Pop culture obsessives writing for the pop culture obsessed.
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It probably seemed a lot cooler in his head. Like something out of a movie. Young, inked-up punk kicks down the boardroom door to the electric wail of his new single, blowing the toupées off all the stuffy executives with his sick kicks and jagged riffs.

Instead, this happened.


Machine Gun Kelly, recording artist and Bird Box actor, was previewing his new “pop-punk” album for Interscope Records when the spirit came upon him, compelling him to the stage—any stage. Unfortunately, his audience, likely still wiping the sleep from their eyes, appeared to be more preoccupied with inboxes and to-do lists, their sighing interior monologues uttering “not again” as the empty bottom of their coffee cup stares up back at them.

Some people thought it was cool, though. Blink-182's Travis Barker, a producer on MGK’s new album, declared that Interscope “will never be the same.”

The sentiment, however, also went this way:


There’s just something so quaint about this sweetly brazen, thoroughly goofy display of “punk” showmanship in today’s age, when major record labels have been rendered so irrelevant by streaming models that the only artists they’ll back have been algorithmatized into vacuousness. This is quite literally what people are referring to when they say “rock is dead.”

But, that aside, it’s also just funny to zero in on the unwitting audience.


“Will.i.am did this, too,” we imagine this guy texting.


Even Seth Rogen chimed in, offering a “lol” at one of the bemused.


Yeah, there’s some real “New Zealand court officials listen to ‘Lose Yourself’ in awkward silence” energy here. (Speaking of Eminem, don’t show him this.)

Send Great Job, Internet tips to gji@theonion.com


Randall Colburn is The A.V. Club's Internet Culture Editor. He lives in Chicago, occasionally writes plays, and was a talking head in Best Worst Movie, the documentary about Troll 2.

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