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S.O.U.L. OUT NOW! : https://ladylondon.lnk.to/S.O.U.L

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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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During a recent interview, Tony Yayo detailed a tense encounter with rapper Ja Rule on a packed Delta Airlines flight following Super Bowl weekend. Yayo explained that he, Uncle Murda, and their crew knew Ja Rule would be on the same plane and were unbothered, choosing not to avoid him. The situation escalated when Ja Rule, visibly nervous, tried to stash his bags in the already crowded first-class overhead bins. Uncle Murda confronted Ja Rule with a stern warning, leading to a heated exchange. Yayo said Ja Rule seemed uneasy about sitting near them, likely recalling previous conflicts involving 50 Cent. "He's lucky 50 Cent wasn’t there," Yayo remarked, implying the encounter could have turned more physical if the G-Unit leader had been present. Despite the drama, the flight proceeded without further incident, with Yayo emphasizing their readiness but no intent to miss their flight over the conflict.

Charli xcx - Always Everywhere
"Wuthering Heights" out now: https://charlixcx.lnk.to/wutheringheights

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PRODUCTION COMPANY CADENCE @cadencefilms
DIRECTOR: MITCH RYAN @mitchryan
CREATIVE DIRECTOR: IMOGENE STRAUSS @imogene
CO-FOUNDER I EXECUTIVE PRODUCER: @lorenzoragionieri
EXECUTIVE PRODUCER: JEFF SOMMAR @jeffsommar
PRODUCER: JAKE AGGER @jakeagger
DIRECTOR OF PHOTOGRAPHY: BEN CAREY @bennncareyyy
PRODUCTION DESIGNER: BON WALSH @bon.walsh
EDITOR: DYLAN EDWARDS @dylanj_edwards
COLOR: DANTE PASQUINELLI @dantegiani
SERVICE CO : MRMR FILMS @mrmrfilms
PRODUCER: MARTHA MCGUIRK @marthamcguirk
EXEC PRODUCER: KATIE LAMBERT @k_lamb_
PRODUCTION MANAGER: ROSIE BREAR @robrear

ARTIST TEAM
MANAGEMENT: SAM PRINGLE, TWIGGY ROWLEY, DANIELA PARADA
CONTENT: MEKAILA MORRIS
PHOTOS: HENRY REDCLIFFE
ARTISTS ASSISTANT: DANIELA PARADA
STYLING: CHRIS HORAN
STYLING ASSISTANT: DELANEY WILLIAMS
MAKEUP: BROOKE TURNBALL
HAIR STYLIST: ESTHER LANGHAM
HAIR ASSISTANT: CLAIRE BEATON
ATLANTIC RECORDS SVP CREATIVE: ANDREW REID @santafeyyy

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US PRODUCTION MANAGER: TORI STOROSH @victoridactyl
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Text 1-310-861-2831

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Lyrics:
On the hillside shadows chase the dawn
Your name is carved where the wild winds have gone

Black flowers burn violet fades to grey
Still I hear your laughter tearing through the rain

I can’t escape the storm you gave me
Constant lightning in my veins
Every echo calls your name
Calls your name
Calls your name
Flash right back at me oh

Always everywhere
Always everywhere
Yeah you’re everywhere
Always everywhere
Always everywhere
Yeah you’re everywhere

On the water your face on top of mine
A fever dream of mirrored features hungry eyes

I feel like home still you pull away
You disappear to somewhere dark
so far away

I can’t escape the storm you gave me
Constant lightning in my veins
Every echo calls your name
Calls your name
Calls your name
Flash right back at me oh

Always everywhere
Always everywhere
Yeah you’re everywhere
Always everywhere
Always everywhere
Yeah you’re everywhere

#Charlixcx #AlwaysEverywhere #WutheringHeightsMovie #WutheringHeights #OfficialVideo

The most successful American performers of the 1960s, the Supremes for a time rivaled even the Beatles in terms of red-hot commercial appeal, reeling off five number one singles in a row at one point. Critical revisionism has tended to undervalue the Supremes' accomplishments, categorizing their work as more lightweight than the best soul stars (or even the best Motown stars), and viewing them as a tool for Berry Gordy's crossover aspirations. There's no question that there was about as much pop as soul in the Supremes' hits, that even some of their biggest hits could sound formulaic, and that they were probably the black performers who were most successful at infiltrating the tastes and televisions of middle America. This shouldn't diminish either their extraordinary achievements or their fine music, the best of which renders the pop vs. soul question moot with its excellence.

The Supremes were not an overnight success story, although it might have seemed that way when they began topping the charts with sure-fire regularity. The trio that would become famous as the Supremes -- Diana Ross, Mary Wilson, and Florence Ballard -- met in the late '50s in Detroit's Brewster housing project. Originally known as the Primettes, they were a quartet (Barbara Martin was the fourth member) when they made their first single for the Lupine label in 1960. By the time they debuted for Motown in 1961, they had been renamed the Supremes; Barbara Martin reduced them to a trio when she left after their first single.

The Supremes' first Motown recordings were much more girl group-oriented than their later hits. Additionally, not all of them featured Diana Ross on lead vocals; Flo Ballard, considered to have as good or better a voice, also sang lead. Through a lengthy series of flops, Berry Gordy remained confident that the group would eventually prove to be one of Motown's biggest. By the time they finally did get their first Top 40 hit, "When the Lovelight Starts Shining Through His Eyes," in late 1963, Ross had taken over the lead singing for good.

Ross was not the most talented female singer at Motown; Martha Reeves and Gladys Knight in particular had superior talents. What she did have, however, was the most purely pop appeal. Gordy's patience and attention paid off in mid-1964, when "Where Did Our Love Go" went to number one. Written by Holland-Dozier-Holland, it established the prototype for their run of five consecutive number-one hits in 1964-1965 (also including "Baby Love," "Stop! In the Name of Love," "Come See About Me," and "Back in My Arms Again"). Ross' cooing vocals would front the Supremes' decorative backup vocals, put over on television and live performance with highly stylized choreography and visual style. Holland-Dozier-Holland would write and produce all of the Supremes' hits through the end of 1967.

Not all of the Supremes' singles went to number one after 1965, but they usually did awfully well, and were written and produced with enough variety (but enough of a characteristic sound) to ensure continual interest. The chart-topping (and uncharacteristically tough) "You Keep Me Hangin' On" was the best of their mid-period hits. Behind the scenes, there were some problems brewing, although these only came to light long after the event. Other Motown stars (most notably Martha Reeves) resented what they perceived as the inordinate attention lavished upon Ross by Gordy, at the expense of other artists on the label. The other Supremes themselves felt increasingly pushed to the background. In mid-1967, as a result of what was deemed increasingly unprofessional behavior, Ballard was replaced by Cindy Birdsong (from Patti LaBelle & the Bluebelles). Ballard become one of rock's greatest tragedies, eventually ending up on welfare, and dying in 1976.

After Ballard's exit, the group would be billed as Diana Ross & the Supremes, fueling speculation that Ross was being groomed for a solo career. The Supremes had a big year in 1967, even incorporating some mild psychedelic influences into "Reflections." Holland-Dozier-Holland, however, left Motown around this time, and the quality of the Supremes' records suffered accordingly (as did the Motown organization as a whole). The Supremes were still superstars, but as a unit, they were disintegrating; it's been reported that Wilson and Birdsong didn't even sing on their final hits, a couple of which ("Love Child" and "Someday We'll Be Together") were among their best. In January 1970. Jean Terrell replaced Ross, and the group continued through 1977. ~ Richie Unterberger, All Music Guide

PLEASE NOTE: I divided my uploads between multiple channels, Bookmark this link in your browser for instant access to an index with links to all of John1948's oldies classics. LINK: http://tinyurl.com/Channel-Index

Written by Chance the Rapper and DJ Premier

Additional production by Peter Cottontale
Additional Vocals by Rachel Robinson and Jack Red

Recorded by DEXLVL
Assistant engineers Miguel Garcia and Lukas Cuman

Mixed by Gabe Jaskowiak

Additional mixing DEXLVL

Mastered by Elton Chueng

Shakira performs Hips Don't Lie with Ed Sheeran and Beéle (LIVE) for her Spotify Anniversary.
In this special film, global icon Shakira revisits the groundbreaking albums Pies Descalzos and Oral Fixation (Fijación Oral), reimagining her most beloved hits through powerful performances and personal storytelling.

Watch the full Spotify Anniversary film here:
https://open.spotify.com/episode/3BBFQdEM9sr8syTAbRxDvc?si=rOrZA1wmR5yvsRdDpCpE6g&nd=1&dlsi=54bc3c1f14a040dc

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#Shakira #HipsDontLie #SpotifyAnniversary

Beanie Sigel sits down with Mannie Fresh and talks about coming up in Philadelphia and how his reputation in the streets helped people start paying attention to his music. He explains how he eventually connected with Jay Z and Roc A Fella and what that era was like when the label was building its sound and roster. Throughout the conversation, he reflects on the hunger and mentality artists had during that time and how things were moving in the early days of Roc A Fella. Lastly, Beanie Sigel shares stories about his experiences in the rap game and how his journey from Philly shaped the artist he became.

This episode is brought to you by Rythm Drinks. Go to https://rythmdrinks.com and use code STILL400 to get 20% off!

About Still 400:
Still 400 with Mannie Fresh and Juvenile is where the South got something to say! The name comes from Still Fly and 400 Degrees and the show carries that same energy. Every episode brings real conversations, wild moments, hot takes, and legends showing up to talk their talk.

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00:00 - Intro
00:50 - Welcome Beanie Sigel
01:25 - Wish They Was Here
02:45 - Philly Sound
06:20 - DJs
09:00 - Standing Out
10:50 - Process
12:00 - Perfect Song/Album
13:50 - Categories of Rap
18:30 - Eras
20:25 - Arrival Moment
25:30 - Favorite 3 Songs
29:00 - Performers
31:00 - Mannie's Wreckless Weekend
37:40 - Songs Right Now
38:45 - Rap Police
40:20 - Where is Rap
43:30 - Success
45:30 - Biggest Lesson
47:30 - Motivation
49:30 - Hip Hop Structure
53:50 - Fill in the Blank
1:06:00 - Entrepreneur/Mental Health
1:12:30 - Legacy
1:14:20 - Apology Segment
1:16:00 - Coming Up
1:18:20 - Outro

#still400 #juvie #manniefresh #breakbeat #still400podcast #still400pod #beaniesigel #rocafella #jayz

LP " Monty Meets Sly&Robbie" Telarc records 1999
www.grooveaddict.org
credits:
Bass – Robbie Shakespeare
Drums [Drum Fills] – Desmond Jones
Drums [Rhythm And Programming] – Sly Dunbar
Executive-Producer – Robert Woods
Keyboards – Handel Tucker
Piano, Melodica – Monty Alexander
Saxophone – Jay Davidson
Trumpet – Steve Jankowski

Recorded at Bridge Sound Studios, Conshohocken, Pennsylvania between August and December 1999.
Engineers: Mikey "Bones" Malak, Robert Friedrich.

Producers: Sly Dunbar, Robbie Shakespeare, Glen Browne.

Robin Hilton | March 25, 2026
Sometimes we have to reschedule Tiny Desks. And sometimes it can take a while to get a band back on our calendar. In the case of Mumford & Sons, it took 13 years. Back when the band was touring its sop****re full-length, Babel, the trio from London was set to play the Desk in NPR's old (and long-since-demolished) building, but had to cancel at the last minute.

Now that we finally got them here, you'll see and hear it was worth the wait. The band's sixth and latest album, Prizefighter, ranks among its best, with world-weary anthems to growing older, weathering the innumerable blows of life and coming out on the other side, hopefully a little wiser.

Marcus Mumford's voice sounds extraordinary in this space, backed by the sweet harmonies of pianist Ben Lovett and bassist Ted Dwane. They're joined by a stirring string quartet and Matt Menefee on banjo as they open with "I'll Tell You Everything," from Prizefighter, followed by "White Blank Page," from the band's 2009 debut Sigh No More. They close with two more cuts from Prizefighter, including "Badlands," a song they say they had never played live for anyone before, and the album's first single, "Rubber Band Man."

SET LIST
"I'll Tell You Everything"
"White Blank Page"
"Badlands"
"Rubber Band Man"

MUSICIANS
Marcus Mumford: vocals, guitar
Ben Lovett: piano, background vocals
Ted Dwane: bass, background vocals
Matt Menefee: banjo
Rob Moose: violin
Christina Courtin: violin
Miranda Sielaff: viola
Christine Lamprea: cello

TINY DESK TEAM
Producer: Robin Hilton
Director/Editor: Joshua Bryant
Audio Director/Mix: Josh Newell
Host/Series Producer: Bobby Carter
Videographers: Joshua Bryant, Maia Stern, Kara Frame, Mitra I. Arthur
Audio Engineer: Josephine Nyounai
Production Assistant: Dhanika Pineda
Photographer: Bronson Arcuri
Tiny Desk Team: Ashley Pointer, Felix Contreras
Series Editor: Lars Gotrich
Executive Producer: Suraya Mohamed
Executive Director: Sonali Mehta
Series Creators: Bob Boilen, Stephen Thompson, Robin Hilton

#nprmusic #tinydesk #mumfordandsons

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.

Welcome back to the show. Today #Camron sits down with Sen City, Larry, PT, Mike G, and Freekey Zekey to talk about a lot of stuff. We start off getting to know Mike G and his background. Then we get into the debate about #JayZ doing his GQ interview instead of sitting down with #MemphisBleek. Cam also explains why he does not go on tour with other artists and how he handles his money. We even talk a bit about the drama between #StephenASmith and #CamNewton. Finally, we wrap things up with a crazy rap battle for $25k between Bonnie Godiva and Oun-P. Watch!

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Alfamega, a former street figure recounts how a life of crime, prison, and loyalty spiraled into betrayal and public blame in T.I.’s arrest, ultimately forcing him to confront his past and begin rebuilding his identity beyond the streets.

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Musical guest Kim Petras performs "Jeep" for The Tonight Show.

The Tonight Show Starring Jimmy Fallon. Stream now on Peacock: https://bit.ly/3gZJaNy

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DDG Tells Us How He Became a Popular Streamer Making Big Money
What REALLY happened between DDG and Nick Cannon recently?
DDG Tells us the back end of how to monetize twitch
What are the best tips to get started on streaming platforms?
Is monetizing on Twitch a better idea than going to college?
How does streaming daily pay off in the long run?
How does DDG streaming earn more money than making hip hop music?

This all new DDG LIvestream Episode is a special part of our Big Boy 2026 Season! Big Boy is celebrating 2026 with over 30 years as a Legend in Hip Hop Culture and Entertainment and all the stars come here to chat and have fun with Big!!

Thanks for watching Big Boy TV on YouTube and for more clips, previous interviews and highlights, subscribe to all 4 channels - Big Boy TV, Big Boy TV Plus, Big Boy UNCUT and Big Boy's Neighborhood. Watch the full Big Boy interview collections exclusively on BigBoyTV.

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#DDG #LiveStream #Streamer #HipHopArtist #HipHopMusic

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#Andre3000 and #SexyyRed pulled up to #TheShop and talked early days of hustling, listening to different genres of music, and proving haters wrong. Plus, André opened up about coming up with his crew and what the “dungeon” meant to him.

Watch the full episode: https://www.youtube.com/watch?v=Cnu9Q2WNnXc

Stay connected with #TheShop:

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This Black Music Month, Tiny Desk celebrates the undeniable legacy of BET. Like the network that put Black artistry first, these sets reflect the essence of Black music.

Ashley Pointer | June 25, 2026
What Virginia-bred country singer and rapper Shaboozey represents is much bigger than himself: It's the reclamation of country music's roots as unapologetically Black.

Returning home to the DMV to perform at the Tiny Desk for this year's Black Music Month takeover, Shaboozey plays fan favorites and debuts new songs from his upcoming album, The Outlaw Cherie Lee & Other Western Tales.

Opening the set with the Grammy-winning "Amen," Shaboozey brings the church into the room, buoyed by soaring background vocals. Debuting "Drunk," his slurred, introspective delivery hits like a modern day soliloquy. Shaboozey also pays homage to his Virginia roots with "Good News," which features fiddle players Clayton Penrose-Whitmore and Sara Watkins firing off Bill Monroe's "Roanoke," a pillar of bluegrass music.

Playing another song from his upcoming album, Shaboozey invites Tiny Desk alum Leon Bridges to perform the revenge-soaked "Burn It Down." Bridges' vocals add a soulful and delicate touch, perfectly contrasting Shaboozey's gritty drawl. Ending the set on a high note with "Cowgirl," the energy from the audience was palpable. Even Shaboozey had to acknowledge: "Y'all turned [The Desk] into a dive bar."

SET LIST
"Amen"
"Drunk"
"Good News"
"Burn It Down"
"Cowgirl"

MUSICIANS
Shaboozey: vocals, guitar
Leon Bridges: vocals
Sean Watkins: guitar
Connor Sullivan: guitar
Stephen Musselman: dobro
Thomas Drayton: bass
Darren Poindexter: drums
Sara Watkins: fiddle
Clayton Penrose-Whitmore: fiddle
Sarah Jarosz: mandolin
Wes Corbett: banjo
Zenya: background vocals
Naärai: background vocals
Caleb Curry: background vocals
Special Thanks to: Drew Tubenfeld and Royce Whittaker

TINY DESK TEAM
Producer: Ashley Pointer
Director: Joshua Bryant
Audio Director/Mix: Josh Newell
Host/Series Producer: Bobby Carter
Video Editor: Maia Stern
Videographers: Joshua Bryant, Maia Stern, Kara Frame, Alanté Serene
Audio Engineer: Hannah Gluvna
Production Assistant: Dora Levite
Photographer: Vanessa Castillo
Series Editor: Lars Gotrich
Executive Producer: Suraya Mohamed
Executive Director: Sonali Mehta
Series Creators: Bob Boilen, Stephen Thompson, Robin Hilton

#shaboozey #nprmusic #tinydesk

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Details · Jacob Webb · Stantawn Kendrick

Details

℗ 2020 Next Paradigm

Released on: 2020-01-01

Composer Lyricist: Jacob Webb
Songwriter: Jacob Webb

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