Bowl

Every man, woman and child deserves only the best fan experience at the Rose Bowl.

Too few are getting it, leading to dwindling UCLA football attendance over the last decade-plus.

The sad phenomenon is only partly attributable to mediocre teams. In 2022, the Bruins got off to a 6-0 start, rising to No. 9 in the national rankings, and still averaged just 41,593 fans for home games over the season.

There’s an endless list of excuses for not making the drive to Pasadena. It’s too far. Traffic’s too bad. Games are too expensive. The weather’s too hot. The opponent is from the Sun Belt Conference. The Bruins are out of contention for anything meaningful. The game’s on a Friday. The game time wasn’t announced until less than a week before kickoff. The game starts too early. The game starts too late.

Since it’s not possible to move the stadium closer to campus or lower the temperature in August or September, we’re offering eight ways to make a day of Bruins football more enticing. Some of these suggestions might seem as realistic as moving the San Gabriel Mountains, but who ever imagined that UCLA would play in the Big Ten?

Give freebies: The best way to help fans stretch their entertainment dollar is to let them keep it.

Tickets are reasonably priced given they sometimes go for next to nothing on the secondary market and currently can be bought for as low as $43 for some games through UCLA, but how about offering free parking? Even if this is a cost the school has to subsidize, free parking would be a tremendous lure and goodwill gesture.

Students also should get in free. While student attendance has been robust since athletic director Martin Jarmond and his staff implemented several initiatives, it would make sense to have even more of the stadium packed with a segment of fans who tend to make the most noise and create the best atmosphere. It would also build lifelong loyalty and help pack the Rose Bowl with alumni in future seasons.

Eliminate six-day selection: Just tell us the kickoff times already. People need to plan their lives.

As of early August, the only home games with known kickoff times are the opener against Utah on Aug. 30, which starts at 8 p.m. (yikes), and a Friday game against New Mexico on Sept. 12 that starts at 7 p.m. (good luck getting to the Rose Bowl in weekday evening traffic).

The other four home games — against Penn State, Maryland, Nebraska and Washington — all come with the dreaded TBD tag.

The uncertainty is, of course, a function of television running the sports world, waiting for the best matchups to fill prime-time slots. Fox executives don’t want to miss out on possible surprises, such as undefeated Maryland coming to the Rose Bowl in mid-October to face nationally-ranked UCLA.

Some kickoff times will be announced once it becomes clear how good the Bruins are; others won’t be known until six days before the game. The indecisiveness hurts attendance given that many fans like to plan their schedules way more than a week in advance.

No more Friday night lights: This is something else that can be blamed on greedy TV execs and conference commissioners.

Fridays should be reserved for high school football, not college games that seem out of place. And the fans seem to agree.

Recent UCLA games played on Fridays haven’t generated big crowds. Even a showdown between unbeatens when the Bruins faced Washington in 2022 drew just 41,343.

When it comes to Friday college football games, just don’t do it.

Start every game in the afternoon or early evening: Nobody wants to be getting home from the Rose Bowl after midnight.

Games that start too late also miss one of the most glorious sites in college football: sunset over the San Gabriel Mountains.

Ideal kickoff times are early to mid-afternoon, which don’t make you set an alarm clock and allow you to get home in time to watch some game involving Hawaii or Boise State.

Bring in a live bear cub mascot: How much fun would it be to have a baby bear on the sideline at the Rose Bowl?

Imagine the possibilities involving “Fuzzy,” our preferred nickname. Snuggle with Fuzzy. Get your picture taken with Fuzzy. Put your fours up with Fuzzy.

Since we can feel the outrage from animal-rights activists, let’s point out that Colorado has a massive buffalo running onto the field at its home games and that UCLA once had its own live-bear mascots for games at the Coliseum into the early 1960s.

Attacked by a bear in 1932

(Los Angeles Times)

Fuzzy could probably only stick around for a season or two until he got too big and possibly tempted to chomp on someone (which actually happened in 1932). Then it would be time to introduce Fuzzy II.

Get the towel waver back on the sideline: In more than a century of UCLA football, Ed Kezirian holds the distinction of being the school’s only unbeaten coach.

OK, so he coached just one game, taking over for the Las Vegas Bowl in 2002 after the dismissal of Bob Toledo. But Kezirian is even more widely known for waving a white towel on the sideline to get players — and fans — juiced.

It was a tradition that started in 1994, coinciding with a missed Stanford field goal and a Bruins win, and formally ending in 2007 with Kezirian’s retirement as the football team’s director of academic services. It’s time to get those towels flapping again.

Wear more alternate uniforms: Fans love this stuff.

Need we remind you of all the uniform and helmet combinations at Oregon, where the Ducks sold out 110 consecutive games between 1999 and 2016?

Partnering with Nike and Jordan Brand means that there’s no shortage of cool (and marketable) possibilities for the Bruins when it comes to getting creative. Wearing all white uniforms or Gary Beban-era throwback blues once a season isn’t enough.

Bring back Geoffrey Strand on a limited basis:

Imagine the fourth quarter of a taut game, the Bruins needing to drive 75 yards for the go-ahead score against Penn State.

That would be the perfect time to unveil a secret, deafening weapon.

“All right, I need every man, woman and child on their feet!” Strand would yell through a microphone, triggering a huge roar.

The world’s oldest cheerleader hung up his tattered blue-and-yellow sweater and newsboy cap after the 2013 season, a year after he was briefly suspended for referencing the Taliban in cheers and allegedly using a golf cart without authorization.

But no one loves UCLA more, and no one could revitalize his alma mater quite like him.

Finding a new voice

Josh Lewin, UCLA’s lead radio announcer, has gone Hollywood.

Don’t worry, not in that way; he’s just taking a cue from his environment.

“This is L.A.” Lewin said, “and this is where creative things get made.”

Given an extended break in his schedule after calling his last Major League Baseball game in 2019, Lewin has pivoted to producing a series of soccer documentaries in his free time between the end of the Bruins men’s basketball season and the start of the football season.

His latest project, a series on Cambridge United Football Club’s attempt to extricate itself from hard times, will air its third and final segment Saturday on CBS Sports Network. It’s the sixth documentary that Lewin has produced, including others on English and American soccer.

“I’m building the airplane as I’m flying it — I mean, I never went to film school, never went to business school,” said Lewin, who earlier this year launched Josh Lewin Productions. “I really only trained to be a play-by-play guy and that’s been great, it’s made me a nice living and I love doing it, but this is just a really interesting way to learn how to connect with fans at kind of a deeper level.”

Lewin’s first project, “Five Dollar Derby,” pitted three American owners of English soccer teams against one another in a manner reminiscent of “Trading Places” — the owners placed a $5 bet among themselves to see who would fare the best. You can watch a trailer for “Five Dollar Derby” here.

When he started making documentaries, Lewin fully immersed himself in every aspect. He wrote, produced, directed, narrated and served as musical director — “everything but key grip,” he quipped — but has since ceded some of those duties to others with more experience to enhance the production quality.

“It’s been a really interesting side hustle, I guess you could call it,” Lewin said. “I’ve learned so much about soccer, England and filmmaking, three things that I really didn’t have on my plate before all this happened.”

After calling the Rams’ game against Dallas on Saturday at SoFi Stadium for Compass Media Network, Lewin will savor the airing of his soccer documentary before preparing to shift back into his usual work flow.

“That’s the perfect time to hit the pause button,” Lewin said, “because Bruins season begins exactly two weeks later and there are 19 new starters to learn about, so it’s time to shift back into Bruins mode.”

Olympic sport spotlight: Women’s soccer

UCLA women’s soccer coach Margueritte Aozasa gets water dumped on her after winning the Division I title in 2022.

(Eakin Howard / Getty Images)

Curt Cignetti, Indiana’s football coach, once said that he wins, just Google him.

Well, Margueritte Aozasa can top that.

She only wins championships, just check her assortment of trophies.

In her three seasons guiding UCLA’s women’s soccer team, Aozasa has won one NCAA championship and two conference titles, including a Big Ten tournament championship last season that made her team the first in UCLA history to take home a Big Ten title. The Bruins went on to reach the second round of the NCAA tournament.

UCLA should be back in contention for another national championship this season thanks in part to the return of skilled midfielder Emma Egizii and forward Lexi Wright, members of the 2022 national title team who were lost for much of last season because of injuries. Also returning are defender Nicki Fraser, the reigning Big Ten freshman of the year, and midfielder Val Vargas, who was a third-team all-conference selection a year ago.

Pulling it all together will be Aozasa, one of Jarmond’s best hires. Her team will be the first on campus to open the 2025-26 UCLA sports calendar when it travels to face Georgia in Athens, Ga., on Thursday.

Mount Rushmore results

Jonathan Ogden with his bust during the induction ceremony at the Pro Football Hall of Fame in 2013.

(David Richard / Associated Press)

A mountain of a man might be the preeminent face of UCLA football.

Jonathan Ogden was the leading vote-getter in our Mount Rushmore of UCLA football survey, the 6-foot-9, 345-pound offensive tackle named on 282 of 417 ballots. The others who made the cut were coach Terry Donahue (named on 227 ballots) and quarterbacks Troy Aikman (191) and Gary Beban (182).

The next four were safety Kenny Easley (136), linebacker Jerry Robinson (100), coach Red Sanders (93) and halfback Jackie Robinson (82).

Others named on at least five ballots: Maurice Jones-Drew, DeShaun Foster, John Lee, Marcedes Lewis, Cade McNown, Jim Mora, Ken Norton Jr., Tommy Prothro, John Sciarra, JJ Stokes, Bob Toledo, Wendell Tyler and Dick Vermeil.

Opinion time

Which UCLA football player not named Nico Iamaleava will be the team’s most important in 2025? Is it offensive tackle Courtland Ford, part of an offensive line that must protect its new quarterback? How about running back Jaivian Thomas? Wide receiver Kwazi Gilmer? Defensive tackle Gary Smith III? Linebacker Isaiah Chisom?

You can vote in our survey here.

Remember when?

The last time UCLA faced Utah in a season opener, the Bruins featured a highly touted quarterback making his first start with the program.

Sound familiar?

It was 2006, and Ben Olson, who had not started a game since his senior year at Thousand Oaks High in 2001 after making a Mormon mission, lived up to the five-star hype in shredding the Utes for 318 yards and three touchdowns. You can watch highlights from the game here. UCLA went on to finish 7-6, the season highlight coming in a 13-9 upset of second-ranked USC at the Rose Bowl.

In case you missed it

No man of mystery, UCLA quarterback Nico Iamaleava dazzles at training camp

Bringing the juice, UCLA safety Key Lawrence infuses a new defense with passion

Have something Bruin?

Do you have a comment or something you’d like to see in a future UCLA newsletter? Email me at [email protected], and follow me on X @latbbolch. To order an autographed copy of my book, “100 Things UCLA Fans Should Know & Do Before They Die,” send me an email. To get this newsletter in your inbox, click here.

Need a model for how to thrive in the stranglehold of the modern music economy? How about a band of Australian garage-rockers who cut albums at the pace of an Atlanta rap crew, tour like peak-era Grateful Dead and who just told the biggest company in streaming to go to hell.

King Gizzard & the Lizard Wizard are a fascinating phenomenon in rock. Over 15 years, their LPs have flitted between genres with insouciant musicianship, pulling from punky scuzz, regal soul, krautrock, electro-funk and psychedelia. These LPs come at an insane clip — sometimes up to five in a year, 27 so far. Their freewheeling live shows made them a coveted arena act, when few new rock bands can aspire to that.

Two weeks ago, they became probably the most high-profile band to take their music off Spotify in the wake of Chief Executive Daniel Ek’s investments in an AI-driven weapons firm. The band self-releases on its own labels — they needed no one’s permission.

King Gizzard returns to the Hollywood Bowl on Sunday, this time backed by the Hollywood Bowl Orchestra for a live read of its new album “Phantom Island,” a standout LP that adds deft orchestration to its toolkit. The band’s frontman, Stu Mackenzie, spoke to The Times about giving Spotify the boot, how the L.A. Phil inspired the new record’s arrangements and what they’ve figured out about staying afloat while artists get squeezed from all sides today.

What was your initial reaction to Daniel Ek’s investments in an AI arms company?

A bit of shock, and then feeling that I shouldn’t be shocked. We’ve been saying f— Spotify for years. In our circle of musician friends, that’s what people say all the time, for all of these other reasons which are well documented. We saw a couple of other bands who we admire, and thought “I don’t really want our music to be here, at least right now.” I don’t really consider myself an activist, and I don’t feel comfortable soapboxing. But this feels like a decision staying true to ourselves, and doing what we think is is right for our music, having our music in places that we feel all right about.

Was choosing to leave a complicated decision for the band?

The thing that made it hard was I do want to have our music be accessible to people. I don’t really care about making money from streaming. I know it’s unfair, and I know they are banking so much. But for me personally, I just want to make music, and I want people to be able to listen to it. The hard part was to take that away from so many people. But sometimes you’ve just got to say, “Well, sorry, we’re not going to be here right now.” In the end, it actually was just one quick phone call with the other guys to get off the ship.

As the sizes of everything gets larger, all of the stakes start to feel higher. I grapple with that, because that’s not the kind of band that I like to be in, where it feels like everything is high stakes. I do miss the time where we could just do anything without any consequences, but I still try really hard to operate like that. In the past, I have felt tied to it, that we have to be there. But with this band, we have been happy to take a lot of risks, and for the most part, I’m just happy to see what happens if we just choose the path that feels right for us.

Do you think Spotify noticed or cares that you left?

I don’t expect Daniel Ek to pay attention to this. We have made a lot of experimental moves with the way we’ve released records — bootlegging stuff for free. We have allowed ourselves a license to break conventions, and the people who listen to our music have a trust and a faith to go along on this ride together. I feel grateful to have the sort of fan base you’ll just trust, even when you do something a little counterintuitive. It feels like an experiment to me, like, “Let’s just go away from Spotify, and let’s see what happens.” Why does this have to be a big deal? It actually feels like we’re just trying to find our own positivity in a dark situation.

“Phantom Island” is a really distinct record in your catalog for using so much orchestration. I heard some conversations with the L.A. Phil planted the seed for it?

We played this Hollywood Bowl show a little over two years ago, and being the home stadium of the L.A. Phil, we naturally chatted with them at the show. It did plant a seed of doing a show there backed by the orchestra. We happened to be halfway through making a record at that exact time that we weren’t really sure how to finish. When we started talking about doing a show backed by an orchestra, we thought, “Let’s just make an album with an orchestra.” We rearranged and rewrote these songs with a composer, Chad Kelly. We knew the songs needed something, and we ended up rewriting the songs to work for a rock band in a symphonic medium.

Were there any records you looked to for how to make that approach work? I hear a lot of ELO in there, Isaac Hayes, maybe the Beatles’ “A Day in the Life.”

To be completely honest, I just don’t think there was a model for it. I think we landed on something that we only could have made because we wrote the songs not knowing there were going to be orchestral parts. When you ask me what were the touchstones, well, there weren’t any. I was probably thinking of a lot of music from the early ’60s, a lot of soul and R&B music at that time, which had often had orchestral arrangements. Etta James, for instance, was in the tone and the feel. This isn’t the perfect way to do it, but it was a really serendipitous process.

Your live shows are pretty raucous to say the least; how did you adapt to keep that feeling with orchestras behind you on this tour?

I was pretty anxious, to be honest. We only had one rehearsal the day before the first show. We had to go in and cross our fingers, like, “Okay, I think that’s going to work. I’m just going to hope that it translates.” Our rehearsal was the most intense two and a half hours, but for the show, you’re just like, “All right, this is it.” You’ve just got to commit to what’s on the page.

We’ve had some really awesome people collaborating with us — Sean O’Laughlin did the arrangements for the live shows, and Sarah Hicks is an amazing conductor. We’re just a garage rock band from Australia; we’re very lucky to get to honestly work with the best of the best.

On the other end of the venue spectrum, what was it like playing a residency in a Lithuanian prison?

It was a real prison until really recently [Lukiškės Prison 2.0 in Vilnius, Lithuania]. The history is very dark — like, very, very dark. But there are artist spaces there now, and it’s quite a culturally positive force. They’re the things that make you restore your faith in humanity. You spend so much of your life losing faith in it, and then you go to places like that, and you’re like, “Yeah, humans are okay.”

Speaking of threats to humanity, I think your band contests the idea that artists need to use AI to make enough music to be successful on streaming. You’re proof you can make a ton of music quickly, with real people.

Making music is fun as f—, especially making music with other people. That’s a deeply motivating factor, and we just have a ton of fun making music together. It feels human, it feels spiritual, it feels social. It’s deeply central to who we all are as human beings. And it doesn’t feel hard. It doesn’t feel like we’re fighting against some AI trend or anything. We just make music because it feels good.

You’re an arena act with your own label, and pretty autonomous as a band. Do you think you’ve figured out something important about how to be successful in the modern music economy?

I think we’ve been good at asking internal questions, and questioning what everybody else does and whether we need to do that or not. Sometimes we do the same thing that everybody else does. Sometimes we do something completely different because it makes sense to us. I think we’ve been quite good at being true to ourselves and being confident, or maybe reckless enough to do that.

I do think there’s some serendipity and fate in the personalities of the other guys in the band, and the people that we work with, who have have also been on a pretty unconventional journey and have faith that — in the least pretentious way possible — that other people will dig it, and not worry too much about the other other stuff.

Do you hope to see more and bigger bands striking out on their own, since the big institutions of the music business have yet again proven to not really reflect their values?

I just know what has worked for us, and I’m not sure that means that it’ll work for other people. I don’t know if there’s a model in it. If there is a model, it’s that you don’t have to follow a path if you don’t want to. The well-treaded path is going to work for some people, but you don’t have to stay on that.

I think one thing about this band is that we’ve all been at peace with failing. That if this all fell apart and we went back home and we got regular jobs, I think we would say, “Well, we’re proud of ourselves. We had a good time.” We did what we wanted to do and just suffered the consequences along the way. We’re probably being reckless enough to make potentially selfish decisions over and over again. But people, for some reason, want to come out and see us do that, and we’re super grateful.

Tuesday night, Gustavo Dudamel was back at the Hollywood Bowl. This summer is the 20th anniversary of his U.S. debut — at 24 years old — conducting the Los Angeles Philharmonic, and becoming irrepressibly besotted with the amphitheater.

He walked on stage, now the proud paterfamilias with greying hair and a broad welcoming smile on his face as he surveyed the nearly full house. The weather was fine. The orchestra, as so very few orchestras ever do, looked happy.

For Dudamel, his single homecoming week this Bowl season began Monday evening conducting his beloved Youth Orchestra Los Angeles as part of the annual YOLA National Festival, which brings kids from around the country to the Beckmen YOLA Center in Inglewood. But it is also a bittersweet week. Travel issues (no one will say exactly what, but we can easily guess) have meant the cancellation of his Simón Bolívar Symphony Orchestra of Venezuela‘s trip to the Bowl next week. Dudamel will also be forced to remain behind with them in Caracas.

After 20 years, Dudamel clearly knows what works at the Bowl, but he also likes to push the envelope as with Tuesday’s savvy blend of Duke Ellington and jazzy Ravel. The soloist was Korean pianist Seong-Jin Cho, whose recent recording of Ravel’s complete solo piano works along with his two concertos, has been one of the most popular releases celebrating the Ravel year (March 7 was the 150^th anniversary of the French composer’s birth).

Ellington and Ravel were certainly aware of each other. When Ravel visited New York in 1928, he heard the 29-year-old Ellington’s band at the Cotton Club, although his attention on the trip was more drawn to Gershwin. Ellington knew and admired Ravel, and Billy Strayhorn, who was responsible for much of Ellington’s music, was strongly drawn to Ravel’s harmony and use of instrumental color.

On his return to Paris, Ravel wrote his two piano concertos, the first for the left hand alone, and jazz influences were strong. Cho played both concertos, which were framed by the symphonic tone poems “Harlem” and “Black, Brown and Beige, which Ellington called tone parallels.

There has been no shortage of Ravel concerto performance of late — or ever — but Ellington is another matter. Although the pianist, composer and band leader was very much on the radar of the classical world — “Harlem” was originally intended for Arturo Toscanini and the NBC Symphony; Leopold Stokowski attended the Carnegie Hall premiere of “Black, Brown and Beige,” as did Eleanor Roosevelt, Marian Anderson and Frank Sinatra — Ellington never played the crossover game. The NBC “Harlem” never panned out and became a big-band score. Ever practical, Ellington, who composed mostly in wee hours after gigs, always wrote for the occasion and the players. He tended to leave orchestration to others, more concerned with highlighting the fabulous improvising soloists in his band.

The scores, moreover, were gatherings, developments and riffs on various existing songs. “Harlem” is an acoustical enrapturement of the legendary Harlem Renaissance and one of the great symphonic portraits of a place in the repertory. “Black, Brown and Beige” is an ambitious acoustical unfolding of the American Black narrative, from African work songs to spiritual exaltation with “Come Sunday” (sung by Mahalia Jackson at the premiere) to aspects of Black life, in war and peace, up to the Harlem Renaissance.

Both works are best known today, if nonetheless seldom heard, in the conventional but effective orchestrations by Maurice Peress and are what Dudamel relies on. The version of “Black, Brown and Beige” reduces it from 45 to 18 too-short minutes.

The primary reason for these scores’ neglect is that orchestras can’t swing. The exception is the L.A. Phil. With Dudamel’s surprising success of taking the L.A. Phil to Coachella, there now seems nothing it can’t do.

The time has come to commission more experimental and more timely arrangements. But even these Peress arrangements, blasted through the Bowl‘s sound system and with the orchestra bolstered by a jazz saxophone section, jazz drummer and other jazz-inclined players, caught the essence of one of America’s greatest composers.

Ravel fared less well. The left-hand concerto has dark mysteries hard to transmit over so many acres and video close-ups of two-armed pianists trying to keep the right hand out of the way can be disconcerting. This summer, in fact, unmusical jumpy video is at all times disconcerting.

Ravel’s jazzier, sunnier G-Major concerto is a winner everywhere. But for all Cho’s acclaim in Ravel, he played with sturdy authority. Four years ago, joining Dudamel at an L.A. Phil gala in Walt Disney Concert Hall, Cho brought refined freshness to Tchaikovsky First Piano Concerto. In Ravel at the Bowl, amplification strongly accentuated his polished technique, gleaming tone and meticulous rhythms, leaving it up to Dudamel and a joyous, eager orchestra to exult in the Ravel that Ellington helped make swing.

Cynthia Erivo, a noted theatrical divinity, redeemed the title of “Jesus Christ Superstar” at the Hollywood Bowl last weekend in a magnetic, heaven-sent performance that established God the Savior as a queer Black woman, as many of us suspected might be the case all along.

Divine dispensation allowed me to catch the final performance of this revival of Andrew Lloyd Webber and Tim Rice’s 1971 breakout musical. I returned from vacation just in time to join the pilgrimaging hordes carting cumbersome picnic baskets and enough wine for a few dozen Sicilian weddings. The vast number of attendees caused bottlenecks at entry points, prompting one wag to crack, “What is this, the Second Coming?”

The headliners, Erivo as Jesus and Adam Lambert as Judas, certainly have sizable fan bases. But so too does the subject of this Greatest Story Ever Told, a messiah whose following has few equals in the history of the world. Suffice it to say, it was a supercharged evening, comparable more to a rock concert than one of the Bowl’s forays into the musical theater past.

The hard-charging exuberance was appropriate for a production that went back to the concept album roots of a rock opera that, like other countercultural musicals of the period — such as “Hair” and “Godspell” — preached peace and love while rebelling against oppression and conformity. “Jesus Christ Superstar” reminds us that Lloyd Webber wasn’t always a symbol of the bourgeois establishment.

Yes, the composer behind “Cats,” “The Phantom of the Opera” and “Sunset Boulevard” had an early revolutionary streak, challenging authority and testing social taboos. What made “Jesus Christ Superstar” controversial wasn’t simply the depiction of Jesus of Nazareth as a man with vulnerabilities and doubts. It was the blast of guitars and vocal shrieks that accompanied the telling of his last days and crucifixion in a manner more akin to the Who’s “Tommy” than the church organ interludes of a traditional Sunday service.

Cynthia Erivo delivered a heaven-sent performance in “Jesus Christ Superstar” at the Hollywood Bowl last weekend.

(Farah Sosa)

Director and choreographer Sergio Trujillo leaned into the concert nature of “Jesus Christ Superstar.” The metallic scaffolding staging, the mythic scale of projections and the rhythmic flow of cast members, moving from one musical number to the next, freed the production from literal illustration.

The religious meaning of the story was communicated through the intensity of the performances. Erivo and Lambert are incapable of ever giving less than 100% when translating emotion into song. But the human drama was most evident in the handling of duets, the musical give and take that showcases the richness of all that lies between lyrics.

The conflict between Erivo’s all-seeing, all-feeling Jesus and Lambert’s competitive yet remorseful Judas was thrillingly brought to life in their different yet wholly compatible musical styles. In “Strange Thing Mystifying” and “The Last Supper,” Lambert, a Freddie Mercury style-rocker, and Erivo, a musical theater phenomenon who can pierce the heavens with her mighty voice, revealed a Judas who can’t account for all his actions and a Jesus who understands the larger destiny that is both sorrowfully and triumphantly unfolding.

Phillipa Soo provided sublime support in a cast that had considerable Broadway depth.

(Farah Sosa)

Phillipa Soo’s Mary Magdalene brought a probing, tentative and profound intimacy in her adoration of Erivo’s Jesus. In her exquisite rendition of “I Don’t Know How to Love Him,” the tenderness between Mary Magdalene and Jesus, at once earthy and ethereal, deepened the expressive range of the love between them.

Soo, best known for her graceful lead performance in “Hamilton,” provided sublime support in a cast that had considerable Broadway depth. Raúl Esparza, whom I can still hear singing “Being Alive” from the 2006 Broadway revival of “Company,” played Pontius Pilate with lip-smacking political villainy. Josh Gad, who missed Friday’s performance because of illness but was in sharp comic form Sunday, turned King Herod into a Miami-style mobster, dressed in a gold lamé getup that would be just perfect for New Year’s Day brunch at Mar-a-Lago.

Raul Esparza as Pontius and Cynthia Erivo as Jesus in “Jesus Christ Superstar.”

(Farah Sosa)

The acting company distinguished itself primarily through its galvanic singing. Music director and conductor Stephen Oremus maintained the production’s high musical standards, bringing out the extensive palette of a rock score with quicksilver moods.

One could feel Erivo, a generous performer who understands that listening can be as powerful as belting, building up trust in her less experienced musical theater castmates. The way she registered Lambert’s bravura moments bolstered not only his confidence in his non-singing moments but also the miracle of her own fully realized performance.

Ultimately, Jesus’ spiritual journey is a solitary one. In “Gethsemane,” the path of suffering becomes clear, and Erivo’s transcendence was all the more worshipped by the audience for being painfully achieved. Unmistakably modern yet incontestably timeless, abstract yet never disembodied and pure of heart yet alive to the natural shocks that flesh is heir to, this portrayal of Jesus with piercings, acrylic nails and tattoos met us in an ecumenical place where all are welcome in their bodily realities and immortal longings.

Lloyd Webber is undergoing a renaissance at the moment. Fearlessly inventive director Jamie Lloyd has given new impressions of “Sunset Blvd.,” which won the Tony for best musical revival this year, and “Evita,” which is currently the talk of London’s West End.

Trujillo’s production of “Jesus Christ Superstar” deserves not just a longer life but more time for the actors to investigate their momentous relationships with one another. The drama that occurs when Erivo’s Jesus and Soo’s Mary Magdalene interact should provide the model for all the cast members to lay bare their messy human conflicts. “Jesus Christ Superstar” depends as much upon its interpersonal drama as its rock god swagger — as Erivo, in a Bowl performance that won’t soon be forgotten, proved once and for all.

When looking at a majestic residence like the 1908 Gamble House — a Craftsman crown jewel of Pasadena — its easy to romanticize the lives of its owners. Luxury and wealth radiate from its graceful, low-slung eaves, sloping lawns and wide porches. But the idea of class is baked into its architecture, with a series of rooms built to be occupied by the domestic servants who toiled day and night to keep the house running for its privileged inhabitants, the heirs to the Proctor & Gamble fortune.

Through Aug. 17, those rooms are open for tours with the addition of a compelling art installation by Karen Schwenkmeyer and Lisa Mann titled “Dirty Laundry,” which examines the heartache, disappointments and perseverance of domestic laborers in the early 20th century by printing their words on tea towels and sheets hung in the Gamble House’s drying yard, and stitching them into a pillowcase in one of the small staff bedrooms.

“What I mind is the awful loneliness,” reads the pillowcase on austere wooden twin bed. “Many times, many nights I went to bed and cried myself sick.”

A sculpture constructed of Ivory soap, mops and scrub brushes takes up residence in the staff bathroom. The soap, one of Procter & Gamble’s bestselling products, was marketed as 99.44% pure, and the sculpture is a meditation on “who is pure and who is not,” explained Mann during an opening reception for the installation, adding that she and Schwenkmeyer approached the lavatory as “a place of resistance and empowerment.”

The goal of the installation, say Schwenkmeyer and Mann, was to bring to light the “emotional and psychological toll of being on-call every day of the week.”

A tea towel blowing in the warm Southern California air puts it more plainly: “I hope someday will come when I don’t have to work so hard … I do hate to get up in the morning. I am so tired.”

Artists Karen Schwenkmeyer and Lisa Mann stand with their installation “Dirty Laundry” at the Gamble House in Pasadena.

(Paul Takizawa)

Domestic staff in many of the country’s most rarefied households was made up of immigrants who came to America looking for a better life only to find themselves stuck in the same classist , low-wage systems they had fled in the first place, the artists explan.

“Servants in the United States ‘were haunted by a confused and imperfect phantom of equality,’ which promised perfect parity at one moment but then suddenly shouted a reminder that some people are more equal than others,” reads a bedsheet quoting from a book about Americans and their servants by Daniel E. Sutherland, which greets visitors upon entrance to the yard.

Thinking of these words and imagining the lives of the many men, women and children who devoted their lives to caring for wealthy people is a potent way to walk through the beautiful rooms inside the Gamble House. We may not call domestic laborers servants anymore, but the way we choose to treat those who tend to our many needs — to see them and respect them, or not — speaks volumes of who we are as a society.

I’m arts and culture writer Jessica Gelt, rethinking all my assumptions about a bar of soap. Here’s this weeks art news.

Best bets: On our radar this week

The Broadway cast of the musical comedy “Some Like it Hot” in 2022. The national tour is now playing at the Hollywood Pantages.

(Courtesy of Marc J. Franklin)

Some Like It Hot
This musical adaptation of Billy Wilder’s 1959 film comedy about two musicians who go on the run disguised as women after witnessing a mob hit in prohibition-era Chicago brings a contemporary sensibility to the 1930s shenanigans. The Broadway production won four Tony Awards in 2023.
Through Aug. 17. Hollywood Pantages Theatre, 6233 Hollywood Blvd., Hollywood. broadwayinhollywood.com

Keith Carradine and Shelly Duvall in Robert Altman’s “Nashville.”

(Paramount Pictures)

Robert Altman’s America: A Centennial Review
UCLA Film and Television Archive celebrates the late filmmaker’s 100th birthday with a 13-film series that kicks off with 1976’s “Nashville,” which melds politics with country music and features a large ensemble including Ned Beatty, Karen Black, Ronee Blakley, Keith Carradine, Geraldine Chaplin, Shelley Duvall, Barbara Harris, Lily Tomlin and dozens more.
7:30 p.m. Friday; series continues through Sept. 26. Billy Wilder Theater, UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. cinema.ucla.edu

Musician Adrian Quesada performs a free concert, co-hosted by De Los, on Saturday.

(James Carbone/For De Los)

Adrian Quesada
De Los, The Times’ platform for all things Latinidad, co-hosts a free concert by the Grammy-winning musician and Oscar-nominated songwriter. Best known for his work in the bands Grupo Fantasma and Black Pumas, Quesada’s latest album, “Boleros Psicodélicos II,” is “a 12-track sonic field trip through Quesada’s Latin American influences — and a testament to teamwork,” wrote Carlos De Loera in a recent De Los profile.
6 p.m. Saturday. Grand Performances, 350 S. Grand Ave., downtown L.A. grandperformances.org

The Actors’ Gang’s performance of “Roswell That Ends Well.”

(Bob Turton Photography)

Roswell That Ends Well
The Actors’ Gang turns the Bard on his ear in this year’s Shakespeare in the Park production, an adaptation of “All’s Well That Ends Well” where outer space meets the Wild West in the form of a determined cowgirl with big dreams and a four-armed alien king.
11 a.m. Saturdays and Sundays, through Aug. 24. Admission is free, reservations highly suggested. Media Park, 9070 W. Venice Blvd., Culver City. theactorsgang.com

Chow Yun-Fat in John Woo’s “A Better Tomorrow.”

(Shout! Studios)

Hong Kong Cinema Classics
The American Cinematheque and Beyond Fest, in partnership with Shout! Studios and GKIDS, present a retrospective of seminal films, many of which are rarely screened. Genre master John Woo will appear with his films “Hard Boiled” (7 p.m. Saturday), a triple feature of the “A Better Tomorrow” trilogy (11 a.m. Sunday) and “The Killer” (7 p.m. Sunday). The monthlong series also includes films by stalwart action directors Tsui Hark, Ringo Lam and Ching Siu-tung.
7 p.m. Saturday; 11 a.m. Sunday; 7 p.m. Sunday. Egyptian Theatre, 6712 Hollywood Blvd. americancinematheque.com

Karl Benjamin, #13, 1970. Oil on canvas, 68” x 68”

(Gerard Vuilleumier)

Complications in Color
A new exhibition marks the 100th birthday of Claremont artist Karl Benjamin (1925-2012), a painter and leader in the 1950s hard-edge abstraction painting movement. In his review of the 2007 survey of the painter’s work, Times art critic Christopher Knight wrote, “Benjamin emerges as a colorist of great wit and inventiveness.” The current exhibition also features the work of fellow abstractionists Florence Arnold, June Harwood, Rachel Lachowicz and Terry O’Shea.
Noon-4 p.m. Thursdays and Saturdays; noon-7 p.m. Fridays; 10 a.m.-4 p.m. Sundays, through Nov. 16. Claremont Lewis Museum of Art, 200 W. First St., Claremont. clmoa.org

Gustavo Dudamel is back at the Hollywood Bowl on Tuesday and Thursday.

(Jason Armond / Los Angeles Times)

Gustavo Dudamel returns
The maestro is back at the Bowl next week and makes the most of it. On Tuesday, he conducts the L.A. Phil as Ravel meets Ellington with a little help from star Korean pianist Seong-Jin Cho. Two nights later, Dudamel’s back leading the orchestra in works by Korngold (Featuring violinist Vilde Frang) and Mahler. Dudamel completes this brief concert run Aug. 8-9, conducting John Williams’ crowd-favorite “Jurassic Park” score over a live screening of the summer blockbuster.
Ellington and Ravel. 8 p.m. Tuesday; Mahler and Korgold, 8 p.m. Thursday. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

Culture news

Wallis Annenberg, who died Monday at 86, photographed in 2022.

(Mel Melcon/Los Angeles Times)

Philanthropist Wallis Annenberg — whose name became synonymous with arts and culture in Los Angeles — died earlier this week of complications from lung cancer at the age of 86. The wealthy patron was memorialized in tributes for her commitment to making art accessible to people from all walks of life, as well as for her friendship and love of animals. Annenberg was the daughter of publishing magnate Walter Annenberg, who made his fortune, in part, by selling TV Guide, among other publications, to Rupert Murdoch’s News Corp. For the last 16 years of her life, Wallis served as chairwoman of the board, president and chief executive of her family’s Annenberg Foundation.

Only July 23, Congressman Bob Onder introduced the Make Entertainment Great Again Act, which proposed that the John F. Kennedy Center for the Performing Arts be renamed the Donald J. Trump Center for Performing Arts. NPR reported that the bill is likely a long shot.

The SoCal Scene

Adam Lambert performs during a rehearsal of “Jesus Christ Superstar” on July 26 at the Hollywood United Methodist Church in Los Angeles.

(Etienne Laurent / For The Times)

“Jesus Christ Superstar,” starring Cynthia Erivo as Jesus and Adam Lambert as Judas , opens tonight at the Hollywood Bowl for a sold-out, three-night run. I spent last Saturday at a rehearsal dishing with Josh Gad on the sidelines while watching Lambert strut his stuff and tearing up over Phillipa Soo’s performance of “I Don’t Know How to Love Him.” Read my behind-the-scenes story of how the musical came together and why the casting is so important in this era of political turmoil and change. (Gad, who was to play King Herod, had to drop out of the show Wednesday, after contracting COVID.)

The Norton Simon Museum’s Garden Pond.

(Norton Simon Museum)

The Norton Simon Museum in Pasadena is celebrating its 50th anniversary with a variety of special programs and events. In August, the museum is holding a Saturday afternoon film series titled, “Cinematic Touchstones 1975,” which features four movies that made a lasting impact on the culture 50 years ago. The stellar lineup consists of “Mahogany,” “Escape to Witch Mountain,” “Grey Gardens” and “Barry Lyndon.” Admission to the theater is free with general admission to the museum. For schedule and additional details, click here.

The Santa Ynez Chumash Museum and Cultural Center opened in May in the tiny Santa Barbara County town on 3.5 acres of land planted with native blooms, trees, grasses and shrubs. Times staff writer Jeanette Marantos paid a recent visit and reported back on the high-tech interactive displays that bring the past to life and highlight the continuing importance of the tribe and its lasting impact on the area.

The nonprofit organization Tierra Del Sol, which champions professional development through arts education for people with disabilities, will stage its inaugural fashion show in West Hollywood on Sept. 27. The show will showcase hand-crafted designs from eight developmentally disabled artists working out of the organization’s Sunland and Upland studios. After the runway show, the creations will remain at Tierra del Sol’s Gallery, located at 7414 Santa Monica Blvd., for a six-week exhibition, ending Nov. 1.

— Jessica Gelt

And last but not least

There is nothing as soul-soothing as a hot bowl of pho — and that’s pho sure! The Times Food section has created a list of 11 great spots to eat your fill.

Adam Lambert sits on a rickety wooden chair just outside the main chapel at the Hollywood United Methodist Church on a break from rehearsing the musical “Jesus Christ Superstar.”

Dressed in beige shorts and a vest with matching mid-calf boots, Lambert wears his trademark glitter eye makeup with thick black liner. He’s calm and collected, content to spend his lunch break chatting, even though the rehearsal schedule is a breakneck nine days total. He chalks up his easygoing demeanor to the high-wattage professionalism of the cast, and his familiarity with the music.

Lambert first heard the soundtrack on one of his dad’s vinyl records when he was about 10 years old.

“I’ve always wanted to do that musical. I’ve always wanted to play Judas,” he says with a smile. “And when they told me Cynthia [Erivo] was interested, I was like, ‘Wow, this is gonna be crazy.’”

Lambert, a fan-favorite “American Idol” runner-up who began performing with Queen in 2011, plays Judas to Erivo’s Jesus in the Hollywood Bowl production directed by Tony-winning choreographer Sergio Trujillo.

Josh Gad, who portrays King Herod, calls the cast “the musical theater version of the Avengers.” He’s referring to Erivo and Lambert, in addition to Phillipa Soo as Mary Magdalene, Milo Manheim as Peter, Raúl Esparza as Pontius Pilate, Tyrone Huntley as Simon and Brian Justin Crum as Annas. The sold-out show runs from Friday to Sunday.

Tyrone Huntley performs as Simon during a rehearsal of “Jesus Christ Superstar” at the Hollywood United Methodist Church in Los Angeles.

(Etienne Laurent / For The Times)

Judging from the ongoing commentary and controversy over the casting on social media, a queer, Black, female actor playing Jesus and a gay actor portraying Judas feel like a revelation to fans grappling with mounting concerns about civil rights in America. Over the last six months, the Trump administration has curtailed diversity, equity and inclusion programs and attempted to roll back key legal protections for certain members of the LGBTQ+ community.

“The challenge for the audience of seeing a female Black Jesus is so exciting. And we all feel the excitement,” says Lambert, adding that the show doesn’t change lyrics or pronouns. “Maybe it doesn’t have to do with male or female. I don’t really know if it matters what gender Jesus was, because it was about the teachings and the love and the connection to faith. So shouldn’t it transcend gender?”

Power — who has it and who doesn’t — has emerged as a defining narrative in 2025. That was also the case 2,000 years ago when Pontius Pilate ordered the crucifixion of Jesus, who posed a serious threat to the religious and political primacy of the Pharisees, the Herodians and the Romans. The 1971 musical by Andrew Lloyd Webber and Tim Rice imagines the final days of Jesus’ life, including his agony, before he ultimately accepts his fate.

Gad is keenly aware of the notion of power as historic through-line as he approaches his titular number, “Herod’s Song,” in which the King of Judea coyly mocks Jesus before taking a frightening turn into true menace.

“This is a man who’s so insecure he can’t afford to let Jesus out of his chains in order to actually face him without the help of soldiers around him,” Gad says. “My hope is that I’m getting to bring one of the greatest hypocrites to life in a way that will both make people laugh and also make them recognize that archetype.”

Brian Grohl, left, Josh Gad, Adam Lambert and Sergio Trujillo are bringing “Jesus Christ Superstar” to the Hollywood Bowl.

(Etienne Laurent / For The Times)

The musical was first released as a concept album in 1970 and played at the Hollywood Bowl in 1971, before debuting on Broadway later that year. During its run, protests outside the stage door were commonplace, and although the musical has reached the pinnacle of success over the years, it has remained controversial.

Big summer musicals have been a staple of the Hollywood Bowl since 2000, but the shows went dark due to the COVID-19 pandemic in 2020. With the exception of “Kinky Boots” in 2022, “Jesus Christ Superstar” is the first of what Bowl leaders hope will be an annual resumption of the beloved programming.

“We wanted to make sure that when we came back, it was the most spectacular thing we could do,” says Meghan Umber, president of the Hollywood Bowl and chief programming officer at the Los Angeles Philharmonic.

“Jesus Christ Superstar,” was always at the top of the Bowl’s musical wishlist but wasn’t available until now, adds Brian Grohl, associate director of programming for the L.A. Phil.

“The number of titles that can sustain three nights at the Hollywood Bowl is a narrowed-down list already,” Grohl said, so securing the title resulted in a lot of jumping and shouting around the office. And when it came to who would play Jesus, Umber and Grohl both say Erivo topped the list. Her “yes” made all the others follow.

Adam Lambert performs Saturday during a rehearsal of “Jesus Christ Superstar.”

(Etienne Laurent / For The Times)

Gad calls Erivo — who was not present at a recent rehearsal because of a previous engagement — a “generational talent.” And he’s far from alone. Talk to anyone on the cast or crew and they will immediately hold forth on her extraordinary gifts.

“I see the hand of God in her,” Trujillo says reverently. “Even now, me being in the room with her, I hear it and I see it, and it is transcendent.”

Trujillo decided to go back to the musical’s roots as a concept album and is staging the show as a bare-bones rock concert. Instead of elaborate scenic design, there are black road boxes, microphones and cords. Even the costumes are contemporary with nods to their lineage. A rhythm band will play onstage and a 37-piece orchestra will perform behind a giant LED screen that will create the illusion that the musicians are hovering in the sky above the action.

Keeping the show in the present and infusing it with the raw energy of youth culture was crucial to Trujillo’s vision, he says, adding that in the spirit of rock ‘n’ roll, the musical “reflects the turbulent political times that we’re living in.”

“As I set up each one of the characters, they’re at a microphone singing and then they take the microphone and they step into the scene. I always want to remind the audience that we are in a concert, but we’re also telling the story,” says Trujillo. “Every single person understands the opportunity that we all have to take this monumental story, this monumental score, and to do it justice. So everyone is coming at it with such goodwill and so much joy.”

At a Saturday rehearsal in the church gym, Trujillo’s words ring true. The ensemble cast of more than 20 talented dancers and singers, in sweats and hoodies, run through “What’s the Buzz.” Gad watches and cheers from a table on the sidelines next to conductor and musical director Stephen Oremus, who smiles and nods his head with the beat.

“If you need me to stand in for Jesus, I’ll do it,” Gad jokes.

Phillipa Soo, who plays Mary Magdalene, sings a heartfelt rendition of “I Don’t Know How to Love Him.”

(Etienne Laurent / For The Times)

Lambert mesmerizes the assembled crew and onlookers with a potent rendition of “Heaven on Their Minds” and Soo brings tears with a heartfelt performance of “I Don’t Know How to Love Him.”

“The more time I spend with this musical, the more brilliant I understand it to be,” says Manheim during a brief break. The 24-year-old, who‘s gained a tween following after playing Zed in Disney Channel’s “Zombies” franchise, is part of the youth cohort Trujillo wanted to cast. He wasn’t as familiar with the score as the older cast members — which is part of the point.

“It’s cross-generational,” says Trujillo of the show. “This is the gift that you give to your children and then it just gets passed on.”

The Los Angeles Philharmonic’s departing music director Gustavo Dudamel will return to the Hollywood Bowl next week.

Dudamel, the face of the classical music world in L.A. since his 2009 debut as music director, is in his penultimate season here before departing to lead the New York Philharmonic. Given recent federal travel bans on Venezuelans, he was forced to cancel local dates with his Simón Bolivar Symphony Orchestra in August, and he only had one week planned for conducting during the Bowl’s summer season this year.

The season’s opening night at the Bowl was “a relatively somber occasion, which, despite the lovely atmosphere, fit the mood of the times,” as Times critic Mark Swed said.

So this one-week return with an exceptionally diverse bill will be a welcome occasion to see him in the twilight of his tenure in L.A.

On Aug. 5, Dudamel (with pianist Seong-Jin Cho) will lead a program pulled from jazz giant Duke Ellington and French composer Maurice Ravel, including Ellington’s “Harlem” and “Black, Brown and Beige” and Ravel’s Piano Concert for the Left Hand and Piano Concert in G. The pairing will show how American jazz and the Harlem renaissance influenced and expanded possibilities for Ravel and European music of the era.

He’ll follow that up on Aug. 7 with Mahler’s bombastic Symphony No. 1 “Titan,” with Vilde Frang playing Erich Korngold’s violin concerto (a fitting spotlight on a golden-era Hollywood score legend). On Aug. 8-9, Dudamel will conduct John Williams’ crowd-favorite “Jurassic Park” score over a live screening of the summer blockbuster.

Dudamel recently debuted with the L.A. Phil at Coachella, a long-awaited crossover event where the orchestra collaborated with pop stars including Dave Grohl, Zedd, Laufey and LL Cool J. For Los Angeles music fans who want to see Dudamel in the Bowl before he departs after next year’s season, these are some of the best chances to do so in 2025.

Diana Ross returned to the Hollywood Bowl on Friday night for the first of two weekend concerts — her fifth engagement at the hillside amphitheater since 2013 and her second gig in her adopted hometown of Los Angeles in less than a year (following her performance at last August’s old-school Fool in Love festival). In other words, it’s not exactly hard to catch the 81-year-old pop legend onstage these days — which isn’t to say that it’s not worth doing. Here are nine moments that made me glad I showed up Friday:

1. After coming out to — what else? — “I’m Coming Out,” Ross zipped through a frisky Motown medley linking some of the 12 No. 1 hits she and the Supremes scored in the 1960s. Would I have liked to have heard full versions of “You Can’t Hurry Love,” “Baby Love” and “Stop! In the Name of Love”? Sure. But hearing these all-timers stacked up in rapid succession was a thrill of its own — a reminder of the blend of efficiency and ingenuity attained on a daily basis at Hitsville, U.S.A.

2. Ross was backed by more than a dozen musicians at the Bowl, including four horn players and four backing vocalists, and they were cooking from the get-go: crisply propulsive in the Motown stuff; tight and gliding in “Upside Down”; lush yet down-home in Ross’ take on Billie Holiday’s “Don’t Explain,” from her 1972 Holiday biopic “Lady Sings the Blues.”

3. Two wardrobe changes meant that we beheld three glittering gowns in all, beginning with the fluffy canary-yellow number she emerged in. About halfway through the show, Ross slipped into a pipe-and-drape dressing room at the rear of the stage then slipped back out wearing bedazzled ruby red; later, she changed into a shimmering gold look. Each dress came accompanied by a matching shawl that Ross would eventually toss to the stage to be retrieved by a waiting assistant who seemed to know precisely when it would happen.

4. Each dress also came with a bulky mic pack that — in an endearingly peculiar costuming choice — Ross opted to wear on her waist instead of hiding it around back.

5. “I have an album out, a current album — the title of the album is called ‘Thank You,’” Ross told the crowd as she began to introduce a tune from her not-bad 2021 LP. Then she turned her head stage-left toward a sound engineer in the wings: “Who’s talking in the mic? I can hear a mic.” She returned to the audience. “Anyway, the title of the album is called ‘Thank You.’ Each song was specially written so that I could say ‘thank you’ to you for all the wonderful years, all the…” Another glance left. “Somebody’s talking in the microphone.” Another turn back. “We’re gonna start with this one — ‘Tomorrow,’ OK? We’ll start that if I can out-talk whoever’s talking over here.”

6. Ross’ daughter Rhonda joined her mom to sing another new-ish tune, “Count on Me” — “She’s been practicing,” Diana said proudly (if somewhat shadily) — then stuck around to do a mini-set of her own self-help-ish soul-folk songs, one of which beseeched us all to “stop gaslighting ourselves.”

7. Half a century after “The Wiz” debuted on Broadway in 1975, Ross sang her two big numbers from the Black retelling of the “The Wizard of Oz,” which she helped cement as a cultural landmark with her role as Dorothy in a fondly remembered movie adaptation. Here, “Home” was wistful yet determined, while “Ease on Down the Road” got even the high-rollers in the Bowl’s box seats moving.

8. During “Reach Out and Touch (Somebody’s Hand),” Ross led the crowd in a call-and-response recitation of what she called “my mantra”: ”I’m so grateful / For all the blessings in my life / For there are many / All is well / I’m resilient / Thank you, thank you, thank you.”

9. More of Ross’ children appeared onstage at the end of the show to join her for a rowdy “I Will Survive” — and to plug their latest commercial endeavors. “Can I say one thing?” Tracee Ellis Ross asked. “‘Solo Traveling with Tracee Ellis Ross’ on Roku streams today, so check out the show.” Diana Ross reclaimed the microphone and gestured toward her son Ross Naess. “This is my son — he’s doing a line of caviar called Arne Reserve.” She looked around. “Chudney, what’s happening with you?”

Jalen Hurts is ready to move on.

The Philadelphia Eagles quarterback spent nearly 10 minutes talking to reporters Wednesday after the team’s first day of training camp. From the first question to the last, Hurts was clear that he has no interest in dwelling in the past — even if that past includes hoisting the Lombardi Trophy after the Eagles’ 40-22 win over the Kansas City Chiefs in Super Bowl LIX and being named that game’s MVP a mere five months ago.

“It’s a new journey, it’s a new season, and those things are far behind us,” Hurts said. “The past is behind us, and the future’s too far away, so we have to stay present and worry about right now.”

It’s not that Hurts doesn’t look back fondly at what he and his teammates accomplished last season, when they thwarted the Chiefs’ attempt to become the first team to win three straight Super Bowls. He allowed himself to do so last week when the Eagles received their championship rings.

“It was honestly surreal to see it in person,” Hurts said of the Super Bowl ring, “almost — not nostalgic, but to see something that you’ve earned, have a moment to appreciate that one last time.”

And now, Hurts reiterated, “that moment’s behind us.”

One reporter noted that Hurts wasn’t seen actually wearing the ring at the ceremony and asked if he’s put it on at any point.

“I’ve moved on, moved on to the new year,” Hurts replied, “It’s as simple as that.”

Another reporter noted that Hurts has spent time this offseason with Michael Jordan, who led the Chicago Bulls to three consecutive NBA titles two times (1991-1993, 1996-1998). The journalist asked if the basketball legend had any advice about how to approach a season after winning a championship.

“He used every word but ‘repeat,’” Hurts said, “and I can appreciate that.”

Hurts isn’t the only one at Eagles camp with that mindset. Offensive lineman Jordan Mailata told reporters it irks him to hear the team described as the “defending champions.”

“We’re not defending nothing,” Mailata said. “We just won the title and now we gotta go win it again. Prove it all over again. And that’s the mentality this team is going to have.”

Similarly, coach Nick Sirianni said: “Every year at training camp feels the same. You’re not looking back, you’re not looking forward, you’re solely focused on today and how we can get better today.”

So, yeah, don’t expect to see Hurts strutting around camp wearing his shiny new Super Bowl ring.

“Ultimately, it’s a new journey,” Hurts said. “It’s a blank canvas. And we are who we are. We have what we have. And regardless whether you win a championship or lose a championship the next year, you have to be able to reset, have the right focus and pursue it with great intensity, great passion. And I think that’s where we are.”

In a TikTok video captured by a fan at one of SiR’s sold-out L.A. shows last August, the Inglewood-born singer-songwriter breaks down into tears after his wife appears onstage behind him.

“Y’all give it up for my beautiful wife, Kelly Ann,” he says on the mic after collecting himself. When he leans to give her a kiss, the crowd erupts into a sea of “aws” and cheers.

It was a tender moment between the couple during the final stretch of his Life Is Good tour in support of “Heavy” — his most vulnerable project yet, which took five years to make and tackles his years-long battle with drug addiction, depression, infidelity and the process of getting sober. Behind the scenes, though, SiR was grappling with a different hardship: The death of his mother, Jackie Gouché, a talented performer who sang with Michael Jackson and Stevie Wonder, and helped build SiR’s confidence as an artist.

His team was “ready for me to just drop everything and come home,” says SiR over Zoom. “But I prayed about it. I talked to my family, and we made the decision for me to finish the tour out, in honor of her.”

So by the time he got to the Hollywood Palladium, where he performed back-to-back shows, he says, “I think I was drained and I needed my support, and my wife just so happened to be there, which was just perfect for me. I’ll never forget that night.”

Since that emotional performance, SiR, born Sir Darryl Farris, released an extended version of “Heavy,” subtitled “The Light,” in April, which features six new tracks, some of which are new, such as “Sin Again” and “No Good,” and others that didn’t make the cut on the original project.

The Grammy-nominated singer, who is signed to L.A. powerhouse label Top Dawg Entertainment alongside R&B darling SZA, is set to make his headlining debut at the Hollywood Bowl on July 20 for the KCRW Festival. The upcoming show will feature an opening set from singer-songwriter Leon Thomas, of whom SiR is a “huge fan,” along with two surprise appearances from, he says, the “best guests I could get.”

Ahead of the upcoming show, we caught up with the “John Redcorn” singer to discuss how he’s keeping his late mother‘s memory alive through his music, how becoming a father of two daughters has affected him both personally and artistically and his goal to make a classic record that everyone knows.

This interview has been lightly edited for length and clarity.

You recently wrapped up your Step Into the Light tour a few weeks ago. How was it being onstage with your older brother, Davion, who sang background vocals, and your uncle Andrew, who is a gospel bass legend?

It was so fulfilling. I’ve worked with them before on so many different levels. My uncle plays on all my songs, and Davion and I write songs together, but to have them on the road with me was just a different outer-body experience. I think my favorite part of all of that was the time we spent [together] before and after the shows, like having dinners with my uncle and finding out things about my parents that I didn’t know. Finding out stories about my grandfather that I’d never heard. Now, our bond is that much stronger. It’s really nice to have him on the road. My uncle Andrew is awesome. I got sick of my brother. [laughs]

You were also on tour last year in support of “Heavy,” which is your most vulnerable project yet. How was it performing these songs this time around as opposed to last year? Did any songs hit differently?

We changed the set list just a tad because we had new music that we wanted to promote. The newer songs felt great. I was really specific about which ones I added because I wanted them to be songs that I enjoyed singing. The songs that I have in the set list that are staples still hit the same, and the audience still responds the same way. But it was surprising to see people singing the new music. I was fully prepared to go there and have to explain myself through these songs, but people were already vibing and singing along, which was great. My audience is great. I love my fans so much.

What songs did you add from the “Heavy Deluxe: The Light” project?

We added “No Good,” “Sin Again,” “Out of My Hands” and then, of course, “Step Into the Light,” which we added to the end of the set. But we also have songs like “John Redcorn” in there, which is a staple. If I don’t sing “John Redcorn,” people will come for my neck.

Last August, a fan posted a video of you crying during one of your shows at the Hollywood Palladium after you saw your wife, and the comment section was filled with sweet and supportive messages. Do you mind sharing what headspace you were in that night and why you felt so emotional in that moment?

That was the end of the tour, so I knew I was done, and in the middle of that tour, I actually lost my mom. At the time, I was on the phone with [TDE Chief Executive Anthony “Top” Tiffith], and he asked me if I wanted to continue. They were ready for me to just drop everything and come home. But I prayed about it, I talked to my family, and we made the decision for me to finish the tour out, in honor of her. My energy was just so low. I’ve never felt like that and had to go perform, and we had like eight more shows left. So by the time I got to the Palladium, I was drained. There’s a song that I sing called “Tryin’ My Hardest,” and I wrote that when I wasn’t sober and I was just trying to work myself through recovery. It was an ode to my mother and my wife, just telling them that I wasn’t giving up every time I relapsed. I [think] it was that song that she came out to. Half the time, tears were flowing down my face. So I think I was drained and I needed my support, and my wife just so happened to be there, which was just perfect for me. I’ll never forget that night. We sold out the Palladium twice.

You had a really close relationship with your mother, Jackie Gouche, who was a phenomenal artist in her own right. Have you written any songs in dedication to her since her passing?

I have a song that goes: (Starts singing lyrics)

Her name is Danielle, born in December but never felt the cold
Chocolate skin and a heart that’s made of gold
A certain resemblance to someone that I know
As bitter, as sweet
As easy as it was to sweep me off my feet
I never imagined that you may never meet
I wish you could be here to watch my baby grow
She’s gonna to do well
Her name is Danielle.

It’s just a song about my daughter that I wrote for her, and hopefully, I put it on the next project. Ooh. But we’ll see. My mother was such a big reason why I started really writing songs and wanting to be SiR. I was a different kind of guy growing up. I was very timid. I wasn’t sure about my musical abilities or gifts, and anytime I sent her songs, she would just light up and tell me how beautiful it was and give me advice, which was very important. After a while, I just kept impressing her and kept blowing her away in her own words. She was a huge part of my confidence.

“I should be able to have an album out every year,” SiR said. “I’m a studio rat so we should be able to find it. But my sobriety had to be at the forefront of everything, and I’m navigating being SiR sober.”

(Rolexx)

You’ve been vocal and vulnerable about your experience of dealing with addiction and all of the lifestyle changes you’ve made since becoming sober. Can you talk about what you’ve learned about yourself throughout this time?

I’ve learned that I have an addictive personality, no matter what the drug is, and I’ve created some good habits. The gym is now the biggest addiction that I have. I definitely had to just learn who I was looking at in the mirror, because when you’re inebriated, intoxicated all the time, you don’t really know what’s going on or who you are, and it’s a tough place to be. It’s a tough hole to dig yourself out of, but once you get out of that, you’ve got to navigate not falling back into the hole. It took about a year before I even got close to being sober. I’d have, like, sober weeks, and relapse after relapse and things like that. But at this point, I’m proud of where I am as a father, as a husband, and I’m trying to make sure that I just keep nourishing my artistry, because as much as I’m glad that that album came out, it took me five years to put that album out, and that shouldn’t happen. I always like to think of myself as a hyper-creative, and I should be able to have an album out every year. I’m a studio rat, so we should be able to find it. But my sobriety had to be at the forefront of everything, and I’m navigating being SiR sober. This is all new, and it’s definitely fun, but I definitely had to really work to get here.

Since releasing “Heavy,” you had another daughter, whom you talked about earlier, so now you’re a father of two. Can you talk about how fatherhood has affected you personally and creatively?

Fatherhood is like, ooh man, it’s a process. It taught me a lot about myself. I’m selfish. I’m impatient. I’m getting old. [laughs] My body doesn’t move and respond the same. When you have a 3-year-old who’s running as fast as she can and you’re trying to keep up with her, it’s tough. But it also just taught me a lot about how well I was raised. My parents were sweet. They were so nice and so kind and so gentle with us, and very protective, but in the best ways. If I’m half as good of a parent to my kids as my mother was to me, I think they’re going to be fine.

On Sunday, you are going to headline the Hollywood Bowl for the first time. How are you feeling about the show and what are you most excited about?

I can’t lie, I was excited about Leon Thomas’ set, but I realize now that I’m not going to be able to watch it, because I’m going to be doing my vocal warmups and getting ready for own thing. So now I’m just excited to see that sea of people. In L.A., I’ve done some really good shows, but it’s a 17,000-cap venue, and I think we’re doing good on ticket sales. This is the largest SiR audience that I’ve ever seen, so I’m excited to see the fans and hear them sing along.

Have you met Leon Thomas before?

We haven’t met, but I’m a huge fan. I don’t know if a lot of people [know], but Leon Thomas was a songwriter before he started putting music out on his own. Of course, everyone knows him from his acting days, but he was a part of a writing group that is based in L.A. and has been writing songs for other artists, so to see him come to the forefront of his own artistry is a beautiful thing. I think I’m on the waiting list for a Leon Thomas session. Collaborating is big right now with me, especially since things have changed and I don’t work as much as I used to on my own. I want to bounce ideas off of good artists, and I want to have great musicians in the room so we can make sure that everything is where it’s supposed to be in the song. We talked about it. I texted him [last] week just to thank him for being a part of this, and I wanted to congratulate him on all of his success. He’s a good guy, and I’m definitely a huge fan.

Why is collaboration so important for you now? What’s changed?

I want better songs. I’ve been around a long time. I got a lot of music out, but I have this thing in my head where I just want a classic. I feel like I have some really good records, but I want a song that everybody knows. As a songwriter, I think the most beautiful music comes from collaboration because you have people there to give you guidance in your own thought process. Even if I’m leading the way, I have somebody in my ear that’s navigating into this place we’re trying to get to. But I definitely just want to write better songs, and I’m not afraid to ask for help. I’ve had to learn that the hard way. I spent a lot of time over the years just kind of closed off in my box, which was great because it created my world, my sound. But now that I have established my sound, I should always be open to people helping me create in my world, especially if they know what my world is.

Have you started thinking about your next project yet?

I am definitely thinking about my next project. It does not have a name. We don’t have a date, but I am as busy as I can be right now, just with new songwriting and trying to stay ahead of it, because if I make you guys wait another five years for another project, I don’t think I’ma survive. I might have to go get me a day job. So I’m definitely working, but I’m not gonna rush. I’m not gonna force anything. I’m not just gonna put out anything. We need, you know, at least 40 to 45 minutes of just greatness, and I’m gonna do everything I can to deliver for the fans, because they deserve it more than anything.

Former NFL linebacker and special teams player Bryan Braman, who rose from undrafted free agent to Super Bowl champion, died Thursday morning after a battle with cancer. He was 38.

“You look at his journey and beating the odds to make it to the NFL after going undrafted,” Braman’s agent Sean Stellato told KPRC-TV in Houston. “Not only making it, but producing and becoming a world champion, he had a real hard journey. … To die at age 38, the game of football and his family are hurting today. He was a staple for what football and underdogs are about.”

Stellato told the station that he had learned from one of Braman’s closest friends that the former Long Beach City College player “took his last breath while surrounded by friends and family.”

Braman graduated from Shadle Park High School in Spokane, Wash., and redshirted for a year at Idaho before playing at LBCC in 2007 and 2008. He transferred to West Texas A&M in 2009.

After going undrafted in 2011, Braman signed with the Houston Texans and remained for three seasons, playing in 46 games, mostly on special teams. In the final game of his rookie season, Braman earned the admiration of Texans fans when he tracked down and tackled Tennessee’s Marc Mariani after losing his helmet earlier in the play. The following season, Braman was a Pro Bowl alternate on special teams.

“We are deeply saddened to hear about the passing of Bryan Braman,” the Texans wrote on X (formerly Twitter). “Our thoughts and prayers go out to the Braman family during this difficult time.

Braman went on to play for the Philadelphia Eagles from 2014-2016, then signed with them again late in the 2017 season for a playoff run that culminated in a 41-33 victory against the New England Patriots in Super Bowl LII.

“During his four seasons in Philadelphia, Bryan was a loyal teammate, a supporter of the community, and a valuable member of our Super Bowl LII-winning team,” the Eagles said in a statement. “More importantly, he was a devoted father who passionately loved his family and everyone around him.”

According to a GoFundMe page set up for Braman in February, he was battling “a very rare form of cancer.” Several of Braman’s former teammates contributed to the fund, including retired Texans defensive end J.J. Watt, who donated $10,000.

On Thursday, Watt also paid tribute to his late teammate on X.

“Rest in Peace brother,” Watt wrote in a post that also featured a photo of Braman in his Texans uniform. “Gone far too soon.”

Tuesday night the Los Angeles Philharmonic opened its 103rd season at the Hollywood Bowl. It was a beautiful evening. Lustrous twilight. Bright moon. Paradisal weather. Unusually light traffic. A program featuring Rachmaninoff and Prokofiev favorites. Cares could easily slip away once walking through welcoming and efficient security.

Still, the real world is never far away from the Bowl. One of the highlights of this season has fallen victim to a baffling Venezuela travel ban. Gustavo Dudamel can no longer bring his Simón Bolivar Symphony Orchestra in August. That now means that Dudamel will spend only a single week at the Bowl during his penultimate summer as L.A. Phil music director.

Some of the Bowl’s facilities have been dolled up a bit, but the amphitheater feels fragile after the January wildfires. The military on our streets has produced an L.A. edginess. Could that have contributed to the Bowl’s unusually low opening-night attendance? Ticket sales were said to have been strong, making the many empty seats worrisome no-shows.

What Tuesday night did herald was an L.A. Phil summer season with fewer splashy events than usual (no opera, for one), several conductors making their Bowl debuts and a good deal of Russian music. It was, moreover, a Tuesday that proved a relatively somber occasion, which, despite the lovely atmosphere, fit the mood of the times.

Danish conductor and Minnesota Orchestra Music Director Thomas Sondergard made his L.A. Phil debut. There is temptation to place every debut, along with every conductor invited back to the Bowl, as a potential candidate for the long list, short list or whatever list to be the L.A. Phil’s next music director after Dudamel departs for New York next year. But Bowl concerts tend to be hit-and-run events.

Sondergard demonstrated a sense of grandeur, sometimes shattering, other times starchy. But there were all the opening-night kinks to be worked out with audio, video, an orchestra just coming back from vacation and coping with minimal rehearsal time.

None of this played into Sondergard’s or the Bowl’s strengths as Samuel Coleridge-Taylor’s Ballade in A Minor opened the program. The bland Ballade is a lesser score by the late 19th and early 20th century British composer who deserves a revival for his more substantial works.

Pianist Kirill Gerstein performs with the L.A Phil on opening night Tuesday at the Hollywood Bowl.

(Gina Ferazzi / Los Angeles Times)

For Rachmaninoff’s Rhapsody on a Theme of Paganini, the subdued blue shell lighting suddenly turned a shockingly vivid orange. Amplification met the glaring illumination with the evening’s piano soloist, Kirill Gerstein, unnaturally dominating a sonically repressed orchestra. The video monitors went their own crazy way, whether unmusically flipping from close-ups of fingers and lips or attempting surreal cornball special effects.

It was all too much (and in the orchestra’s case, too little), but Gerstein is a gripping pianist in any situation. He has just released an iridescent recording of a piece written for him and vibraphonist Gary Burton by the late jazz great Chick Corea. Thomas Adés wrote his heady Piano Concerto for him. Of all the great recordings of Rachmaninoff’s over-recorded Second Piano Concerto, Gerstein’s recent one with the Berlin Philharmonic may be the most powerful.

Every note, important or incidental, he hit in the Rhapsody had a purposeful intensity. What you could hear of Sondergard’s contribution was a starkly effective percussive response from the orchestra. It was, under any conditions, a striking performance.

Video and audio settled down for Prokofiev’s Fifth Symphony, which was written in 1944, a decade after Rachmaninoff wrote his Rhapsody. The world had momentously changed in those 10 years.

Both composers fled Russia after the 1917 revolution, but their relationships with their native land was very different. Although Rachmaninoff never returned, he remained thoroughly old-world Russian. He wrote his Rhapsody in idyllic Switzerland, before immigrating to the U.S., where he died in Beverly Hills in 1943.

Prokofiev spent years in Paris and in the U.S. as a modernist, but ultimately Mother Russia was too strong of a pull, and he returned despite the artistic restrictions of Stalinist Russia. His Fifth is a war symphony, written at a time of great nationalism, and it premiered in Moscow in January 1945 just after Russia had routed the Nazi invaders.

Sondergard’s performance lacked the soul of, say, André Previn. (Previn performed the Fifth at his first concert as L.A. Phil music director in 1985). Here, threatening thunder of the monumental first movement was followed by threatening lightning in the faster scherzo followed by the threateningly dark cloudy skies in the slow movement followed by the victorious bombing of the final movement.

The overpowering bigness of this performance happened on the day that the U.S. reaffirmed its commitment to Ukraine in its war with Russia. Three years ago, some questioned whether Russian music should be performed at all. Several other orchestras canceled performances of Tchaikovsky’s “1812 Overture.” The Bowl’s annual “Tchaikovsky Spectacular” retained the Overture although the program began with the Ukrainian National Anthem.

This summer Russian music abounds at the Bowl with the usual Tchaikovsky (which will be part of the “Classical Pride” program Thursday), a full week of Rachmaninoff, along with more Prokofiev, Shostakovich and Stravinsky. It was with Tchaikovsky that Dudamel made his U.S. debut at the Bowl, the rest being history.

Russian music has, in fact, been a mainstay of the Bowl for 103 years. Russian performers and composers helped to make L.A. what it is artistically today. And how Russian composers, those who stayed and those who left, dealt with militarism, nationalism and the threat of repression has never felt more relevant.

In early July, the Los Angeles Philharmonic quietly canceled all four Hollywood Bowl performances featuring Venezuela’s Simón Bolívar Symphony Orchestra conducted by Gustavo Dudamel. The L.A. Phil, in a statement, attributed the cancellations of the L.A. leg of the orchestra’s 50th anniversary tour to “travel complications,” and said it looks forward to “welcoming the Orchestra back in the future.”

Venezuela is on the list of countries on President Trump’s recently announced travel ban list. The ban for the country is partial, but it does affect the types of visas typically used for tourism and business. A number of readers wrote in about the cancellations, speculating about visa issues and the Trump administration’s aggressive immigration policies. Asked if this was the case, or if any further details about the cancellations were available, a rep for the L.A. Phil declined to comment beyond what was provided in the organization’s statement.

In a review of the Bowl’s opening night, Times classical music critic Mark Swed credited the loss of the orchestra‘s visit to Trump’s travel ban and lamented that the cancellation would reduce Dudamel’s appearances on the Bowl’s stage to a single week during his 16th and penultimate season before he leaves L.A. to become music and artistic director of the New York Philharmonic in 2026.

The Bolívar Orchestra likely won’t have any trouble traveling to the United Kingdom, however, because it is set to play as a special guest alongside Dudamel for 10 sold-out shows with the rock band Coldplay at Wembley Stadium in late August and early September. (Turns out Coachella was just a warm-up for Dudamel, who really has achieved rock star status in the music world.)

Ticket holders for the canceled Bowl shows received emails about the cancellations and were told that their tickets would remain valid for newly announced programming: Elim Chan, James Ehnes, and the L.A. Phil on Aug. 12 for Tchaikovsky and The Firebird; Gemma New and the L.A. Phil performing Tchaikovsky’s 4th on Aug. 14 with Pacho Flores; and Enrico Lopez-Yañez and the Hollywood Bowl Orchestra performing Aug. 15-16 with Los Aguilar.

When the Bowl season was first announced, L.A. Phil President and Chief Executive Kim Noltemy told me that much of the season was organized to highlight Dudamel’s work, including performances featuring composers, musicians and music that he is particularly fond of.

At that time, Dudamel was set to conduct eight shows in August, four of which were with the Bolívar Orchestra — a situation that speaks to his deep, decades-long ties with the organization, which started as a youth ensemble and is composed of musicians trained by Venezuela’s famed music education program, El Sistema, which also counts Dudamel as an alumnus.

I’m arts and culture writer Jessica Gelt, dreaming of a trip to London for an extraordinary show. In the meantime, here’s your arts news for this weekend.

Best bets: On our radar this week

Tiffany Tatreau, from center left, Nick Fradiani and Kate A. Mulligan in “A Beautiful Noise: The Neil Diamond Musical.”

(Jeremy Daniel)

’A Beautiful Noise: The Neil Diamond Musical’
This jukebox musical that ran on Broadway for more than a year finally reaches L.A. on its national tour. Featuring nearly 30 of Diamond’s songs, including “Solitary Man,” “Sweet Caroline,” “I Am … I Said” and “Song Sung Blue,” the show is framed by therapy sessions in which the singer-songwriter reflects on his life’s highs and lows and the genesis of his writing with different actors playing “Neil – Then” (2015 “American Idol” winner Nick Fradiani) and “Neil – Now” (Tony nominee Robert Westenberg).
7:30 p.m. Tuesday-Thursday; 8 p.m. Friday; 2 and 8 p.m. Saturday; 1:30 and 6:30 p.m. Sunday, through July 27. Hollywood Pantages Theatre, 6233 Hollywood Blvd. broadwayinhollywood.com

“Portrait of a Man,” Hendrick Goltzius (1607), pen and brown ink and black chalk, with touches of gray wash, incised for transfer. 11 5/8 × 7 15/16 in. (29.5 × 20.2 cm)

(Getty Museum)

‘Lines of Connection: Drawing and Printmaking’
The exhibition shares the narrative of how European artists worked on paper with various media from the 15th through 19th centuries. The show also includes large-scale works by L.A.-based artist Toba Khedoori.
10 a.m.-6:30 p.m. Sunday, Tuesday-Friday; 10 a.m.-9 p.m. Saturdays; closed Monday; through Sept. 14. J. Paul Getty Museum, 1200 Getty Center Drive, L.A. getty.edu

Joan Crawford, left, and Bette Davis in the 1962 film “Whatever Happened to Baby Jane?”

(Silver Screen Collection / Getty Images)

A Joan Crawford Triple Feature
The Academy Museum screens three late-period Crawford vehicles in 35 mm in its Ted Mann Theater. “What Ever Happened to Baby Jane?” (1962), directed by Robert Aldrich and co-starring Bette Davis (who received an Oscar nomination) relaunched the actors’ careers and became a cult classic. In “Strait-Jacket” (1964), directed by British horrormeister William Castle, Crawford played a woman released from a psychiatric hospital 20 years after being convicted of murdering her husband and his lover with an ax. Finally, Crawford’s last big-screen appearance came in “Trog” (1970), wherein she starred for director Freddie Francis, the noted cinematographer, as an anthropologist who attempts to domesticate a caveman in the 20th century U.K.
2:30 p.m., 5 p.m. and 6:45 p.m. Saturday. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

Composer Alexandre Desplat conducts an evening of his award-winning film scores at the Hollywood Bowl.

(Jennifer McCord / For The Times)

The Cinematic Scores of Alexandre Desplat
Hot on the heels of the release of the hit movie “Jurassic World Rebirth,” in which Desplat incorporated John Williams’ stirring “Jurassic Park” theme into his new score for the film, the celebrated French composer takes the Hollywood Bowl stage to conduct a career-spanning evening of his work. In addition to his Oscar-winning scores for Wes Anderson’s “The Grand Budapest Hotel” and Guillermo Del Toro’s “The Shape of Water,” the program includes musical selections from “The Imitation Game,” “The King’s Speech” and more.
8 p.m. Tuesday. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

Culture news

Playwright Richard Greenberg is seen in New York’s Chelsea neighborhood in 2013.

(Jennifer S. Altman / For The Times)

Times theater critic Charles McNulty writes an appreciation of playwright Richard Greenberg, who died July 4 of cancer at age 67. Greenberg’s rise to fame began with his 1988 play “Eastern Standard,” which received a rave review by theater critic Frank Rich in the New York Times. McNulty remembers seeing the play on Broadway as a student and was “dazzled by Greenberg’s New York wit, which struck me as an acutely sensitive, off-angle version of George S. Kaufman’s Broadway brio.”

The casting news continues for “Jesus Christ Superstar” at the Hollywood Bowl. We already know that Cynthia Erivo is set to play Jesus and Adam Lambert will play Judas — now we have it that Milo Manheim will play Peter and Raúl Esparza will play Pontius Pilate. The musical will run Aug. 1, 2 and 3.

The SoCal scene

Pasadena Playhouse, the State Theatre of California, is offering a robust slate of educational offerings.

(Jeff Lorch)

The Pasadena Playhouse is fast moving toward artistic director Danny Feldman’s goal of once again making its historic campus a buzzing hive of educational activity. The playhouse announced earlier this week that it is expanding its offerings, adding options for adults and seniors to its still-growing roster of classes and camps for kids and teenagers. A musical theater community choir, a storytelling workshop and acting lessons for non-actors are also joining the lineup. Check out the schedule, and sign up, here.

IAMA Theatre Company announced its 18th season at the Atwater Village Theatre, featuring the world premiere of Matthew Scott Montgomery’s “Foursome,” a story about queer love and family that is produced in association with Celebration Theatre. There will also be two original workshop productions, including Mathilde Dratwa’s “Esther Perel Ruined My Life,” directed by Ojai Playwrights Conference Producing Artistic Director Jeremy B. Cohen. The 8th annual New Works Festival gets things started from Oct. 9 to 13, and offers audiences the ability to see fresh stagings by playwrights in need of early reactions to help develop and hone their writing. The season ends with a final workshop production of JuCoby Johnson’s “…but you could’ve held my hand,” about the ongoing relationships of four Black friends.

Pack snacks and a blanket and head for the 405 because the Getty’s annual Garden Concerts for kids are back. The series begins Aug. 2 and 3 with 123 Andrés. The next weekend will bring Kymberly Stewart to the stage, followed by Divinity Roxx Presents: Divi Roxx Kids World Wide Playdate on Aug. 16 and 17. The fun begins at 4 p.m., so make a day of it and check out the art first. A free reservation at Getty.edu is required for entry.

— Jessica Gelt

And last but not least

Need a stiff drink after a hard day of doomscrolling? The Food team has created a handy guide featuring 14 martinis that are shaking and stirring the cocktail scene.

Mexico’s Monterrey advanced to the round of 16 at the Club World Cup by thrashing Urawa Red Diamonds 4-0 on Wednesday at the Rose Bowl in the third and final match of the group stage, while Argentina’s River Plate was eliminated with a 2-0 loss to Inter Milan in Seattle.

As the third-place team in Group E, the Rayados needed to win, scoring as many goals as possible, and then hope for a winner at Lumen Field during the match between River Plate and Inter Milan, because if the match was tied 2-2, Monterrey would be eliminated no matter what happened in Pasadena.

But Inter Milan’s win gave the club first place in the group with seven points, followed by Monterrey with five and River Plate with four points. Urawa did not earn any group points.

“We have to enjoy now, the present,” said Domenec Torrent, Monterrey’s technical director. “I’m very happy for the people who came here and for Mexican soccer in general.”

Torrent added that he was happy to finish unbeaten during three group stage matches, earning one win and two draws.

“We knew it was going to be a complex match. Urawa, despite being eliminated, we knew they were going to play a difficult game,” Monterrey midfielder Óliver Torres said. “In fact, in the first few minutes they made it very difficult for us. After the goal, we started to grow in the match. We knew it was a very important day for all the club’s workers, for all the fans who were here and at home, and well, for all of Mexico.”

Monterrey settled the match in a matter of nine minutes.

Monterrey’s Germán Berterame, front, and Sergio Ramos embrace after winning their Club World Cup Group E match against Urawa on Wednesday at the Rose Bowl.

(Jae Hong / Associated Press)

Colombian Nelson Deossa fired a powerful shot from outside the box at Urawa goalkeeper Shūsaku Nishikawa, who could not block the shot as the ball rolled in for a goal in the 30th minute. Two minutes later, Argentine Germán Berterame fired a low shot on the right side of the Japanese goal and scored. Then, Jesús “Tecatito” Corona fired a long-range missile, extending Monterrey’s lead to 3-0. The fourth goal came in stoppage time when Berterame finished off a diagonal cross from the right.

“I didn’t expect what tonight was like,” said Berterame of his brace, the win and the qualification. “We were coming to win, but I think it was a dream night.”

Monterrey will face Borussia Dortmund on Tuesday at Mercedes-Benz Stadium in Atlanta while Inter Milan will face Fluminense on Monday at Bank of America Stadium in Charlotte, N.C., in the round of 16 of the tournament.

Monterrey fans cheer for their team during a Club World Cup Group E soccer match against Urawa Red Diamonds at the Rose Bowl on Wednesday.

(Jae Hong / Associated Press)

“The next game we know is very difficult,” said Torrent, who added Dortmund plays a style very similar to Inter Milan. “It’s another European team that competes very well, they have won things. We already know how they play, I’ve seen them very well.”

“Every game is like a chess match. Getting through the group was not easy. It’s going to be very difficult for them to beat us and if they beat us, let the fans know that we’re going to give everything.”

Sergio Ramos’ Monterrey and Lionel Messi’s Inter Miami are the only two CONCACAF teams to survive the first round, as Pachuca, Seattle and LAFC were eliminated during the group stage.

This article first appeared in Spanish via L.A. Times en Español.

Rhiannon Giddens is down at the river, carrying a flame of heritage, and she’s inviting anyone who wants to join her to come down and light their own wicks.

Rivers are traditionally sites of salvation, as well as play. Last summer, Giddens was making her new album of traditional banjo and fiddle tunes with Justin Robinson, “What Did the Blackbird Say to the Crow,” and they were recording a few songs at Mill Prong House in Red Springs, N.C. Stepping inside the house, built on a plantation in 1795, Giddens recoiled at the intensity she felt.

“I knew who was working these fields,” she says. “I knew who was serving in this house — and it was people who looked like me. And then seeing up on the wall, like, a reunion photo of these old white dudes who went to Chapel Hill, at the end of the Civil War, and one of them had my Black family’s last name from Mebane [N.C.] … I was just like: I can’t right now. I had to run out to the river.”

In a moment captured by a photographer, she was crouching by the water just before it started to rain, “and I’m thinking: how many people have come down to this river for respite? How many people in the history of this plantation — turned manor house, turned private property — have come to exactly this spot, distressed over whatever reason?”

Giddens carries the weight of this on her shoulders — of the distress, but also of the joyful culture and music-making of her ancestors — and she extends an open invitation to audiences to share and learn their stories and their culture. She did so at her inaugural Biscuits & Banjos Festival in her native North Carolina, and she’s doing it in her current Old-Time Revue tour — which will make a special blockbuster stop at the Hollywood Bowl [on June 18].

The program will feature Giddens playing with Hollywood banjoists Steve Martin and Ed Helms, along with a reunion of the all-female banjo supergroup Our Native Daughters. “So many banjos,” she says. “This evening is going to be amazing. I wanted to call it a ‘Banjo Jamboree,’ but they wouldn’t let me,” she laughs, speaking to The Times via Zoom.

Balancing laughter and sorrow seems to come easily to Giddens, 48, who has been on a serious mission to rekindle the legacy of the banjo and string band traditions as authentically Black creations ever since she met fiddle player Joe Thompson in 2004 and became a disciple. She’s referred to as an “elder” in the “Blackbird” liner notes, which doesn’t bother her: “To an 18-year-old, I am an elder,” she says. “I’m almost 50, and we are the half generation. We’re the point five, because our parents didn’t pick this up.”

From the Carolina Chocolate Drops to her solo music, from composing the Pulitzer-winning opera “Omar” to helming the Silkroad Ensemble, Giddens is at the fore of a movement of Black artists — including Beyoncé, whose country album “Cowboy Carter” features Giddens on banjo — reclaiming their cultural heritage and making it sing again.

Rhiannon Giddens

(Rick Loomis / for the Los Angeles Times)

A river (of sorts) played a role in another piece of Black Southern iconography this year — in the climax of “Sinners.” Giddens was a musical consultant on Ryan Coogler’s blockbuster film and contributed her banjo to the song “Old Corn Liquor” on its soundtrack. She was also meant to appear onscreen in the central juke joint — her Chocolate Drops bandmate, Justin Robinson, does — but she couldn’t make it work with her busy schedule. She admittedly hasn’t seen the film (“I don’t like horror movies, so I actually don’t want to see it”) but she’s still a fan.

“I think what they’ve opened up with the whole conceit behind it is super important,” Giddens says.

In a way, “Sinners” is a vampiric, IMAX-sized version of her own project, in that it’s about how so much of our popular musical culture was invented by Black folks in the South and co-opted by white performers (whether Elvis, the Rolling Stones or the country and folk music industries) — but also about how music can be a time machine, a way to seance with people up the river of history.

“Beyoncé, ‘Sinners,’ and then, in its own small way, Biscuits & Banjos is like this little triangle of a cultural movement,” Giddens says, “which I didn’t see coming, and I’m just super grateful. Because it’s been a desert. … We’re all toiling in our corners, on our own, and it kind of feels like we’re carrying all of this on our own.”

Her Durham festival, which took place in April, drew musical legends — Taj Mahal, Christian McBride, the Legendary Ingramettes — and basically “most of my favorite people making music right now,” says Giddens. She also judged a biscuit competition and participated in contra dances, which is what got her into this music in the first place.

“People were just really ready,” she says, “ready to come and feel good, and to celebrate our humanity together.”

For Giddens, the stakes couldn’t be higher. She and Robinson learned their tunes and their art directly from Thompson, who died in 2012; they were playing his music together in Ojai recently “when it just hit me how important it was what we were doing,” she says, “like how complete the sound was together. I said: ‘If one of us gets hit by a bus, this tradition is dead.’ ”

That’s why she wanted to record the tunes they inherited from Thompson, as well as from Etta Baker and other North Carolina string band players — hence the “Blackbird” album. But she also insists that the only way to truly pass the flame is through playing together in person.

Rhiannon Giddens crouching by river near Mill Prong House in Red Springs, N.C.contemplating the historic struggle of her slave ancestors. “I’m thinking: how many people have come down to this river for respite?” she said. “How many people in the history of this plantation — turned manor house, turned private property — have come to exactly this spot, distressed over whatever reason?”

(Karen Cox)

“I know that learning from Joe forms the center of my character as a musician,” she says. “I learned stuff off of recordings, fine, but I have something to go back to that was a living transmission. And I just think you should have something of that, especially in this day and age.”

Giddens has passed her tradition down to many students in the past 20 years, including her nephew Justin “Demeanor” Harrington — who plays banjo and the bones, and also raps, and who is traveling with her Old-Time Revue.

This will be Giddens’ first time at the Bowl; likewise for Amythyst Kiah, a banjo player from Johnson City, Tenn., and one of Our Native Daughters. That project began in 2019 as a one-off album recorded in a small Louisiana studio, of songs inspired by the transatlantic slave trade and the suffering and often unheard voices of Black women.

“Music has a way of disarming,” says Kiah, “so it allows for people to be able to engage with the subject matter in an easier way than just talking about it.”

The fierce foursome — which also includes Allison Russell and Leyla McCalla — toured with their songs before the pandemic, and later brought their banjos to Carnegie Hall in 2022. “Now we’re playing in a stadium,” says Kiah, “which is insane.”

The star-studded Bowl show is “not what I usually do,” says Giddens. “It’s stepping out a little bit for me, not to mention the size of the place, which is kind of freaking me out.”

But really it’s just another river — or rather, the same river Giddens has been inviting folks to join her at for the last 20 years.

Strumming a black acoustic guitar to match his black tuxedo pants and jacket, Hugh Jackman strolled onto the stage of the Hollywood Bowl and let the audience know precisely what it was in for.

“Little bit of Neil Diamond,” he said as the Hollywood Bowl Orchestra revved up the go-go self-improvement jive of “Crunchy Granola Suite.”

A dedicated student of showbiz history, the Australian singer and actor was starting his concert Saturday night just as Diamond did half a century ago at the Greek Theatre gig famously captured on his classic “Hot August Night” LP.

Yet Diamond was just one of the flamboyant showmen Jackman aspired to emulate as he headlined the opening night of the Bowl’s 2025 season. Later in the concert, the 56-year-old sang a medley of tunes by Peter Allen, the Australian songwriter and Manhattan bon vivant whom Jackman portrayed on Broadway in 2003 in “The Boy From Oz.” And then there was P.T. Barnum, whose career as a maker of spectacle inspired the 2017 blockbuster “The Greatest Showman,” which starred Jackman as Barnum and spawned a surprise-hit soundtrack that went quadruple-platinum.

“There’s 17,000 of you, and if any of you did not see ‘The Greatest Showman,’ you might be thinking right now: This guy is super-confident,” Jackman told the crowd, panting ever so slightly after he sang the movie’s title song, which has more than 625 million streams on Spotify.

The success of “Showman” notwithstanding, Jackman’s brand of stage-and-screen razzle-dazzle feels fairly rare in pop music these days among male performers. (The theater-kid moment that helped make “Wicked” a phenomenon was almost exclusively engineered — and has almost exclusively benefited — women such as Ariana Grande, Cynthia Erivo, Chappell Roan and Laufey.) What makes Jackman’s jazz-handing even more remarkable is that to many he’s best known as the extravagantly mutton-chopped Wolverine character from the Marvel movies.

Before Jackman’s performance on Saturday, the Hollywood Bowl Orchestra, conducted by Thomas Wilkins, played a brief set of orchestral music that included selections from John Ottman’s score for “X2: X-Men United.”

The ascent of Benson Boone, with his mustache and his backflips, suggests that Jackman may yet find inheritors to carry on the tradition he himself was bequeathed by Diamond and the rest. But of course that assumes that Jackman is looking to pass the baton, which was not at all the impression you got from his spirited and athletic 90-minute show at the Bowl.

In addition to stuff from “The Greatest Showman” and a swinging tribute to Frank Sinatra, he did a second Diamond tune — “Sweet Caroline,” naturally, which he said figures into an upcoming movie in which he plays a Diamond impersonator — and a couple of Jean Valjean’s numbers from “Les Misérables,” which Jackman sang in the 2012 movie adaptation that earned him an Academy Award nomination for lead actor. (With an Emmy, a Grammy and two Tonys to his name, he’s an Oscar win away from EGOT status.)

Hugh Jackman with members of the L.A. Phil’s Youth Orchestra Los Angeles on Saturday night.

(Timothy Norris)

For “You Will Be Found,” from “Dear Evan Hansen,” he sat down behind a grand piano and accompanied himself for a bit; for the motor-mouthed “Ya Got Trouble,” from “The Music Man” — the first show he ever did as a high school kid, he pointed out — he came out into the crowd, weaving among the Bowl’s boxes and interacting with audience members as he sang.

“I just saw a lot of friends as I went through,” he said when he returned to the stage. “Hello, Melissa Etheridge and Linda. Hello, Jess Platt. Hi, Steph, hi, David, hi, Sophia, hi, Orlando — so many friends. Very difficult to say hello to friends and still do that dialogue.” He was panting again, this time more showily. “It’s like 53 degrees and I’m sweating.”

The show’s comedic centerpiece was a version of John Denver’s “Thank God I’m a Country Boy” that Jackman remade to celebrate his roots as an “Aussie boy.” There were good-natured jokes about shark attacks and koalas and Margot Robbie, as well as a few pointed political gibes, one about how “our leaders aren’t 100 years old” — “I’m moving on from that joke fast,” he added — and another that rhymed “Life down under is really quite fun” with “I never have to worry: Does that guy have a gun?”

The emotional centerpiece, meanwhile, was “Showman’s” “A Million Dreams,” for which the Hollywood Bowl Orchestra was joined by 18 members of the Los Angeles Philharmonic’s Youth Orchestra Los Angeles. The song itself is pretty cringe, with a lyric bogged down by cliches and a melody you’ve heard a zillion times before. But Jackman sold its corny idealism with a huckster’s sincerity you couldn’t help but buy.

INDIANAPOLIS Colts owner and CEO Jim Irsay has died at the age of 65, the team has confirmed.

The franchise said Irsay “passed away peacefully in his sleep” on Wednesday afternoon.

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Details surrounding his death have not yet been released, though he had been battling various health issues in recent years.

Irsay took control of the Colts in 1997 following the death of his father, Robert Irsay, who bought the team in 1972 for $12 million.

“We are devastated to announce our beloved Owner & CEO, Jim Irsay, passed away peacefully in his sleep this afternoon,” the Colts said in a statement.

“Jim’s dedication and passion for the Indianapolis Colts in addition to his generosity, commitment to the community, and most importantly, his love for his family were unsurpassed.”

“Our deepest sympathies go to his daughters, Carlie Irsay-Gordon, Casey Foyt, Kalen Jackson, and his entire family as we grieve with them.”

Irsay’s career with the team began decades earlier when he worked in every department before becoming the NFL’s youngest general manager in 1984, just as the Colts moved from Baltimore to Indianapolis.

After assuming full ownership in the late 90s, he helped guide the team to its first Super Bowl title in Indianapolis and oversaw a string of division championships.

“Jim’s love and appreciation for the NFL in addition to its history, tradition, and principles influenced him to become a steward of the game throughout his 50-plus years in the League,” the statement continued.

He was also known for his philanthropy and passion for music.

“He made philanthropy a daily endeavor. He never hesitated to help countless organizations and individuals live better lives.

“Music was one of Jim’s passions and the ability to share his band and collection with millions of people across the world brought him tremendous joy. ”

“Simply put, he wanted to make the world a better place and that philosophy never wavered.”

“Jim will be deeply missed by his family, the Colts organization, and fans everywhere, but we remain inspired by his caring and unique spirit.”

“NFL commissioner Roger Goodell said: “We were deeply saddened to learn of Jim Irsay’s passing today.

“Jim was a friend, and a man deeply committed to his family, the game, the Colts, and the Indianapolis community. 

“On behalf of the entire NFL, I extend my heartfelt condolences to Jim’s daughters and their families, and to his many friends throughout the NFL.”

Irsay was arrested in 2014 for driving under the influence, a charge he later claimed stemmed from being singled out as “a rich, white billionaire.”

He maintained that a recent hip surgery—not alcohol—was the reason he failed the field sobriety test.

More to follow… For the latest news on this story, keep checking back at The U.S. Sun, your go-to destination for the best celebrity news, sports news, real-life stories, jaw-dropping pictures, and must-see videos.

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Zhajiangmian was one of the first dishes my mother taught me how to make. I’d stand beside her in the kitchen, watching her stir fermented soybean paste into sizzling ground pork, the smell sharp, earthy and instantly familiar. A pot of noodles boiled nearby as I carefully julienned cucumbers, proud to contribute to one of my favorite comfort meals. When the ingredients were ready, we’d build our bowls with noodles, sauce and a handful of crisp veggies. Then came the best part — mixing it together until every noodle was slick with sauce. It wasn’t fancy, but it was fast, filling and always hit the spot.

According to Tian Yong, head chef of Bistro Na in Temple City, humble zhajiangmian may date back to the Qing Dynasty, when minced meat noodles became popular in Beijing for its affordability and ease of storage. Another origin story tells of an empress dowager who, fleeing an invasion, encountered a zhajiangmian-like dish in Xi’an.

However it came to be, zhajiangmian, or “fried sauce noodles,” is everyday comfort food in China and a staple of northern Chinese cuisine. “It carries cultural nostalgia and a sense of regional identity, particularly for Beijing natives,” says chef and cookbook author Katie Chin, founder of Wok Star Catering in Los Angeles. At its core, the dish is built on a simple foundation of wheat noodles (often thick, chewy and hand-pulled or knife-cut), ground pork and a deeply savory sauce made from doubanjiang, fermented soybean paste.

Like many regional Chinese dishes, zhajiangmian is fluid, shaped by geography, ingredients and personal taste. “It doesn’t just vary between regions of China — it even varies between households in different parts of Beijing,” Yong explains.

Chin uses several types of soybean paste in her zhajiangmian, each bringing its own personality to the bowl. Traditional Beijing-style relies on pungent yellow soybean paste for its salty, umami-rich depth. Tianjin-style leans on sweet bean sauce for a milder, more balanced flavor, while some versions use broad bean paste to add heat and complexity.

Then there’s the Korean-Chinese adaptation, jjajangmyeon, introduced to Korea by Chinese immigrants in the early 20th century. It swaps fermented soybean paste for chunjang, a Korean black bean paste that’s sweeter and less salty. “The dish is served over softer noodles and typically mixed together before eating, unlike the Chinese version where toppings are placed separately,” Chin says.

The vegetable toppings are essential to the dish’s character. “They can vary according to Beijing’s four seasons and traditional agricultural calendar,” says Yong. In spring, you might see spinach shoots, mung bean sprouts or radish greens; summer brings julienned cucumber, lotus root and edamame; fall offers carrots, garlic chives and bok choy; winter, Napa cabbage and wood ear mushrooms. While zhajiangmian is one of China’s most beloved noodle dishes, in the U.S., the spotlight tends to shine on familiar favorites like chow mein, lo mein or dan dan mian. But zhajiangmian has a deserved place alongside those staples in the canon of Chinese noodles.

I set out to find the best versions in Los Angeles and discovered dozens of interpretations. Some stayed true to tradition, others took creative liberties. But each bowl shared the same sense of comfort I remembered from my childhood — that salty, savory, soul-satisfying mix of noodles and sauce. Here are 11 of the best places to try zhajiangmian and jjajangmyeon in L.A.

For the second time in less than a year, Willie Nelson and Bob Dylan played the Hollywood Bowl on Friday night, bringing together two legends of American song on one stage. The concert — actually Nelson’s third recent visit to the Bowl after his 90th-birthday bash in 2023 — was part of the annual traveling Outlaw Music Festival, which will keep Nelson, now 92, and Dylan, who’ll turn 84 next week, on the road through mid-September. Here are nine highlights from the show:

1. Last year’s Outlaw tour stopped at the Bowl in late July, which at that time meant Nelson didn’t have to ward off the chilly May gray that inevitably settles after dark over the Cahuenga Pass. Here, a day after reportedly suffering from a cold in Chula Vista, Nelson kept warm in a stylish black puffer jacket to go with his signature red bandanna.

2. John Stamos played percussion in Nelson’s six-man band Friday — a somewhat lower-key role than the prominent guitar-and-vocals spot he often holds down these days in Mike Love’s touring Beach Boys. Yet the TV star looked pleased as punch to be back there, shaking a shaker as Nelson opened his set, as always, with “Whiskey River.” Also on hand, filling in for Nelson’s son Lukas was singer-guitarist Waylon Payne, who sang lead in a moving version of Kris Kristofferson’s “Help Me Make It Through the Night” — the folk-soul masterpiece made a hit in 1970 by Payne’s mother, the late Sammi Smith.

3. My favorite of Nelson’s styles to hear him do at this point in his career, with a voice and a soloing hand as free as they’ve ever been, is the spectral country-jazz mode of “Angel Flying Too Close to the Ground” and “Always on My Mind,” which gave him a pair of No. 1 country hits between March 1981 and May 1982. On Friday, he nailed high notes you might not have expected him to in the former and used the latter to show off the rhythmic daring of his line readings. Both were achingly beautiful.

4. Nelson didn’t perform anything from his latest album, “Oh What a Beautiful World,” which came out last month and collects his interpretations of a dozen Rodney Crowell tunes. (By some counts, it’s Nelson’s 77th solo studio LP — and the 15th he’s dropped since 2015.) He did, however, do a cut from his second-most-recent effort: a stately rendition of Tom Waits’ “Last Leaf,” in which he rhymes “They say I got staying power” with “I’ve been here since Eisenhower.” In fact, Nelson’s been here since FDR.

5. The big event in Dylanology between last year’s Outlaw tour and this year’s was, of course, James Mangold’s Oscar-nominated biopic, “A Complete Unknown,” which inspired a widespread resurgence of interest in Dylan’s music — particularly the early stuff Timothée Chalamet performs in the movie. Perhaps that’s why Dylan is singing “Don’t Think Twice, It’s All Right” on the road again for the first time in six years, including at the Bowl, where he gave the song a jaunty rockabilly vibe. (Anyone wondering why Chalamet wasn’t at Friday’s gig clearly hasn’t seen the TikToks of him wilding out after his beloved Knicks defeated the Celtics at New York’s Madison Square Garden.)

6. A rare-ish bit of stage banter from His Bobness, directed toward an audience member near the front row: “What are you eating down there? What is it?”

7. The whole point of going to see Dylan play is to be delighted — or to be outraged, or baffled — by his determination to reinvent songs so deeply etched into the history of rock music. Yet I was still thrilled by how radically he made over some of his classics here: “Desolation Row” was bright and frisky, while a sultry “All Along the Watchtower” sounded like Dire Straits doing ’80s R&B.

8. In addition to Nelson and Dylan, Outlaw’s West Coast leg also features two younger roots-music acts in Billy Strings and Sierra Hull. (Later in the summer, the tour will pick up the likes of Nathaniel Rateliff, Sheryl Crow, Waxahatchee and Wilco, depending on the city.) Strings, who’s been bringing bluegrass to arenas lately — and whose tattooed arms meshed seamlessly with the sleeves of his tie-dyed T-shirt — sang “California Sober,” which he recorded in 2023 as a duet with Nelson, and offered a haunting take on “Summertime” from “Porgy and Bess.”

9. A former child prodigy on the mandolin, Hull opened the evening flexing her Berklee-trained chops in a series of lickety-split bluegrass numbers that got early arrivers whistling with approval. But she also showed off a winsome pop sensibility in originals like “Muddy Water” and “Spitfire” — about “my spitfire granny back in Tennessee,” she said — and in a yearning cover of “Mad World” by Tears for Fears.

Football is a big part of the holidays in the US. The Detroit Lions have hosted a Thanksgiving game every year since 1934 and this season they welcome the Green Bay Packers on Thursday, 27 November (18:00 GMT).

After hosting their first Thanksgiving game in 1966, only twice have the Dallas Cowboys not played on the holiday, and this year ‘America’s Team’ face the Chiefs (21:30 GMT).

The Baltimore Ravens then complete the Thanksgiving triple-header at home to the Cincinnati Bengals (01:20 GMT, 28 November).

In 2023, the NFL played its first game on Black Friday – the day after Thanksgiving – and this year the Eagles host the Chicago Bears in a game which will be broadcast on Amazon Prime (20:00 GMT).

After streaming two games on Christmas Day last season, Netflix will again feature two festive fixtures, with the Washington Commanders hosting the Cowboys (18:00 GMT) before the Minnesota Vikings welcome the Lions (21:30 GMT).

There is even a third Christmas game this year as Amazon Prime will show Kansas City’s home match with the Denver Broncos (01:15 GMT, 26 December).