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.
The Federal Communications Commission has released a massive trove of viewer complaints against the musician, the show’s broadcast partner NBC, and the NFL.
Many of them expressed outrage at the supposed bawdiness of Bad Bunny’s Spanish-language lyrics and dancing on a broadcast watched by children.
“That was the most disgusting inappropriate show. I had to make all of my children go into the next room!” wrote one traumatized Las Vegas viewer. “The none use [sic] of inappropriate language should stand no matter what language it’s in. This is the most disturbing thing I’ve witnessed on live TV in a long time.”
“NFL halftime show showed 2 men in act of intercourse while behind a pickup truck door,” wrote one aghast Ohioan. “The ratings for NFL [sic] made it safe for my children to watch but they witnessed this and became disturbed.”
Another viewer from Charlotte, NC who, to their credit, seemed familiar with Bad Bunny’s catalog, wrote that they “take issue with the vocal performances of ‘Safaera,’ which is a track widely known for explicit sexual references and graphic lyrical content, and ‘Yo Perreo Sola,’ which had choreography featuring overtly sexualized movements, including widespread twerking, grinding, pelvic thrusts and other sexually suggestive conduct.”
Those viewers were likely not sated by the FCC’s February review of the performance, which found that the songs’ lyrics had been appropriately altered for the broadcast.
Rep. Randy Fine (R-FL) had called for the FCC to investigate the broadcast.”What Americans witnessed during the Super Bowl halftime show with Bad Bunny was despicable and never should be allowed to be shown on television again,” Fine told the New York Post.
Many of the viewer complaints mirror President Trump’s post-show social media criticism, calling the performance “one of the worst EVER!”
“Nobody understands a word this guy is saying, and the dancing is disgusting, especially for young children that are watching from throughout the U.S.A., and all over the World,” the president wrote at the time.
Just before the Super Bowl, Bad Bunny had won the Grammy for album with “Debí Tirar Más Fotos,” and joined a wave of artists speaking out against violent ICE raids in speeches at the ceremony. The superstar demurred on performing in the continental U.S. for similar fears, instead performing a lengthy Puerto Rican residency.
Writing obituaries is a sacred, tricky task. Major news organizations compose advance obits on major figures, a just-in-case endeavor that feels both hugely important and somewhat macabre.
Several years ago, it fell to me to compose an advance death notice for the legendary conductor Michael Tilson Thomas, who was confronting a terminal brain cancer diagnosis by doubling down on his performance schedule and delivering — by all accounts — spectacular performances.
The piece lay blessedly dormant for longer than anyone thought possible as Tilson Thomas persevered in the face of his illness — an inspiration to all who knew and loved him. And then, yesterday morning, it became necessary to publish. There was a rush to update the writing, to fact-check the timeline, to be sure that all salient points were included. Here was the final story of a remarkable human’s life. The sense of responsibility cannot be overstated.
I was surprised to learn that a former colleague at the paper had also written an advance obit on Tilson Thomas, so my editor worked to meld the two together. The other writer included information that I had missed and vice versa, so in many ways it turned out to be a good thing that we had mistakenly doubled up on the weighty task.
One detail that the other writer included that was formerly unknown to me: A Times story from 1985 reported Tilson Thomas walking off the stage at the Hollywood Bowl nearly 15 minutes into the hourlong second movement of Part II of Gustav Mahler’s Symphony No. 8. Tilson Thomas did this, according to the archived news clip, because a noisy police helicopter simply would not go away.
A reader wrote in after the obituary went live to say that he had been there when it happened, and offered up this fresh insight:
“I was at the concert. The helicopter was hovering long, low and loud(!) with a bright searchlight scanning the trees behind the shell. It was an impossible situation which [Tilson Thomas] handled with quiet dignity. And when he returned to the stage he opted to re-start the Second Movement of Mahler VIII from the top! It was a long and memorable night at the Bowl.”
Our obituary described Tilson Thomas as storming off the stage. Not so, said the reader.
“More determination than storm,” he wrote.
And suddenly I could picture it, that moment from more than 40 years ago, with Tilson Thomas displaying the singular determination and love for his craft that would sustain him much later in life when he faced down death with the same quiet grace, the same unwavering resolve. And the music … I can hear it over the chop-chop-chop of the helicopter, until Tilson Thomas is all that remains.
I’m Arts editor Jessica Gelt feeling grateful for stories past. This is your arts and culture news for the week.
You’re reading Essential Arts
Our critics and reporters guide you through events and happenings of L.A.
By continuing, you agree to our Terms of Service, which include arbitration and a class action waiver. You agree that we and our third-party vendors may collect and use your information, including through cookies, pixels and similar technologies, for the purposes set forth in our Privacy Policy such as personalizing your experience and ads.
The week ahead: A curated calendar
FRIDAY
Craft Contemporary hosts CLAY LA this weekend.
(Allen J. Schaben/Los Angeles Times)
CLAY LA Emerging and established ceramic artists gather their wares for Craft Contemporary’s ninth annual fundraiser, a vibrant marketplace with complimentary refreshments, music and hands-on air-dry clay activities. Fun fact: The museum was founded by Edith R. Wyle, grandmother of “The Pitt’s” Noah Wyle. Market Preview Night, 6-9 p.m. Friday, $20 general admission, $15 members; weekend market, 11 a.m.-5 p.m. Saturday (free with $9 museum admission) and Sunday (pay-what-you-wish admission); regular museum hours, 11 a.m.-5 p.m. Wednesday-Sunday; noon-8 p.m., the first Thursday of the month. Craft Contemporary, 5814 Wilshire Blvd. craftcontemporary.org
Music director James Conlon of at L.A. Opera will conduct his farewell concert Friday at the Dorothy Chandler Pavilion.
(Ariana Drehsler/For The Times)
James Conlon Farewell Concert The maestro, who is stepping down after 20 years as LA Opera’s music director, leads the organization’s full orchestra and chorus for an evening of Mozart, Verdi and Wagner as his grand finale. The event is followed by a celebratory gala on the stage of the Dorothy Chandler Pavilion. 7 p.m. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org
SATURDAY John Adams & Conrad Tao The LA Phil’s John and Samantha Williams Creative Chair conducts the orchestra in a program that includes Piazzolla’s “Two Tangos,” Stravinsky’s “Song of the Nightingale” and Prokofiev’s “Lieutenant Kijé Suite,” plus pianist Conrad Tao performing Adams’ composition “Century Rolls,” inspired by 1920s self-playing pianos. 8 p.m. Saturday; 2 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Brewery Artwalk & Open Studios This free semi-annual event at the former Pabst Blue Ribbon Brewery north of downtown features more than 100 artists sharing, discussing and (ideally) selling their work in the very spaces that much of it is created. 11 a.m.-6 p.m Saturday and Sunday. Brewery Arts Complex, 2100 N. Main St., L.A. breweryartwalk.com
Jerrika Hinton and Bradley Gibson in “Fremont Ave.” runs April 25-May 23 at South Coast Repertory.
(Marc J. Franklin)
Fremont Ave. The world premiere of Reggie D. White’s multi-generational drama about three Black men in L.A. and the woman who is the glue in their lives. Directed by Lili-Anne Brown. Part of the Pacific Playwrights Festival. Previews, 8 p.m. Saturday; 7 p.m. Sunday and Tuesday-Thursday; opening night, May 1; regular performances, May 2-23. South Coast Repertory, Segerstrom Stage, 655 Town Center Drive, Costa Mesa. scr.org
The Liminary It’s 2042 in Last Call Theatre’s latest immersive experience and the U.S. is run by a nationalistic, isolationist government. Do you dare join the resistance? With interactive exhibits on immigration, community and hope, plus multiple endings and narratives inspired by the saga of immigrants. 8 p.m Saturday; 8 p.m. May 1-2, May 7-9 and May 14-16. 1919 3rd Ave. L.A. lastcalltheatre.com
Liz Larner, “smile (abiding),” 1996-2005; Rachel Harrison, “The Prepper,” 2024; and Rebecca Morris, “Untitled (#15-25), 2025” from the exhibition “planchette” at Regen Projects.
(Regen Projects)
planchette A group exhibition featuring contemporary abstract sculptures and paintings by influential artists Rachel Harrison, Liz Larner and Rebecca Morris. Opening reception, 6-8 p.m.; exhibit runs through May 23. Regen Projects, 6750 Santa Monica Blvd. L.A. regenprojects.com
SUNDAY Gabriel Kahane & Roomful of Teeth The eclectic singer-songwriter-composer teams up with the multi-Grammy-winning vocal group to perform music from their recently-released collaborative album, “Elevator Songs.” 7 p.m. Sid The Cat Auditorium, 1022 El Centro St., South Pasadena. sidthecat.com
WEDNESDAY
The Australian Chamber Orchestra comes to the Segerstrom Center for the Arts on Wednesday, April 29.
(Nic Walker)
Australian Chamber Orchestra The ensemble from down under performs Purcell’s “Fantasia on One Note,” Handel’s “Concerto Grosso in A Major, Op. 6 No. 11,” a new work by John Luther Adams titled “Horizon,” Vaughan Williams’ “The Lark Ascending” (arranged by Adam Johnson), and Schubert’s ”Death and the Maiden” in the candlelit intimacy of the Samueli Theater. 7 p.m. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. scfta.org
Jason Delane, left. and Chuma Gault in “Hymn” at the Odyssey Theatre.
(Cooper Bates)
Hymn In this drama by British playwright Lolita Chakrabarti, best known for her stage adaptations of the novels “Life of Pi” and “Hamnet,” two Black men meet at a funeral and discover a life-changing connection. Gregg T. Daniel directs this co-production between the Odyssey Theatre and the Lower Depth Theatre. Previews 8, p.m. Wednesday, Thursday and May 1; 8 p.m. Fridays and Saturdays (an Wednesday, May 27); 3 p.m. Sundays (except May 31), through June 14. Odyssey Theatre, 2055 S. Sepulveda Blvd. odysseytheatre.com
THURSDAY
Los Angeles Ballet presents “Giselle” with Kate Inoue at the Ahmanson Theatre, April 30-May 3.
(Alex Lopez)
‘Giselle’ The Los Angeles Ballet’s staging of this classic supernatural romance features the original 1841 choreography by Jean Coralli and Jules Perrot (updated by Marius Petipa) and score by composer Adolphe Adam. 7:30 p.m. Thursday-May 2 and 2 p.m. May 3. Ahmanson Theatre, 135 N. Grand Ave., downtown L.A. losangelesballet.org
The 1967 romantic comedy “Barefoot in the Park,” starring Jane Fonda and Robert Redford, opens the TCM Classic Film Festival on Thursday.
(Paramount Pictures)
TCM Classic Film Festival Hollywood Boulevard comes alive with four days of movie magic beginning with the opening night presentation of the 1967 romantic comedy “Barefoot in the Park,” starring Robert Redford and Jane Fonda. Other screenings include “Alice In Wonderland” (1951), “A Place In The Sun” (1951), “Gaslight” (1944), “Out Of The Past (1947) , “Modern Times” (1936), “The Day The Earth Stood Still (1951) and “The Magnificent Seven” (1960), with appearances by Fonda, Barbara Hershey, Carol Burnett, John Turturro and many more. Thursday-May 3. TCL Chinese Theatre IMAX, 6925 Hollywood Blvd.; Hollywood Roosevelt Hotel; TCL Chinese 6 Theatres multiplex, 6801 Hollywood Blvd.; El Capitan Theatre, 6838 Hollywood Blvd.; Egyptian Theatre, 6712 Hollywood Blvd. filmfestival.tcm.com
Arts anywhere
New and recent releases of arts-related media.
French Violinist Renaud Capucon, seen performing during the 2024 Paris Olympics, has a new live album featuring the works of composer Ernest Chausson.
(Kristy Sparow / Getty Images)
Chausson This concert album pairs two pieces by French Romantic composer Ernest Chausson: “Concerto for Violin, Piano and String Quartet, Op. 21.,” performed by violinist Renaud Capuçon, the late pianist Nicholas Angelich and the Ébène Quartet, and “Poème” for violin and orchestra, featuring Capuçon and the Brussels Philharmonic led by conductor Stéphane Denève. The show was recorded live in 2020. Warner Classics/Erato: Digital ($10) and CD ($17).
The City Unseen Emmy-winning producer-director Daniel Sackheim, whose credits include “Law & Order,” “The X-Files” and “The Americans,” is also a serious photographer. His new book of black-and-white images casts Los Angeles as the protagonist in a noir landscape of nocturnal beauty where its darkest secrets lurk in the deepest shadows. Hat & Beard Press: 108 pages, $60.
International Jazz Day The 15th annual event is Thursday in Chicago, but you can celebrate early with PBS’ broadcast of last year’s International Jazz Day All-Star Concert from Abu Dabai. Hosted by Jeremy Irons, the lineup includes Herbie Hancock, Dee Dee Bridgewater, Kurt Elling, Jose James, John McLaughlin, Helene Mercier, Danilo Perez, Arturo Sandoval and more. 10 p.m. Friday. PBS SoCal and streaming at pbssocal.org
— Kevin Crust
Culture news and the SoCal scene
Attendees walk around the Los Angeles County Museum of Art’s new David Geffen Galleries in Los Angeles on Sunday, April 19, 2025.
(Ariana Drehsler/For The Times)
The Los Angeles County Museum of Art news did not stop last week as it threw a glitzy opening gala for the new David Geffen Galleries, and — a few days later — welcomed members for previews prior to opening its doors to the general public on May 4. I attended the gala and checked in with a number of wonderful artists, including Mark Bradford, Ed Ruscha and Jeff Koons, about their thoughts on the new building. Then, on Sunday, we sent a team to get member reactions to the new space. Later in the week we published critic Leah Ollman’s review of the inaugural installation. Spoiler alert: Nope, not gonna give you one. You’ll have to read it.
We also ran a lovely profile by contributor Tara Anne Dalbow about Eileen Harris Norton whose jaw-dropping art collection is currently on display at Hauser & Wirth in downtown L.A. “Few people have done more to shape Los Angeles’ art scene than Eileen Harris Norton,” writes Dalbow. “The third-generation Californian, born and raised near Watts Towers in South Los Angeles, bought her first artwork at the Baldwin Hills Crenshaw Plaza, co-founded Art + Practice in Leimert Park, and has spent 50 years collecting artists who were, in many cases, her friends and neighbors.”
Joey Stromberg and Jenny Soo in “For Want of a Horse” at the Echo Theater Company.
(Cooper Bates)
Times theater critic Charles McNulty was — as always — incredibly busy, publishing two reviews and a feature in the past week. First up, his take on “For Want of a Horse” by Olivia Dufault, currently receiving its world premiere in an Echo Theater Company production at Atwater Village Theatre. “The subject is zoophilia, not to be confused with bestiality, though for many of us it will be a distinction without much of a difference,” McNulty writes. Curious? Read on.
McNulty also delivered a thoughtful profile Nicholas Christopher, who he dined with on a recent trip to New York. “A new Broadway star emerges each season, and this year the spotlight has alighted on Nicholas Christopher, who has been dazzling audiences and insiders alike as part of the awe-inspiring triumvirate powering the thrilling new revival of the musical ‘Chess,’” McNulty writes.
Finally, McNulty reviewed “Eat Me,” by Talene Monahon, having its world premiere at South Coast Repertory. A fan of Monahon‘s previous work, McNulty was not as impressed at he would have liked. The play, he writes, “is a relentlessly quirky work that gorges on its own dark whimsy.”
In other news, I got the scoop that new media artist Refik Anadol’s museum of AI arts, Dataland has set its opening date for June 20.
Enjoying this newsletter? Consider subscribing to the Los Angeles Times
Elinor Gunn in “Joan” at South Coast Repertory. SCR has announced its 2026-27 season.
(Scott Smeltzer)
South Coast Repertory announced an expanded 2026-27 season, featuring nine productions, including “Hamlet,” starring Raymond Lee; Stephen Sondheim and James Lapine’s “Into the Woods;” Lauren Yee’s “Mother Russia;” and Oscar Wilde’s classic, “The Importance of Being Earnest.” “The 2026-27 season reflects programming changes established in SCR’s recently adopted strategic plan, which includes more classics, modern masterpieces and the continuation of an annual musical on the Segerstrom Stage,” a news release notes.
A legendary NFL coach found linebacker Rod Martin not by scouting him at USC, but almost by accident.
The Oakland Raiders had a throwaway 12th-round pick in the 1977 draft, and then-coach John Madden grew frustrated hearing his personnel executives contemplate using it on a basketball player or track guy. Finally, Madden blurted out that he could find a random kid walking around the USC campus in sandals who could make more of an impact than that.
“Ron Wolf says, ‘All right, smart guy,’” recalled Madden’s son, Mike. “So they were a couple picks away and dad goes, ‘Let me call [USC coach] John Robinson.’”
Robinson had one question: Has Rod Martin been drafted?
Raiders linebacker Rod Martin stands on the field during a game against the Buffalo Bills on Dec. 6, 1987, at the Coliseum.
(Mike Powell / Getty Images)
“Dad goes, ‘What position does he play?’” the younger Madden said. “Robinson tells him Martin is a linebacker, and dad goes, ‘Good. Tough guy we can knock around in training camp. Have him run down on kicks.’ And Robinson says, ‘No, John. Rod Martin will make your team.’”
Martin did a lot more than make the team. He would go on to set a Super Bowl record with three interceptions in one of the most dominant defensive performances in championship history.
Martin, who would play his entire 12-year career with the Oakland then Los Angeles Raiders, is dead at age 72. The Raiders announced his death Monday but did not specify a cause of death.
“The Raiders family is deeply saddened by the passing of Rod Martin, a standout linebacker and key player on two Super Bowl championship teams,” read a team statement.
The franchise called Martin, “a beloved member of the Raiders Family and a favorite of Raiders fans everywhere.”
A two-time Super Bowl winner and a two-time Pro Bowl selection, Martin saved his best game for the biggest stage. In Super Bowl XV at the Louisiana Superdome, he intercepted Philadelphia Eagles quarterback Ron Jaworski three times in a 27-10 Raiders victory.
“What I remember about Rod was his ability to diagnose and react,” Jaworski said by phone Monday. “In the Super Bowl, he makes two phenomenal plays. He has three interceptions, but interceptions one and two — I’d like to say they were bad decisions on my part. They weren’t. I tried to squeeze throws in. He just made a great play. He was a great athlete.”
Three years later, Martin was still a key component to the Raiders’ defense in a Super Bowl victory over Washington. He had a sack of quarterback Joe Theismann, a fumble recovery, and a fourth-and-one stop of John Riggins late in the third quarter of a 38-9 blowout.
Born in Welch, W. Va., the son of a coal miner grew up in Los Angeles and attended Hamilton High before going on to play at Los Angeles City College and USC. The NFL saw him as a tweener, too small for linebacker at 210 pounds and too slow to play safety. Clearly, that was a faulty assessment.
Hall of Fame quarterback Warren Moon was two years behind Martin at Hamilton, and the two remained friends throughout the decades that followed.
“We met when I was a sophomore,” Moon said. “He was a senior — middle linebacker, fullback and center on the basketball team. He was the ultimate athlete. At the time I was there, I looked up to him quite a lot.
“He wasn’t the biggest guy in the world, but he was big enough. He had the strongest hands and the strongest forearms. He could just take a tight end or whoever came to block him, grab his pads, shove him off and go make the play. He was just a real solid player.”
It was those hands that grabbed an opportunity with the Raiders and didn’t let go.
“So dad goes marching into the draft room,” Madden said, “looks at Ron and everybody else and says, ‘We’re going to take Rod Martin, linebacker, USC.’ And they did.”
