
Regina Spektor show interrupted by anti-Israel protesters screaming, ‘Free f------ Palestine!'
During Spektor's performance in Portland, Oregon, multiple people in the audience began yelling "Free Palestine," prompting the musician to pause her set and get security to escort them out.
"You're just yelling at a Jew," she told the hecklers before they were directed to leave the premises.
Video footage captured by a fan, and reshared on TikTok by music outlet Stereogum, showed the moment one member of the audience began yelling, "Free f------ Palestine!" at the singer inside Portland's Revolution Hall.
The protesters' outburst was met by cries from fed-up concertgoers, one of whom chanted, "Am Yisrael Chai" – or "The people of Israel live" – in response.
The footage showed Spektor, a Jewish woman who immigrated to New York from the Soviet Union when she was a child, appearing to communicate with someone offstage to get security involved.
"I don't know what he thinks he's doing," the singer told the crowd, referencing the outburst. Some in the crowd responded by applauding Spektor, and apologizing for the interruption.
"I really appreciate the security," she added in a soft tone, prompting laughter from the crowd. Some yelled, "We love you!"
Still, the outbursts weren't over. Another individual started screaming, "Free, free Palestine! Say it! Say it!"
Again, someone responded, "Am Yisrael Chai!" By the time the lights turned on in the venue, revealing the crowd, Spektor quipped, "I thought this was different than the internet. This is real life." The crowd applauded again.
Still another protester spoke up, saying, "There's a genocide happening." Spektor addressed the heckler, saying, "You can leave the show if you want. This is not an internet comment section. I know that you are mistaking my show for a YouTube video––"
"I'm not," the heckler replied. "You are," Spektor shot back.
"I'm watching children dying. That hurts," the anti-Israel agitator added.
"Yeah, I think you should go because this is not the place for that conversation," the singer said.
Elsewhere, Spektor told the crowd, "The only reason I even speak English is because I came here to escape this s---. I only speak English because I came from a country where people treated Jews as othered, and I'm being othered here, and it sucks."
Spektor has publicly spoken out about the Israel-Hamas conflict in the past. Just days after the October 7 Hamas massacre, she mourned for Israelis and Palestinians alike in an Instagram post.
"My tears are endless but my heart has enough room… Room for murdered, raped, and kidnapped innocent Jews. Room for bombed innocent Palestinians suffering and dying in Gaza. Fury at Hamas whose mission is exterminating Jews while hiding behind Palestinian human shields."
As the post went on, Spektor criticized Israel's government, but defended the nation and its people.
"Israeli government is NOT its people, like any other government on earth. Netanyahu does NOT speak for all Israelis, or all Jews living across the world. In the Middle East – Israel is the ONLY democracy with a chance to vote/protest/change its government. The ONLY land where LGBTQ people are able to live safely. The ONLY land which doesn't mandate women's dress or behavior."
Reps for Spektor and Revolution Hall did not immediately reply to Fox News Digital's request for comment.
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New York Post
21 minutes ago
- New York Post
Rocker Terry Reid, who turned down Led Zeppelin and Deep Purple, dead at 75
English rock star Terry Reid, who once turned down offers to front Led Zeppelin and Deep Purple, has passed away. He was 75. Reid's UK rep confirmed the shocking news in a statement to the Guardian on Tuesday, August 5. Although his cause of death has not been revealed, the beloved musician's passing follows a fight with cancer. 8 Terry Reid during a concert on June 24, 1973. Getty Images 8 Terry Reid at the Anaheim Convention Center on January 25, 2019, in Anaheim, California. Getty Images The 'Seed of Memory' singer had been forced to postpone an upcoming tour due to his worsening health battle, according to his official Instagram page. 'Due to medical issues arising from recent treatment for cancer, Terry has had to postpone his autumn 2025 UK, Irish and Norway,' the announcement posted on July 2 began. 'Terry is especially upset about this as his 2024 tour was so successful and he had been looking forward to playing some new towns and venues, plus old faves, as well as his first-ever dates in Norway.' 'We wish Terry a speedy recovery back to good health and will provide details about rescheduled dates for 2026 in due course,' it added. 8 Terry Reid in 1960. Alan Messer / Shutterstock A GoFundMe page set up on the rock star's behalf last month detailed Reid's cancer fight. 'Over the past several months, Terry has been courageously battling cancer as well as numerous other serious health issues,' it said. 'His fight has been quiet and brave, but it has also come at a great personal cost.' 'He's been in and out of the hospital, enduring rounds of treatment and uncertainty — and, most recently, was forced to cancel his long-anticipated six-week tour,' it continued. 'The financial strain has become overwhelming, and the medical bills are mounting by the day.' 8 The English rock singer and guitarist relaxing between shows on June 6, 1973. Getty Images 'Terry would never ask for this himself — which is why we're asking for him,' the message added. Born and raised in Cambridgeshire, England, Reid first came to prominence as a teen when he joined Peter Jay and the Jaywalkers as the band's frontman. Reid's reputation was further cemented in the mid-1960s when he supported the Rolling Stones during their tour at age 16. 8 Jimmy Page, John Paul Jones, John Bonham and Robert Plant of Led Zeppelin on June 20, 1969. Getty Images It was then that he was approached by Jimmy Page, who was still with the Yardbirds at the time, and asked to join the group that would ultimately become Led Zeppelin. 'I was very friendly with Keith Richards of the Rolling Stones,' Reid recalled during a 2024 interview with Classic Rock. 'Keith asked me to support the Stones in the States, but then shortly afterwards, Jimmy wanted me to join his new band. I was torn. 'In the end, I put the ball in Jimmy's court,' he continued. 'I said: 'You'd better speak to Keith and tell him I'm not going.' But Jimmy bottled it. He said: 'I'm not having him shoot me in the f–king leg.' Even then, Keith had a reputation.' 8 Terry Reid performs as part of Wesley Stace's Cabinet of Wonders variety show at the City Winery on June 22, 2018, in New York City. Getty Images 'So I ended up going to America with the Stones,' Reid added. 'I even played with them at Altamont.' After turning Page down on the offer to join Led Zeppelin, Reid recommended singer Robert Plant and drummer John Bonham instead. Both musicians ultimately joined, and Led Zeppelin was established in 1968. 'I was intent on doing my own thing,' Reid told the Guardian last year. 'I contributed half the band – that's enough on my part!' 8 Terry Reid poses for a portrait in 1968. Getty Images He also turned down an offer from Ritchie Blackmore to join Deep Purple after the band's original lead singer, Rod Evans, departed the group in 1969. 'It was very flattering,' Reid told the Guardian. 'Ritchie was one hell of a guitar player.' Touching tributes for the revered singer-songwriter, who was nicknamed 'Superlungs' due to his powerful and unique voice, have poured in following the news of his passing. 8 Terry Reid at the Joint in Los Angeles, California, on January 10, 2015. Getty Images 'Goodbye my friend,' Joe Bonamassa wrote on Instagram Tuesday morning. 'It was an honor to get to know you as a friend and a musical mentor.' 'I will miss our hangs and stories in Palm Springs,' he continued. 'One of the greatest to ever do it, and a beautiful person and soul.' 'Rest in peace Terry Reid,' Bonamassa concluded. 'My deepest condolences to his family on this terrible day.'
Yahoo
3 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

Cosmopolitan
3 hours ago
- Cosmopolitan
Rihanna Is Rumored to Reschedule Comeback Concerts for 2026
You don't need us to tell you that the Rihanna Navy is hungry for more music from the multihyphenate. It's been nine years since she released her last full-length project, Anti, which featured hits like 'Kiss It Better,' 'Consideration' with SZA, and 'Work' with Drake. Ofc, the Fenty Beauty founder recently dropped 'Friend of Mine' in tandem with the release of Smurfs this summer. However, we haven't seen RiRi grace the stage since 2023, when she headlined the Super Bowl halftime show and served a stunning rendition of her Black Panther ballad, 'Lift Me Up,' at the Oscars. Hopefully, we won't have to wait much longer for Rihanna to hit the road again. According to several reports, the A-lister is rescheduling a slew of comeback shows in London for next year. Per Rolling Stone UK, an insider told The Sun, 'Rihanna pulled the plug just days before her 2025 tour was due to be announced. There ended up being issues with production and scheduling conflicts, plus she didn't feel like her music was ready.' They added that 'Rihanna and her team are now confident they can make it work for next year,' meaning the potential dates will 'coincide with the tenth anniversary of Anti, and fans can expect to hear her new music too.' Though she and A$AP Rocky are expecting another baby soon, the source shared that she is 'the ultimate working mum and has the support of her partner,' adding, 'It's going to be incredible for her fans and she can't wait to be back out on stage.' Rumors of her return started circulating in February, when a 'well-placed live music source' told The Telegraph that she had a 'residency of up to six concerts' at London's former Olympic Stadium on July 4, 5, 8, 9, 11, and 12. A 'senior concert industry source' also revealed that the artist's promoters were 'holding' London Stadium as a potential venue. Neither Rihanna nor her reps have confirmed any of the reports, so take ^^^ all of this with a grain of salt. In the meantime, we're getting ready to save our coins for when the moment eventually comes.