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Drake Hit with Bombshell Lawsuit Tied to Gambling, Fake Streams Hotney 19 Streams • 7 months ago

Drake, whose real name is Aubrey Graham, is named in a new federal class-action lawsuit alleging he promoted an online casino that allegedly operated as illegal real-money gambling — and that money from the platform was then used to help artificially boost music streams. Law&Crime’s Jesse Weber breaks down the explosive allegations in the complaint with criminal defense attorney Mauricio Padilla.

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#Drake #Lawsuit #LawAndCrime

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70s & 80s Dance & Soul Hits | Non-Stop Disco, Funk & Pop Party Mix (Vol. 2) Hotney 13 Streams • 7 months ago

The party continues! 🕺💃 A high-energy ride through the best 70s & 80s dance, soul, disco, funk & pop—sequenced for smooth BPM transitions and fast hooks to keep everyone locked in. Perfect for parties, workouts, road trips, and feel-good nostalgia.
If you loved Vol. 1, this non-stop mix levels up the groove with more global crowd-favorites.

Use it for:
• 🎉 Parties & events • 💪 Workouts • 🚗 Road trips • 🎶 Feel-good background

If you're vibing, LIKE, SHARE & SUBSCRIBE—and drop your favorite track in the comments! 👇
Vol. 1: https://youtu.be/-rS1yX64IZc?si=7taXm5080jRq-yAc • Series playlist: https://youtube.com/playlist?list=PLixawf4zdI0SfReONmdKyz8NaKU2aJK11&si=JPSfs2-1xnc_iL5_

ES 🇲🇽/🇪🇸
¡La fiesta continúa! Mix sin pausas con lo mejor de los 70s y 80s — disco, funk, soul y pop. Secuenciado por BPM para transiciones suaves. Perfecto para fiestas, entrenamientos y viajes.
Capítulos/Lista: ver abajo. Si te gusta, dale LIKE, SUSCRÍBETE y comparte.
Vol. 1: https://youtu.be/-rS1yX64IZc?si=7taXm5080jRq-yAc • Playlist (Vol. 1 + Vol. 2): https://youtube.com/playlist?list=PLixawf4zdI0SfReONmdKyz8NaKU2aJK11&si=JPSfs2-1xnc_iL5_

PT 🇧🇷/🇵🇹
A festa continua! Mix sem pausas com os maiores sucessos dos anos 70 e 80 — disco, funk, soul e pop. Sequenciado por BPM para transições suaves. Perfeito para festas, treinos e viagens.
Capítulos/Faixas: ver abaixo. Se curtir, deixe o LIKE, INSCREVA-SE e compartilhe.
Vol. 1: https://youtu.be/-rS1yX64IZc?si=7taXm5080jRq-yAc • Playlist da série: https://youtube.com/playlist?list=PLixawf4zdI0SfReONmdKyz8NaKU2aJK11&si=JPSfs2-1xnc_iL5_

FR 🇫🇷
La fête continue ! Mix non-stop avec le meilleur des années 70 et 80 — disco, funk, soul et pop. Séquencé par BPM pour des transitions fluides. Parfait pour les soirées, les entraînements et les voyages.
Chapitres/Liste : voir ci-dessous. Si ça te plaît, mets un LIKE, ABONNE-TOI et partage.
Vol. 1 : https://youtu.be/-rS1yX64IZc?si=7taXm5080jRq-yAc • Playlist (Vol. 1 + Vol. 2) : https://youtube.com/playlist?list=PLixawf4zdI0SfReONmdKyz8NaKU2aJK11&si=JPSfs2-1xnc_iL5_

JA 🇯🇵
パーティーは続く！70年代＆80年代の名曲によるノンストップ・ミックス—ディスコ、ファンク、ソウル、ポップ。BPM順に並べてスムーズなトランジション。パーティー、ワークアウト、ドライブに最適です。
チャプター/曲リスト：下記を参照。気に入ったら、LIKE・チャンネル登録・シェアをお願いします。
Vol. 1：https://youtu.be/-rS1yX64IZc?si=7taXm5080jRq-yAc • プレイリスト（Vol.1＋Vol.2）：https://youtube.com/playlist?list=PLixawf4zdI0SfReONmdKyz8NaKU2aJK11&si=JPSfs2-1xnc_iL5_

DE 🇩🇪
Die Party geht weiter! Nonstop-Mix mit den besten Hits der 70er & 80er — Disco, Funk, Soul & Pop. Nach BPM sequenziert für sanfte Übergänge. Perfekt für Partys, Workouts und Roadtrips.
Kapitel/Titelliste: siehe unten. Wenn’s dir gefällt: LIKE, ABONNIEREN & TEILEN.
Vol. 1: https://youtu.be/-rS1yX64IZc?si=7taXm5080jRq-yAc • Playlist (Vol. 1 + Vol. 2): https://youtube.com/playlist?list=PLixawf4zdI0SfReONmdKyz8NaKU2aJK11&si=JPSfs2-1xnc_iL5_

IT 🇮🇹
La festa continua! Mix senza pause con il meglio degli anni '70 e '80 — disco, funk, soul e pop. Sequenziato per BPM per transizioni fluide. Perfetto per feste, allenamenti e viaggi.
Capitoli/Lista brani: vedi sotto. Se ti piace, metti LIKE, ISCRIVITI e condividi.
Vol. 1: https://youtu.be/-rS1yX64IZc?si=7taXm5080jRq-yAc • Playlist (Vol. 1 + Vol. 2): https://youtube.com/playlist?list=PLixawf4zdI0SfReONmdKyz8NaKU2aJK11&si=JPSfs2-1xnc_iL5_

Tracklist
00:00:00 Give Me The Night — George Benson
00:01:53 A Night To Remember — Shalamar
00:03:40 Ladies’ Night — Kool & The Gang
00:06:33 Good Times — Chic
00:07:58 Night Fever — Bee Gees
00:09:21 Kiss — Prince
00:11:14 Brick House — Commodores
00:12:46 If I Can't Have You — Yvonne Elliman
00:13:50 That's The Way (I Like It) — KC & The Sunshine Band
00:15:38 Get Down Tonight — KC & The Sunshine Band
00:17:03 Ain't No Stoppin' Us Now — McFadden & Whitehead
00:18:43 Let's Dance — David Bowie
00:20:19 He's The Greatest Dancer — Sister Sledge
00:22:07 Got To Be Real — Cheryl Lynn
00:24:05 Everything She Wants — Wham!
00:25:38 Heart of Glass — Blondie
00:27:36 When I Think Of You — Janet Jackson
00:28:43 Billie Jean — Michael Jackson
00:31:35 Take Your Time (Do It Right) — S.O.S. Band
00:33:12 So Emotional — Whitney Houston
00:35:16 Gimme! Gimme! Gimme! (A Man After Midnight) — ABBA
00:36:36 Like A Virgin — Madonna
00:38:39 Give It To Me Baby — Rick James
00:40:35 Funkytown — Lipps Inc
00:42:42 Flashdance… What A Feeling — Irene Cara
00:44:38 Stomp — Brothers Johnson
00:46:31 Ring My Bell — Anita Ward
00:48:50 Don't Go — Yazoo
00:50:25 Venus — Bananarama
00:51:55 Rasputin — Boney M
00:54:07 You Spin Me Round (Like A Record) — Dead Or Alive
00:56:06 Let's Groove — Earth, Wind & Fire
00:57:58 Disco Inferno — The Trammps
00:59:50 Boogie Wonderland — Earth, Wind & Fire
01:02:07 Let It Whip — Dazz Band
01:03:32 It's Raining Men — The Weather Girls
01:05:47 Tainted Love — Soft Cell
01:07:41 You Make My Dreams — Hall & Oates
01:09:17 Take On Me — A-Ha
01:11:25 Footloose — Kenny Loggins

#70sMusic #80sMusic #DiscoFunk

Naal Nachna | Dhurandhar | Ranveer Singh, Sara Arjun, Shashwat Sachdev, Afsana Khan, Reble, Irshad Hotney 11 Streams • 7 months ago

Naal Nachna — the dance anthem that made everyone groove is finally here! 💃

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Credits:
Jio Studios Presents
A B62 Studios Production

An Aditya Dhar Film
DHURANDHAR

Written, Directed and Produced by: Aditya Dhar
Produced by: Jyoti Deshpande
Produced by: Lokesh Dhar

Cast: Ranveer Singh, Sanjay Dutt, Akshaye Khanna, R. Madhavan, Arjun Rampal, Sara Arjun

A Shashwat Sachdev Musical

Audio Credits:
Song: Naal Nachna
Singers: Afsana Khan, Reble
Music Director: Shashwat Sachdev
Lyricist: Reble, Irshad Kamil
Additional production: Steve Kottoor

Lyrics:
Good girls like to party like the bad ones
Drop it down shorty let me bag some
Good girls like to party like the bad ones
Drop it down shorty let me bag some
Duniya di sundi na behri jawaani
Masti ch mastayi jehri jawaani
Duniya di sundi na behri jawaani
Masti ch mastayi jehri jawaani
Raaton ke iraadon se kya bachna
Maine toh tere naal nachna
Maine toh tere naal nachna
Maine toh tere naal nachna
Maine toh tere naal nachna
Why dont we look out for each other when the sun goes down
Say you want surrender when the siren sound
Yeah run like the city's gonna burn if we slow down
Now kiss me like we might not make it when the light go Ride or die baby
Hone de hone de raatein suhani
Dekho puraani na ho ye jawaani
Hone de hone de raatein suhani
Dekho puraani na ho ye jawaani
Chalta jawaani pe koi bas na
Maine toh tere naal nachna
Maine toh tere naal nachna
Maine toh tere naal nachna
Maine toh tere naal nachna
Good girls like to party like the bad ones
Drop it down shorty let me bag some
Good girls like to party like the bad ones
Drop it down shorty let me bag some
Maine toh tere naal nachna
Maine toh tere naal nachna
Maine toh tere naal nachna
Maine toh tere naal nachna

#NaalNachna
#dhurandhar
#ranveersingh
#shashwatsachdev
#AfsanaKhan
#Reble

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MTV’S WORST EMPLOYEE OF THE MONTH - FIONA APPLE Hotney 8 Streams • 7 months ago

The history of Fiona Apple

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#fionaapple

I cite my sources and they may differ than other people's accounts, so I don't guarantee the actual accuracy of my videos.

These videos are for entertainment purposes only. READ OUR DISCLAIMER https://rockandrolltruestories.....com/youtube-disclai

iona Apple, the 20-year-old musical prodigy who called out the entire music industry at the height of her fame, changed pop culture with one unforgettable line — “This world is bullshit.” Her story is one of rebellion, trauma, genius, and ultimate redemption. This video explores the rise, fall, and transformation of Fiona Apple, one of music’s most fearless and misunderstood artists.

In the mid-90s, Fiona Apple exploded onto the scene with her debut album Tidal, earning critical acclaim and a Grammy for her breakout song “Criminal.” But behind her success was a difficult childhood shaped by anxiety, obsessive-compulsive disorder, and a traumatic assault that deeply influenced her songwriting. Instead of conforming to pop’s expectations, Apple used her pain as creative fuel, writing lyrics that were raw, confessional, and years ahead of their time.

At just 20, Apple found herself thrust into the spotlight — only to reject it in spectacular fashion during her 1997 MTV Video Music Awards acceptance speech, telling the world, “This world is bullshit.” The media backlash was harsh, labeling her unstable and ungrateful, but that moment became a defining statement of artistic honesty. Fiona’s refusal to play the fame game made her both a target and a trailblazer.

Her second album, When the Pawn..., was a direct response to the critics who mocked her. It revealed a more confident and complex musician, blending heartbreak, anger, and poetic honesty with the help of collaborator Jon Brion. Despite relentless media pressure, Fiona Apple emerged as a symbol of artistic integrity — proof that standing your ground could outlast any scandal.

Years later, she battled record label interference and industry control during the making of Extraordinary Machine. Fans rallied behind her with the famous “Free Fiona” campaign, demanding her creative freedom. She returned with a vengeance — releasing The Idler Wheel… and the groundbreaking Fetch the Bolt Cutters, recorded from her own home. The 2020 album won two Grammys and earned Pitchfork’s first perfect 10 in a decade, validating everything Fiona had stood for since that fiery speech in 1997.

Through decades of chaos, Fiona Apple never compromised her art or sense of self. She’s been open about her mental health, trauma, and activism, proving that music can be both therapy and protest. Her journey isn’t just about fame or rebellion — it’s about honesty, survival, and the power of art to cut through noise.

This video dives deep into how Fiona Apple turned pain into melody, defiance into legacy, and silence into revolution. From her haunting debut Tidal to her fearless stand against the pop machine, here’s the real story behind the woman who refused to play the game.

Keywords: Fiona Apple, Fiona Apple story, Fiona Apple documentary, Fiona Apple interview, Fiona Apple MTV moment, The world is bullshit, Fiona Apple life story, 1990s music, alternative rock, women in music, 90s icons, Fiona Apple biography, Tidal album, When the Pawn, Extraordinary Machine, Fetch the Bolt Cutters, Fiona Apple Grammy, Fiona Apple speech, music industry scandals, female artists, rock true stories, music history, MTV VMAs, Pop music rebellion, feminist icons in rock.

Don’t Drink and Drum? The Real Reason Blink-182 Fired Scott Raynor Hotney 9 Streams • 7 months ago

The story of why Scott Raynor was fired from Blink-182.

Jason Everman video

https://youtu.be/2g3ZRJlx_jk?si=gCL2cM53n9erjVeE

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#blink182 #travisbarker

Scott Raynor was the original drummer of Blink-182 and a foundational force during the band’s earliest years, helping to define their distinctive pop-punk sound. Before he joined, Raynor played drums in a Metallica cover band, bringing energy and technical skill influenced by heavier music. He met guitarist Tom DeLonge after Tom was expelled from Poway High and transferred to Rancho Bernardo, where their shared musical ambitions quickly bonded them. Together with bassist Mark Hoppus, the trio started knocking out songs in Raynor’s egg-carton-padded bedroom and recorded their first demo, Flyswatter, which mixed punk, ska, and alternative sounds. A warehouse co-worker helped fund studio time that resulted in their first proper release, Buddha, while Raynor’s family moved and he stayed behind, living at Mark’s mom’s house just to keep rehearsing.

The band’s grueling early days saw Raynor endure van tours and tiny venue shows, cementing their classic fast, snotty, and catchy style. By 1997, they’d signed to MCA Records and released Dude Ranch, which contained the breakout hit "Dammit." That period marked a turning point: under the surface, Blink-182’s dynamic was starting to unravel. Stories and recollections suggest Raynor was shy, reserved, and not as close personally with Mark and Tom, who were louder and more outgoing. As touring intensified, Raynor reportedly began drinking heavily—the band was young, suddenly flush with access to alcohol, and buckling under new pressures.

Mark described Scott as withdrawn and irritable, with drinking habits hurting his performance and relationships. Tensions escalated, culminating in an infamous incident where Raynor broke both heels after a drunken hotel-room altercation, forcing him to record Dude Ranch from a wheelchair. Raynor has maintained that his firing was not solely about drinking, pointing to deeper disagreements about the band’s direction—he favored sticking with independent punk roots, while the others pushed for a major label.

In 1998, Raynor left a tour for a family emergency, and The Aquabats’ Travis Barker filled in as a substitute drummer, reportedly learning Blink’s set in under an hour and impressing everyone with his power and precision. On Raynor’s return, the chemistry was clearly altered; Tom, Mark, and management gave him an ultimatum: quit drinking, enter rehab, or leave. The final break came through a telephone call, not a dramatic confrontation. Raynor claimed he agreed to go to rehab, but was dismissed anyway, feeling trust was permanently broken.

After Blink, Raynor went on to play with smaller bands like The Axidentals and The Wraith, and became involved in charities helping homeless youth. In 2023, it emerged he’d become a police officer in San Diego, trading rock stardom for a quieter life. Despite the painful split, Raynor has never expressed malice toward his former bandmates, admitting they were likely right to part ways but lamenting the way things ended.

Blink-182 soared with Travis Barker, their next album Enema of the State launching them to global superstardom. Yet, Raynor’s contribution remains crucial—he helped establish the band’s blueprint and their early momentum. The haunting sense of “what if” follows his story, reinforced by songs like “Man Overboard,” believed to be about his firing and its impact. Raynor’s exit underlines the reality that for every chart-topping success in rock history, there’s a forgotten player whose personal struggles and unresolved drama shaped the music behind the scenes.

I cite my sources and they may differ than other people's accounts, so I don't guarantee the actual accuracy of my videos.

These videos are for entertainment purposes only. READ OUR DISCLAIMER https://rockandrolltruestories.....com/youtube-disclai

'You Had ONE Job!' How Powerman 5000 FUMBLED a Platinum Future Hotney 6 Streams • 7 months ago

The complete history of Powerman 5000.

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#powerman5000

Powerman 5000’s story begins with Michael Cummings (Spider One), younger brother of Rob Zombie, growing up in a normal Massachusetts home obsessed with TV, comics, and music. He drifted from Elton John and The Beatles into punk and hardcore, getting inspired by bands like The Clash and Black Flag. Dropping out of art school in Boston, he became MC Spider, making sample‑heavy tapes that blended rap and industrial sounds, earning local recognition and a “Best Rap Act” award. Wanting a full band, he teamed with drummer Al Pahanish, bassist Dorian Heartsong, guitarist Adam Williams, and percussionist Jordan Cohen to form Powerman 5000 in 1991, carving out a weird, energetic niche in the Boston scene.

Their early releases on indie label Curve of the Earth, including the EP True Force and the album The Blood-Splat Rating System, built a cult following with a chaotic “action rock” sound and high‑energy shows. This buzz led to A&R interest, Ozzfest slots, and even a cameo on Beverly Hills, 90210, though that TV exposure didn’t translate into big sales. A DreamWorks deal followed, and the band’s debut was remixed and reissued as Mega!! Kung Fu Radio, sharpening their industrial, sci‑fi‑tinged direction and landing them tours with acts like Marilyn Manson, Korn, and Kiss.

Everything peaked with 1999’s Tonight the Stars Revolt!, a retro‑futuristic, hooky sci‑fi metal record that went platinum. Anchored by “When Worlds Collide” and “Nobody’s Real,” the album put them into heavy MTV and radio rotation and onto huge tours, their matching space outfits and visual world becoming part of the appeal. Despite the family connection, Spider tried to keep Rob Zombie out of the marketing narrative, insisting PM5K’s success came from years of grinding, not nepotism.

The turning point came with the follow‑up, Anyone for Doomsday?. With lead single “Bombshell” already gaining traction and a tour booked, Spider abruptly shelved the finished album, feeling it was too much of a retread of Tonight the Stars Revolt! and choosing artistic change over playing it safe. The decision, made shortly before 9/11, devastated internal morale: longtime members Dorian Heartsong and Al Pahanish quit, the band’s momentum evaporated, and their relationship with DreamWorks deteriorated.

Spider rebuilt the lineup and returned in 2003 with Transform, ditching the space‑suit aesthetic and much of the electronic sheen for a rawer, punk‑influenced sound rooted in his early heroes like The Clash and Sex Pistols. Lyrically, he doubled down on themes of class, culture, and resistance to manufactured pop culture, but label upheaval and DreamWorks’ sale meant the album received little support before the band was dropped. In the years that followed, PM5K survived on smaller labels and DIY approaches, cycling through members and sounds: punkier on Destroy What You Enjoy, then re‑embracing sci‑fi and electronics on records like Somewhere on the Other Side of Nowhere, Builders of the Future, New Wave, The Noble Rot, and Abandon Ship.

Your script frames their history as a clash between art and commerce: a band that chose not to repeat its biggest success, imploded at its commercial peak because of that choice, but kept evolving on its own terms. It ends by asking whether shelving Anyone for Doomsday? was a brave artistic stand or a self‑inflicted wound that cost them their shot at lasting mainstream stardom, while acknowledging their three‑decade longevity and Spider’s stubborn, rebellious drive.

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From ‘Jesus Freaks’ to Scandal: The RISE & RUIN of DC Talk Hotney 19 Streams • 7 months ago

The story of DC Talk, best known for the album Jesus Freak

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#dctalk #christianrock

DC Talk’s story begins in the late 1980s on the campus of Liberty University, where Toby McKeehan, Michael Tait, and Kevin Max met and fused their shared Christian faith with a love for pop, rap, and rock. Originally a small campus act, the trio’s blend of hip‑hop beats, soulful vocals, and spiritual lyrics defied expectations. With their debut album in 1989, they injected new energy into the Christian music scene, reaching young listeners who were craving authenticity and excitement. Follow‑up records like Nu Thang and Free at Last fused social commentary with accessible pop hooks, earning chart success, Dove Awards, and a growing reputation for breaking musical and cultural boundaries.

By 1995, the band completely reinvented itself with Jesus Freak, a grunge‑tinged, alternative rock masterpiece that became a cultural phenomenon. The record’s raw themes of doubt, conviction, and belonging struck a chord far beyond the church world. Jesus Freak sold millions, earned mainstream play on MTV, and proved that Christian music could compete with the biggest names in rock. Yet behind the anthems and crossover success, the band’s internal tensions started to widen. Creative clashes—especially between the driven, pop‑minded McKeehan and the more experimental Kevin Max—began to erode their unity.

The follow‑up, Supernatural (1998), debuted even higher on the charts and cemented their superstardom, but the sense of shared purpose was gone. Despite its polish and commercial strength, the record felt like three solo artists working under one name. After touring, they quietly announced an “intermission” in 2000, releasing a greatest‑hits album with a couple of new songs. That break effectively ended DC Talk as a recording group, even though they never officially called it a breakup.

Each member forged a separate path. Toby Mac became a powerhouse solo artist, blending pop, rock, and hip‑hop into bestselling Christian hits that reached audiences well beyond the faith market. Kevin Max pursued a more eclectic, art‑rock direction, often challenging evangelical norms and later publicly identifying as an “exvangelical.” Michael Tait eventually fronted the Newsboys, one of the other giants of Christian rock, leading them into a successful new era.

Then came the scandal. In 2025, multiple reports accused Tait of long‑term substance abuse and sexual misconduct dating back decades. Investigations by major outlets prompted him to publicly confess that most of the claims were true, admitting to living “a double life” of addiction and moral failure. The fallout was immediate: Newsboys lost their label, tours were canceled, and radio stations dropped their music. For many fans, it forced a painful reevaluation not only of Tait but of DC Talk’s once‑untouchable legacy.

Today, DC Talk stands as both a triumph and a tragedy within Christian music history. They were revolutionary artists who dared to merge faith and mainstream culture—and they paid the price for the pressure that came with it. Their legacy remains as complex as their story: a tale of belief, brilliance, and human frailty that reshaped an entire gen

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How One Power Ballad FROZE MTV Harder Than Your Dial-Up Connection - Cinderella’ Long Cold Winter Hotney 6 Streams • 7 months ago

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#cinderella #tomkeifer #glam

In the mid-80s, Cinderella rose out of the Philly suburbs into full-on MTV glam dominance with their 1986 debut Night Songs, a triple-platinum smash driven by hits like “Shake Me” and “Nobody’s Fool,” heavy touring, and a fairy-tale boost from Jon Bon Jovi that landed them on the Slippery When Wet tour. Instead of safely repeating that success, frontman Tom Keifer grew restless; raised on bluesy, classic rock influences like the Stones, Zeppelin, Aerosmith, and Johnny Winter, he wanted something rawer and more organic than the polished “flavor of the day” sound that had made them stars.

For the follow-up, Long Cold Winter, Keifer wrote constantly on the road and poured new emotions from nonstop touring and seeing the world into the songs, aiming for less processing and more human feel with pianos, acoustics, dobros, and even brass woven into the arrangements. The band recorded at Bearsville Studios with producer Andy Johns, known for work with Led Zeppelin and the Rolling Stones, and brought in veteran drummer Cozy Powell (plus Denny Carmassi on one track) to cut most of the drums, as Fred Coury was considered too inexperienced for the studio demands at the time. The album opens with “Bad Seamstress Blues/Fallin’ Apart at the Seams,” beginning with harmonica and slide guitar that sound straight out of the Delta before crashing into a swaggering blues-rock groove, instantly signaling a break from the pure glam of Night Songs while still retaining enough crunch and hooks to connect with their fanbase.

Across the record, Cinderella balanced this new bluesy direction with arena-friendly rockers and a career-defining power ballad. Tracks like “Gypsy Road” and “The Last Mile” kept the fist-pumping, road-warrior energy alive, but now steeped in a grittier, rootsier sound. The centerpiece, “Don’t Know What You Got (Till It’s Gone),” a piano-led power ballad Keifer originally conceived around the Night Songs era, finally clicked for the band and became their biggest single, complete with a freezing-cold Mono Lake video shoot that literally lived up to the Long Cold Winter name and later earned pop-culture afterlife via South Park and Rock Band 3. The album also featured the acoustic-driven “Coming Home” and heavier cuts like “Fire and Ice,” showcasing a group expanding well beyond a simple glam template.

Released in summer 1988, Long Cold Winter was both a commercial and artistic vindication, hitting the U.S. top 10 and selling over three million copies while spinning off multiple hit singles across the Hot 100 and Mainstream Rock charts. The band’s tour escalated from opening for Judas Priest and AC/DC to headlining a massive 254-show run, complete with theatrical moments like Keifer descending to a white grand piano to play “Don’t Know What You Got,” and a high-profile appearance at the Moscow Music Peace Festival alongside Bon Jovi, Mötley Crüe, and Ozzy Osbourne. Initially, critics were mixed—Rolling Stone famously dinged the album for “influencitis”—but later reassessments have embraced it as Cinderella’s masterpiece and a key example of a so-called “hair band” earning real respect by leaning into blues-based rock.

Though they never quite reached the omnipresent arena dominance of peers like Bon Jovi or Mötley Crüe, in part because they avoided tabloid-ready personas and Hollywood-style spectacle, the success of Long Cold Winter solidified Cinderella’s reputation as serious musicians with depth. The MTV “Escape the Long Cold Winter” contest, which flew winner Denise Cook and her sister to Hawaii to vacation with the band, underscored how tightly they were woven into late-80s rock culture. Most importantly, the album set the blueprint for 1990’s Heartbreak Station, where they pushed even further into acoustic textures, horns, and gospel flavors. In an era that rewarded sticking to formula, Cinderella chose to risk their momentum in favor of artistic honesty, and Long Cold Winter stands as the moment where that gamble transformed them from glam darlings into a genuinely respected rock and roll band.

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Sixpence None the Richer: Tiny Desk Concert Hotney 9 Streams • 7 months ago

Lars Gotrich | December 17, 2025
The Tiny Desk hasn't seen string lights, paper snowflakes and garlands in a while. The holiday show is a tradition we love — and have missed — at NPR Music, so when considering an artist to deck the halls of the office, I kept coming back to Sixpence None the Richer.

So much of the holiday season, especially as we grow older, is about finding a balance between bright lights and dark nights. Sixpence None the Richer's music finds depth in the in-between, with buoyant melodies that twist and twirl, and lyrics underpinned by awe and wonder. "The Last Christmas" slowly waltzes the opening of this set, exploring the endings and beginnings of parenthood, inspired by the birth of guitarist Matt Slocum's first child. Leigh Nash introduces "It Came Upon a Midnight Clear" as a holiday standard she listens to year-round, its depictions of angels — whom she brilliantly calls "alien-adjacent" — a source of comfort. Nash also shares "Eternal Gifts," from one of her solo records, her candied voice sitting between a lilt and a twang as pedal steel rumbles and recedes beneath.

But you can't bring Sixpence None the Richer to the Tiny Desk and not ask the band to play some of its most defining work. "Melody of You," to me, is a modern psalm — and of a piece with Christmas, as a love letter from an artist to their creator. And then, of course, there's the song that keeps finding new life. Coming up on its 30 birthday, "Kiss Me" has taken the band around the world and found fans in unexpected places; Slocum joked with me that it's given him cred with his daughters. But "Kiss Me" also provides a simple sweetness at a moment when it's desperately needed. Before she sings, Nash sends us off with this message: "All the hope and love in the world to you, and happy holidays."

And if you are looking for more seasonal cheer, you can stream holiday music 24/7 from NPR stations across the country, exclusively available on the NPR App. Just click on the Music tab.

SET LIST
"The Last Christmas"
"It Came Upon a Midnight Clear"
"Melody of You"
"Eternal Gifts"
"Kiss Me"

MUSICIANS
Leigh Nash: vocals
Matt Slocum: guitar
Justin Cary: bass
Jon Radford: drums
Steve Hindalong: percussion
Phil Madeira: accordion, lap steel

TINY DESK TEAM
Producer: Lars Gotrich
Director/Editor: Maia Stern
Audio Technical Director: Neil Tevault
Host/Series Producer: Bobby Carter
Videographers: Maia Stern, Joshua Bryant, Mitra I. Arthur
Audio Engineer: Josephine Nyounai
Production Assistants: Dora Levite, Dhanika Pineda
Photographer: Zayrha Rodriguez
Tiny Desk Team: Kara Frame, Josh Newell
Executive Producer: Suraya Mohamed
Executive Director: Sonali Mehta
Series Creators: Bob Boilen, Stephen Thompson, Robin Hilton

#nprmusic #tinydesk #sixpencenonethericher

Support for NPR Music comes from Moises. A platform created by musicians, for musicians and used by 70 million artists worldwide – to learn, create, and collaborate. Available for download.

Sean Shibe: Tiny Desk Concert Hotney 7 Streams • 7 months ago

Tom Huizenga | December 12, 2025
For classical guitarist Sean Shibe, conventions and limitations are made to be broken. As expected, he plays Spanish standard repertoire and intricate Baroque tunes on his nylon-strung guitar as well as anyone. Note the quiet, wistful intimacy Shibe offers in a cancion by Federico Mompou and a Bach sarabande. Shibe is so inside the music that his cheek often rests on the top of his instrument.

The Scottish guitarist loves to plug in, too. He knows how to shred, yet he can also make his electric guitar sound as light as a butterfly’s wing — as in the ethereal closing number in this set, “High on a Rocky Ledge,” by the eccentric American street musician Moondog.

Shibe is fearless in the face of challenges, which explains why the bulk of his Tiny Desk set is devoted to the new, finger-twisting music written for him by English composer Thomas Adès. “He explodes the technical limits of the instrument,” Shibe explains. “He explodes my hands as well. He almost explodes the guitar.” From imitating bells in tricky harmonics to frenzied marches of complex chords and avalanches of notes, the music looks all but unplayable as you watch Shibe’s fingers fly over the entire fretboard. But close your eyes and the music sounds fresh and confident, mapping new territory for the classical guitar.

SET LIST
Thomas Adès: Courante – Here was a swift (for Max Ernst)
Federico Mompou: Canción No. 6
Thomas Adès: Carillon de Ville (for Hector Berlioz)
Thomas Adès: Overture, Queen of the Spiders
J.S. Bach: Sarabande (from Suite in E minor, BWV 996)
Moondog: “High on a Rocky Ledge”

MUSICIANS
Sean Shibe: guitar

TINY DESK TEAM
Producer: Tom Huizenga
Director/Editor: Kara Frame
Audio Technical Director: Josh Newell
Host/Series Producer: Bobby Carter
Videographers: Kara Frame, Maia Stern
Audio Engineer: Josephine Nyounai
Production Assistants: Dhanika Pineda, Dora Levite
Photographer: Michael Zamora
Tiny Desk Team: Joshua Bryant, Ashley Pointer
Series Editor: Lars Gotrich
Executive Producer: Suraya Mohamed
Executive Director: Sonali Mehta
Series Creators: Bob Boilen, Stephen Thompson, Robin Hilton

#tinydesk #nprmusic #seanshibe

Support for NPR Music comes from Moises. A platform created by musicians, for musicians and used by 70 million artists worldwide – to learn, create, and collaborate. Available for download.

YUNGBLUD, The Smashing Pumpkins - Zombie (Official Music Video) Hotney 7 Streams • 7 months ago

Listen to "Zombie" with The Smashing Pumpkins: http://yungblud.lnk.to/zombieTSPID

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Director Charlie Sarsfield
Creative Director Jesse Jo Stark and YUNGBLUD.
Exec producer Annie Ayres
Production Company Untold Studios
Commissioner Joe Mortimer
Producer Ade Macalinao
Producer Caroline Gluck
1st AD Alun Lee
Production Supervisor Saeed Chabayta

DP Adrian Nieto
1st AC Billy Briggs
2nd AC Codi Roberts
VTR Bob Mills
Techno Op Corey Kiefer
Techno Opp Brandon Thorne
Gaffer Blake Smith
BBE Tyler Tango
SLT 1 William Pavlu
SLT 2 Travis Phong
SLT 3 Jorge Kunze
Grip Gaffer Jedi Gomez
BBG Luc Mariscotti
Grip Cassio Mariscotti

Production Designer Danielle Kauffman
Production Design Natalie Fält
Lead Man Jose Lopez
Set Dresser Evelyn Jimenez
Set Decorator Sadie Spezzano
PA Trinh Huynh

Truck PA Josh Wagner
AD PA Jade Zúñiga
Talent PA Joey Glick
Talent PA Emily Norcia
Runner PA Emma Silverstein

Edit JP Blunt
Colour Vlad
Colour studio RM Studios
VFX Creep and Untold Studios

Lyrics:
If I was to talk about the words
They would hurt
They would hurt
So if you were to ask about the pain
I would lie
I would lie
To fix my mind
I need time
But it's running out, it's running out
Oh, I know that I can't live without you
But this world will keep turning if you do
Would you even want me, looking like a zombie?
Would you even want me, want me, want me?
We could catch a space-ship to the moon
But we'd crash
It wouldn't last
'Cause the world is just a figment of the fools
A blank stare
They don't care
So say your prayers
You're almost there
But it's running out, it's running out
Oh, I know that I can't live without you
But this world will keep turning if you do
Would you even want me, looking like a zombie?
Would you even want me, want me, want me?
Would you even want me, looking like a zombie?
Would you even want me, want me, want me?
Oh, I don't know what I'll turn out to be
But you'll love every moment believe me
Would you even want me, looking like a zombie?
Would you even want me, want me, want me?

#YUNGBLUD #TheSmashingPumpkins #Idols #Zombie

Music video by YUNGBLUD, The Smashing Pumpkins performing Zombie. © 2026 Locomotion Recordings Limited, under exclusive license to UMG Recordings, Inc.

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