concert

LIAM GALLAGHER let rip in fury yesterday at a fan who fired a flare into the crowd during an Oasis concert.

The band were kicking off the Australian leg of their world tour, at Melbourne’s Marvel Stadium in front of a 55,000-strong audience, when the incident happened.

The flaming missile landed on a packed moshpit as Oasis belted out 1996 hit Champagne Supernova.

Liam continued singing but later called out the disruptive act from the stage, wagging his finger at the crowd and telling fans:  “That was naughty — naughty, naughty, naughty.”

Brother Noel is also reported to have been not at all best pleased — looking “concerned”.

The band were then fuming backstage, as Liam took to X yesterday and blasted: “To the massive C* who launched that flare into the crowd last night at the gig in Melbourne, you are one seriously f**d up individual and you will get yours, trust me.”

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‘A bit intense’

One member of the crowd revealed: “People were scared as they didn’t know what was going on.

“No one expects to see flames in the crowd at a gig.

“It was all a bit intense for a few split seconds.”

A venue spokesman said: “Security acted quickly, but the patron involved in throwing the flare wasn’t found. Thankfully no one has ended up getting injured.”

Earlier on in the evening, Liam was in high spirits as he told an anecdote about a kangaroo that had the audience laughing.

Meanwhile, Liam’s sons Lennon and Gene had been enjoying the Asian leg of the tour last month.

A source tells me: “When they were in Japan last week they went all out and did a tea ceremony, they went to a temple and got blessed by a monk, and they had Samurai lessons.

“They are living the dream.”

With their dad laying low after a few too many parties on tour,  I’m glad his lads are having fun.

JACOB’S COFFEE DATE

HUNKY actor Jacob Elordi is wasting no time after splitting from his glamorous YouTuber girlfriend after four years.

The Aussie, who stars in new Netflix film Frankenstein, was spotted grabbing coffee with model Kristen Kiehnle after the movie’s premiere in Los Angeles.

Kristen, who has 83,000 Instagram followers, is often seen flaunting her svelte physique on her holidays.

A source said: “Jacob and Kristen have been hanging out in LA. His romance with Olivia Jade has fizzled out and Jacob is concentrating on the film.”

Jacob and Olivia, were first linked in 2021, but called it quits after rekindling their relationship two months ago.

Olivia, the daughter of actress Lori Loughlin supported Jacob at the Toronto International Film Festival for the premiere of Frankenstein in September.

He may be playing Frankenstein’s monster, but it sounds like Jacob won’t be single for long.

BRIT OF LUCK FOR LILY

SHE’S already announced a 13-date UK tour next year, but I can reveal Lily Allen could be gracing us with a live performance before then.

I hear that the star, whose record West End Girl came out last month, is on the most wanted list to sing at the Brit Awards in February.

A well-placed music source tells me: “Lily’s album has gone stratospheric.

“Not only will she be a shoo-in for a gaggle of nominations, but bosses think she’d be ideal as a centre-piece for the performers on the night.

“She epitomises British talent and deserves to be on that stage being celebrated.

“It’s early days, but planning has already begun.”

Lily last performed at the Brits – which take place at the Co-op Live in Manchester for the first time next year – in 2010.

Back then, she belted out chart-topper The Fear.

Over the years, the star has been nominated for nine Brit Awards, but has only taken one home.

I’m sure that will change, though, with her latest musical offering detailing the breakdown of her marriage to Stranger Things actor David Harbour.

Despite the exposing compilation, Lily – who dressed up as kids’ book character Madeline for Halloween in a nod to the name she gave David’s alleged mistress on the album – says she doesn’t want “revenge”.

She told Interview magazine she now feels “differently” about their marriage breakdown, adding: “I wrote this record in ten days in December, and I feel very differently about the situation now.

“We all go through breakups, and it’s always f***ing brutal.

“But I don’t think it’s that often that you feel inclined to write about it while you’re in it.”

I think Lily crooning Pussy Palace on stage at the Brits would be iconic British behaviour . . .

IT’S NOUGHTIES BUT NICE, LADS

THE BUSTED vs McFly tour served up a dose of Noughties nostalgia as it hit London’s O2 arena.

The two groups are going head to head on a shared series of gigs around the UK, in a battle of the bands to finally settle their rock rivalry.

McFly – Tom Fletcher, Danny Jones, Harry Judd and Dougie Poynter – opened the London show with Where Did All The Guitars Go? before they had the whole room swaying with 2005 hit All About You.

Next, it was time to welcome their older brothers, in the form of Busted’s Matt Willis and Charlie Simson.

The pair paid tribute to bandmate James Bourne who has quit the tour for health reasons.

Matt said: “James Bourne, our best friend, is not with us right now – it sucks, we miss him and we love him. James is really fing sick so we are playing without him. It has been so fing weird but thank you for supporting us.”

After Busted reeled off their hits Crashed The Wedding and What I Go To School For, they belted out Year 3000 – joined by McFly. That song may be about the future, but I was happy to be back in the Noughties.

HE may pocket £500,000 as host of This Morning, but Ben Shephard has got a nifty side hustle on the go.

The presenter, who co-hosts the ITV daytime show with Cat Deeley, has set up an enterprising firm called Sweet Spot, which matches celebs with commercial opportunities.

Featured celebs include Joel Dommett, Gemma Atkinson and Love Island stars Will Young and Jessie Wynter.

Sweet Spot is actively looking for investors to help celebs create their own brands.

A source said: “Ben saw a gap in the market and doesn’t want to rely on telly work forever.”

Clever clogs.

ARGGH MAYA HEARTIES

CELEBS love to dress up for the cameras and Halloween gave them the perfect excuse.

Olivia Attwood went as Toy Story’s Jessie the cowgirl to a bash hosted by Heidi Klum, who was in full scare mode as Medusa.

In Manchester, Maya Jama and her footballer boyfriend Ruben Dias dressed up as characters from Pirates Of The Caribbean, while his Man City team-mate Erling Haaland appeared as The Joker.

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Paris Hilton sprinkled some Tinker Bell magic, while Sabrina Carpenter opted for a Fred Flintstone look.

Mariah Carey threw on a long pink wig, Hailey Bieber dressed as one of The Incredibles and Simon le Bon sang on stage with Duran Duran as a zombie.

Exactly a year after the Eaton fire broke out, musicians are banding together once more for an upcoming benefit show, called A Concert for Altadena.

As a way to both raise funds and bring the community together, the night is set to include performances from musicians like Jackson Browne, Dawes & Friends, Aloe Blacc, Jenny Lewis, Everclear, Stephen Stills, Mandy Moore, Judith Hill, Brad Paisley, Ozomatli, Brandon Flowers of the Killers and more.

Many of the featured acts have ties to Los Angeles and Altadena specifically, like Dawes, an indie band from Altadena who notably sang a lively rendition of “I Love L.A.” at this year’s Grammys ceremony. Moore, who is also performing, similarly lost their homes in the fire.

“I’ve seen firsthand how music can mobilize people for good. This concert brings together artists, fans, and neighbors for something bigger than all of us — recovery, hope, and rebuilding lives,” said Grammy winner Eric Krasno. The guitarist, who also lived in Altadena, helped organize the event and is set to perform.

Even behind the scenes, people like Kevin Lyman, who founded the Vans Warped Tour and is a longtime Altadena resident, is working as the event’s lead producer.

“Music has always been a force for community. With this event, we’re not just putting on a show — we’re helping Altadena rebuild homes, restore businesses, and heal hearts. This night is about unity and purpose,” said Lyman.

All of the proceeds from the show will go to the Pasadena Community Foundation’s Eaton Fire Relief & Recovery Fund, which helps provide resources to families impacted, and the Altadena Builds Back Foundation, which focuses on the long-term recovery of housing in the neighborhood.

The Eaton fire is the second most destructive wildfire in California’s history, destroying more than 9,000 structures in an area of nearly 22 square miles. It is also one of the state’s deadliest fires, with 19 people killed. Since the January fire, rebuilding efforts have proved to be slow-moving in the face of bureaucracy and high overhead costs.

The benefit show will take place Jan. 7 at the Pasadena Civic Auditorium. Tickets go sale Nov. 7.

Brandy and Monica, the once-feuding stars of R&B, are singing each others’ praises after their reunion tour hit an unexpected hurdle over the weekend.

Singer-actor Brandy sent virtual flowers to “my sister, Monica, for stepping up with such grace and professionalism” as she explained her abrupt exit from the duo’s Chicago concert on Saturday. The “Cinderella” star, 46, turned heads at the Chicago’s United Center when she walked off stage mid-performance, according to video shared by TMZ, leaving Monica to finish performing their Grammy-winning hit “The Boy Is Mine,” solo.

“I sincerely apologize for the abrupt end to last night’s performance in Chicago. After weeks of nonstop rehearsals, last night I experienced dehydration and feelings of wanting to faint,” Brandy said in an Instagram statement shared Sunday. “Everyone involved agreed that prioritizing my well-being was of the utmost importance.”

The “Afrodisiac” artist explained that it was her decision to push forward with the concert, “despite not feeling OK.” Even after making “some adjustments,” Brandy said it was ultimately “impossible to fully connect sonically with the production.” The “Missing You” singer said she left the arena and was treated by a doctor and has “taken the proper precautions to help moving forward.”

Brandy and Monica announced their co-headlining Boy Is Mine tour in June and kicked off the shows Thursday in Cincinnati. They are set to perform at the Kia Forum on Nov. 9.

A day after her sudden walk-off, Brandy was back on stage Sunday with Monica at the Gainbridge Fieldhouse in Indianapolis. She shared photos from their latest gig to Instagram on Monday.

“You absolutely killed it last night @brandy,” Monica said in her Instagram story on Monday, reposting the singer’s photos.

Brandy and Monica embarked on their Boy Is Mine tour 27 years after releasing the namesake single in 1998. The singers, who shared a contentious relationship notably defined by an alleged altercation at the VMAs in 1998, earned a Grammy award for the hit.

Before launching their tour, Brandy and Monica had reunited several times for several projects, including a remix of their hit with Ariana Grande and a 2020 appearance on “Verzuz.” While promoting the tour in June, Monica told CBS Mornings that their feud “started as nothing and it really did turn into something.”

“There was a lot of confusion and conflict and there was a lot of people around,” she said, adding that she and Brandy were merely teenagers when their feud came to a head.

The Boy Is Mine tour continues Friday with a stop in Nashville and will conclude Dec. 14 at the VyStar Veterans Memorial Arena in Jacksonville, Fla.

Staff writer Julius Miller contributed to this report.

SANTA BARBARA — “In this next song,” said Paul McCartney, “we’d like you to sing along.”

Oh, this was the one?

By an hour or so into his concert Friday night at the Santa Barbara Bowl — basically somebody’s backyard by the standards of the former Beatle — McCartney had already gotten the capacity crowd to join in on a bunch of all-timers including “I’ve Just Seen a Face,” “Love Me Do,” “Jet,” “Getting Better,” “Lady Madonna,” “Let Me Roll It” and “Got to Get You Into My Life.”

But for Sir Paul, even (or especially) at age 83, there’s always a way to take an audience higher.

So as his keyboard player plunked out the song’s lovably lopsided lick, McCartney and his band cranked through a fast and jumpy rendition of “Ob-La-Di, Ob-La-Da” that left nobody any choice but to hop up and holler about the sweet certainty of life’s going on.

Paul McCartney and his band.

(Michael Owen Baker / For The Times)

A sellout pretty much as soon as it was announced, Friday’s show was a kind of warm-up gig ahead of the launch next week of the latest leg of McCartney’s Got Back world tour, which began criss-crossing the globe in 2022 and will resume Monday night in Palm Desert after a nine-month break.

On the road he’s playing arenas and stadiums, but this hillside amphitheater seats only 4,500 or so; to make the evening even more intimate, fans had to lock their phones in little pouches on the way into the venue. (The presence of several cameras swooping around on cranes suggested that McCartney was filming the concert for some unstated purpose.)

“That’s our wardrobe change of the evening,” he said at one point after taking off his jacket, and indeed this was a slightly trimmed-down version of the flashy multimedia production that he brought to SoFi Stadium three years ago. That night in 2022, he played three dozen tunes over two and a half hours; on Friday he did a dozen fewer — no “Maybe I’m Amazed,” no “Band on the Run” — in about an hour and 45 minutes.

The advantage of the smallness, of course, was that you could really hear what McCartney and his longtime backup band were doing up there: the folky campfire vocal harmonies in “I’ve Just Seen a Face,” the propulsive groove driving “Get Back,” the barely organized chaos of a downright raunchy “Helter Skelter.”

Then again, that assumes that tracking those details is why anybody turned up in Santa Barbara.

Though he dropped an album of new solo songs in 2020, McCartney has been pretty deep in nostalgia mode since the 2021 release of Peter Jackson’s widely adored “Get Back” docuseries. He’ll tend the machine this fall with a new book about his years with Wings and an expanded edition of the Beatles’ mid-’90s “Anthology” series; next year, a documentary about the Wings era is due from director Morgan Neville; in 2028, director Sam Mendes will unveil the four separate biopics he’s making about each Beatle, with Paul Mescal in the role of McCartney.

Paul McCartney takes the stage.

(Michael Owen Baker / For The Times)

All that looking back can make it hard for even a devoted fan to take in the legend standing before them in the flesh; instead of overwriting memories with fresh information, the mind steeped in myth can train itself to do the opposite (especially when the owner of that mind has shelled out hundreds of bucks for a concert ticket).

Yet you have to hand it to McCartney, whose face bore a dusting of silvery stubble on Friday: As predetermined as this audience was to have a good time, he was tapped into the energy of a musician making minute-to-minute decisions.

He opened the show with a zesty take on the Beatles’ “Help!,” which experts on the internet say he hadn’t played in concert since 1990, then followed it up with one of his quirkiest solo tunes in the disco-punk “Coming Up,” which he juiced with a bit of Henry Mancini’s “Peter Gunn” theme.

After a flirty “Love Me Do,” he asked the women in the crowd to “gimme a Beatles scream,” then nodded approvingly at the sound. “Imagine trying to play through that,” he added.

“Jet” had a nasty swagger and “I’ve Got a Feeling” a sexy strut; “Live and Let Die,” meanwhile, was just as trashy as you’d hope.

McCartney told moving if familiar stories about meeting Jimi Hendrix and about his mother coming to him in the dream that inspired “Let It Be”; he also told one I’d never heard about screwing up a performance of “Blackbird” — “Lot of changes,” he said of the song’s complicated guitar part — in front of Meryl Streep. Because his wife Nancy was in the house, he said, he played “My Valentine,” a weepy piano ballad anyone but Nancy probably would’ve gladly exchanged for “Junior’s Farm” or “Drive My Car.”

But then what was that choice if not a commitment to the circumstances of the moment?

Paul McCartney arrives at the Santa Barbara Bowl.

(Michael Owen Baker / For The Times)

SAN JUAN, Puerto Rico — Bad Bunny fans drowned out memories of Hurricane Maria in one booming voice on the anniversary of the devastating storm.

Saturday was a concert for Puerto Ricans by Puerto Ricans to remind the world about the power of la isla del encanto — the island of enchantment.

“We’re not going to quit. The entire world is watching!” Bad Bunny thundered into his microphone as he looked into a camera streaming his last show in Puerto Rico this year to viewers around the world, concluding a historic 30-concert residency in the U.S. territory.

The crowd roared as thousands watching via Amazon Music, Prime Video and Twitch joined them, marking the first time Bad Bunny was streamed across the globe.

The residency was more than just a series of concerts. Saturday marked the end of an extended love letter that Benito Antonio Martínez Ocasio sang to his homeland. He tapped into what it means to be Puerto Rican, to delight in the island’s beauty, to defend its land and fight for its people.

“This is for you,” Bad Bunny said from the rooftop of a famed Puerto Rican house installed at the concert venue as he raised his glass and the crowd raised their glasses in return.

‘We are still here’

Saturday marked the eighth anniversary of Hurricane Maria, which slammed into Puerto Rico as a Category 4 storm on Sept. 20, 2017.

An estimated 2,975 people died in the sweltering aftermath of the storm that crippled the island’s electric grid, leaving some communities without power for up to a year. Anger and frustration over the pace of reconstruction continues to simmer as chronic power outages persist.

In a report issued Sept. 11, the U.S. Office of Inspector General found that 92% of approved and obligated projects related to Puerto Rico’s crumbling grid were incomplete and that $3.7 billion of available funds had not been obligated.

“Over seven years after Hurricane Maria, FEMA does not know when Puerto Rico’s electrical grid will be completely rebuilt. The grid remains unstable, inadequate, and vulnerable to interruptions,” the report stated.

On Saturday, the number of estimated deaths was printed on the backs of T-shirts and written on Puerto Rican flags that the crowd waved.

“We are still emotional and carry the trauma of having gone through a horrible thing,” said Marta Amaral, 61, who attended Saturday’s concert. “Beyond the sadness and remembering the negativity of having gone through a traumatic event, this is a celebration that we are still here, standing.”

A surprise guest

At every concert this summer, Bad Bunny invited new celebrities — among them LeBron James, Penélope Cruz, Darren Aronofsky, DJ Khaled and Kylian Mbappé — and sang with different musicians, including Rubén Blades, Residente, Gilberto Santa Rosa, Rai Nao and Jorge Drexler.

But Saturday, the noise from the crowd hit new levels as Bad Bunny rapped with Puerto Rico heavyweights Ñengo Flow, Jowell y Randy, Dei V and Arcángel and De la Ghetto. Thousands of fans flexed their knees in unison to thumping rap and reggaetón.

Then, the crowd gasped in disbelief as Marc Anthony appeared on stage after Bad Bunny pleaded with his fans to join him because he was going to sing a song he hadn’t sung in public in some 20 years.

“Yo te quiero, Puerto Rico!” the crowd cried as the two singers embraced at the end of the iconic “Preciosa,” whose lyrics say, “I love you, Puerto Rico.”

‘An emotional night’

Thousands gathered outside the concert venue Saturday hours before the concert, with Puerto Rico’s national flower, the flor de maga, tucked behind their ears and the traditional straw hat known as a pava set at a jaunty angle on their heads.

But not all were celebrating.

Darlene Mercado milled around, asking strangers if they knew of anyone with tickets she could buy for herself and her daughter, who had flown in from New Jersey.

They were around number 122,000 in a virtual waiting line to buy tickets for Saturday’s sold-out concert and weren’t able to get any after waiting eight hours online.

“This is not only the anniversary of the hurricane, but it’s also the anniversary of me no longer having cancer and it’s my birthday. We wanted to celebrate everything with a bang,” Mercado said.

Saturday’s concert was open only to residents of Puerto Rico, as were the first nine concerts of Bad Bunny’s residency, but the others were open to fans around the world.

Overall, the concerts attracted roughly half a million people, generating an estimated $733 million for Puerto Rico, according to a study by Gaither International.

Most foreign visitors came from the Dominican Republic, Colombia and Spain, with an average stay of nearly nine nights, the study found. Overall, about 70% of concertgoers were female, with an average age of 33, according to the study.

Among those attending was Shamira Oquendo. “It’s going to be an emotional night,” the 25-year-old said, noting that Hurricane Maria was her first hurricane. “It was very sad. A lot of people around me lost their things.”

‘Yo soy boricua!’

Puerto Rico’s party with Bad Bunny ended early Sunday, but the superstar who recently clinched 12 Latin Grammy nominations will go on a worldwide tour in December, with concerts planned in Costa Rica, Mexico, Brazil, Australia, Spain, France and Sweden. Notably, he is skipping the mainland U.S., citing concerns over the federal government’s immigration arrests.

On Saturday, Bad Bunny thanked his fans for their love.

“I’m going to miss you a lot. I’m going to miss this energy,” he said as he urged the crowd to embrace love no matter the situation.

At that moment, friends and family in the crowd began to hug one another, some with tears in their eyes.

After more than three hours of singing with Bad Bunny, fans were not quite ready to let go. As the crowd filed down the stairs and into the night, one man yelled, “Yo soy boricua!” and the crowd responded, “Pa’ que tú lo sepas!”

It’s a traditional cry-and-response yell that lets people around them know they’re Puerto Rican and proud of it.

Coto writes for the Associated Press.

The singer D4vd called off a series of upcoming tour dates, including a concert this weekend at Los Angeles’ Greek Theatre, as police investigate his connection to the death of a teenage Inland Empire girl whose decomposed body was discovered this month in a car registered to the musician.

A representative for the Greek said the show, which was scheduled for Saturday night, had been canceled. Other tour dates in San Francisco and in Europe had either been removed from or were listed as canceled on Ticketmaster’s website by Friday afternoon.

An event at L.A.’s Grammy Museum scheduled for Wednesday — in which D4vd planned to perform and to take part in a conversation about his work — has also been called off. A representative for D4vd didn’t immediately respond to a request for comment.

Last week, D4vd, 20, announced that he would release a deluxe edition of his 2025 album, “Withered,” on Friday, but the project hadn’t appeared on streaming services like Spotify and Apple Music by Friday morning.

Police are investigating the singer’s ties to Celeste Rivas, who was reported missing in April 2024 and whose whereabouts were a mystery until this week, when authorities identified her remains after they found a body in the trunk of a Tesla in a Hollywood tow lot on Sept. 8.

Artists, activists, and performers came together at the Together for Palestine concert at London’s Wembley Arena to show their support for Palestinians and raise funds for humanitarian efforts in Gaza.

Controversy erupted over Wednesday’s announcement by Flanders Festival Ghent that it had canceled an upcoming concert by the Munich Philharmonic featuring Lahav Shani, an Israeli conductor who serves as the music director of the Israel Philharmonic.

In an online statement, festival organizers acknowledged that the canceled performance, scheduled for Sept. 18, was expected to be “one of the artistic highlights of the festival,” and that Shani “has spoken out in favour of peace and reconciliation several times in the past,” but that the decision had nonetheless been made because “we are unable to provide sufficient clarity about his attitude to the genocidal regime in Tel Aviv.”

“In line with the call from the Minister of Culture, the city council of Ghent and the cultural sector in Ghent, we have chosen to refrain from collaboration with partners who have not distanced themselves unequivocally from that regime,” the statement continued, adding that priority was being given to “the serenity of our festival,” and in order to “safeguard the concert experience for our visitors and musicians. ”

Backlash was intense and immediate, with many critics taking to social media to condemn the decision as antisemitic.

“This is not a protest. It is discrimination,” the European Jewish Congress wrote on X. “Targeting artists because of their nationality is unacceptable and undermines the very foundations of European cultural and democratic values. They only fuel hatred, with concrete consequences on European streets.”

By Thursday morning, an online petition in support of Shani organized by Iranian American harpsichordist Mahan Esfahani had garnered more than 5,500 signatures, including those of well-known classical musicians such as conductor and pianist Joshua Weilerstein, British classical pianist Danny Driver and cellist Kyril Zlotnikov.

“The Ghent Festival has chosen to punish an artist on the basis of his nationality alone,” reads the petition, which calls for an immediate reversal of the cancellation. “What is more insidious is the implication that any artist, Israeli or otherwise, will only be accepted if they express unequivocally the ‘correct’ opinions.”

“This decision will do nothing to save a single Palestinian life, bring a hostage home, or to make any improvement to the unbearable civilian suffering currently taking place in this conflict,” the petition continues. “It will, however, resonate loudly with those who equate an artist’s nationality with an excuse to exclude them from the cultural sphere.”

Martin Kotthaus, the German ambassador to Belgium, posted on X that he deeply regretted the move made by the Ghent Festival, adding, “The decision and the reasons given are incomprehensible. I welcome the fact that Belgian Foreign Minister Prévot and Flemish Prime Minister Diependaele have distanced themselves from the festival’s decision.” (Note: Matthias Diependaele is the current Minister-President of Flanders.)

Shani — a Tel Aviv-born conductor, pianist and double bassist —took over as music director of the Israel Philharmonic beginning with the 2020-21 season after Zubin Mehta stepped down. Earlier this year, his contract was extended until 2032. In 2023, it was announced that Shani would take over as chief conductor of the Munich Orchestra for the 2026-27 season, and he is expected to continue in both roles.

Shani is also serving as the chief conductor of Rotterdam Philharmonic Orchestra until the end of its 2025-26 season. Rob Streevelaar, general and artistic director of the Rotterdam Philharmonic, issued a statement saying that the orchestra is closely following the situation in Ghent.

“Our Chief Conductor Lahav Shani has previously spoken out in the press in favor of peace and humanity,” the statement reads. “He has emphasized that he does not represent a political position, but wishes to contribute to unity and hope through art. He does this by way of various initiatives, including his involvement with the West-Eastern Divan Orchestra, founded by Palestinian scholar Edward Said and Israeli pianist and conductor Daniel Barenboim.”

Flanders Festival Ghent is a three-week-long international music festival that attracts more than 50,000 visitors annually and features more than 180 concerts and 1,500 musicians. There are now calls for other participants to boycott the festival in protest.

I’m arts and culture writer Jessica Gelt, writing these words with peace on my mind. Here’s this week’s arts news.

On our critics’ radar this week

Steven Skybell as Tevye in “Fiddler on the Roof.”

(Jeremy Daniel I)

Fiddler on the Roof
This concert version of the much-heralded National Yiddish Theatre Folksbiene’s production translates the beloved musical into Yiddish. Under the direction of Joel Grey, Steven Skybell reprises his much-acclaimed performance as Tevye. The show will include English supertitles for those who don’t understand Yiddish or already know the show by heart.
– Charles McNulty
8 p.m. Saturday; 3 and 7 p.m. Sunday. The Soraya, 18111 Nordhoff St., Northridge. thesoraya.org

Courtney M. Leonard, “Breach #2,” 2016, mixed media, part of LACMA’s “Grounded” exhibition.

(© Courtney M. Leonard)

Grounded
Featuring 40 works, spanning the 1970s to today, by 35 artists based in the Americas and around the Pacific, the exhibition continues LACMA’s ongoing emphasis on contemporary rather than historical art. The diverse work, primarily sculpture and installation, is billed as investigating “ecology, sovereignty, memory and home.”
– Christopher Knight
Sunday through June 21. Los Angeles County Museum of Art, BCAM Level 2, 5905 Wilshire Blvd. lacma.org

Neil Young performs at the Hollywood Bowl on Monday.

(Amy Harris / Invision / AP)

Neil Young and the Chrome Hearts
The veteran rocker will wrap his latest world tour — ostensibly booked behind June’s “Talkin to the Trees” album — with a sure-to-be-shaggy gig at the Hollywood Bowl. The Chrome Hearts include Spooner Oldham on organ, Micah Nelson on guitar, Corey McCormick on bass and Anthony LoGerfo on drums.
— Mikael Wood
7:30 p.m. Monday. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com

The week ahead: A curated calendar

FRIDAY

A scene from the “Autos, Mota y Rocanrol,” which opens the Hola Mexico Film Festival on Friday.

(HMFF)

🎞️ 🇲🇽 Hola Mexico Film Festival
The celebration of cinema from our neighbors to the south features México Ahora, a curated section of the best recent releases; Nocturno, a selection of horror films; Documental, a nonfiction films section; the animated films of Hola Niños; and Nuevas Voces, a focus on emerging directors and their first works. The festival begins with an opening-night screening of director J.M Cravioto’s “Autos, Mota y Rocanrol.”
7 p.m. Friday. The Montalban Theatre, 615 Vine St, Hollywood. Festival continues through Sept. 20 at Regal Cinemas LA Live, Cinépolis Pico Rivera and Milagro Cinemas Norwalk, with closing night at La Plaza de Cultura y Artes.
holamexicoff.com

“Bosch Bird No. 3, 2014,” by Roberto Benavidez. Newspaper, paperboard, glue, party streamers, wire. 24 x 9 x 18 inches.

(Paul Salveson; courtesy of the artist and Perrotin)

“Hatching,” by Danielle Orchard, 2025. Oil on canvas, 90 x 56 inches.

(Paul Salveson ; courtesy of the artist and Perrotin. )

🪅 🎨 Roberto Benavidez/Danielle Orchard
The Pico Boulevard gallery Perrotin opens its fall season with two new exhibitions. Inspired by 15th century Dutch painter Hieronymus Bosch, El Sereno sculptor Benavidez turns piñata-making into detailed figurative art with “Bosch Beasts.” Orchard finds parallels between motherhood and painting in her rich, evocative series “Firstborn.”
5-7:30 p.m. Friday opening for both shows; 10 a.m.-6 p.m. Tuesday-Saturday, through Oct. 18. Perrotin, 5036 W. Pico Blvd. perrotin.com

🎶 Made in Memphis
The performance collective MUSE/IQUE hosts a free, three-day open house paying tribute to “Stax Records, Soul and The Black Artists Who Started a Sound Revolution.” Rachael Worby leads an ensemble that features LaVance Colley, DC6 Singers Collective, Chris Pierce and Sy Smith, founder of the nu-soul movement
7:30 p.m. Friday-Sunday. Caltech, Beckman Auditorium, 332 S. Michigan Ave., Pasadena. muse-ique.com

SATURDAY
🎨 Bisa Butler
The New Jersey artist responds to how it feels to be an African American woman living in 2025 with quilted portraits on jet-black cotton or black velvet.
6-8 p.m. Saturday, opening reception; 11 a.m.-6 p.m. Tuesday-Saturday, through Nov. 1. Jeffrey Deitch, 7000 Santa Monica Blvd., Los Angeles. deitch.com

🎭 🎶 Huzzah!
Two sisters battle to save their father’s Renaissance fair from financial ruin in the world premiere of a musical comedy by Olivier Award winners and Tony Award nominees Laurence O’Keefe and Nell Benjamin, directed by Annie Tippe.
8 p.m. Saturday through Oct. 19. Old Globe Theatre, 1363 Old Globe Way, San Diego. theoldglobe.org

La Santa Cecilia band members, Pepe Carlos, from left, Marisoul, Alex Bendana and Miguel “Oso” Ramirez.

(Berenice Bautista / Associated Press)

🎸 🎶 La Santa Cecilia
The Grammy-winning quartet fronted by Marisol “La Marisoul” Hernandez crosses borders and genres with passionate songs of love, identity and social justice, fusing Latin American traditions and global rhythms.
8 p.m. Saturday, Sept. 13, and 6 p.m. Sunday, Sept. 14. The Luckman, 5151 State University Drive, Los Angeles. luckmanarts.org

“Day Moon Shore/Through and Before the Immediate Trees” by Annie Lapin, 2025. Acrylic on Linen 68 x 94 in 172.7 x 238.8 cm

(Courtesy of the artist and Nazari an / Curcio.)

🎨 Annie Lapin
The L.A.-based artist blends representation and abstraction to reimagine the Southern California landscape in “Fragile Familiar,” a solo exhibition of new paintings.
6-8 p.m. Saturday, opening reception; 10 a.m.-6 p.m. Tuesday-Saturday, through Oct. 25. Nazarian / Curcio, 616 N. La Brea Ave. nazariancurcio.com

🎼 A Musical Genesis
The Los Angeles Chamber Orchestra, led by Music Director Jaime Martín, is joined by cellist Nicolas Altstaedt for a program featuring Haydn‘s “La poule,” Schumann’s “Cello Concerto” and Beethoven‘s “Symphony No. 5.”
7:30 p.m. Saturday. Zipper Hall, 200 South Grand Ave., downtown L.A.; 4 p.m. Sunday, The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. laco.org

Virginia Errázuriz, “Untitled, from the series Cancelados,” circa 1979; mixed media; part of “Transgresoras” exhibition at California Museum of Photography on Riverside.

(© Virginia Errázuriz)

🎨 Transgresoras: Mail Art and Messages, 1960s–2020s
In the U.S., the emergence in the 1950s of the first lively American market for new art led to some artists developing strategies for getting around the limitations of galleries and commerce. In Latin America, meanwhile, artists often faced censorship. Mail art that could circulate through the post office was simultaneously invented in both places to serve those situations, as this intergenerational survey plans to explore. (Christopher Knight)
Noon-5 p.m. Saturday and Sunday, through Sept. 24; noon-5 p.m. Thursday and Friday: 11 a.m.-5 p.m. Saturday and Sunday, Sept. 25-Feb. 15. California Museum of Photography, 3824 Main St., Riverside. ucrarts.ucr.edu

SUNDAY
🎞️ Jaws: The Exhibition
This deep dive into Steven Spielberg’s 1975 blockbuster, starring Roy Scheider, Richard Dreyfuss and Robert Shaw, takes guests through the movie scene by scene via original objects, behind-the-scenes revelations and interactive moments. The film itself screens in 4K at 6:30 p.m. Sunday in the museum’s David Geffen Theater.
10 a.m. Sunday-Monday, Tuesday-Saturday, through July 26. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

Kim Eung Hwa & Korean Dance Company at the Ford

💃 Kim Eung Hwa & Korean Dance Company
Bring the whole family to a gorgeous outdoor amphitheater to enjoy a colorful performance by this 45-year-old traditional dance company. The show commemorates the Korean fall festival Hangawi, which celebrates the harvest season. Traditional drums, as well as fan-and-flower-crown dances, will be performed to lively Korean folk music. (Jessica Gelt)
11:30 a.m. Sunday. The Ford, 2580 Cahuenga Blvd. E. theford.com

🎸 🇲🇽 Zona Libre: A Musical Celebration of Latino L.A.
Skirball Cultural Center, Grand Performances and Zócalo Public Square present a day of musical performances by Renee Goust, Vivir Quintana and La Verdad, plus dance workshops, panel conversations, food and museum exhibitions.
3-9:30 p.m. Sunday. Skirball Cultural Center, 2701 N. Sepulveda Blvd. skirball.org

WEDNESDAY
🎼 🎹 Thomas Kotcheff
The pianist is joined by musician Bryan Curt Kostors and video artist Allison Tanenhaus as they perform works from Kotcheff’s new album, “Between Systems,” as well as interpretations of music by Aphex Twin, Squarepusher, Cher, Céline Dion and Beyoncé.
8 p.m. 2220 Arts + Archives, 2220 Beverly Blvd. pianospheres.org

🎨 Hélio Oiticica
The first major L.A. exhibition in Los Angeles of the artist (1937-1980) includes gouaches, suspended sculptures and a rare oil painting that trace the formative years of Oiticica’s career
6-8 p.m. Wednesday opening; 10 a.m.-6 p.m. Tuesday-Saturday, through Nov. 1. Lisson Gallery, 1037 N. Sycamore Ave. lissongallery.com

THURSDAY

Nine Inch Nails vocalist Trent Reznor performing in 2008.

(Stephen Brashear / Associated Press)

🎸 🎶 Nine Inch Nails
The band has a new album of sorts out Sept. 19 in “Tron: Ares,” the latest film score from Trent Reznor and his partner Atticus Ross. The group’s “Peel It Back” tour hits the Forum for two nights; the band looks to be playing in the round for some experimental passages before firing on all cylinders with its new (and old) drummer Josh Freese, who they swapped in from Foo Fighters just days before the tour started. (August Brown)
7:30 p.m. Thursday and Sept. 19. Kia Forum, 3900 W. Manchester Blvd., Inglewood. thekiaforum.com

Culture news and the SoCal scene

“Sealstone with a Battle Scene (The Pylos Combat Agate),” Minoan, 1630 – 1440 BCE; banded agate, gold and bronze.

(Jeff Vanderpool)

Times art critic Christopher Knight weighs in with a review of a “captivating” exhibition, “The Kingdom of Pylos: Warrior-Princes of Ancient Greece,” at the Getty Villa — the first at the museum since January’s ferocious Palisades fire. The most fascinating object on view is a 1.3-inch-long, almond-shaped, gold-tipped agate, carved with an exquisitely detailed battle scene that is almost undetectable to the human eye. The piece is on display outside of Europe for the first time, and is part of a trove of treasures found with the entombed Griffin Warrior — also on display.

Times theater critic Charles McNulty also headed for the Getty Villa for its annual outdoor theater show. This year’s performance of “Oedipus the King, Mama!” comes courtesy of Troubadour Theater Company and turns the Villa’s grounds “into a Freudian carnival of psychosexual madness,” writes McNulty. The show pairs Sophocles’ “Oedipus the King” with Elvis, the king of rock ’n’ roll, to hilarious effect.

McNulty also caught A Noise Within’s production of Richard Bean’s farce “One Man, Two Guvnors,” which is based on “The Servant of Two Masters,” Carlo Goldoni’s mid-18th-century comedy. The classic commedia dell’arte antics follow a hungry busker who clandestinely works for two bosses in 1960s Brighton. “Bean’s play is impressively worked out, mathematically and verbally. The wit is crisp and the comic routines are evergreen, all the more so for the sharpness of the playing,” McNulty writes of the show.

Manuel Oliver is photographed at the Kirk Douglas Theatre in Culver City.

(Christina House / Los Angeles Times)

I sat down with Manuel and Patricia Oliver at the Kirk Douglas Theatre to talk about Manuel’s upcoming performance of his one-man-show, “Guac,” which explores the life and death of their son, Joaquin, who was killed in the 2018 Parkland school shooting. Our conversation included plenty of discussion about the Olivers’ quest to effect gun reform in the wake of their unimaginable loss. Creative forms of activism — including theater — are at the heart of those efforts.

I also went to opening night of “Hamilton” on the big screen at the El Capitan Theatre on Friday. I wrote an essay about how the live recording of the stage musical might be the most political film of the year. Here’s why.

A-Z Wagon Stations by Andrew Zittel

(Photo by Lance Brewer. © Andrea Zittel, Courtesy of the artist, Regen Projects, and High Desert Test Sites)

Mirage, Palm Springs, United States. Architect: Doug Aitken, 2017

(Raimund Koch / View via Alamy)

On Thursday, Dwell released its list of “The 25 most important homes of the past 25 years,” and three California structures made the list: A-Z West by Andrea Zittel near Joshua Tree; artist Doug Aitken’s Mirage, which was featured in 2017’s inaugural Desert X exhibition; and the house Axel Vervoordt built for Kim Kardashian in Hidden Hills. Zittel’s creations were featured on Dwell’s cover in its December 2002 issue and is a series of futuristic-looking “escape pods” that open up to the great outdoors and contain little more than a bed and a few hooks for belongings. Aitken made his mark when he covered a ranch-style house in mirrors that effectively camouflaged the house in its arid surroundings. “The mirrors made for iconic selfies, and onlookers clogged up the once-quiet streets, in an attempt not just to see the installation but to take a picture of themselves reflected in this viral ‘house,’” the entry on “Mirage” reads. Kardashian’s house is referred to as “The ship that launched a thousand beiges.” “Vervoordt, along with Claudio Silvestrin, Vincent Van Duysen, and Family New York, stripped back the details of a generic mansion to create a very strange blend of suburbia and austere European luxury that — for better or worse — set the standard for boring high-end home design in the Instagram age,” Dwell wrote.

The Los Angeles County Museum of Art announced that it has been gifted Francis Bacon’s 1969 triptych, “Three Studies of Lucian Freud,” from the estate of philanthropist Elaine Wynn, who died in April and served as a co-chair of LACMA’s board of trustees. It is the first work by Bacon in LACMA’s collection, and will be included in the inaugural installation of the museum’s new David Geffen Galleries. Wynn paid $142 million for the piece at auction.

In the wake of philanthropist Wallis Annenberg’s death, the Wallis Annenberg Legacy Foundation has announced a $10-million gift that will be split evenly between four initiatives of great importance to Annenberg: Santa Monica’s Annenberg Community Beach House; student internships at USC’s Wallis Annenberg Hall; free and low-cost performances for underserved audiences at Beverly Hills’ Wallis Annenberg Center for the Performing Arts; and the Wildlife Crossing Fund in Agoura Hills.

— Jessica Gelt

And last but not least

Features columnist Todd Martens says that the most exciting immersive show in L.A. is a funeral. Read all about the show, “The Cortège,” which also features the substantial talents of twins Emily and Elizabeth Hinkler.

The Federal Trade Commission accused a shadowy group of flooding Ticketmaster with fake accounts to purchase and resell tickets to concerts by Taylor Swift, Bruce Springsteen and other top artists.

The FTC alleged that between Nov. 1, 2022, and Dec. 30, 2023, a core group of three individuals used a network of sites such as Totaltickets, TotallyTix and Front Rose Tix to purchase at least 379,776 tickets from Ticketmaster, spending nearly $57 million. The complaint states they then resold those tickets on secondary marketplaces for nearly $64 million.

The trio allegedly used software to mask IP addresses, purloined credit cards and SIM cards to create fake Ticketmaster accounts. They also enlisted friends and family to create Ticketmaster Verified Fan accounts, giving small sign-up bonuses and kickbacks for creating new accounts.

The FTC alleges that the group made $1.2 million from flipping tickets to Taylor Swift’s record-breaking Eras Tour in 2023 alone. According to the complaint, at a Las Vegas Taylor Swift concert, “Defendants used 49 different accounts to purchase 273 tickets to Taylor Swift’s March 25, 2023, concert at Allegiant Stadium, dramatically exceeding The Eras Tour’s 2023 six-ticket limit. Defendants then marked up and resold these tickets, netting $119,227.21 in revenue.”

For one Bruce Springsteen show at MetLife Stadium on Sept. 1, 2023, “Defendants used 277 different accounts to purchase 1,530 tickets, dramatically exceeding Springsteen and the E Street Band’s four-ticket limit. Defendants marked up and resold these tickets, netting $20,900.84 in revenue.”

The FTC alleges their actions are a violation of the Better Online Ticket Sales Act. Representatives for Ticketmaster parent firm Live Nation did not immediately return a request for comment.

While Ticketmaster is not accused of any wrongdoing in the complaint, Swift famously lambasted Ticketmaster after the Eras Tour on-sale fiasco in which many fans were locked out of opportunities to buy tickets and saw seats instantly snapped up and placed on resale markets at many times the face value.

“There are a multitude of reasons why people had such a hard time trying to get tickets and I’m trying to figure out how this situation can be improved moving forward,” she wrote in a 2022 social media post. “I’m not going to make excuses for anyone because we asked them multiple times if they could handle this kind of demand and we were assured they could.”

“It really pisses me off that a lot of [fans] feel like they went through several bear attacks to get them,” Swift added.

The incident prompted rowdy hearings in Congress and a federal antitrust lawsuit against Ticketmaster and Live Nation. Although Ticketmaster is not targeted in the complaint, the FTC does include a slide that it says is from a 2018 presentation deck, where Ticketmaster warns of “Serious negative economic impact if we move to 8 ticket limit across the board.” In March, President Trump issued an executive order to combat fraudulent ticket reselling practices.

SAN JUAN, Puerto Rico — A Bad Bunny fan who was visiting Puerto Rico for the hip-hop star’s concert residency was fatally shot early Sunday in La Perla, a popular seaside shantytown in the capital, police said.

The victim was identified as Kevin Mares, a 25-year-old who lived in New York, according to a police statement.

The shooting happened in the predawn hours at a nightspot called Shelter for Mistreated Men in La Perla, a coastal community of San Juan that has struggled to shed its dark reputation.

Homicide detective Sgt. Arnaldo Ruiz said in a phone interview that the shooting took place when several people near Mares began arguing and one pulled out a gun and shot at least three people, including Mares. Two other men, who live in La Perla, were injured and remain hospitalized.

Ruiz said Mares was an innocent bystander. He was with three other friends who told police they were in Puerto Rico for one of Bad Bunny’s 30 concerts, which have attracted tens of thousands of visitors to the U.S. territory, where the artist was born.

Mares was shot on the left side of his abdomen and was taken to Puerto Rico’s largest public hospital, where he died, authorities said.

Ruiz said police don’t yet know what the people were arguing about and don’t have a description of the shooter. “We have very little information,” he said.

Ruiz added that Mares’ three friends also were from New York. He didn’t know their hometowns.

La Perla is on the outskirts of a historic district popular with tourists known as Old San Juan. A couple hundred people live in the shantytown, which once served as Puerto Rico’s biggest distribution point for heroin and was known for its violence.

Police used to avoid the community, which used to have a sign proclaiming, “Not open to visitors. Do not enter.”

But violence eased when hundreds of federal agents raided the slum in 2011 and arrested dozens of people, including a well-known community leader who was later convicted.

The neighborhood became even safer and more welcoming after Puerto Rican singers Luis Fonsi and Daddy Yankee featured it in their hit “Despacito.”

But isolated violence persists.

In February 2023, three tourists were stabbed after police said a person told them to stop filming inside the community.

In April of last year, a 24-year-old tourist from Delaware was killed and his body set on fire after police said he and a friend were attacked after a drug purchase. Police said the victims were trying to take pictures of La Perla after being warned not to do so.

The island of 3.2 million people has reported 277 killings so far this year, compared with 325 killings in the same period last year.

Coto writes for the Associated Press.

AN OASIS fan says she slipped over just yards from where a man plunged to his death at the reunion concert.

The man – aged in his 40s – was understood to be sitting in the upper tier of the stadium when he plunged to his death at Wembley on Saturday night.

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The highest stands in the 90,000-seat venue are some 170ft above the ground.

Police and paramedics attended to the man but he was pronounced dead at the scene.

The Gallagher brothers said they were “shocked and saddened” to hear about the fan’s death.

Now, other fans have blasted the “deathtrap” Wembley stadium, calling for the venue to be “held accountable”.

Gig-goers who danced the night away to Wonderwall say they were forced to hobble along low railings with a steep drop and a “lethal” slippery floor that was “like an ice rink.”

Some are labelling it “horrendous” given “the amount of money they’ve spent on this new Wembley”.

Jade, 31, from Essex, was at the gig and stumbled in a domino effect of falling fans, suffering minor injuries.

A man a few rows up from her fell down, tumbling into her and knocking her down too.

“The floor was slippery from loads of spilled drinks,” she told The Sun.

“My bag got soaked. Everyone in the seated section was jumping and dancing and way drunker than other concerts.”

She fell onto the row in front of her about halfway through the concert, and people helped her up.

“I just got up and carried on. But today I have a dodgy ankle, a few bruises and hurt knees.”

“People were absolutely w***ered,” recalled another on Reddit.

“A bloke near us collapsed, tumbled over a couple of seats and had to be evacuated by the medics – everywhere you looked people were out of their minds.

“It occurred to me that all it would take is one wrong step up there and you’d be a goner.”

One fan said on Facebook: “You’d think a modern venue like Wembley would have sufficient guards for this kind of thing.”

“The top tier is bloody steep. It’s dreadful the barrier is so low,” added another on Facebook.

Not everyone agrees that the stadium is to blame.

One fan said on a fan group: “18 years worth of events, most with 90,000 people attending, and never an incident like it. It’s a tragic accident, and blaming it on the venue or security is ridiculous.”

An eyewitness to the fatal fall wrote on Facebook: “He fell from the top tier into our block. My friend’s daughter did CPR until the paramedics arrived.”

Another shaken onlooker, who was sitting just three seats away, recalled: “Hearing the bang and seeing the aftermath was just something that will stay with you forever.”

“The atmosphere was incredible,” commented a third on Facebook.

“We were nearing the end of the concert, when in the middle of Wonderwall, he fell right in front of us, a few metres away.

“It was very shocking and we left Wembley very upset.”

Oasis released a statement about the man, saying that they are “shocked and saddened to hear of the tragic death of a fan at the show last night.

“Oasis would like to extend our sincere condolences to the family and friends of the person involved.”

Before singing Live Forever on Sunday, Liam Gallagher appeared to pay his respects to the late fan.

He said: “This one’s for all the people who can’t be here tonight, but who are here if you know what I mean, and aren’t they looking lovely.”

But Liam has used that line before singing that hit song on the other tour dates.

In the gig after Ozzy Osborne passed away, the Britpop duo paid tribute by displaying an image of the Black Sabbath singer on stage during Live Forever, then dedicated Rock ‘n’ Roll Star, to Ozzy.

In a statement on Sunday, the Metropolitan Police confirmed a man in his 40s was pronounced dead at the scene after sustaining “injuries consistent with a fall”.

A Wembley Stadium spokesperson said: “Last night, Wembley Stadium medics, the London Ambulance Service and the police attended to a concert goer who was found with injuries consistent with a fall.

“Despite their efforts, the fan very sadly died.

“Our thoughts go out to his family, who have been informed and are being supported by specially trained police officers.

“The Police have asked anyone who witnessed the incident to contact them.

“Tonight’s Oasis concert will go ahead as planned.”

Saturday’s gig was the fourth of seven London shows on Oasis’ blockbuster reunion tour.

The band crashed ticket sites when they announced they were making a comeback last year – as more than 14 million fans tried to secure a seat at the highly-anticipated gigs.

Last month Liam and Noel reunited on stage in Cardiff for the first time since a backstage bust-up broke up the band 16 years ago.

The Britpop icons returned to their hometown of Manchester for five dates in July.

They performed a 23-song setlist of classic hits, including Wonderwall, Don’t Look Back in Anger and Live Forever to a roaring crowd of 80,000 people at Heaton Park.

They will head to America later this month before returning to London for two more gigs in September.

Wembley Stadium said in a statement to The Sun: “Wembley Stadium operates to a very high health and safety standard, fully meeting legal requirements for the safety of spectators and staff, and is certified to and compliant with the ISO 45001 standard.

“We work very closely and collaboratively with all relevant event delivery stakeholders – including event owners, local authorities, the Sports Ground Safety Authority and the police – to deliver events to high standards of safety, security and service for everyone attending or working in the venue.”

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Nineteen suspects accused of being involved in the 2024 shooting attack in a Moscow concert hall that killed 149 people, and wounded over 600, have appeared in court in a glass cage at the beginning of their trial. A faction of the Islamic State group claimed responsibility for the attack.

Russian President Vladimir Putin claims, without providing evidence, that Ukraine was involved in the attack, an allegation Kyiv vehemently denies.

The trial has begun for 19 defendants accused of involvement in the 2024 shooting attack in a Moscow concert hall that killed 149 people, and wounded over 600, in one of the deadliest attacks in the capital since the era of the Russian-Chechen wars in the 1990s and 2000s.

The suspects appearing in court on Monday, under heavy security, kept their heads bowed as they sat in the defendants’ cage.

An ISIL (ISIS) affiliate claimed responsibility for the March 22, 2024 massacre at the Crocus City Hall concert venue in which four gunmen shot people who were waiting for a show by a rock band and then set the building on fire. ISIL’s Afghan branch – also known as ISKP (ISIS-K) – claimed responsibility for the attack.

President Vladimir Putin and other Russian officials have claimed, without providing any evidence, that Ukraine was involved in the attack, an allegation Kyiv has vehemently denied.

The Investigative Committee, Russia’s top criminal investigation agency, concluded in June that the attack had been “planned and carried out in the interests of the current leadership of Ukraine in order to destabilise the political situation in our country”. It also said the four suspected gunmen tried to flee to Ukraine afterward.

The four, all identified as citizens of Tajikistan, were arrested hours after the attack and later appeared in a Moscow court with signs of having been beaten.

The committee said earlier this year that six other suspects were charged in absentia and placed on Russia’s wanted list for allegedly recruiting and organising the training of the four. Other defendants in the trial were accused of helping them.

In 2002, some 40 rebels from Chechnya stormed the Dubrovka Theatre in Moscow and took around 800 people hostage while demanding an end to Putin’s war in the separatist southern republic.

Putin refused to negotiate with the fighters, and the standoff ended with mass death days later when Russian special services pumped a powerful gas into the building to stun the hostage-takers before storming it. Most of the 129 hostages who died were killed by the gas.

A man has died after falling from a height at an Oasis concert on Saturday, the Metropolitan Police has said.

Police said officers and medics at at Wembley Stadium in London responded to reports that a man in his 40s had been injured at 22:19 BST.

The man “was found with injuries consistent with a fall” and was pronounced dead at the scene, a spokesperson for the force said.

Oasis said in a statement they were “shocked and saddened” to hear of the death of a fan.

They added: “Oasis would like to extend our sincere condolences to the family and friends of the person involved.”

The man reportedly fell from an upper tier.

Police said the stadium was busy and they “believe it is likely a number of people witnessed the incident, or may knowingly or unknowingly have caught it on mobile phone video footage”.

The Met has asked anyone who may have information to get in touch via 101.

It added that the investigation would be passed to the Health and Safety Executive in the next few days.

Oasis’s performance was scheduled to begin at 20:15 and end at 22:15, according to timings on Wembley Stadium’s website.

The band began its Oasis Live ’25 reunion tour in July. Saturday’s concert was part of seven sold-out reunion concerts at Wembley Stadium, which has a 90,000-person capacity across three tiers.

Noel and Liam Gallagher are marking the end of an almost 16-year split with their tour.

Wembley Stadium said in a statement that medics, police and the London Ambulance service attended to the injured man.

“Despite their efforts, the fan very sadly died. Our thoughts go out to his family, who have been informed and are being supported by specially trained police officers,” it said.

The stadium added that the Oasis concert on Sunday was going ahead as planned.

The band will next appear in Edinburgh for three gigs on 8, 9 and 12 August and then take their tour to Ireland, Canada, the US and Mexico before returning to Wembley on 27 and 28 September.

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.

Kremlin critics laud the decision, as Moscow’s ambassador to Italy decries a ‘scandalous situation’.

Italy’s Royal Palace of Caserta has announced it cancelled a concert by Russian maestro Valery Gergiev, a vocal backer of President Vladimir Putin, after an uproar from politicians and Kremlin critics.

The concert scheduled for Sunday in the 18th-century palace near Naples caused a heated debate in Italy, was slammed by Ukraine and led to calls for protests by Russia’s exiled opposition.

Gergiev has not condemned Moscow’s invasion of Ukraine, a stance for which he was fired from the Munich Philharmonic in March 2022. He has since been shunned by the West and has not played concerts in Europe.

Days of uncertainty over the concert ended with the abrupt announcement on Monday.

“The directorate of the Royal Palace of Caserta has ordered the cancellation of the symphony concert conducted by Valery Gergiev, scheduled as part of the Un’Estate da Re festival for July 27,” said a Caserta palace statement.

It gave no official reason for the decision.

Yulia Navalnaya, the widow of late Russian opposition leader Alexey Navalny, lauded the announcement as “good news”.

“No artist who supports the current dictatorship in Russia should be welcomed in Europe,” Navalnaya wrote on X.

Navalnaya’s team had campaigned against the concert and said in a statement: “Putin’s pals should not be touring Europe like nothing happened.”

Russia’s state TASS news agency said the 72-year-old maestro was not informed of the decision, quoting Gergiev as saying: “I do not have this information.”

‘Scandalous situation’

Gergiev is the director of Russia’s Bolshoi and Mariinsky theatres, and before the 2022 invasion of Ukraine, he regularly played in leading Western theatres.

While Kremlin critics lauded the cancellation, Moscow’s ambassador to Italy called it a “scandalous situation” that was part of Western politicians’ “policy of ‘cancelling’ Russian culture”.

In a statement on the embassy’s Facebook page, Alexei Paramonov said it was “sad” to watch Italy “subordinate its cultural policy to the demands of Ukrainians and other immigrants”.

Italian Culture Minister Alessandro Giuli – who had warned that the concert risked turning into a propaganda event – said the cancellation was “common sense” and aimed at “protecting the values of the free world”.

Ukraine on Sunday urged organisers to drop the performance, calling Gergiev “Putin’s mouthpiece” who should not be welcomed anywhere “as long as Russian forces continue to commit atrocities” in Ukraine.

Recognised as one of the world’s leading orchestra leaders, Gergiev is known for conducting epic symphonies of Russian classical music by Pyotr Tchaikovsky, among other successes in Western opera houses.

The conductor has stayed silent on Russia’s invasion of Ukraine and mostly out of the public eye since 2022, but has played concerts in Asia.

July 19 (UPI) — Software developer Astronomer says former Chief Executive Officer Andy Byron resigned amid controversy following his attendance at a recent Coldplay concert.

New York-based Astronomer confirmed Byron’s resignation on Saturday and said co-founder and Chief Product Officer Pete DeJoy is its interim chief executive officer while its board of directors seeks a permanent replacement for Byron.

“Astronomer is committed to the values and culture that have guided us since our founding,” Astronomer officials said Saturday in a post on X.

“Our leaders are expected to set the standard in both conduct and accountability, and recently, that standard was not met.”

Byron is married but was caught attending a Coldplay concert with another woman on Wednesday night at Gillette Stadium in Foxborough, Mass.

The stadium’s “kiss cam” zeroed in on Byron with his arms wrapped around a woman standing in front of him during the concert, NBC News reported.

When they realized they were on the kiss cam, Byron ducked out of the camera shot, while the unidentified woman covered her face.

Coldplay’s lead singer Chris Martin noticed the pair’s reaction during the concert and opined: “Either they’re having an affair or they’re just very shy.”

The video of the moment went viral, and social media sleuths identified the man as Byron.

Astronomer placed him on leave on Friday before accepting his resignation a day later, according to NBC News.

The tech firm is a relatively small company with fewer than 500 employees and noted the viral incident’s impact on its operations.

“While awareness of our company may have changed overnight, our product and our work for our customers have not,” Astronomer said in its X post.

“We’re continuing to do what we do best: helping our customers with their toughest data and AI problems.”

BERLIN — In a country that saw its democracy die in 1933, the more than 170,000 people crowding into three of Germany’s biggest soccer stadiums for Bruce Springsteen’s rock concerts in recent weeks have been especially receptive to his message and dire warnings about a politically perilous moment in the United States, one that has reminded some of Adolf Hitler’s power grab in the ’30s.

At these gigantic open-air concerts in Berlin, Frankfurt and Gelsenkirchen, which have been among the largest concerts to date in Springsteen’s two-month-long, 16-show Land of Hope & Dreams tour across Europe, the 75-year-old rock star from New Jersey has interspersed short but poignant political speeches into his exhausting, sweat-drenched performances to describe the dangers he sees in the United States under the Trump administration.

“The mighty E Street Band is here tonight to call upon the righteous power of art, of music, of rock ’n’ roll in dangerous times,” Springsteen says to cheers at the start of each concert. “In my home — the America I love, the America I have written about — the America that has been a beacon of hope and liberty for 250 years is currently in the hands of a corrupt, incompetent and treasonous administration. Tonight, we ask all who believe in democracy and the best of our American experience to rise with us, raise your voices against authoritarianism and let freedom ring.”

Springsteen’s words have had special resonance in Germany, where memories of the Nazi past are never far from the surface and the cataclysmic demise of the Weimar Republic, which led directly to Hitler’s takeover, is studied in great detail in schools and universities. With that Nazi past embedded in their DNA, German fears of President Trump’s tactics probably run higher than anywhere else.

“Germans tend to have angst about a lot of things and they are really afraid of Trump,” said Michael Pilz, a music critic for the Welt newspaper, who agrees that the death of German democracy in 1933 is a contributing factor to the popularity of Springsteen’s anti-Trump concerts this summer. “A lot of Germans think Trump is a fool. It’s not only his politics but the way he is, just so completely over the top. Germans love to see Trump getting hit. And they admire Springsteen for standing up and taking it to him.”

“The mighty E Street Band is here tonight to call upon the righteous power of art, of music, of rock ’n’ roll in dangerous times,” Springsteen says to cheers at the start of each concert.

(Markus Schreiber / Associated Press)

The crowds in Germany have been as large as they are enthusiastic. More than 75,000 filled Berlin’s Olympic Stadium on June 11; 44,500 were in Frankfurt on June 18; and another 51,000 watched his concert in the faded Ruhr River industrial town of Gelsenkirchen on June 27. All told, more than 700,000 tickets have been sold for the 16 shows in Springsteen’s tour (for concerts that last three or more hours), which concludes on July 3 in Milan, Italy.

“The German aversion to Trump has now become more extreme in his second term — Germans just don’t understand how the Americans could elect someone like Trump,” said Jochen Staadt, a political science professor at the Free University in Berlin who is also a drummer in an amateur Berlin rock band. Staadt believes Springsteen’s 1988 concert may well have helped pave the way for the Berlin Wall to fall a little over a year later in 1989. “Germans are drawn to Springsteen as someone who played an important role in our history when Germany was still divided and as someone who may have helped overcome that division with rock music.”

Springsteen has been filling stadiums across Europe in the warm summertime evenings with his high-energy shows that not only entertain the tremendous crowds but also take on Trump’s policies on civil liberties, free speech, immigrants and universities in thoughtfully constructed messages. To ensure nothing is lost in translation, Springsteen’s brief forays into politics of about two to three minutes each are translated for local audiences in German, French, Spanish, Basque and Italian subtitles on the giant video walls onstage.

To ram the message home to more people, Springsteen also released a 30-minute recording from the first stop of the tour in Manchester, England, that contains three songs and three of his speeches onstage.

“I’ve always tried to be a good ambassador for America,” said Springsteen while introducing “My City of Ruins,” a song he wrote after the 9/11 terror attacks that has taken on a new meaning this summer. “I’ve spent my life singing about where we have succeeded and where we’ve come up short in living up to our civic ideals and our dreams. I always just thought that was my job. Things are happening right now in my home that are altering the very nature of our country’s democracy and they’re simply too important to ignore.”

Springsteen’s first speech during the tour’s Manchester show on May 17 prompted a sharp rebuke from Trump on his Truth Social platform. “Springsteen is ‘dumb as a rock’… and this dried out ‘prune’ of a rocker (his skin is all atrophied!) ought to KEEP HIS MOUTH SHUT until he gets back into the Country, that’s just ‘standard fare’. Then we’ll all see how it goes for him!”

Springsteen did not respond directly. Instead, he repeated his messages at every concert across Europe. He delivered more political commentary in introducing his song “House of a Thousand Guitars” by saying: “The last check on power, after the checks and balances of government have failed, are the people. You and me. It’s the union of people around a common set of values. That’s all that stands between democracy and authoritarianism. So at the end of the day, all we’ve really got is each other.” In the song, Springsteen sings about “the criminal clown has stolen the throne / He steals what he can never own.”

His concerts also included the live debut of “Rainmaker,” about a con man, from his 2020 “Letter to You” album. At the concerts in Europe, Springsteen dedicates the song to “our dear leader,” with a line that goes: “Rainmaker says white’s black and black’s white / Says night’s day and day’s night.”

More than 75,000 filled Berlin’s Olympic Stadium on June 11, 44,500 were in Frankfurt on June 18, and another 51,000 watched his concert in the faded Ruhr River industrial town of Gelsenkirchen on June 27.

(Markus Schreiber / Associated Press)

He also changed one line in the song from “they don’t care or understand what it really takes for the sky to open up the land,” to “they don’t care or understand how easy it is to let freedom slip through your hands.”

Springsteen’s enormous popularity across Europe has long been on a different level than in the United States, and that gap could grow even wider in the future. Springsteen’s close friend and the band’s lead guitarist, Steve Van Zandt, recently observed in an interview with the German edition of Playboy magazine that the E Street Band may have lost half of its audience back home because of the group’s unabashed opposition to Trump. (The band’s concerts in the United States are often held in smaller indoor arenas.)

Bruce Springsteen, left, performs with Steven Van Zandt: at the Olympic Stadium in Berlin, Germany, Wednesday, June 11, 2025.

(Markus Schreiber / Associated Press)

But in Europe, Springsteen and his band have been reliably filling cavernous stadiums during the long, daylight-filled summertime evenings for decades with improbably enthusiastic crowds that sing along to the lyrics of his songs and spent most of the concerts on their feet dancing and cheering. There are also large numbers of hearty Springsteen fans from scores of countries who use their entire yearly allotment of vacation to follow him from show to show across the continent. This summer, Springsteen’s message has been amplified even more, sending many in the boomer-dominated crowds into states of near-ecstasy and attracting considerable media attention in countries across Europe.

“The message of his music always touched a deep nerve in Europe and especially Germany, but ever since Trump was elected president, Springsteen’s voice has been incredibly important for us,” said Katrin Schlemmer, a 56-year-old IT analyst from Zwickau who saw five Springsteen concerts in June — from Berlin to Prague to Frankfurt and two in San Sebastián, Spain. All told, Schlemmer has seen 60 Springsteen concerts in 11 countries around the world since her first in East Berlin in 1988 — a record-breaking, history-changing concert with more than 300,000 spectators that some historians believe may have contributed to the fall of the Berlin Wall just 16 months later.

“A lot of Germans can’t fathom why the Americans elected someone like Trump,” said Schlemmer, who had the chance to thank Springsteen for the 1988 East Berlin concert at a chance meeting after a 2014 concert in Cape Town, South Africa. “We saw for ourselves how quickly a democracy was destroyed by an authoritarian. The alarm bells are ringing about what a danger Trump is. People love [Springsteen] here because he tells it like it is and because he is standing up to Trump.”

Stephan Cyrus, a 56-year-old manager from Hamburg, said Germans view Springsteen as a trustworthy American voice during a period of uncertainty.

“When Germans hear Springsteen speaking about his worries about the United States, they listen, because so many of us have so much admiration and longing for the United States and are worried about the country’s direction too,” said Cyrus, who saw the June 11 concert in Berlin. “He definitely touched us with his words.”

In one of his concert speeches, Springsteen goes after Trump without mentioning his name.

Spectators watch Bruce Springsteen and the E Street Band perform at the Olympic Stadium, in Berlin, Germany, Wednesday, June 11, 2025.

(Markus Schreiber / Associated Press)

“There is some very weird, strange and dangerous s— going on out there right now. In America, they are persecuting people for using their right to free speech and voicing their dissent. This is happening now. In America, the richest men are taking satisfaction in abandoning the world’s poorest children to sickness and death. This is happening now.”

Springsteen then adds: “In my country, they’re taking sadistic pleasure in the pain they are inflicting on loyal American workers. They’re rolling back historic civil rights legislation that led to a more just and plural society. They are abandoning our great allies and siding with dictators against those struggling for their freedom. They’re defunding American universities that won’t back down to their ideological demands. They’re removing residents off American streets and, without due process of law, are deporting them to foreign detention centers and prisons. This is all happening now. A majority of our elected representatives have failed to protect the American people from the abuses of an unfit president and a rogue government.”

He tells the audiences that those in the administration “have no concern or idea of what it means to be deeply American.”

But Springsteen ends on a hopeful note, promising his audiences: “We’ll survive this moment.”

This essay is adapted from Merrick Morton’s “La Bamba: A Visual History,” published by Hat & Beard Press.

“Dance!! Dance!! Dance!! to the music of the Silhouettes Band!!” read the handbill. The Silhouettes featured Ritchie Valens — “the fabulous Lil’ Richi and his Crying Guitar!!” — at a 1958 appearance at the San Fernando American Legion Hall in Southern California.

He was 16 years old. The Silhouettes was Ritchie’s first band, and they launched him into history. But a silhouette itself is an interesting thing: You can see the general shape of something while you hardly know the figure casting the shadow. Valens’ musical story begins with the Silhouettes, and we have been filling in his story, and projecting ourselves onto it, ever since he left.

A founding father of rock ’n’ roll, he would lose his life barely a year later, when the plane carrying members of the Winter Dance Party Tour — Buddy Holly, the Big Bopper and Valens — crashed on Feb. 3, 1959, in an Iowa snowstorm. A Chicano icon. A stranger.

Ritchie was a kid playing his guitar to make money for his family and one song he played was a version of “Malagueña.” The number was rooted in centuries-old Spanish flamenco music that had spread in all directions, becoming a classical music melody and a Hollywood soundtrack go-to by the 1950s. In his hands, it became a catapult for guitar hero god shots.

Candid shot of Ritchie Valens, Big Bopper (J.P. Richardson) and Buddy Holly during the Winter Dance Party Tour.

(C3 Entertainment)

“Malagueña” communicated experience and rico suave flair to his audience. Meanwhile, his mom was selling homemade tamales at his shows in the American Legion Hall. This guileless 17-year-old, Chicano kid from Pacoima found a way to introduce himself to America by taking something familiar and making it feel like nothing you had heard before.

From the beginning, Ritchie heard the possibilities in turning a familiar sound forward. He saw, even as the teenager he will forever be to us, how in reinventing a song, you could reinvent yourself. Listen to “Donna,” the heartfelt love ballad that felt familiar to Chicano ears, listeners who for years had tuned in to Black vocal groups. In the process, he cleared the way for so much great Chicano soul to come in the next two decades.

Valens performing to a packed house.

(C3 Entertainment)

Most of all, of course, listen to “La Bamba.” A centuries-old song from Veracruz, Mexico; the tune has African, Spanish, Indigenous and Caribbean DNA. In the movie, he encounters the song for the first time when his brother Bob takes him to a Tijuana brothel, but however he first heard it, Valens viewed it as a prism, a way of flooding all that was in front of him with his voice and guitar.

The music he made came from Mexico, and it came from Los Angeles, where 1940s Spanish-language swing tunes, Black doo-wop sounds and hillbilly guitar-plucking were mashed together in a molcajete y tejolote. Most of all, it came from the radio, which lined up sounds that were not like the ones that came right before and blasted them out on AM stations from corner to corner across the Southland. Radio devoured difference and transformed it, and if Ritchie is now regarded as a pioneer of Chicano music, he was in his own, brief time, a product of AM democracy, a silhouette with a spotlight shining on him.

Danny Valdez knew all the songs. In the early 1970s, the artist and activist had released “Mestizo,” billed as the first Chicano protest album put out by a major label. The singer-songwriter and his buddy Taylor Hackford would drink beer, belt out Ritchie Valens songs and make big plans. They talked about someday shooting a movie together, with Valdez playing Ritchie and Hackford directing. “Neither of us had a pot to piss in,” said Hackford, “so we never made that movie.” But years later, after Hackford had a hit with “An Officer and A Gentleman,” Valdez called him and raised the idea once more.

There were many steps to getting “La Bamba” on the screen, but it began with an understanding that it would be about the music. That meant they had to make the music feel alive — namely the handful of recordings produced by Bob Keane that Ritchie left behind. The owner of Del-Fi Records, Keane was a guiding figure in the singer’s life, recording his songs, urging him to mask his ethnicity by changing his name from Richard Steven Valenzuela and giving him career advice. Keane booked Gold Star Studios, cheap at $15 an hour, and brought in great session musicians as Ritchie’s backing band, including future Wrecking Crew members Earl Palmer and Carol Kaye. But the recordings he made were not state of the art, even in their own time.

“They weren’t high-quality,” said Hackford, comparing them to the early Ray Charles sessions for the Swing Time label. “I had a commercial idea in mind, of music selling the film, of people walking out of the theater singing ‘La Bamba’ who had never heard of it before,” he said. That meant he needed contemporary musicians who understood the records and could re-record Ritchie’s songs and reach an audience that was listening to Michael Jackson, Madonna and George Michael.

Valens signing autographs for his fans.

(C3 Entertainment)

Ritchie’s family, including his mother, Connie, and his siblings, had already heard that Los Lobos were playing “Come On, Let’s Go” live in East L.A. When the band played a concert in Santa Cruz, where the Valenzuela family was living by the 1980s, a friendship grew.

“Danny and I knew Los Lobos in the ‘70s when they were just starting out,” says writer and director Luis Valdez, “when they were literally just another band from East L.A. We were very fortunate that they were at that point in their career where they could take on this project. Without Los Lobos, we wouldn’t have Ritchie. David Hidalgo’s voice is incredible. I don’t think we could have found other musicians to cover him. They come from East L.A., they’re all Chicanos. They were paying an homage. We happened to be in the airport together when they got the news that ‘La Bamba’ had become number one in the national charts.”

“They called themselves the spiritual inheritors of Ritchie Valens,” says Hackford. “And they went in and re-recorded Ritchie’s songs plus several that he had played in concert but never recorded.” Now Hackford had his own album of old tunes that turned in a forward direction.

Next, Hackford made sure there were roles for modern performers to play the classic rockers from the Winter Dance Party Tour. He cast contemporary performers who could re-record their material too: Marshall Crenshaw as Buddy Holly, Brian Setzer as Eddie Cochran and Howard Huntsberry as Jackie Wilson.

Then there’s the surprise of the first song heard in the film — a rumbling version of Bo Diddley’s “Who Do You Love?” that had Carlos Santana, hired as a soundtrack composer, playing with Los Lobos, and Bo himself offering a fresh vocal over everything.

“We were so happy to have the touch of Carlos Santana as part of Ritchie’s story,” said Luis Valdez. “It’s his guitar that underscores a lot of the scenes and he had a theme for each of the players. We screened the whole movie for him first and he was very moved by it and ready to go right away once he saw it without his contribution. He was alone on the soundstage at Paramount, where we recorded his soundtrack, doing his magic with his guitar. He became a great friend as a result of that. It’s incredible what an artist can do.”

Actor Lou Diamond Phillips as Ritchie Valens in the 1987 film “La Bamba.”

(Merrick Morton)

The original soundtrack recording topped the Billboard pop charts and went double platinum.

Hackford loved pop music; his first feature film, “The Idolmaker” (1980), was a rock musical. Releasing hit music became a key promotional element of the package. In advance of 1982’s “An Officer and a Gentleman” came “Up Where We Belong” by Joe Cocker and Jennifer Warnes. It went to No. 1 a week after the opening. For 1984’s “Against All Odds,” he selected Phil Collins to sing the title cut, a song released three weeks before opening; the song soon went No. 1. 1985’s “White Nights” had two No. 1 songs, Lionel Ritchie’s “Say You Say Me” and Phil Collins and Marilyn Martin’s duet “Separate Lives.”

One looming problem for “La Bamba” was that the 1987 moviegoing public was not familiar with the name Ritchie Valens. Hackford had ideas for that as well. He set out to introduce him to contemporary audiences — convincing the studio to fund a unique teaser trailer to run weeks before the official movie trailer went into theaters.

The producer assembled a parade of familiar faces to reintroduce Valens. The short film included Canadian hitmaker Bryan Adams and Little Richard talking about the icon. There was also the vision of Bob Dylan in a top-down convertible riding along the Pacific Coast Highway. The 17-year-old Dylan was present at a Valens concert in Duluth, Minn., just days before the plane crashed; he popped up talking about what Valens’ music meant to him. “You bet it made a difference,” said Hackford.

After the “La Bamba” soundtrack became a hit (there was also a Volume Two), Los Lobos made the most of their elevated success. They had experienced head-turning celebrity with “La Bamba,” and they followed it up with “La Pistola y El Corazón,” a gritty selection of mariachi and Tejano songs played on acoustic traditional instruments. They had banked cultural capital and directed their large new audience to this music that many had never heard before. “La Pistola y El Corazón” won a Grammy in 1989 for Mexican-American performance.

The “La Bamba” soundtrack helped set a precedent for the crossover global success of Latin music, which has become a major force in mainstream pop culture. From Ricky Martin and Jennifer Lopez to Shakira, Bad Bunny, Peso Pluma, Becky G, Anitta, J Balvin, Karol G and Maluma, among others who are dominating the charts, racking up billions of streams, headlining massive tours and festivals.

Does Hackford think “La Bamba” helped set the table for subsequent Latino pop star success?

“I think the one who set the table was Ritchie Valens. He recorded a song in Spanish, a rock ’n’ roll version of a folk song, and he made it a huge hit.

“I challenge you, any party you go to — wedding reception, bar mitzvah, whatever it is — when ‘La Bamba’ comes on, the tables clear and everybody gets up to dance. That’s Ritchie Valens; he deserves that credit. We came afterwards.”

RJ Smith is a Los Angeles-based author. He has written for Blender, the Village Voice, Spin, GQ and the New York Times Magazine. His books include “The Great Black Way,” “The One: The Life and Music of James Brown” and “Chuck Berry: An American Life.”

Frederick M. Nicholas, a war hero, attorney and real estate developer who shaped several of Los Angeles’ major arts and public service institutions, died peacefully at his home Saturday. He was 105.

Nicholas led the design and development of major L.A. landmarks, including the Museum of Contemporary Art and Walt Disney Concert Hall.

Surprisingly enough, Nicholas discovered his love of the arts in law school at the University of Chicago. “When I went downtown, I saw an art gallery for the first time,” he said in a 2022 YouTube interview with Blake Meidel, a young film creator. “I went inside and I looked at it and I was overwhelmed.”

When he returned to L.A., where he had studied journalism at USC, Nicholas took classes in the visual arts and built a law practice that included representation of artists and galleries. He took on several distinguished roles in the arts community, serving as MOCA’s chairman and vice chairman for a cumulative 11 years and a life trustee for the remainder of his life. Nicholas was instrumental to the development of the Geffen Contemporary at MOCA and Walt Disney Concert Hall.

It is little wonder that he was nicknamed “Mr. Downtown Culture.” In the 1980s, Nicholas led the city out of a cultural stasis and turned it into a global cultural and architectural powerhouse.

“Fred, we literally wouldn’t be L.A. without you,” former mayor Eric Garcetti said in a message to Nicholas on his 100th birthday.

Renowned architect Frank Gehry told The Times that Nicholas’ involvement in MOCA “was too good to be true.”

“He is an extremely smart man, and he’s sensitive. He’s been involved in and interested in the arts as a collector,” Gehry said in 1982. “He understands both the architecture and business of development. He knows all the players involved with the museum, and he has their respect. When I heard he was involved I thought it was too good to be true. I know he can pull it off.”

Nicholas negotiated with Giuseppe Panza of Varese, Italy, to acquire the Panza Collection. Including works from Mark Rothko, Franz Kline and others, the art now forms the core of MOCA’s permanent collection.

As chair of the Walt Disney Hall Concert Committee beginning in 1987, Nicholas headed a committee to find an architect (Gehry was eventually hired for the coveted gig), fundraise and plan the building process.

Over 105 years, Nicholas engaged with some of history’s greatest artists. “I met Pablo Picasso and I had dinner with him,” he told Meidel breezily.

Nicholas’ influence in L.A. extended into the realm of public service as well. After an incredibly successful law career, he shifted to pro bono work. “I thought that lawyers should do something to help the poor,” Nicholas told Meidel. Nicholas founded Public Counsel in 1970, which provided legal support to vulnerable people, including veterans and unhoused families, in what is now the largest firm of its kind in the U.S.

“Public Counsel really is his greatest legacy,” Nicholas’ son, Anthony Nicholas, told The Times on Tuesday. “They are still helping people today.”

Nicholas was born on May 30, 1920 in Brooklyn, N.Y. When he was 14, his family moved to L.A. In 1941, Nicholas served in the Army and was discharged five years later.

“One of the things that made me successful in law was that I was always in a hurry. I was always eager to move because I felt that I had lost so much time in the war. I had to make it up,” Nicholas, one of the oldest and most decorated WWII veterans, said in a retrospective on his life and work at age 100.

Nicholas was also adored by his family. Anthony recalled his father’s “beaming smile,” “great, great energy” and “the love he spread around the world.”

Nicholas is survived by his children, Deborah, Jan and Anthony; Anthony’s wife Mona; six grandchildren; three great-grandchildren; and sister Helen Devor.