Bowl

It’s Friday afternoon in North Hollywood and Ziggy Marley is perched on a stool inside his newly built Rebel Lion Studio, tucked in one of the neighborhood’s creative enclaves.

The nine-time Grammy winner is surrounded by a collection of lion figurines, guitars, traditional hand drums and a piano. Along the walls hang two replicas of backdrops his legendary father, Bob Marley, used on tour in the 1970s. The murals, depicting Rastafari icons and Haile Selassie I and Marcus Garvey, were featured in the 2024 biopic “Bob Marley: One Love.”

“These are what we used as the backdrop for the concert scenes. Them spiritual to me,” Marley says in patois as the smell of palo santo dances around the rehearsal space.

Music has been both an inheritance and lifelong pursuit for Marley. From sitting in studio sessions with his father as a child to building a five-decade career of his own, he has remained a curious student of the craft, one willing to challenge convention in search of a deeper meaning. That spirit is evident on “Brightside,” his ninth solo album, which was released on vinyl on April 18 (Record Store Day) and May 1 on streaming.

Rather than recording the eight-track project in 440 Hz, the standard tuning frequency for most modern music, he opted for 432 Hz, a tuning some musicians and theorists believe creates a warmer, more meditative listening experience. He also slowed down his songwriting process, giving each lyric room to carry its message of hope through turbulent times. The album, which may be his most personal yet, also features “Many Mourn for Bob,” the first song he has written directly about his late father.

“I think it shows the next stage that I probably am in,” says Marley, adding that he felt connected to his father on a spiritual level. “We took another step in the relationship, to another place that it’s never been before.”

Ziggy Marley is bringing his “Brightside” tour to the Hollywood Bowl on June 21 alongside reggae star Burning Spear.

(Dania Maxwell / For The Times)

He adds, “When I was doing the song, it kind of came to me like this song could’ve been my father’s song. It could’ve been a song that he wrote.”

The reflective nature of “Brightside” arrives at another pivotal time in Marley’s career. This year marks the 20th anniversary of “Love Is My Religion,” the Grammy-winning album that launched his solo career and crystallized a personal philosophy he still carries today. He is also set to release his sixth children’s book, “True to Myself,” in September.

As we wrap up our conversation, Marley has only a few minutes before Rebel Lion Studio shifts back into work mode. Within minutes, bandmates, background singers and production crew members begin funneling into the space, hauling in stacks of equipment as promotion and preparations continue the “Brightside” tour, which stops at the Hollywood Bowl on June 21.

This interview has been lightly edited for length and clarity.

You recorded your latest album, “Brightside,” here at Rebel Lion Studio, which you designed and built from the ground up. Can you take me back to the beginning of that process and why you wanted to do it?

I grew up around my father and my mother as growing musicians trying to succeed and there was one thing I kept hearing over and over throughout my life: independence. Their whole mission was to be independent. I saw them work and I saw my father build a studio. I saw him have a space where he can do more music and control his own time. That was a dream of mine for a long time, ever since I started doing music because usually we use other people’s studios. I couldn’t have this in my house. It’s too much. It’s a dream come true.

We’re surrounded by two beautiful murals. Is there a particular item that is personal to you?

The murals are replicas of my father’s backdrops that they used. The original artwork is by Neville Garrick, but he helped us re-create them for the Bob Marley movie. These are the murals we used as the backdrop for the concert scenes. They are spiritual to me cause that’s Haile Selassie and Marcus Garvey, two very important beings for us. Inspirational.

On “Brightside,” Ziggy Marley dedicated a song to his father, Bob Marley, for the first time in his career.

(Dania Maxwell / For The Times)

“Brightside” is your ninth solo album. What mindset were you in emotionally and spiritually when you started working on it?

I never thought about making an album, I was just writing songs. You just tap into things in your subconscious that are waiting to become music, I feel like. Then when the time comes for writing songs, the time comes. It’s like a season. Like you have blueberry or orange season. So there’s a season for me when I write songs. Then you say, “All right, let’s make an album then.” But you don’t think about an album before. It’s just an expression or a feeling just to make music, not for any reason but to make it. It happened over a period of years. Ideas and experiences that eventually come out. But closer to the time I [made] the album, I remember writing some of the later songs like “Why Let the World.” It was a song that I wrote because I was feeling down and everything that was happening in the world and the country. Just so much negativity and I just felt like I needed to take a break from it. To recharge yourself. We cannot fight every day. We need to take a break and then get back to it. I needed to teach myself to take some time. It was more of a mental thing than an emotional thing. Stuff I deal with my father, personal life and stuff with my spirituality and my faith. So there’s a lot of me in this record.

“Many Mourn for Bob” is the first song you’ve explicitly written about your father. Your brother, Stephen, is also on the vocals. What surprised you emotionally once that song was finished?

I’m not sure I thought about it like that. The experience of expressing that emotion, it’s a spiritual experience. I think it shows the next stage that I probably am in and even my relationship with my father on that spiritual level. It’s a different place. We took another step in the relationship, to another place that it’s never been before. When I was doing the song, it kind of came to me like this song could’ve been my father’s song. It could’ve been a song that he wrote. That’s how I felt about it. This is partly his song. It’s me and him making this song. This song is his song too.

How has your relationship with grief changed over the years?

It’s more of a comrade, understanding, empathy and having the maturity and the experience to understand what he went through as a man, as a human being. I think that’s what it is, really. A better understanding of what he went through, not the glory. The pain, the mental and emotional state. You’re more than just an idol. You’re more than just a legend. You’re more than just a father. To go deeper than that, so that’s the next level.

Yeah, the skit you used of him saying “I’m just a man from the ghetto” on the song really summarizes that.

That’s the real him. That’s him right there. Even in the tone of his voice, you can hear the real Robert coming out.

Another standout song from the album is “Racism Is a Killa.” One thing that you do well is having a heavy topic, but finding a way to still make it feel hopeful and joyful. Why was it important for you to approach the track this way rather than from a place of anger, heaviness or sounding preachy?

I think it started out preachy and angry, but over time, it kind of evolved and I kind of evolved too ‘cause my own evolution is represented in the music. And you know something, doing that song helped me evolve because I had to think about it differently without the anger. The song made me do that. Like how else can I approach this? It’s inspiration that causes these things. It’s not an intellectual thing. I didn’t do that intellectually. Like over time, something just started coming out of me. I never really thought about it before, but I can see it now.

In the video, which features your daughter, Zuri, you referred to the condition as “Racismosis” in the video and sang about how it can be cured.

It’s kind of like a sickness, a disease. It’s a virus. We can minimize the virus and stop the disease. It’s true. Racism is a killa. This virus can kill ya. Literally kill ya. Spirtually kill ya. Emotionally kill ya. Mentally kill ya. It kill ya in different ways. It kills the victim and it kills the person perpetrating it. It’s killing everyone, but we can cure it though. It starts with the children. I have a friend of mine who said, “Yo, my little son loves this song. He doesn’t want to stop. He says ‘Put on “Racism is a Killa.”’ So that’s where the antidote is starting. The minds of the children. The music with a conscious message gives them the right consciousness that they grow up with. That is how we take our time and lower the spread of the virus.

You recently released an alternate version for “Racism Is a Killa” with Big Boi. How did that collaboration come together and what excited you about working with him?

I’ve loved Big Boi and Outkast from a long time ago. He’s a legend and a strong voice. There’s different layers to it and I feel like Big Boi took it to that other layer. So yeah, we just love Big Boi and I’m going to jump on something he does. [Laughs]

I’d be remiss if I didn’t ask your approach for your album and how you swapped the typical 440 Hz for 432 Hz. Do you remember the first time you heard the music played back that way?

It’s a long journey because for most of my life in music, I’ve tried to be a student. I’ve tried to keep an open mind and learn more and more. With this album, there’s an inspirational side of music and that’s where I lean into most of the time, but as I grew up, I started to understand there’s also a science too. It’s also mathematics. The universe, it’s all mathematics and science, and I shouldn’t shun the science of music just because I think the inspiration is all it should be. I think a part of that was learning that for myself and opening up and saying, “Yo, let me put some science into this.” Frequency. What does frequency do to people? Frequency affects people. Frequency is a weapon. It’s a tool. I’m sure the army has some kind of frequency thing. So frequency is powerful. I wanted to try something different anyway. I want to be different. I want my frequency to be different from the majority of frequencies that’s being played out there, because it’s fun for me to be different.

When I was working on the demos, I was like “Let me try this 432 Hz thing” and I like how it feels for me personally, how I sing on the frequencies. It resonates differently and makes me feel different. We did it and it felt good, and we did it live, and from my point of view, I felt a different energy with the audience too. So all of those experiments led me to the final conclusion to say, “Yeah, let me do the record in 432.” It’s really nice vibes, which the world needs a different frequency. We can use it.

This year marks the 20th anniversary of “Love Is My Religion,” your first solo Grammy-winning album. When you think back to that era of your life, who was Ziggy back then?

A lot was changing because I moved to L.A. during that time.

You got married around that time too, right?

Yeah. I don’t really fight change. I just try to navigate them and figure them out cause sometimes change is hard. There was a lot of change living here, moving around, trying to find a place, music, but then it’s like we are continuously updating ourselves. I’m continually updating. You know how you update your OS. I’m updating my OS. My operating system is being updated throughout my experience in life. There’s always something else out there for me to evolve to. So during that period of my life, “Love Is My Religion” came to me when someone asked me, “What religion are you?” And I just said “Love is my religion.” I never thought about it before, never contemplated it, never even thought of those words together before in my life, and they just came out to me that day. So the album represents a time in my life when I realized there’s a spiritual awakening that I had. “Love Is My Religion” is a spiritual awakening. That’s my thing. That’s who I am. That’s why it’s a milestone.

“If you think you’re going to change this world with music and you’re trying to send a message out there, you have to speak to children,” Ziggy Marley says.

(Dania Maxwell / For The Times)

You’re kicking off the “Brightside” tour this month, which includes a stop at the Hollywood Bowl. What are you most excited about when it comes to bringing this album to people for the first time live?

I’m excited about playing the music. I think it’s about the music. These new songs, they vibrate very highly for me and I’m excited about experiencing and expressing that. And also kind of not doing it for the audience. I don’t want to do it for the audience. I want the audience to experience what I’m experiencing, what I’m expressing. I want them to feel me. I don’t want them to be like “Hey look at me.” [Laughs] There’s still connectivity going on, but I want them to feel the songs the real way. That’s what I’m excited about for people to feel it the way that I feel it.

You even posted the lyrics and told fans to get to practicing, so they can really understand the message.

Yeah. Just reading them for me, I really like the writing I did on this. I also took some time with this too. I was saying to someone that I developed a deeper relationship with the lyrics and the words than I did before. My relationship with the words here are very mature. I feel good about it. That’s why I want people to know the words because words are very important. Words are very important. If you know the words you get a deeper understanding of what I’m talking about and what I’m feeling.

After nearly 50 years of making music, Ziggy Marley built his own studio in North Hollywood called Rebel Lion Studio. He plans to turn it into a multipurpose creative space.

(Dania Maxwell / For The Times)

Look on the bright side is a phrase that people say often, but what do those words mean to you right now?

Sometimes we can get in a place [where] we can’t see the other side of things because we’re so caught up in that one place. Like the cliché, there’s two sides to a story, ya know? The universe is always yin and yang, but there’s always another side of things. But I feel like the way we are being programmed in a way through media and everything, it’s like there’s only one side. Everything is like this, there’s nothing else going on over there that we need to see, we only need to see this. This is all that’s going on in the world. There’s nothing good, there’s nothing nice, there’s no good people, there’s no love. So it’s a realization too. A realization that there’s the other side. Never get to that place where we think it’s just that side alone because we get so much of it. It’s a reminder, I think, for us like “Come on guys.” The thing about it too, sometimes you can feel like — even for me — some people say, “Hey look on the bright side,” some people find that like “Why are you happy? Why you so chirpy?” [Laughs]

That’s true.

I’m proud that I’m on the bright side. I’m living on the bright side, I don’t care. You don’t like me because I’m living on the bright side? You want me to be like you, you want me just live on the dark side with you, right? So it’s like a proudness of being positive and having that outlook in life, and not feeling like you have to [fall to] peer pressure. More positivity in life, not just the negativity. I’m confident in that too. So it’s kind of like that too, you know, like being proud, lifting up that side of me. Yeah, I’m happy to be living on the bright side.

THE Ibiza Final Boss piqued the interest of the masses after he was spotted boozing it up on the party isle last August.

While most Ibiza goers like to indulge in the lifestyle Jack Kay found viral fame for his trancelike dance moves and good old-fashioned bowl haircut.

He was spotted vibing in multiple clubs on the island last summer and fans became obsessed with how well summed up the clientele.

Jack, 26, who was seen donning a vest, shades, and a blingy chain, was famed for perfectly round trim, which became the subject of thousands of comments.

The former builder has now opened up on the hefty amount he’s insured his hair for – and it’s seven figures.

He claimed: “Obviously it’s my USP so I have been looking to get it insured and I’ve insured it for a million pound.”

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Celebs often get parts of their bodies insured if it’s a huge money maker for them.

While the Ibiza Final Boss’ life turned on its head over night, he told The Sun he’s not worried about “staying relevant.”

For influencers and viral internet stars overnight fame doesn’t usually last long with some desperate to stay in the spotlight.

But Jack, from Newcastle, would be “happy,” if it all ended tomorrow.

Jack said: “I’m not worried about staying relevant.

“I’ve signed a multi-fight deal, my agents got big things happening for us like end of this year starting next year as well. So I’m not worried about that.

“Even if it all ends tomorrow, which it won’t but if it was I’m happy with that I’ve made a killing do you know what I mean I’ve smashed it.”

He acknowledged that his time in the public eye won’t last forever but he’ll certainly be making the most of it two stepping across Ibiza this summer.

Jack added: “Listen nothing lasts forever does it so you’ve just gotta strike while the iron’s hot and make the most of it.”

Ahead of his first Misfits boxing match on Saturday he told us he’s spent two months clean and sober in preparation.

He said: “It’s been what, seven, eight weeks now. I’m itching for one [a drink]!”

Jack will return to the Spanish island – where it all began – later this year and he’s insisted he will be “well looked after,” by club owners.

“Places will offer free drinks, free tables, they offer me free hotels and stuff, yeah. That’s a bit of a privilege, being me now,” he admitted.

His stardom is not over yet as it was revealed earlier this year that he’ll be part of the cast for the upcoming season of Celebrity SAS.

The lord of the rings works behind a nondescript door in a Beverly Hills office building, not far from the UCLA campus where he once sold hair clips and trinkets from a folding table. Jason Arasheben was $28,000 in debt back then, running low on options. Now, eight of the past 11 NBA champions have worn his jewelry on their fingers.

Super Bowl winners have his rings, too — the Rams, Tampa Bay Buccaneers, Philadelphia Eagles and the Seattle Seahawks, whose players opened their ornate jewelry boxes at a private team party Thursday night to find the prize every NFL player covets.

The Seahawks ring, large as a child’s fist, is encrusted with 20 carats of white diamonds and blue sapphires. It’s a miniature Lumen Field, featuring the hawk-head logo and two Lombardi Trophies. The top lifts off and converts into a pendant. Inside is a cowhide segment of a game-used football. Twelve flags on the sides nod to the “12th Man” fan base; one is a secret button — push it and the arches pop out to reveal the words “World Champions.”

A look at the Seattle Seahawks’ Super Bowl ring celebrating their 2025 season championship.

(ONROPE studios; Jason Arasheben)

Even the box performs. Three tiny spotlights shine on the ring as it rotates on a mechanical platform. Each weighs about a third of a pound.

“It’s a memento to a certain period of time,” said Arasheben, who concedes the rings are closer to trophies than wearable jewelry. He competes for ring contracts with Tiffany & Co. and Jostens, both much larger operations. “It celebrates this time that these players and these fans will remember forever.”

His rings appraise for $50,000 to $250,000, though the market can push them higher. In 2024, Kobe Bryant’s 2000 Lakers ring sold at auction for $927,000, the highest price ever paid for an NBA title ring, topping Bill Russell’s 1957 ring at $705,000.

Beverly Hills jewler Jason Arasheben is

(Ric Tapia / For The Times)

NFL franchises typically order two or three times what NBA, NHL or MLB teams request — as many as 3,000 rings in four quality tiers. Lower-level employees might get cubic zirconia instead of diamonds. A limited number of fan versions are available at smaller scale and lower price. Arasheben always builds two extra into his contract so each of his sons can have one.

A career in luxury jewelry was never the plan. He grew up in Granada Hills and Calabasas; his Iranian father and Norwegian mother envisioned a doctor, lawyer or engineer. At UCLA, he found himself more interested in bars than books.

“I was $28,000 in debt because I enjoyed going out far too much, like every other college student,” he said.

One day he tagged along with a friend to the wholesale district downtown and had a flash of inspiration. She was buying plastic hair clips and silver trinkets by the dozen. He figured he could sell them to girls on campus.

He pitched the idea of a folding table to the university, which agreed when he offered to split the profits. He bought $400 worth of tchotchkes. One table became two, then six locations across Southern California campuses.

Then came the motherlode. He built acrylic display cases holding 30 to 40 pieces and drove from Agoura Hills to San Diego, stopping at every nail salon he could find, splitting the profits with owners who let him put a case on the counter. By his senior year, he had agreements with roughly 350 salons and was clearing $25,000 to $30,000 a month.

After college, as a regular on the L.A. nightclub scene, Arasheben built relationships with professional athletes and celebrities. He would go home and sketch chain designs for players he’d met, knowing nothing about the jewelry industry.

“Finally, an NBA player said, ‘Why don’t you come to my hotel room tomorrow before we play the Lakers and bring all the jewelry you have? I’m going to buy something from you,’” said Arasheben, describing an encounter with the late Anthony Mason.

Problem was, he had no jewelry. He spent the night cutting pictures from magazines and downloading images to create a makeshift catalog, then promised Mason a custom $40,000 necklace. Mason put down $20,000.

Arasheben went downtown, knocked on doors and found somebody to make it for $37,000. A new business was born, growing by word of mouth. Eventually he had four employees and a small office downtown, outsourcing most of his work.

Through his friendship with Jim Buss, son of owner Jerry Buss, Arasheben landed the contract to make the Lakers’ 2009 championship ring. It was a mad scramble. He and his employees slept in sleeping bags on the factory floor the final two weeks of production.

“We delivered the very last player ring 20 minutes before the ceremony began,” he said. “The ring ceremony was on national television, and can you imagine if they had to announce the rings weren’t ready? My career would have been over before it started.”

He made the Lakers ring in 2010, too, and five years later — through relationships with several Golden State players — produced four championship rings for the Warriors.

Tom Brady saw LeBron James’ ring during the 2020 offseason and convinced the Buccaneers to go with Arasheben.

A lot of Arasheben’s rings have James Bond elements such as secret compartments or special elements. The top comes off the miniature SoFi Stadium on the Rams ring, for instance, and the field below is made of a melted-down patch of the actual artificial turf. The World Series ring of the Texas Rangers features a tiny circle of leather from a game-used baseball.

He first incorporated a special feature in the 2018 Warriors ring, when a star player objected to a blue face and wanted white, only weeks from delivery. Arasheben devised a mechanism allowing the face to switch colors.

Jason Arasheben poses with some of the sports championship rings he has crafted over the years.

(Ric Tapia / For The Times)

“We started getting a lot of championship ring contracts after that,” he said. “Because we took it to a new level and showed some ingenuity. We wanted to be innovative.”

Push a button on the Eagles’ ring and wings pop out on the sides. Arasheben came up with that idea while shopping for a Buzz Lightyear toy for his nephew.

Buzz, too, has wings that pop out.

“I thought, ‘I can do that for the Eagles, but with amazing gold and diamonds,’” he said.

He will put a proposal together to make the medals for the 2028 Olympic Games in Los Angeles. Then there’s the one that got away.

“We lost out on the L.A. Dodgers,” Arasheben said. “They went with a company based in Canada instead of the hometown team, which broke my heart. But you know, that’s part of the business. You take your lumps.

“But I’ll still pitch. Every year, I pitch.”

The Rams were six yards from the Super Bowl.

The Rams’ celebrated young defense needed only to smother immobile Seattle Seahawks quarterback Sam Darnold deep in his territory in the final five minutes to regain possession and have a real shot at winning last season’s NFC championship.

They couldn’t touch him.

For more than four minutes Darnold drove downfield, connecting on three of four passes, baffling the pass rushers, bleeding the clock, and by the time the Seahawks finally gave the ball back, the Rams had only 25 seconds to live.

Final score: Seahawks 31, Rams 27.

Final verdict: The Rams needed a closer.

The Rams needed somebody to chase Darnold into submission the way Aaron Donald once famously chased down Joe Burrow in the final seconds of Super Bowl LVI.

The Rams needed a closer the way the Dodgers needed Edwin Díaz.

The Rams needed … Myles Garrett?

Are you kidding me? They got him? He now plays for them?

The Rams needed an edge rusher and they acquired an edge destroyer? The Rams needed a veteran defensive lineman and they acquired a one-man defensive line?

The Rams needed a closer and here comes Mariano Rivera?

It’s all true. It’s hella crazy. It’s so Rams.

Myles Garrett points before a game between the Cleveland Browns and Pittsburgh Steelers on Dec. 28.

(Jason Miller / Getty Images)

In their first blockbuster deal since the last one won them a Super Bowl — remember Jared Goff for Matthew Stafford? — the Rams pulled off another heist Monday in acquiring two-time defensive player of the year Myles Garrett from the Cleveland Browns for younger defensive star Jared Verse and multiple draft picks.

The Rams will miss the inspirational Verse, and one of those draft picks is a 2027 first rounder, and they’re once again dangerously mortgaging the future but … c’mon.

It’s Myles Garrett, people.

He treats quarterbacks the way Rams general manager Les Snead treats draft picks.

Crumple, discard, next.

He took what Deacon Jones invented and has done it better than anyone in history.

He’s a Fearsome Onesome.

Considering where he ranks in NFL history, the Browns just gave him away. Thank you, Cleveland. While you’re at it, can you take back LeBron?

Last season Garrett, who is still only 30, set the NFL’s single-season record for sacks with 23. He also owns the NFL record with six straight seasons of at least 12 sacks.

His career is filled with monster moments. In one game he had five sacks. In another game he had nine tackles, two sacks, two forced fumbles and a blocked field goal. In one season he had an NFL record 33 tackles for loss.

He’s also been the subject of a monster suspension, when the NFL kicked him out for the six remaining games of the season in 2019 after he pulled the helmet off Pittsburgh Steelers quarterback Mason Rudolph and swung it at him, hitting him in the head.

Garrett later apologized while accusing Rudolph of precipitating the fight with a racial slur. Garrett’s claims were never proven, and he quietly rejoined the Browns for the 2020 season.

He’s not known for violence except if you’re holding a football. He’s not known for taking any plays off, even though he was so unhappy he requested a trade out of Cleveland. He’s largely stayed off the gossip pages, an absence which is about to end as he is dating Los Angeles local and Olympic gold medalist Chloe Kim.

In all, Garrett is the one sweetheart of a player the Rams needed to complete their preparation for next Valentine’s Day 2027 Super Bowl at SoFi Stadium.

Matthew Stafford coming back? Check. He signed a contract extension.

Secondary help? Check. They added newly acquired All-Pro Trent McDuffie and his former Kansas City Chiefs running mate Jaylen Watson.

Nearly every other important player returning from a team that was arguably football’s best until that nail-biting loss to the eventual champion Seahawks? Check.

To all this, adding arguably the greatest edge rusher in history? Checkmate.

The Rams will miss Verse. The fans loved him, his teammates loved him more, and he was such a force after only two seasons he was considered the heir apparent to the retired Donald.

Two seasons ago he was the NFL’s defensive rookie of the year and last season he was widely lauded for his 7½ sacks.

But, um, Garrett had more than three times that many.

This sort of deal is what the Rams do when they think they are close to a championship. This is why they have become one of Los Angeles’ two most admired sports franchises.

They go for it. They push all their chips to the middle and they go for it. They realize this town won’t settle for anything less than championship effort so they go for it.

Rams general manager Les Snead walks on the field before a game between the Rams and New Orleans Saints at SoFi Stadium in November.

(Kyusung Gong / Associated Press)

Some football executives are wary of criticism for trading draft picks. Snead wears T-shirts cursing those picks. Some football executives plan for the distant future. With the support of owner Stan Kroenke, Snead never looks past the next Sunday.

Way back when, some folks wondered about the wisdom of trading young and popular Goff and three prime draft picks for aging Stafford in March 2021. But the Rams knew Stafford was the closer they needed to win a Super Bowl.

And, yeah silly, they won the next Super Bowl.

In that way, this is much of the same deal. The Browns realize they’re not winning anything immediately and want to build for the future. The Rams were all too happy to give them that future for the Browns’ present.

And what a present Garrett will be, the gift that keeps on crushing, the crown jewel of a revamped defense that should make the Rams the preseason favorites to unseat the defending Super Bowl champions.

One of whom is undoubtedly listening.

Sam Darnold, you there?

The Rams will begin the season by traveling about 8,000 air miles to play against the San Francisco 49ers in Australia.

They aim to end the season playing in Super Bowl LXI on their home turf at SoFi Stadium.

The Sept. 10 opener — a Thursday night in the United States and the morning of Sept. 11 in Melbourne — is the first of 17 games on a schedule announced Thursday by the NFL.

With reigning NFL most valuable player Matthew Stafford and a roster fortified by the addition of All-Pro cornerback Trent McDuffie, the Rams are regarded as a Super Bowl favorite. And their marquee status is reflected in a schedule that includes the maximum seven prime-time appearances, an increase of two over last season when the Rams finished 12-5 and advanced to the NFC championship game before losing to the eventual Super Bowl champion Seattle Seahawks.

Fans will have to wait nearly the entire season to see the Rams play the Seahawks. The first game between the NFC West rivals is Week 16 on Christmas night in Seattle. Two games later, on a date to be determined, they will play in the regular-season finale at SoFi Stadium.

In addition to the Friday night game against the Seahawks on Christmas, they play on “Sunday Night Football” against the Denver Broncos and “Monday Night Football” against the New York Giants and Buffalo Bills. The Rams play the Green Bay Packers on Thanksgiving eve — Wednesday night — and on “Thursday Night Football” against the Kansas City Chiefs.

The Rams play six division games in the NFC West, which is matched this season with the NFC East and the AFC West. The Rams also have games against teams in the NFC North, NFC South and AFC East.

The Rams play a preseason road game against the Chiefs and will play at SoFi Stadium against the New Orleans Saints and the Chargers.

Here is a game-by-game look at the regular-season schedule (all times Pacific):

Sept. 10, SAN FRANCISCO at Melbourne Cricket Ground, 5:35 p.m. (Netflix): Coach Sean McVay starts the season by matching up against mentor Kyle Shanahan and former Rams defensive coordinator Raheem Morris in a huge NFC West game.

Sept. 21, NEW YORK GIANTS, 5:15 p.m. (ESPN): New coach John Harbaugh aims to build a winning culture in the tradition of the one he established in 18 seasons with the Baltimore Ravens.

Sept. 27, at Denver, 5:20 p.m., (NBC): The Broncos aim to reach the Super Bowl that eluded them last season after Bo Nix’s injury. Bonus: There’s history between McVay and Sean Payton.

Oct. 4, at Philadelphia, 10 a.m. (Fox): The Rams opted to draft quarterback Ty Simpson — not former USC receiver Makai Lemon — with the 13th pick. Lemon was selected by the Eagles.

Oct. 12, BUFFALO, 5:15 p.m. (ESPN): The last time the Bills visited SoFi Stadium, the Rams won a 44-42 shootout. First-year coach Joe Brady will try to guide Josh Allen to his first Super Bowl appearance.

Buffalo Bills quarterback Josh Allen signals against the Denver Broncos in an AFC divisional playoff game in January.

(Bart Young / Associated Press)

Oct. 18, ARIZONA, 1:05 p.m., (Fox): Former Rams offensive coordinator Mike LaFleur parlayed his time with McVay into a head coach opportunity with the Cardinals. Now he has to face Matthew Stafford & Co.

Oct. 25, at Las Vegas, 1:25 p.m. (Fox): The Raiders drafted quarterback Fernando Mendoza with the top pick in the draft. Will he play against the Rams or sit behind Kirk Cousins?

Nov. 1, CHARGERS, 1:05 p.m. (Fox): Quarterback Justin Herbert is expected to benefit from the arrival of new offensive coordinator Mike McDaniel.

Nov. 8, at Washington, 10 a.m. (Fox): The Rams travel to play the Commanders for the first time since 2020. Quarterback Jayden Daniels looks to remain healthy and recapture rookie form.

Nov. 15, at Arizona, 1:05 p.m. (CBS): The Cardinals selected running back Jeremiyah Love with the fourth pick in the draft. Will it be Jacoby Brissett, Gardner Minshew or rookie Carson Beck at quarterback?

Nov. 22, off week

Nov. 25, GREEN BAY, 5 p.m. (Netflix): Jordan Love leads the Packers offense, Micah Parson the defense. Coach Matt LaFleur is 5-0 against McVay, who hired LaFleur as offensive coordinator in 2017.

Rams quarterback Matthew Stafford passes during a playoff win over the Carolina Panthers in January.

(Eric Thayer / Los Angeles Times)

Dec. 3, KANSAS CITY, 5:15 p.m. (Amazon Prime): Chiefs have not played the Rams in L.A. since 2018, when the Rams won, 54-51, at the Coliseum. Will Taylor Swift return to SoFi for the end of the Travis Kelce era?

Dec. 13, at San Francisco, 1:25 p.m. (Fox): Quarterback Brock Purdy and running back Christian McCaffrey are mainstays for a team that always challenges McVay.

Dec. 20, DALLAS, 1:25 p.m. (CBS): Dak Prescott comes to town with receivers CeeDee Lamb and George Pickens presumably as top targets. The Cowboys gave up a league-worst 30.1 points per game last season.

Dec. 25, at Seattle, 5:15 p.m. (Fox): Seahawks quarterback Sam Darnold elevated his performance for the Super Bowl champions in regular-season and playoff victories over the Rams last season.

Week 17, at Tampa Bay, TBD: Baker Mayfield reignited his career after a crash course in the Rams offense in 2022 under Zac Robinson. Now Robinson is the Buccaneers offensive coordinator.

Week 18: SEATTLE, TBD: Last season, the Rams donned their Midnight Mode alternate uniforms against the Seahawks and escaped with a narrow victory. Will this game decide the NFC West?

Bad Bunny’s halftime show at this year’s Super Bowl was largely embraced as a milestone for Latin music and Puerto Rican culture on America’s most prominent pop-cultural stage.

Not everyone thought so, though.

The Federal Communications Commission has released a massive trove of viewer complaints against the musician, the show’s broadcast partner NBC, and the NFL.

Many of them expressed outrage at the supposed bawdiness of Bad Bunny’s Spanish-language lyrics and dancing on a broadcast watched by children.

“That was the most disgusting inappropriate show. I had to make all of my children go into the next room!” wrote one traumatized Las Vegas viewer. “The none use [sic] of inappropriate language should stand no matter what language it’s in. This is the most disturbing thing I’ve witnessed on live TV in a long time.”

“NFL halftime show showed 2 men in act of intercourse while behind a pickup truck door,” wrote one aghast Ohioan. “The ratings for NFL [sic] made it safe for my children to watch but they witnessed this and became disturbed.”

Another viewer from Charlotte, NC who, to their credit, seemed familiar with Bad Bunny’s catalog, wrote that they “take issue with the vocal performances of ‘Safaera,’ which is a track widely known for explicit sexual references and graphic lyrical content, and ‘Yo Perreo Sola,’ which had choreography featuring overtly sexualized movements, including widespread twerking, grinding, pelvic thrusts and other sexually suggestive conduct.”

Those viewers were likely not sated by the FCC’s February review of the performance, which found that the songs’ lyrics had been appropriately altered for the broadcast.

Rep. Randy Fine (R-FL) had called for the FCC to investigate the broadcast.”What Americans witnessed during the Super Bowl halftime show with Bad Bunny was despicable and never should be allowed to be shown on television again,” Fine told the New York Post.

Many of the viewer complaints mirror President Trump’s post-show social media criticism, calling the performance “one of the worst EVER!”

“Nobody understands a word this guy is saying, and the dancing is disgusting, especially for young children that are watching from throughout the U.S.A., and all over the World,” the president wrote at the time.

Just before the Super Bowl, Bad Bunny had won the Grammy for album with “Debí Tirar Más Fotos,” and joined a wave of artists speaking out against violent ICE raids in speeches at the ceremony. The superstar demurred on performing in the continental U.S. for similar fears, instead performing a lengthy Puerto Rican residency.

Writing obituaries is a sacred, tricky task. Major news organizations compose advance obits on major figures, a just-in-case endeavor that feels both hugely important and somewhat macabre.

Several years ago, it fell to me to compose an advance death notice for the legendary conductor Michael Tilson Thomas, who was confronting a terminal brain cancer diagnosis by doubling down on his performance schedule and delivering — by all accounts — spectacular performances.

The piece lay blessedly dormant for longer than anyone thought possible as Tilson Thomas persevered in the face of his illness — an inspiration to all who knew and loved him. And then, yesterday morning, it became necessary to publish. There was a rush to update the writing, to fact-check the timeline, to be sure that all salient points were included. Here was the final story of a remarkable human’s life. The sense of responsibility cannot be overstated.

I was surprised to learn that a former colleague at the paper had also written an advance obit on Tilson Thomas, so my editor worked to meld the two together. The other writer included information that I had missed and vice versa, so in many ways it turned out to be a good thing that we had mistakenly doubled up on the weighty task.

One detail that the other writer included that was formerly unknown to me: A Times story from 1985 reported Tilson Thomas walking off the stage at the Hollywood Bowl nearly 15 minutes into the hourlong second movement of Part II of Gustav Mahler’s Symphony No. 8. Tilson Thomas did this, according to the archived news clip, because a noisy police helicopter simply would not go away.

A reader wrote in after the obituary went live to say that he had been there when it happened, and offered up this fresh insight:

“I was at the concert. The helicopter was hovering long, low and loud(!) with a bright searchlight scanning the trees behind the shell. It was an impossible situation which [Tilson Thomas] handled with quiet dignity. And when he returned to the stage he opted to re-start the Second Movement of Mahler VIII from the top! It was a long and memorable night at the Bowl.”

Our obituary described Tilson Thomas as storming off the stage. Not so, said the reader.

“More determination than storm,” he wrote.

And suddenly I could picture it, that moment from more than 40 years ago, with Tilson Thomas displaying the singular determination and love for his craft that would sustain him much later in life when he faced down death with the same quiet grace, the same unwavering resolve. And the music … I can hear it over the chop-chop-chop of the helicopter, until Tilson Thomas is all that remains.

I’m Arts editor Jessica Gelt feeling grateful for stories past. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Craft Contemporary hosts CLAY LA this weekend.

(Allen J. Schaben/Los Angeles Times)

CLAY LA
Emerging and established ceramic artists gather their wares for Craft Contemporary’s ninth annual fundraiser, a vibrant marketplace with complimentary refreshments, music and hands-on air-dry clay activities. Fun fact: The museum was founded by Edith R. Wyle, grandmother of “The Pitt’s” Noah Wyle.
Market Preview Night, 6-9 p.m. Friday, $20 general admission, $15 members; weekend market, 11 a.m.-5 p.m. Saturday (free with $9 museum admission) and Sunday (pay-what-you-wish admission); regular museum hours, 11 a.m.-5 p.m. Wednesday-Sunday; noon-8 p.m., the first Thursday of the month. Craft Contemporary, 5814 Wilshire Blvd. craftcontemporary.org

Music director James Conlon of at L.A. Opera will conduct his farewell concert Friday at the Dorothy Chandler Pavilion.

(Ariana Drehsler/For The Times)

James Conlon Farewell Concert
The maestro, who is stepping down after 20 years as LA Opera’s music director, leads the organization’s full orchestra and chorus for an evening of Mozart, Verdi and Wagner as his grand finale. The event is followed by a celebratory gala on the stage of the Dorothy Chandler Pavilion.
7 p.m. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org

SATURDAY
John Adams & Conrad Tao
The LA Phil’s John and Samantha Williams Creative Chair conducts the orchestra in a program that includes Piazzolla’s “Two Tangos,” Stravinsky’s “Song of the Nightingale” and Prokofiev’s “Lieutenant Kijé Suite,” plus pianist Conrad Tao performing Adams’ composition “Century Rolls,” inspired by 1920s self-playing pianos.
8 p.m. Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Brewery Artwalk & Open Studios
This free semi-annual event at the former Pabst Blue Ribbon Brewery north of downtown features more than 100 artists sharing, discussing and (ideally) selling their work in the very spaces that much of it is created.
11 a.m.-6 p.m Saturday and Sunday. Brewery Arts Complex, 2100 N. Main St., L.A. breweryartwalk.com

Jerrika Hinton and Bradley Gibson in “Fremont Ave.” runs April 25-May 23 at South Coast Repertory.

(Marc J. Franklin)

Fremont Ave.
The world premiere of Reggie D. White’s multi-generational drama about three Black men in L.A. and the woman who is the glue in their lives. Directed by Lili-Anne Brown. Part of the Pacific Playwrights Festival.
Previews, 8 p.m. Saturday; 7 p.m. Sunday and Tuesday-Thursday; opening night, May 1; regular performances, May 2-23. South Coast Repertory, Segerstrom Stage, 655 Town Center Drive, Costa Mesa. scr.org

The Liminary
It’s 2042 in Last Call Theatre’s latest immersive experience and the U.S. is run by a nationalistic, isolationist government. Do you dare join the resistance? With interactive exhibits on immigration, community and hope, plus multiple endings and narratives inspired by the saga of immigrants.
8 p.m Saturday; 8 p.m. May 1-2, May 7-9 and May 14-16. 1919 3rd Ave. L.A. lastcalltheatre.com

Liz Larner, “smile (abiding),” 1996-2005; Rachel Harrison, “The Prepper,” 2024; and Rebecca Morris, “Untitled (#15-25), 2025” from the exhibition “planchette” at Regen Projects.

(Regen Projects)

planchette
A group exhibition featuring contemporary abstract sculptures and paintings by influential artists Rachel Harrison, Liz Larner and Rebecca Morris.
Opening reception, 6-8 p.m.; exhibit runs through May 23. Regen Projects, 6750 Santa Monica Blvd. L.A. regenprojects.com

SUNDAY
Gabriel Kahane & Roomful of Teeth
The eclectic singer-songwriter-composer teams up with the multi-Grammy-winning vocal group to perform music from their recently-released collaborative album, “Elevator Songs.”
7 p.m. Sid The Cat Auditorium, 1022 El Centro St., South Pasadena. sidthecat.com

WEDNESDAY

The Australian Chamber Orchestra comes to the Segerstrom Center for the Arts on Wednesday, April 29.

(Nic Walker)

Australian Chamber Orchestra
The ensemble from down under performs Purcell’s “Fantasia on One Note,” Handel’s “Concerto Grosso in A Major, Op. 6 No. 11,” a new work by John Luther Adams titled “Horizon,” Vaughan Williams’ “The Lark Ascending” (arranged by Adam Johnson), and Schubert’s ”Death and the Maiden” in the candlelit intimacy of the Samueli Theater.
7 p.m. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. scfta.org

Jason Delane, left. and Chuma Gault in “Hymn” at the Odyssey Theatre.

(Cooper Bates)

Hymn
In this drama by British playwright Lolita Chakrabarti, best known for her stage adaptations of the novels “Life of Pi” and “Hamnet,” two Black men meet at a funeral and discover a life-changing connection. Gregg T. Daniel directs this co-production between the Odyssey Theatre and the Lower Depth Theatre.
Previews 8, p.m. Wednesday, Thursday and May 1; 8 p.m. Fridays and Saturdays (an Wednesday, May 27); 3 p.m. Sundays (except May 31), through June 14. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com

THURSDAY

Los Angeles Ballet presents “Giselle” with Kate Inoue at the Ahmanson Theatre, April 30-May 3.

(Alex Lopez)

‘Giselle’
The Los Angeles Ballet’s staging of this classic supernatural romance features the original 1841 choreography by Jean Coralli and Jules Perrot (updated by Marius Petipa) and score by composer Adolphe Adam.
7:30 p.m. Thursday-May 2 and 2 p.m. May 3. Ahmanson Theatre, 135 N. Grand Ave., downtown L.A. losangelesballet.org

The 1967 romantic comedy “Barefoot in the Park,” starring Jane Fonda and Robert Redford, opens the TCM Classic Film Festival on Thursday.

(Paramount Pictures)

TCM Classic Film Festival
Hollywood Boulevard comes alive with four days of movie magic beginning with the opening night presentation of the 1967 romantic comedy “Barefoot in the Park,” starring Robert Redford and Jane Fonda. Other screenings include “Alice In Wonderland” (1951), “A Place In The Sun” (1951), “Gaslight” (1944), “Out Of The Past (1947) , “Modern Times” (1936), “The Day The Earth Stood Still (1951) and “The Magnificent Seven” (1960), with appearances by Fonda, Barbara Hershey, Carol Burnett, John Turturro and many more.
Thursday-May 3. TCL Chinese Theatre IMAX, 6925 Hollywood Blvd.; Hollywood Roosevelt Hotel; TCL Chinese 6 Theatres multiplex, 6801 Hollywood Blvd.; El Capitan Theatre, 6838 Hollywood Blvd.; Egyptian Theatre, 6712 Hollywood Blvd. filmfestival.tcm.com

Arts anywhere

New and recent releases of arts-related media.

French Violinist Renaud Capucon, seen performing during the 2024 Paris Olympics, has a new live album featuring the works of composer Ernest Chausson.

(Kristy Sparow / Getty Images)

Chausson
This concert album pairs two pieces by French Romantic composer Ernest Chausson: “Concerto for Violin, Piano and String Quartet, Op. 21.,” performed by violinist Renaud Capuçon, the late pianist Nicholas Angelich and the Ébène Quartet, and “Poème” for violin and orchestra, featuring Capuçon and the Brussels Philharmonic led by conductor Stéphane Denève. The show was recorded live in 2020. Warner Classics/Erato: Digital ($10) and CD ($17).

The City Unseen
Emmy-winning producer-director Daniel Sackheim, whose credits include “Law & Order,” “The X-Files” and “The Americans,” is also a serious photographer. His new book of black-and-white images casts Los Angeles as the protagonist in a noir landscape of nocturnal beauty where its darkest secrets lurk in the deepest shadows. Hat & Beard Press: 108 pages, $60.

International Jazz Day
The 15th annual event is Thursday in Chicago, but you can celebrate early with PBS’ broadcast of last year’s International Jazz Day All-Star Concert from Abu Dabai. Hosted by Jeremy Irons, the lineup includes Herbie Hancock, Dee Dee Bridgewater, Kurt Elling, Jose James, John McLaughlin, Helene Mercier, Danilo Perez, Arturo Sandoval and more.
10 p.m. Friday. PBS SoCal and streaming at pbssocal.org

— Kevin Crust

Culture news and the SoCal scene

Attendees walk around the Los Angeles County Museum of Art’s new David Geffen Galleries in Los Angeles on Sunday, April 19, 2025.

(Ariana Drehsler/For The Times)

The Los Angeles County Museum of Art news did not stop last week as it threw a glitzy opening gala for the new David Geffen Galleries, and — a few days later — welcomed members for previews prior to opening its doors to the general public on May 4. I attended the gala and checked in with a number of wonderful artists, including Mark Bradford, Ed Ruscha and Jeff Koons, about their thoughts on the new building. Then, on Sunday, we sent a team to get member reactions to the new space. Later in the week we published critic Leah Ollman’s review of the inaugural installation. Spoiler alert: Nope, not gonna give you one. You’ll have to read it.

We also ran a lovely profile by contributor Tara Anne Dalbow about Eileen Harris Norton whose jaw-dropping art collection is currently on display at Hauser & Wirth in downtown L.A. “Few people have done more to shape Los Angeles’ art scene than Eileen Harris Norton,” writes Dalbow. “The third-generation Californian, born and raised near Watts Towers in South Los Angeles, bought her first artwork at the Baldwin Hills Crenshaw Plaza, co-founded Art + Practice in Leimert Park, and has spent 50 years collecting artists who were, in many cases, her friends and neighbors.”

Joey Stromberg and Jenny Soo in “For Want of a Horse” at the Echo Theater Company.

(Cooper Bates)

Times theater critic Charles McNulty was — as always — incredibly busy, publishing two reviews and a feature in the past week. First up, his take on “For Want of a Horse” by Olivia Dufault, currently receiving its world premiere in an Echo Theater Company production at Atwater Village Theatre. “The subject is zoophilia, not to be confused with bestiality, though for many of us it will be a distinction without much of a difference,” McNulty writes. Curious? Read on.

McNulty also delivered a thoughtful profile Nicholas Christopher, who he dined with on a recent trip to New York. “A new Broadway star emerges each season, and this year the spotlight has alighted on Nicholas Christopher, who has been dazzling audiences and insiders alike as part of the awe-inspiring triumvirate powering the thrilling new revival of the musical ‘Chess,’” McNulty writes.

Finally, McNulty reviewed “Eat Me,” by Talene Monahon, having its world premiere at South Coast Repertory. A fan of Monahon‘s previous work, McNulty was not as impressed at he would have liked. The play, he writes, “is a relentlessly quirky work that gorges on its own dark whimsy.”

In other news, I got the scoop that new media artist Refik Anadol’s museum of AI arts, Dataland has set its opening date for June 20.

Elinor Gunn in “Joan” at South Coast Repertory. SCR has announced its 2026-27 season.

(Scott Smeltzer)

South Coast Repertory announced an expanded 2026-27 season, featuring nine productions, including “Hamlet,” starring Raymond Lee; Stephen Sondheim and James Lapine’s “Into the Woods;” Lauren Yee’s “Mother Russia;” and Oscar Wilde’s classic, “The Importance of Being Earnest.” “The 2026-27 season reflects programming changes established in SCR’s recently adopted strategic plan, which includes more classics, modern masterpieces and the continuation of an annual musical on the Segerstrom Stage,” a news release notes.

“GUAC,” the heartbreaking one-man show by a father who lost his son in the 2018 Parkland school shooting, returns Tuesday to Center Theatre Group’s Kirk Douglas Theatre after playing to a packed house last September. Manuel Oliver’s devastating plea for gun control runs for three weeks only, through May 17.

— Jessica Gelt

And last but not least

If you’re sad that you missed Coachella, this story about how much people paid to attend will make you feel all better.

A legendary NFL coach found linebacker Rod Martin not by scouting him at USC, but almost by accident.

The Oakland Raiders had a throwaway 12th-round pick in the 1977 draft, and then-coach John Madden grew frustrated hearing his personnel executives contemplate using it on a basketball player or track guy. Finally, Madden blurted out that he could find a random kid walking around the USC campus in sandals who could make more of an impact than that.

“Ron Wolf says, ‘All right, smart guy,’” recalled Madden’s son, Mike. “So they were a couple picks away and dad goes, ‘Let me call [USC coach] John Robinson.’”

Robinson had one question: Has Rod Martin been drafted?

Raiders linebacker Rod Martin stands on the field during a game against the Buffalo Bills on Dec. 6, 1987, at the Coliseum.

(Mike Powell / Getty Images)

“Dad goes, ‘What position does he play?’” the younger Madden said. “Robinson tells him Martin is a linebacker, and dad goes, ‘Good. Tough guy we can knock around in training camp. Have him run down on kicks.’ And Robinson says, ‘No, John. Rod Martin will make your team.’”

Martin did a lot more than make the team. He would go on to set a Super Bowl record with three interceptions in one of the most dominant defensive performances in championship history.

Martin, who would play his entire 12-year career with the Oakland then Los Angeles Raiders, is dead at age 72. The Raiders announced his death Monday but did not specify a cause of death.

“The Raiders family is deeply saddened by the passing of Rod Martin, a standout linebacker and key player on two Super Bowl championship teams,” read a team statement.

The franchise called Martin, “a beloved member of the Raiders Family and a favorite of Raiders fans everywhere.”

A two-time Super Bowl winner and a two-time Pro Bowl selection, Martin saved his best game for the biggest stage. In Super Bowl XV at the Louisiana Superdome, he intercepted Philadelphia Eagles quarterback Ron Jaworski three times in a 27-10 Raiders victory.

“What I remember about Rod was his ability to diagnose and react,” Jaworski said by phone Monday. “In the Super Bowl, he makes two phenomenal plays. He has three interceptions, but interceptions one and two — I’d like to say they were bad decisions on my part. They weren’t. I tried to squeeze throws in. He just made a great play. He was a great athlete.”

Three years later, Martin was still a key component to the Raiders’ defense in a Super Bowl victory over Washington. He had a sack of quarterback Joe Theismann, a fumble recovery, and a fourth-and-one stop of John Riggins late in the third quarter of a 38-9 blowout.

Born in Welch, W. Va., the son of a coal miner grew up in Los Angeles and attended Hamilton High before going on to play at Los Angeles City College and USC. The NFL saw him as a tweener, too small for linebacker at 210 pounds and too slow to play safety. Clearly, that was a faulty assessment.

Hall of Fame quarterback Warren Moon was two years behind Martin at Hamilton, and the two remained friends throughout the decades that followed.

“We met when I was a sophomore,” Moon said. “He was a senior — middle linebacker, fullback and center on the basketball team. He was the ultimate athlete. At the time I was there, I looked up to him quite a lot.

“He wasn’t the biggest guy in the world, but he was big enough. He had the strongest hands and the strongest forearms. He could just take a tight end or whoever came to block him, grab his pads, shove him off and go make the play. He was just a real solid player.”

It was those hands that grabbed an opportunity with the Raiders and didn’t let go.

“So dad goes marching into the draft room,” Madden said, “looks at Ron and everybody else and says, ‘We’re going to take Rod Martin, linebacker, USC.’ And they did.”