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#brucespringsteen — Public Fediverse posts

Live and recent posts from across the Fediverse tagged #brucespringsteen, aggregated by home.social.

  1. The “great” guitarist Bruce Springsteen called the best in his band

    Credit: Far Out / Carl Lender Fri 4 September 2026 1:00, UK Bruce Springsteen never wanted to forget…
    #NewsBeep #News #Music #BruceSpringsteen #EStreetBand #Entertainment #HeartlandRock #NilsLofgren #UK #UnitedKingdom
    newsbeep.com/uk/759416/

  2. The 1980 Bruce Springsteen song that was too good to give away

    Credit: Far Out / Carl Lender Sat 15 August 2026 2:00, UK Bruce Springsteen really broke through in…
    #NewsBeep #News #US #USA #UnitedStates #UnitedStatesOfAmerica #Music #1970s #1980 #1980s #BruceSpringsteen #EStreetBand #Entertainment #Ramones #TheRamones
    newsbeep.com/us/814192/

  3. Have soul, will share. (Or a deep dive into the philosophy of nothing)

    Daily writing prompt Do you believe in soulmates? Why or why not? View all responses

    I don’t know if I believe in soulmates or not. I’d like to believe soulmates are real, but I’ve never met one. Although, in fairness, I’ve never really put myself out there to meet a soulmate. I’d like to think that’s the reason because the only other reason would be that maybe I don’t have a soul. Yikes!

    A lot of marriages end in divorce. Most, I believe, within the first 10 years, with still a significant number after 25 years of marriage. So if soulmates are really a thing, why do a lot of marriages end in divorce? And why after such a long time? Boredom? I don’t think a soulmate would ever be someone a person would get bored with. Trust? Wouldn’t trust be a given in a soulmate? Infidelity? Why would a soulmate cheat? A soulmate is destiny, and I don’t believe the pain of divorce, the curse of boredom, the violation of distrust, the trauma of infidelity is our destiny as humans. Maybe, if soulmates do exist, people are just plain bad at recognizing them. But even with that, wouldn’t a soulmate be someone you’d recognize on a level that transcends visual recognition?

    A bunch of questions and I have no idea about any of them.

    I guess the existence of soulmates isn’t important to me because a soulmate doesn’t interest me as much as true friendship does.

    “Now we went walking in the rain talking about the pain from the world we hid. Now there ain’t nobody, nowhere nohow gonna ever understand me the way you did” – Bruce Springsteen, Bobby Jean

    I think if soulmates exist they exist within a friendship, a platonic connection, and not as a romantic concept.

    The only way to deal with unanswerable questions is through loud music and whatever it is you call dance.

    https://www.youtube.com/watch?v=hO9fXnps-O4&list=RDhO9fXnps-O4&start_radio=1

    #boredom #BruceSpringsteen #Connection #dailyprompt #dailyprompt2783 #Dance #Destiny #Friendship #Infidelity #Life #LoudMusic #Love #Marriage #Music #Platonic #relationships #Soul #Soulive #Soulmate #Trust
  4. On May 13th, 2010: Rock for the Rainforest benefit concert held at Carnegie Hall, NYC; performers include: #Sting, #EltonJohn, #BruceSpringsteen, #MaryJBlige, #DebbieHarry, #LadyGaga, #ShirleyBassey, Nile Rodgers and Chic.

  5. "Streets of Philadelphia" is a song written and performed by American #rock musician #BruceSpringsteen for the 1993 film #Philadelphia, starring #TomHanks, an early mainstream film dealing with #HIVAIDS. Released as a #single by #ColumbiaRecords in February 1994, the song was a hit in many countries, topping the singles charts of Austria, Canada, France, Germany, Iceland, #Ireland, Italy, and Norway. In the United States.
    youtube.com/watch?v=4z2DtNW79sQ

  6. Asylum ban blocked in court. Philly passes ICE Out. Texas crushes Houston ICE resistance. Nashville police may be forced back into 287g agreement with ICE. Canadian mom & 7 or old autistic daughter detained by ICE. Springsteen names the dead after ICE surge. 🚨
    #AsylumBan #PhiladelphiaICEOut #Texas #ICE #BruceSpringsteen #ChronicLaw #TheWashingtonPretzel #USPoliTickle

  7. Geese – Getting Killed [Things You Might Have Missed 2025]

    By Dear Hollow

    When a non-metal album is this good, the Great Ape mandates that we write about it – it’s unclear if it’s for posterity or humiliation. But when you have a band called Geese, the latter seems more likely. New York City fowl collective owe just as much of their attack to Bruce Springsteen and Television as to Swans and The Velvet Underground, as its drawling and honkin’ blend of roots rock, noise rock, blues, country, funk, and post-punk is a clusterfuck that feels distinctly like something a band called Geese would make. Mastermind Cameron Winter’s warbling drawls, Emily Green’s smooth bluesy plucking and jagged shutters, Dominic Digesu’s groovy bass undercurrent, and Max Bassin’s rock-solid drumming collide – all in the service of the sonic incarnation of the uncanny. Geese offers another slab of rock’s fringe movements that builds upon critically acclaimed predecessor 4D Country. Like its cover, Getting Killed is both angelic and violent, smooth and jagged – and undeniably American.

    While its openers serve to showcase Geese’s two extreme sides in explosively screamy noise rock (“Trinidad”1) and bluesy pop-country (“Cobra”), the uncanniness of Getting Killed is much more nuanced. Beneath each guitar riff and yearning melody, just as much with its more jagged movements, is a dedication to deterioration. Most tracks begin with a solid funk groove or a predictable chord progression, an undercurrent of dissolution growing over the course of its three-to-six minutes. Unlike the improvised randomness so many artists claim as a reflection of group chemistry, Geese’s movements feel calculated to the minutest detail in the service of a parodied and uncanny version of rock music, such as maddeningly repetitive riffs (“Husbands,” “Islands of Man,” “100 Horses”), repetitive cliche lyrics drawled with irony and apathy (“Cobra,” “Half Real”), and splattered movements guided by heart and hate (“Trinidad,” “Getting Killed”).

    The blend of tones that exist here is noteworthy, as the sunny country, groovy punk, and jagged noise movements feel anachronistic on paper yet somehow feel exactly what Geese ought to be doing. Noisier tracks move seamlessly into the more melodic and vice versa (the brooding “100 Horses” to the ethereal “Half Real”; the smooth ballad “Au Pays du Cocaine” to the chaotic and arrhythmic “Bow Down” and explosive “Taxes”), highlighting the intentionality behind the curtain of Getting Killed. Winter’s vocals are initially jarringly loud and off-kilter, but just as the twinkling quality that emerges from asynchronous guitar/piano noodles (“Getting Killed,” “Islands of Man”) or the brass emerges in short bursts like gusts of wind (“Trinidad,” “Husbands”), the drawling baritone stumbles upon vocal lines that get seared into the mind, catchy and seamless in their delivery – although initially feared lazy (“Cobra,” “Half Real,” “Long Island City Here I Come”). Geese, while embodying much more than just noise rock, nonetheless captures lightning in the bottle with its layers of intensity giving way to an uncanny catchiness.

    Geese’s more intense moments recall the noise rock/post-punk misanthropy of White Suns or the quirky squonks of Black Midi, but its uncanny country twang recalls the clouded and colloquial conversations of Mark Z. Danielewski’s book Tom’s Crossing: yes, it’s a western, but a caricature of it with a bleak heart beating at its core. Geese embodies rock’s most extreme peripheries in a breed of music that is as alienating as it is catchy, unique and on-brand for a band whose caliber of sound feels uncanny, otherworldly, and delightfully apeshit. Sure, it ain’t metal, but Geese offers some of the most intriguing music of the year regardless.

    Tracks to Check Out: “Trinidad,” “Cobra,” “Getting Killed,” “100 Horses,” “Long Island City Here I Come”2

    #2025 #AmericanMetal #BlackMidi #Blues #bruceSpringsteen #Country #FunkMetal #Geese #GettingKilled #JPEGMAFIA #NoiseRock #NonMetal #PartisanRecords #postPunk #Rock #Swans #Television #TheVelvetUnderground #ThingsYouMightHaveMissed2025 #WhiteSuns

  8. Geese – Getting Killed [Things You Might Have Missed 2025]

    By Dear Hollow

    When a non-metal album is this good, the Great Ape mandates that we write about it – it’s unclear if it’s for posterity or humiliation. But when you have a band called Geese, the latter seems more likely. New York City fowl collective owe just as much of their attack to Bruce Springsteen and Television as to Swans and The Velvet Underground, as its drawling and honkin’ blend of roots rock, noise rock, blues, country, funk, and post-punk is a clusterfuck that feels distinctly like something a band called Geese would make. Mastermind Cameron Winter’s warbling drawls, Emily Green’s smooth bluesy plucking and jagged shutters, Dominic Digesu’s groovy bass undercurrent, and Max Bassin’s rock-solid drumming collide – all in the service of the sonic incarnation of the uncanny. Geese offers another slab of rock’s fringe movements that builds upon critically acclaimed predecessor 4D Country. Like its cover, Getting Killed is both angelic and violent, smooth and jagged – and undeniably American.

    While its openers serve to showcase Geese’s two extreme sides in explosively screamy noise rock (“Trinidad”1) and bluesy pop-country (“Cobra”), the uncanniness of Getting Killed is much more nuanced. Beneath each guitar riff and yearning melody, just as much with its more jagged movements, is a dedication to deterioration. Most tracks begin with a solid funk groove or a predictable chord progression, an undercurrent of dissolution growing over the course of its three-to-six minutes. Unlike the improvised randomness so many artists claim as a reflection of group chemistry, Geese’s movements feel calculated to the minutest detail in the service of a parodied and uncanny version of rock music, such as maddeningly repetitive riffs (“Husbands,” “Islands of Man,” “100 Horses”), repetitive cliche lyrics drawled with irony and apathy (“Cobra,” “Half Real”), and splattered movements guided by heart and hate (“Trinidad,” “Getting Killed”).

    The blend of tones that exist here is noteworthy, as the sunny country, groovy punk, and jagged noise movements feel anachronistic on paper yet somehow feel exactly what Geese ought to be doing. Noisier tracks move seamlessly into the more melodic and vice versa (the brooding “100 Horses” to the ethereal “Half Real”; the smooth ballad “Au Pays du Cocaine” to the chaotic and arrhythmic “Bow Down” and explosive “Taxes”), highlighting the intentionality behind the curtain of Getting Killed. Winter’s vocals are initially jarringly loud and off-kilter, but just as the twinkling quality that emerges from asynchronous guitar/piano noodles (“Getting Killed,” “Islands of Man”) or the brass emerges in short bursts like gusts of wind (“Trinidad,” “Husbands”), the drawling baritone stumbles upon vocal lines that get seared into the mind, catchy and seamless in their delivery – although initially feared lazy (“Cobra,” “Half Real,” “Long Island City Here I Come”). Geese, while embodying much more than just noise rock, nonetheless captures lightning in the bottle with its layers of intensity giving way to an uncanny catchiness.

    Geese’s more intense moments recall the noise rock/post-punk misanthropy of White Suns or the quirky squonks of Black Midi, but its uncanny country twang recalls the clouded and colloquial conversations of Mark Z. Danielewski’s book Tom’s Crossing: yes, it’s a western, but a caricature of it with a bleak heart beating at its core. Geese embodies rock’s most extreme peripheries in a breed of music that is as alienating as it is catchy, unique and on-brand for a band whose caliber of sound feels uncanny, otherworldly, and delightfully apeshit. Sure, it ain’t metal, but Geese offers some of the most intriguing music of the year regardless.

    Tracks to Check Out: “Trinidad,” “Cobra,” “Getting Killed,” “100 Horses,” “Long Island City Here I Come”2

    #2025 #AmericanMetal #BlackMidi #Blues #bruceSpringsteen #Country #FunkMetal #Geese #GettingKilled #JPEGMAFIA #NoiseRock #NonMetal #PartisanRecords #postPunk #Rock #Swans #Television #TheVelvetUnderground #ThingsYouMightHaveMissed2025 #WhiteSuns

  9. Geese – Getting Killed [Things You Might Have Missed 2025]

    By Dear Hollow

    When a non-metal album is this good, the Great Ape mandates that we write about it – it’s unclear if it’s for posterity or humiliation. But when you have a band called Geese, the latter seems more likely. New York City fowl collective owe just as much of their attack to Bruce Springsteen and Television as to Swans and The Velvet Underground, as its drawling and honkin’ blend of roots rock, noise rock, blues, country, funk, and post-punk is a clusterfuck that feels distinctly like something a band called Geese would make. Mastermind Cameron Winter’s warbling drawls, Emily Green’s smooth bluesy plucking and jagged shutters, Dominic Digesu’s groovy bass undercurrent, and Max Bassin’s rock-solid drumming collide – all in the service of the sonic incarnation of the uncanny. Geese offers another slab of rock’s fringe movements that builds upon critically acclaimed predecessor 4D Country. Like its cover, Getting Killed is both angelic and violent, smooth and jagged – and undeniably American.

    While its openers serve to showcase Geese’s two extreme sides in explosively screamy noise rock (“Trinidad”1) and bluesy pop-country (“Cobra”), the uncanniness of Getting Killed is much more nuanced. Beneath each guitar riff and yearning melody, just as much with its more jagged movements, is a dedication to deterioration. Most tracks begin with a solid funk groove or a predictable chord progression, an undercurrent of dissolution growing over the course of its three-to-six minutes. Unlike the improvised randomness so many artists claim as a reflection of group chemistry, Geese’s movements feel calculated to the minutest detail in the service of a parodied and uncanny version of rock music, such as maddeningly repetitive riffs (“Husbands,” “Islands of Man,” “100 Horses”), repetitive cliche lyrics drawled with irony and apathy (“Cobra,” “Half Real”), and splattered movements guided by heart and hate (“Trinidad,” “Getting Killed”).

    The blend of tones that exist here is noteworthy, as the sunny country, groovy punk, and jagged noise movements feel anachronistic on paper yet somehow feel exactly what Geese ought to be doing. Noisier tracks move seamlessly into the more melodic and vice versa (the brooding “100 Horses” to the ethereal “Half Real”; the smooth ballad “Au Pays du Cocaine” to the chaotic and arrhythmic “Bow Down” and explosive “Taxes”), highlighting the intentionality behind the curtain of Getting Killed. Winter’s vocals are initially jarringly loud and off-kilter, but just as the twinkling quality that emerges from asynchronous guitar/piano noodles (“Getting Killed,” “Islands of Man”) or the brass emerges in short bursts like gusts of wind (“Trinidad,” “Husbands”), the drawling baritone stumbles upon vocal lines that get seared into the mind, catchy and seamless in their delivery – although initially feared lazy (“Cobra,” “Half Real,” “Long Island City Here I Come”). Geese, while embodying much more than just noise rock, nonetheless captures lightning in the bottle with its layers of intensity giving way to an uncanny catchiness.

    Geese’s more intense moments recall the noise rock/post-punk misanthropy of White Suns or the quirky squonks of Black Midi, but its uncanny country twang recalls the clouded and colloquial conversations of Mark Z. Danielewski’s book Tom’s Crossing: yes, it’s a western, but a caricature of it with a bleak heart beating at its core. Geese embodies rock’s most extreme peripheries in a breed of music that is as alienating as it is catchy, unique and on-brand for a band whose caliber of sound feels uncanny, otherworldly, and delightfully apeshit. Sure, it ain’t metal, but Geese offers some of the most intriguing music of the year regardless.

    Tracks to Check Out: “Trinidad,” “Cobra,” “Getting Killed,” “100 Horses,” “Long Island City Here I Come”2

    #2025 #AmericanMetal #BlackMidi #Blues #bruceSpringsteen #Country #FunkMetal #Geese #GettingKilled #JPEGMAFIA #NoiseRock #NonMetal #PartisanRecords #postPunk #Rock #Swans #Television #TheVelvetUnderground #ThingsYouMightHaveMissed2025 #WhiteSuns

  10. Geese – Getting Killed [Things You Might Have Missed 2025]

    By Dear Hollow

    When a non-metal album is this good, the Great Ape mandates that we write about it – it’s unclear if it’s for posterity or humiliation. But when you have a band called Geese, the latter seems more likely. New York City fowl collective owe just as much of their attack to Bruce Springsteen and Television as to Swans and The Velvet Underground, as its drawling and honkin’ blend of roots rock, noise rock, blues, country, funk, and post-punk is a clusterfuck that feels distinctly like something a band called Geese would make. Mastermind Cameron Winter’s warbling drawls, Emily Green’s smooth bluesy plucking and jagged shutters, Dominic Digesu’s groovy bass undercurrent, and Max Bassin’s rock-solid drumming collide – all in the service of the sonic incarnation of the uncanny. Geese offers another slab of rock’s fringe movements that builds upon critically acclaimed predecessor 4D Country. Like its cover, Getting Killed is both angelic and violent, smooth and jagged – and undeniably American.

    While its openers serve to showcase Geese’s two extreme sides in explosively screamy noise rock (“Trinidad”1) and bluesy pop-country (“Cobra”), the uncanniness of Getting Killed is much more nuanced. Beneath each guitar riff and yearning melody, just as much with its more jagged movements, is a dedication to deterioration. Most tracks begin with a solid funk groove or a predictable chord progression, an undercurrent of dissolution growing over the course of its three-to-six minutes. Unlike the improvised randomness so many artists claim as a reflection of group chemistry, Geese’s movements feel calculated to the minutest detail in the service of a parodied and uncanny version of rock music, such as maddeningly repetitive riffs (“Husbands,” “Islands of Man,” “100 Horses”), repetitive cliche lyrics drawled with irony and apathy (“Cobra,” “Half Real”), and splattered movements guided by heart and hate (“Trinidad,” “Getting Killed”).

    The blend of tones that exist here is noteworthy, as the sunny country, groovy punk, and jagged noise movements feel anachronistic on paper yet somehow feel exactly what Geese ought to be doing. Noisier tracks move seamlessly into the more melodic and vice versa (the brooding “100 Horses” to the ethereal “Half Real”; the smooth ballad “Au Pays du Cocaine” to the chaotic and arrhythmic “Bow Down” and explosive “Taxes”), highlighting the intentionality behind the curtain of Getting Killed. Winter’s vocals are initially jarringly loud and off-kilter, but just as the twinkling quality that emerges from asynchronous guitar/piano noodles (“Getting Killed,” “Islands of Man”) or the brass emerges in short bursts like gusts of wind (“Trinidad,” “Husbands”), the drawling baritone stumbles upon vocal lines that get seared into the mind, catchy and seamless in their delivery – although initially feared lazy (“Cobra,” “Half Real,” “Long Island City Here I Come”). Geese, while embodying much more than just noise rock, nonetheless captures lightning in the bottle with its layers of intensity giving way to an uncanny catchiness.

    Geese’s more intense moments recall the noise rock/post-punk misanthropy of White Suns or the quirky squonks of Black Midi, but its uncanny country twang recalls the clouded and colloquial conversations of Mark Z. Danielewski’s book Tom’s Crossing: yes, it’s a western, but a caricature of it with a bleak heart beating at its core. Geese embodies rock’s most extreme peripheries in a breed of music that is as alienating as it is catchy, unique and on-brand for a band whose caliber of sound feels uncanny, otherworldly, and delightfully apeshit. Sure, it ain’t metal, but Geese offers some of the most intriguing music of the year regardless.

    Tracks to Check Out: “Trinidad,” “Cobra,” “Getting Killed,” “100 Horses,” “Long Island City Here I Come”2

    #2025 #AmericanMetal #BlackMidi #Blues #bruceSpringsteen #Country #FunkMetal #Geese #GettingKilled #JPEGMAFIA #NoiseRock #NonMetal #PartisanRecords #postPunk #Rock #Swans #Television #TheVelvetUnderground #ThingsYouMightHaveMissed2025 #WhiteSuns

  11. Geese – Getting Killed [Things You Might Have Missed 2025]

    By Dear Hollow

    When a non-metal album is this good, the Great Ape mandates that we write about it – it’s unclear if it’s for posterity or humiliation. But when you have a band called Geese, the latter seems more likely. New York City fowl collective owe just as much of their attack to Bruce Springsteen and Television as to Swans and The Velvet Underground, as its drawling and honkin’ blend of roots rock, noise rock, blues, country, funk, and post-punk is a clusterfuck that feels distinctly like something a band called Geese would make. Mastermind Cameron Winter’s warbling drawls, Emily Green’s smooth bluesy plucking and jagged shutters, Dominic Digesu’s groovy bass undercurrent, and Max Bassin’s rock-solid drumming collide – all in the service of the sonic incarnation of the uncanny. Geese offers another slab of rock’s fringe movements that builds upon critically acclaimed predecessor 4D Country. Like its cover, Getting Killed is both angelic and violent, smooth and jagged – and undeniably American.

    While its openers serve to showcase Geese’s two extreme sides in explosively screamy noise rock (“Trinidad”1) and bluesy pop-country (“Cobra”), the uncanniness of Getting Killed is much more nuanced. Beneath each guitar riff and yearning melody, just as much with its more jagged movements, is a dedication to deterioration. Most tracks begin with a solid funk groove or a predictable chord progression, an undercurrent of dissolution growing over the course of its three-to-six minutes. Unlike the improvised randomness so many artists claim as a reflection of group chemistry, Geese’s movements feel calculated to the minutest detail in the service of a parodied and uncanny version of rock music, such as maddeningly repetitive riffs (“Husbands,” “Islands of Man,” “100 Horses”), repetitive cliche lyrics drawled with irony and apathy (“Cobra,” “Half Real”), and splattered movements guided by heart and hate (“Trinidad,” “Getting Killed”).

    The blend of tones that exist here is noteworthy, as the sunny country, groovy punk, and jagged noise movements feel anachronistic on paper yet somehow feel exactly what Geese ought to be doing. Noisier tracks move seamlessly into the more melodic and vice versa (the brooding “100 Horses” to the ethereal “Half Real”; the smooth ballad “Au Pays du Cocaine” to the chaotic and arrhythmic “Bow Down” and explosive “Taxes”), highlighting the intentionality behind the curtain of Getting Killed. Winter’s vocals are initially jarringly loud and off-kilter, but just as the twinkling quality that emerges from asynchronous guitar/piano noodles (“Getting Killed,” “Islands of Man”) or the brass emerges in short bursts like gusts of wind (“Trinidad,” “Husbands”), the drawling baritone stumbles upon vocal lines that get seared into the mind, catchy and seamless in their delivery – although initially feared lazy (“Cobra,” “Half Real,” “Long Island City Here I Come”). Geese, while embodying much more than just noise rock, nonetheless captures lightning in the bottle with its layers of intensity giving way to an uncanny catchiness.

    Geese’s more intense moments recall the noise rock/post-punk misanthropy of White Suns or the quirky squonks of Black Midi, but its uncanny country twang recalls the clouded and colloquial conversations of Mark Z. Danielewski’s book Tom’s Crossing: yes, it’s a western, but a caricature of it with a bleak heart beating at its core. Geese embodies rock’s most extreme peripheries in a breed of music that is as alienating as it is catchy, unique and on-brand for a band whose caliber of sound feels uncanny, otherworldly, and delightfully apeshit. Sure, it ain’t metal, but Geese offers some of the most intriguing music of the year regardless.

    Tracks to Check Out: “Trinidad,” “Cobra,” “Getting Killed,” “100 Horses,” “Long Island City Here I Come”2

    #2025 #AmericanMetal #BlackMidi #Blues #bruceSpringsteen #Country #FunkMetal #Geese #GettingKilled #JPEGMAFIA #NoiseRock #NonMetal #PartisanRecords #postPunk #Rock #Swans #Television #TheVelvetUnderground #ThingsYouMightHaveMissed2025 #WhiteSuns

  12. Yesterday I woke up early and cycled 45min to the record store. I wanted to make sure I had #Nebraska82 on release and worried shipping would delay. I wanted to hear #ElectricNebraska. It's #good :ablobcatattentionreverse: !

    Day before I was in Amsterdam and picked up a new #Jpop #CD. But what is it with Jpop somewhat often having nice covers for singles then meh covers for albums? Why it looks so cute when the songs have a cool and party girl vibe 🙃?

    #BruceSpringsteen #f5ve #Nebraska #music

  13. Posting der Woche an Bruce Springsteen: „Es braucht mehr Künstler, die ihre Stimme für Demokratie und Meinungsfreiheit erheben“

    Bruce Springsteen hat US-Präsiendent Donald Trump für seine Politik kritisiert. Trump feuert zurück – teilweise unter der Grütellinie, findet SWR3 Musikredakteur Matthias Kugler und springt dem Musiker zur Seite.

    swr3.de/musik/news/posting-der

    #BruceSpringsteen #DonaldTrump #Musik #PostingDerWoche

  14. "Streets of Philadelphia" is a song written and performed by American #rock musician #BruceSpringsteen for the 1993 film #Philadelphia, starring #TomHanks, an early mainstream film dealing with #HIVAIDS. Released as a #single by #ColumbiaRecords in February 1994, the song was a hit in many countries, topping the singles charts of Austria, Canada, France, Germany, Iceland, #Ireland, Italy, and Norway. In the United States.
    youtube.com/watch?v=4z2DtNW79sQ