arena

Former cruiserweight world champion Chris Billam-Smith was knocked down and stopped for the first time in his career as Chev Clarke won their all-British non-title fight on Saturday.

Londoner Clarke landed a big right hand at the start of the seventh round and although Billam-Smith beat the count, he was down again moments later after a barrage of punches.

The contest was allowed to continue but the Bournemouth fighter looked unsteady on his legs and when Clarke connected with two more blows, the referee stepped in.

Billam-Smith immediately protested against the decision, while Clarke stood in the middle of the ring shrugging his shoulders.

Clarke moves to 13 wins with two defeats and inflicts the third professional defeat for Billam-Smith who also lost to Gilberto Ramirez in 2024 and Richard Riakporhe in 2019.

“I do what champions do,” said Clarke, who also beat Billam-Smith when they met in the amateur ranks a decade ago.

“I’m happy. Arsenal won and I won. My training camp was good and you saw that in the ring. I’ll take all-comers going forward.”

The likes of heavyweight Johnny Fisher, Traitors star King Kenny and strongman Eddie Hall were all spotted watching on from ringside in a Copper Box arena that was far from full, with just the lower tier of seats open for fans.

After a slow start to the contest with lots of holding, Clarke looked the sharper man as he landed some clean shots on the former world champion.

In the second round, the Londoner landed a big overhand right to the side of Billam-Smith’s head. Clarke also connected in the third round with a big uppercut and an overhand right that snapped back Billam-Smith’s head.

The former world champion, struggling to find his rhythm, was caught by another uppercut before Billam-Smith responded with a short right hook that made Clarke stumble back to his corner.

But in the seventh round Clarke broke Billam-Smith down, scoring two quick knockdowns before the referee intervened.

Fight promoter Dana White said after the fight that he felt the decision to stop the fight might have been a little premature.

I can’t tell you exactly what time Phoebe Bridgers started her concert Friday night or exactly what time it ended. I’m reluctant to say which of her band members was dressed as a crocodile since I can’t check my memory against a photo.

Most regretfully, I can’t report the precise words Bridgers used to describe her difficult relationship with her late father as she introduced her song “Still Standing” — though I can say her language so quieted the thousands of people inside Inglewood’s Intuit Dome that it almost felt like you could hear her thinking.

The first of three hometown shows on Bridgers’ Lost Tour, Friday’s gig was a phone-free experience: As you walked into the arena, you surrendered your device to a venue employee, who locked it in a fabric pouch that would put you beyond the reach of the digital world, including your clock and your camera and your voice recorder, until you walked back out.

In her lengthy preamble to “Still Standing” — it’s a chilling highlight from the singer’s latest album, “Lost Weekend,” about how abuse can shape ideas of love — Bridgers thanked her fans for going along with the no-phones policy, which she framed as a necessary condition for performing such intimate material.

Had phones been allowed, she added, this very moment “would have been a TikTok video with someone who doesn’t like my face commenting on it.” (A quote that sharp I could easily remember.)

Widely expected to land multiple nominations for February’s Grammy Awards, “Lost Weekend” — which in addition to Bridgers’ dad’s death addresses the flowering of her romantic relationship with the comedian Bo Burnham — complements all the emotional bloodletting with a biting sense of humor. Friday’s show opened, as the album does, with “The Outside,” which ushers the listener into her dad’s funeral this way: “Crying in a suit and tie / But you should see the other guy / One more time for old time’s sake / I’ll watch him get carried away.”

At Intuit, after she brought out Billie Eilish to join her for her song “Savior Complex” — guaranteed Instagram content in any other circumstance — Bridgers said, “You don’t have your phones,” then added a literal “ha-ha.”

It’s anyone’s guess whether Bridgers would’ve been able to muster the deep feelings she put across Friday if she hadn’t banned the handheld computers whose bluish glow has become a ubiquitous feature of the concert landscape. For all her vulnerability on “Lost Weekend,” she remains a pro who’s been performing since she was a teenager; my suspicion is that she probably would’ve found a way to get there.

What I know is that she did get there: Wearing a Peter Pan costume the night before Halloween, Bridgers sang folky ballads like “Kill Me” and “The Governor’s Waltz” with a tenderness that belied a pretty tough view of her experiences over the last few years; relatively rowdy rock songs like “Bobby” and “Lost Boys,” meanwhile, crackled with an energy bordering on the ecstatic.

The show took place across a pair of stages: one beneath an illuminated dome that resembled either a spaceship or an old-fashioned greenhouse, the other a smaller circle positioned near the middle of the arena floor. Bridgers and her musicians (who’d dressed up as Tinker Bell and John and other Pan-related characters) moved a couple of times between the two, which was about it as elaborate as the production got.

Beyond Eilish, Bridgers welcomed the indie-pop band Muna, which did its song “Silk Chiffon,” and her younger brother, Jackson, who sang a vocal part in “I Can’t Wait” performed on the new album by Geese’s Cameron Winter. At the beginning of “Lost Weekend’s” title track, Bridgers had to futz with her keyboard when it didn’t do what she wanted.

“Of course, this happens at home,” she said.

In the audience, the lack of phones provided for a level of attention you could practically feel, never less so than in “As Above,” which she did after “Still Standing” and for which she centered herself alone at the base of a cone of light.

“I thought about my mom driving herself to the hospital,” she sang, green felt hat perched on her head, daring us not to turn away.

Dwyane Wade is looking much more like himself these days.

That is, the statue of Wade outside of Kaseya Center in Miami now looks much more like the retired Heat legend than it did when it was unveiled two years ago. The sculpture’s new look, featuring a redesigned head by original sculptors Omri Amrany and Oscar Léon, was unveiled Friday.

The statue was meant to capture the iconic moment in 2009 when Wade jumped on a scorers’ table and declared, “This is my house!” Much of the public reaction, however, centered around how the piece looked less like the three-time NBA champion and more like Laurence Fishburne, Kelsey Grammer, Ken Norton Jr. and others.

“I heard the jokes. I saw the memes. I read the reactions. Everybody had an opinion about whether it actually looked like me,” Wade wrote in an essay published Friday on Substack. “At first, it was hard not to feel protective of it because I had spent so much time involved in the process. … But eventually, I had to take a step back and understand that the statue doesn’t belong only to me. It also belongs to Miami.”

He added: “I had to ask myself a pretty simple question: If people don’t feel that connection when they look at the face, why wouldn’t we try to make it better? So we listened and had honest conversations with everyone involved, and we all agreed to make adjustments to the head.”

When the statue was originally unveiled in October 2024, Wade had nothing but great things to say about it. He said it was his idea to immortalize that pose and that he had a lot of input on how the final product would look.

The original face on Dwyane Wade’s statue at Kaseya Center didn’t quite seem to capture the Miami Heat legend’s likeness.

(Lynne Sladky / Associated Press)

“I was just like, ‘Dude, that’s beautiful,’” Wade told reporters after the original unveiling. “Personally biased, I think it’s one of the best statues that’s been created because of what it represents for us and for me.”

Amrany also defended the statue at the time.

“We emphasized a two-second moment of his life when he jumped on the table and was in screaming mode,” Amrany told The Times in October 2024. “And that’s what it is, that’s what happens to the face when people are doing this activity, this facial activity.

“We are very dedicated to a very high detailed quality to deliver exactly what the exact photo is giving us. For somebody to say that this does not look like Dwyane Wade in action, they don’t know Dwayne Wade in action. Or they don’t remember that. And it’s OK for them to say whatever they want.”

Both artists explained the decision to revisit the project in a statement released to media outlets this week.

“After seeing the work at full scale and in its permanent environment, we identified opportunities to strengthen the portrait,” Amrany and Léon said. “We decided that the importance of Dwyane warranted making those refinements rather than accepting something we believed could be improved.”

According to Wade, “this isn’t about erasing the work that was already done or disrespecting the artists who put their time and talent into creating it. It’s about being willing to listen. It’s about recognizing when something carries meaning for more people than just yourself and being open enough to revisit it.”

He added: “I hope when people see it now, they see a better likeness of me. But more than that, I hope they see themselves. Because it may be my likeness, but it will always be our house.”

Based on the comments on an X post by the Heat showing off the changes, Heat fans seem to approve. As one person wrote, it’s the “first statue to have a redemption arc.”

While in London, they released their first English-language single, TRALALA, which topped YouTube’s daily music video chart on its release, ahead of videos from Shakira and Taylor Swift.

The music video was also their first to be filmed outside Turkey, with the group working with a largely British production crew in east London.

“Getting out from that safe zone was a bit stressful for us,” says Pınar.

Despite their hopes to perform on British and American stages, they’re keen to retain their Turkish identity.

“We want to reach a global audience with our Turkish songs actually, not with English ones,” says Sude Oktay.

“We want to teach people to sing in Turkish.”

Alongside Turkish girl group Hepsi, manifest cite the Spice Girls among their musical inspirations.

Pınar says her favourite Spice Girl is Baby Spice.

“Because of the pink. I’m pink and blonde, so it’s obvious,” she laughs.

They have also had the chance to meet one of the world’s biggest pop stars, Dua Lipa.

The British-Albanian singer met manifest backstage before watching them perform at her Sunny Hill Festival in Kosovo in July this year.

“She came to our backstage and said a lot of great things,” one member recalls.

“We really love her, her songs, her stage presence.”

The Atlanta Dream will host Games 3 and 4 of the WNBA Finals against the Golden State Valkyries in the building they will call home starting next season, not the one where they played most of their home games this year.

That’s good because State Farm Arena — home of the NBA’s Hawks and soon-to-be the fulltime home of the Dream — can seat around 17,000 people, while Gateway Center Arena — the WNBA franchise’s home facility since 2021 — can only hold 3,500 fans.

“This is what the players and the fans deserve,” Dream majority owner Larry Gottesdiener said in a statement. “We are grateful to all of the stakeholders who worked together to resolve the conflicts and make this happen.”

Things were looking pretty iffy for a while.

Game 3 will be played Oct. 21 at 5 p.m. PDT. The game was originally supposed to be played the following day, but a Sombr concert is taking place at the arena on that date.

Game 4 will take place Oct. 24 at 10 a.m. PDT. While that date wasn’t changed, the game was originally slated to start 2 1/2 hours later. The Hawks also pushed back the time of their home opener that evening by a half-hour to 5:30 p.m. PDT to help accommodate the WNBA game.

“The change of venue dramatically expands the seating capacity and ensures that the Dream will be able to provide an extraordinary atmosphere for the first WNBA Finals game to be played in the Atlanta market since 2013,” league commissioner Cathy Engelbert said in a statement. “We are pleased that thousands more fans across the Southeast region will have the opportunity to experience the ultimate WNBA action — the WNBA Finals — in person.”

The Dream played six regular-season games and all three home playoff games this season at State Farm Arena. Efforts to hold the Dream’s home Finals games at such area venues as Gas South Arena (around 13,000 seats) and Georgia Tech’s McCamish Pavilion (8,600 seats), didn’t work out, according to USA Today.

There has been no word on the venue for a possible Game 6 of the best-of-seven series, which the Dream are currently scheduled to host on Oct. 29, the same date as another Hawks home game.