Latest news with #MGMT
UAE Moments
24-06-2025
- Entertainment
- UAE Moments
Today's Moon Mood: Wednesday, June 25, 2025
Get ready to shake off the shadows and run toward the light — the Moon is strutting into Sagittarius, and she's packing wild child energy. Yesterday's introspection? Important. Today's freedom? Essential. You might feel a sudden urge to plan a trip, text your ex something philosophical, or start a new project with zero clue where it's going. Roll with it. This is cosmic caffeine. Moon Mood Highlights: Wanderlust activated: Whether it's a road trip or a mental getaway, you're craving newness. Blunt honesty: You're telling it like it is — with truth bombs and zero filter. Zoom out energy: Problems feel smaller when you change your perspective. Cosmic Care Tip: Move your body. Dance it out, take a walk, stretch like you mean it — motion helps you channel this wild wave of wanderlusty vibes. Your Moon Mantra: 'I open myself to joy, expansion, and all the magic waiting just outside my comfort zone.' Playlist of the Day (for free-spirit Friday feels): 'Electric Feel' – MGMT 'You Only Live Once' – The Strokes 'Dog Days Are Over' – Florence + The Machine 'No One Knows' – Queens of the Stone Age 'Solar Power' – Lorde What To Do Tonight: 🎉 Spontaneous Hang or Stargazing Mission. Call up your most 'yes girl' friend or head out solo. Watch the stars, catch a rooftop view, or plan that next trip. The vibes are made for some kind of adventure. Join our FREE WhatsApp channel to dive into a world of real-time engagement! This article was previously published on omanmoments. To see the original article, click here
The Guardian
31-05-2025
- Entertainment
- The Guardian
Why am I filled with nostalgia for a pre-internet age I never knew?
A video went viral on X a few months ago that I can't stop watching. It's 2003: the band that later becomes MGMT are performing their song Kids to their peers, years before they become a pop sensation, in a dusty quad at Wesleyan University, Connecticut. Social media doesn't exist yet. There is something about the way people look and behave and inhabit the space that tugs at my heartstrings and fills me with nostalgia. No one is dressed that well; the camera zooms unsteadily to capture the crowd's awkwardness, slumped shoulders and arrhythmic bopping. Beyond the footage we're watching, no one seems to be filming. I was only four when the video was filmed, so why does watching it make me feel as if I've lost a whole world? A recent survey suggests I'm not alone – that almost half of young people would prefer a world without the internet. If anything, I expected a higher percentage. This doesn't mean my generation really would like to reverse everything that's happened in the last few decades, but there's clearly something we feel we're missing out on that older people have had, and we attribute it to the internet – or at least to its current form, dominated as it is by social media. What exactly do we think we're missing? Personally, I assume that before the social internet people behaved in more authentic and idiosyncratic ways. Social media has sped up trend cycles, resulting in an eerie uniformity across styles and personalities: we buy the same products, wear the same clothes, act in the same way, reference the same memes – even quirkiness itself or more 'unique' behaviour can be ascribed to trends. I also imagine that if we weren't on display all the time, our friendships and interactions could be less commodified. Now, spending time with friends is material to be documented and then demonstrated to a faceless audience. I'm sure these are rose-tinted assumptions, and I'm conscious too of the things I take for granted about an age of connectivity. Having to trawl through a few measly books and encyclopedias to find anything useful, or growing up in a remote area with little connection to the wider world, surely must have felt both inhibiting and claustrophobic. But it may be that these 'negative' aspects are what young people yearning for disconnectivity actually want – we have a sense that there was a value, now largely lost, in the practical effort required for social interaction, for finding good music, or joining a subculture. Life now in comparison seems streamlined, efficient, more yassified, in a phenomenon that writer Michael Harris calls a 'loss of lack'. Recently, my office manager showed me the technology he and his friends used to 'watch' the football on: Ceefax. The football score would load on a television screen via the changing of a single digit. They would spend the afternoon just sitting on the sofa, waiting for the digit to change (or not). I felt envious of this. Why? If anything, this is clearly a case where an experience has improved exponentially. And yet I'm captivated by the sense of mystery: if they weren't watching the game or reading the updates, what were they doing? What were they occupying their thoughts with? The reality might be that they were bored, another scarce experience in a connected age. At least, if bored, they would have entertained themselves with internal rather than external resources. It doesn't even matter if that was really the case - it is precisely because this experience is unknowable that it is compelling to me. I am haunted by the feeling that spending so much time on our phones has stolen something human and vital from our lives. It is of course true that each era experiences a crisis about the new wave of tech destroying people's souls – when it wasn't the internet, it was TV, or the radio, or the printing press, even papyrus scrolls, and nostalgia is common across every generation. But I don't think any previous generations were ever so down on their own era, in such large numbers, to the point they'd erase its major salient feature. We feel nostalgic for a world that can't be brought back. As Donald Trump said, now 'everything is computer'. Ironically, my nostalgia for a pre-internet age is being fed by the internet itself: the machine constantly feeding me clips of the past, footage of young people operating decades ago where everything seems refreshingly unobserved and carefree. So the very engine of this nostalgia is the thing half of us wish to do away with, despite the fact that it's an incredible resource, that has allowed unparalleled access to older music, knowledge, ways of living – and is also by nature democratic, questioning traditional media outlets on global affairs and challenging convention. If this survey is a canary in the mine, what should we do? Enjoyable as it is, I don't think being misty-eyed about the past is the solution; neither is fetishising a perceived authenticity of the past. 'Authenticity', I think, looks like the power to opt in or out, perform or not, when you want to – in other words: freedom. So when it comes to the internet, if switching off entirely isn't possible any more, then surely the words of MGMT can be useful: control yourself, take only what you need from it. Isabel Brooks is a freelance writer
Scoop
15-05-2025
- Entertainment
- Scoop
Join Juno Is And Her Live Band To Celebrate The Release Of Her ‘Psychedelic Dream Pop' Debut Album ‘Where To Begin'
Press Release – Juno Is , the long-awaited debut album from Tāmaki Makaurau-based artist Juno Is, arrived four years after her breakthrough EP, Creature of Habit. Created over two years in a series of spontaneous songwriting sessions, this album marks a distinct evolution for Juno Is, the project of musician Mackenzie Hollebon. In the early stages, Where To Begin became a deeply collaborative endeavour. Hollebon teamed up with engineer-producer De Stevens, crafting the album's foundation in late-afternoon sessions in her sunny, minimalist bedroom, fueled by black coffee and creative energy. As they shaped the album's pre-production, their collaborative process naturally opened the door to other key contributors, including Christchurch-based multi-instrumentalist Thomas Isbister. Thomas's contributions on bass, trumpet, congas, synth, and more added layers of texture to the album, fulfilling Juno Is' vision of an immersive, colourful soundscape inspired by the likes of early MGMT and Melody's Echo Chamber. Drummer Hamish Morgan further brought the album to life by translating Juno Is' unconventional MIDI drum demos into concise, stylistic live performances, blending seamlessly with the album's experimental textures. The result is a work that marries instrumental brightness with introspective lyrics, creating a unique contrast of warmth, melancholy, and determination. With Where To Begin, Juno Is offers a rich, sonically expansive album that reflects years of growth and exploration, establishing her as a distinctive voice in today's musical landscape. In Auckland After 5 years, Juno Is (aka Mackenzie Hollebon) has decided to announce her first ever headline show at Double Whammy which is in her current hometown of Tāmaki Makaurau. This show will be an exciting live exploration of her debut album Where To Begin which was released on the 8th of November 2024. This Juno Is 8 piece live band will consist of Mackenzie Hollebon, Jacob Brown, Hamish Morgan, Zoë Larsen Cumming, Benjamin Mack, Riley Noonan, Nimah Joy Pritchard and Emily Fe'ao. Not only is this Juno Is' first headline show in Tamaki Makaurau, but it is also a rare chance to celebrate her debut album, live!
Scoop
15-05-2025
- Entertainment
- Scoop
Join Juno Is And Her Live Band To Celebrate The Release Of Her ‘Psychedelic Dream Pop' Debut Album ‘Where To Begin'
Where To Begin, the long-awaited debut album from Tāmaki Makaurau-based artist Juno Is, arrived four years after her breakthrough EP, Creature of Habit. Created over two years in a series of spontaneous songwriting sessions, this album marks a distinct evolution for Juno Is, the project of musician Mackenzie Hollebon. In the early stages, Where To Begin became a deeply collaborative endeavour. Hollebon teamed up with engineer-producer De Stevens, crafting the album's foundation in late-afternoon sessions in her sunny, minimalist bedroom, fueled by black coffee and creative energy. As they shaped the album's pre-production, their collaborative process naturally opened the door to other key contributors, including Christchurch-based multi-instrumentalist Thomas Isbister. Thomas's contributions on bass, trumpet, congas, synth, and more added layers of texture to the album, fulfilling Juno Is' vision of an immersive, colourful soundscape inspired by the likes of early MGMT and Melody's Echo Chamber. Drummer Hamish Morgan further brought the album to life by translating Juno Is' unconventional MIDI drum demos into concise, stylistic live performances, blending seamlessly with the album's experimental textures. The result is a work that marries instrumental brightness with introspective lyrics, creating a unique contrast of warmth, melancholy, and determination. With Where To Begin, Juno Is offers a rich, sonically expansive album that reflects years of growth and exploration, establishing her as a distinctive voice in today's musical landscape. In Auckland After 5 years, Juno Is (aka Mackenzie Hollebon) has decided to announce her first ever headline show at Double Whammy which is in her current hometown of Tāmaki Makaurau. This show will be an exciting live exploration of her debut album Where To Begin which was released on the 8th of November 2024. This Juno Is 8 piece live band will consist of Mackenzie Hollebon, Jacob Brown, Hamish Morgan, Zoë Larsen Cumming, Benjamin Mack, Riley Noonan, Nimah Joy Pritchard and Emily Fe'ao. Not only is this Juno Is' first headline show in Tamaki Makaurau, but it is also a rare chance to celebrate her debut album, live!
Daily Mail
03-05-2025
- Entertainment
- Daily Mail
MGMT fans are only just learning the meaning behind the band's iconic name
Resurfaced footage from 20 years ago has revealed how the popular synth pop duo MGMT pronounced their band name - and what it really means. The video showed MGMT members Andrew VanWyngarden and Ben Goldwasser when they were fresh-faced students at Wesleyan University in 2003. They were playing an early version of their hit single Kids to a small crowd. While many have marveled over how long ago the song came out, it was the duo's pronunciation of their name that has truly sent fans into a spin. Many longtime fans were shocked to learn that it's not actually pronounced em-gee-em-tee like the letters of MGMT, but it actually stands for 'Management.' In the clip, VanWyngarden introduced the band, telling the crowd: 'We are the Management.' 'The Management?' a fan asked in the resurfaced video. 'I've been calling them MGMT my whole life! Their name is the Management?' 'Is ACDC the aqueduct? What the f?' The video received thousands of responses, some just appalled, and others sharing their hypotheses. 'That's from when they first started. They changed it to MGMT because there was already a band called The Management. It's 100 percent pronounced "MGMT" now,' one user wrote. 'I refuse to receive this information as fact,' another shared. 'I work in HR. I've called them Management for years as a joke. Joke's on me, I guess?' a third commented. Someone else said: 'I called them Management when I first heard of them until I heard people call them MGMT and I was so embarrassed. My pretentious 20-year-old self would be so smug right now.' 'Omg, I realized when people put "mgmt" in their bios and stuff it means "management" and my dumb**s just thought people were just really passionate about early 2000s synth pop rock band. Wow,' another person observed. According to an article published by Vulture in 2008, the band's label, Columbia, and a publicist told the outlet it's 'definitely pronounced "Em-gee-em-tee."' MGMT was nominated for the 2010 Grammy Award for Best New Artist, and Kids wa s nominated for Best Pop Performance By a Duo or Group with Vocals Several sources noted that the band's original name was The Management, but they shortened it to MGMT after discovering another artist had the rights to it. The grainy footage is sure to evoke immediate nostalgia, showing the young men energetically jumping around a makeshift stage in a white dress shirt and slacks to a small crowd of students. Kids was released in 2007 and was the third and final single from their debut studio album Oracular Spectacular. They were nominated for the 2010 Grammy Award for Best New Artist, and Kids was nominated for Best Pop Performance By a Duo or Group with Vocals. In an interview with The Independent, Goldwasser said the song 'was a result of us being 19 years old, in this fantasy college world, which is a little bit like childhood because you don't have much responsibility.' The Grammy-nominated song was a phenomenon in the early 2000s, and has made a comeback with Gen Z discovering the song - many stunned to learn it's more than 20 years old.
