INDIANAPOLIS — Jim Irsay, the Indianapolis Colts’ owner who leveraged the popularity of Peyton Manning into a new stadium and a Super Bowl title, died Wednesday at age 65.
Pete Ward, Irsay’s longtime right-hand man and the team’s chief operating officer, made the announcement in a statement from the team. He said Irsay died peacefully in his sleep.
“Jim’s dedication and passion for the Indianapolis Colts in addition to his generosity, commitment to the community, and most importantly, his love for his family were unsurpassed,” Ward said. “Our deepest sympathies go to his daughters, Carlie Irsay-Gordon, Casey Foyt, Kalen Jackson, and his entire family as we grieve with them.”
Irsay had a profound impact on the franchise.
With Hall of Fame general manager Bill Polian, Hall of Fame coach Tony Dungy and Manning, Irsay helped turn the Colts from a laughingstock into a perennial title contender.
He also collected guitars, befriended musicians and often found inspiration in rock ’n’ roll lyrics.
A drum set played by Ringo Starr of the Beatles is part of the Jim Irsay Collection of rock ‘n’ roll artifacts that was on a national tour.
(Courtesy of Jim Irsay Collection)
Irsay had battled health problems in recent years and became less visible following a fall at his home. Police officers from Carmel, Ind., a northern suburb of Indianapolis, responded to a 911 call from Irsay’s home Dec. 8. According to the police report, the officers found Irsay breathing but unresponsive and with a bluish skin tone.
Ward, the report said, told officers that he was worried Irsay was suffering from congestive heart failure and that Irsay’s nurse had said Irsay’s oxygen level was low, his breathing was labored and he was “mostly” unconscious.
A month later, he was diagnosed with a respiratory illness.
During his annual training camp news conference last summer, Irsay told reporters he was continuing to rehab from two surgeries — though he remained seated in his golf cart. Irsay did not speak during the recent NFL draft as he typically did.
He had also battled addictions to alcohol and painkillers.
Irsay began his football life as a ball boy after his late father, Robert, acquired the team in a trade with the late Carroll Rosenbloom, who took over the Los Angeles Rams. The younger Irsay then worked his way up, becoming the youngest general manager in NFL history at age 24. He succeeded his father as owner in early 1997.
British police say Mo Chara displayed a flag of Lebanon’s Hezbollah at a concert.
A member of the Irish rap band Kneecap has been charged with a “terrorism” offence in the United Kingdom for waving a flag of the armed Lebanese group Hezbollah at a concert in November 2024 in London.
Liam O’Hanna, whose stage name is Mo Chara, is due to appear at Westminster Magistrates’ Court in London on June 18, charged under the Terrorism Act, British police said on Wednesday.
Kneecap has been vocal in its support for the Palestinian cause since the October 7, 2023-led Hamas attacks and Israel’s devastating war on Gaza, equating the struggles of the Irish under British colonial rule to that of Palestinians under that of Israel.
Pro-Palestinian chants are a regular fixture in their gigs. The band says they have been targets of a smear campaign for calling out Israel’s genocidal war.
KNEECAP STATEMENT:
Since our statements at Coachella — exposing the ongoing genocide against the Palestinian people — we have faced a coordinated smear campaign.
For over a year, we have used our shows to call out the British and Irish governments’ complicity in war crimes.… pic.twitter.com/mBojb5QBOP
The Belfast trio is also well known for its political and satirical lyrics and use of symbolism associated with the Irish Republican movement, which seeks to unite Northern Ireland, currently part of the UK, with the Republic of Ireland.
More than 3,600 people were killed during three decades of violence in Northern Ireland during “The Troubles” involving the Irish Republican Army (IRA), pro-British Loyalist militias and the UK security forces.
Kneecap takes its name from a brutal punishment, which involved being shot in the kneecaps, that was meted out by paramilitary groups to informers and drug dealers.
The band has been praised for invigorating the Irish-language cultural scene in Northern Ireland, where the status of the language remains a contested political issue in a society still split between Protestant British Unionists and Catholic Irish Nationalist communities.
It has also been criticised for lyrics laden with expletives and drug references.
Kneecap came under intense scrutiny and criticism last month during their performance at the music festival Coachella in California when they projected the words “F*** Israel. Free Palestine.” on stage.
“The Irish not so long ago were persecuted by the Brits, but we were never bombed from the f****** skies with nowhere to go! The Palestinians have nowhere to go – it’s their f****** home and they’re bombing them from the sky. If you’re not calling it a genocide what the f*** are you calling it?” read the words projected by Mo Chara.
Kneecap came under renewed scrutiny at the start of this month when UK intelligence said they would investigate comments made by the rap group about UK and Middle East politics.
They were reported to police over footage from a 2024 concert in which a band member appeared to say: “The only good Tory is a dead Tory. Kill your local MP.” Footage from another concert, in 2023, appears to show a member of the trio shouting “Up Hamas, Up Hezbollah” – the UK considers both to be “terrorist” organisations.
In response, Kneecap said it had “never supported Hamas or Hezbollah,” and accused “establishment figures” of taking comments out of context to “manufacture moral hysteria” because of the band’s criticism of Israel’s attacks on Palestinians in Gaza.
Several Kneecap gigs have been cancelled as a result of the controversy, and some British lawmakers have called on organisers of June’s Glastonbury Festival to scrap a planned performance by the group.
About 80 years ago, guitarist and inventor Les Paul built a home recording studio in his Hollywood garage on North Curson Avenue and began developing his “new sound,” which incorporated cutting-edge recording techniques such as overdubbing, close miking, echo and delay.
Dissatisfied with the quality of the day’s commercial recordings, Paul, who’d worked with pop stars including Bing Crosby and the Andrews Sisters, and was a guitar virtuoso and bandleader, endeavored to push the practice forward — to make recording a kind of erudite art form. His instrumental single “Lover” became the first commercial pop record to incorporate multiple layers of music, all of which were performed by Paul’s dexterous fingers. “Sextuplet guitar-ing,” Billboard magazine declared in its Feb. 21, 1948, review, “… technique so good it’s ridiculous.”
Today, a new studio in Hollywood celebrates the former Angeleno’s legacy as a recording pioneer. Over the last three years, the Les Paul Foundation and a team of engineers have gone to extraordinary lengths to build the Les Paul Recording Studio, housed in United Recording on Sunset Boulevard. The facility includes Paul’s original equipment, such as the first-ever multitrack Ampex tape machine and multitrack recording console, as well as a selection of Paul’s customized guitars, including his namesake model for Gibson.
Paul’s recording equipment is monumental for its historical value but also because it still works. “We have the Wright Brothers’ plane in there and it actually flies,” said Michael Braunstein, executive director of the Les Paul Foundation, by way of comparison. The new studio is essentially a rare hands-on museum where students and commercial artists may study and perform the same techniques Paul employed, using his tools.
Los Angeles-based musician Dweezil Zappa interviewed Paul on MTV in 1987, which created a fondness between the pair. During a phone call from the road — Zappa was on a tour celebrating his father’s album “Apostrophe” — he explained the importance of Paul’s innovations. “He was so far ahead of the game in so many ways, not only as a great guitar player, but also how he figured out ways to record music live,” he said. “The foundation of the sound capture is still better than anything else that you would find today. The products that were put into use and the way that it was machined … it’s unmatched.”
Zappa says he’s visited the new studio and intends to use it to record some of his own music after his tour concludes. The studio also has an educational mission.
“This is also a real opportunity for students to learn about analog recording from the master,” said Steve Rosenthal, a Grammy-winning producer who serves as the head archivist and music producer for the Les Paul Foundation. Rosenthal’s also known for his Manhattan recording studio the Magic Shop, which closed in 2016, where he worked with David Bowie, Lou Reed, Sonic Youth, Ramones and many others.
Tom Camuso, director of audio engineering at the Les Paul Recording Studio, is photographed in Hollywood on May 15.
(Christina House / Los Angeles Times)
Groups from Carnegie Mellon University and Syracuse University have already participated in seminars at the studio led by Rosenthal and Tom Camuso, a Grammy-winning engineer who’s also the Les Paul Foundation’s director of audio engineering. “The console looks like it’s from a battleship, and we let students record on it and see how hard it is compared to today’s digital audio workstations,” Camuso explained. “The connection they make is that this is where it started, this is the first of all of it.”
The idea for the studio began in 2022 amid Rosenthal’s quest to source, organize, curate and restore Paul’s vast catalog of music from the Library of Congress archives. “It became clear to me that the best solution would be to mix the music on Les’ original gear,” he said. He brought in Camuso, a longtime associate who’d worked at the Magic Shop, and the pair endeavored to repair the eight-track recording console nicknamed “The Monster” that Paul built with engineer Rein Narma, which featured leading-edge in-line equalization and vibrato effects.
They also retrieved Paul’s Ampex 5258 Sel-Sync multitrack tape machine, familiarly known as the Octopus, which sits alongside the console, and was the first-ever eight-track. The studio also has a three-track machine that was in Paul’s home in Mahwah, N.J., which he used to play tapes recorded at other studios. At the time, Paul was the only person with eight-track capabilities. “That was his way of communicating with the outside world, so to speak,” Camuso said.
The first-ever multitrack tape machine, called “The Octopus,” resides at the Les Paul Recording Studio in Hollywood.
(Christina House / Los Angeles Times)
The equipment was in varying stages of disrepair, and there was no documentation accompanying it. Many of the recording console’s wires had been cut, and some of its modules were missing. Camuso and a group from Thump Recording Studios in Brooklyn spent 10 months replacing and repairing pieces that were missing or had failed, without changing anything about the way the machine was originally made. “We had to source old stock parts from the ’50s,” Camuso said, “and there were little plastic pieces that had disintegrated. The team would drum scan those and then 3D print them in their original form.” An Ampex expert from Canada broke down the tape machines and then rebuilt them from the ground up, exactly as they were when Paul used them.
Before he used the multitrack tape machine and recording console, Paul’s early experiments with overdubbing, or what he called “sound on sound,” involved two recording-cutting lathes, a record player, a mixer and hundreds of blank wax discs, all of which he used to layer tracks manually. In 1948, Bing Crosby gave Paul his first mono Ampex recorder, to which Paul added a second playback head, which enabled him to record multiple tracks on the same reel of tape. He and his second wife, Mary Ford, took this machine on the road, recording their songs in hotel rooms and in apartments.
Ford was a skilled singer with perfect pitch who could execute lead vocals and harmonize with herself in very few takes using Paul’s early version of multitracking, which was revolutionary but primitive and didn’t allow for mistakes. Given the analog nature of Paul’s setup, she had to sing everything live and unmanipulated. The pair recorded a string of 28 hit singles between 1950 to 1957, beginning with a cover of the jazz standard “How High the Moon.” They were so popular that Listerine sponsored a widely syndicated television show, “Les Paul & Mary Ford at Home,” during which they performed their intricate songs live.
A photograph of Les Paul inside his recording studio in New Jersey is displayed at the Les Paul Recording Studio in Hollywood.
(Christina House / Los Angeles Times)
“Their discs sell like dimes going for a nickel,” Florabel Muir reported in the Los Angeles Mirror in January 1952. The pair’s “Vaya Con Dios” spent 11 weeks at No. 1 on the Billboard Best Sellers in Stores chart (which was discontinued in favor of the Billboard Hot 100 in 1958). Paul and Ford’s sultry version of “Smoke Rings,” released in 1952, features in Todd Haynes’ 2015 film “Carol.”
“The only singer I’ve encountered in my life who can compare to Mary is Aretha Franklin,” said Gene Paul, Les’ son from his first marriage, who became a recording engineer for Atlantic Records. “Neither one of them ever hit a bad note. You couldn’t pay them to.” The younger Paul learned about recording in his father’s home studio in Mahwah and played drums in his touring band from 1959 to 1969. “It took me years after my dad died to realize he was a genius,” he added. “Yes, he had a studio in his house, and built his own guitar and his own eight-track, but I thought every dad did this.”
Rosenthal and Camuso are in the process of restoring Paul’s original recordings, including his hits with Ford. The pair is using demixing and speed correction software to create new stereo mixes of the songs, which don’t have any of the crunchiness or distortion that were a byproduct of Paul’s original experiments in multitracking. It’ll be the first time any of Paul’s music has been released in stereo. The project has created a library of multitrack stems, which is another singular feature of the new studio. “Lana Del Rey could come in and sing with Mary Ford, or she could sing ‘A Fool to Care’ with the original Les Paul guitar parts,” Rosenthal said.
Guitars on display inside the Les Paul Recording Studio in Hollywood.
(Christina House / Los Angeles Times)
Camuso says a number of famous musicians have already expressed interest in using the new studio. “There’s lots of people who would be in your record collection for sure,” he said. Its historical significance and superior sound quality is a major draw, but the Les Paul Recording Studio also provides a chance for musicians to work more intentionally. Though its equipment was once cutting-edge, by today’s digital standards — in which there are unlimited tracks and effects and every mistake is erasable — Paul’s console and tape machines are limited. To work with them, musicians must think about what they want to record ahead of time. “The average person may not know what they’re hearing, but they will feel it because the performances will be better,” Zappa pointed out.
He views the new studio as a welcome counterpart to the too-perfect sonic monotony that can occur from every commercial recording artist using the same software. “There’s just so much music that’s disposable today,” Zappa added. “We’ve never had as many amazing tools to make stuff, and then have it be used in the lamest way possible.”
NEW YORK — Charles Strouse, the three-time Tony Award winner and Broadway master melody-maker who composed the music for “Annie,” “Bye Bye Birdie” and “Applause,” died Thursday. He was 96.
Strouse died at his home in New York City, his family said.
In a career that spanned more than 50 years, Strouse wrote more than a dozen Broadway musicals, as well as film scores and “Those Were the Days,” the theme song for the sitcom “All in the Family.”
Strouse turned out such popular — and catchy — show tunes as “Tomorrow,” the optimistic anthem from “Annie,” and the equally cheerful “Put on a Happy Face” from “Bye Bye Birdie,” his first Broadway success.
“I work every day. Activity — it’s a life force,” the New York-born composer told the Associated Press during an interview on the eve of his 80th birthday in 2008. “When you enjoy doing what you’re doing, which I do very much, I have something to get up for.”
Deep into his 90s, he visited tours of his shows and met casts. Jenn Thompson, who appeared in the first “Annie” as Pepper and directed a touring version of “Annie” in 2024, recalls Strouse coming to auditions and shedding a tear when a young girl sang “Tomorrow.” She said: “He’s so gorgeously generous and kind. He has always been that way.”
His Broadway career began in 1960 with “Bye Bye Birdie,” which Strouse wrote with lyricist Lee Adams and librettist Michael Stewart. “Birdie,” which starred Dick Van Dyke and Chita Rivera, told the tale of an Elvis Presley-like crooner named Conrad Birdie being drafted into the Army and its effect on one small Ohio town.
Strouse not only wrote the music, but he played piano at auditions while Edward Padula, the show’s neophyte producer, tried to attract financial backers for a production that would eventually cost $185,000.
“We never stopped giving auditions — and people never gave money at all. The idea of using rock ‘n’ roll — everybody was so turned off,” Strouse said.
Finally, Padula found Texas oilman L. Slade Brown. When he heard the score, he said, in a Texas twang, “I like those songs,” pushed Strouse aside and picked out the tune of “Put on a Happy Face” on the piano.
Brown then said, “How much do you fellas need?” and wrote out a check for $75,000 to cover the start of rehearsals. “Suddenly, the world turned Technicolor,” Strouse remembered.
The popularity of “Birdie” spawned a film (with Van Dyke, Janet Leigh and Ann-Margret) in 1963 and a television adaptation with Jason Alexander and Vanessa Williams in 1995.
Strouse and Adams gave several non-musical theater stars, including Sammy Davis Jr. and Lauren Bacall, stage successes for “Golden Boy” and “All About Eve,” respectively.
But it was “Annie” (1977) that proved to be Strouse’s most durable — and long-running — Broadway hit (over 2,300 performances). Chronicling the Depression-era adventures of the celebrated comic strip character Little Orphan Annie, the musical featured lyrics by Martin Charnin and a book by Thomas Meehan.
It starred Andrea McArdle as the red-haired moppet and Dorothy Loudon, who won a Tony for her riotous portrayal of mean Miss Hannigan, who ran the orphanage. The musical contained gems such as “You’re Never Fully Dressed Without a Smile” and “It’s the Hard Knock Life.”
The 1982 film version, which featured Carol Burnett in Loudon’s role, was not nearly as popular or well-received. A stage sequel called “Annie Warbucks” ran off-Broadway in 1993. The show was revived on Broadway in 2012 and made into a film starring Quvenzhané Wallis in 2014. NBC put a version on network TV in 2021 called “Annie Live!”
Strouse and Charnin, who both won Grammy Awards for the “Annie” cast album, found shards of their work included in Jay-Z’s 1998 Grammy-winning album “Vol. 2… Hard Knock Life.”
“Tomorrow” has been heard on soundtracks from “Shrek 2″ to “Dave” to “You’ve Got Mail.” In 2016, Lukas Graham used parts of the chorus from “Annie” for his “Mama Said” hit.
Strouse had his share of flops, too, including two shows — “A Broadway Musical” (1978) and “Dance a Little Closer,” a 1983 musical written with Alan Jay Lerner, that closed after one performance. Among his other less-than-successful musicals were “All-American” (1962), starring Ray Bolger, “It’s a Bird… It’s a Plane… It’s Superman” (1966), directed by Harold Prince, and “Bring Back Birdie” (1981), a sequel to “Bye Bye Birdie.”
Among Strouse’s film scores were the music for “Bonnie and Clyde” (1967) and “The Night They Raided Minsky’s” (1968).
Theater beckoned when he and Adams got a chance in the early 1950s to write songs for weekly revues at an Adirondacks summer camp called Green Mansions. Such camps were the training ground for dozens of performers and writers.
“I would write a song and I would orchestrate it and copy the parts,” he said in the AP interview. “And rehearsal was the next day at nine, so at four in the morning, I am crossing the lake with the parts still wet. I just loved it. I never was happier.”
His wife, Barbara, died in 2023. He is survived by four children, Ben, Nick, Victoria and William.
Protesters were assaulted and dragged away for shouting ‘Free Palestine’ and raising the Palestinian flag during Israel’s performance at the Eurovision final. Outside, police attacked demonstrators who said Israel’s violation of international law in Gaza should have ruled them out.
For the second time in less than a year, Willie Nelson and Bob Dylan played the Hollywood Bowl on Friday night, bringing together two legends of American song on one stage. The concert — actually Nelson’s third recent visit to the Bowl after his 90th-birthday bash in 2023 — was part of the annual traveling Outlaw Music Festival, which will keep Nelson, now 92, and Dylan, who’ll turn 84 next week, on the road through mid-September. Here are nine highlights from the show:
1. Last year’s Outlaw tour stopped at the Bowl in late July, which at that time meant Nelson didn’t have to ward off the chilly May gray that inevitably settles after dark over the Cahuenga Pass. Here, a day after reportedly suffering from a cold in Chula Vista, Nelson kept warm in a stylish black puffer jacket to go with his signature red bandanna.
2. John Stamos played percussion in Nelson’s six-man band Friday — a somewhat lower-key role than the prominent guitar-and-vocals spot he often holds down these days in Mike Love’s touring Beach Boys. Yet the TV star looked pleased as punch to be back there, shaking a shaker as Nelson opened his set, as always, with “Whiskey River.” Also on hand, filling in for Nelson’s son Lukas was singer-guitarist Waylon Payne, who sang lead in a moving version of Kris Kristofferson’s “Help Me Make It Through the Night” — the folk-soul masterpiece made a hit in 1970 by Payne’s mother, the late Sammi Smith.
3. My favorite of Nelson’s styles to hear him do at this point in his career, with a voice and a soloing hand as free as they’ve ever been, is the spectral country-jazz mode of “Angel Flying Too Close to the Ground” and “Always on My Mind,” which gave him a pair of No. 1 country hits between March 1981 and May 1982. On Friday, he nailed high notes you might not have expected him to in the former and used the latter to show off the rhythmic daring of his line readings. Both were achingly beautiful.
4. Nelson didn’t perform anything from his latest album, “Oh What a Beautiful World,” which came out last month and collects his interpretations of a dozen Rodney Crowell tunes. (By some counts, it’s Nelson’s 77th solo studio LP — and the 15th he’s dropped since 2015.) He did, however, do a cut from his second-most-recent effort: a stately rendition of Tom Waits’ “Last Leaf,” in which he rhymes “They say I got staying power” with “I’ve been here since Eisenhower.” In fact, Nelson’s been here since FDR.
5. The big event in Dylanology between last year’s Outlaw tour and this year’s was, of course, James Mangold’s Oscar-nominated biopic, “A Complete Unknown,” which inspired a widespread resurgence of interest in Dylan’s music — particularly the early stuff Timothée Chalamet performs in the movie. Perhaps that’s why Dylan is singing “Don’t Think Twice, It’s All Right” on the road again for the first time in six years, including at the Bowl, where he gave the song a jaunty rockabilly vibe. (Anyone wondering why Chalamet wasn’t at Friday’s gig clearly hasn’t seen the TikToks of him wilding out after his beloved Knicks defeated the Celtics at New York’s Madison Square Garden.)
6. A rare-ish bit of stage banter from His Bobness, directed toward an audience member near the front row: “What are you eating down there? What is it?”
7. The whole point of going to see Dylan play is to be delighted — or to be outraged, or baffled — by his determination to reinvent songs so deeply etched into the history of rock music. Yet I was still thrilled by how radically he made over some of his classics here: “Desolation Row” was bright and frisky, while a sultry “All Along the Watchtower” sounded like Dire Straits doing ’80s R&B.
8. In addition to Nelson and Dylan, Outlaw’s West Coast leg also features two younger roots-music acts in Billy Strings and Sierra Hull. (Later in the summer, the tour will pick up the likes of Nathaniel Rateliff, Sheryl Crow, Waxahatchee and Wilco, depending on the city.) Strings, who’s been bringing bluegrass to arenas lately — and whose tattooed arms meshed seamlessly with the sleeves of his tie-dyed T-shirt — sang “California Sober,” which he recorded in 2023 as a duet with Nelson, and offered a haunting take on “Summertime” from “Porgy and Bess.”
9. A former child prodigy on the mandolin, Hull opened the evening flexing her Berklee-trained chops in a series of lickety-split bluegrass numbers that got early arrivers whistling with approval. But she also showed off a winsome pop sensibility in originals like “Muddy Water” and “Spitfire” — about “my spitfire granny back in Tennessee,” she said — and in a yearning cover of “Mad World” by Tears for Fears.
Chad Smith remembers the night in 2003 when the Red Hot Chili Peppers played for an audience of 80,000 or so amid the rolling hills of the Irish countryside.
After a somewhat fallow period in the mid-’90s, the veteran Los Angeles alt-rock band resurged with 1999’s eight-times-platinum “Californication” and its 2002 follow-up, “By the Way,” which spawned the chart-topping single “Can’t Stop.” To mark the moment, the Chili Peppers brought a crew to document their performance at Slane Castle, where they headlined a full day of music that also included sets by Foo Fighters and Queens of the Stone Age, for an eventual concert movie.
“Everything’s filmed now, but back then it was a big shoot,” Smith, the band’s drummer, recently recalled. “You can get a little self-conscious. At the beginning, I f— something up — nothing nobody would know, but we would know — and Flea kind of looked at me,” he said of the Chili Peppers’ bassist. “We gave each other this ‘Oh s—’ look. We laughed it off, and I don’t think I thought about it after that because the crowd was so engaged. The energy was incredible.”
Twenty-two years later, the Chili Peppers are bringing that 2003 gig to screens again — only this time they’re string puppets.
“Can’t Stop” is director David Fincher’s re-creation of the band’s rendition of that tune at Slane Castle. Part of the just-released fourth season of the Emmy-winning Netflix anthology series “Love, Death + Robots,” the animated short film depicts the Chili Peppers — Smith, Flea, singer Anthony Kiedis and guitarist John Frusciante — as dangling marionettes onstage before a veritable sea of the same. As the band rides the song’s slinky punk-funk groove, we see Flea bust out some of his signature moves and Kiedis swipe a fan’s cellphone for a selfie; at one point, a group of women in the crowd even flash their breasts at the frontman.
The puppets aren’t real — the entire six-minute episode was computer-generated. But the way they move looks astoundingly lifelike, not least when one fan’s lighter accidentally sets another fan’s wires on fire.
So why did Fincher, the A-list filmmaker behind “Fight Club” and “The Social Network,” put his considerable resources to work to make “Can’t Stop”?
“A perfectly reasonable inquiry,” the director, who executive produces “Love, Death + Robots,” said with a laugh. “First and foremost, I’ll say I’ve always wanted a Flea bobblehead — it started with that. But really, you know, sometimes there’s just stuff you want to see.”
Why did David Fincher turn the Chili Peppers into puppets? “First and foremost, I’ll say I’ve always wanted a Flea bobblehead — it started with that. But really, you know, sometimes there’s just stuff you want to see.”
(Netflix)
Fincher, 62, grew up loving Gerry Anderson’s “Thunderbirds” series featuring his so-called Supermarionation style of puppetry enhanced by electronics. But the Chili Peppers project also represents a return to Fincher’s roots in music video: Before he made his feature debut with 1992’s “Alien 3,” he directed era-defining clips including Paula Abdul’s “Straight Up,” Madonna’s “Express Yourself” and “Vogue” and George Michael’s “Freedom! ’90.” (Fincher’s last big music video gig was Justin Timberlake’s “Suit & Tie” in 2013.) In addition to “Thunderbirds,” he wanted “Can’t Stop” to evoke the ’80s work of early MTV auteurs like Wayne Isham and Russell Mulcahy — “that throw 24 cameras at Duran Duran aesthetic,” as he put it.
Fincher said he knew his puppet concept would require “a band you can identify just from their movement,” which seems like a fair way to describe the Chili Peppers. He recalled first encountering the band around 1983 — “I think it was with Martha Davis at the Palladium?” he said — and was struck by a sense of mischief that reminded him of the “elfin villains” from the old Rankin/Bass TV specials.
“I feel like Finch got the spirit of me,” said Flea, 62, who’s known the director socially for years. The bassist remembered discussing “Can’t Stop” with Fincher at a mutual friend’s house before they shot it: “I was talking about how I still jump around onstage and my body still works really good. But I used to dive and do a somersault while I was playing bass — like dive onto my head. And now I’m scared to do it.” He laughed. “Some old man thing had happened where I’m scared to dive onto my face now. Finch went, ‘Well, Puppet Flea can do it.’”
Sketches of Red Hot Chili Peppers drummer Chad Smith and bassist Flea as puppets in Vol. 4 of Netflix’s “Love, Death + Robots.”(Netflix)
After doing a day of motion capture with the band at a studio in the Valley, Fincher and a crew of animators from Culver City’s Blur Studio spent about 13 months working on “Can’t Stop.” Fincher said the hard part was giving the marionettes a feeling of suspension.
“With the mo cap, you’re capturing the action of a character who has self-determination,” he said, referring to a human Chili Pepper, “then you’re applying that to an object that has no self-determination,” meaning a puppet controlled by an unseen handler. “It’s so much trickier than it looks. But that was kind of the fun, you know? I mean, not for me,” he added with a laugh.
Asked if the production involved any use of AI, Fincher said it didn’t. “It’s Blur — it’s a point of pride for them,” he said. But he also shrugged off the idea that that question has become a kind of purity test for filmmakers.
A digital rendering of the Chili Peppers as puppets.
(Netflix)
“For the next couple of months, maybe it’ll be an interesting sort of gotcha,” he said. “But I can’t imagine 10 years from now that people will have the same [view]. Nonlinear editing changed the world for about six weeks, and then we all took it for granted.
“I don’t look at it as necessarily cheating at this point,” he continued. “I think there are a lot of things that AI can do — matte edges and roto work and that kind of stuff. I don’t think that’s going to fundamentally ruin what is intimate and personal about filmmaking, which is that we’re playing dress-up and hoping not to be caught out.”
As he reportedly works on an English-language version of “Squid Game” and a sequel to Quentin Tarantino’s “Once Upon a Time … in Hollywood,” did making “Can’t Stop” lead Fincher to ponder the state of the music video now that MTV is no longer in the business of showcasing the form?
“Well, the audience that MTV aggregated — in retrospect, that was time and a place,” he said. “Remember, the Beatles were making music videos — they just called it ‘Help!’ There was no invention at all on MTV’s part.
“What I do miss about that — and I don’t think we’ll ever see it again — was that I was 22 years old and I would sketch on a napkin: This is kind of the idea of what we want to do. And four days later, $125,000 would be sent to the company that you were working with and you’d go off and make a video. You’d shoot the thing in a week, and then it would be on the air three weeks after that.
“You make a television commercial now and there’s quite literally 19 people in folding chairs, all with their own 100-inch monitor in the back. The world has changed.” He laughed.
“I started my professional career asking for forgiveness rather than permission, and it’s been very difficult to go the other direction.”
Eurovision kicked off it’s 69th annual contest tonight – and fans think they already know who’s going to be taking home the title just moments after the performances kicked off
21:11, 17 May 2025Updated 21:12, 17 May 2025
The Eurovision Song Contest kicked off it’s 69th annual contest tonight after a dramatic build up with two semi-finals earlier in the week. However, fans think they’ve already ‘worked out’ who will win less than a hour into the four hour live show.
The show kicked off with a high-energy performance from Norway as Kyle Alessandro – Lighter, as Luxembourg’sLaura Thorn kicked off with her ‘trippy’ visuals with her song La Poupée Monte Le Son. Things went up a notch when Estonia’s Tommy Cash performed his fan favourite song – Espresso Macchiato.
Tommy earned his place during the first semi-final, and now fans think he’s going to take it all the way. The rapper and singer had the whole crowd on their feet with his epic dance moves, but some had a moment to pause and take to X, formerly known as Twitter, to hail him the winner already.
Tommy Cash had the crowd on their feet with Espresso Macchiato (Image: AFP via Getty Images)
“Espresso Macchiato is the clear winner #eurovision,” said one, while a second agreed: “That’s the winner. #Eurovision”.
A third was also in agreement, commenting: “Espresso macchiato….. There’s your winner!”
Fans will have to wait until the end of the night to see if Tommy really does take home the crowd. However, they won’t have to wait until then to vote, with the lines already open.
Voting opened before anyone kicked off their performance, with fans being able to vote via phone up to 20 times. However, it does cost 15p a vote but fans can save a few pennies by voting online through the app and via www.esc.vote.
Will Tommy take home the crown?(Image: AFP via Getty Images)
After Tommy, Israel’s Yuval Raphael took to the stage, performing her power ballad New Day Will Rise.
“Not sure what you’re hearing at home, slightly mixed response here in the hall,” the Irish host commented as Yuval wrapped things up – a nod to the reports Eurovision bosses are meddling with what makes it to TV screens across Europe.
Elsewhere, fans are hopeful for a performance from Celine Dion after her video message during the first semi-final.
Adding fuel to the fire, Graham mentioned the fact the My Heart Will Go On singer is watching backstage but didn’t rule out a little performance from the Eurovision legend.
SOME of London’s biggest festivals face an uncertain future after residents won a court battle to block a major park from hosting events.
Backed by Oscar winning actor Mark Rylance, the campaign has ordered the council to confirm that events will be cancelled this summer.
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Festivals like Brockwell Live and the Mighty Hoopla might be banned from going aheadCredit: Alamy
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Lambeth residents have won a court case surrounding Brockwell ParkCredit: Getty Images
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The campaign was backed by Mark RylanceCredit: Alamy
Brockwell Park in Lambeth has long been a popular site for some of the UK’s biggest festivals.
Hundreds of thousands of Brits flock to the park every summer to attend events including Mighty Hoopla – which was set to host both Kesha and Jade Thirwall this year.
However, residents decided to fight back against the festivals after the park was left in a state they described as a “mud-bath”.
Rebekah Shaman, a member of the Protect Brockwell park group, successfully brought legal action against Lambath Council over the use of the area for events season – which kicks off on May 23.
The High Court was told that the challenge was over the council’s decision to certify the use of the land as lawful, since a change of the park’s use is allowed for 28 days per year.
Mr Justice Mold rule in Rebekah’s favour, since the park would be used as an event space for more than 28 days.
Now, events such as Brockwell Live and the Mighty Hoopla could be banned from setting up in the park.
Rebekah and her lawyers wrote a letter addressed to the council which asked if the “event has been cancelled” and ordered them to clear any fencing or infrastructure.
The draft letter from Goodenough Ring solicitors said that Brockwell Live does not have planning permission and cannot benefit from permitted development rights, and that a planning application could not be decided for at least three weeks.
The letter read: “It follows that not only do the Brockwell Live events not have planning permission, but permission cannot be obtained until after they are concluded.”
It continued: “As there is no planning permission for the Brockwell Live event, the event has to be cancelled.”
Billy McFarland Quits Fyre Fest: Festival Brand Put Up for Sale After Second Attempt Fails
Goodenough Ring has asked for a response by 10am on May 19.
A Lambeth Council spokesperson responded by saying: “We are currently assessing the impact of this judgement and determining next steps.”
Residents took Lambeth Council to London’s High CourtCredit: PA Media
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Residents have complained that the festival’s infrastructure damages the parkCredit: Getty Images
The Oscar nominated performer said: “Wonderful news. Brockwell park will be open to all for free again this summer. No walls. No trucks.
“The grass, and trees, and plants will have a chance to recover from the years of abuse.
“Now let’s help revive the beloved Lambeth country fair as it used to be, open to all. Congratulations to all who worked so devotedly to achieve this decision.
“Every small victory for nature makes a difference.”
However, the event’s cancellation is a blow to London’s beleaguered events industry.
Critics of residents’ associations have said that noise complaints have led to the closure of several major London locations.
Ian Dury’s son admitted in an interview that he had lost his driving licence after being reported to the authorities by BBC presenter Jeremy Vine
Jeremy Vine’s cycling advocacy has seen many road users slapped with penalties after being caught violating road rules by the BBC star(Image: Getty Images)
Cycling champion and BBC star Jeremy Vine caused the son of a British punk rock legend to lose his driving licence after snapping him engaging in a bad habit while behind the wheel, it has emerged.
The son of Ian Dury, Baxter, revealed the embarrassing information while being interviewed on BBC 6 Music by Huw Stephens. He explained that he had been looking at his phone in a traffic jam when Jeremy Vine cycled past and caught him red-handed.
Ian Dury was an innovator in the late 70s and early 80s’ burgeoning punk rock and new wave genres, frequently troubling government censors with countercultural and suggestive imagery, such as in his UK Number One chart topper ‘Hit Me with Your Rhythm Stick.’
Baxter Dury has followed in his father’s footsteps. He was driving to his home in West London from producer Paul Epworth’s studio, where they had been working on his latest album, Albarone, when the BBC star recorded him.
Baxter Dury revealed the embarrassing information in a BBC 6 Music interview
Dury, 53, told Huw Stephens: “Do you know what? This is a tragic story, but I drove there for the first half (of making the record) and then lost my license.”
However, Baxter did not blame Jeremy Vine for reporting him, telling the BBC that he probably deserved it.
Baxter went on to explain: “I got caught in a traffic jam, and Jeremy Vine took a film of me looking at Instagram, which he deserves to, I’m not arguing about (it). “
Realising that Vine could catch him once again, he added: “Shouldn’t probably say that publicly, he’s probably in the other room, isn’t he?”
Ian Dury and the Blockheads in Tyneside, 1979(Image: Evening Gazette)
When the BBC Radio 2 presenter heard that he’d caught Ian Dury’s son red-handed, he shared his love of his father’s work, but did not apologise. He told the Mail: ‘This is very unfortunate. I would like Baxter to know that I love his dad’s music.
‘I’m afraid mobile phone use in cars in London, particularly the posher parts, is an absolute curse. So I am quite tunnel-visioned about it.
‘We have 1700 road deaths a year. Sorry to be serious about it. Best wishes to Baxter.’
Jeremy Vine has recorded countless numbers of drivers flouting road rules over the years, often posting examples on social media to raise awareness of what cyclists face every day. However, last month, he made the surprising decision to stop posting videos after receiving abuse.
The TV presenter has racked up hundreds of millions of views, without making a penny, across various social media platforms, which has also brought with it huge waves of online hate.
He said on X: “I’m stopping my cycling videos. The trolling just got too bad. They have had well over 100 million views but in the end the anger they generate has genuinely upset me.”
Vine also shared the serious death threats made against him for sharing videos of drivers breaking the rules, with online trolls branding him “England’s biggest ***hole” and calling for the Channel 5 debate host to be crushed by a lorry.
After making the decision to quit, the TV star said he would miss the conversations sparked by the videos, which could be about relatively small infractions.
“Some of the biggest videos were actually about the smallest incidents, like someone turning left in front of me,” he said.
“People are happy to discuss it and I actually think that we’d all be safer if we all understood each other. People are going to drive 4x4s in Kensington and whatnot but they need to have a bit of care for me on a bicycle.
“You might be in total control when you pass close by but the person on a bicycle doesn’t know that. I just hope I was part of a dialogue about it.”
“What the f— is going on?” Bernard Sumner says jokingly.
After crashing on both Zoom and WhatsApp, the founding member of New Order decided to give FaceTime a shot. He materializes, sitting on a couch with a white wall behind him. Mild, inviting eyes hide behind his glasses.
It’s been 45 years since he, now “below 70 and above 20,” founded the group alongside bassist Peter Hook, drummer Stephen Morris and keyboardist Gillian Gilbert. But it’s impossible not to mention New Order in the same breath as its previous ensemble in Joy Division. The story is all too familiar, with the band springing up after a Sex Pistols gig in Manchester.
“Famously, loads of people went … Morrissey was there, and the Buzzcocks were there … and everyone went out and formed a band,” Sumner quips.
And to anyone who has ever heard Joy Division, it makes complete sense. The band’s debut album “Unknown Pleasures” is imbued with the Pistols’ signature sense of “anarchistic rebellion, aggression and energy,” from the very first track. Sumner describes the gig as a pivotal moment in the history of music as it, sonically, gave everything the “kick in the balls” it needed.
“It was really ‘f— the establishment’ … we’d all had a pretty s— time at school and the rebelliousness and didn’t like the establishment,” Sumner says. “It was giving those teachers a kick! F— you and f— your lessons and f— all the s— you’re trying to teach us, because we’re not f— interested.”
“Punk gave us the excuse we really needed,” he adds.
But just a few years after Joy Division graced the music scene, the group came to an untimely demise following the death of lead singer Ian Curtis. And a year after that, New Order appeared with Sumner, Hook, Morris and Gilbert at the helm, and an entirely different sound to back them.
The band began to mix in synthesizers with the typical instrumentation, creating an unforgettable, hypnotic sound — every thump and woosh calls listeners to the dance floor and begs them to move. Sumner says it came from nothing, with no conscious effort being put into the familiar noise that would go on to define decades to come.
New Order performs in front of a buzzing crowd in Sydney, Australia.
(Warren Jackson)
“Four people came together and that’s what we did,” Sumner says. “We got rehearsals, but we had no great plan, we didn’t give a s— about earning loads of money, we didn’t give a s— about being famous.”
In fact, their creative process boiled down to going to rehearsals, talking about what they saw on TV the night before and going to grab a baked potato from Spudulike near the studio.
“Then we’d go, ‘Should we try to write something?’” he recalls. “We go, ‘Yeah, okay,’ and then we switch the amps on, and just see what happened.”
He even tells a story of the first time they worked in New York, and met up with famous producer Arthur Baker. The latter was used to working with session musicians, and while doing so, decided to throw New Order into a studio while he finished up.
“He said, ‘Come up with some ideas,’” Sumner says. “We just couldn’t, because we’d been put on the spot and told to do it, and that had never happened before … the trick was not to think about it.”
However, even with its original and revolutionary style, New Order struggled to etch its name in the charts outside of the indie and indie alternative categories. In the ’80s, they were reliant on radio play and didn’t get much outside of college campuses in America.
Instead, groups like Sumner’s, such as the Smiths and Echo & the Bunnymen, ignored what was going on in the mainstream altogether, leaving the numbers game to pop music.
“We just ignored what was going on in the mainstream,” he says. “We didn’t really like what we were hearing on the radio, so we made our own radio.”
Of course, when the internet came around, it bypassed mainstream radio and absolved the band’s issues with getting airtime. This led to its undoubted success in bridging the gap between generations, with parents sharing the group’s records with their kids.
“Good music is good music, isn’t it? It always floats to the top,” he says. “Buy a New Order record, it’s a good investment for the rest of your life.”
Sumner claims the group is now “more successful” than they’ve ever been and says it comes down to a couple of factors, including cohesion.
“In the early days, we used to get f— up quite a lot and that f— up the shows,” Sumner says. “We used to play a really good one, celebrate how great it was, and then the next one would be terrible because we celebrated too much.”
Bernard Sumner of New Order bows out to fans.
(Warren Jackson)
“Our popularity has increased, really, rather than decreasing, and it usually decreases, doesn’t it?” he jokes.
This relationship between generations that grew up listening to the group and those now is all too apparent when it comes to festivals like Cruel World, which celebrates post-punk, new wave, goth and alt-rock. The event, first hosted in 2022, has brought the likes of Iggy Pop, Duran Duran and Morrissey back to the main stage.
Now, New Order is set to headline the festival on May 17 alongside Nick Cave and the Bad Seeds. It’s an unexpected ’80s revival that has maintained steady enough attendance to point toward becoming a staple, much like many of Goldenvoice’s other feats.
“There must be an appetite for this [era of] music, otherwise they wouldn’t be putting it on,” Sumner jokes. “It’s got soul, it really has got soul.”
As for what’s next in terms of new releases, the group recently had to shut down rumors of an album on the way. It’s been 10 years since its critically-acclaimed album, “Music Complete,” was delivered to fans, who are understandably craving a new project. Sumner says the delay comes down to general motivation to write again, with some members wanting to do so and others not being “too keen.”
“I’m one of the ones that does,” Sumner assures. “That’s all I can say, really.”
Eurovision fever is upon us as a host of countries battle it out once again in the semi-final stages of the contest to reach Saturday’s epic final in Basel, Switzerland
Music fans across Europe are set to be in their element once again as the iconic Eurovision Song Contest returns. This year’s semi-final stages are underway, and fans are eagerly waiting to see if their favourite acts will progress to the next stage.
This year sees Basel hosting events following last year’s impressive victory by Switzerland’s Nemo in Sweden. Their song titled The Code gave their reflection on their non-binary identity.
With the rumour mill in full flow about how Switzerland will put on the spectacle – a Celine Dion performance has been touted – one thing is certain: the countries that are battling it out for the coveted award.
This year’s UK entry sees Remember Monday take to the stage in the hope of avoiding the dreaded nil points announcement. The Country trio landed the plum gig after being selected by the BBC’s team of experts. Fans may recognise the group from their efforts on The Voice, where they reached the quarter finals.
Ini total, 37 countries are challenging on the big stage, with the the top 10 from each semi-final making it through to join the ‘big five’. But who else will be competing – and who is banned from doing so?
Remember Monday are this year’s UK entry for Eurovision(Image: INSTAGRAM)
Who are the Eurovision Song Contest ‘big five’
The UK, Spain, Germany, France and Italy make up the annual event’s ‘big five’. This means these countries receive automatic qualification for the final, which will be held on Saturday, May 17.
Their route straight to the final comes as these are the countries that make the biggest financial contributions to the European Broadcasting Union (EBU), the organisation that owns and operates Eurovision.
The rule came into play in 2000, giving the five countries direct entry into the final – along with the host country.
Eurovision 2025 semi-final lineups
This year’s Eurovision will take place in Basel(Image: AFP via Getty Images)
Those outside of the ‘big five’ hoping to make it to the big showcase have to battle it out in two semi-finals. This year sees the first semi-final take place tonight (Tuesday, May 13). It will feature Iceland, Poland, Slovenia and Estonia to begin with.
The running order continues: Spain, Ukraine, Sweden, Portugal, Norway, Belgium, Italy, Azerbaijan, San Marino, Albania, Netherlands, Croatia, Switzerland and Cyprus.
As Italy, Spain and Switzerland automatically qualify for the Grand Final of the spectacle, their viewers will be able to vote for their favourites.
The second semi will take place on Thursday, May 15. This time 16 countries will fight it out. They will be: Australia, Montenegro, Ireland, Latvia, Armenia, Austria, Greece, Lithuania, Malta, Georgia, Denmark, Czechia, Luxembourg, Israel, Serbia and Finland.
UK, France and Germany entries will also perform despite already being through. Their audiences will be able to vote still for their favourite songs.
Countries that are banned from Eurovision
While Israel’s entry is fully expecting a frosty reception, and protests are expected to be carried out, they are still taking part in this year’s Eurovision Song Contest. Over 70 participants of previous contests have come together to call for the exclusion of the country due to its continued bombing of Gaza.
However, some countries have been banned.
Among them is Belarus. The country has been banned from competing since 2021. In that year, the country’s entry song,Ya Nauchu Tebya (I’ll Teach You), was deemed to have had lyrics included which were politically motivated and potentially harmful.
Russia have also been banned. The country’s participation was suspended indefinitely due to the ongoing conflict in Ukraine, which began in February 2022. Some critics of Israel’s entry have claimed the EBU lacks consistency due to this ban.
A number of witnesses have taken to the stand in the trial of Sean “Diddy” Combs, who is facing allegations of racketeering and sex trafficking during his time as head of an entertainment empire.
Testimony in the trial began on Monday after the final phase of jury selection and opening statement from lawyers. Combs, donning a light-grey sweater, gave a thumbs-up to supporters in the courtroom in New York City in the United States.
“For 20 years, the defendant, with the help of his trusted inner circle, committed crime after crime,” Assistant US Attorney Emily Johnson told the court. “That’s why we are here today. That’s what this case is about.”
A number of witnesses testified that they had experienced physical violence, intimidation, and manipulation by Combs, while the rapper’s lawyers said that he has been charged with the wrong categories of crimes and “his kinky sex and his preferences for sex” were being portrayed as nefarious.
Attorney Teny Geragos told jurors that they may end up thinking Combs was a “jerk” or “kind of mean”, but that he is not being charged “with being mean or a jerk”.
“This case is about voluntary choices made by capable adults in consensual relationships,” Geragos said during her opening statement.
Johnson, the US attorney, said that Combs “viciously attacked” women who refused to participate in the parties that were called “freak offs”.
“They will tell you about some of the most painful experiences of their lives. The days they spent in hotel rooms, high on drugs, dressed in costumes to perform the defendant’s sexual fantasies,” Johnson told jurors of testimony from victims in the case.
Prosecutor Emily Johnson points to Sean ‘Diddy’ Combs before US District Judge Arun Subramanian at Combs’s sex-trafficking trial in New York City, New York, the US, May 12, 2025, in this courtroom sketch [Jane Rosenberg/Reuters]
‘She was shaking’
The courtroom became audibly silent as a video of Combs beating and kicking his former girlfriend Casandra Ventura in 2016 was shown.
A stripper named Daniel Phillip testified that Combs had thrown a liquor bottle towards Ventura before grabbing her by the hair and dragging her screaming into another room, where Phillip says he heard Combs yelling and beating Ventura.
“She literally jumped into my lap and she was shaking, like literally her whole entire body was shaking. She was terrified,” Phillip testified of Ventura.
Geragos conceded that Combs is prone to jealousy and had committed an act of “horrible, dehumanising violence” in the video shown to jurors, but that it was evidence of domestic abuse, not alleged acts of sex trafficking or racketeering that are at the centre of the case.
Prosecutors say that Combs, who faces a mandatory minimum sentence of 15 years in prison if convicted of all five felony counts to which he had pleaded not guilty, pushed women to engage in drug-fuelled parties and then blackmailed them with videos of their encounters.
Prosecutor Christy Slavik questions Israel Florez, a former security guard, at Sean ‘Diddy’ Combs’s sex-trafficking trial in New York City, New York, the US, May 12, 2025 in this courtroom sketch [Jane Rosenberg/Reuters]
Combs’s status as a high-profile entertainer has brought substantial attention to the trial, as well as larger debate about how powerful figures in sectors such as entertainment, business, sports, and politics often evade accountability for acts of abuse.
As the case began, the jury and alternates – 12 men and six women – were seated in the courtroom. Opening arguments started after the judge finished explaining the law as it relates to this trial, along with incidentals such as that a light breakfast will be provided to the jury in addition to lunch.
The jury for this case is essentially anonymous, meaning their identities are known to the court and the prosecution and defence, but will not be made public.
“We will keep your names and identities in confidence,” Subramanian told jurors.
It’s a common practice in federal cases to keep juries anonymous, particularly in sensitive, high-profile matters where juror safety can be a concern. Juror names also were kept from the public in US President Donald Trump’s criminal trial last year in state court in New York.
Subramanian urged jurors to judge the case only based on the evidence presented in court. It’s a standard instruction, but it carried added significance in this high-profile case, which has been the subject of intense media coverage.
“Anything you’ve seen or heard outside the courtroom is not evidence,” the judge said. “It must be disregarded.”
