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What does it mean when a Sunset Strip hotel installs a white pool table with gold balls and puts a swing set on the roof?

It means that Ian Schrager, the New York lifestyle entrepreneur who co-founded Studio 54, is again reaching west to try some new ideas.

This time, his new hotel property is known as the Public West Hollywood. It opened Oct. 30, occupying the same 1962 building that was home to the Standard Hotel from 1999 to 2021.

Though rates start at about $450, Schrager said he is guided by the idea of “luxury for all.” The hotel, which also goes by PUBLIC, includes 137 guest rooms and suites and plenty of cultural and health-and-wellness programming, including Pilates, sound baths and DJs. There’s a bakery/coffee shop, a lobby bar and restaurant, a poolside scene festooned with greenery. There’s a small club called Studio with black velvet walls and six Renaissance portrait “paintings” in ornate frames. (If you watch those portraits carefully, you may see their expressions change.)

And then there’s the roof.

Faced with a snug property that has already been declared a protected local cultural resource, Schrager persuaded West Hollywood officials to let him reinforce some walls and open the hotel’s roof up as a 14,000-square-foot park-like area for up to 400 guests. Surfaced with artificial turf and pebbles, it has a swing set, firepits, picnic tables, a running track, a bar, a 30-foot-wide screen for movies and panoramic views of the Hollywood Hills and city skyline. (Non-hotel guests can access the area until 5 p.m. by buying a $35 day pass.)

“Approximately 75% of the public space in the hotel is outdoors,” Schrager said. “We feel that’s just the right thing to do when you’re in Southern California. It brought another dimension to the hotel.”

Yet Schrager confessed that he’s still not exactly sure how that will work.

“We never know how people are going to use the space,” Schrager said. “We do the best we can … and then we make adjustments.”

The Public’s building, a three-story structure by Midcentury Modernist architect Herbert R. Kameon, opened as the Thunderbird Inn and featured wave-shaped balcony walls, which remain. Later it became the Hollywood Sunset Hotel, then the Golden Crest retirement home. Its profile grew when the Standard Hotel, a venture by André Balazs, opened in 1999 and raised eyebrows with its upside-down sign, a DJ booth next to the front desk, a poolside deck covered in blue artificial turf and (as shown in a 2000 episode of “Sex and the City”) a glass box in its lobby, which often contained models and actors in provocative poses. After the Standard shut down, the building fell idle for years.

Its new incarnation features design contributions from Schrager and British minimalist designer John Pawson and departs from upscale boutique hotel tradition in several ways.

The lobby floor is white, the furniture supplying pops of blue, green and red. The front desk is a trio of pink podiums (one for self-check-in, two to be staffed). The luminous LED lighting in public rooms and corridors hints at a UFO arrival and pays homage to artists James Turrell and Dan Flavin. Room service is limited because, Schrager said, the cost of delivering a soft-boiled egg to someone’s room makes no sense for anyone anymore.

“I think really what’s important is that everybody who is working at the hotel is personable, is friendly, is charming and genuinely interested in being helpful,” Schrager said. “I think that’s more important than the gold buttons, gold epaulets and all the other accoutrements.”

As much as he loves coming up with design ideas, Schrager said, most are “a little bit like the special effects in a movie. They can make a good movie better, but they can’t make a bad movie good.”

In the Public Hotel’s guest rooms, almost everything is white and there are no visible TVs. Instead, each room has a bench housing an angled projector. Click your remote control and you have an 11-foot-wide image on a white wall — a sort of private screening room.

“I couldn’t bear to have a big, black ugly TV on the wall in my pristine hotel room,” Schrager said, adding that “it’s going to change the industry. Everyone’s going to do that and get rid of the television because it just makes sense.”

Schrager, 80, speaks with a thick Brooklyn accent. He won wide attention as co-owner of the New York night club Studio 54, which opened in April 1977, nearly 50 years ago. Though it lasted just under three years, that scene became an emblem of its era, but it ended poorly for Schrager. In 1980, he was convicted of tax evasion and served about a year in federal prison. In 2017 — after reinventing himself as a hotelier, achieving sustained success and expressing remorse — he was pardoned in 2017 by President Obama.

“I wanted it for my family,” Schrager told the New York Times. “It’s hard to be a good example for your kids when you did something like what I did, and you try to teach your kids to live by the rules and be an upstanding person.”

Schrager’s rise in the hotel business was steep. In 1984, he and business partner Steve Rubell opened Morgans Hotel, a pioneer in the “boutique hotel” category. Soon Schrager and Rubell expanded Morgans Hotel Group to include the Royalton and Paramount hotels in Manhattan and the redesigned Mondrian (now known as the Valorian) in Los Angeles. After selling his interest in Morgans Hotel Group, Schrager teamed with Marriott International to build that company’s Edition brand, including the Edition hotel that has been in business on Sunset in West Hollywood since 2019.

With the Public in WeHo, Schrager is building yet another brand, one which already includes New York’s Public Hotel (opened in 2017). Schrager’s partner in Public Hotels is Highgate Hotels, a New York-based global hotel that is handling financing and management while Schrager focuses on “branding, marketing and creating the vibe.” If all goes to plan, Schrager said, Public will soon open three more hotels in Manhattan, the first within 18 months.

But first, he needs to help introduce the Public to West Hollywood. In the run-up to opening, the New York-based Schrager said, he’s been visiting L.A. weekly for the last few months.

And since his own hotel was unfinished, where has he been sleeping?

“I hate to say this. The Four Seasons.”

“L.A. is a city of conflicting realities,” says gallerist Jeni Abramson, and she likes it that way. Evolving directly from Don’t Look Projects — the residency and project space Abramson ran alongside Omar Yousif from 2024 through early 2026 — her eponymous gallery establishes a rigorous, intellectually charged platform dedicated to contemporary photography, multimedia and conceptual art. “I’m drawn to artists whose work examines how political, economic and technological systems operate through images, whether that’s an artist working with archives, surveillance, AI, or the accumulated weight of decades spent looking at the world through a lens,” she says. “My own formation, moving between very different political and economic systems, shapes how I read that work.”

The gallery inaugurated this vision with “Remains of the Day,” presenting more than 50 years of work by Michel Auder — capturing unvarnished, intimate fragments of Andy Warhol’s Factory, his marriages to Viva and Cindy Sherman, and decades of well-chronicled and timelessly sensual bohemian life — organized with support from Hamza Walker, Abramson’s neighbor at the nearby kunsthalle the Brick, and an exceptionally talented archive-wrangler.

The gallery’s November-December presentation is “Meat Ghost,” a solo exhibition of new work by research-based multidisciplinary artist Jen Liu.

Shaped by coming of age in post-Soviet Eastern Europe, where underground electronic music offered a vital bridge between fractured systems, Abramson approaches visual culture with a sharp, systems-aware lens. That critical framework finds a natural home in Los Angeles, particularly when it comes to the city’s complex legacy of CalArts conceptualism, the entertainment industry’s image machinery and the city’s enduring subterranean countercultures. Operating outside the speculative frenzy of the ultra-high-end marketplace, Abramson says, “The collectors I work with don’t approach art as an asset class. They collect for deeply personal reasons.”

Serbians stormed a TV studio and confronted its editor-in-chief after a student-led protest movement swept into power during national elections. A regional public broadcaster also apologised for years of one-sided reporting, raising hopes for a new era in the country’s media.

Published On 29 Oct 202629 Oct 2026

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A Michigan man and former studio engineer is facing the music for his theft of rapper Eminem’s unreleased works.

Joseph Strange, a 48-year-old Michigan resident, pleaded guilty to criminal copyright infringement and will be sentenced to prison in January, the Department of Justice announced Thursday. He faces up to five years in prison. Federal prosecutors accused Strange in March 2025 of stealing and selling unreleased work by Eminem (legal name Marshall Mathers III).

An attorney for Strange did not immediately respond Friday to The Times’ request for comment, but told Variety in a statement that his client is a “good” man and his “children have suffered greatly in all of this.” The attorney said the case is “far more complicated and nuanced matter” beyond the theft.

“Nevertheless, my client has taken accountability for what he has done, has tremendous remorse for what has happened to his family,” the attorney reportedly added, “and has great faith, as do I, in the judges of our district to see this case for what it is.”

A spokesperson for 15-time Grammy winner, maker of hits “The Monster” and “Lose Yourself,” did not comment.

Strange was charged in 2025 with copyright infringement and interstate transportation of stolen goods, federal prosecutors announced. Investigators said at the time that more than 25 songs had been played or distributed online without permission from Eminem or the group that owns his music, Capitol Labels Group. Investigators discovered the music on password-protected hard drives stored in a safe at Eminem’s studio in Ferndale, Mich., an FBI affidavit said. At the time, an attorney for Strange denied the “untested allegations.”

The charges against Strange arose after studio employees alerted the FBI of the theft in January 2025, alleging the unfinished releases were shared to a number of online platforms. Files from a hard drive in a safe were transferred to an external hard drive in October 2019 and January 2020, around the time when Strange was working at the studio.

A Canadian resident informed investigators that he purchased 25 unreleased Eminem songs from Strange for about $50,000 in Bitcoin and that he raised the funds through the support of a group of Eminem fans. He also claimed Strange also put some of Eminem’s handwritten lyrics up for sale.

The affidavit says a federal search of Strange’s home in January 2025 led to the discovery of numerous lyric sheets and notes handwritten by Eminem, a VHS tape of an unreleased video and hard drives with about 12,000 audio files.

“Joseph Strange abused a position of trust to unlawfully copy and sell unreleased music belonging to Eminem, profiting from works that were not yet authorized for public distribution,” said A. Tysen Duva, assistant attorney general for the Department of Justice Criminal Division. “His conduct undermined both legal and artistic rights.”

The Associated Press contributed to this report.

One of Hollywood’s legendary music recording studios is for sale as its owner prepares to end his half-century run immortalizing many of the biggest acts.

The list of household names who have recorded at Conway Recording Studios spans generations and genres. Burt Bacharach, Fleetwood Mac, Stevie Wonder, U2, Guns N’ Roses, Daft Punk, Taylor Swift and Kendrick Lamar are just a few of the artists who have recorded there.

While many studios have struggled, the unique space has attracted big names for decades.

Digital production tools and home studios have eliminated much of the need for traditional recording space, allowing artists to produce professional-quality music almost anywhere, real estate data provider CoStar said.

The digital revolution rocked the analog world of art, media and communication on a scale the industrial revolution did to agrarian and handicraft economies more than a century ago. The advent of Pro Tools recording software in the 1990s and the rise of music streaming services in the early aughts irrevocably changed the business.

Yet industry veterans say surviving facilities with expansive live rooms, vintage gear and decades of recording history may be becoming more valuable as they become harder to replicate. U.S. recorded-music revenue rose 7% to $6 billion in the first half of 2026, according to the Recording Industry Assn. of America. Streaming, physical formats and licensing all posted gains.

Conway Recording Studios is a jungly hideaway on bustling Melrose Avenue created by a transplant from chilly Buffalo, N.Y., who arrived in the 1970s with a vision to create an L.A.-style oasis in the middle of the city where he could pursue his craft as a sound engineer.

“I moved to California to be outside in the warm,” Buddy Brundo said. “I like sunlight.”

He defied recording studio conventions by bringing in natural light through large, soundproof windows instead of working in chambers sealed on all sides.

“You kind of feel like you’re in Hawaii or somewhere else,” at Conway studios, said entertainment real estate broker Nicole Mihalka of CBRE. “That’s what’s kept Conway so busy over the years.”

Among the musicians who came to work there lately was Korean pop group BTS, the subject of a Netflix documentary released in March that followed the young men as they recorded their comeback album “Arirang” after completing their military service.

Brundo appears in the film.

Taylor Swift is a regular and once created a run on company merchandise by wearing a Conway Recording Studios sweatshirt in public.

People have asked Brundo for years when he might sell the studio he has operated since 1976, said Mihalka, who has the listing.

“Ten years ago I wouldn’t even think about this,” Brundo said. Now, “I’m 83, and how long can I keep this up? It’s best to walk away while I still can.”

He works out three times a week and appears fit, jumping up to play air guitar to Mötley Crüe’s “Girls, Girls, Girls” while showing off the powerful sound system in Studio B. The band recorded the hit 1987 album of the same name at Conway Studios, where members arrived by motorcycle.

Brundo is asking $15 million for the property that spans more than an acre on the edge of Melrose Hill, a niche neighborhood at Melrose and Western avenues known for its trendy restaurants.

It includes three studios, offices, tons of recording equipment, including two grand pianos, lounges, and a kitchen that pointedly lacks a stove.

“Every studio I worked with had a stove, and the kitchen was a mess,” Brundo said.

Not that he hasn’t gone out of his way to accommodate his clients. Years ago he shrank his own office to enlarge a lounge for a singer-songwriter who needed space to camp out.

“Courtney Love wanted to book a bunch of time,” but also wanted a place to unwind outside the studio. “We lived here for two months with the kids and the clothes.”

One of his studio innovations was an air-conditioning and filtration system that whooshes out smoke and neutralizes it with charcoal filters and blue lights that kill bacteria, because the official smoking policy is “whatever they want,” he said. On a recent afternoon, a strong scent of cannabis came from Studio A.

To create his rambling California oasis in the middle of a busy neighborhood, Brundo acquired house after house on the south side of his lot over the years so he could keep expanding. He bought and tore down 10 of them.

“Each house was a battle,” he said, particularly one where the owners had an issue with guitarist and outdoorsman Ted Nugent, who accidentally shot an arrow into their yard.

Brundo had set up a Styrofoam deer and a bear on the back of his property to entertain archer Nugent. The musician missed a shot and his arrow passed through the fence and came close to striking a neighbor in her backyard as her husband stood nearby.

“He was really pissed off,” Brundo said of his neighbor. It took Brundo another year to buy the neighbors’ house “because the price went up,” he said.

Today, the foliage a full-time groundskeeper tends has grown tall and thick. Sleek cats roam the grounds.

The parking lot is large for the studio’s size, and its 59 striped spaces have accommodated about $2 million worth of fancy cars at a time, Brundo estimated. It’s also big enough for basketball games, and Brundo recently painted a full court on the asphalt so singer The Weeknd could play ball during downtime.

While the property could be turned to other uses such as stores and housing, Brundo hopes to sell it to someone who will keep the music going even as times change.

The recent backlash against AI-generated music has prompted “a reversion back to the real” with bands using more instruments and needing more space to record, Mihalka said. “There are fewer studios now where you can actually do this.”

BILLIE EILISH is gearing up for a return in 2027 – and planning to perform on the biggest stages of her career so far.

I have been told the American singer has almost completed work on her fourth studio album, and a tour is also in the works to coincide with its release next year.

The last time Billie performed in the UK, she sold out six nights at London’s O2 Arena, four at Manchester’s Co-op Live, as well as two in Dublin’s 3Arena.

But now she is hoping to go even bigger, with her team in talks for major stadium concerts and festivals in 2027 and 2028.

My music insider explained: “Billie has been hard at work on her fourth album this year and her team are already putting a plan together for its rollout.

“She has grown and grown in popularity, and promoters are speaking to her team about putting on the biggest shows of her career.

“She has the popularity to be a stadium act now and sell out massive venues.

“On her first few tours, her team were conscious that she was very young and didn’t want to overwhelm her with venues which were too big, too early on.

“But Billie is in a really good place and she is raring to get out on the road again.”

Remarkably, next year will also mark ten years since her debut EP, Don’t Smile At Me, which was released when she was just 15.

Billie has had an incredible career so far, scoring three No1 albums.

She released her debut When We All Fall Asleep, Where Do We Go? in 2019, followed by 2021’s Happier Than Ever and 2024’s Hit Me Hard And Soft. Meanwhile, her 14 Top Ten singles include No Time To Die, What Was I Made For and Guess, with Charli XCX.

She has also won ten Grammys — including Song Of The Year three times since 2020 — as well as two Oscars and two Golden Globes.

In April, Billie commented on the progress on her fourth album, saying: “We’re more than halfway.”

She took time out over the summer to shoot a movie adaptation of The Bell Jar.

But from what I’ve been told, there isn’t too long to go before we get to hear a few more tunes from her.