail. He created early album art and even designed the stage sets for some of the band’s biggest tours—including the lotus-shaped stage for their 1975 U.S. tour. He wasn’t just keeping time on the drums—he was shaping the band’s visual identity, proving that rhythm isn’t limited to music alone.
4. He Never Learned to Drive—But Loved Collecting Cars
While the rest of the Stones raced around in sports cars, Charlie had a different approach. He collected classic cars, not to drive them, but to admire their beauty. He never got a driver’s license. His garage was like a museum of elegance and engineering—because to Charlie, the shape of a Ferrari mattered more than its speed. It was another example of how he appreciated artistry in all its forms, even with the engine off.
5. He Turned Down the Playboy Mansion for the Game Room
During the band’s famously hedonistic 1972 U.S. tour, the Rolling Stones were invited to the Playboy Mansion. While others mingled with models, Charlie made a beeline for Hugh Hefner’s game room. That was his style—cool, quiet, and happily uninterested in the chaos around him. He once said he’d never fit the rock star stereotype, and he never tried to. That refusal to perform offstage is part of what made him so admired on it.
Charlie Watts wasn’t flashy, but he was unforgettable. Whether designing stages, sketching hotel beds, or quietly anchoring one of the greatest rock bands in history, he always did it his way—calmly, tastefully, and with absolute precision. He didn’t need drum solos to make an impact. All he needed was a snare, a suit, and a sense of style that never wavered.
5 Surprising Facts About Brian Eno’s ‘Another Green World’
Brian Eno’s 1975 album ‘Another Green World’ didn’t chase trends or follow formulas. It explored sound the way a painter explores a blank canvas—slowly, curiously, with endless possibilities. With only five vocal tracks and a dream team of collaborators, this record became a quiet landmark in music history. Here are five facts that reveal how deep the creativity runs.
1. Phil Collins Was Given a Musical Puzzle to Solve
Before his solo career exploded, Phil Collins showed up to Eno’s sessions with nothing but his sticks and an open mind. Instead of handing him a chart, Eno gave him a list of numbers. Each one stood for a chord or sound. Alongside bassist Percy Jones, Collins turned the numbers into rhythm, using instinct and improvisation to build something that felt spontaneous and alive. It wasn’t about rules—it was about sound in motion.
2. John Cale’s Viola Added a Strange and Beautiful Layer
John Cale, already known for his work in The Velvet Underground, played viola on two tracks. His string parts brought a mysterious, elegant energy to the sessions. Cale’s background in classical and experimental music gave the album a texture that was rich and unpredictable. His contribution wasn’t flashy—it quietly shaped the emotional tone of the music.
3. Robert Fripp Turned a Science Lesson Into a Guitar Solo
When Eno asked Robert Fripp to record the guitar part for “St. Elmo’s Fire,” he described something very specific: the movement of electricity in a Wimshurst machine. Fripp picked up his guitar and created a sound that shimmered and surged with controlled energy. That solo became one of the most distinctive parts of the album. It captured Eno’s vision with a few minutes of fearless playing.
4. Some of the Most Vivid Tracks Were Just Eno, Alone in the Studio
Tracks like “The Big Ship” and “In Dark Trees” weren’t built by a band. They came from Eno layering sounds on his own. Using synthesizers, tape loops, and drum machines, he created entire environments. These pieces feel like quiet weather patterns, each one with its own mood and atmosphere. Eno treated the studio like an instrument, finding new ways to express feeling through sound.
5. The Lyrics Came From Gibberish That Turned Into Meaning
Eno didn’t start with written lyrics. He sang nonsense syllables over the music until the right sounds appeared. From those sounds, words began to form. It was like listening for the language hiding inside the melody. This method gave songs like “I’ll Come Running” and “Golden Hours” a loose, dreamlike quality. They sound like memories you can’t quite place but still recognize.
‘Another Green World’ feels like a walk through a place where music grows on trees and time stretches out in every direction. With each listen, new textures come forward, and familiar parts reveal new details. It’s not just an album—it’s a creative space that’s still open to anyone willing to explore it.
5 Surprising Facts About Bob Dylan’s ‘John Wesley Harding’
It was sparse. It was mythic. It was quiet, and then it wasn’t. Released at the tail-end of 1967, ‘John Wesley Harding’ found Bob Dylan trading in the psychedelic swirl of the era for something far more haunting. But behind its no-frills sound are stories worth turning the volume up for. Here are 5 things you might not know about this understated masterpiece.
1. Dylan Recorded the Whole Album in Under 12 Hours
Dylan wasn’t in the studio long—he didn’t need to be. The entire album was tracked in just three short sessions in Nashville, totaling less than 12 hours of studio time. Most artists need that much time just to set up the drums. With only bassist Charlie McCoy and drummer Kenny Buttrey backing him, Dylan knocked out songs like “All Along the Watchtower” in just a few takes. No overdubs. No frills. Just pure songwriting, straight to tape.
2. The Songs Were Not From ‘The Basement Tapes’
Although it was recorded just after the famous Basement Tapes sessions with The Band, none of the songs from ‘John Wesley Harding’ came from that legendary stockpile. Dylan had written a brand-new batch of songs, separate from the rambling, rootsy demos that would later surface. While the world assumed he’d raid the vault, he surprised everyone with a fresh set of parables, folk tales, and cryptic ballads that sounded like they came from a different century.
3. “All Along the Watchtower” Became More Famous Without Him
When Dylan first recorded “All Along the Watchtower,” it was just two minutes long, built on a simple three-chord cycle. No guitar solos. No explosions. Enter Jimi Hendrix. His version, released just months later, reimagined the track with stormy guitars and turned it into a rock anthem. Dylan was so blown away by Hendrix’s take that he began performing it more like Jimi than himself. It’s one of the rare times a cover version redefined the original artist’s own song on stage.
4. There Might Be Beatles Hidden in the Trees
Look closely at the album cover. No, closer. Rumors flew in 1968 that the knots in the tree bark behind Dylan contained hidden faces of the Beatles. Photographer John Berg was skeptical at first—until he turned the photo upside down and saw what everyone else was seeing. Was it intentional? He swore it wasn’t. But Dylan had met the Beatles by then, and he certainly loved a good puzzle. Whether it was divine coincidence or playful mysticism, fans have been squinting ever since.
5. The Title Spelled the Outlaw’s Name Wrong—and No One Knows Why
The real John Wesley Hardin was one of the most infamous gunfighters in the Old West. Dylan named the album after him but added a “g” to the surname—making it “Harding.” Was it a typo? A poetic twist? A deliberate distancing? To this day, Dylan has never explained it, and those close to him haven’t either. Wesley Stace, who later adopted the stage name John Wesley Harding, joked that “no one’s ever bothered to ask.” And that’s just the kind of mystery Dylan might appreciate most.
Linkin Park Electrifies UEFA Champions League Final Kick Off Show with Stunning Set
Global superstars LINKIN PARK delivered an exceptional headline performance at the Munich Football Arena for this year’s UEFA Champions League Final Kick Off Show presented by Pepsi. One of the world’s most iconic rock bands performed live, just minutes before the biggest match in European club football, with the eagerly awaited show providing an unforgettable experience for the thousands in the stadium and the millions watching around the globe.
The UEFA Champions League Final Kick Off Show presented by Pepsi took place in front of a sold-out crowd ahead of the epic encounter between Paris Saint-German and FC Internazionale Milano, with LINKIN PARK entertaining fans with an exhilarating performance, featuring fan favourite tracks, an iconic stage and world-class special effects.
LINKIN PARK recently made a triumphant return to the spotlight with the release of FROM ZERO, their first new music in seven years. The album hit the top of the charts across the globe and features #1 smashes “Heavy Is The Crown” and “The Emptiness Machine,” which surged as the biggest rock song of 2024 with over 250 million streams. Notably, as reported by Billboard, LINKIN PARK was the one-and-only rock band to cross over 2 Billion yearly streams in 2024.
Now, the band has taken its brand-new era to new heights by uniting football and music fans with a mesmerising performance featuring a setlist representing the best of their legacy, past and present. Throughout the performance LINKIN PARK gave a typically energetic performance of iconic hits including “In The End” and “Numb”, as well as “Heavy Is The Crown” and “The Emptiness Machine” from their new FROM ZERO (Deluxe Edition) album, which launched on 16th May. Fans can catch LINKIN PARK on their From Zero World Tour now, with all dates and remaining tickets available at linkinpark.com/tour.
The setlist also featured a segment of the track LINKIN PARK recorded to mark the official announcement in April, blending the band’s iconic sound with the culture of European football. Incorporating sounds inspired by UEFA Champions League football – the strike of leather, the whistle of a free kick, the sounds of the most passionate fans in the world – the segment was a direct nod to football fans in the stadium and around the world.
LINKIN PARK’s standout performance combined masked performers in flowing capes, dynamic flag choreography, and cutting-edge SFX to create a visually striking blend of music, movement, and design.
With historically deep roots in sport and music, Pepsi is proud to present the UEFA Champions League Final Kick Off Show each year by merging the worlds of football and music together to create one night of epic entertainment. The momentous event continues to showcase the most iconic artists and unites football and music fans alike through one compelling spectacle, embodying Pepsi’s ‘Thirsty For More’ global platform.

