music

Barpeta/Guwahati, Assam, India – For more than 15 years, truck driver Imam Hussain found solace in singer Zubeen Garg’s voice and music as he drove his vehicle on quiet and lonely nights along the Himalayan hills and plains of the northeastern Indian state of Assam.

It was a period in which Bengali-speaking Muslims – the community 42-year-old Hussein belongs to – increasingly came under attack in Assam. They’ve been accused of being outsiders – even infiltrators – in their own home.

Amid soaring Hindu-Muslim tensions, the music of Garg – a Hindu – served as a rare unifier. “His music was my inner peace,” said Hussain.

On September 19, Garg died by drowning near Lazarus Island in Singapore, where he was scheduled to perform at the Northeast India Festival, an event that celebrates the art and culture of the Indian region.

The sudden death of the 52-year-old artist, who enjoyed a cult-like status among millions of his fans in and outside Assam, triggered a massive outpouring of grief that further cemented his stature as a public figure whose appeal spanned divisions that have otherwise fractured the state. The singer’s wife, Garima Saikia Garg, issued a statement, saying her husband “suffered a seizure attack” while swimming in the sea.

While Hussain was mourning Garg’s death, so was Prime Minister Narendra Modi, whose Hindu majoritarian Bharatiya Janata Party (BJP) is accused by critics of fanning Hindu-Muslim divisions nationally and in Assam.

“He will be remembered for his rich contribution to music,” Modi said in a condolence message. “His renditions were very popular among people across all walks of life.”

Assam’s Chief Minister Himanta Biswa Sarma, who belongs to Modi’s party, said the state “lost one of its favourite sons”.

“Zubeen’s voice had an unmatched ability to energise people, and his music spoke directly to our minds and souls. He has left a void that will never be filled,” Sarma said.

The Assam government declared four days of state mourning as Sarma flew to the capital, New Delhi, to receive Garg’s body when it returned from Singapore.

A polarised backdrop

Two days later, on September 21, tens of thousands of Garg’s fans gathered outside the main airport in Guwahati, Assam’s biggest city. They waited as state officials received Garg’s body after it landed.

Then, they marched behind a convoy carrying the body to a stadium some 30 kilometres (19 miles) away for public viewing, singing some of his most famous songs in unison. Some held his posters, while others walked teary-eyed with candles in their hands. After four days of state mourning, Garg was cremated on September 23 with full state honours and a 21-gun salute.

Those scenes of unity were a break from the religious and linguistic fractures that have deepened in Assam in recent years.

The fault lines between the Indigenous Assamese-speaking and the mostly migrant Bengali-speaking communities in Assam aren’t new: They go back nearly two centuries, when the British brought large numbers of Bengali-speaking Hindus from Bengal to run the colonial bureaucracy, creating resentment among the Indigenous Assamese who feared the outsiders would take their jobs and occupy lands.

A second wave of migration of Bengali-speaking Hindus and Muslims to Assam started in 1947 with India’s independence and the formation of Pakistan, which included the territory that in 1971 declared itself the independent nation of Bangladesh. Millions of people migrated from Bangladesh to Assam in these years, triggering backlash from the Indigenous Assamese, which often turned violent.

Those ethnic and religious tensions continue to dominate Assam’s politics even today as suspicions over the identity and citizenship of mainly Bengali-speaking Muslims – pejoratively called “miya” – deepen, with thousands of them declared “Bangladeshi infiltrators” and many of them sent to detention camps or forced to cross over to Bangladesh by Indian security forces.

Garg was composing his music against this polarised backdrop, responding to the communal fissures with his verses and voice.

On many occasions, the singer described himself as an atheist and a “social leftist” as he distanced himself from the state’s mainstream parties, the centrist Congress and the right-wing BJP.

He was also a vocal critic of India’s deeply entrenched caste system.

In an undated video now viral after his death, a person on stage is seen teasing Garg for not wearing the sacred thread worn by other Brahmins, who sit at the top of Hinduism’s complex caste hierarchy.

Garg shot back, saying, “I am just a human. I have no caste, no religion, and no God.”

In another instance, Garg in 2018 encouraged famous female Assamese Olympian, Hima Das, to consume beef in order to “gain strength” to compete in international and national sports events. Many Hindus belonging to privileged castes revere the cow, and its slaughter and consumption are banned in several Indian states. It is unclear whether Das accepted Garg’s advice.

He was also at the forefront of a 2019 campaign against India’s controversial new citizenship law, which made religion a basis for expediting citizenship for immigrants from neighbouring nations, excluding Muslims. The law led to nationwide protests against Modi’s government, while the United Nations called it “fundamentally discriminatory” and urged a review.

Assamese social media creator Dr Medusssa told Al Jazeera that as anti-Muslim hate permeated Assamese society, Garg’s public positions stood out, turning him into an emblem of Hindu-Muslim harmony.

“It is precisely because of Zubeen’s persona of being inclusive, and how he represented marginalised communities through his songs, that his legacy is being claimed by all,” said Medusssa, who requested to be identified by her social media name.

“He refused to belong to any particular community. He was for all.”

For Akhil Ranjan Dutta, a political scientist at Gauhati University in Assam, the celebration of Garg by Modi and Sarma – despite the dissident artist’s opposition to Hindu majoritarianism – is partly due to the way the singer approached the politics of dissent.

“While he [Garg] would openly criticise the policies and the actions of the federal and state-level BJP governments, he would seldom attack BJP leaders [personally],” Dutta told Al Jazeera. “This makes it easier for the BJP to appropriate his legacy as not mourning him would otherwise put them under public scrutiny.”

Another political commentator who did not wish to be named – fearing reprisal from the government – was more blunt in his view of Garg’s ability to bridge political divisions.

While Garg was dismissive about the BJP as a political party, “he would not rattle their nerves by criticising their anti-Muslim policies or the attacks on Muslims very openly”, the commentator said. “That way, the Hindu nationalist party never feel too alienated by him.”

‘Artistic tour de force’

Born in 1972 to Assamese writer Mohini Mohan Borthakur and singer Ily Borhakur in Assam’s Jorhat town, Garg began singing at the age of three and was soon regarded as a child prodigy by his teachers. He moved to Guwahati to build his career as a singer and got his first major breakthrough in 1992 with the release of his debut Assamese album, Anamika.

It was the beginning of an illustrious career that saw Garg singing more than 38,000 songs in dozens of languages and dialects. He also sang several songs for Bollywood films, bursting into the national scene in 2006 with his Hindi hit, Ya Ali, for the film Gangster: A Love Story.

The next year, Garg won the national award for composing songs for the non-feature film, Echoes of Silence. Affectionately known as Zubeen Da among other sobriquets, he later ventured into acting and direction.

But more than Garg’s body of work, says Angshuman Choudhury, a joint doctoral candidate at the National University of Singapore and King’s College London, what made him a musical phenomenon was his refusal to conform to the archetype of a “tamed” and “cultured Assamese artist”.

The state’s popular culture, for the most part, according to Choudhury, was shaped until the 1990s by artists like musician Bhupen Hazarika and singer Janyata Hazarika, who “respected norms of social civility, never deviated from the script, and lacked the audacity to be that iconoclast that Garg was”.

“Garg, on the other hand, was an artistic tour de force in Assam. He disrupted and distorted the very image of a public performer and artist,” says Choudhury, whose doctoral research focuses on the ethnicity and politics of northeast India.

“He would use verbal expletives while on stage, sing under intoxication, and on many occasions, show overt defiance against established norms and culture.”

For instance, he once refused to perform at an event to mark Bihu – arguably Assam’s most important festival – after the organisers said that he could not sing in Hindi.

Prithiraj Borah, a sociologist from Assam who teaches at the National Academy of Legal Studies and Research in Hyderabad, said that Garg’s art also touched deeper, emotional and philosophical questions.

“Zubeen’s songs did not merely entertain,” he told Al Jazeera. “They also addressed the depths of what it means to be human, to love, to suffer, and to find meaning in an often-absurd world.”

Borah cites Garg’s song, Pakhi Pakhi Ei Mon (My heart is like a feather), in which he explored themes of freedom and captivity.

“The feather becomes a metaphor for the human condition, caught between the desire for liberty and the reality of various constraints,” Borah said.

Accessible to all

Abrar Nadim, a health officer in Assam’s Barpeta district, says he has memorised most of Garg’s songs since he was four.

“His song, Aei Mayar Dhorat [In this world of earthly pleasures] brought me closure to spirituality,” said Nadim, 30, as he stood next to a garlanded poster of Garg, while wearing black in mourning.

“The song describes temporary happiness in this world where corrupt people enjoy even after committing acts of injustice, corruption, and oppression, but little remains in the end.”

Maitrayee Patar, a prominent Assamese songwriter and poet, who had collaborated with the singer, including as recently as in 2023, said Garg, as an artist, “exuded a humanitarian side that was raw and relatable to all”.

“He disregarded political correctness and refused to align himself with majoritarian politics or any political parties, which made [him] come across as an artist loved by all,” Patar told Al Jazeera.

As clips from Garg’s songs and old interviews flood Assam’s social media, Hussain, the Bengali-Muslim truck driver in Guwahati, says his staunch rejection of hate politics and his humility in treating everyone as equal made him accessible to all.

Garg was Hindu. But after his death, students in madrasas – Islamic schools – were seen playing his songs, while Muslim leaders held prayers in his honour and recited the Quran before his photos – grieving practices not typically allowed by Islamic tenets.

“He [Garg] sang jikir – devotional folk songs sung by the Assamese-speaking Muslim community – to honour us,” Nadim said. “So there is nothing wrong if we pray for him by singing his songs.”

Back in Guwahati, truck driver Hussain recalled how Garg “never vilified” Bengali-speaking Muslims, as he wore a T-shirt bearing Garg’s photo.

Hussain hummed Garg’s iconic 2007 hit, Maya (Illusion) – a song in which the singer likens chasing a love interest to an illusion. The soothing melody, Hussein said, reminded him of the void left by the Garg’s death.

In Garg’s music, the idea of an Assam for Hindus and Muslims, Assamese speakers and Bengali speakers alike, was not an illusion.

The NFL announced the musical headliner for Super Bowl LX’s halftime show, and — much to MAGA’s chagrin — it’s not Kid Rock.

Music’s most lucrative spot went to a relevant artist who actually sells albums: Bad Bunny. Letting the Puerto Rican rapper and singer turned global megastar perform 2026’s halftime show gifts right-wing influencers with a fresh conduit for the old grievance that woke culture has permeated every crevice of American culture, especially the Super Bowl.

Their proof: The NFL chose a predominantly Spanish-language artist who is known to wear women’s dresses, who endorsed Kamala Harris in 2024, and who has decried this year’s immigration sweeps. Clearly, this decision was designed to irk them rather than serve Bad Bunny’s millions and millions of fans.

“The NFL is self-destructing year after year,” conservative commentator Benny Johnson wrote on X. He said of Bad Bunny: “Massive Trump hater. Anti-ICE activist. No songs in English.”

Other critics accused the reggaeton artist of flip-flopping, particularly following Bad Bunny’s statements earlier this month that he would not include any mainland U.S. dates on his Debí Tirar Más Fotos world tour out of concern that U.S. Immigration and Customs Enforcement agents might target and detain his fans.

“There were many reasons why I didn’t show up in the U.S., and none of them were out of hate — I’ve performed there many times,” he said to I-D magazine. “But there was the issue of — like, f—ing ICE could be outside [my concert]. And it’s something that we were talking about and very concerned about.”

The artist, whose real name is Benito Antonio Martínez Ocasio, explained his decision to join the long list of Super Bowl halftime notables in a short statement following the NFL’s announcement Sunday.

“What I’m feeling goes beyond myself,” he said. “It’s for those who came before me and ran countless yards so I could come in and score a touchdown … this is for my people, my culture and our history. Ve y dile a tu abuela, que seremos el HALFTIME SHOW DEL SUPER BOWL.”

Bad Bunny in glasses, not a dress.

(Jordan Strauss / Invision / AP)

The year-after-year decision to cast top-ranking pop artists and music legends in the featured Super Bowl halftime spot is hardly a mystery. They are stars that sell or performers that appeal to millions. But that dull reality hasn’t stopped the characterizations that the Bad Bunny decision is a deep state conspiracy, designed to rot American households from the inside out.

“Barack Obama’s best friend Jay-Z runs the Super Bowl selection process through his company Roc Nation which has an exclusive contract with the NFL. This is who chooses the halftime show, the most-watched musical performance in America,” wrote alt-right figure Jack Posobiec.

The NFL in 2019 partnered with rapper Jay Z’s entertainment and sports company, Roc Nation, to produce its Super Bowl halftime shows. The first show under the new partnership featured 2020’s Latin music in performances by Jennifer Lopez and Shakira. Since then the institution’s halftime performances have largely featured hip-hop artists such as Kendrick Lamar, Rihanna and the OG trio of Snoop Dogg, Dr. Dre and Eminem.

Lamar’s 2025 politically charged performance was the source of condemnation from the right. Clad in red, white and blue, his predominantly Black dance crew assembled in an American flag formation. And guest star Samuel L. Jackson, dressed as Uncle Sam, called out the nation’s systemic racism. Lamar had already rankled the right with 2017’s “The Heart Part 4,” where he referred to Trump as a “chump.”

Kendrick Lamar performs during halftime of the NFL Super Bowl 59.

(Frank Franklin II / AP)

It’s one of many moments over the last decade that have galvanized conservative factions around calls to boycott the Super Bowl, or at least publicly bash the event. Beyoncé’s 2016 Super Bowl halftime show was once such flash point, where she performed “Formation” featuring dancers in Black Panther-inspired outfits and paid tribute to the Black Lives Matter movement.

At least those complaints were rooted in a performance that actually happened, as opposed to claims that the NFL was manipulating games for the Kansas City Chiefs to enable tight end Travis Kelce and his then-girlfriend (now fiancée) Taylor Swift to endorse Joe Biden. Sure, totally feasible.

Yet there should be no secret around why the Super Bowl hasn’t featured wildly popular, globally celebrated MAGA-promoting performers: There aren’t any. It’s no wonder Kid Rock and Lee Greenwood always seem to be the entertainment of choice for Trump rallies.

Bad Bunny is the most-streamed male artist on Spotify, running just behind the platform’s most-streamed artist of all time, Swift. As of Sunday, his release “DeBÍ TiRAR MáS FOToS” became the first album of 2025 to surpass 7 billion streams on Spotify. And the 31-year-old artist just finished a sold-out, month-long residency at the José Miguel Agrelot Coliseum in San Juan, Puerto Rico.

Though the Super Bowl is still five months away, those who aren’t among the haters can enjoy an early kick off: Bad Bunny is scheduled to host the new season opener of “SNL” this weekend.

When the cast and crew of “Bob’s Burgers” gathered to celebrate the show’s milestone 300th episode earlier this month, two key figures were missing.

Creator Loren Bouchard and actor H. Jon Benjamin — who voices the “Bob” of the title — were unexpectedly waylaid by illness and travel troubles, respectively. It was a scenario that could have been an episode of the long-running adult animated series, down to the celebration’s setting, which took place in a room resembling the inside of the show’s titular hamburger joint.

The only thing missing was a musical interlude.

Centering a family that runs a restaurant, “Bob’s Burgers” kicks off its 16th season Sunday on Fox with its 300th episode titled “Grand Pre-Pre-Pre-Opening.” The milestone episode will take things back to before the Belcher’s opened their family eatery.

According to Bouchard, one of the questions the writers wanted to explore in this episode was “Why is Linda doing this?”

“Bob’s Burgers [the restaurant], it’s got his name in it, but we sense that he can’t do it without her,” Bouchard says. “[Bob] says that in the show, but what do we mean when we say that?”

The look to the past also shows Bob (Benjamin) and Linda (John Roberts) preparing to welcome their first child, Tina (Dan Mintz). The Belcher clan also includes Tina’s younger siblings Gene (Eugene Mirman) and Louise (Kristen Schaal).

“Grand Pre-Pre-Pre-Opening” is the 300th episode of “Bob’s Burgers.”

(20th Television / Fox)

Bouchard admits he is usually not one for celebrating episode counts — “It starts to feel a little bit like bulk pricing,” he jokes — but he recognizes that the longevity of the series is something special. “Bob’s Burgers” premiered in 2011.

“What you get with a show that lasts this long and has this many episodes is a different relationship with the fans,” Bouchard says. “You get to have a 15-year relationship. That’s like family. There are marriages that don’t last that long.”

Over the years, the show’s dedicated audience has seen “Bob’s Burgers” expand beyond television with the release of “The Bob’s Burgers Movie” in 2022 as well as a touring live show of comedy and music.

Bouchard explains that the show’s approach to these milestone episodes have been to “go small and deep” to avoid overstuffing them with fan service. They’ve treated the 100th, 200th and 300th episodes like a new pilot that centers the restaurant and family “in a very basic way” as if it were someone’s introduction to the series.

The 300th episode, written by Bouchard and Nora Smith, digs into the show’s core premise to reveal how Bob and Linda came to juggle a restaurant and a family at the same time.

“I started my family when I started ‘Bob’s,’ so it’s very personal to me,” Bouchard says. “I like the chaos and just audacious optimism that you could have children and start a doomed-to-fail, Hail Mary of a creative project at the same time. It’s why I like this family, that they did this too.”

To commemorate the milestone, Bouchard and the cast discussed, in their own words edited for clarity and length, “Bob’s Burgers’” status as a “comfort show,” the Belcher family dynamics, memorable episodes and more.

A comfort food

“Bob’s Burgers” cast members Larry Murphy, left, Dan Mintz, Kristen Schaal, Eugene Mirman and John Roberts at the Bento Box offices.

(Frank Micelotta / Fox)

It’s not rare for “Bob’s Burgers” to be described as a “comfort show” — something fans can turn on to unwind or fall asleep to. The cast attributes this to the show having real emotions that come from the heart.

“The sweetness of [their affection] being genuine, that’s the thing,” Mirman says. “It’s just a mix of warmhearted and funny and sort of grounded.”

“The jokes aren’t taking people down a notch,” Schaal says. “The show has always been in a lane that people are realizing they should come over to — the kind lane.”

Bouchard says that “it’s very touching and affecting” that audiences turn to the show for comfort but acknowledges it’s something he can’t focus on while the show’s in production.

Bouchard: I definitely don’t take it lightly. I don’t want to think about it while we’re making “Bob’s.” If I thought about it while we’re making it, I would I feel like there’s a scenario where I could mess it up. You don’t want to shoot for comfort show, you want to shoot for edgy, attention-grabbing. [Episodes with] act breaks and big closing numbers. I know people don’t mean, “I fall asleep when I see it for the first time.” They mean, “I put on episodes I’ve seen before and it’s comforting in a profoundly, sleepy way.” I think being an adult by definition means at the end of the day you need something to just transition so that you can fall asleep. I’m glad that “Bob’s” does that for people.

Roberts: We love how much comfort this brings to the world. We like being light and having a job in entertainment that makes people feel good — it makes the world a better place. That’s rare and we’re blessed and we’re grateful.

Dinner (musical) theater

Tina, left, Louise and Gene in an episode of “Bob’s Burgers.”

(20th Television / Fox)

According to Bouchard, the music on the show was ”a ’dare we dream’ type thing in the beginning.” But the reception to the show’s catchy ukelele-driven theme song made him feel like there was room to push the musical elements further, like having a unique end credits and outro song for each episode.

“This sort of flea market find, slightly childlike music felt to us like of the show, but the audience had to give us permission,” Bouchard says. “We had to go slowly to get that.”

Once they saw the audience was on board, he felt like the show had the go ahead to hit the ground running from putting musical moments within the stories to eventually having musical episodes. While it’s still something they take “moment by moment,” Bouchard says he’s “so glad that [the music is] part of what people seem to want from the show.”

Roberts: I think in the earlier seasons, we were more improvising and things like that. But now it’s very professional big songs. It’s fun. I’m impressed by everybody.

Mirman: I’m truly incapable of singing. So the way we do it for me is that the person who’s in charge of the music will sing one line and I will mimic it like nine times to the best of my ability. [Then] they splice together a child singing poorly that is still much better than me in real life. But it’s still very fun. It’s very fun to be challenged.

Mintz: I’m kind of in Eugene’s boat. I can’t remember pitch for very long after I hear it, so I do have to immediately hear it and immediately repeat it. But I’ve been surprised at how much I do enjoy it. You do it again and again, and then the final ones are like, “Now do it and don’t hold back.” And you feel a real singer for, like, one line. There’s also the no pressure of it because I’m singing as a person, as a character, who’s not a professional singer, so it doesn’t have to be that good.

Where’s the beef? Belcher family dynamics

The Belchers inside their restaurant.

(20th Television / Fox)

One thing that comes through in every episode of “Bob’s Burgers” is just how much the Belchers love each other.

“[Linda] is a mom that pays attention and is present and shows up for her children,” says Roberts, who draws from his own mother for his performance. “There’s a realness there and it’s very grounding for the show. … Linda’s gone a little crazy sometimes, but for the most part, it’s all very much stuff that you can relate to.”

Perpetually in the Belchers’ orbit is Teddy — handyman, loyal customer and Bob’s best friend.

“I think of Teddy as constantly trying to inject himself into the lives of the family that he doesn’t have,” says Larry Murphy, who voices Teddy. “The best part about that is that they might shake their heads [at him], but they always rise to the occasion and are supportive of the character.”

And as much as the Belcher children can tease or annoy each other at times, there is no doubt that they all genuinely care for one another too.

“There’s a sibling camaraderie that is really lovely,” Mirman says. “It reminds me of the camaraderie on TV and movies in the ‘80s. That era of the stuff I grew up watching.”

Schaal: I love how they enjoy each other’s company. They’re usually not trying to lose the other one. I mean, in some episodes, Louise is bothering Tina and we explore that. But in general, they hang out together, they play together. They’re not on their f— iPads, separate in their own worlds. They’re going on adventures. And at the end of the day, Louise has their back like no one else and she’ll fight for them.

Mintz: I think it’s great for Tina to be pulled out of her comfort zone by her siblings, even though she’s supposed to be the leader as the oldest. Those are some of the most fun episodes for me when Gene and Louise want to do something dangerous or against the rules or whatever. Tina’s anxious for some reason and keeps being like, “Well, we shouldn’t,” but she gets dragged along. There’s always some moment in every one of those where it’s like, ‘Wait, Jimmy Jr. will be there. OK, maybe I’m fine with this.’ I think Tina’s life would be a lot more boring if she didn’t have someone make her break the rules all the time.

Favorite flavors

Tina and Linda in “Bob’s Burgers.”

(20th Television/Fox)

Over the years, “Bob’s Burgers” has come to be known for its various holiday episodes for Halloween, Thanksgiving and Christmas that often rank among viewers’ favorites.

“I love on Thanksgiving when they play the marathon of stuff,” Roberts says.

But holidays aren’t the only flavor of memorable episodes. And even after 16 seasons, the cast says they are just as excited to flip through new scripts and record episodes together as they were when they started.

As for their favorites, Mintz says he enjoys “all the fantasy ones.” Murphy agrees.

Murphy: I like those episodes where the kids are each telling their own story — and it might not have happened. It just gets to not exist in the world of “Bob’s Burgers,” but it’s someone’s point of view telling a story, like when they built that giant robot [“The Handyman Can”]. Kind of a “Rashomon”-type idea.

Schaal: I like anything that’s emotional. If Louise ever gets to be emotional, I get excited. Even like the one where they’re looking for Bob’s mom’s grave [“Show Mama From the Grave”]. They’re going for something that is really sad, but doing it so well. I love those episodes.

Roberts: I think what’s really awesome is that there’s an individual episode for each character that’s genius. For me, I think “Lindapendent Woman” was an incredible episode. I just did an episode Holly Schlesinger wrote where it’s more about Linda and her past. We all got our turn at having incredible episodes.

Mirman: I agree with Kristen about the ones that have an emotional arc. There is a Christmas one [“The Plight Before Christmas”], where all three kids have an event and the parents understand they can’t make it to everything. Eventually Tina makes it to Louise’s poetry reading where she wrote two poems and one is really sweet and about the family. I’ve watched that episode a bunch.

Schaal: Going back to the story ones. The one about the chores [“Fight at the Not Okay Chore-ral”], where Louise is butting heads with Linda about doing chores and then they tell stories about being in a wild west town. That one I love because it was about this real conflict. And the funny thing is, my daughter has requested to watch that one several times. I think it’s because Linda breaks down and says, “I’m wrong, I give up,” and my kid is thrilled to see the mom say that.

We’re here, we’re gruyere, get used it

Teddy and Linda in an episode of “Bob’s Burgers.”

(20th Television / Fox)

“Bob’s Burgers” has often been hailed for its inclusivity. As a series living in “the kind lane,” the characters are accepted for who they are — even if there’s gentle ribbing at times.

“Nobody’s trying to change anyone,” Roberts says. “They’re just trying to make them better human beings.”

“And they don’t have to defend who they are,” adds Schaal. “There’s complete acceptance.”

At a time when trans and queer people are increasingly targeted by ring-wing politicians and activists through legislation and dehumanizing rhetoric — LGBTQ+-friendly shows such as “Bob’s Burgers” can, for some, feel like a refuge. Bouchard explains how the show’s approach to being inclusive is intentional.

Bouchard: One of the simple tricks that we do is you just do it. You don’t have to shine a light on it. What I think is interesting about acceptance and tolerance and inclusivity — all those things have become capitalized words, and they almost lose their value when they’re not just part of your daily life. Your storytelling has to be about something other than that. That’s not going to be as satisfying as just put it in the character and let it be their daily. They get up feeling accepting and inclusive and normalizing, and they go to bed that way. They don’t learn that f— lesson in the middle of a half-hour show. That’s fine that it exists. Maybe sometimes, as a culture, we need to all come together and learn a lesson. [But] “Bob’s” is in the business of not writing those episodes. We’re in the business of writing those characters without fanfare.

And I give credit to my parents. I think my sister and I were weird in the normal weird way — weird kids are normal. A lot of parents make room for that, and love their kids no matter how they express themselves as little kids. I guess some don’t, but I am glad to have come up in that. To me, it feels natural. To me, it’s not a stretch. The way to do it is to just live it, just be it, and assume that when it’s on paper and it seems normal to you, hopefully it’ll feel reassuring and comforting to other folks too.

Bad Bunny will headline the halftime show at next year’s Super Bowl LX, organizers announced Sunday.

This will be the Puerto Rican musician’s second time at the Super Bowl following his appearance with Shakira and Jennifer Lopez during halftime of 2020’s game.

“What I’m feeling goes beyond myself. It’s for those who came before me and ran countless yards so I could come in and score a touchdown,” Bad Bunny — whose real name is Benito Antonio Martínez Ocasio — said in a statement, noting that “this is for my people, my culture and our history.

“Ve y dile a tu abuela, que seremos el halftime show del Super Bowl,” he added in Spanish, which translates to a request to tell your grandma that he’s playing the Super Bowl.

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Roc Nation, the sprawling entertainment company founded by Jay-Z, will again produce the event. The company partnered with the NFL in 2019 to consult on live music events and social justice initiatives, including producing and selecting performers for the Super Bowl halftime show.

“What Benito has done and continues to do for Puerto Rico is truly inspiring,” Jay-Z said in the statement. “We are honored to have him on the world’s biggest stage.”

While the big game is an anticipated event for football fans, the halftime spectacle is just as much of an eagerly awaited cultural affair, drawing considerable speculation annually about which star will take what’s widely regarded as music’s biggest stage.

Names that made the rounds this year included Adele and Taylor Swift, with the latter hitting overdrive earlier this month when NFL Commissioner Roger Goodell made an appearance on “Today” and said, “We would always love to have Taylor play. She is a special, special talent, and obviously she would be welcome at any time.” When asked if talks were in the works with the singer, who is engaged to Kansas City Chiefs star Travis Kelce, Goodell tried to sidestep the question before responding, “It’s a maybe.”

Bad Bunny’s headlining gig — announced during halftime of Sunday’s Packers-Cowboys match-up at AT&T Stadium in Arlington, Tex. — follows Kendrick Lamar’s performance at this past February’s Super Bowl LIX. Ratings for the Compton-born MC’s halftime show, in which he famously dissed the Canadian rapper Drake and launched a TikTok craze over his flared Celine jeans and “Not Like Us” shuffle, were the highest of all time, according to Nielsen, which said the telecast drew more than 127.7 million viewers. It also earned him an Emmy for music direction, an award he shared with co-music director Tony Russell.

Super Bowl LX will take place Feb. 8 at Levi’s Stadium in Santa Clara, Calif., and will air on NBC.

Several countries have demanded Israel be excluded due to its actions in Gaza, threatening to drop out of the competition.

Eurovision Song Contest members will vote on Israel’s participation in the 2026 competition in November.

The European Broadcasting Union (EBU), which oversees the event, confirmed the plan on Friday. International demands for Israel to be excluded from the contest due to the country’s actions in Gaza have been growing.

The board of the EBU, an umbrella organisation for public broadcasters that runs the event, has sent a letter to members indicating that the vote will take place at an extraordinary general meeting held online in early November, a spokesperson said.

The vote will be on whether Kan, the Israeli public broadcaster and member of the EBU, will participate, the spokesperson said. An “absolute majority” would be required for an exclusion to pass, he said.

Countries including Ireland, the Netherlands, Slovenia and Spain have demanded that the EBU exclude Israel, citing as a precedent its decision to remove Russia from the show following its invasion of Ukraine in 2022.

During the past two editions of the competition, the event has been drawn into the controversy over Israel’s devastating war in Gaza, which has now killed more than 65,000 people.

Pro-Palestinian activists protested in Malmo, Sweden, in 2024 and in Basel, Switzerland in May over Israel’s participation in the contest.

In September, a United Nations Commission of Inquiry concluded that Israel has committed genocide in Gaza.

Last week, Spain threatened to boycott the competition – the world’s largest live televised music event that takes place in May – if Israel takes part. Ireland, Slovenia, Iceland and the Netherlands have made similar threats.

Germany and Austria have backed Israel’s participation.

Other countries, such as Belgium, Sweden, and Finland, are also considering a boycott and have until December to decide.

Aside from Russia, the EBU previously booted former Yugoslavia from the competition due to UN sanctions over the Balkan wars in the 1990s, and Belarus in 2021 over its crackdown on media freedoms.

Kan, the Israeli broadcaster, wrote on Thursday on social media that it hoped the contest “will continue to uphold its cultural and non-political identity”.

DISGRACED rap mogul Sean “Diddy” Combs has received glowing handwritten testimonials from his fellow inmates.

The letters paint him as a positive force inside Brooklyn’s Metropolitan Detention Center, despite the serious convictions hanging over him.

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The 55-year-old, awaiting sentencing next month, has reportedly been running a weekly session called “Free Game with Diddy.”

Inmates say it covers everything from entrepreneurship to health advice, while also giving them a chance to “pick his brain” about fame and money.

Douglas Welch, 42, told Judge Arun Subramanian that Combs “brings love into the Unit” and claimed the class pushed him to go “harder at my health journey.”

He wrote: “Sean Combs brings love into the unit.

“I know because since he’s been here all the Spanish and black inmates cook and pray together, workout together too…

“Since he started his class I’ve been going harder at my health journey.”

Another inmate, Quinton Davis, said the sessions included “business Management, entrepreneurship and life skills,” adding that Combs had even encouraged the group to use “AI and Chat GPT.”

“It’s a key factor and inside scoop on how Mr. Combs started from nothing and became the icon-business mogul he is today,” Davis explained.

“I also learned how to research things better by using AI and Chat GPT.”

A third prisoner insisted the rapper “brings joy and happiness to the atmosphere in the unit” and alleged that “everybody in the unit is treating and acting positively towards each other” since his arrival.

“Because of Mr Combs everybody in the unit is treating and acting positively towards each other,” the letter said.

“Mr Combs cares very much for everyone in here, doesn’t matter what race or age and he is making it his business to do his best to make an impact.”

An official evaluation form dated June 10 backs up those glowing reports.

The “Work Performance Rating – Inmate” document identifies Combs as a tutor in Unit C-B, with a handwritten note praising: “Excellent class. Keep up the great work!!!”

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The case against Combs

Combs has been jailed at MDC since his September 2024 arrest.

He was acquitted in July of headline-grabbing charges including sex trafficking and racketeering conspiracy.

But he was convicted on two counts of violating the Mann Act after prosecutors said he arranged travel for women and escorts across state lines for alleged drug-fuelled “freak-offs.”

Sentencing is scheduled for October 3, 2025.

His lawyers last week filed a 380-page plea asking Judge Subramanian to impose no more than 14 months, which would mean immediate release after time served.

They cited what they described as “inhumane” jail conditions, his childhood trauma, and claimed progress in battling substance abuse.

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Over 100 letters from family and associates were also submitted, attempting to portray him as rehabilitated.

Prosecutors are expected to argue for a far stiffer punishment — reportedly four to five years — and continue to highlight allegations of violence and coercion against ex-girlfriend Casandra “Cassie” Ventura and another woman known as “Jane.”

On top of the looming sentencing, Combs is fighting multiple civil lawsuits and reputational fallout from years of abuse and exploitation claims.

For now, though, the inmates sharing his unit have presented a strikingly different picture to the judge — one of a man they say “changes the vibe” in prison.

On a recent Friday afternoon in London, Jarvis Cocker, 62, is musing over the suit he’s just picked up from the Portobello Road Market: “I’m quite pleased with it,” he says.

He’s also grabbed some clogs — not to wear but to look at — and he notes that his wife “hates them,” but he’s happily in awe of the pair.

The outing represents a blissful break for Pulp’s leading man; it’s been a little more than two months since the group’s eighth studio effort, which debuted at No. 1 on the U.K. album charts. “More” comes more than two decades after their last project, “We Love Life,” released in 2001.

“I’ve come to realize over 24 years that I enjoy making music,” Cocker says. “It’s a main source of enjoyment. I mean, I enjoy being with my wife and stuff like that. But in terms of creativity, it’s my favorite thing to do.”

When Cocker first started making music — around “15 or 16” — he saw forming a band as a way for him to “navigate the world at a safe distance.”

“I was always quite a shy kid, so it was difficult for me to talk to people,” he recalls. “To talk to people from a stage, rather than to their faces… that worked to a certain extent.”

Though generally considered the “underdogs” of Britpop, Pulp produced some of the most intriguing sounds of the ’90s.

(Tom Jackson)

But the band’s early attempts to make the grade had fallen flat on its face. Unlike some of the group’s Britpop peers, Pulp had been around since the ’80s — Blur, Oasis, and Suede all released their debuts in the first half of the ’90s.

“It” came out as a mini-LP of sorts, under Red Rhino Records, with a short 31-minute run time over eight tracks.

“It was a deafening silence,” Cocker says of its reception. “It really didn’t sell anything at all … We played a few concerts, and then the band fell apart.”

He adds that at that point, he was considering giving up music, shipping off to Liverpool and studying English. He’d been offered entry into a program there, but two months before he was due to start, he got a call from Russell Senior.

“[He] asked me what I was doing, and I said, ‘Oh, I’m giving up music, it’s not working out’” he says. “We had a rehearsal just him, me, and Magnus Doyle [brother of Candida Doyle, Pulp’s eventual keyboardist], and it was exciting.”

Notably, he remembers thinking, “I don’t want to go read English. I’m going to stay in Sheffield and see what happens.”

Though the group would inch closer to what we now know as Pulp’s lineup, the musicians faced similar problems: They “didn’t sell anything” and were “quite ignored.” In fact, it wasn’t until Cocker went off to college to study filmmaking at Central Saint Martins — taking a sabbatical from Pulp and then returning in 1991 — that the band was asked to play a concert in ’92 and gained some traction.

Later that year, Britpop fame followed, as they were asked to play a Parisian festival alongside some would-be familiar faces: Blur and Lush.

“It was like we had some friends at last,” he jokes.

A historic run of releases came in the following decade, with “His ‘n’ Hers,” “Different Class” and “This Is Hardcore” all concocted in a period of four years.

“Having been a real … wilderness for a long time, and feeling very out on a limb … to be considered part of a movement, at least at first, was exciting,” he recalls.

“Once we actually got a chance to become popular, especially after ‘Common People’ had been a hit … then we had to record ‘Different Class’ very quickly to kind of capitalize on that.”

But the grind began to slow down to a halt. He confesses that after Pulp released “This Is Hardcore” in 1998, he began contemplating whether he “should still be in a band.” In the face of growing popularity, Cocker’s image became more well known, and the lens began to close in.

“It just put me into a different kind of social situation that I didn’t really enjoy,” he remembers. “So, I was conflicted.”

Around 2002 — one year after the release of “We Love Life” — the group quietly disbanded. In the more than two decades in between, Cocker positioned himself as a bit of a renaissance man, while pulling away from the Pulp lifestyle and delving into a solo career.

He waded into broadcast media, serving as a host on BBC Radio 6 Music’s “Jarvis Cocker’s Sunday Service,” wrote a memoir titled “Mother, Brother, Lover,” and made a cameo in “Harry Potter and the Goblet of Fire” in 2005 as part of the fictional band the Weird Sisters. His bandmates? Jonny Greenwood, Jason Buckle and Pulp bass guitarist Steve Mackey.

“I have written a book, and I presented radio shows, and I enjoy those. But music, to me … it’s a way of me making sense of what has happened to me in my life,” he says. “I write about things that have happened, and I, in a way, dramatize them by putting music to it.”

“I fell in love with music at a very early age, and so it feels like a magical thing to be able to make something that you like so much,” he adds.

In this lengthy love affair with music, it was inevitable that he would return to his first love: Pulp.

“More” returns to the band’s sonic roots, with thoughtful tunes such as “Grown Ups” and “A Sunset.”

(Tom Jackson)

When the band began working on “More,” Cocker’s main concern was that his bandmates would have thought they were “being sentenced to three years’ jail time.”

“I was loath to say to the band, ‘Let’s make an album,’ just because the last two Pulp albums that we’ve done, ‘This Is Hardcore’ and ‘We Love Life,’ had taken so long to record,” he explains.

For further context, “This is Hardcore” took around three years to record. “More” would only take three weeks and was released on June 6.

“There were songs that I knew could be good, but we’d never managed to realize them properly,” he says. “And then there were newer songs, and some songs that I’d done that I tried to play in the band, “Jarvis,” but hadn’t quite worked out.”

“The thing that makes a song good … You can’t control it, and sometimes it works easily, and sometimes it doesn’t work at all … we were just lucky, maybe because we’d left it for a long time.”

He also credits the album’s swift completion to working with music producer James Ford, who previously refined tracks for a seemingly endless list of artists. Some recent highlights include Blur’s “The Ballad of Darren,” Fontaines D.C.’s “Romance” and “Forever, Howlong,” by Black Country, New Road.

“He created a really good environment for us to record in, and everybody felt quite relaxed,” Cocker says. “It seemed like it was ready. So, it was just, ‘OK, it’s ripe. Just pick it from the tree and eat it.’”

Fresh off the June release, Cocker also kick-started a tour with dates across the U.K. and Ireland. In September, he landed in Atlanta for its North American leg, which features two shows in Los Angeles.

In particular, these stand out because Pulp will play alongside LCD Soundsystem at the Hollywood Bowl on Thursday and Friday. Simply put, Murphy said, “We’re playing at the Hollywood Bowl, would you like to come play with us?” — to which Cocker replied, “That would be good.”

It’s all been going relatively swimmingly for him, who simply sticks to his ways. But who is Jarvis Cocker in 2025?

He pauses a moment before speaking.

“It’s hard to put it into words, but I came to the realization that I wanted to live, or attempt to live, more in a world of feelings than in a world of ideas,” he says, thoughtfully. “So yeah, that’s my experiment at the moment. I’ll let you know how it goes.”

Police say singer is cooperating with authorities in the investigation.

The United States singer David Anthony Burke, known by his stage name d4vd, appears to have cancelled the remaining stops on his US and European tours amid the growing fallout from an investigation into a decomposing body of a missing teenager found in the boot of a car.

Ticketmaster, which issues tickets for artists worldwide, said: “There are no upcoming concerts in United States” for the artist, and his October tour in Europe was cancelled on Sunday.

D4vd, whose popularity initially grew on TikTok, has built a large following in recent years and is known for his melancholic and genre-blending music, drawing influences from indie, R&B and rock music.

Celeste Rivas Hernandez, 15, went missing last year, and her body was found in a Tesla that US media outlets said was registered to the singer. However, police have not said the car belonged to him.

His representatives did not respond to requests by The Associated Press news agency for comment.

The remains were found in the front boot of the car impounded at a tow yard in Hollywood, California, on September 8 after police were alerted to a strong odour coming from it.

On Wednesday, the Los Angeles Police Department said the remains were Rivas’s. She was from Lake Elsinore, California, outside Los Angeles and was believed to have been last seen in April 2024, according to a missing person flyer seen by US broadcaster CBS.

“She appears to have been deceased inside the vehicle for an extended period of time before being found,” the Los Angeles medical examiner’s office said.

Police searched a house in Hollywood Hills where Burke had been staying on Thursday, broadcaster ABC reported.

Police have not made a statement on the cause of her death or the singer’s connection, if any, with Rivas. The Los Angeles Times, quoting unnamed sources, reported that police were trying to piece together Rivas’s movements before her body was found and establish if there was a connection between them. Police have said Burke has been cooperating with their investigation.

Burke, 20, performed at Chicago’s Salt Shed just two days before Rivas’s body was found as part of his Withered tour to promote his debut album.

His upcoming scheduled performances in Los Angeles and San Francisco will not go ahead, however. His concerts in Europe, which would have seen him make about a dozen appearances beginning in Norway, also appeared as cancelled on Ticketmaster.

Later shows in Australia in November still appeared available for purchase.

The story, which has been in the headlines over the past few weeks across the US, has led to a surge in interest in his music. His 2022 song Romantic Homicide climbed to 29th on Spotify’s global list of the 50 most streamed songs.

The Irish rap group has been denied entry for their alleged support for Hamas and Hezbollah, accusations the group denies.

Irish band Kneecap has slammed the Canadian government for banning the rap trio from entering the country over accusations that it was endorsing political violence and terrorism by supporting groups like Hamas and Hezbollah.

Kneecap has emerged as one of the most controversial groups in the music business, with gigs cancelled and the rappers barred from other countries over their strident pro-Palestinian stance.

Vince Gasparro, a Liberal member of the Canadian parliament and parliamentary secretary for combating crime, on Friday said Kneecap members were deemed ineligible for entry because of actions and statements that violate Canadian law.

Kneecap has “publicly displayed support for terrorist organisations such as Hezbollah and Hamas” that goes beyond artistic expression, said Gasparro in a video on social media.

“Canada stands firmly against hate speech, incitement to violence and the glorification of terrorism. Political debate and free speech are vital to our democracy, but open endorsements of terrorist groups are not free speech,” he said.

Canada designated both Hamas and Hezbollah as terrorist organisations in 2002.

In response, Kneecap said Gasparro’s comments are “wholly untrue and deeply malicious” and threatened to take legal action against him.

“We will be relentless in defending ourselves against baseless accusations to silence our opposition to a genocide being committed by Israel,” it said in a social media post. “There is no legal basis for his actions, no member of Kneecap has ever been convicted of a crime in any country.”

Kneecap was scheduled to perform in Toronto and Vancouver next month.

A message to Vince Gasparro and our many fans across Canada. 👇 https://t.co/66avCapPgn pic.twitter.com/ySsrgpMs6J

— KNEECAP (@KNEECAPCEOL) September 19, 2025

Canada’s immigration ministry declined to comment on the matter, citing privacy reasons.

The Canada-based advocacy organisation Centre for Israel and Jewish Affairs said the government’s decision was a stand against “incitement, hate and radicalisation”, while Jewish organisation B’nai Brith called it a “victory”.

Kneecap has faced criticism for political statements seeming to glorify Palestinian group Hamas and Lebanese group Hezbollah, with festivals like Germany’s Hurricane and Southside dropping them from their lineups this past summer.

In May, group member Liam Og O hAnnaidh, who was initially charged under the Anglicised name Liam O’Hanna, and who performs under the stage name Mo Chara, was charged with a terrorism offence in the United Kingdom for allegedly displaying a Hezbollah flag during a performance in London in November 2024. He denies the offence, saying the flag was thrown on stage during the group’s performance.

Kneecap has accused critics of trying to silence the band because of its support for the Palestinian cause throughout Israel’s war in Gaza, which has killed more than 65,000 people and reduced much of the enclave to rubble since it began in October 2023. They say they do not support Hezbollah and Hamas, nor condone violence.

In July, Hungary slapped a three-year ban on the Belfast-based group, who had been due to perform at the Sziget Festival in Budapest in August.

Kneecap performed in April at the Coachella Valley Music and Arts Festival in California, where they accused Israel – enabled by the US government – of committing genocide against the Palestinians. That prompted calls for the rappers’ US visas to be revoked, and several Kneecap gigs have since been cancelled as a result.

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.

Just three months after rock ’n’ roll legend Ozzy Osbourne died at age 76, a new documentary will shed light on his final days.

Paramount+ released a trailer Wednesday for a new documentary film following the life of Osbourne, who died from a heart attack July 22. The film, “Ozzy: No Escape From Now,” was initially announced in February on his official site.

“The last six years have been full of some of the worst times I’ve been through. There’s been times when I thought my number was up,” Osbourne previously said of his career. “But making music and making two albums saved me. I’d have gone nuts without music.”

The press release describes the film as a “warm and deeply personal portrait” of Osbourne and how his world “shuddered to a halt” six years ago upon receiving his Parkinson’s diagnosis in 2019. Notably, it is said to depict the lead-up to the 76-year-old’s final farewell show, “Back to the Beginning,” at Villa Park on July 5.

Directed by BAFTA winner Tania Alexander and produced by Echo Velvet, the film also includes commentary from an array of Osbourne’s closest family and friends.

“Ozzy’s one regret is that he never really got to say goodbye to his fans,” his wife Sharon Osbourne says in the trailer.

Later, she poses a question to her husband: “What do you think of a big farewell show?”

“If I’m gonna go up there, I wanna be up there the old Ozzy singing,” he replies.

The film is not the only tribute to Osbourne, as a special performance at the 2025 VMAs was dedicated to the Black Sabbath frontman.

The farewell saw Aerosmith’s Steven Tyler come out of retirement to perform alongside bandmate Joe Perry, singer Yungblud, and Extreme guitarist Nuno Bettencourt. It featured a medley of hits, including “Crazy Train,” “Changes” and “Mama, I’m Coming Home.”

“Ozzy forever, man!” Yungblud yelled out at the end, before embracing Tyler.

Maruja’s music isn’t merely following the times; it’s a reflection of them.

The rock band, whose debut album “Pain to Power” was released Friday, has carved out a niche in today’s music scene, garnering praise and raising eyebrows for their innovative instrumentation and song composition.

But the Manchester-born quartet — Harry Wilkinson, Matt Buonaccorsi, Joe Carroll and Jacob Hayes — has already done the forming, recording, and touring trifecta.

This can largely be credited to their three EPs, “Knocknarea,” “Connla’s Well” and Tir na nÓg,” released in 2023, 2024 and 2025, respectively. Each project draws on elements of post-punk, jazz rock and art rock that blend in an enthusiastic musical cocktail.

“We began touring, and then it kind of hasn’t stopped since,” Carroll says with a laugh, via a Zoom call. “That was about two and a half years ago… towards the end of last year, we did about four months, 47 shows all around Europe.”

And they haven’t let up. As soon as they got home from touring, they were right back to it. Altogether, the “best ideas” of “Pain to Power” were written and recorded over the span of two months: January and February of this year, when the band made the studio its second home.

“We had to just go ‘ham’ in the studio for six days a week. It’s pretty hardcore,” he says.

Some tracks had “spawned from jams” before being shelved for a while: “Some of them took two hours, some of them took two years,” he puts it plainly.

But this wasn’t an issue for the band, as they picked up those “jams” like they’d never put them down.

“All the songs we’ve written, they feel like they’re still within the same world, but just through different filters sometimes,” Buonaccorsi says.

“Born to Die,” which existed for the better part of the last couple of years, represents the halfway point in the album and features one of its most impressive sonic shifts. It also takes on the herculean task of merging many of the ongoing tones and deepest themes of the project.

“I know what this life is worth / We are universal spirits / And our kingdom is this Earth,” Wilkinson opens, as if a light has shone down on him.

The song is soft, with a distant, wailing sax peeking in for a brief moment among drum lines. It’s almost symphonic, carrying on for almost seven minutes before descending into a lulling silence.

“Our feelings are just visitors / Competing for attention / Avoiding every trigger / While still reaching for ascension,” he continues, in a quasi-monologue.

Hayes breaks in, thrashing his drums alongside Wilkinson’s guitar and an enthralling bass line from Buanoccorsi. Naturally, Carroll’s sax follows suit. The song then recedes into serenity once again, before picking up on “Break The Tension.”

It’s an exhilarating ride that carries on over the rest of the album, ebbing and flowing between chaos and calm. A lot of “Pain to Power’s” strength is in its latter half, and particularly across the three track run that is “Trenches,” “Zaytoun” and “Reconcile,” the album’s nearly 10-minute closer.

“What you’re seeing is these notions of pain that we are getting out of us in these songs,” Wilkinson explains. “These aggressive songs like ‘Bloodsport,’ ‘Look Down On Us’… we’re turning all of that aggression and that pain and anger into something beautiful, and that’s reflected in a track like ‘Saoirse.’”

“It’s quite a dynamic album,” Buonaccorsi adds. “You’ve got quieter songs, more intimate songs, and you’ve got loud, bombastic, crazy, aggressive songs, but they all still feel like they’re part of the same sonic universe.”

“Saoirse,” the third track on the album, reflects the somber first half of “Born to Die.”

“It’s our differences that make us beautiful,” Wilkinson sings repeatedly, like he’s muttering out a mantra. Sure, it’s a bit on-the-nose, but it embodies what Maruja is all about.

“Saoirse,” which translates to “freedom” or “liberty” in Irish, has historically morphed into a term representing the country’s desire for independence from British rule and cultural autonomy. These allusions to Ireland are ever-present in the band’s creations, with titles such as “Tir na nÓg” and “Connla’s Well” specked across their discography.

But how did a British outfit become synonymous with Irish activism?

“When we were recording ‘Knockarea,’ my dad started getting really ill and that led to me connecting with his parents a lot more, and they told me about my great-granddad, who was a photographer,” Carroll remembers.

“We ended up using all of his photos for the early stages of the music… all the black and white stuff is my great granddad’s photos in Ireland… I got really into my Irish heritage, and I’m really proud of it… and feel very connected to the culture and the land,” he continues.

The group says it has a strong correlation with their avid support for Palestinian rights, which the Irish have shown for decades: “They were the first Western government to speak up in public support for the Palestinian people,” Hayes says.

In that, they’re also speaking out against their home, Britain, which they say is “entirely complicit” in the Israel-Palestine conflict.

“The colonization of Ireland from the British Empire, and then the… secret police of the Black and Tans [in Palestine] is a direct relation to the colonialist and imperialist ways of the British government today,” Hayes says.

According to the Irish Times, Winston Churchill demanded a “picked force of white gendarmerie” be deployed in Palestine after facing unrest in 1921. The force was composed of “members of both” his Auxiliaries and Black and Tans, who were “assigned to Palestine once their presence in Ireland was no longer deemed necessary.”

“In England, we just see this deranged hypocrisy continue to lord over our political landscape,” he adds. “We want to give voice to those who are voiceless… If we can help raise awareness, raise a message, and… highlight the complicity of our government, we’ve got to do it.”

On “Bloodsport,” this is clear, with Wilkinson crying out pleas to the world.

“Complicit in the narrative of pacified killings it’s a / Sore sight when you gotta choose / The lesser of two evils either one will prove / That we’re socially in apathy what’s left to lose?”

Their activism is heavily tied to their music and has undoubtedly contributed to some of the band’s recognition on a global scale. But, to them, it’s just part of their responsibility, and their music is an indication of that.

“We’re just reflecting our environment,” he explains. “Our lives are downtrodden with politics and with war and with the world suffering.”

Buonaccorsi chimes in, referencing a quote from “the great” Nina Simone: “An artist’s duty, as far as I’m concerned, is to reflect the times.”

“It’s our job… to speak about things that really matter to us, things that we feel like should not be happening in this world,” he says. “The barbarity and horror that we’ve never been able to see in our lifetimes… now, we see it before our eyes on phone screens.”

Dutch broadcaster AVROTROS says it would not take part in next year’s competition given the ‘severe human suffering in Gaza’.

The Netherlands has announced it will boycott the 2026 Eurovision in Vienna if Israel participates, joining other European countries that have threatened to withdraw from the song contest over Israel’s war on Gaza.

Dutch broadcaster AVROTROS, one of dozens of public broadcasters that collectively fund and broadcast the contest, on Friday said it would not take part in next year’s competition in Vienna if Israel participates, “given the ongoing and severe human suffering in Gaza”.

“The broadcaster also expresses deep concern about the serious erosion of press freedom: the deliberate exclusion of independent international reporting and the many casualties among journalists,” it said in a statement.

Irish broadcaster RTE released a similar statement on Thursday, saying participating would be “unconscionable” as a result of Israel’s war on Gaza. Iceland said it may withdraw from the contest, and Spanish Prime Minister Pedro Sanchez has called for Israel to be booted from the competition.

AVROTROS said it had also taken into account the high number of journalists who have died in Gaza.

The European Broadcasting Union, which runs the contest, said it was consulting its members on how to “manage participation and geopolitical tensions” around the contest and would give them until mid-December to decide if they want to participate.

“We understand the concerns and deeply held views around the ongoing conflict in the Middle East,” said Martin Green, director of Eurovision. “It is up to each member to decide if they want to take part in the contest, and we would respect any decision broadcasters make.”

The organisation said in July it was launching a consultation with all members of the EEBU, which organises the song contest over the issue.

The Dutch broadcaster said it will continue preparing for the contest — which was watched by 166 million people on television this year — until it receives a decision from organisers about whether it will include Israel.

Calls to boycott Israel grow

The boycott threat is part of a campaign by arts organisations and figures to pressure Israel to end its war on Gaza.

Earlier this week, Hollywood stars including Emma Stone, Ayo Edebiri, Ava DuVernay and Olivia Colman joined 3,000 other industry figures in signing a pledge to boycott Israeli film institutions “implicated in genocide and apartheid against the Palestinian people,” according to the group Film Workers for Palestine.

Russia has been banned from Eurovision since its full-scale invasion of Ukraine in 2022, but Israel has continued to compete in the past two years despite disputes over its participation.

Dozens of former participants, including 2024 winner Nemo of Switzerland, have called for Israel to be excluded over its conduct in Gaza. Pro-Palestinian and pro-Israel protests took place around this year’s contest in Basel, Switzerland, though on a much smaller scale than the 2024 event in Sweden.

Eurovision’s finale is scheduled for May 16 after semifinals on May 12 and 14, 2026.

New York — It was a quiet, while not quite silent, morning for the “Table of Silence Project” Thursday, on the plaza of Lincoln Center and in front of David Geffen Hall, home of the New York Philharmonic. Commemorating the 24th anniversary of 9/11, white-robed members of the Buglisi Dance Theatre circled the plaza, a few with megaphones for chants, an occasional violin joining in, mellowing even the sounds of background traffic roaring down busy Broadway.

On this solemn but beautiful New York day and after more than two years in waiting, Gustavo Dudamel took charge, at least in practice, of the New York Philharmonic. Six decades ago, during the Leonard Bernstein era, America’s oldest and most celebrated orchestra had the city’s (and much of the nation’s) full attention in a way it hasn’t since. Could that happen again?

When Dudamel announced in early February 2023 that he would leave the Los Angeles Philharmonic to become music and artistic director of the New York Philharmonic in the fall of 2026, he became instant celebrity news here. A New York Philharmonic player gives Dudamel a cheesecake, and the New York Times writes a story.

This season Dudamel gains his first official title: music and artistic director designate. But the orchestra is basically his baby now. His photo is plastered on the orchestra’s posters and publicity. And on Thursday night, Dudamel, for the first time, opened the New York Philharmonic’s new season. After two weeks this month, he will have a sizable presence later winter and in spring, while also closing out his last L.A. Phil season with major programs.

Dudamel arrived in New York on Tuesday, having spent two weeks conducting the Simon Bolivar Orchestra of Venezuela, his homeland orchestra, to open Coldplay’s concerts at Glastonbury in England, just as the newly named U.S. Department of War immediately began to live up to its name by sending warships to Dudamel’s native Venezuela and threatening regime change.

But here in New York, Dudamel paid tribute to a new city in his life with Bartók’s Piano Concerto No. 3 and Charles Ives’ Symphony No. 2. In 1945, Bartók, having fled Nazi-invaded Hungary, wrote his final piano concerto in a New York apartment on 57th Street, a block west of Carnegie Hall. Bernstein led the New York Philharmonic premiere of Ives’ Second — the first great American symphony — at Carnegie, then the New York Philharmonic’s home, six years later.

Still, the first orchestral sounds that emanated from the Dudamel designated directorship turned out to be barely heard, while not silent, percussion stirrings. Following a season-opening tradition he began when he became music director of the L.A. Phil, Dudamel began the program with a world premiere.

For this, he directed New Yorkers’ attention westward. In “of light and stone,” Leilehua Lanzilotti sets the sonic stage for an evocation of Hawaii, where she resides, before statehood. She makes references to King Kalakaua, Queen Lili’uokalani and other Hawaiian nobility few in a mainland audience are likely to know. There are fragments of Hawaiian song, a dance of the wind.

Nothing settles in this four-part, 15-minute song of a land, a score that falls somewhere between history lesson and color-field sonic landscape. A whisp of a canorous clarinet or a rumbling rattle is all it takes for a kind of instant transport to a far-off time and place. New York Philharmonic audiences can be cool, but they’ve demonstratively taken to Dudamel at Geffen, and an ethereal performance appeared to open ears.

The young Korean pianist, Yunchan Lim, who became instantly hot after winning the Van Cliburn competition three years ago, was soloist in Bartók’s Third Piano Concerto. Lim will be a soloist with Dudamel and the L.A. Phil this season as well as give a solo recital in Walt Disney Concert Hall. He is an exceptional pianist. He too opens ears and can transport a listener to a distant land. And Lim’s case is far more distant or far less knowable than Hawaii.

Lim’s Bartók exists in a world of the pianist’s own. Every phrase is for him an oddity, as if he had found some weird object in an imaginary world and was figuring out what he might do with it. His tools were rhythm, accents and dynamics, each a quirky new toy. The New York Philharmonic produced beauty and excitement, but Lim went his own way that wasn’t quite imaginative enough to improve on Bartók. Here we go again with an exceptional young soloist being pushed into the limelight too soon.

The New York Philharmonic owns Ives’ Second. Written in the first decade of the 20th century, the symphony offered a whole new way of thinking about American and European music and it sat dormant for some four decades before Bernstein premiered it. But that 1951 performance had a huge effect on how to transform folk music, popular music, Beethoven’s Fifth Symphony and what-not, twisted, transformed and tacked together. Bernstein later recorded it twice with the New York Philharmonic. The first time full of beans that revived it for good. The second time in 1987 as a glorious spiritual exercise. Hearing that performance live left me in a state of rapture.

Dudamel has made a specialty of the symphony himself, conducting it with the Vienna Philharmonic, recording it with the L.A. Phil and now going to the source. His performance Thursday night did not try to follow in Bernstein’s footsteps or necessarily Dudamel’s own. The performance flowed with exquisite lyricism and mustered a thrilling finale.

In Vienna, Dudamel was more robust. At Disney, Dudamel found exceptional expression in every little detail. That was the Dudamel that we last saw at the Hollywood Bowl this summer when he conducted Mahler’s First more vividly than ever.

That is not, quite yet, the Dudamel for New York. Here his Ives seemed to be laying the groundwork, letting his new orchestra show him what it can do before he begins, as he surely will, digging deeper.

It took a once controversial effort for Bernstein to transform an uptight virtuosic New York Philharmonic into a tight but electric one. Now it’s Dudamel’s turn for transmogrification, and he’s made a promising beginning.

You hear that?

Spotify announced Wednesday that Lossless Listening, its newest audio format, is available for premium users in select countries, including the U.S.

Lossless audio files allow for listeners to stream music using the least compressed and highest resolution audio formats can have, the company said.

Previously, when a musician uploaded their work to a streaming platform, the files tended to get compressed and lose some quality due to the encoding process. Spotify says that with Lossless Listening, users will now be able to hear every detail within the audio file.

From the delicate plucking of an electric guitar to the subtle sample of someone speaking, this new feature will allow listeners to get a heightened sense of clarity and quality when playing their favorite tracks, Spotify said. Lossless works by capturing the recording’s original sound waves and putting them together to create an accurate reproduction of its initial quality.

“We’ve taken time to build this feature in a way that prioritizes quality, ease of use, and clarity at every step, so you always know what’s happening under the hood,” Gustav Gyllenhammar, Spotify’s vice president of subscriptions, said in a statement. “With Lossless, our premium users will now have an even better listening experience.”

Founded in 2006, Spotify has become the world’s most popular audio streaming service, garnering over 696 million users. Last year, the company posted a net income of more than $1.3 billion with revenue of $18.4 billion. That was its first annual net profit since the company started. The streamer, based in Sweden, is available in more than 180 markets and has a library of over 100 million tracks, almost 7 million podcast titles and 350,000 audiobooks.

Lossless Listening is currently only available for music.

This new feature comes several years after streaming competitors first introduced a similar feature. Subscribers to Apple Music and Amazon Music have had the capacity to listen to music in this format since 2021 and 2019, respectively.

On Spotify, the lossless files are larger than the standard formats, meaning the feature can not be used when connected to Bluetooth, as there’s not enough bandwidth to transmit. If attempted with Bluetooth, the file will be compressed and played at regular quality.

To use Lossless Listening on Spotify, premium users must enable it in their settings, and an icon will appear when listening.

It’s currently available for use on mobile, tablet and desktop. Spotify Premium costs $11.99 a month, while the standard version is free for use with ads.

This Lower East Side hotel is not only in the centre of one of the city’s most eclectic boroughs, but is home to a live music venue, a rooftop bar, and an underground nightclub.

They say New York is the city that never sleeps, and this downtown hotel proves that. I stayed at the Moxy Lower East Side hotel, a haven for eclectic travellers looking to ditch high-brow Manhattan for a taste of the urban boroughs.

Located on Bowery, the Moxy is in the centre of the Lower East Side, with SoHo and Chinatown within walking distance. However, the true draw of the area is its lively atmosphere, with crowds filling the streets in the evenings as they sit outside bars, restaurants, and music venues.

Graffiti-filled corners and event spaces pack the area, which is the birthplace of American punk rock and new wave music. Paying homage to this, the Moxy Lower East Side has so many venues that you don’t need to leave to experience some of the borough’s rich culture.

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“That’s where I go if I want a real night out with my wife,” a local tells me. “First, hitting the rooftop for a pre-drink, then dinner, before catching some live music, and then, if I’m up for it, I’ll go down to the club for a dance.”

It’s almost hard to believe all of that can be done in what’s known as Marriott’s budget-brand Moxy. But lo and behold, as you walk into the modern hotel, there is a piano lounge to the left. Silver Lining Lounge offers nightly acts, including bands, resident performers, and jazz acts in its soundproof location – where hotel guests have first dibs at reservations. BRIT Award winner Lola Young also performed at the venue earlier this year in what was her first NYC showcase, while chart topper Benson Boone has also graced the boards.

With a large stage at the front of the room, the venue – owned by Tao Group hospitality – has table service and offers specialty cocktails alongside light bites such as tacos, fries and oysters.

Across the lobby is The Fix, which is your typical hotel bar filled with families, professionals catching up on work, and friends grabbing drinks. When it hits 9pm, a DJ arrives to lift the mood of the lobby, meaning you get a lively entrance if you’ve got a late check-in time.

Because of its location and modern design, the hotel is a hotspot for Instagram events – something which is in full swing on the Friday night I’m staying. “We’ve got a pop-up jewellery making class for influencers going on,” the hotel manager tells me as we slide past glamorous social media stars on the way to the lifts.

On the top floor of the 303-room hotel is the Highlight Room rooftop bar, which is bustling as I head up for a drink around sunset. With a DJ booth in the corner, indoor and outdoor seating, and an atmosphere that screams glamorous New York City, this is clearly a popular gem for locals looking to let loose after a busy week.

While the hotel doesn’t have a typical restaurant to grab some buffet food, it does have a high-brow modern Japanese eatery, which is well-known in the area and popular amongst celebrities. From sushi platters to wagyu beef and crown melon, Sake No Hana is truly a dining experience and rivals famous friend Nobu, which is just a 30-minute walk away.

Just when I thought there couldn’t possibly be any more nightlife under one roof, I was taken down to the Moxy’s subterranean nightclub, Loosie’s. The small venue is decked out with VIP booths and a sizable dancefloor, meaning visitors can party until 4 am and not have too far to go back to their rooms.

The Highlight Room, Loosie’s, and Silver Lining lounge all have separate entrances from the main hotel, meaning they’re not just for guests to enjoy. In fact, most of the guests inside the Moxy venues were locals taking in the music, food, and cocktails.

Book it

Moxy Lower East Side has rates from $179 (£133) per night. Book at moxylowereastside.com

Guitar ace Slash rose to prominence with an unmistakable look as the anchor of Guns N’ Roses. A true rock ’n’ roll persona, the artist was once rarely seen without a drooping cigarette and a top hat, the latter of which could barely contain his face-engulfing curly hair.

Now, as of this week, he’s a theme park character at Universal Studios Hollywood.

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Slash, or, rather, a skeletal facsimile of him played by an actor, will be available for photo opportunities and meet and greets at Universal’s Halloween Horror Nights, which runs most evenings through Nov. 2. For the musician, born Saul Hudson, it’s a dream fulfilled. A lifelong devotee of theme parks and coasters, Slash has been closely aligned with Halloween Horror Nights since 2014, when he first began scoring music for its haunted houses.

And the character, he says, was partly his idea.

“I went to them and said, ‘Hey, can we have one of those stilt walkers?’” says Slash, referring to the larger-than-life lurkers who haunt guests during the festivities. “That would be really cool. So they came up with one and he looks pretty menacing.”

Slash enjoys the idea of being a towering, sometimes intimidating presence. That’s clear when he’s on stage as the attention-demanding cornerstone of numerous bands. And he likes to scare, as evidenced by his own horror-focused film production company, BerserkerGang. But get Slash one-on-one, and he really just wants to geek out on his favorite theme park rides.

Universal Studios has released a second vinyl compilation of music Slash has composed for Halloween Horror Nights over the years.

(Gabriella Angotti-Jones / For The Times)

We talked to Slash about a week before Halloween Horror Nights opened from Orlando, Fla., where he was holed up recording an album with his band the Conspirators. That work, he says, will be released in 2027 due to planned 2026 touring obligations with Guns N’ Roses. He lamented that he wouldn’t have time to visit Walt Disney World and Universal’s new Epic Universe. The latter Florida park is home to a monsters-themed land that Slash said he was eager to see.

His love of theme parks runs deep, and is, of course, nonpartisan.

“I’m a real Disney head,” he says, joking that such a declaration may not make his Universal partners happy. He says he first visited Disneyland in the early 1970s. “I really can’t put into words what makes it so magical, but there is a definite thing there that you feel when you’re actually there. I’ve loved it since I was a little kid.”

“But I love theme parks in general,” he continues. “I love roller coasters. I love that carnival energy going on. I love arcades. I love everything about that festive outdoor thing, and I’ve never grown out of it.”

Arguably, he’s grown into it.

Halloween season means it’s time for Universa’s Halloween Horror Nights, which runs through early November at the theme park.

(Gabriella Angotti-Jones / For The Times)

Slash has a deep fascination with Universal Studios, made clear by his knowledge of how the park’s backlot tram trek — officially designated as the World-Famous Studio Tour — has shifted over the years. And as a lifelong horror fan who speaks nostalgically of watching 1970s films such as “The Wicker Man,” “The Omen” and “The Exorcist” with his parents, Halloween Horror Nights is especially dear to Slash’s heart.

Slash was first drawn to the event in 2013 due to a haunted house themed around the music and images of Black Sabbath. The artist was given a tour of Horror Nights by John Murdy, who has long overseen the West Coast edition of the festivities.

“I was so blown away,” Slash says. “I was elated. I remember physically making giddy sounds. The whole thing, from the stilt walkers to the invisible bush figures who would hide in the bushes and were camouflaged, it was unbelievable. I wanted to be involved.”

Murdy was open to the idea. “The first time I walked into his personal recording studio, the first thing I noticed was a huge print of ‘Bride of Frankenstein,’ our 1935 classic, hanging on the wall. And I was like, ‘Oh, we have something in common.’”

Halloween Horror Nights is filled with haunted houses and scare actors.

(Gabriella Angotti-Jones / For The Times)

Slash would go on to write the music for six Halloween Horror Nights houses centered around Universal’s classic monster characters. This year, he’s returned to Horror Nights with a score set to a relaunch of an original, Depression-era set maze, “Scarecrow.” Musically, it’s a departure for the artist. “Scarecrow” includes a Slash-composed cover of traditional folk number “O Death.”

“We started talking ‘Scarecrow,’ and as pure coincidence, he said, ‘Oh, I just learned the banjo and the dobro,’” Murdy says. “He was learning all these traditional Appalachian instruments, and I said, ‘That’s awesome because my house is set in the Dust Bowl.’”

That Slash has been dipping into more Americana-influenced music isn’t a complete surprise. His 2024 solo effort, “Orgy of the Damned,” leans blues for instance, including a blistering, rootsy take on early Fleetwood Mac rocker “Oh Well” with country star Chris Stapleton. Selections from Slash’s Halloween Horror Nights work, minus the new “Scarecrow” music, will again be available on a limited-run vinyl sold at Universal Studios during Halloween Horror Nights.

Slash is featured this year as a “character” at Halloween Horror Nights, a skeletal, stilt-walking interpretation of the artist.

(Gabriella Angotti-Jones / For The Times)

“As soon as they gave me the concept, my brain went into that realm — I could pull out my pedal steel, and do an Americana-type approach, as opposed to the goth, kind of pseudo-metal thing I was doing for all the Universal Monsters,” Slash says.

Slash has become such a Halloween Horror Nights fixture that this year will feature a bar centered around the artist, one complete with a mini top hat as a dessert. When asked how he feels to be immortalized as a sculpted sponge cake with coconut lime mousse, he doesn’t flinch.

“I wish I could explain in words how much I love that kind of stuff,” Slash says.

He is, after all, a theme park regular, although his favorite rides are found a few miles from Universal Studios in Anaheim. “I love the Haunted Mansion at Disneyland. That and Pirates of the Caribbean will always be my two favorite rides,” he says. “The attention to detail and the creative element and everything that is going on with those old Disney rides is still, to this day, second to none.”

The mark of any true theme park aficionado is an appreciation of slow-moving, old-school dark rides, attractions that are set in darkened show buildings and often filled with an assortment of vignettes. Slash singles out Universal’s “The Secret Life of Pets: Off the Leash” as another highlight.

“I went with my stepdaughter and we went on that ride and it’s great,” Slash says. “The ‘Pets’ one is really sweet. I’m a big animal guy. We love our cats, so that was a lot of fun.”

Crowds lined up to enter “Scarecrow,” a haunted house at Halloween Horror Nights featuing music by Slash.

(Gabriella Angotti-Jones / For The Times)

And before Slash can finish his next thought, he starts gushing about a recent trip to Abu Dhabi, United Arab Emirates, where he visited Ferrari World, home to a number of celebrated roller coasters.

“I can talk about this stuff all day,” he says.

Jack Osbourne fired back this week at the insults that Roger Waters hurled last month at his late father Ozzy Osbourne, who died in July at the age of 76.

During an interview with the Independent Ink, Waters had expressed his feelings about the “Prince of Darkness” and his music.

“Ozzy Osbourne, who just died, bless him in his whatever that state that he was in his whole life,” the 81-year-old rocker told host Dwayne Booth. “We’ll never know. The music, I have no idea, I couldn’t give a f—.”

He added: “I don’t care about Black Sabbath, I never did. Have no interest in biting the heads of chickens or whatever they do. I couldn’t care less, you know.”

Osbourne’s son, Jack, caught wind of Waters’ words and turned on the war machine. He took to his Instagram on Tuesday to defend his dad.

“Hey Roger Waters F— You,” Jack posted on his page, using white lettering on a red background. “How pathetic and out of touch you’ve become.”

Waters, who co-founded the band Pink Floyd in 1965 and has toured as a solo act since 1999, typically posts politically driven messages in a similar style on his account.

“The only way you seem to get attention these days is by vomiting out b— in the press. My father always thought you were a c— thanks for proving him right,” he added. He ended the post with a clown emoji.

The youngest of the Osbourne clan appeared alongside his father in the MTV reality series “The Osbournes” from 2002 through 2005 and the History Channel’s “Ozzy & Jack’s World Detour” from 2016 through 2018.

The Black Sabbath frontman revealed to David Letterman in an episode of “Late Night” in 1982 that he had beheaded a bat onstage by accident, a feat that had added to the considerable lore built around the heavy metal legend.

Ozzy Osbourne made his last public appearance during the band’s farewell concert, “Back to the Beginning,” on July 5 at their hometown of Birmingham, England. He died on July 22 of a heart attack.

Where: Carpenter Performing Arts Center
When: Nov. 8, 8 p.m.
Price: Starting at $38.75