That Aug. 5 Los Angeles concert was supposed to be the kickoff for the band’s the Big One tour. But a spokesperson for the band says that frontman Billy Gibbons and bassist Elwood Francis will continue the tour.
Michael Monahan will substitute for Beard for the remainder of the Big One, which will conclude its U.S. run on Oct. 9 in Port Wentworth, Ga.
The band has not said that it will reschedule the L.A. show, and all tickets, including transportation and parking passes, were being automatically refunded, according to the Hollywood Bowl.
Gibbons previously posted on Instagram that there were unexplained “insurmountable obstacles” leading to the band’s sudden cancellation at the Hollywood Bowl.
The band has released no details on Beard’s condition, although this is not the first time the drummer, 77, has faced health-related issues in his long tenure with the band. Beard joined ZZ Top in 1969, soon after the band formed, replacing founding drummer Dan Mitchell.
In March 2025, the Texan trio announced via its Instagram that Beard would temporarily step away from the band’s Elevation tour to tend to a health issue, which was later revealed to be foot and ankle problems. John Douglas — a longtime tech member, percussionist and drummer — replaced Beard in the interim, having done so previously when the veteran drummer underwent an emergency appendectomy in 2002.
In ZZ Top’s early days — following the release of the 1976 album “Tejas” — Beard dealt with issues related to substance abuse that led to the band’s three-year hiatus, which he and his bandmates opened up about in the 2019 documentary “ZZ Top: That Little Ol’ Band From Texas.”
“Frank goes all out on what he does and that includes the bad things,” bandmate Dusty Hill, who died in 2021, said in the documentary. “He was sick. If you’re a very good friend, you love a guy, you don’t want to see him die. You just want to see your brother get well.”
The Grammy-nominated band, which formed in Houston, is known for its edgy blues twang in popular singles including “La Grange” and “Tush” and across 15 studio albums. In November, ZZ Top will close out the Big One tour with eight performances across Mexico and South America.
A few hours after their season-ending defeat in the NFC championship game last January, the Rams boarded a plane for their flight home from Seattle.
Quarterback Matthew Stafford was seated a row in front of veteran receiver Davante Adams, who once again had fallen just short of finally reaching the Super Bowl.
“He’s turning around, he’s looking at me, like, ‘I’m sorry, man, I wanted that for you so bad,’” Adams recalled. “Not for him, but he wanted it for me.”
Adams, 33, is expected to get another shot at playing on the NFL’s biggest stage.
Since the Green Bay Packers selected him out of Fresno State in the second round of the 2014 draft, Adams has played in and lost five NFC championship games, including last season’s 31-27 defeat by the eventual Super Bowl-champion Seahawks.
Adams was visibly upset in the locker room — “a mess” he said — so he is aiming for a happier result if the Rams reach the conference championship game for the fourth time under coach Sean McVay.
Last season, his first with the Rams, Adams led the NFL with 14 touchdowns catches.
And that was after the three-time All-Pro got no training-camp reps with Stafford, who sat out because of a back issue.
Stafford, an 18th-year pro, and Adams struggled to consistently connect on the field through the first six games. But that changed when the Rams traveled to London to play the Jacksonville Jaguars.
McVay described what happened at Wembley Stadium as “a turning point” for Stafford and Adams.
Rams wide receiver Davante Adams jogs with the ball during training camp at Loyola Marymount on July 26.
(Robert Gauthier / Los Angeles Times)
In the 35-7 rout, Adams caught three touchdown passes, all from two yards or closer.
“They really hit their stride,” McVay said.
Adams was sidelined the next game and the final two games of the regular season because of a hamstring injury. He returned for the playoffs and made several huge plays, including a spectacular sideline catch in a divisional-round victory over the Chicago Bears in Chicago.
Last spring, with the Philadelphia Eagles shopping wide receiver A.J. Brown, McVay acknowledged that Adams’ name had come up in trade talks.
“It’s just the way that this business goes,” Adams said at the outset of training camp. “You gotta evaluate, you gotta look at certain things, and ultimately I’m still a Ram and I’m here and I’m happy to be here.”
Stafford and Adams had scheduled rest days during camp but they still got plenty of reps together as the Rams prepared for next month’s opener against the San Francisco 49ers in Australia.
“We’re getting a whole different start than what we did last year,” Adams said, adding, “Any time you can have these grinding days where you come out here, play ball and lock in on the details, that’ll help you be in a much better position when it’s time to really go.”
During the offseason, the Rams added All-Pro cornerback Trent McDuffie, cornerback Jaylen Watson and defensive end Myles Garrett, the reigning NFL defensive player of the year.
McDuffie and Watson have helped Adams and fellow star receiver Puka Nacua hone their skills.
“It’s the epitome of iron sharpens iron,” Adams said when asked about McDuffie.
For both.
Adams is the best route runner in the NFL, McDuffie said.
“The more we can keep ping-ponging back and forth against each other, the more we can keep rising our standard,“ McDuffie said. “It’s going to be a great year for both of us, so I enjoy it a lot.”
Despite being the oldest wide receiver on the roster — “This is dog years out here,” he said, laughing — Adams is learning from and being pushed by his younger teammates.
“I am the old man and I feel young because I can still go out there and do young-man stuff,” he said. “But then my body don’t necessarily feel the same way. … If I can continue to play at a high level, I’ll deal with the other stuff, whether it’s talking about me being old or a little bit of extra pain.
“It’s just a little extra work you have to do to come out of it.”
Davante Adams catches a pass at Rams training camp on July 26.
(Robert Gauthier / Los Angeles Times)
Stafford and Adams are aiming for a celebratory postgame exchange if the Rams once again reach the NFC championship.
Of his interaction with Adams on the plane after their loss to the Seahawks, Stafford noted that Adams had been a part of good teams that fell short of playing in the Super Bowl.
“As much as I wanted to go play in that game, and a lot of other guys did too, I wanted it more for other guys that haven’t either gotten the opportunity to be there or win it,” Stafford said, adding, “[It was] on my heart at the moment and I decided to tell him how I was feeling.”
Adams appreciated the sentiment from Stafford and all of his teammates.
“For them to feel that way about me and to care that much to want to get me a [Super] Bowl before I get out of here, it says a lot about who they are,” he said, “and a little bit about who I am.”
Just a day before the Head in the Clouds Music & Arts Festival takes over the Rose Bowl in Pasadena, a member of the headlining pop group Katseye has announced she is taking a hiatus from performing.
Sophia Laforteza announced on Instagram on Friday that she’ll be stepping away to take care of her mental health.
“It truly breaks my heart to have to miss out on a lot,” she wrote in an Instagram story. “You know how much I love being on stage, performing, and sharing these moments with you. Making this decision wasn’t easy, but I’m learning that health has to come first. I’m realizing that if I don’t take care of my mind and body now, I won’t be able to keep doing what I love the most for so long.”
Laforteza thanked her fans for being “patient, understanding, and always showing me so much love,” and said she’d be joining Katseye fans, aka “eyekons,” in cheering on the group in the meantime.
“I promise I’m going to work as hard as I can to get through this, heal properly, and come back stronger,” she wrote.
A post on the group’s official Instagram account said Laforteza “will be temporarily unable to participate in upcoming promotional activities.”
“We understand how much EYEKONS were looking forward to seeing Sophia on stage, but it is imperative that her mental health and wellness are prioritized,” the post stated.
According to the statement, the pop star has been working with medical professionals who advised that she take “dedicated time for extended rest and ongoing care to ensure a full recovery.”
While Laforteza is eager to get back to work with her fellow Katseye members, the post said her “health, safety, and long-term well-being” will always be top priority.
Laforteza’s progress will be monitored and she’ll be reassessed in September — just as the group is slated to kick off their world tour. Fans can expect an update around that time, according to the post.
Earlier this year, Katseye member Manon Bannerman also hit pause on performing with the pop group, meaning Saturday’s headlining performance in Pasadena will feature four of the group’s original six members. Daniela Avanzini, Lara Raj, Megan Skiendiel and Yoonchae Jeung are still set to take the stage.
Laforteza’s announcement followers similar decisions from actor-musician Ariana Grande, who told fans earlier this week that she would be stepping away from the public eye and that “human beings can need a break sometimes.”
Country music star Jelly Roll also announced a hiatus this month, saying he needed “to heal” following news that he finalized his divorce from Bunnie XO after nearly 10 years of marriage.
The Walt Disney Co. said Wednesday it has sold out the commercial time for ESPN’s telecast of the 2027 Super Bowl, which airs on ABC Feb. 14.
Hugh Johnston, chief financial officer for Disney, announced the sellout on the company’s earnings call. In addition to ABC, the game from SoFi Stadium in Los Angeles will air on ESPN, and have an alternative ESPN feed hosted by Peyton and Eli Manning. The game will be streamed on the ESPN app and the NFL+ app.
ESPN, which has carried NFL games since 1987, has never produced a Super Bowl. ABC last aired the game in 2006, when the network had its own sports division.
The Super Bowl is perennially the most watched TV event of the year, bringing in a huge pot of revenue for the media company holding the rights. Fox said it took in more than $800 million across its platforms for the 2025 game that saw the Philadelphia Eagles win 40-22 over the Kansas City Chiefs.
Disney did not divulge a price for the commercial time, although reports said the company was seeking $10 million for a 30-second spot. NBC sold several commercials at that rate last year.
Johnston said Disney sold Super Bowl spots to 58 brands across 34 product categories, including financial services, candy, personal care and software. Nine of the brands are in the game for the first time.
As the rest of traditional TV has seen ratings diminish, the Super Bowl has remained resilient, setting a viewership record in 2025, with 127.7 million viewers watching on Fox and its streaming platform Tubi, according to Nielsen. Last season’s contest drew 125 million viewers on NBC, Telemundo and Peacock.
When ABC had Super Bowl XL in 2006, the Pittsburgh Steelers’ 21-10 win over the Seattle Seahawks scored 90.7 million viewers. Nielsen did not include out-of-home viewing in its data at the time.
Live sports has become attractive to advertisers as it is one of the few ways to reach a massive audience in real time.
When they landed the diving competition for the 2028 Summer Olympics last year, operators of the Rose Bowl Aquatics Center in Pasadena trumpeted it as a gold-medal achievement. But swimmers and others who use the facility are now learning that pre-Olympic construction probably will force them out of three immensely popular swimming pools for more than a year.
The Aquatics Center will close as early as next April, and not be returned to its regular users until after the Olympics conclude in the summer of 2028, people with knowledge of the plans confirmed to The Times.
Such a prolonged closure will send the more than 400,000 people who pour through the center’s turnstiles each year scrambling to find other places to swim, dive, play water polo and aqua-aerobicize. The center’s two 50-meter pools and an adjacent therapy pool will be closed, along with two expansive hot tubs, the people said.
Aquatics Center operators declined to discuss details of the shutdown, saying they plan to make an announcement Monday. They said it’s premature for them to discuss what improvements the Games will bring to the 36-year-old swim complex, as those negotiations have not been concluded.
The Rose Bowl Aquatic Center in Pasadena, shown on Friday, is set to close next year to make way for reconstruction as the center will host diving in the 2028 Olympics.
(Christina House / Los Angeles Times)
Jacie Prieto Lopez, vice president of communications for LA28, the Olympics organizing group, confirmed that improvements would be made to the facility but said specifics were still being sorted out.
“We cannot comment on specific facility improvements as those remain under active discussion between LA28 and the Rose Bowl Aquatic Center,” Prieto Lopez said “But based on initial evaluations of the existing facility, improvements could include the pool, diving tower and mechanical systems.”
Opened in 1990, in part with profits from the 1984 Los Angeles Olympics, the Aquatic Center was once viewed as a state-of-the-art facility. But it has grown somewhat shopworn and in need of a makeover. The operators of the center expect LA28 will pay for some of that work.
While LA28 officials wouldn’t discuss details, people familiar with their view said the Olympic organizers would balk at bankrolling every upgrade pined for by the city of Pasadena (which owns the facility) and the nonprofit that operates the center.
The massive deck around the swimming pools has grown rough in places. The locker rooms are cramped. Aged pumps and filters need an upgrade. Who should pay for these improvements has been the subject of prolonged discussion between LA28 and the Rose Bowl Aquatics Center operators, the people familiar said.
“At the end of the day, it’s going to be a win-win for LA28 and the Aquatics Center,” said one of the people, who wasn’t authorized to speak publicly. “The LA28 group is putting in a lot of investment. That should account for the fact the Rose Bowl will be losing revenue during the closure.”
Aquatics Center loyalists, however, wonder how they will cope with the loss of their pools.
“The pool helps me keep my weight down. It keeps my blood sugar down. It’s just everything to me,” said Elizabeth Ramirez, a social worker from Alhambra, after emerging from a morning aqua-aerobics class. “So when it closes down, it’s gonna definitely have an impact on my health. … Hopefully they will be able to tell us [about] another place where we will be able to go.”
Lynn Roberts, with one leg stunted by childhood polio, finds her time in the pool “life changing, because in the water I can do the things that everyone else does.” She knows that Rose Bowl is looking for alternative locations, but so far there are no details. The thought of the pool being closed for more than a year is “a big thing,” she said, adding “People are very, very concerned.”
The Rose Bowl Aquatic Center on April 6 in Pasadena. The facility will host diving in the 2028 Olympic Games.
(Eric Thayer / Los Angeles Times)
Like a dozen other regulars, Bonnie Stern talked about the social hub the Aquatics Center creates. It’s been her gateway to new friendships, a walking group, brunches and even a regular happy hour.
“We’re all really concerned. There’s such a wonderful community here,” said Stern, who works in the entertainment industry. “We haven’t heard yet where we can go. And where are we going to be able to find what we have now?”
The complex also rents space to a cafe and a separate shop, the Swim Guy. Michael Eisenberg, who co-owns the swim equipment business with his brother, Craig, worries about losing clientele.
“We spent a lot of money setting this up and building our relationships with customers and teams,” Michael Eisenberg said. “The RBAC asked us if we could stay open and service the community during construction, but I don’t see how we can do that, since all our teams and the public will be scattered to different pools in the area. My brother and I are kind of freaking out about it about how best to serve the teams and the public and the financial cost of closing.”
Aquatics Center executive director Melanie Sauer said the nonprofit and its many user groups — for youth swimming, Masters swimming, water polo and more — are working fervently to find alternative pools. Rose Bowl Masters Swimming (to which the writer of this article belongs) already has launched new workouts at Occidental College in Eagle Rock and is talking to other pool operators.
The financial losses during the closure could be significant. The Aquatic Center reported $8.6 million in receipts from admissions, merchandise and services in 2024, the most recent year reported on its federal tax filings. Another $1.6 million came in via gifts, grants, contributions and membership fees.
Sauer said that an “RBAC on the Road” program will seek to draw payments from user groups when they relocate to other pools. She said it’s premature to provide any details of those arrangements.
Organizers of the Games announced the shift to the Rose Bowl center — in the Arroyo Seco just south of the more than 100-year-old football stadium — in September of last year. Previously, the Games planned to have divers compete at the LA84 Foundation/John C. Argue Swim Stadium, immediately southwest of the Los Angeles Memorial Coliseum, which will host track and field events.
A drone view of the pool, lower right, at Exposition Park on Nov. 10, 2025, in Los Angeles.
(Eric Thayer / Los Angeles Times)
But the Exposition Park pool, used for the 1932 Los Angeles Olympics, was not deep or wide enough for diving. And it would have proven more costly to retrofit than the Rose Bowl pool.
“This facility requires minimal work, provides additional amenities for athletes, and accounts for up to $17.6 million in revenue increases and cost savings,” LA28 said when it announced the shift to the Rose Bowl pool.
People familiar with the plans for the Pasadena complex say that Olympic diving fans will be seated in bleachers that will be erected atop the “competition” pool, which sits closest to the parking lot. Additional seats may wrap around the north end of the dive pool.
That pool’s 10-meter platform, originally constructed with a donation from the late televangelist Gene Scott, will be torn down and replaced. One plan being considered by LA28 organizers would eschew the existing locker rooms in favor of temporary modular structures, the sources said.
LA28 officials believe that any short-term losses to the center will be more than made up for by the long-term gains from the international attention the pools will receive and the promise that other major swimming and diving events will be held there, according to people who have spoken to the Olympic organization. LA28 officials point to an analysis by the Southern California Assn. of Governments that projected the Games will generate more than $17 billion in gross domestic product for the region.
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1.A child jumps off a diving board.2.Margaret Shieh, 79, of San Marino, participates in a water fitness class.3.Swimmers do laps at the Rose Bowl Aquatic Center.(Christina House / Los Angeles Times)
Both the 2028 Games and those future events will help fill Pasadena hotels, restaurants and shops, bolstering the local economy and adding tax dollars to the city treasury, according to supporters of the plan. The pool is being considered as the site of the 2028 Olympic diving trials, one source said.
“This historic opportunity will shine a global spotlight on our community,” the Aquatic Center proclaimed last year. “We look forward to keeping you updated as more details become available.”
They might. Because we all remember how frequently the self-inflicted damages were occurring during that bizarre and jarring stretch starting late last year.
We also had him publicly calling out NFL officials on a stream and in a social media post sent from the locker room, and getting fined $25,000 by the league for that. We had his weird post on X — a laughing emoji and “sam darnold” — after the Seattle Seahawks’ quarterback led his team to the Super Bowl LX championship on Feb. 9, when Nacua also was recorded stumbling and dancing in a San Francisco street after the game.
We had this all within just a couple of months. So we had to replace the image we previously had of Nacua as a jolly, smiling football star with a new one: a picture of teeth marks on a woman’s skin.
Ick.
Rams receiver Puka Nacua signs autographs during training camp at Loyola Marymount University on Sunday.
(Robert Gauthier/Los Angeles Times)
Nacua said Wednesday that he’s trying to be better, to do better.
“Definitely trying to take accountability for the things that I know that I can continue to change,” the 25-year-old said at Rams’ training camp at Loyola Marymount.
We should all hope so.
There’s enough at stake, don’t you think?
For Nacua, there’s the proverbial bag to secure. For the Rams, there’s the Super Bowl at SoFi Stadium, which everyone believes should be theirs for the taking. And there’s what winning will mean for the franchise’s stature in L.A., a city that’s impressed by little that’s short of championships.
Don’t mess this up, Puka.
No one wants the distraction of bizarre and disturbing behavior, of internet idiocy or civil lawsuits. (Nacua’s attorney, Levi McCathern, said the alleged bite was the result of “horseplay” and the Los Angeles city attorney’s office indicated last week that the matter was on track to be resolved through a program that allows eligible defendants to avoid criminal prosecution and jail time.)
No one wants to wonder what could have been if it turns out quarterback Matthew Stafford can’t count on Nacua getting open and punishing defenders downfield.
And no one should want to see the Rams’ sure-handed wide receiver let generational wealth slip through his fingers.
Nacua is one of those athletes who you trust on the field to make the play, but all his off-field shenanigans gave the Rams reason to doubt him, to make him skip his turn at the big payday.
He was up for a contract extension that could have paid him as much as $160 million over four years, instead he’ll be earning $5.8 million this season. He’ll have to prove himself to the Rams as a reliable investment.
But that’s OK, Nacua said. He’s happy to be back at work.
Rams receiver Puka Nacua tries to slip past defensive back Trent McDuffie during training camp at Loyola Marymount University on Sunday.
(Robert Gauthier/Los Angeles Times)
“There have been things outside of my control that I think have impacted the way I’ve been able to kind of focus and enjoy this game of football,” he said. “But coming out here and seeing that jersey No. 12 hung up in my locker is something that I don’t take for granted … the level of connection that I feel like I have with all the guys out there, [it] has never crossed my mind that I don’t want to be out here.”
One of the Rams’ primary weapons on offense, a barefooted Nacua went on the charm offensive after practice Wednesday, opening his media scrum by joking with reporters, asking how his hair looked and whether he had any boogers visible in his nose.
He looked fit, like he’s been taking care of himself. He said he was mostly laying off McDonald’s, seeing a therapist and appreciating football as a safe space. The dad of a baby boy, he spoke about that too.
He said he’s closed his “circle of trust” and expressed regret for actions that, he said, “haven’t been the truest reflection of the person I feel like I am, and how my mother raised me.”
“There’s definitely been conversations with her to apologize, but also for her to say that she supports me,” Nacua said of his mom, Penina, who brought up Puka and his five siblings as a single parent after her husband, Lionel, died in 2012.
“And also my brothers are, I think, my biggest critics as well,” Nacua said. “So there were some intense conversations, but loving conversations, in order to see improvement.”
Nacua is one of the Rams’ best players and absolutely their most popular. The loudest roar at Wednesday’s practice was when he showed up on the sideline with fellow receiver Davante Adams. When it was over, the sound of children shrieking “Puka!” reverberated off the bleachers.
The Rams are fans, too. Nacua isn’t tolerated for his talent; he’s adored for his spirit.
Coach Sean McVay loves the guy, a fifth-round draft pick out of BYU who broke a 63-year-old record for the most receiving yards by a rookie in NFL history: “You know how much I love him and the heart that he has,” McVay said Wednesday. “And I’ve been really proud of what he’s been doing and how he’s taking accountability for some of the things that we can learn from.”
Nacua said he was buoyed by messages from teammates during this turbulent offseason, in which he checked himself into a Malibu rehab facility to, as attorney McCathern said, “focus on his health, personal growth and overall development.”
We all know how valuable Nacua is on the field, but now we’re going to find out how much he values this opportunity, getting to take another rep to repair his reputation.
We’re going to find out if this man of many routes can run straight-and-narrow. Whether the slow-moving train wreck can get back on track. Whether he can keep stacking incident-free days.
Nacua says he can. “I feel,” he said, “very confident about that.”
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.
“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.
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).
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.
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Ibiza Final Boss shot to fame last summer after fans spotted him living it up on the party isleCredit: instagram/@jack.kayy1Jack Kay told fans that he’s ‘not worried’ about ‘staying relevant’ despite his overnight fameCredit: The Sun
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.”
The 26-year-old claimed he’s had his barnet insured for a million poundsCredit: GettyJack told The Sun he’s ‘made a killing’ since finding fame and has huge projects in the pipelineCredit: instagram/jack.kayy1
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.”
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.
“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.
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.
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.
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.
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.
