Sometimes the greatest music lessons come with a smile and a sweater. In one joyful episode of Mister Rogersā Neighborhood, percussionist Bob Rawsthorne showed off a homemade stumpf fiddle, joined by Joe Negri on guitar and Mister Rogers himself on a toy piano. It wasnāt about perfection ā it was about play, creativity, and making music together.
5 Surprising Facts About Traveling Wilburys’ ‘Vol. 1’
The Traveling Wilburys werenāt supposed to exist. But when George Harrison needed a B-side in 1988, what began as a one-off jam between friends became one of the most delightful curveballs in rock history. Traveling Wilburys Vol. 1 arrived that October, sounding like it had been playing on your record player for decadesāeven if you had never heard it before. Letās dig into five little-known facts about this Grammy-winning, triple-platinum classic that united Bob Dylan, Tom Petty, Roy Orbison, Jeff Lynne, and Harrison under one roof and five pseudonyms.
George Harrison didnāt plan a supergroupāhe planned a barbecue.
The magic started in Bob Dylanās garage in Malibu. Harrison had rounded up Jeff Lynne and Roy Orbison to help him record a quick B-side. Needing a studio, he called Dylan. Needing his guitar, he swung by Tom Pettyās house and invited him, too. What was meant to be a throwaway track, āHandle with Care,ā was so good that Warner Bros. refused to let it be buried. So they turned one song into ten, and a backyard hangout into rock and roll alchemy.
They recorded most of the album in a kitchen.
The bulk of Vol. 1 was recorded in Dave Stewartās (of Eurythmics) home studio. The Wilburys would sit around the kitchen table with acoustic guitars, jotting lyrics, tossing jokes, and tracking demos on the fly. It was casual, spontaneous, and completely unfiltered. The dinner table vibe stayed in the songs, giving the record its warm, ragged charm. The vocals? Usually laid down after dinnerābecause even rock legends need to eat.
They werenāt trying to reinvent the wheelājust keep it rolling.
Each song sounds like it was written in a dayābecause many of them were. Jeff Lynne and George Harrison guided the sessions, assigning lead vocals and shaping the sound, but the mood stayed collaborative. Dylan penned Springsteen-esque narratives (āTweeter and the Monkey Manā), Harrison crafted meditative gems (āHeading for the Lightā), Lynne turned in jangly earworms (āRattledā), and Petty gave the project its grounded drawl. Orbisonās vocals, especially on āNot Alone Any More,ā were thunder and velvet at once.
The membersā names never appear on the album.
In true Monty Python fashion, the band disguised themselves as fictional brothersāLucky, Lefty, Otis, Nelson, and Charlie T. Wilbury Jr. Not only were their real names missing from the liner notes, but their backstory was entirely fabricated, with Michael Palin writing parody bios for the Wilburys clan. It was a rock album wrapped in myth, recorded by some of the most legendary musicians on the planetāwho played it all completely straight-faced.
Roy Orbisonās final recorded magic.
Orbison passed away less than two months after the albumās release, making Vol. 1 his swan song. His performance on āNot Alone Any Moreā is hauntingly beautifulāequal parts farewell and triumph. Itās a reminder of what he brought to pop music: operatic drama, unmatched range, and a timeless voice. The band was shaken by his loss, but honored him by continuingānaming their second album Vol. 3 in cheeky tribute, skipping Vol. 2 altogether.
The Wilburys didnāt tour, didnāt hype, didnāt lastābut they didnāt need to. They two albums – Traveling Wilburys Vol. 3 followed 2 years later – Ā and reminded us that sometimes the best bands are the ones built on friendship, humor, and a shared love of the music that raised them.
10 Musicians Who Faced Hearing Loss And Kept Playing Anyway
For musicians, hearing is more than a senseāitās a superpower. But even superheroes face their kryptonite. From the worldās loudest stages to the quietest moments of fear, these artists confronted hearing loss head-on. Some lost it suddenly, some gradually, but all of them found a way to turn down the volume and keep turning up the music.
Huey Lewis
In 2018, Huey Lewis was forced to cancel all upcoming tour dates after being diagnosed with MĆ©niĆØreās disease, a disorder of the inner ear that caused sudden and severe hearing loss. The frontman of Huey Lewis and the News described it as sounding like āa jet engine.ā And yet, the heart of rock & roll kept beating. Lewis focused on studio work and eventually released Weather, the bandās first new album in nearly 20 yearsāproof that while his ears changed, the music inside him never stopped.
Ludwig van Beethoven
Yes, that Beethoven. Before distortion pedals and sound checks, the great composer was already navigating profound hearing loss. By his late 20s, Beethoven began to lose his hearing, and by his 40s, he was almost completely deaf. Still, he composed some of his greatest worksāincluding the Ninth Symphonyāwithout ever hearing them as the audience would. He didnāt just survive hearing loss. He redefined what music could be.
Brian Wilson (The Beach Boys)
Brian Wilson has long lived with hearing loss in his right ear, likely from a childhood injury. Yet it didnāt stop him from becoming one of the most sonically innovative producers of all time. With Pet Sounds, Wilson imagined orchestral arrangements and vocal harmonies with one ear and infinite imagination. His genius wasnāt diminishedāit was focused.
Phil Collins
In 2011, Phil Collins stepped away from live performance after suffering nerve damage and partial hearing loss due to years of touring and drumming. The man behind Genesis and “In the Air Tonight” cited hearing issues as a major reason for his retirement. Still, he made a comeback, launching a tour in 2017āproving that even if the volume changes, the rhythm never does.
Eric Clapton
The guitar god himself has openly discussed his struggle with tinnitus, a persistent ringing in the ears often caused by exposure to loud sound. Decades on stage with Marshall stacks and screaming solos took their toll. But Clapton didnāt quitāhe adapted, performing seated and keeping the blues alive with a quieter, more intimate sound.
Pete Townshend (The Who)
You donāt earn the nickname āthe loudest band in the worldā without consequences. Pete Townshend, The Whoās explosive guitarist, developed tinnitus and partial hearing loss from years of ear-splitting shows. He’s since become a vocal advocate for hearing protection in the music industryābecause once youāve smashed a thousand guitars, the only thing left to save is your ears.
Will.i.am (Black Eyed Peas)
Will.i.am has tinnitus in both ears. For the Black Eyed Peas frontman and producer, itās like hearing a constant tone that never fades. But he sees it as both a challenge and a companion: āThereās always a beat.ā His drive to stay creative despite the condition makes him one of popās most prolific innovators.
Chris Martin (Coldplay)
The Coldplay frontman has struggled with tinnitus since his early 20s. Chris Martin credits the use of in-ear monitors and hearing protection with saving his career. Heās also raised awareness, working with hearing loss charities and reminding young fans (and musicians) that turning it down can help keep the music alive longer.
Ozzy Osbourne
Decades of heavy metal and stage pyrotechnics caught up with the Prince of Darkness. Ozzy suffers from both hearing loss and tinnitus, the latter ringing like a banshee long after the amps shut down. Yet the Black Sabbath icon is still rockingāproof that you can go off the rails on a crazy train and still hear enough to stay on track.
Barbra Streisand
Streisand has been candid about living with tinnitus since she was nine. The condition hasnāt stopped her from becoming one of the most iconic and influential singers in history. Her voice, pure and precise, defies the ringing in her ears. If anything, itās sharpened her sense of control and tone.
Hearing loss doesn’t signal the end of a music career. It opens a new chapterāone that requires adaptation, resilience, and often, innovation. These artists remind us that the power of music doesnāt come from perfect ears. It comes from the heart, the mind, and the will to keep playingāeven in silence.
32 Years Ago, The Cranberries Played āDreamsā Live and Gave Us All Something to Believe In
In 1993, Dolores O’Riordan and The Cranberries brought “Dreams” to life on Irish TV’s Kenny Live, delivering a performance so pure and powerful it still echoes today. At just the beginning of their career, they reminded us what it feels like to fall in love ā for the first time, and forever.
10 Glam Rock Albums That Turned Glitter Into Gold
The glam rock explosion didnāt tiptoe into the ā70sāit barged in, feather boa wrapped, lipstick smeared, and volume maxed. These werenāt albums that played nice. They strutted, seduced, and rewired the rules of rock. Below are 10 of the finest glam rock records ever madeāalbums that not only defined a sound, but also painted the culture in glitter and guyliner.
The Rise and Fall of Ziggy Stardust and the Spiders from Mars ā David Bowie (1972)
This is the glam rock blueprint, a cosmic opera that gave the world an alien messiah in a jumpsuit. Bowie blurred the line between art and artifice, playing Ziggy like Shakespeare played Hamlet. The riffs shimmer, the lyrics haunt, and the whole thing felt like a broadcast from another planet with better makeup.
Electric Warrior ā T. Rex (1971)
Marc Bolan was the poet laureate of glitter, and Electric Warrior is his crown jewel. Thereās groove, swagger, and just enough mysticism to make you question your own reflection. āGet It Onā wasnāt a suggestionāit was a sonic seduction with fuzz pedals.
Aladdin Sane ā David Bowie (1973)
This was Bowie going full jet-set lunatic. The piano breaks shattered convention, the fashion blurred genders, and every song felt like a journal entry from a beautifully unhinged genius. Bowie wasnāt following trendsāhe was predicting them and leaving them in the dust.
Desolation Boulevard ā Sweet (1974)
With hooks sharp enough to slice leather pants, Sweet perfected the bubblegum-metal fusion. āBallroom Blitzā and āFox on the Runā donāt ageāthey detonate. This album reminded everyone that pop could punch and mascara could maim.
New York Dolls ā New York Dolls (1973)
The Dolls dressed like drag queens and played like punks. Their debut was a sneer dipped in glitter, paving the way for glam, punk, and every garage band that ever looked in the mirror and said, āWhy not us?ā Thereās blood under the sparkle, and it rocks harder for it.
Transformer ā Lou Reed (1972)
Produced by Bowie and Mick Ronson, this album walked the streets of New York in heels and shadows. āWalk on the Wild Sideā was a whisper that roared. Reed turned glam into noirāsleazy, sweet, and too cool to care what you thought.
Kimono My House ā Sparks (1974)
Sparks werenāt from this planet, and Kimono My House proves it. With operatic vocals, jerky rhythms, and lyrics about moustaches and existential crises, this album carved its own glitter-covered corner in glamās palace. Ron and Russell Mael made weirdness fashionable.
Easter ā Patti Smith Group (1978)
While not glam in the fishnet-and-feathered-sleeves sense, Easter shimmered with poetic rebellion and warpainted clarity. Patti Smith stomped through genres in combat boots and divine fury. This album captured her righteous fire and Bowieās permission to fly the freak flag high.
The Slider ā T. Rex (1972)
If Electric Warrior opened the door, The Slider moonwalked through it in platforms and silk. Bolan turned cryptic into charismatic and transformed love songs into spells. This album didnāt evolve glamāit steeped it in velvet and magic.
Diamond Dogs ā David Bowie (1974)
Part Orwell, part opium dream, Diamond Dogs saw Bowie dragging Ziggy into dystopia. The guitars were sharper, the vision darker, and the theatricality fully unleashed. This album staged glamās end-of-days carnivalāand the glitter never looked so grimly glorious.
“Rise Up and Sing” Proves Music Can Still Change the World in Andrea Warnerās Powerful Book for Young Activists
A protest anthem canāt pass legislationābut it can spark the fire that makes someone try. In Rise Up and Sing! Power, Protest, and Activism in Music, author Andrea Warner and illustrations by Louise Reimer turns up the volume on that idea, weaving together decades of artists who have used their platforms, lyrics, and lives to push for justice. This is more than a history bookāitās a call to action for young readers, a playlist for the heart, and a crash course in how to sing truth to power.
From BeyoncĆ©ās feminist anthems to Lil Nas Xās unapologetic queerness, from the protest legacy of Nina Simone to the righteous rage of Neil Young, Warner curates a journey through the movements that shapedāand are still shapingāour world. Each chapter focuses on a different front in the fight for justiceāclimate action, gender equality, peace, human rights, and moreāwith a custom playlist that connects readers directly to the music that moves movements.
Whether you’re marching, dancing, or crying in your room, Rise Up and Sing! reminds us that music doesnāt sit on the sidelines. It marches, it chants, it protests, and most importantlyāit brings people together. This book belongs in classrooms, community centers, and the hands of every young person ready to change the world, one beat at a time.
“Oh Didn’t They Ramble” Explores the Genre-Bending Legacy of Rounder Records in David Menconiās New Book
What is American roots music? Any definition must account for a kaleidoscope of genres from bluegrass to blues, western swing to jazz, soul and gospel to rock and reggae, Cajun to Celtic. It must encompass the work of artists as diverse as Alice Gerard and Alison Krauss, George Thorogood and Sun Ra, BĆ©la Fleck and Clarence ‘Gatemouth’ Brown, the Blake Babies and Billy Strings. What do all these artists and music styles have in common? The answer is a record label born in the wake of the American folk revival and 1960s movement politics, formed around the eclectic tastes and audacious ideals of three recent college grads who lived, listened, and worked together. The answer is Rounder Records.
For more than fifty years, Rounder has been the world?s leading label for folk music of all kinds. David Menconi’s book is the label’s definitive history, drawing on previously untapped archives and extensive interviews with artists, Rounder staff, and founders Ken Irwin, Marian Leighton Levy, and Bill Nowlin. Rounder?s founders blended ingenuity and independence with serendipity and an unfailing belief in the small-d democratic power of music to connect and inspire people, forging creative partnerships that resulted in one of the most eclectic and creative catalogs in the history of recorded music. Placing Rounder in the company of similarly influential labels like Stax, Motown, and Blue Note, this story is destined to delight anyone who cares about the place of music in American culture.
10 Iconic Music Videos That Broke the Internet
Music videos have always been part of the story. But these 10? They rewrote it. From crashing YouTube to birthing memes to sparking global movements, these clips didnāt just go viralāthey became part of our collective memory. Letās hit play on the moments that melted servers, changed pop culture, and made us all hit replay (againā¦and again).
1. āGangnam Styleā ā PSY (2012)
The video that literally broke YouTubeās view counter. PSYās galloping, tongue-in-cheek masterpiece became the first video to hit a billion views. With its absurd choreography, unforgettable hook, and pure unfiltered joy, āGangnam Styleā turned a South Korean star into a global phenomenonāand made invisible horses the new dance craze.
2. āBad Romanceā ā Lady Gaga (2009)
Lady Gaga didnāt just drop a music videoāshe dropped a fashion opera. āBad Romanceā gave us white latex, razor-blade sunglasses, and a choreography clinic set in a bathhouse of the future. Gaga redefined what a pop star could beāand in doing so, helped usher in the era of the āvisual albumā and full-scale pop spectacle.
3. āThis Is Americaā ā Childish Gambino (2018)
In four jaw-dropping minutes, Donald Glover lit the internet on fire with imagery that was as urgent as it was unforgettable. Every frame of āThis Is Americaā begged to be paused, rewound, and debated. A powerful commentary on race, violence, and distraction, it was a viral moment with real-world impact.
4. āSingle Ladies (Put a Ring on It)ā ā BeyoncĆ© (2008)
One camera. One take. One leotard. BeyoncĆ© turned minimalism into maximum cultural impact. The choreography was instantly iconic, spawning thousands of dance covers and parodiesāand even more marriage proposals. āSingle Ladiesā wasnāt just a hit; it became a pop culture reference point. Forever.
5. āWrecking Ballā ā Miley Cyrus (2013)
One sledgehammer. One wrecking ball. One era destroyed. āWrecking Ballā launched a thousand think pieces and reminded us that a music video can be both raw and meme-able. Love it or not, it marked a moment where Miley shattered her Hannah Montana past and claimed her new, unapologetic identity.
6. āThrillerā ā Michael Jackson (1983)
The blueprint. The OG. The reason music videos are a thing. Michael Jacksonās 14-minute horror epic wasnāt just a music videoāit was a cultural reset. With werewolves, zombie choreography, and Vincent Priceās sinister laugh, āThrillerā became the most influential video of all time before the internet even existed. And it still breaks it every Halloween.
7. āAnacondaā ā Nicki Minaj (2014)
Itās cheeky. Itās NSFW. And it broke Vevoās 24-hour record with 19.6 million views. āAnacondaā delivered a riotous jungle gym of color, attitude, and twerking. But beneath the booty and bananas was a masterclass in control, ownership, and flipping the script on how women are presented in pop.
8. āHUMBLE.ā ā Kendrick Lamar (2017)
From burning heads to Last Supper imagery, Kendrickās āHUMBLE.ā delivered stunning visual metaphors and holy verses. Every shot was layered, cinematic, and ready for a screenshot. Itās not just a songāitās a short film that had fans dissecting every frame like a grad school thesis.
9. āShake It Offā ā Taylor Swift (2014)
Taylorās cheeky, meta take on haters and hip-hop culture launched a new era. Whether she was cheerleading, breakdancing, or ballet twirling, āShake It Offā was made to be memed. The song topped charts, but the video turned T-Swift into a viral chameleonāself-aware, unstoppable, and ready to play.
10. āDespacitoā ā Luis Fonsi ft. Daddy Yankee (2017)
Before TikTok was the kingmaker, āDespacitoā ruled with 7 billion views and counting. The beachy, sensuous visuals paired with an irresistible melody made it a global phenomenon. Even Justin Bieber jumped on the remix. āDespacitoā didnāt just break the internetāit made the internet sing in Spanish.
These werenāt just music videos. They were cultural earthquakes. The kind that remind us just how powerful a few minutes of music and visuals can be. So go aheadāpress play. Again.
Dark Archer Releases “Hidden Eyes” In A Daring Anthem Of Awakening And Truth
Dark Archer returns with Hidden Eyes, a piercing new single that unearths the hidden truths beneath society’s polished lies. In this evocative track, a lone traveler flees from a collapsing order, bearing witness to haunting visions-a mother and daughter with golden, anxious stares, silent crowds marked by invisible scars, and a coercive figure whose promises mask a darker reality.
Rooted in Dark Archer’s signature blend of atmospheric soundscapes and razor-sharp lyrics, Hidden Eyes challenges listeners to open their inner vision and confront the pervasive deception that veils our world. This release is a bold continuation of Dark Archer’s ongoing narrative, inviting audiences to question appearances and embrace the awakening that comes from seeing what’s truly hidden.
“Hidden Eyes is our call to unmask the familiar, to pierce through the faƧade that numbs our senses. It’s about awakening-finding the courage to look beyond what’s visible and challenge the status quo,” says Dark Archer.
Bryan Martin Releases ‘Years In The Making’ and Gears Up for Stagecoach, Nationwide Tour, and New Collabs
Today, acclaimed chart-topping country artistĀ BRYAN MARTINĀ delivers hisĀ 13-track LP,Ā Years In The Making, viaĀ Average Joes Entertainment.Ā MARTINĀ continues to build momentum following hisĀ RIAA-certified platinum hit,Ā āWe Ride,āĀ and the success of his rising single,Ā āWolves Cry,āĀ currently climbing the country radio charts. In 2023, theĀ Cherokee Indigenous American artistĀ achieved a career milestone with hisĀ debut performanceĀ at theĀ Grand Ole Opry, stepping into the venueās sacred circle.
Hollywood producer and actressĀ Janace TashjianĀ took the helm as the producer for theĀ official music videoĀ of the projectāsĀ focus track, “What About Me.”Ā Tashjian ā recognized for her roles in Avatar (2009) and more recently Father Stu ā was joined byĀ Rosalind RossĀ as director.Ā The video follows a young cowboy on his quest to buy his first guitar, alluding to a journey that echoesĀ MARTINās own upbringing and early experiences with music.
OnĀ April 16Ā in Lexington, KY,Ā Ā MARTINĀ will hit the road for his 27-date tour of the same name, with select shows featuring support fromĀ Ben RobertsĀ andĀ Taylor Austin Dye. Adding to the excitement,Ā MARTINĀ is set to make hisĀ debut at the legendary Stagecoach Festival, bringing his hard-hitting country sound to one of the genreās biggest stages.
On February 7,Ā MARTINĀ dropped the final single from the project,Ā āAināt My Old Man.āĀ Written byĀ MARTIN,Ā Lee Thomas MillerĀ andĀ Nick Walsh,Ā āAināt My Old ManāĀ delves intoĀ MARTINās relationship with his father, capturing the universal moment of realizing youāve inherited more from your parents than you ever expected. Showcasing his signature poetic lyricism and authentic storytelling, the song is another testament to his songwriting ability, reminding us that he writes what he lives.Ā Robert Oermann ofĀ MusicRow, hailed it as āWell written, well sung and perfectly produced. Play this.ā
https://www.youtube.com/watch?v=a2G9__0YmaE
āI think a lot of us grow up wanting to be like our dads, but at the same time saying āI donāt want to be nothing like that when I grow up,ā MARTIN shares. āI want to have more patience and teach my kids how to do things. Then you grow up and sometimes you catch yourself in moments where youāre just like āman, Iām just like that guy.āā
YEARS IN THE MAKING TRACKLISTING:
āWhat About Meā
āWishboneā
āGoin For Brokeā
āHeadstrongā
āBuzzardsā (Explicit)
āCowboy In This Indianā
āSilver and Goldā (feat. Ben Roberts)
āYears In The Makingā
āDonāt Come Lookin For Meā (feat. Marty Stuart)
āWolves Cryā
āAināt My Old Manā
āGettin Fore The Goneā
āEasier Bein Meā
Following the success of his Platinum-certified anthemĀ āWe Ride,āĀ which has garneredĀ over 300 million streamsĀ andĀ soared into the Top 3 at country radio,Ā BRYAN MARTINĀ earned aĀ 2024 MusicRow Awards nomination for āBreakthrough Artist-Writer of the Year.āĀ MARTINās career-defining moments, includingĀ āWe RideāĀ landing atĀ No. 3 on Billboardās āCountry Airplayā chartĀ and theĀ music videoĀ accumulatingĀ more than 57 million views, have solidified his growing presence in country music. At 36,Ā MARTINĀ continues to redefine the country music ladder withĀ over 800 million career streams,Ā millions of monthly listeners, and a grit-soaked sound that resonates across a vast audience. Furthermore, he has shared the stage withĀ Jason Aldean,Ā Chris Young, and even rocked stadiums alongsideĀ Morgan WallenĀ on the blockbusterĀ āOne Night At A Timeā Tour, solidifying his reputation as a rising force in country music.
However,Ā MARTINās rise didnāt come easy. Born and raised inĀ Logansport, Louisiana, his journey began in church, singing as a child. By eight, he was covering George Strait at local fairs, encouraged by his mother, who had shared stages with legends like Faron Young and Alison Krauss. But life took a hard detour. He pursued bull riding, worked hay fields, and battled substance abuse, hitting rock bottom at 19. AĀ near-fatal car accidentĀ reignited his passion for songwriting, pushing him to make his guitar pay off and confront his struggles head-on.
Albums likeĀ If It Was EasyĀ (2019),Ā Self Inflicted ScarsĀ (2022), andĀ Poets & Old SoulsĀ (2023) reveal a true artist who has survived the darkness and emerged with songs that speak to the heart of the working-class experience. With each new release and tour date,Ā MARTINĀ proves that the best songs donāt just tell stories ā they live and breathe in the spaces between struggle and triumph. With his signature rough-edged voice and raw, honest storytelling,Ā MARTINĀ continues to demonstrate his talent for turning profound emotion into unforgettable music.
MARTINās songs are like the old bar stool you sink into after a brutal day ā steady, familiar, and brimming with stories. It hugs you like a friend whoās seen the worst of you and still sticks around, or hits like a gut-punch wake-up call you didnāt know you needed. His music cuts to the bone, channeling the raw highs and lows of life into melodies that linger long after the last note fades.
BRYAN MARTINĀ is set to keep his momentum rolling throughout 2025 with new music ā including his latest single,Ā āShadesāĀ Ā withĀ Colt FordĀ featuringĀ YelawolfĀ ā and aĀ packed lineup of tour dates.
YEARS IN THE MAKING TOUR:
* w/ Ben Roberts
^ w/ Taylor Austin Dye