SALT LAKE CITY — The Lakers won their fourth consecutive game Sunday, holding off the Utah Jazz 108-106 in Delta Center behind 33 points, 11 rebounds and eight assists from Luka Doncic.
The Lakers (12-4) nearly squandered a 10-point lead in the final six minutes and 36 seconds, allowing the Jazz to cut the lead to one with 41.3 seconds remaining on a three-pointer from Lauri Markkanen. The Utah Jazz crowd that had been cheering loudly for the Lakers finally erupted for the home team when the Finnish forward knocked down the shot.
Markkanen could have given the Jazz (5-11) the lead with a 17-foot shot in the key, but the midrange jumper rattled out with 11.4 seconds to go. After Doncic split a pair of free throws, the Lakers forced Jazz guard Keyonte George into a contested three at the buzzer to seal the win.
LeBron James, playing in his second game of the year, had 17 points with eight assists. Austin Reaves had 22 points with 10 rebounds and four assists.
Starting center Deandre Ayton missed the second half because of a right leg contusion. He had just two points on one for two shooting in the first half while Doncic still powered the Lakers to a seven-point lead.
The guard continued to struggle with his three-point shot, missing seven of his first eight shots from beyond the arc Sunday, but dazzled with his playmaking again. He intercepted a pass, bounced the ball between Kevin Love’s legs while running the fastbreak and scooped up a lob pass to Jaxson Hayes. The roar from the pro-Lakers road crowd was just as loud as anything the Jazz did.
When Doncic attracted a triple team in the paint, he fired a two-handed, no-look pass backwards over his head to Marcus Smart who knocked down a three that put the Lakers up 55-49.
The Lakers entered the game shooting 33.8% from three, ranked 24th in the league. Doncic and Austin Reaves, the team’s highest volume shooters, have struggled the most. Reaves was one for eight from three on Sunday. Doncic was three for 12, including shots so off course that they barely grazed the rim.
When he finally got a shot to trickle over the rim in the third, Doncic held both arms out in disbelief and relief as the ball bounced up high and then through the net in the third quarter.
James began his 23rd NBA season in Lakers’ home win as Curry’s Warriors lost to Orlando Magic despite his 34 points.
Published On 19 Nov 202519 Nov 2025
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LeBron James has broken the record for most NBA seasons after appearing for the Los Angeles Lakers in his 23rd after missing almost the first full month of the campaign due to sciatica.
The 40-year-old superstar, a four-time NBA champion and four-time NBA Most Valuable Player, missed the Lakers first 14 games before taking the court at home against Utah Jazz on Tuesday.
The Lakers rallied for a 140-126 victory over the visiting Jazz.
James, the NBA’s all-time scoring leader, practiced with the Lakers on Monday and had no pain or soreness after his first game-style workout with the club since last season’s playoffs.
That set the stage for him to start against the Jazz, breaking a tie with Vince Carter for the most career seasons in NBA history.
The home crowd cheered as James was introduced and moments later James made history when the game tipped off.
Meanwhile, the Detroit Pistons stretched their longest winning streak since 2008 to 11 games with a 120-112 victory in Atlanta, snapping the Hawks’ five-game win streak.
The Pistons, who lead the Eastern Conference at 13-2, got 25 points and 10 assists from Cade Cunningham and 24 points with eight rebounds from Jalen Duren.
Jalen Johnson sparked Atlanta (9-6) with 25 points, nine rebounds and eight assists.
At Brooklyn, Jaylen Brown scored 29 points and Payton Pritchard added 22 and 10 rebounds to spark the Boston Celtics in a 113-99 victory over the Nets.
Desmond Bane scored 23 points and reserve Anthony Black added 21 to lead the Orlando Magic over the visiting Golden State Warriors 121-113.
Stephen Curry led the Warriors (9-7) with 34 points while Jimmy Butler added 33 in a losing cause.
Stephen Curry’s 34 points were not enough to lead Golden State Warriors to a win over Orlando Magic in Orlando [John Raoux/AP]
At San Antonio, De’Aaron Fox scored 20 of his 26 points in the second half and Harrison Barnes added 23 to spark the host Spurs over Memphis 111-101.
The Spurs (10-4) were without star big man Victor Wembanyama due to a left calf strain and guard Stephon Castle with a left hip flexor strain while Memphis star guard Ja Morant was sidelined by a right calf strain.
“We are trying to do this as a collective. There’s no replacing Vic,” Barnes said. “Were just trying to find ways to win, share the ball, move the ball, that’s how we’ll do that.”
Barnes scored the first seven points in an 11-0 game-closing run to secure the victory.
“Harrison Barnes carried us through this. That’s just what a vet does,” Fox said. “It felt great winning the game with all the guys we have out.
“We have a team and we know that when one guy goes down we have a number of guys that can step up. No one guy will take up the slack for one being out.”
LeBron James will make his season debut Tuesday when the Lakers host the Utah Jazz, according to a person with knowledge of the situation who spoke on condition of anonymity, after sciatica kept James sidelined for the Lakers’ first 14 games.
James is “trending in the right direction,” coach JJ Redick said before Tuesday’s game, which will mark the beginning of James’ NBA-record 23rd season. The 40-year-old missed the beginning of a season for the first time in his NBA career after starting to feel discomfort in his right side this summer.
James missed all of training camp and the preseason. The Lakers put together a 10-4 record despite playing without their biggest star. In his place, Luka Doncic has emerged as the NBA’s leading scorer and guard Austin Reaves is off to a career season.
The star trio played together for several months last year after Doncic joined the Lakers in a blockbuster trade, helping the team grab the third seed in the Western Conference. Redick expects the experience to help James integrate smoothly this year.
“He’s smart enough and [there’s] enough carry over from last year, both with personnel and with our schemes, that I think it’ll be easy for him to be integrated right away,” Redick said.
James said after practice Monday he was not yet pain-free, but he has been able to manage the nerve injury enough to progress through practices with the G League team, the full NBA squad and then Tuesday’s shootaround. James said dealing with sciatica came with unexpected challenges. He often could only hope he wouldn’t feel pain when he woke up in the morning or when he went to sleep.
Redick said the team and James are approaching “uncharted territory” when it comes to managing the superstar’s health. Conversations have been consistent and will be ongoing as the season progresses.
“We’ll figure out ways to get him rest when he needs rest,” Redick said.
Staff writer Broderick Turner contributed to this report.
Destin Conrad didn’t expect to release a jazz project so early in his career — let alone just a few months after dropping his debut album, “Love on Digital.”
The 25-year-old singer-songwriter, who first made millions of people laugh on Vine when he was a preteen, entered the music industry as a fresh-faced R&B artist, following in the footsteps of the artists he grew up listening to such as Brandy, Musiq Soulchild and Usher. His first official EP “Colorway” (2021) and the slew of bite-size projects that followed were melodic and honest meditations on love, lust, queer identity and simply having a good time.
But during the summer, Conrad found himself gravitating to jazz, the genre he was introduced to in high school when he was enrolled in jazz choir. He was inspired by all of the greats and contemporary work by artists like Vanisha Gould, and decided that it was time for a slight departure in his own sound.
“I feel like it’s always kind of been in me,” Conrad says over Zoom during an off day from his second headlining tour in support of “Love on Digital.” “It’s always been a tool that I never really got to exercise that I knew I really wanted to.”
After a two-week whirlwind in L.A. filled with studio sessions with some of his bucket list collaborators like Gould, trumpeter Keyon Harrold and beloved L.A. saxophonist Terrace Martin, Conrad unveiled “Whimsy,” an 11-track alternative jazz detour. Rich with songwriting tinged with sensual winks, live instrumentation (piano, horn section and drums) and a spoken word interlude by Bay Davis (that is reminiscent of Meshell Ndegeocello), “Whimsy” is a masterclass in following your own intuition and creating freely — a testament to his Cancer sun.
“I think it’s some of my best work actually,” Conrad says, adding that it was the most fun to make, which is evident on tracks like “Whip,” a cheeky double entendre about trading places in the bedroom and “A Lonely Detective,” which explores the life of a man living a double life. “Things that I’ve spent more time on, I don’t feel as connected to, but I really love “Whimsy.”
Conrad, who performs at the Wiltern on Nov. 14, phoned in the day before Grammy nominations were announced to talk about why he was nervous to release “Whimsy,” why he thinks jazz deserves more attention and what he’s still learning about being an artist in the digital age. Little did he know that by the next morning, he’d receive his first solo Grammy nod for progressive R&B album.
Now that your debut album, “Love on Digital,” has been in the world for a few months and you’ve experienced fans singing it back to you at shows, how does it feel to look back on the journey of releasing it?
It’s been amazing. I think it’s made me look forward to putting more music out. I feel like this tour taught me a lot. While making this album, I had touring in the back of my mind, so I’m really excited that it’s being received well. Also, it’s kind of wild that I put out another project a [few] months later but I’m glad I have such cool fans that receive me in a good way.
Speaking of that, you turned around and released “Whimsy” in August. Can you talk about how that all came together and how your single “Wash U Away” inspired it?
I made the majority of it in a two-week span. “Wash U Away” and “Whip” I had, but they weren’t jazz songs. So I had “Wash U Away” in the tuck for years — I think I made it in like 2021 — but we had it replayed by actual musicians because before, it was just a very bare beat. Then the rest of it I made within those two weeks. I also had “The W” with James Fauntleroy and Joyce Wrice already, but same thing — it wasn’t a jazz song. I knew I wanted to make a jazz album. I didn’t know I was going to do it so soon after my debut album, but I was kind of on a wild one and was like “Why not?” But I’m really glad I did it because I feel like my fans really like that album and I really like that album as well. I think it’s some of my best work actually. Things that I spent more time on, I don’t feel as connected to but it’s something that I’m really proud of.
Take me back to those two weeks in L.A. when you starting working on this project. Was it summer time?
It was summertime, yeah. I live in Brooklyn now, so I was like “I’m going to fly to L.A. and stay there for two weeks to knock this project out.” I told my managers, “Get me in with everybody. Here’s my list of people I want to work with. Let’s figure it out.” We flew out Vanisha Gould, who’s one of my favorite jazz musicians. I was so ecstatic that she was down. She’s such a jazz head. She was kind of like “What the f— am I doing? Are they going to kidnap me? I’m just flying out here to work with this random ass R&B singer.” But I’m so glad she came and we low-key became besties. Same with Terrace Martin. I’ve been a fan forever. He’s the G.O.A.T. James [Fauntleroy]. All these people who I was very adamant about working with. And eventually I want to do another jazz [project]. Maybe a “Whimsy 2” and just keep that world alive because I feel like jazz is such a special genre that gets overlooked and it’s something that I really feel passionate about. Especially because I was in jazz choir in high school and it kind of taught me more about soul music and the origins and how there’s so many synchronicities within other genres like gospel, and how R&B and all of them just tie into each other. I think it’s just really cool.
What was going on in your world when you started making “Whimsy?” Were you listening to a lot of jazz at the time?
Yeah, I was listening to a lot of jazz music. I was listening to a lot of Vanisha Gould and I was like, “I need to do this jazz album.” I thought I was just going to start it and be like “I’m not done.” But I was like “No, I’m done. This is it. This is what I have to say.” But yeah, I always listen to jazz. As I said, I was in jazz choir in high school. My jazz instructor Mr. O put me onto hella jazz. He showed me Frank Sinatra and all these jazz standards. I have videos that I’ll eventually show the world of me performing at my jazz Christmas show. I feel like it’s always been within me. It’s always been a tool that I never really got to exercise but I knew I really wanted to. But like I said, I didn’t know I’d make it in two weeks and that it’d be such a quick thing. It was so fun to make. It’s probably one of the most fun projects I’ve made.
You can definitely hear how much fun you were having on tracks like “Boredom” and “Lonely Detective.” I feel like jazz was once viewed as a genre that older people listened to, but that’s been changing within the last few years. It feels like it’s becoming more popular with younger audiences. What do you think about this?
Personally, I don’t think it’s becoming more popular. I would love to be part of some sort of push of making it more of a thing and I feel like a lot of my fans are younger. I’d like to say in my head that I’m helping push the genre forward.
It’s just not super prominent. There’s not a lot of new jazz artists. If you look at the jazz charts, a lot of what’s still charting is like Frank Sinatra [and] Miles Davis. Laufey is one of the newer faces of jazz that I feel like is pushing it aside from like Robert Glasper. But I don’t know. I feel like a lot of the jazz even that I listen to is the older stuff. There’s a very select few of newer jazz artists that I’m like “Yes.” Like Vanisha Gould, a perfect example. I’m obsessed with her. I think she’s one of the most talented musicians that I know, period.
How did you feel about dropping “Whimsy”? Were you nervous about how people would receive it?
Umm I thought about it [but] what I really thought about were the jazz heads. I thought the real, super crazy into jazz people were gonna be like, “This s— ain’t f— jazz” because I do consider it an alternative jazz album. I remember talking to Terrace [Martin] about that because he’s a jazz head and he’s also older than me and he’s been in it for longer. I was telling him [that] I feel like people are going to have s— to say about it because it’s not traditional and I’m not a trained musician. I don’t know how to read music. I just go with my [gut], and he was like, “That’s why it’s so fire. That’s what makes people feel it.” He was like, “I can tell that you’re young and when I listen to this, I hear a 25-year-old,” and I’m like, “Tight.”
You’ve essentially grown up online and in the public eye. How has that evolution shaped the way you see yourself as an artist, and what have you learned about navigating visibility over the years?”
I feel like it’s an advantage. I always talk about that especially with my artist homies. I was an internet baby so I kind of have just a slight advantage because I knew really early how it worked. I feel like I’m still learning how to promote my music because I know how to get on the internet and be an idiot all day. I can do that literally in my sleep, but being an idiot who knows how to promote his music is different. [laughs] So yeah, I’m still learning that. I used to think it harmed me because I was so scared that people wouldn’t take my music seriously. But no, I use it to my advantage for sure.
We’re at a time in music where it’s common for artists to be open and proud about their identity and sexuality without feeling like they need to use coded language. I think of artists like Frank Ocean, Steve Lacy and Durand Bernarr. Can you talk about why talking about your queerness is important to you?
I feel like I’m a pretty honest person in general. I try not to lie and I feel like all I can do really is just keep it a bean. Most of the time, I try to write about my personal experiences and I deal with men, so that’s just my truth [laughs]. I do also write from other perspectives like things that my friends or my homegirls tell me. I don’t always write from my point of view, but when I do, it’s about a man and that’s all I can really do.
Kieran Culkin and wife Jazz Charton made good on their Emmys pact, recently welcoming their third child, according to the former’s “Succession” co-star.
Oscar and Emmy winner Culkin’s on-screen sister Sarah Snook, also an Emmy-winning actor, announced the arrival of the couple’s newest child while speaking to Access Hollywood on Monday. “I met the little baby, it’s so cute,” she said during the premiere of Peacock’s “All Her Fault.”
“They’re very happy and so cute,” she added.
A representative for Culkin did not immediately respond to a request for confirmation. Charton, a contributor for the Financial Times, has not yet publicly addressed the arrival of their littlest one.
“A Real Pain” star Culkin, younger brother of “Home Alone” star Macaulay Culkin, tied the knot with Charton in 2013. They share two children, Kinsey Sioux and Wilder Wolf, and lovingly teased a plan to grow their family during the 75th Emmy Awards in January 2024.
Culkin, 43, famously used part of his acceptance speech for the lead actor prize to remind Charton, 37, of the deal they had struck prior to the ceremony. As he acknowledged his wife and children, Culkin declared, “I want more.”
Charton confirmed that baby No. 3 was on the way in late September, sharing a cheeky Instagram post that also tapped into her well-documented fan love for “Matrix” star Keanu Reeves. “Saw Keanu Reeves on broadway and now I’m 9 months pregnant,” she captioned her post, which featured photos of her baby bump, “This is very on brand for me.”
She revealed she was expecting amid the debut of Reeves and longtime “Bill & Ted” collaborator Alex Winter’s production of “Waiting for Godot.” She quipped in her caption that she had “made a deal with this baby to let me make it to this [show] before labor, not sure what it wants in return but I’m CLEARLY a woman of my word.”
Snook, the first to break the couple’s baby news, has remained close to her “Succession” co-star since the hit HBO drama concluded two years ago. Culkin and Snook respectively starred as Roman and Shiv Roy, two of numerous potential — ahem — successors to media mogul Logan Roy (Brian Cox). “Succession” aired from 2018 to 2023 and won a total of 19 Primetime Emmy Awards, including acting prizes for Culkin, Snook and co-stars Jeremy Strong and Matthew Macfadyen.
With the arrival of Culkin and Charton’s third child, it’s clear that the “Succession” legacy now extends past powerhouse performances, viral memes and memorable lines. Anyone got a ludicrously capacious baby bag?
Elliot Zwiebach was 62 years old when he sang in front of a live audience for the first time.
The retired reporter had always loved show tunes, but he’d never considered singing in public before.
“I sang for my own amusement, and I wasn’t very amused,” he said recently.
But one night, after attending a few open mic nights at the Gardenia Supper Club in West Hollywood as a spectator, he got up the nerve to step onto the stage and perform a tune backed by a live band.
For his first song, he picked the humorous “Honey Bun” from the Rodgers and Hammerstein musical “South Pacific.” It was frightening and he didn’t sing well. And yet, the following week he came back and did it again.
Newbie Ian Douglas, left, and longtime singer Elliot Zwiebach look over a sign-up sheet at the Gardenia’s long-running open mic night.
Sixteen years later, Zwiebach, now 78, is a core member of what the event’s longtime host Keri Kelsey calls “the family,” a group of roughly 25 regulars who sing jazz standards, show tunes and other numbers from the Great American Songbook at the longest-running open mic night in L.A.
“It’s very much like a community,” Zwiebach said on a recent evening as he prepared to sing “This Nearly Was Mine,” another song from “South Pacific.” “Everyone knows everyone.”
For 25 years, the small, L-shaped Gardenia room on Santa Monica Boulevard has served as a musical home for a diverse group of would-be jazz and cabaret singers. Each Tuesday night, elementary school teachers, acting coaches, retired psychoanalysts, arts publicists and the occasional celebrity pay an $8 cover to perform in front of an audience that knows firsthand just how terrifying it can be to stand before even a small crowd with nothing more than a microphone in your hand.
“You are so vulnerable up there with everyone staring at you,” said Kelsey, who has hosted the open mic night for 24 years and once watched Molly Ringwald nervously take the stage. “But it’s also the most joyous experience in the world.”
Director and acting coach Kenshaka Ali sings “Goodbye Pork Pie Hat” by Rahsaan Roland Kirk.
The singers are backed by a live, three-piece band led by guitarist Dori Amarilio. The rotating group of musicians — a few of them Grammy winners — arrive not knowing what they will be playing that night. Some singers bring sheet music, others chord charts. And there are those who just hum a few bars and allow the musicians to intuit the key and melody enough to follow along. Poet Judy Barrat, a regular attendee, usually hands the evening’s piano player a copy of the poem she’ll be reading and asks him to improv along with her.
“It’s totally freeform,” said Andy Langham, a jazz pianist who toured with Natalie Cole and Christopher Cross and often plays the Gardenia. “I read the stanzas and try to paint pictures with the notes.”
Keri Kelsey, singing “Mack the Knife,” has hosted the Gardenia’s open mic night for 24 years.
The Gardenia, which opened in 1981, is one of the few venues in L.A. specifically designed for the intimacy of cabaret. The small, spare room has table service seating for just over 60 patrons and a stage area beautifully lit by an abundance of canned lights. Doors open at 7 p.m. on Tuesday nights, but those in the know line up outside the building’s nondescript exterior as early as 6 p.m. to ensure a reasonable spot on the night’s roster of singers. (Even though there is a one-song-per-person limit, the night has been known to stretch past 12 a.m.) Nichole Rice, who manages the Gardenia, takes dinner and drink orders until the show starts at 8:30 p.m. Then the room falls into respectful silence.
Pianist Andy Langham and guitarist Dori Amarilio perform live music accompaniment for each open mic participant at the Gardenia.
“This is a listening room,” said singer-songwriter Steve Brock, who has been attending the open mic night for more than a decade. “I’ve been to other rooms where I’m competing with tequila or the Rams. Here, when anyone goes up in front of that microphone, everyone stops.”
On a recent Tuesday night, the show began as it always does with an instrumental song by the band (a piano, guitar and upright bass) before an opening number by Kelsey. Dressed in a black leather dress and knee-high boots, she had this time prepared “Mack the Knife.” “This may be one of the loungiest lounge songs ever,” she said. “Maybe that’s why I really like it.”
People begin to line up outside the Gardenia at 6 p.m. to get a spot for the Tuesday open mic night.
The first singer to take the stage was Trip Kennedy, a bearded masseur who performed “The Rainbow Connection” in a sweet tenor. When he finished, Kelsey shared that she was cast as an extra in “The Muppets Take Manhattan.”
“It was the most ridiculous thing,” she said, filling time as the next singer consulted quietly with the band. “I was a college student who dressed up as a college student for the audition.”
Dolores Scozzesi, who sang at the Hollywood Improv in the ’80s between comedy sets, performed a moody arrangement of “What Now My Love.” “This is a [chord] chart from 2011,” she told the audience before she began. “I want to try it because these guys are the best.”
Monica Doby Davis, an elementary school teacher, sings the jazz standard “You Go to My Head” at the Gardenia.
Zwiebach performed a medley of two Broadway hits, “I’ve Grown Accustomed to Her Face” (which he altered to “his face”) and “This Nearly Was Mine,” easily hitting all the notes. After, his young friend Ian Douglas, a relative newbie who started attending the open mic night in the spring, sang the jazz standard “You Go to My Head.” Zwiebach praised the performance.
“I know that song very well and you did a great job,” he said.
Monica Doby Davis, who once sang with the ’90s R&B girl group Brownstone and now works as an elementary school teacher, also performed “You Go to My Head.” Although she had left the entertainment business decades ago, she said finding the Gardenia open mic night 13 years ago “brought music back to my life.”
Tom Nobles, left, sings alongside bassist Adam Cohen, center, and pianist Andy Langham at the Gardenia.
There were many beautiful, intimate moments that night, but perhaps the best was when Tom Nobles, an actor and retired psychoanalyst in a purple knit cap and thick plastic glasses, forgot the words to “Lost in the Masquerade” by George Benson.
He stumbled for a moment, a bit perplexed, before turning to his friends for help.
“Whoever knows the words, sing it with me,” Nobles said to the crowd.
Quietly at first and then louder and stronger, the whole room broke out into song.
We’re lost in a masquerade. Woohoo, the masquerade.
