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One year ago, when tickets first went on sale for “The Odyssey” in Imax 70mm, nearly every screening sold out instantly.

The unprecedented ticket mayhem built hype — not just for the film, but for the format. By the time a second round of tickets were made available last month, buyers swarmed with such frenzy that they crashed the AMC Theatres app.

In Los Angeles, home base for cinephiles of every stripe, scoring one of these coveted opening weekend tickets was particularly challenging. Much of the excitement revolved around the fact that “The Odyssey” was the first feature shot entirely on Imax 70mm film, a technical achievement that involved the invention of a new camera.

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Want to see The Odyssey in 70mm but couldn’t get tickets? Glendale’s historic The Alex Theatre has you covered.

For 28-year-old Van Nuys resident Chase Stanley, who tried and failed to secure a ticket, that milestone was top of mind.

“Ultimately, I’m just jealous that I’m not included,” he said. “Since it’s the first movie to capture the whole thing in 70mm Imax, it’s my due diligence to see it like that.”

Despite the enthusiasm from moviegoers, film projection has been considered a dying art since most movie theaters worldwide switched to digital projection in the early 2010s.

More than a marketing tactic, the scarcity of tickets for Imax 70mm screenings underscored both the dearth of theaters capable of projecting films in the premium large format — only 41 — and projectionists with the requisite skills.

A number of renowned directors, including “The Odyssey’s” Christopher Nolan, prefer to shoot on film and strongly encourage analog viewing. But because few theaters own the necessary equipment or employ full-time projectionists, coordinating a release as massive as “The Odyssey” is its own arduous journey.

Jimmy Gonzales is Cepheus, left, Matt Damon is Odysseus and Himesh Patel is Eurylochus in “The Odyssey.”

(Melinda Sue Gordon / Universal Pictures)

Venues new and old

There are 25 theaters in the United States showing “The Odyssey” in Imax 70mm, eight of which are located in California. One of L.A.’s favorites is the Universal Cinema AMC at CityWalk Hollywood, where veteran Imax projectionist Taylor Umphenour has worked for the last three years.

On his Instagram page, Umphenour shares “projectionist POV” photos and videos with more than 22,000 followers, giving them a unique glimpse into the projection booth for movies like “Sinners,” “One Battle After Another” and “Project Hail Mary.” His company, Film Leader Co., supervises film restorations and runs technical operations for a smattering of cinema houses across the country.

In addition to his work at CityWalk, Umphenour has been busy for weeks overhauling the projection setup at the historic Alex Theatre in Glendale.

Releases such as “The Odyssey” have renewed interest in film projectionists and specialty theaters, including the historic Alex Theatre.

(Allen J. Schaben / Los Angeles Times)

The 100-year-old venue opened in 1925 as a vaudeville and silent movie house where Walt Disney previewed his animated shorts, but it changed identities many times over the course of its history. Now, Umphenour and his team are working with Miles Williams, the theater’s artistic director, to transform it into a “premier cinema house” in time for “The Odyssey’s” release. It marks the first time the theater has been used for a first-run film release since “Terminator 2: Judgment Day” in 1991.

“What better opportunity to relaunch this venue than to open with Christopher Nolan’s ‘The Odyssey’? That’s why this project is on such a tight turn,” Umphenour said.

His team built an entirely new, massive booth in just three weeks to house sound equipment and projectors capable of running both 35mm and 70mm film. To secure the Alex a last-minute 70mm print of “The Odyssey” — which costs tens of thousands of dollars to manufacture, ship and distribute and runs about four miles long — Umphenour relied on his relationship with distribution executives at Universal.

The Alex will screen the movie in 70mm, which uses the same film stock as Imax 70mm but runs vertically instead of horizontally, making each physical frame roughly three times smaller than its Imax counterpart. Audiences seeking the larger-than-life Imax experience will have to look elsewhere — like CityWalk — but Umphenour believes that analog screenings will still draw a crowd.

“What’s special about these — about running on film, about running 70mm, about handling premium large formats — is that it does remind people how much they love going to the movies,” he said.

“What it’s all about is expanding that sense of scope and horizon, the analog color, that sense of immersion.”

Not a job for ‘popcorn projectionists’

In advance of “The Odyssey’s” release, Imax contracted 130 experienced projectionists and required each to attend an intensive, weeklong training program.

“I’ve said for years that the projectionist is the last performer in a long chain of people that started with an idea,” Umphenour said. “They are the final person to deliver the vision of the filmmakers to the audience, and therefore, one of the most crucial.” Far from simply pressing a button, film projectionists must actively guide a screening, threading and splicing reels and closely monitoring for mechanical issues.

But thanks in large part to the dwindling number of theaters projecting analog film since 2013, finding capable, actively working projectionists for releases like “The Odyssey” can be a struggle.

Sean McKinnon, director of specialty presentations and AV integration at Boston Light and Sound, is in charge of hiring these projectionists for about 60 venues across the country screening “The Odyssey” in 70mm. He did the same for “Oppenheimer” in 2023, which had the longest theatrical window of the year.

“It was pretty challenging finding people for ‘Oppenheimer,’ especially because the film was so amazing, it was in theaters for so long,” he said of the 122-day release. Staffing projectionists for “The Odyssey” has been “definitely easier,” he said, as the “word has gotten out.”

The talent pool McKinnon pulls from includes theater managers, retired projectionists, trainees from specialized college programs and even workers in other professions who take PTO for the occasion.

“We get people from really all walks of life,” he said. “It’s a special event and people want to be a part of it.”

Taylor Umphenour checks the projector’s focus at the historic Alex Theatre in Glendale.

(Allen J. Schaben / Los Angeles Times)

Outside of big cities, the lack of local projectionists also means McKinnon’s company has to fly people to Morrow, Ga., or Valley View, Ohio, for instance, to run the booth for the duration of a film’s run.

Leah Saint Marie, a filmmaker and former projectionist at the Vista Theatre in Los Feliz, attributed the staffing struggle to the experience and knowledge divide between hobbyists and experts.

“Training is pretty easy if you want to be what they call a ‘popcorn projectionist,’” she said. They “can thread the movie and push start, but if there are any mechanical issues, they can’t fix it.”

“I don’t think anybody who’s going to run a 70mm Imax are popcorn projectionists, because it’s very technical,” she added. Each Imax film print of “The Odyssey” is 11 miles long and weighs roughly 600 pounds.

The most recent data from the U.S. Bureau of Labor Statistics estimated that in 2023, there were 2,610 motion picture projectionists employed in the U.S. — an increase from 1,900 in 2022. In 2012, the BLS estimated roughly 8,000 projectionists and predicted the number would decline by 26.5% in the next 10 years — but it ultimately decreased by 76%.

“If you want to maintain expertise in the field, what you want are enough [movie] theaters out there running film that somebody can try their hand at it and get better,” Umphenour said.

Why film matters

Could the overwhelming audience demand for Imax 70mm screenings translate into a resurgence of fully equipped theaters? According to Imax Chief Executive Richard Gelfond, it’s more complicated than that.

“The problem is they haven’t made new Imax film projectors in about 50 years,” Gelfond told Variety on Wednesday. “We build new projectors every day, but film projectors, using this film, it’s not practical. So we’ve got to find them and retrofit them and rebuild them, which is what we did for ‘Odyssey.’ But can all 2,000 of our theaters be film projectors? No. There’s just not that many around.”

That said, Cinemark reportedly installed Imax 70mm projectors at three of its theaters ahead of “The Odyssey’s” release, and there are 11 more theaters projecting “The Odyssey” in Imax 70mm than there were for “Oppenheimer.”

Cinema engineer Justin Dennis is working with projectionist and production manager Taylor Umphenour to build a new projection booth capable of running both 35mm and 70mm film at the Alex Theatre.

(Allen J. Schaben / Los Angeles Times)

Saint Marie recalled working as a projectionist in Pennsylvania during the period when most theaters transitioned from film to digital. While training at a new theater, she was surprised to find an old film projector still stored in the booth, and even more surprised to learn it was for Nolan’s sake.

“When he releases a [movie] on film, we have to have the projector. A lot of places around the United States kept their projectors specifically for Nolan,” she said.

Nolan isn’t the only director with an affinity for large format film and analog media. Quentin Tarantino, Paul Thomas Anderson and Ryan Coogler (whose 2025 hit “Sinners” made quite a splash in Imax 70mm) are others associated with what Umphenour dubbed “the 70mm renaissance.”

According to Saint Marie, theaters worldwide transitioned from film to digital projection mainly because the cost of shipping a Digital Cinema Package is much cheaper than shipping a film release print. But the community of skilled laborers and enthusiastic audiences who champion analog projection say it’s worth it.

“I think there’s something to be said about what film gives you as an artistic community, versus what digital gives you is just consuming as a capitalistic society,” Saint Marie said. To McKinnon, it comes down to the “tradition of humans telling a story by flickering light” harking back to prehistoric times.

For Umphenour, the story of “The Odyssey’s” release and all of the 70mm fanfare is one of preservationists triumphing over countless obstacles.

“There are 70mm theaters running this film throughout the world that, frankly, have been kept alive through the deep devotion of people who care about this format,” Umphenour said. “They really do deserve to be celebrated because, like so many things in life, if you don’t have people that care about it, you don’t end up with a thing.”

“The results of all this work are not images projected on screen,” he continued. “It’s a community brought together to hear a story well told, which allows them to create a life memory they get to carry forward for years and years.”

Film projection takes center stage at the Alex Theatre.

(Allen J. Schaben / Los Angeles Times)

When you walk into a room with Los Primos del Este, the happy-go-lucky guys immediately make you feel like part of the family. What they first cultivate with silly banter and lighthearted ad-libs eases into a more vulnerable, introspective atmosphere, comparable to a cathartic therapy session.

When I met the norteño-sax band in at Interscope Records — the major label that signed them in early 2023 — it was just a couple of hours before the official release of Los Primos’ new album, “Dulce Amargo,” on Thursday.

For a young band of players in their early 20s, they play it cool; “Dulce Amargo” is their eighth LP to date. The project feels thoroughly chiseled to their refined sonic tastes (influenced by Julión Álvarez, Legado 7 and Remmy Valenzuela) inflected with raw, sentimental lyricism and a wailing saxophone that commands each track with the spirit of an electric guitar.

“Play it back to back and actually start understanding the sound more and realize there’s new sounds being created,” said lead vocalist Geovanni Flores. “Because a lot of people get stuck in their old ways.”

Made up of five members — Flores, bassist and supporting vocalist Ariel Jesus Lopez, accordionist Juan Luis Hernandez, drummer Alejandro Tellez and saxophonist David Tellez — the group has built a steady momentum in the música mexicana genre. They’ve championed the resurgence of norteño-sax, a subgenre that fuses the accordion sounds of norteño music with an invigorating alto saxophone, made popular by legendary groups like Conjunto Primavera.

Since forming in 2017, the North Carolina-based band has gained over 2 million listeners on Spotify through catchy norteño-sax songs like “No Es Mentira (Version Norteña),” “Poema” and “Mami” — drawn together by a polka-like beat that has made them a staple of Mexican dance venues.

In 2024 alone, the subgenre grew by 39% in both the U.S. and Mexico, per Spotify.

Los Primos del Este formed in 2017 out of North Carolina.

(Arwen Clemans / Los Angeles Times)

The band took a few years to find its groove. Its 2020 debut album, “PDE,” experimented more with the prickly, sad sierreño sound popularized by acts like Eslabon Armado and DannyLux — as well as trap-infused corridos tumbados with a thumping tololoche. Still, this was music one could bop their head to, even if dance parties were limited during the global pandemic. With norteño-sax, the group could incorporate contemporary dating themes into songs that bring people physically closer to one another on the dance floor.

“There’s been a sense of maturity that’s happened within the group. In the past, we would just make music to make music and release it,” said Flores. “ We thought about every single detail now, even down to the album cover.”

Before getting into the thick of their recent music catalog, Los Primos del Este quickly unfurled details of the album cover, which shows the group sprawled across the flatbed of a white truck. The image was inspired by Alejandro Cartagena, a Dominican Republic-born Mexican creative who photographed carpooling laborers on the flatbeds along a highway in Monterrey, Mexico, in 2012. The project was a visual representation of how everyday people — often marginalized individuals — navigate transit in a sprawling suburban area.

Such an open stance on community issues appears to be a norteño-sax speciality. In 2000, their forefathers Conjunto Primavera previously told The Times that they make music for working-class audiences: “Wealthy people don’t like what we do.”

“Personally, I found myself in the bed of a truck at one point, low-income, trying to make something out of nothing,” said Lopez. “That’s the world I grew up in, and that’s the world I wanna show everybody. It’s not all sweet, you know?”

The band also nods to injustices faced by immigrant communities — including the recent fatal shootings of 52-year-old Lorenzo Salgado Araujo and 26-year-old Johan Sebastian Duran Guerrero by Immigration and Customs Enforcement agents in Texas and Maine, respectively.

“We’re willing to take the heat,” said Lopez, referring to the band’s pro-immigrant stance. “The community looks at us as a negative presence, but in reality, we’re hard-working, dedicated family people.”

It is both that honesty and vulnerability that are etched into the 14-track LP “Dulce Amargo,” which translates to “bittersweet” in English. The band shared that each member contributed details of his own personal experience to the brainstorming sessions — a process they likened to therapy.

“We were comfortable enough with each other to let [our] stories be heard,” said Lopez. “In the Latino community, there is kinda like that stereotype [that] you have to be strong.  I think this message goes out to everybody — if you’re feeling something, specifically the men, it’s OK to just let it out.”

(Arwen Clemans/Los Angeles Times)

The hazy love melody “Tremenda,” for example, underscores an intense yearning for connection. Written after Lopez was starstruck by a woman, its first lyrics begin in wondrous marvel: “Tal vez fue tu mirada,” or, “Perhaps it was your gaze.”

“What’s the first thing you do when you look at somebody? I look at the eyes,” said Lopez. “They say the eyes are the doors to the soul.”

Alejandro Tellez’s contribution came with the punchy “Linda Sonrisa,” that pleads for someone to realize the realities of the mistreatment they’re facing with another lover.

“How many times are you gonna let him do you wrong until you realize that you have the right guy in front of you?” said Alejandro Tellez in a sing-song twang. “That’s a story that I went through in high school.”

For Flores, the EDM-fused, echoing melody “Mejor Sin Ti,” struck a personal chord; could a relationship be the only thing standing in your way to personal success? “Some people do hold you back, some people tie you down — that’s what I felt,” said Flores.

Hernandez gets a bit teary-eyed when talking about his favorite song, “Sentimientos,” a whirling polka-driven ballad about an avoidant situationship, he said. “To me, it’s like we both kinda love each other already, but we’re kind of afraid to say it,” he explained. “A lot of people are afraid of falling in love again, so that song hits close to home.”

The concept behind “Mereces Mejor,” a trance-inducing ode with floating melodies that implores a loved one to recognize their self-worth, was inspired by David Tellez’s own experience with unrequited love: “She’s trying to go to the bad guy, and I’m over here giving everything I got.”

As the five artists prepare to take their new album on the road — including an upcoming performance at the Lone Star State’s Truck Show Texas Fest on July 25 — they want to make clear that norteño-sax is not a stagnant subgenre. Like most of música mexicana, it, too, is evolving, both in sound and lyricism, encapsulating today’s complex dating culture. Their emotional vulnerability is welcome in a field flooded with artists that may otherwise shrink away from such honesty — perhaps due to the stigma of mental health issues in the Latino community, especially among men.

“We understand that changing the sound may not be for everybody, but we’re making music for the next generation,” said Lopez. “Who knows? Maybe their parents might end up liking this too.”

WASHINGTON — A Republican senator whose support will be necessary to advance Todd Blanche’s nomination for attorney general said Thursday that Blanche must meet with accusers of convicted sex offender Jeffrey Epstein to earn his vote.

Sen. Thom Tillis had indicated during Blanche’s confirmation hearing Wednesday that he was leaning toward backing the acting attorney general’s nomination. But after an Epstein accuser testified a day later, Tillis said he expects a meeting to occur before he’s “willing to vote out of this committee.”

Epstein’s case and the Justice Department’s handling of millions of files related to his sex trafficking investigation have been a persistent political headache for the Trump administration.

After missteps by then-Atty. Gen. Pam Bondi that enraged President Trump’s base, Blanche as deputy attorney general oversaw a massive review and release of millions of files related to the investigation into the disgraced financier with connections to wealthy and powerful people.

Shortly after Tillis’ remarks, Blanche arrived at a Senate office building, where Blanche told reporters he had hoped to meet with Epstein accusers but “it didn’t work out.” Blanche said they were trying to find another time later Thursday or another day to schedule the meeting.

“The Department of Justice will always meet with victims or their representatives, and if those victims or their representatives have evidence that anybody committed a crime — whether it has to do with Jeffrey Epstein or anybody else — we will of course move forward and investigate and prosecute,” Blanche said.

Without Tillis’ support, Blanche’s nomination won’t make it through the Senate Judiciary Committee, which questioned Blanche for hours on Wednesday about the Epstein files as well as the creation of a fund to compensate Trump’s allies, a tax immunity deal for the president and a slew of other issues.

Another Republican on the committee who says he has not made up his mind on whether to support Blanche, Sen. John Cornyn, conveyed concerns that the Trump administration has yet to commit in writing that the fund is dead and that it could therefore conceivably be resurrected.

One Epstein accuser, Dani Bensky, told lawmakers earlier Thursday that women harmed by Epstein repeatedly asked to meet with Blanche “through multiple channels and he never responded.”

“We deserve to be heard directly, not dismissed and ignored,” Bensky said.

Blanche has pushed back on suggestions that the Justice Department has been dismissive of the late financier’s accusers, saying Wednesday that officials have spoken with more than 30 representatives of the women over the course of its sweeping review of the files.

Blanche has also defended the department’s staggered release of the Epstein files, a process beset by problems, including redaction errors that left exposed nude photos showing the faces of potential victims.

Blanche said during his confirmation hearing Wednesday that he takes responsibility for mistakes that were made, but noted that department lawyers were given a “herculean task” to quickly review millions of files for release. Blanche said department lawyers took pains to protect the women involved, and quickly fixed any errors that were found.

“I am sorry that in about 1% of the documents, mistakes were made,” Blanche said Wednesday. “But what I will say on top of that is we put tons of resources to rectifying those mistakes immediately, including pulling down documents within minutes of being informed that there were mistakes.”

The political firestorm over the Epstein files dogged the Trump administration for much of last year, with lawmakers eventually passing a measure that compelled the release of a massive trove of documents in the government’s possession related to its investigation.

The Justice Department began releasing the documents in late December, which included photos, call logs, grand jury testimony and interview transcripts. The release did little to tamp down skepticism from conspiracy theorists and online sleuths, who have long pushed allegations of a government cover-up, without evidence.

Richer and Cappelletti write for the Associated Press.

Hold the Bat Signal — “The Batman Part II” has been delayed yet again.

The DC Studios film is now set to hit theaters Feb. 18, 2028. The sequel to Matt Reeves’ 2022 reboot “The Batman” was previously slated to bow Oct. 1, 2027 after it was pushed back from its original release date of Oct. 3, 2025.

Reeves took to social media Wednesday to share the new date along with camera test footage from the film. The video, the first proper look at Robert Pattinson’s return as the Caped Crusader, shows him in a new Batsuit, turning toward the camera as what appears to be snow falls around him. There are also some flashing lights in the background.

The filmmaker has previously shared “The Batman Part II” casting news as well as a glimpse of the Batmobile in social media posts.

Many details about “The Batman Part II” have been kept under wraps, but here is everything we know about the upcoming sequel.

Which characters are returning?

In addition to Pattinson’s return as Bruce Wayne, “The Batman” alumni Jeffrey Wright, Andy Serkis and Colin Farrell will reprise their roles as James Gordon, Alfred Pennyworth and Oz Cobb (a.k.a. the Penguin), respectively. Zoë Kravitz is not expected to return as Selina Kyle/Catwoman.

Other actors confirmed to come back include Jayme Lawson as Gotham’s mayor, Bella Reál, and Gil Perez-Abraham as Gotham City Police Dept. officer Martinez.

Barry Keoghan, whose character was briefly teased at the end of “The Batman,” is also reportedly likely to return as the Joker.

Who are the new cast members?

The newcomers venturing into Gotham for this next installment include Sebastian Stan, Scarlett Johansson, Charles Dance, Sebastian Koch and Brian Tyree Henry.

While their roles have yet to be confirmed, a number of outlets have reported that Stan is expected to portray Harvey Dent, a Gotham district attorney who is perhaps better known as the villain Two-Face, while other rumors say the Marvel star will play the sadistic killer Victor Zsasz. According to other rumors, fellow Marvel alum Johansson could be playing Gilda Dent — Harvey’s wife — or Poison Ivy.

What is ‘The Batman Part II’ about?

Details around the sequel’s plot have yet to be revealed, but the movie is expected to take place after the events of the HBO series “The Penguin,” which was set after “The Batman.” A number of Reeves’ social media teases have included glimpses of snow.

Over the years, the director has mentioned that the sequel will see the young Dark Knight struggling with his understanding that the world is more morally gray than his previous worldview, and that the film’s big villain will be someone who hasn’t appeared on the big screen before.

The Grand Tour is back for its seventh series, but it has a brand new trio of presenters – and one you might recognise as a famous trainspotter from Instagram

The Grand Tour will return to screens later this year, it has been confirmed. But there are three new hosts replacing Jeremy Clarkson, Richard Hammond and James May.

In a huge shake up to the presenting line-up, fans might be surprised to know that all the new stars are online influencers – and one of them isn’t even known for his content about cars.

Taking over the reigns from Clarkson and his clan are James Engelsman and Thomas Holland, creators of the YouTube phenomenon Throttle House, which sees the pair take on track tests, car reviews and go on epic adventures.

But one face fans might be a little surprised to see – as his car knowledge is yet to be tested – is trainspotting Instagram icon Francis Bourgeois.

Though 26-year-old Francis has won legions of fans on social media with his hilarious go-pro videos when trains go past and boasts 2.7million followers on Instagram alone, he’s only recently began to post the odd bit of car content.

Though in a hilarious post on Tuesday, the self-professed railway enthusiast and mechanical engineer posted a photo of his head on a gear stick and captioned it: “Same show. New knobs,” in a promo for the new Grand Tour show, which is set to air on Amazon Prime from September 4.

The new line-up has divided fans who are yet to tune into the new six-part series. One wrote: “Hoping they do a sort of ‘passing the torch’ episode. I’ll give the new show a shot. Love the train dude lol.”

Another said: “The throttle guys are awesome too. They may have actually cooked with this trio.” A follower joked: “They should film the segments around Chipping Norton and have Clarkson kicking off at them in his tractor!”

But other fans were less convinced, with one saying: “Thanks, I’ll continue to rewatch Hammond, Clarkson and May on my Plex server.” a social media user chimed in: “No one is going to be better than Clarkson, Hammond and May… No chance.”

“It’s not Top Gear or The Grand Tour without Clarkson, Hammond and May. Stop trying to reinvent the wheel. The format isn’t the show, those three ARE the show,” said a third. While a fourth added: “Yes, they should never make The Grand Tour or Top Gear again. Make something else.”

Speaking in 2024, when all three previous presenters retired from the show, Clarkson – who is now 66 – said: “My advice to Amazon would be – and I’ve given this to them already – for heaven’s sake, do not get well known people who ‘like’ cars. Because when you do that show it has to be your life.”

The Clarkson’s Farm star added: “I would get three complete unknowns. Start small, like we did. They’ve got to be absolute petrolheads.

“I’ve got to be able to show them a picture of a quarter of a door mirror from any car ever made, and they’ve got to know what it is. I’d go to motoring journalists. James, Richard and I are all motoring journalists. That would be my advice if you want to continue with it, and I would hope that Amazon do continue with it.” And it seems Amazon may well have listened…

*The Grand Tour returns to Amazon Prime on September 4

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“HE just has that youthful energy,” says Ronnie Wood of his Rolling Stones bandmate Mick Jagger.

It’s not a term often used to describe someone in their Eighties but, in this case, entirely accurate.

Anyone who’s seen the consummate frontman in recent times will know he still has the voice, the moves — and the swagger.

Nearly four years Mick’s junior and, at 79, the “baby” of the band, Ronnie could still be forgiven for thinking, “I want some of whatever he’s on.”

But, as the Stones release their high-octane LP Foreign Tongues, Ronnie can also claim to have some of that “youthful energy”.

“I’m the same as Mick,” he tells me. “I’m a Gemini, I’m pulling in all directions — and I’m just loving it.”

serving glam

Lily James wows in a polka dot dress with busty Hannah Waddingham at Wimbledon

J-LO CUT

Jennifer Lopez rocks sheer dress as she attends PFW with rarely-seen sister

By that, he means his ongoing endeavours with the Stones, his work as a highly skilled portrait artist and the not-so-small matter of his first solo tour in years, beginning next week in Austria on a bill with Van Morrison.

Not to mention being husband to wife Sally and dad to their ten-year-old twin daughters Gracie Jane and Alice Rose.

Ronnie continues: “I just love to be inspired and putting my ideas into action — whether it’s on a canvas or through my guitar or harmonica or whatever I’m playing.

“And I even try my hand at singing every now and again!”

Right now, says Ronnie, “I’m in my art studio preparing an exhibition and I’m getting rehearsals together with my band.

“I even had a little rehearsal with Mick because we’re keeping our hands in, keeping our chops together. So, it’s all go.”

The main purpose of our chat is, of course, all things Stones but you’ll hear more about his extra-curricular activities later.

I discover that Ronnie has a wonderfully old-school approach to tech — none of that new-fangled Zoom stuff for him — so he calls me on the dog and bone.

Which means that I have to go half way up a steep hill on the Cornish coast, not far from Land’s End, in an attempt to get decent signal.

Thankfully, the guitar legend comes through loud and clear — and full of enthusiasm.

First, he explains why the Stones have another new studio album of original material in the bag so soon after 2023’s Hackney Diamonds.

(If you remember, the previous one, A Bigger Bang, came out in 2005.)

He replies that American producer Andrew Watt “hadn’t finished with us and we hadn’t finished with him”.

“We just sparked the fire that was already cooking with Hackney Diamonds.”

Ronnie is quick to praise the 35-year-old producer with bleach-blond hair who has worked with Paul McCartney, Ozzy Osbourne, Lady Gaga and Post Malone.

“We’re on to a good one there,” he says. “The Stones haven’t had someone with so much input since Jimmy Miller.”

Praise indeed because Miller produced a stellar run of consecutive albums — Beggar’s Banquet, Let It Bleed, Sticky Fingers, Exile On Main St and Goat’s Head Soup — between 1968 and 1973.

Ronnie adds: “Andrew’s a big fan of ours and he knows what he’s talking about. He can play different instruments and knows my guitar playing better than I do.”

So what was the catalyst for Foreign Tongues? “We had a few tracks like Covered In You left over,” replies Ronnie.

“But basically we started reworking all these songs that Mick had been kicking around, some with Keith, and some by himself. Mick would come to us, saying, ‘Look, I’ve got this idea — let’s develop it’.

“The Stones are his plaything, so I just let him take the helm and get on with it. It’s great.”

Key to the success of Foreign Tongues, a big beast of an album with 14 tracks spanning 63 minutes, was a gathering in London to bring the project to fruition.

Ronnie explains: “We started working in New York at Electric Lady, then we took it to Henson studio in LA and messed around with it there — but we finished off the whole thing at Metropolis in Chiswick.

“It was a great feeling to be in London, to go down to the studio that was not far [from where I live] with all the boys there.”

Ronnie wallowed in the “great studio atmosphere” and was particularly chuffed to have an old mucker like Steve Winwood on board — “he was so lovely”.

Steve, who plays organ or piano on nine of the Foreign Tongues songs, came to prominence in the early Sixties as a fresh-faced teenager in The Spencer Davis Group.

Stints in Traffic and Blind Faith were followed by his hugely successful solo career with hit Eighties albums including Arc Of A Diver and Back In The High Life.

Ronnie says: “The Americans had Little Stevie Wonder and Britain had Little Stevie Winwood.

“I first met him at The Ship pub on Wardour Street and he’s one of the only musicians from my era who’s younger than me.” (Ronnie was born in 1947 and Steve a year later.)

Back in the day, The Ship was one of Ronnie’s favourite haunts because of its proximity to fabled music venues like The 100 Club and The Marquee.

He says: “I used to meet all the musicians in this packed little pub. Just up the road, I met Rod Stewart for the first time in the Intrepid Fox. He came up to me and went, ‘Hello Face!’ ”

They bonded over their mod-style haircuts, as you do, and soon started playing music together, first in The Jeff Beck Group and then, from 1969, The Faces.

In 1975, Ronnie left The Faces to land the job he’d dreamed of since he was a teenager — to become a member of the most rock and roll band on the planet, the Rolling Stones.

His first album as a full-time member with them was 1978’s Some Girls, a sleazy tour de force featuring some dazzling Keith Richards and Ronnie Wood guitar interplay, most notably on the ballad Beast Of Burden.

Which brings us neatly back to Foreign Tongues because it is drawing comparisons with that classic LP.

Ronnie says: “We like to keep the youthful feel we had in Paris when we were doing Some Girls and Emotional Rescue. There was a lot of energy on Respectable and Summer Romance, all those mad songs . . . and we still have that kind of energy going.

“I call this Foreign Tongues album ‘more solos for me, thanks Mick’ and he loves it.”

So which songs feature Ronnie solos? I venture. “There’s one on Back In Your Life which everyone seems to like,” he answers. “It’s the last one I did and there’s a lot of feeling there.

“I also enjoyed doing solos on Mr Charm, Side Effects, In The Stars and Hit Me On The Head.

“And there are lots of songs I loved to jam on, with me and Keith bouncing off each other.”

Hit Me On The Head is one of the few tracks saved from the Hackney Diamonds sessions, a breathless three-minute blast featuring much-missed drummer Charlie Watts.

Ronnie says: “We’ve got a few Charlie tracks saved and it’s lovely to keep his memory going with these little reminders.”

He adds that Steve Jordan, the powerhouse American drummer who stepped in after Charlie died in 2021 “loved Charlie so much and to pay tribute to him on Hackney Diamonds and Foreign Tongues is so great”.

I ask Ronnie which of the other new tracks he’s fond of.

He says: “I love Rough And Twisted which reminds me of my old Faces days — a modern-day blues.”

And he singles out yearning country song Ringing Hollow, which he and Mick gave a debut live airing to at this week’s album launch party in London.

“That’s a great one,” he says. “It reminds me of the songs inspired by the Stones’ first visits to America like Dead Flowers [also performed at the party], Wild Horses and Sweet Virginia.”

Ronnie’s a big fan of the Let It Bleed track Country Honk, a rustic, fiddle-drenched take on Honky Tonk Women, which he’s promising to play with his solo band at his forthcoming shows.

He says: “I’m a big fan of Merle Haggard and Hank Williams along with Chuck Berry and Muddy Waters — a little mix of country and blues.”

This brings us to the raw and authentic cover of Berry’s Beautiful Delilah, which closes Foreign Tongues, done in the style of Mississippi Fred McDowell.

Just Mick and Keith on 12-string guitars with empathetic drumming from Red Hot Chili Peppers’ Chad Smith. As with so many musicians of Ronnie’s generation, Berry was a massive influence.

“I used to have a dance in my bedroom when I was a kid,” he recalls. “Then I’d learn the solos just by ear.

“I was so inspired by this mystery man from America. In those days, you never saw a picture of Chuck Berry, Howlin’ Wolf or Jimmy Reed.

“When you did, it was like, ‘Wow!’ Like aliens come to life. Then, when I grew up, I got to hang out with them. It was a dream come true.

“Chuck came up to me once when I was on stage with him and said, ‘Where did you get that riff from?’ And I said, ‘From you!’ He nearly fell over.”

Next, we move on to Ronnie’s solo tour, organised because a gap appeared after the Stones ruled out live dates after Keith announced he was stepping back from touring.

He’ll be performing material from his storied life in music that includes The Jeff Beck Group, The Faces, the Stones and solo work — much of it gathered up in his recent retrospective album Fearless.

Ronnie will sing Seven Days, “the song Bob Dylan gave me, one of the special moments in my musical career.”

He will be reuniting with drummer Andy Newmark and bassist Willie Weeks for the first time in 50 years — “they’re playing as great as ever”.

His jaunts will take to Lucca in Italy, London’s Kentish Town Forum, Zurich, Cologne, Paris, Amsterdam, Barcelona and Lisbon. It all starts at an open-air shindig on the Royal Sandringham Estate in Norfolk on August 23, headlined by blues maestro Eric Clapton.

Ronnie adds: “Eric said, ‘Hey Ron, get a band together and come and join me at Sandringham!’

“That’s what spurred me on. I thought, ‘Wow! While I’m at it, I may as well get my favourite girl singers like Imelda May and Chanel Haynes’.”

If Stones and solo work wasn’t enough, Ronnie gives me an update on the mouthwatering prospect of a new Faces album — a further reunion with Rod Stewart after last year’s Glastonbury outing for Stay With Me.

“Rod loves what’s going on with us,” he says. “He has so much respect for the Stones and he’s gone his own Hollywood merry way.

“But we’ve been putting our heads together and rejoining the dots and getting some Faces stuff together again.

“Next year, we’re going to get stuck in and finish these tracks. We’ve got a lot on the hob and we’ll stir them up.”

Lastly, Ronnie reflects on the enduring appeal of both the Rolling Stones and The Beatles more than 60 years after they began their journeys.

Having just released his Andrew Watt-produced solo album The Boys Of Dungeon Lane, Paul McCartney returns on Foreign Tongues song Covered In You, following his bass cameo on Hackney Diamonds track Bite My Head Off.

Ronnie says: “I was just out with Paul recently and he was going, ‘Ron, ain’t it wonderful that we can still give this and keep making people happy. That’s what we do!’

“I said, ‘It’s so great Paul’, and he gave me a hug. He’s such a lovely man.

“We have that spirit going around in the Stones as well. There’s a lot of love there and a lot of respect.”

THE ROLLING STONES – Foreign Tongues

★★★★★

Caracas, July 9, 2026 (venezuelanalysis.com) –  Venezuelan Acting President Delcy Rodríguez has called on UK King Charles III to release her country’s gold reserves held at the Bank of England in order to finance relief and reconstruction efforts following the devastating earthquakes that struck Venezuela on June 24.

“I have decided to send a letter, among others, to the King of England asking for the release of the gold being held at the Bank of England. That gold belongs to our people and should be used to address the terrible, tragic consequences of the twin earthquakes,” Rodríguez said in a televised broadcast on Wednesday.

The acting president also revealed that she held a phone conversation with International Monetary Fund (IMF) Managing Director Kristalina Georgieva to discuss the release of Venezuelan resources that remain blocked by the institution.

Earlier on Wednesday, during a virtual meeting with the UN Office for the Coordination of Humanitarian Affairs (OCHA), Venezuelan Foreign Minister Yván Gil likewise urged countries holding Venezuelan assets abroad to “begin a process of releasing” those funds so they can be used for the country’s recovery.

Gil specifically referred to the gold reserves held by the Bank of England and Venezuelan funds blocked under US sanctions. Around 31 metric tons of gold, currently valued at approximately US $4.2 billion, remain frozen in London. In addition, nearly $5 billion in Special Drawing Rights (SDRs) allocated by the IMF in 2021 also remain inaccessible.

On Wednesday, Rodríguez and Georgieva reportedly discussed the use of Venezuela’s $350 million SDR reserve fund, which is different from the SDR allocation.

On June 25, the US Treasury’s Office of Foreign Assets Control (OFAC) issued General License 60, authorizing earthquake relief-related transactions until October. However, OFAC’s waiver does not authorize the unblocking of assets subject to US sanctions regulations or “any other transaction or activity prohibited by another Executive Order.”

Meanwhile, 113 prominent economists, including Isabella Weber, Jeffrey Sachs, and James K. Galbraith, signed an open letter calling for immediate action to “unfetter Venezuela’s humanitarian response and reconstruction from ongoing economic and financial sanctions, asset freezes, and onerous debt burdens.”

“We urge governments, international financial institutions, and creditors to act now, on the principle that lives, public health, and economic recovery take precedence over coercion and collection,” the statement read. The economists suggested mechanisms including emergency liquidity, sanctions relief, and debt cancellation as a “minimum response […] to allow Venezuelans to rebuild with dignity.”

Along similar lines, UN Emergency Relief Coordinator Tom Fletcher warned that the earthquakes are likely to generate “a very difficult economic situation” that could reduce Venezuela’s GDP by “several percentage points,” arguing that sanctions “must be eased so they do not hinder the arrival of humanitarian assistance or recovery efforts.”

Fletcher added that during emergencies, access to financial resources, banking channels, and international cooperation mechanisms can determine how quickly aid, supplies, and reconstruction funding reach affected communities.

Preliminary assessments by the United Nations Development Programme (UNDP) estimate infrastructure and essential services losses at approximately US$6.7 billion. However, the final figure could reach $8.7 billion, depending on housing and asset losses, and the estimates do not include the full extent of infrastructure damage or the long-term reconstruction costs.

For its part, the UN Office for Disaster Risk Reduction (UNDRR) estimates that rebuilding Venezuela will require approximately $37 billion. According to its assessment, $24 billion would be needed to replace damaged buildings—including homes, schools, businesses, and hospitals—while another $13 billion would be required to repair critical infrastructure such as telecommunications, highways, and electricity networks.

Different analyses have placed the recovery costs between $12 and $20 billion.

So far, however, the Trump administration has pledged $300 million in humanitarian assistance, whereas Venezuela’s US-based frozen assets are valued at $11-13 billion. The White House also retains control over Venezuela’s oil export revenues, returning a portion of the funds to Caracas at its discretion.

Rodríguez announced on Wednesday that countries offering humanitarian aid can monitor its distribution through a digital platform used to coordinate deliveries across the 87 temporary shelters established for displaced families throughout the country. The acting president has vowed to prioritize the well-being of families who lost their homes and to provide new housing solutions in the coming months.

The latest official update placed the death toll from the earthquakes at 3,889, while the number of injured remains at 16,740 and the number of displaced people stands at 17,907.

Edited by Ricardo Vaz in Caracas.

July 9 (UPI) — Venezuelan interim President Delcy Rodríguez said she will send a formal letter to King Charles III, seeking release of the country’s gold reserves at the Bank of England, asserting the assets are needed to finance recovery efforts after the deadly June 24 earthquakes.

During a videoconference Wednesday with officials overseeing 87 temporary camps established for earthquake survivors, Rodríguez said she had begun direct international efforts to recover frozen Venezuelan assets and use them to respond to the disaster.

“That gold belongs to our people and should be used to address the terrible, tragic consequences of these twin earthquakes,” Rodríguez said, according to TeleSur.

She also renewed calls for an end to sanctions against Venezuela, arguing the country has financial resources frozen abroad that could be used to fund reconstruction after the disaster, which has killed 3,800 people.

In addition to appealing directly to the British monarch, Rodríguez said she is also in talks with International Monetary Fund Managing Director Kristalina Georgieva.

She said the goal is to unlock about $3.568 billion in Special Drawing Rights held by Venezuela at the IMF.

Venezuela’s gold reserves remain in custody at the Bank of England. According to Deutsche Welle, U.K. courts previously rejected transferring control of the assets to Nicolás Maduro’s administration after determining it was not the country’s legitimate government.

Rodríguez became interim president in January after Maduro was captured by U.S. military forces.

Separately, Venezuelan Foreign Minister Iván Gil called Wednesday for the release of Venezuelan state assets frozen abroad during a virtual meeting with the United Nations Office for the Coordination of Humanitarian Affairs.

“We have accounts belonging to the Venezuelan state in different parts of the world that have been frozen as a result of illegal sanctions,” Gil said, according to NTV24.

U.N. Under-Secretary-General for Humanitarian Affairs and Emergency Relief Coordinator Tom Fletcher, who is in Venezuela, said the scale of the disaster prompted the United Nations to launch an urgent appeal for $296 million to support relief operations after the earthquakes.

According to multiple media reports, tracked international financial assistance pledged or delivered to Venezuela has exceeded $600 million through multiple donors and aid channels.

The U.S. State Department said it has committed more than $386 million in direct humanitarian assistance. The aid includes more than 400 metric tons of supplies, including hygiene kits, emergency shelter materials and food.

The assistance is being distributed through the Red Cross, UNICEF and the U.N. World Food Program rather than through Venezuela’s central government.

Despite those contributions, the financial challenge remains immense. U.N. estimates place total physical damage to homes, schools, hospitals and other infrastructure at about $37 billion, meaning the international aid received so far covers only the initial emergency response, including medical care and temporary shelter for displaced residents.

MADISON, Wis. — The Wisconsin Supreme Court on Tuesday rejected an attempt by a conservative activist to obtain guardianship records in an effort to find ineligible voters in the presidential battleground state.

The case has been wending its way through the courts for years and stems from attempts by conservatives to overturn President Biden’s victory in Wisconsin over President Trump in 2020.

Here’s what to know:

A conservative activist brought the case

The case tested the line between protecting personal privacy rights and ensuring that ineligible people can’t vote.

Former travel executive Ron Heuer and a group he leads, the Wisconsin Voter Alliance, brought the lawsuit in 2022 alleging that the number of ineligible voters doesn’t match the count on Wisconsin’s voter registration list. The lawsuit doesn’t specify how many people could be affected.

In Wisconsin, a guardianship order is granted by a court giving a person certain legal rights over another who is determined to be unable to make decisions about their life. A court has the power to remove the right to vote from a person under a guardianship order if the person is determined to be unable to understand “the objective of the election process.”

Heuer asked the state Supreme Court to rule that counties must release records filed when a judge determines that someone isn’t competent to vote so that those names can be compared to the voter registration list.

Heuer’s attorney, Erick Kaardal, argued that privacy concerns could be balanced with the public’s right to access government records by redacting identifying or sensitive information on the forms.

But the attorney for Walworth County said those seeking access to the records wanted to cross-check ineligible voters against the names of those registered. They can’t do that, attorney Sam Hall said during oral arguments, without releasing the person’s name and address.

Hall praised the ruling, saying it “protects the privacy of vulnerable individuals while preserving their dignity.”

Kaardal did not immediately return an email seeking comment.

The Wisconsin Freedom of Information Council, which advocates for public access to documents but did not take a position on this case, said the court’s decision was “narrowly tailored and should not have a huge impact.”

The council praised the court for clarifying the standard for deciding similar cases in the future, but that “it’s always disappointing when access to public information is curtailed.”

Signs supporting Judge Susan Crawford, and voting and election officials adorn the front yard of a home on South 16th Street on election day April 1, 2025, in Milwaukee.

(Kayla Wolf / Associated Press)

Liberal justices who control Wisconsin Supreme Court reject the case

In the 5-2 ruling on Tuesday, the Wisconsin Supreme Court’s liberal majority along with conservative Justice Brian Hagedorn ruled that the records are not public as the conservative activist had claimed.

The court took the case after two lower state appeals courts issued divergent rulings. One appeals court, based in Madison, denied access to the records while another appeals court, based in Waukesha, said in 2023 that the records should be made public.

It ordered Walworth County to release them with birth dates and case numbers redacted.

The Supreme Court overturned the appeals court ruling that the records should be made public.

State law is clear that the records being sought are not public and “the Alliance has no right to the records,” Justice Janet Protasiewicz wrote for the majority.

Conservative justices Annette Ziegler and Rebecca Bradley dissented, saying the court adopted “an overbroad and unworkable definition of what records pertain to a finding of incompetency” to include the forms that indicate a person has been found ineligible to vote.

Those forms are not pertinent to the finding of incompetency and are therefore subject to the open records law, Ziegler and Bradley wrote.

The case was one of several targeting the 2020 election

The case was an attempt by those who questioned the outcome of the 2020 presidential race to cast doubt on the integrity of elections in the presidential swing state. Heuer and the WVA filed lawsuits in 13 Wisconsin counties in 2022 seeking guardianship records.

Heuer and the WVA have pushed conspiracy theories about the 2020 election in a failed attempt to overturn Biden’s win in Wisconsin. Heuer was hired as an investigator in the discredited 2020 election probe led by former Wisconsin Supreme Court Justice Michael Gableman. The probe found no evidence of fraud or abuse that would have changed the election results.

The WVA also filed two unsuccessful lawsuits that sought to overturn Biden’s win in Wisconsin.

Trump won Wisconsin in 2024 after losing in 2020

Biden defeated Trump by nearly 21,000 votes in Wisconsin in 2020, a result that has withstood independent and partisan audits and reviews, as well as lawsuits and the recounts Trump requested. Trump won Wisconsin in 2024 by about 29,000 votes.

There are no pending lawsuits challenging the results of the 2024 election or calls to investigate the outcome.

Bauer writes for the Associated Press.

July 2 (UPI) — The couple who climbed to the top of the Empire State Building’s spire to hang a flag and get engaged was arraigned and released Thursday morning.

Angelina Nikolau and Ivan Kuznetsov were charged with burglary, reckless endangerment, criminal mischief and criminal tampering for trespassing in a nonpublic area of the building and scaling the spire, ABC News and the New York Daily News reported.

The couple has made a name for themselves with a series of dangerous climbs around the world, but making it to the top of the Empire State Building gained national attention — and they were arrested when they climbed down.

“These activities continually create a risk to their own lives, as well as the lives of New Yorkers and first responders,” Assistant District Attorney Anthony Giliberti told reporters.

Prosecutors told the court that they believe the duo observed a security door to the building’s 104th floor with a broken lock, accessed it and climbed to the top of the spire.

Although Kuznetsov’s father said that they had already been officially married — and that the proposal at the top of the building was just a stunt — after hanging a flag at the top of the spire, Ivan got down on one knee and asked Nikolau to marry him.

Nikolau and Kuznetsov have been released on supervised bail ahead of their trial.

A Florida judge set a $1 million bond for former Detroit Lions cornerback Terrion Arnold, who has been in jail since being arrested last week in connection to an alleged armed attack on a group of men in Tampa, Fla., in February.

Arnold will not have to wear an ankle monitor while he awaits trail on eight felony charges of kidnapping and robbery that could keep him in prison for life if convicted, thus clearing the way for him to practice and play football during that span.

He won’t be doing so, however, with the team that drafted him at No. 24 overall in the 2024 draft. The Lions announced Monday afternoon on X that they have released Arnold, with no other details provided.

Hillsborough County Judge Christopher C. Sabella said during Monday’s hearing that Arnold already has a “paparazzi monitor” that would prevent any potential attempts to flee.

“If he is late for practice, ESPN will let us know,” Sabella said. “If he violates the conditions of his bond, he will be found.”

Arnold was ordered to remain at his Tallahassee home except for when he’s playing, training and traveling with the Lions. He also has to turn in his passport and cannot have any contact with other people tied to the case.

The Hillsborough County state attorney’s office had argued for Arnold to remain behind bars until trial. The county jail’s inmate tracker has not been updated and does not indicate if he has posted bond or been released.

According to the Tampa Police Department, Arnold is believed to be the “primary conspirator” in an alleged plot that left three young men with “visible injuries from being battered, held at gunpoint, and pistol-whipped before their personal property was stolen and they were ordered to leave.”

Arnold turned himself in Wednesday night and pleaded not guilty at his arraignment hearing Thursday afternoon.

“Today’s ruling by Judge Sabella confirms that there is very little evidence to even suggest any criminal involvement by Mr. Arnold,” Denise White, chief executive of EAG Sports Management, which represents Arnold, said in a statement emailed to The Times.

The Associated Press contributed to this report.

Thousands of Kurds in Turkiye rallied to demand the release of PKK leader Abdullah Öcalan and other prisoners. Ocalan has been imprisoned since 1999 for leading a decades-long armed insurgency against the Turkish state. The PKK and Ocalan renounced any armed struggle against Turkiye last year.