Journeys Remakes New Radicals’ "You Get What You Give" for a New Generation of Mall Kids
Starring genre-bending artist Gus Dapperton and directed by Bad Bunny-collaborator, STILLZ.
Journeys just pressed play on a full-circle nostalgia trip with its fresh remake of New Radicals’ 1998 anthem “You Get What You Give,” reimagined by indie shapeshifter Gus Dapperton and shot—where else?—in a shopping mall.
The spot doubles as the launch of the retailer’s new “Life on Loud” platform, a loud-and-proud statement about teen style and self-expression, with creative by Anomaly and direction from STILLZ (Bad Bunny collaborator). New Radicals frontman Gregg Alexander and bandmate Danielle even jumped into the studio with Dapperton to cut an indie-pop update, tightening the loop between generations. You can watch the track and campaign hub now at Journeys’ site, with BTS rolling out across its socials.
If you remember the original, you know the mall setting is more than just cosplay but actual ’90s canon. The ’98 video staged a teen uprising in Staten Island Mall, turning food courts and storefronts into a metaphor for youth culture breaking the script. The song itself outlived the band’s short run, becoming a perennial ’90s classic and even resurfacing at the 2021 U.S. presidential inauguration when the New Radicals briefly reunited—proof that its rally-cry hook still hits across eras.
Audemars Piguet
Audemars Piguet
That makes Journeys a savvy steward for a reboot. The brand’s roots are literally mall culture—800+ stores across the U.S., Puerto Rico and Canada—and its shelves have long been a gateway to youth style, from Vans and Converse to UGG and Birkenstock. “Life on Loud” simply codifies what the retailer’s been doing for decades: giving kids a place to try on identities as easily as sneakers. Bringing in STILLZ—best known for world-building visuals with Bad Bunny—adds a modern pop lens to a ’90s anthem, translating mall nostalgia into something distinctly 2025.
Culturally, “You Get What You Give” has always been song admired for its optimism and youthful attitude. It’s a chorus engineered for shouted-in-public catharsis. Dapperton’s cover stretches that spirit for today’s remix culture, while the mall backdrop nods to the IRL spaces where subcultures still collide—sneaker drops, first jobs, first bands and first fits.
