Bowl

Hardly anyone walking up Peppertree Lane notices the Hollywood Bowl Museum on the way to the amphitheater entrance. The overlooked museum, however, has been refreshed with an enchanting new exhibition. Well-timed, it provides an excellent primer on changing L.A. mores seen through the history of the Bowl over the past century.

Change is again upon us. As Angelenos have evolved, so have our ideas about the Bowl. A concert was a concert and audiences of yore dressed for the Los Angeles Philharmonic, indoors or out. Men wore coats, ties and fedoras. I have a photo of my mother at the Bowl on a chilly 1940s evening sporting, like other ladies around her in the inexpensive bleachers, her mink stole.

The Bowl was said to boast, before the construction of the Hollywood Freeway, a natural acoustical, well, bowl. Even so, sonic adventurers, beginning with Leopold Stokowski in the 1930s, experimented with amplification in an obsessive, seemingly quixotic effort to locate a mythical sonic grail on the Cahuenga Pass. Boys with their toys, thought The Times’ feisty critic Isabelle Morse Jones.

We now have it with a spectacular new sound system along with the old caveat: Beware of what you wish for.

The Bowl, of course, remains the Bowl. Last week when the Los Angeles Philharmonic opened its summer season in the venue it built and has managed for over a century, there were all the familiar alfresco and musical pleasures: convivial picnicking, fine weather, inimitable atmosphere, a white-jacketed orchestra on an iconic stage. The museum’s panorama of ageless ambience is this summer enhanced by increased yet snappy security and a handsome “John Williams Stage” plaque honoring L.A.’s beloved composer.

The newly designed white French loudspeakers suspended over the Bowl stage along with ground-level white cubes of super-effective subwoofers have clean, unobtrusive lines that well fit the shell. Their unobtrusive placement complements their immersive musicality, hitherto only possible outdoors with high-end earphones or headphones connected to sophisticated digital acoustic conversion equipment costing a bundle. For the first time, a dollar seat (there are still a few for the L.A. Phil) strives for such sonic bliss.

It feels miraculous. You are in an excellent concert hall-like acoustical environment while in the great outdoors. Our earbuds have already trained us to think of music as a private escape from reality. Even so, to be in that environmentally exclusive sonic world while sharing music with thousands of others in a special setting, ironically begins to feel more artificially escapist than a crummy sound system that reminds you of where you are.

Will we — should we — learn to love it and find anything less artificial? Car audio systems creating concert hall conditions suggest we will. Audiophiles well know that you get used to new equipment, no matter how revelatory it first sounds, very quickly.

A few years ago, when I heard a demonstration of a souped-up, hi-res recording in surround Dolby Atmos of excerpts from Wagner’s “Die Walküre” on a 32-speaker Burmester audio system crammed into a fancy Mercedes SUV, I was scared out of my wits. “Apocalypse Now” on the 405 is not for the faint of heart.

Yet I’ve spared no expense on what I find a more refined sound system in my Volvo, which I now use more and more for audio books than music. The richer, more human quality of a recorded voice is like having a virtual companion reading to you. I’m less in a hurry. It’s nice to have a pal at rush hour.

It is far too soon to say what ways the fabulous new Bowl sound system, which happens to be AI-endowed, might become friend and/or foe. In the first two L.A. Phil classical concerts, the white speakers brought out wonders and caused problems. But the minimal Bowl rehearsal time allows little opportunity to fine-tune.

One big change in Bowl priorities has been the rise of pop as king. Not that long ago, the L.A. Phil’s opening night was the Bowl opening night, suitable for conspicuous socialite picnicking. Not only has the Bowl opener been turned over to star pop performers (who bring in bigger bucks), this year there wasn’t even a first L.A. Phil Tuesday. That date became yet another money-maker with private event — a screening of “Moana” with live orchestra, luckily before the disappointing reviews and box office performance. The first L.A. Phil concert of the season was moved to Wednesday and poorly attended.

The back-to-back Wednesday and Thursday night programs featured music composed and performed by Americans. Each included a short new work commissioned by the L.A. Phil. On Wednesday, moonlighting Hollywood Bowl Orchestra music director Thomas Wilkins led the premiere of Shaina Taub’s “Suffs” Song Cycle — orchestrations of four songs from her recent musical about women’s suffrage that played just down the road at the Pantages last year. The next evening, Tito Muñoz made a strong L.A. Phil debut in a program that included the premiere of “The Art of the Goal,” celebrating Los Angeles Football Club, and that was credited jointly to filmmaker Josh Kahn and composer Adam Schoenberg.

Both premieres were reminders that the sound system will have many purposes. In “Suffs,” stalwart amplification emphasized the predictability of forthright lyrics and score. AI is supposed to make voices stand out, but it is not helpful to singers’ limitations. On the other hand, is brought out the sumptuous quality Alex Newell’s voice potently making the adamant “Keep Marching” keep marching.

Muñoz’s program was titled “The Classical World Cup,” with music by Argentine composer Alberto Ginastera, Mexican composer Silvestre Revueltas and U.S. composers Samuel Barber and Aaron Copland along with Schoenberg. As it turned out, Mexico and the U.S. were already out of World Cup competition, and “Art of the Goal” came across as an eight-minute advertisement for the L.A. footballers. They’re in the dressing room revving up and, on the field, revved up, sped up, cut up with music that excites and far too many shots of a soccer field lined with advertisements, just the kind of branding we hope to escape at the Bowl.

Then again, even though “Goal” was shown only on video monitors, the Bowl with its new sound system worked brilliantly as the grandest cinema on the planet. Hollywood may be hurting, but let the Bowl now save the day by inspiring Hollywood to reinvent, in its backyard, film with live music.

As for regular orchestral music, the sound system was hit and miss. On Wilkins’ program, Valerie Coleman’s dark “Fanfare for Uncommon Times” brought a listener inside brass and percussion. Leonard Bernstein’s lavish orchestrations of his “Three Dances from ‘On the Town’” and Ellington’s “Harlem” benefited from Wilkins’ low-key conducting, offering ease and freedom to the players.

Muñoz’s program was bookended by dance scores — Ginastera’s “Four Dances from ‘Estancia’” and Copland’s ballet “Billy the Kid” — that evoke the prairie and the people in it in both viscerally and spiritually. The new sound system and eager performances made the prairie feel close. In between, violinist Randall Goosby brought richness to Barber’s Violin Concerto and the L.A. went in for gripping weirdness in “Sensemayá.”

But who did what? Were balances the conductors’, the sound engineers’, AI’s? While the amplified soundstage is now as huge as the Bowl, attention was increasingly drawn to individuals, heightened by video closeups. A horn flub (and horns flub) stands out. The sound is not just big and bold, but scrubbed clean by AI with the goal of maddening perfection. Will such scrutiny, in the end, make players uptight or liberate them? It’s well to remember that in the early days of synthesizing instruments, violins with perfect vibrato sounded especially fake, until tiny errors generated by chance were added to the sine waves.

The Hollywood Bowl has created a beast. If humanized, the Bowl could serve as antidote to a worrisome AI future. But the question remains whether we can change AI or the newly potent sound waves only make matters worse.

Last March, the L.A. Times had proclaimed that Nathy Peluso had found her musical language. Later that year, the Argentine singer decided to mix things up by releasing her 2025 EP, “Malportada.”

In a departure from her urbano and alternative leanings blended with notes of R&B, the six-song EP was a straightforward, traditional salsa offering that featured a collaboration with Venezuelan salsa hybrid band Rawayana on the title track.

“My experience being a woman and making music has always been to talk about my freedom [and] how I feel,” she told The Times in a recent interview inside the famous Amoeba Music record store in Hollywood. “Salsa seems to me like a stage that invites one to express themselves fully, speak loudly, dance freely and feel powerful.”

Peluso had previously dabbled in the salsa genre with tracks like 2020’s “Puro Veneno,” 2021’s “Mafiosa” and the 2025 salsa erótica tune “Erotika,” but had never dedicated an entire project to the Caribbean musical styling.

The pivot by the 31-year-old artist was especially bold as she had previously been accused of cultural appropriation for recording salsa tunes.

“It’s [my] function in society,” Peluso previously told The Times in a 2025 interview when asked about the criticism of her salsa jams. “I’m not the kind of artist who’s complacent or politically correct. I don’t do anything with the intention of pleasing others. I chose the mission of bringing salsa back to the present because I’m passionate about it. If a genre gives me so many wonderful sensations, I want everybody else to feel them as well. As long as people argue, they will have to listen to the songs — and as a result, they will listen to salsa.”

Peluso’s gamble paid off — as “Malportada” was so well-received by critics, fans and the wider salsa community that she managed to get herself booked as the co-headliner for the Hollywood Bowl’s upcoming Salsa Spectacular on Wednesday.

Over the last few years, salsa music has enjoyed a bit of a renaissance — thanks in part to the success of Bad Bunny’s universally acclaimed album “Debí Tirar Más Fotos” — which featured the salsa fusion hits “Baile Inolvidable” and “Nuevayol” — and Rauw Alejandro’s 2024 LP “Cosa Nuestra.”

But for Peluso, her integration into the salsa world was a long time coming.

“I grew up listening to Gloria Estefan, I fell in love with [the 2000 album] ‘Alma Caribeña,’ I fell in love with the richness of that music,” said Peluso. “I’ve had a strong relationship with salsa music since I was young, even though I didn’t grew up in a place that was a cradle for that genre.”

Peluso was born in the Argentine city of Luján and lived there until she was 9, when her family moved to Spain, eventually settling in the southeastern city of Alicante.

In addition to Estefan, she cited inspiration from Nuyorican percussionist Ray Barretto, Puerto Rican salsa orchestra El Gran Combo de Puerto Rico and genre icons Héctor Lavoe and Willie Colón.

(Ronaldo Bolanos / Los Angeles Times)

“Throughout my career, I’ve always flirted with the genre,” Peluso said. “After doing the press for [the 2024 album] ‘Grasa’ there reached a point where I realized I was ready to make my salsa record, and it just happened to coincide with the current salsa boom.”

While paying respect to the musical tradition, Peluso also imbued her spin on the genre with some of the swaggering feminine energy often found in urbano music — as is evidenced in the “Malportada” track “A Caballo.”

“I grew up listening to a lot of masculine salsa and I thought it would be interesting to approach that type of energy from a woman’s perspective,” she explained. “[To take] all these stories of danger and sex and desire that the genre is known for, but give them a feminine spin.”

Peluso further bolstered her salsa bona fides when she teamed up with a pair of Caribbean music legends over the last year.

In September, she collaborated with her idol Estefan for a remix of the 1993 track “Chirriqui Chirri.” The duo performed the explosive song at the 2025 Latin Grammy Awards show. In February, Peluso jumped in the studio with Puerto Rican salsero Marc Anthony to record the original track “Como en el Idilio.”

“It was so awesome to sing with [Anthony] because he is one of the all-time legends we have in salsa who expanded the genre worldwide,” Peluso said. “It was a blessing to sing with Marc and Gloria in this moment of my career in which I’ve decided to represent salsa from my point of view.”

For her Hollywood Bowl gig, Peluso will be accompanied by the Colombian salsa collective Grupo Niche, a Grammy- and Latin Grammy-winning group that has been around since the late ’70s.

“I’ve admired Grupo Niche for years,” Peluso said. “We met at the Latin Grammys a few years ago and really hit it off. A little while back, when I was offered to do the Hollywood Bowl show alongside them, it was a no-brainer.”

But the biggest honor that Peluso is looking forward to is playing the hallowed stage of the Hollywood Bowl.

“It’s like playing in a palace for me,” she said of the historic venue. “The last time I was in L.A. for the ‘Grasa’ tour, I left wanting more. I knew I’d have to waiting until my next tour to try it, but I didn’t expect my next tour to come so quickly. It’s such a mythical place, it’s such a luxury.”

The actor and musician Jason Schwartzman pulled a cassette tape from his pocket on stage at the L.A. Phil’s tribute to Wes Anderson. Schwartzman was just a teenager when he was cast as the obliviously ambitious Max Fischer in Anderson’s 1998 film “Rushmore,” and on Friday, he recalled the night Anderson played him the film’s entire soundtrack in his car.

“He said, ‘This is the soundtrack to the movie, this is the order it’s going to be in, and he walked me through the entire film narrating it,” Schwartzman said, still agog at the completeness of Anderson’s vision before a frame was shot.

More recently, Schwartzman said, “I was at my mom’s house tying my shoe, and I see a cassette tape on the ground titled ‘Rushmore songs’.” He then chucked the tape into the audience, a piece of film history that hopefully someone caught unscathed.

Anderson’s use of far-flung needle drops and lovely original score work is, like everything in his film universe, planned down to exacting detail. But this opener of a three-night stand — sporting an all-star roster of guest vocalists, an exceptional backing band, and a light touch from the Phil — was more in the spirit of how fans revisit Anderson’s films. As old friends that pop back into your life, affection only deepened with time, right when you need them.

Guided by the genial riffing of the night’s MC, Bill Murray (an Anderson regular from “Rushmore” onwards), the program made its case that Anderson’s savvy with soundtrack curation and delicate, evocative scores are the heart of his films, right along with his meticulous visual style and arch, melancholy tone.

The director, recently freed from a malfunctioning elevator in a pithily Andersonian incident, made a brief appearance onstage with Murray in his regal white suit. But the focus was the music itself on Friday, and the ragtag roster of artists that fully conjured it.

To start, huge credit due to the show’s musical director Justin Meldal-Johnsen and the session-killer band of Roger Joseph Manning Jr., Jason Falkner, Joey Waronker and Gus Seyffert. The sheer amount of music to arrange and assemble for this was vast and demanding, and they got to all of it from 1996’s “Bottle Rocket” to the present.

The Phil took a more modest role, performing poignant, rigorous slivers of scores from Anderson’s go-to composers Alexandre Desplat (“Canto at Gabelmeister’s Peak” from ‘The Grand Budapest Hotel” and “Mr. Fox in The Fields,” from “The Fantastic Mr. Fox”) or his frequent collaborator, Devo’s Mark Mothersbaugh (the propulsive “Ping Island” from “The Life Aquatic with Steve Zissou.”)

Pianist Jean-Yves Thibaudet took a lively solo crack at “Moses Rosenthaler” off “The French Dispatch;” Rajib Karmakar and Aakash Pujara played aching sitar and flute drones from “The Darjeeling Limited,” and taiko drummer Kaoru Watanabe nearly blew out the Bowl’s speakers on “Shinto Shrine” from “Isle of Dogs.”

The surprises came from the rock acts brought in to re-imagine the most evocative needle drops from Anderson’s ouvre.

Jackson Browne, in an unbelievable career first, finally got around to performing “Fairest of the Seasons” and “These Days,” tracks he wrote as a teenager eventually covered by German art-rock chanteuse Nico, mournfully used on “The Royal Tenenbaums.”

Beck took a pass at the late Elliott Smith’s ghostly “Needle in The Hay,” used to harrowing effect in the same film, and later Love’s “Alone Again, Or”. Karen Elson beautifully covered Françoise Hardy’s “Les Temps De L’amour” from “Moonrise Kingdom” while the Yeah Yeah Yeahs’ Karen O simmered through the Rolling Stones’ “Play With Fire” off “Darjeeling.”

Yet the delighted gang’s-all-here element that ties Anderson’s regular cast together was embodied by an endearingly shaggy run through “Zorro Is Back” with Jenny Lewis and Rogê. Towards the end of the night, just before a closer with the Faces’ “Ooh La La,” Murray brought out a one-of-a-kind instrument for a big flourish. A nine-dollar desk bell, seemingly purchased at Staples hours before showtime, requested specifically by Anderson.

“Front of house, make sure Bill’s bell is ripping,” Beck implored the sound techs at the Bowl. Indeed, as the band, including Jim James of My Morning Jacket, Lewis and Schwartzman, performed the Bobby Fuller Four’s single “Let Her Dance,” Murray indeed whacked the hell out of that thing.

Storied norteño group Los Tigres del Norte announced Tuesday that they are teaming up with departing L.A. Philharmonic conductor Gustavo Dudamel for a special performance Aug. 21 at the Hollywood Bowl.

The show is part of a series titled “Celebrating Gustavo at the Bowl,” which looks to send off Dudamel in style as he transitions into his new role as the music and artistic director of the New York Philharmonic. The “Jaula de Oro” artist’s appearance is part of “Gustavo’s Fiesta,” which will also feature performances by other prominent Latino artists.

The norteño act has sold 37 million albums and recorded 500 songs over a career that’s spanned five decades. They have seven Grammy Awards, eight Latin Grammys and have had 66 songs land on Billboard’s Hot Latin Songs chart, the most of any Latin music act ever.

In 2018, Los Tigres del Norte became the first norteño act to headline at the Hollywood Bowl.

Recently, the “La Puerta Negra” hitmakers were immortalized in U.S. pop culture history when its members appeared in animated form in a December 2025 episode of “The Simpsons” and performed an original corrido about the escapades of Homer Simpson and Pedro Chespirito (also known as the Bumblebee Man).

Also featured on the Aug. 21 lineup are Grammy-winning singer Lila Downs, the all-female Mariachi Reyna de Los Ángeles, the explosive cumbia group La Sonora Dinamita and the legendary Mexican bolero trio Los Panchos.

The show will serve as Dudamel’s third-to-last performance as the music and artistic director of L.A. Philharmonic. On Aug. 22, he will be in concert with Foo Fighters. His farewell weekend will conclude Aug. 23 and will serve as a benefit for his homeland of Venezuela, which suffered catastrophic losses from twin earthquakes in late June.

Donations will benefit Dudamel’s Earthquake Recovery to Support Venezuelan Communities fund, in partnership with the United Nations Development Programme and the Development Bank of Latin America and the Caribbean fund.

Gustavo Dudamel’s farewell to Los Angeles will also function as a benefit for his homeland of Venezuela, which suffered catastrophic losses from twin earthquakes in late June.

Dudamel and the Los Angeles Philharmonic announced Monday that the beloved composer’s final Hollywood Bowl performance as the orchestra’s music and artistic director, originally programmed as “Celebrating Gustavo at the Bowl: A Musical Legacy,” will instead be called “A Concert for Venezuela.” Still scheduled for Aug. 23, the show will raise funds for communities affected by the earthquakes.

“Venezuela will always be my home, and every moment, my thoughts are with the families whose lives have been forever changed by this tragedy,” Dudamel said in a statement. “The suffering is immense, but so is the strength and resilience of our people. This concert at the Hollywood Bowl is an invitation to stand together and transform our compassion into action.”

A full program and special guests will be announced later. Dudamel and the musicians will contribute their time and services free of charge.

Donations will benefit Dudamel’s Earthquake Recovery to Support Venezuelan Communities fund, in partnership with the United Nations Development Programme and the Development Bank of Latin America and the Caribbean fund. The L.A. Phil will contribute $50,000 to the fund, announced President and Chief Executive Kim Noltemy.

“In moments of profound need, our responsibility as an institution extends beyond the stage,” she said. “We are grateful for the opportunity to provide direct financial support to relief efforts for communities in Venezuela with a $50,000 charitable donation and to stand alongside Gustavo in bringing this concert to life at the Bowl.”

Twin earthquakes on June 24 devastated Venezuela, with more than 3,300 deaths and more than 30,000 people reported missing. As international rescue teams depart and locals are left to search through rubble, Venezuelans abroad, including L.A. restaurants, have looked for ways to send support.

Dudamel, who was born and raised in Barquisimeto, Venezuela, wrote in a 2015 op-ed for The Times that he is a “product” of El Sistema, the country’s government-funded youth music program. He has been the music director of the Simón Bolívar Symphony Orchestra since 1999.

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.