Lifestyle
Bon Jovi docuseries 'Thank You, Goodnight' is an argument for respect
Jon Bon Jovi at the Mohegan Sun in Uncasville, Conn., in 2013.
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Jon Bon Jovi at the Mohegan Sun in Uncasville, Conn., in 2013.
David Bergman/Hulu
Hulu’s docuseries Thank You, Goodnight: The Bon Jovi Story, spends a lot of time building up the Bon Jovi legend — exploring the band’s almost unbelievable 40-plus-year run from playing hardscrabble rock clubs in New Jersey to earning platinum albums and entry into the Rock & Roll Hall of Fame.
But what moved me most in the four-part series was something more revealing: its close look at the struggle by lead singer Jon Bon Jovi to overcome vocal problems which nearly led him to quit the band.
Footage of the singer croaking through vocal exercises, undergoing laser treatments, enduring acupuncture and finally turning to surgery is sprinkled throughout the series, which toggles back and forth between his problems in 2022 and a chronological story of the band’s triumphs and tragedies from its earliest days.
Refusing to be Fat Elvis
Jon Bon Jovi was interviewed for Thank You, Goodnight.
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Jon Bon Jovi was interviewed for Thank You, Goodnight.
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Through it all, a question hangs: Will Bon Jovi ever recover enough vocal strength to lead a 40th anniversary tour?
“If I can’t be the very best I can be, I’m out,” he tells the cameras, still looking a bit boyish despite his voluminous gray hair at age 62. “I’m not here to drag down the legacy, I’m not here for the ‘Where are they now?’ tour … I’m not ever gonna be the Fat Elvis … That ain’t happening.”
Filmmaker Gotham Chopra — who has also directed docuseries about his father, spiritualist Deepak Chopra, and star quarterback Tom Brady — digs deeply into the band’s history, aided by boatloads of pictures, video footage and early recordings provided by the group.
Former Bon Jovi guitarist Richie Sambora in Thank You, Goodnight
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Former Bon Jovi guitarist Richie Sambora in Thank You, Goodnight
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Chopra gets folks from the group’s tight inner circle to speak up, including former manager Doc McGhee and guitarist Richie Sambora, who quit the band in 2013. (“Are we telling the truth, or are we going to lie, what are we going to do?” Sambora cracks to his offscreen interviewer. “Let’s figure it out.”)
But anyone expecting gossipy dish will walk away disappointed. Even major scandals in the band’s history are handled with care, including the firing of founding bassist Alec John Such in 1994 (and the admission that his replacement, Hugh McDonald, already had been secretly playing bass parts on their albums for years), drummer Tico Torres’ stint in addiction treatment and Sambora’s decision to quit midway through a tour in 2013, with no notice to bandmates he had performed alongside for 30 years.
Sambora’s explanation: When issues with substance use and family problems led him to miss recording sessions, Bon Jovi got producer John Shanks to play more guitar on their 2013 record What About Now. And Sambora was hurt.
“[Bon Jovi] had the whole thing kinda planned out,” Sambora says, “which basically was telling me, um, ‘I can do it without you.’”
Building a band on rock anthems
Jon Bon Jovi with guitarist Phil X.
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Jon Bon Jovi with guitarist Phil X.
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The docuseries shows how young New Jersey native John Bongiovi turned a job as a gofer at legendary recording studio The Power Station – owned by a cousin — into a recording of his first hit in the early 1980s, Runaway. His song eventually caught the ear of another little-known artist from New Jersey called Bruce Springsteen.
“The first demo I got of Jon’s was a good song,” says Springsteen, a longtime friend of Bon Jovi. “I mean, Jon’s great talent is these big, powerful pop rock choruses that just demand to be sung by, you know, 20,000 people in an arena.”
Thank You, Goodnight shows the band really took off by honing those rock anthems with songwriter Desmond Child, while simultaneously developing videos that showcased their status as a fun, rollicking live band. Hits like You Give Love a Bad Name, Livin’ on a Prayer and Wanted: Dead or Alive made them MTV darlings and rock superstars.
Through it all, the singer and bandleader is shown as the group’s visionary and spark plug, open about how strategically he pushed the band to write hit songs and positioned them for commercial success.
“It wasn’t as though I woke up one morning and was the best singer in the school, or on the block, or in my house,” he tells the camera, laughing. “I just had a desire and a work ethic that was always the driving force.”
I saw that dynamic up close in the mid-1990s when I worked as a music critic in New Jersey, spending time with Jon Bon Jovi and the band. Back then, his mother ran the group’s fan club and was always trying to convince the local rock critic to write about her superstar son – I was fascinated by how the band shrugged off criticisms of being uncool and survived changing musical trends, led by a frontman who worked hard to stay grounded.
Bon Jovi was always gracious and willing to talk; he even introduced me to then-New Jersey Gov. Christine Todd Whitman at one of his legendary Christmas charity concerts. (And in a crazy coincidence, the band’s backup singer Everett Bradley is an old friend from college.)
I think the docuseries captures Bon Jovi’s skill at leading the group through challenges musical and otherwise — from metal’s slow fade off the pop charts to the rise of grunge rock — something the singer rarely gets credit for achieving.
Still, much of Thank You, Goodnight feels like an extended celebration of the band and its charismatic frontman, leavened by his earnest effort to regain control of his voice. If you’re not a Bon Jovi fan, four episodes of this story may feel like a bit much (I’d recommend at least watching the first and last episodes.)
More than anything, the docuseries feels like an extended argument for something Bon Jovi has struggled to achieve, even amid million selling records and top-grossing concert tours – respect as a legendary rock band.
The audio and digital versions of this story were edited by Jennifer Vanasco.
Lifestyle
Stephen Colbert takes his last bow in late night : Pop Culture Happy Hour
The Late Show with Stephen Colbert on Monday May 18, 2026.
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The Late Show With Stephen Colbert comes to an end this week amid a lot of changes in the business and the country. Some of the sources of tension include the economics of late night, the approaching merger of Paramount and Warner Brothers, and President Donald Trump’s constant criticism of late-night hosts. But for Colbert’s fans, it’s the end of a friendly, funny, candid show. So we’re talking about the legacy of Stephen Colbert in late night.
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After the Kars4Kids ad is banned in California, we check in on nostalgic jingles past
Kars4Kids advertisements, like this TV commercial on a hot-pink set, feature children turning the charity’s phone number into a catchy jingle. But they do not disclose that most of the proceeds go to a Jewish nonprofit that supports programming for young adults.
Kars4Kids/Screenshot by NPR
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Kars4Kids/Screenshot by NPR
The “Kars4Kids” jingle — with its chipper melody and high-pitched, pre-tween singers — has been wedged firmly in many Americans’ heads for two decades. But it may soon go off the air in California after a judge banned it for being “deceptive.”
Judge Gassia Apkarian of the Orange County Superior Court ruled earlier this month that the ad violates California’s laws against unfair competition and false advertising because it does not disclose Kars4Kids’ religious affiliation.
The case has put the jingle — and the charity behind it — in the headlines. And it inspired us to check in on some other nostalgic favorites (more on that below).
The Kars4Kids case, explained
Kars4Kids says it gives most of its proceeds from used-car donations to Oorah, an Orthodox Jewish nonprofit based in New Jersey that provides opportunities like summer camps, adult matchmaking services and trips to Israel.
Kars4Kids makes the connection to its “sister nonprofit” clear on its website, though not in its infamous jingle: “1-877-Kars4Kids / K-A-R-S Kars for Kids / 1-877-Kars4Kids / Donate your car today.”
That omission prompted California resident Bruce Puterbaugh to sue Oorah in 2021.
According to the judge’s order, Puterbaugh testified that he donated a 2001 Volvo station wagon after hearing the Kars4Kids advertisement “over and over,” believing the money would benefit California kids in need. Puterbaugh, a self-described “not a computer person” in his 70s, said he never visited the charity’s website and only learned the truth from a casual conversation with his Lake County neighbor after the car was picked up.
“He testified that he felt ‘taken advantage of’ upon discovering — only after the donation — that the funds did not stay in California but supported a specific religious mission in the Northeast,” Apkarian wrote.
The neighbor, Neal Roberts, is a lawyer who went on to represent him in the case. Roberts told NPR that the ad — which has aired on the radio since the turn of the millennium and on TV since 2014 — is ubiquitous in California. But he said Apkarian, the judge in the case, doesn’t watch TV and hadn’t heard the jingle until it was played at the four-day trial in November.
“She heard it the first time, and then she heard it the second time, and then the rule in the court was, ‘Do not play that jingle again,’” he said with a laugh. “So I thought that gave us some idea that we might have a chance.”
According to the judge’s order, Kars4Kids’ Chief Operating Officer Esti Landau confirmed at trial that the charity’s primary function is not helping economically disadvantaged children but “Jewish kids and families throughout their lives.” She said the charity has “no functional programs in California beyond a ‘backpack giveaway’ characterized as a branding exercise,” the judge wrote.
Landau confirmed on the stand that in 2022 — among other expenditures — Oorah transferred $16,500,000 to North Africa and the Middle East, and spent $16.5 million to purchase a building in Israel. She testified that while the Kars4Kids ad features kids ages 8 to 10, the programs Oorah funds “often target young adults (17-18) and matchmaking as well as Jewish families.” And she conceded that a donor would “have to go to the website” for that information.
Neither Kars4Kids nor Oorah responded to NPR’s requests for comment. But in a lengthy statement on its website, Kars4Kids said the judge mischaracterized its work and its testimony at trial.
“Kars4Kids’ ads have one purpose: to remind listeners that Kars4Kids offers a quick and easy way to dispose of an unused vehicle,” it wrote. “The ads are targeted to vehicle owners, not specifically to people considering donating to charity.”
The charity said “helping children often means engaging parents and families as well,” and stressed that its mission and religious affiliation are prominently stated on its website.
But the judge ultimately sided with Puterbaugh, writing that “a reasonable consumer is not required to be ‘computer savvy.’” She gave the charity 30 days to stop airing the ad in California unless it is updated to include an “audible disclosure of its religious affiliation and the geographic location of its primary beneficiaries and the age of the beneficiaries.”
The judge also ordered the charity to pay Puterbaugh $250, the value of the car he donated, though acknowledged that “money cannot ‘un-donate’ a car or restore the donor’s belief that they were helping a local, needy child.”
Kars4Kids says on its website that it plans to appeal the ruling, which it said is “deeply flawed, ignores and misrepresents the facts that were presented at trial, and misapplies the law.”
The charity also called the case as “a lawyer-driven attempt to siphon off charitable funds for their own gain.” Roberts dismissed that accusation, saying the only money his client stands to gain is the $250 for the car and lawyers’ fees. The bigger win, he said, is putting Kar4Kids — and potentially other charities nationwide — on notice about the consequences of false advertising.
“I think anyone who knows the facts would think that there was wool being pulled over people’s eyes,” Roberts said.
Where are they now?
J.G. Wentworth’s catchy “Viking Opera” commercial, featuring elaborately costumed, structured settlement-winning opera singers in need of cash, has been airing on and off since 2008.
J.G. Wentworth/Screenshot by NPR
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J.G. Wentworth/Screenshot by NPR
This story sent us down a head-bopping rabbit hole of nostalgic jingles, confirming they never truly leave the depths of your brain. And it turns out, some of them are — in a sense — new again.
Remember Zoo Pals, the early-aughts, dipping sauce-friendly paper plates shaped like animals (pig, bee, frog, duck) that, per their peppy theme song, “make eating fun!”? Hefty discontinued the onetime birthday-party staple in 2014, but brought the plates back in 2023 — and has also introduced disposable cups and plastic bags in the years since. No word yet on whether the commercial might make a comeback too.
Folgers, the coffee brand, has had people humming “The best part of wakin’ up / is Folgers in your cup” since the cozy jingle first aired in 1984. Its various iterations have managed to hold viewers’ attention in the years since (the 2009 sibling version inspired a slew of parodies and fan fiction). In 2021, public performance royalties for the song — which is actually titled “Real Snowy Morning” — were auctioned off online. The winning bidder, identified as “Josh C.,” paid $90,500.
And earlier this year, the brand released remixed versions of the ad, fusing the original jingle with several popular wake-up songs spanning genres and generations (including the Everly Brothers’ “Wake Up Little Susie” and “Bring Me to Life” by Evanescence).
Just this week, comedian John Oliver parodied JG Wentworth’s Viking opera (“877-cash-now”) jingle for an episode examining the structured settlement factoring industry. Oliver’s version, warning people to be skeptical of such companies, features stars like singer Megan Hilty, actor Victor Garber and Larry David, in a nod to the original earworm’s prominent cameo in the final season of Curb Your Enthusiasm.
Sometimes a jingle outlives the very thing it’s advertising. Consider: “I’m a Toys R Us Kid,” the toy store ditty belted enthusiastically by generations of trike-riding kiddos since the 1980s. The franchise shuttered due to bankruptcy in 2018, though it has since been partially revived through a partnership with Macy’s. The jingle has staying power — much to the delight of prolific thriller author James Patterson, who helped write the lyrics in his early career in advertising.
“That’s a big moment in my life,” Patterson said when asked about it in a 2024 appearance on Live with Kelly and Mark. “That’s a fun one, and kids obviously loved it. And we do remember it, which is great.”
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