Travis Barker of Blink-182 revealed on Kevin & Bean that he is working on a new documentary as a counterpart to his autobiography. He also mentions this is why he was hanging out with Tom DeLonge recently:
So four people were interviewed to create this trailer. It was Mark Hoppus, my dad, and Tom Delonge.
I haven’t really said anything. It’s been in the works. It’s the same people who did Steve Aoki’s documentary. We started talking with them a while back about being inspired by the book but then digging deeper.
Yeah, I have an album, but I also have way more songs apart from the album. I want them to see the light of day and there’s just so many.
I don’t like doing albums that are more than 10/11 songs. It’s not my vibe.
More than any band I’ve ever loved, I associate The Dangerous Summer with a specific time and place. For three tumultuous summers, as I flailed about recklessly in the no-man’s land between youth and adulthood, there was no band on the planet that meant more to me. The summer of 2009 was encapsulated in the strains of their debut, Reach for the Sun, which caught me in the wake of my high school graduation as I wondered what the next chapter would hold. Their sophomore record, War Paint, played a similar role in the summer of 2011, which followed the worst semester of my life and forced me to question my dreams, my college major, and my entire view of my future. The summer in between was the one where I fell in love with the girl who I would marry, and I still remember driving home late at night from her house, feeling every note and every word of songs like “Northern Lights” and “Never Feel Alone.”
The Dangerous Summer never meant as much to me outside of those summers, or away from that town. This band was the soundtrack of growing up and of magical, lively Julys and Augusts in the town where I grew up—summers where the nights seemed to stretch on forever and the possibilities felt like they were truly endless. Once I finished college and left my hometown behind, it felt like The Dangerous Summer might not have anything left to say about my life. Hearing them again in the summer 2013—the summer after I finished college and tried to make a play for adulthood and the “real world”—the songs played like pale imitations of what I’d loved before. True, that year’s Golden Record was simply a sizable step down from the band’s peak. Even if it hadn’t been, though, I’m not sure it would have resonated with me personally. Again, this was a “time and place” band, and hearing them outside of that time and away from that place felt almost grotesque. It made me miss everything I’d left behind.
Camila Cabello debuts atop the Billboard 200 chart with her first solo effort, Camila, earning 119,000 equivalent album units in the week ending Jan. 18, according to Nielsen Music. Of that sum, 65,000 were in traditional album sales. Cabello is the first woman in three years to hit No. 1 with her debut full-length album.
This is where you start to assume that this is The Color Morale announcing it’s break-up. When Steve and I started this band the goal was never to sell thousands of records, be on magazine covers, or even leave the midwest. The goal, along with the rest of my band mates was to have fun making art with my best friends. It always started there, in a garage across a field from a little restaurant in the middle of nowhere. In the middle of nowhere is exactly where you discover who and why you are. Within the expanse of that idea, The Color Morale could never break up. If it broke, it was only because it wasn’t ours anymore.