voice

BECKY Hill has taken a swipe at The Voice bosses as she opened up about how she has missed out on becoming a coach on the show.

The Loose Control singer, 32, shot to fame on the first series of the ITV show back in 2012 when she was 18-years-old.

The current series of The Voice is airing on our screens, with coaches Sir Tom Jones, will.i.am, Kelly Rowland, Tom Fletcher and Danny Jones.

Capital FM host Jimmy Hill was interested to know if Becky would ever return to the singing programme after it was revealed Sir Tom was axed last month.

Jimmy asked her: “Would you ever go on The Voice as a coach?”

Becky replied: “I don’t think the show would have me on.”

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She continued: “Because I had an interview with them a few years ago because they were having a fifth chair.

“And in the interview I said well I’m the only success story from The Voice and there is a reason for that because you have talented people on your show.

“You make a TV show out of them, and then you don’t help them out afterwards.

“I remember being 18 and having to knock on so many doors when I was that age, but there were so many people on that show in my year, that were contestants that didn’t have that experience, kind of came off the show feeling like they had a normal job.

“They were then shoved on TV in front of 12 million people and then they were just spat back out.

“And I would wonder whether me saying to The Voice I would like to help artists. I don’t just want to be employed to be like ‘When it was me, I know how you feel’.

“Because I know that that’s what they’re going to try and get me to do.

“I would love to help people out and make people into, introduce them to people.

“Never got a callback. So I don’t think it’s a case of ‘Would you do The Voice?’

“I think it’s a question of would The Voice do me?”

When Becky appeared on The Voice in 2012 the show aired on BBC One and was presented by Holly Willoughby and Reggie Yates.

The coaches were will.i.am, Sir Tom Jones, Jessie J and Danny O’Donoghue.

The series was won by Leanne Mitchell.

The Voice has now aired 14 series since then and it recently hit headlines after it was revealed that Sir Tom Jones was axed.

A source told us at the time “ITV absolutely love Sir Tom and they’re working very hard behind the scenes to make this work.”

The Sun previously revealed rapper Aitch was to replace McFly duo Danny Jones and Tom Fletcher, who are leaving the show.

Former Girls Aloud singer Cheryl is also set to make her primetime TV comeback as a coach, while rapper will.i.am is returning with Kelly Rowland.

A source said: “Everyone loves Sir Tom but there was a feeling that the upcoming series needed a major refresh.

“With Aitch and Cheryl coming on board and Kelly returning with will.i.am, there just wasn’t a seat going.”

Becky is best known for songs such as Remember, Crazy What Love Can Do, Gecko (Overdrive) and Wish You Well.

Sept. 30, 2026 3:01 AM PT

Summer mornings in the Hill Tracts region of Bangladesh are a respite from the dissonance of honking cars and construction of the capital city of Dhaka. It was a welcome change to hear chickens and the sound of … wait, was that Julie Andrews’ voice echoing over the hills?

I was visiting my home country when I heard a group of schoolchildren playing ektaras, a traditional string instrument, and singing the “Do-Re-Mi” song for their morning assembly.

I used my phone to show them a picture of Andrews. “Do you know her?” They immediately leaped in excitement. They didn’t know the composer Richard Rodgers or lyricist Oscar Hammerstein II. But they knew Andrews — even though 60 years have passed since “The Sound of Music” and these children live in a remote Bangladeshi village. The recognition is evidence of something extraordinary.

Andrews is turning 91 on Thursday, and there are calls online to bubble wrap her, just in case. She is indeed a global treasure, and she has been earning plaudits and admirers for eight decades.

Andrews trained in the Italian bel canto tradition and from a young age sang challenging coloratura arias with precision, clarity and range. The bright, happy tone, perhaps a subconscious decision rather than anatomical alone, provided her respite from the doodlebug bombs that fell during her childhood in England in World War II. British critics had dubbed her as the “youngest prima donna,” a title usually reserved for opera greats, and it wasn’t undeserved. At just 12, she routinely floated high Fs above the treble staff during live performances.

Yet before opera could claim her, Broadway stepped in. From “The Boy Friend” to “My Fair Lady” and then “Camelot,” she won the hearts of theater goers and creators alike. Lyricist Alan Lerner described her as “an amazingly quick study in music … who meets any challenge with an unabated eyelid that makes you wonder how Britain ever lost the empire.”

Her voice then was so precise that the late maestro André Previn, who led the London Symphony Orchestra, proclaimed: “No one’s diction in any field of singing can come close. … You understand every syllable from the second balcony — I don’t understand how you do that.”

It’s inaccurate to romanticize her legacy in 2026 as simply nostalgic. That would overlook the depth and progressive nature of her characters. She was essentially the first female superhero on the big screen, as Mary Poppins — who could fly and create alternate realities with the snap of her heels, but whose more stunning superpower at the height of the Cold War was to charmingly portray capitalism as dangerous.

In “Victor/Victoria,” she navigated a gender-bending performance that challenged societal norms, playing a woman who impersonates a man impersonating a woman when it was taboo to speak about any layer of that. Her most overlooked and perhaps her best dramatic role was in “Duet for One,” a 1986 film about a musician who suffers from multiple sclerosis. Tragically this became a moment of life imitating art, foreshadowing her own destiny to lose her instrument after throat surgery in 1997.

Rather than retreat, Andrews adjusted and leaned into voice acting with characters like the dominant Queen Lillian in “Shrek” films, Gru’s hilariously villainous mother in “Despicable Me” and the mysterious Lady Whistledown in “Bridgerton,” for which she won an Emmy, twice.

In real life, the flying super governess fought to adopt two babies from Vietnam just after the fall of Saigon, helping to raise awareness of the need for adoptive parents. She then co-founded the Operation USA disaster relief charity and opened the Japanese wing for the United Nations Development Fund for Women.

Whether it was to support UNICEF after the devastating Bhola cyclone hit present-day Bangladesh in 1970 or jetting to Jordan and Senegal to support women’s and children’s activities, she was a quiet champion for the underserved. In her most famous role, in “The Sound of Music,” she was a savior for children being displaced by war.

Andrews is mostly out of the public eye, but her singing is eternal and accessible. YouTube is home to a trove of Andrews performances, including “This Is My Beloved” from “Kismet,” full-voiced “When You Wish Upon a Star,” from pianissimos to fortes, high B-flats and all — her classical skill shines through. These recordings remind us that beyond just the formulaic legato phrasing that singers from the Italian tradition follow, and the clear resonance, her work it set a gold standard for musical storytelling that few have surpassed since.

Julie Andrews is no longer trilling on the Alps, nor is she reprising her role as queen of Genovia in a “Princess Diaries” film, but her voice, and what it represented for more than 80 years, endures. It lives on not just in films and recordings but also ringing in the minds of children and adults alike, from her hometown of Walton-on-Thames to the Hill Tracts of Bangladesh. In an age of doom scrolling (and alarmingly low singing standards), her vast career offers a rare resonance and a continuing masterclass.

Shams-il Arefin Islam, a Yale-Berkeley College associate fellow who works on climate mitigation and adaptation, is a classically trained tenor.

Octavia Hughes asked for help in the days before her death. She leaves behind an eight-year-old daughter

A beloved mum and former stylist on The Voice went to the doctor three times in the days before her death, but was told she had a migraine and to go home.

Octavia Hughes died from a bleed on the brain after being rushed to hospital with stroke symptoms caused by a torn artery in her neck. The 38-year-old, known as ‘Tav’, leaves behind her eight-year-old daughter Dolly and a community of grieving family and friends.

Hospital bosses have offered their condolences to Octavia’s family and said they will “do all we can” to give them answers. Octavia, a fashion designer and owner of a popular second-hand clothing shop in Whitstable, had started getting headaches while walking at Manchester Fashion Week in early September.

She first sought medical help on September 14, when she went to her GP and was reportedly told she was having a migraine and sent home. The mum-of-one also called 111 before attending A&E at the QEQM Hospital in Margate the next day, and was told the same thing, according to friend Paula Chappell.

When her condition did not improve, she went back to A&E on September 17, but was again reportedly sent home. Her family say that the next morning, Octavia woke up with stroke symptoms and was rushed to Kent and Canterbury Hospital, where she had emergency surgery. It is understood that her stroke was caused by a torn artery in her neck.

Octavia then suffered a bleed on the brain and was transferred to King’s College Hospital in London where – despite medics’ best efforts – her family was told there was nothing they could do. Octavia’s organs were donated while she stayed on life support, and she died on September 23.

Paula said: “I think that’s what’s so horrific is that we should have never got to the point we did on Friday. By the time we got to that point, we were just on a downward spiral. She was never a complainer. She wasn’t one of those people who moan about not being well. She’d be a trooper.

“She was walking at Manchester Fashion Week the weekend before, even when the headaches had started to come on. She would never go to the GP, never complain and was definitely not someone that would go three times for no reason.”

Her sudden death has now left friends and family to care for Dolly. “They were little mini besties,” said Paula, who runs an art gallery and met Octavia eight years ago. She would feature on her socials all the time. We all adore our children, I know we do, but their bond was something I’ve never seen.

“We’ve got Dolly to look after and that’s the focus now, to try and make sure that we can get the funds so she can still do the things that Tav would have done with her. We just need to make sure there’s a small bit of financial security in the interim, whilst everything is going on, so we don’t always have to worry about finances as well.”

Paula set up a fundraiser which has already amassed more than £26,000 in donations. “I can’t believe it,” she said. “It shows us how much she was loved by people who didn’t even know her.”

Octavia studied fashion promotion at Southampton Solent University. Her first job after uni was as a stylist’s assistant on The Voice UK, before she worked for several years as a freelance TV stylist. She also ran a pub with her brother, styled e-commerce shoots and worked as an art director for major UK brands. She moved to Whitstable 10 years ago and had her daughter.

In 2019 she set up We Sell By the Sea, followed by Prelove and Reloved. This year, she opened No.86 as a home for her second-hand business in Whitstable High Street. “She’s the friend who knew everything about me,” said Paula. “She’s the one who knows my secrets, the one I would message a hundred times a day.

“She changed my life. I’m not by any means an introvert and I’m quite outgoing, but we danced and we laughed harder and louder together than I ever have with anyone.

“She was loved by everyone. It’s left a hole in all of our hearts, and we will miss her forever.”

A spokesperson for East Kent Hospitals University Foundation Trust, which runs the QEQM and Kent and Canterbury Hospital, said: “We offer our sincere condolences to Octavia’s family. We will do all we can to answer their questions and will also work with the coroner to understand the circumstances of Octavia’s death.”

You can donate to the fundraiser here: https://www.gofundme.com/f/help-support-dolly-through-this-unbearable-loss?cp_src=d

Radio personality, jazz singer and former BET host Angela Stribling died on Sunday of cancer.

Stribling “passed away peacefully at home … after a courageous two-year battle with brain cancer,” her husband, Ken Washington, posted to her Instagram account. “Her sister Darlene and I were by her side.”

A native of Buffalo, N.Y., Stribling attended the Fashion Institute of Technology in New York City and took a position with American Airlines at the Baltimore/Washington International Airport after college. She spent four years as host of BET entertainment news program “Screen Scene” and helped launch BET Jazz, hosting “Jazz Central,” “Jazz Discovery” and “Jazz Scene” for the network, according to a posting about her death by WHUR 96.3 Howard University Radio.

She worked as a reporter for “Evening Magazine” and co-host of “On Time” on Baltimore television and as a news intern at WTTG-TV and at WOL-AM in Washington, D.C., before joining WHUR-FM. That’s where she became the first woman to host “The Original Quiet Storm,” a program of “soulful slow jams and romantic melodies” that recently celebrated 50 years of being on air.

“Pillow Talk,” WHUR’s long-running late-night program hosted by Stribling, centered on relationships, conversation and music.

“Angela Stribling was a remarkable talent, but what made her truly special was the person she was,” WHUR general manager Sean Plater said in the station’s tribute. “Her voice was beautiful, her presence was calming, and her spirit was genuine. She had a way of making people feel welcome and valued, and that gift extended far beyond the radio. Angela was part of the WHUR family, and her loss is deeply felt by all of us. We will remember her not only for the incredible career she built, but for the love, kindness and light she shared with so many people.”

Stribling was also a classically trained jazz vocalist, who performed at New York City venues including the Rainbow Room, the Supper Club and the Soul Cafe. She traveled the world and shared the stage with legendary artists, including Stevie Wonder and Chaka Khan.

“Her sultry voice made her a staple on radio in the D.C. area and on Sirius. She did countless voiceover work, she sang and had parts in movies. I remember her calling me when she got a role in the Eddie Murphy movie ‘Distinguished Gentlemen,’ ” former BET colleague Ed Gordon wrote on Facebook. “She was a sweet soul.”

Emmerdale’s latest episode revealed that Jimmy King had secret voice messages hidden on his laptop, sent to his ex Sadie King before his death and found by his wife Nicola

Jimmy King’s secret voice messages to Sadie King left his widow Nicola King distraught on Emmerdale on Friday.

But the truth behind the messages could be bad news for Sadie, who’s hiding some secrets of her own. Sadie returned after Jimmy’s death in a car crash recently, and she claimed to Nicola she was in a three-year relationship with Jimmy behind Nicola’s back.

Of course viewers soon found out that Sadie had faked images of her and Jimmy together, and she was trying to get her hands on his money. That said, voice messages found on Jimmy’s laptop appeared to confirm he had been in contact with Sadie right before his death.

As Nicola found out from her son Carl that the messages were on the laptop, she decided to listen. She heard her late husband’s voice, talking to Sadie.

As Jimmy spoke, he asked Sadie whether she was comfy and in a hotel, leaving Nicola fearing they were meeting up just like Sadie had claimed. He then told her he had “the money”.

While this confirmed that Jimmy was giving Sadie money, it’s what he said next that sparked confusion over the reasons. The message also suggested Nicola’s fears that Jimmy was cheating might be nothing to worry about.

Nicola had stopped listening hen he mentioned the money, and she got upset and ran off. But a the earphones dropped, the audio kept playing.

It’s then that Jimmy vowed this would be the one and only time he gave her any money. He said he loved his wife to pieces and she would rightly “kill him” if she found out what he was doing with Sadie.

Jimmy appeared to rule out any other meetings, and his words almost suggested he was doing her a favour. So, clearly he wasn’t planning to run off with Sadie or leave the family behind, like Sadie had implied at some stage.

The true reasons for him seeing Sadie and giving her money has not been explained. But surely this voice note could dispute Sadie’s claims about what Jimmy was up to, and prove Sadie is hiding something.

So will Nicola or someone else hear the rest of the voice message, and confront Sadie? We know there may have been more than one message, as Carl had found messages. plural.

So, is there even more to find out from these that will expose the truth?

Emmerdale airs weeknights at 8pm on ITV1 and ITVX. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

The staging is simple. A circle of nine stately wood chairs on a bare stage. Four actors, affixed with in-ear monitors, occupy different seats as testimony is elicited, provided and undermined.

The Senate Judiciary Committee is back in session in “The Ford/Hill Project,” now at REDCAT through Saturday. What follows is some of the most riveting and distressing testimony ever delivered in such a setting.

Anita Hill and Christine Blasey Ford are called back to testify under oath about the Supreme Court nominations of Clarence Thomas and Brett Kavanaugh, respectively. This documentary drama, created by Elizabeth Marvel and director Lee Sunday Evans, is composed from the verbatim transcripts of these painful proceedings.

In 1991, Hill testified that Thomas had repeatedly sexually harassed her when he was her supervisor at the U.S. Equal Employment Opportunity Commission and the Department of Education. In 2018, Ford testified that she had been sexually assaulted in 1982 by a 17-year-old Kavanaugh when she was 15.

Marvel and Evans create a double helix from excerpts of these two hearings, which are separated by nearly 30 years yet reveal highly entrenched patriarchal patterns. Two women, summoning the courage to tell what they know about two men who are about to be entrusted with the most consequential governmental power, are put through the wringer as the political machine shifts into gear.

The actors wear in-ear monitors that feed them edited clips from the real audio of the hearings.

(Angel Origgi / REDCAT)

Marvel, one of the treasures of New York theater, takes on the role of Ford at the Brooklyn Academy of Music in a run that ends Sunday. (The piece premiered at Woolly Mammoth Theatre Company in 2024.) At REDCAT, the superb Rosemarie DeWitt assumes Marvel’s place, standing in for Ford but never attempting anything as crass as an impersonation.

The production, under Evans’ precise direction, manages to find a tone that might be paradoxically described as emotionally resonant neutrality. Those in-ear monitors that the actors are wearing feed them edited clips from the real audio of the hearings.

Ford, a psychology professor with an expertise in biostatistics, answers prosecutorial questions about a life-altering trauma in a manner that leans on her scientific training for security. Hill, a Yale-educated lawyer asked to elaborate on the prurient conduct she was chronically subjected to at work, never loses her professional composure.

“Indelible in the hippocampus is the laughter,” Ford tells Sen. Patrick Leahy when asked about the strongest memory she has of the incident. (Ford’s voice, resounding at the start of the production, keeps the brutality of the assault at the forefront of our minds.)

Hill, played by Betty Gabriel, describes the threatening nature of the unwanted advances that created such a toxic work environment. Aware of the damage that Thomas could inflict on her young career, Hill was determined to do what she could to salvage an extraordinary legal opportunity.

At times during Thursday’s performance, Gabriel appeared to stumble on her lines, but it was hard to tell because Hill is speaking extempore in the most difficult of public forums and she doubles back on her sentences, carefully parsing out her words. What both DeWitt and Gabriel honor exquisitely in their performances is the quiet integrity of these women as they willingly expose themselves to political attacks for the sake of causes greater than themselves — the truth, first and foremost, but also gender equality and the Senate’s advisory role as a cornerstone of American democracy.

The actors change not only their seats but also their roles.

(Angel Origgi / REDCAT)

Dulé Hill channels the presence of Thomas, who eventually theatrically hijacks the hearing by referring to the experience as a “high-tech lynching for uppity Blacks.” Rich Sommer gives us the voice of Kavanaugh extolling the pleasures of beer and barking at senators who pointedly ask about the extent of his drinking.

The actors change not only their seats but also their roles. The interrogated become the interrogators in a way that gets a little blurry when the focus initially shifts from Hill and Ford to Thomas and Kavanaugh. But the murkiness doesn’t last long in a production that achieves an admirable balance between objectivity and emotion, abstraction and representation.

The restraint imposed by the production adds to its power. There’s no need to editorialize. The proceedings skewer themselves.

When Sen. Alan Simpson quotes from “Othello” in defense of Thomas, he uses Shakespeare’s lyrical authority but fails to realize that he is in fact invoking the false words of the tragedy’s villain, Iago. Not that the easily impressed senators, eager to exculpate a favored man, took note of the irony.

The patriarchy cares mostly about shoring up its own power. Thomas and Kavanaugh were part of the Supreme Court majority that voted to overturn Roe vs. Wade.

The ending, the only time when Evans’ direction loses its poise, blares “make it right,” performed by the Tune-Yards, as Thomas and Kavanaugh, adorning themselves in black robes, find their seated place according to seniority among the nine chairs. The theatrical flourish seems jarring, but so too is the historic moment.

“The Ford/Hill Project” filled me with sadness but not despair. The bravery of Hill, who educated a nation on sexual harassment, and the emotional strength of Ford, who bared her trauma for public enlightenment, live on in the American consciousness as it progresses, in fits and starts, toward justice.

You’ve probably never seen Michael Araujo, but if you’ve attended an Angels game since 2013, you’ve definitely heard him.

On Sunday, Araujo will work the final game of his 14th season as the Angels’ public address announcer. During that time he has started more home games than Mike Trout and finished hundreds more than any reliever to come out of the bullpen.

Yet for most fans, his voice has been little more than background noise, an acapella Muzak that only gets noticed when Araujo makes a mistake.

And mistakes just don’t happen, said Davin Maske, the Angels’ director of entertainment and production.

“I don’t remember any,” said Maske, Araujo’s boss. “There isn’t that one major mistake since I’ve been here that I could recall.”

Araujo, who is also the stadium voice for the Galaxy, has worked Gold Cup and Copa América soccer matches, eight World Cup games and the 2003 Women’s World Cup final. But the Angels’ gig is his dream job and he passed 1,000 games as the team’s PA announcer last month.

“He loves sports,” said his wife Kathryn Casey. “He really does enjoy being there and being part of it because he’s a huge fan. It’s not just a job.”

It is a job that comes with high expectations, though. Because if the broadcasts of the late Vin Scully were the soundtrack for baseball fans in Southern California, for people of a certain age, the booming baritone of John Ramsey will forever be the template for what a PA announcer should sound like.

Ramsey, who died in 1990, was the original PA voice of the Angels, as well as the Dodgers, Kings, Lakers and L.A. Raiders. He also did the Rams and USC football with a calm, articulate and authoritative delivery that was so powerful, it had its own echo.

“Would you all please rise (rise, rise, rise) and honor America in the singing of our national anthem (anthem, anthem, anthem).”

It was like being spoken to by God, an impression aided by the fact that Ramsey, hidden in a small booth near the press box, was heard but never seen.

“That’s not me, Araujo said. “So I try not to emulate that.”

Angels public address announcer Michael Araujo overlooks the field in his booth before a game against the Minnesota Twins on September 17.

(Gina Ferazzi / Los Angeles Times)

Still, like Ramsey, Araujo’s gift is his voice. And though his delivery isn’t nearly as deep and commanding as Ramsey’s, it is unique in that it has a distinct, enthusiastic lilt, one he’s been able to maintain through what will likely be the Angels’ first 100-loss season.

“I try to bring the energy,” he said.

“It’s all about riding your vibes,” Maske added. That’s why Araujo’s perch on the club level behind home plate is exposed to the crowd rather than enclosed, like the booths to his right used by the radio and TV broadcasters. The idea is to feed off the fans, not lock them out.

“Baseball is gnarly. It’s repetitive. It’s a sport that’s inherently, at times, very boring,” Maske said. “So you’ve got to find those little moments to make it entertaining.

“It’s not NFL. It’s not the NBA. It’s baseball. Mike’s good at kind of finding that balance of excitement and traditionalism.”

And the excitement, even at the end of a blowout loss, is genuine, he said.

“The Angels were my team growing up, so the Angels was my dream job,” said Araujo, a former season-ticket holder. “I’ve been very fortunate.”

“I want to get paid to watch sports and that’s it,” he continued. “So whatever I’ve got to do to be invaluable so that I stay there, that’s kind of my mission.”

It’s not a mission that pays much, however, with most PA announcers across the majors earning between $100-$500 a game to announce each hitter as he comes to plate, read commercial copy between innings and, in Araujo’s case at least, to handle the play-by-play for the cartoon races that run on the scoreboard late in the game.

“It’s fun money,” said Casey who, like Araujo, is a teacher as well as the clock operator at Galaxy games, where she works alongside her husband. “We use it for travel.”

The job is one Araujo stumbled into. Despite a rich voice and a lifelong passion for sports, pairing the two was something that just happened, not something that was planned.

A teacher at an alternative-education high school in La Puente, Araujo, 54, has worked for the Galaxy since the MLS team’s second game in 1996, filling a number of roles from glorified errand boy to assistant game-day producer. That last job required him to stand behind the PA announcer and relay silent cues, and since he knew the gig, Araujo was handed a microphone and asked to fill in a few times during absences, sick days and other emergencies.

The biggest emergency came when Victor Villalba, the Galaxy’s regular announcer, left in the middle of a season to join the Dallas Cowboys radio team. Araujo was the natural choice to finish out the year and he’s been there ever since.

“That was 2002,” he said. “So I’m in my 25th season.”

It was similar desperation that led to his job with the Angels. When David Courtney, who had been with the team for nearly two decades, died at 56 two months after the 2012 season, the Angels began asking around for a replacement and Araujo’s name was the one they heard most frequently. So he was invited to spring training the following year to audition and he beat out two others to claim the job.

On game days Araujo gets to the ballpark about 2½ hours before first pitch, pausing in the parking lot to pull on an Angels cap and jersey with his name on the back. If the team wins, he’ll wear the same jersey the next day; if not, he’ll rotate through a closet of red, white, gray and City Connect jerseys.

Araujo’s only other tools are a microphone and a laptop, on which he’s installed an interactive software program he created that tracks the lineups of both teams. He can also call up pronunciation guides for players on all 30 major league teams, though he’s found the radio broadcasters for the visiting clubs are often more helpful.

Angels public address announcer Michael Araujo has worked more than 1,000 games at Angel Stadium and has been the Galaxy’s public address announcer since 2002.

(Gina Ferazzi / Los Angeles Times)

His cramped work space, about 90 feet from the field, has enough room for two green vinyl chairs, though Araujo prefers to stand when he’s working. And unlike many people whose vocal chords are their livelihood, Araujo says he has few ritualistic habits to protect his voice.

“In my bag I have a gazillion cough drops; a couple of different kinds, some with honey,” he said. “I definitely wouldn’t do anything carbonated before a game. Makes you burp and all that kind of stuff.”

Araujo is one of three Latino PA announcers in the majors, alongside Marysol Castro, who works for the New York Mets, and Frank Fernandez of the Miami Marlins. Given that 30% of big-league players are from Latin America, the fact that just 10% of the PA announcers are Latino is something Araujo said he thinks about during Hispanic Heritage Month.

“Did I grow up in Boyle Heights or anything like that? No, I’m no poster child or miracle story or anything like that,” said Araujo, who was raised middle class in La Verne, where his father, a sheriff’s deputy, and mother, a nurse, often spoke to one another in Spanish.

“We are here in 2026 and it’s not a little more prevalent. It can be an aspiration to any kid, even one of my students, that bigger things are possible.”

For a PA announcer, it turns out, there are times when it’s important to be heard and seen.

Sir Tom Jones proved he’s “still got it” on The Voice UK tonight with an impromptu rendition of It’s Not Unusual.

The Voice UK fans slam ITV’s “huge mistake” in getting rid of Sir Tom Jones as he shares heartwarming story about his career.

ITV’s hit singing contest The Voice UK returned tonight, Saturday, September 19, as the judges continued to blindly listen to singers hoping one of stars would give them a chance.

As always was veteran The Voice UK icon Sir Tom Jones who recalled when he first realised the moment he “made it” in his music career, after he was asked by Will.i.am.

“It’s Not Unusual I did in 1964 so that was 61 years ago”, Tom said.

“My band and myself were driving back to London and It’s Not Unusual came out on the Friday but I didn’t know until I picked up the Sunday paper in a transport cafe, and there it was, It’s Not Unusual, number 10.

“There were truck drivers there right and I was like ‘You see this!’ And they were like ‘yeah, yeah, yeah yeah!’

“And just seeing my name at number 10 I thought ‘This is it. It was a tremendous feeling.’

This story then prompted the audience to ask for him to sing It’s Not Unusual which Sir Tom happily obliged with many fans impressed by his performance.

However, it also angered viewers as they were reminded that the 86-year-old will not be returning for The Voice UK next year as he will be replaced by former Girls Aloud star Cheryl.

“To the powers that be at The Voice UK this is the legend you dropped!”, someone angrily wrote.

A second agreed: “ITV making a very big mistake getting rid of Sir Tom Jones, idiots.”

Another agreed: “It was such a huge mistake axing Tom Jones”, with another writing: “Still can’t believe they fired THE Tom Jones. He’s amazing.”

While a fellow viewer added: “Don’t care what anyone says Sir Tom Jones has still got it!” Silliest move to let this frigging legend go..shame on you producers who make stupid decisions on The Voice UK.”

Sir Tom has also shared that it wasn’t his decision to go, explaining on social media: “The reason given is because of a financial difficulty with insurance.

They now say in the press they wanted to ‘refresh’ the show, and with a new coaching line-up there wouldn’t be a chair for me.”

He has instead been offered a reduced role in the series, something that Sir Tom isn’t “thrilled” about.

The Voice UK continues every Saturday on ITV and ITVX

Born into an African American family with a grim history of enslavement, Marian Anderson was determined from an early age to master the art of singing for the concert hall. A contralto of great range and warmth, Anderson’s abundant gifts as a performer of spirituals, arias and German Leider brought her global fame even as she endured the indignities of racial discrimination at home. Her Easter Sunday performance at the Lincoln Memorial in 1939 in front of 75,000 spectators remains a touchstone of defiance in an age of racial violence.

Anthony Tommasini’s excellent biography of Anderson, “Voice of A Century,” reclaims the singer as a great artist who only embraced her power as a symbol of racial equality much later in life. I spoke with Tommasini about Anderson, Franz Schubert and Albert Einstein.

✍️ Author Chat

Anthony Tommasini’s biography reclaims Anderson as a great artist who embraced her power as a symbol of racial equality later in life.

(Ahna Tessler Photography)

I feel like people know Marian Anderson in the abstract, but they regard her as a symbol rather than an artist. And among the virtues of your book is that you reestablish Anderson’s legacy as a great singer and performer.

She was a contralto, which is the lowest female vocal register. But that register had such resonance, and she had complete control over it. She also had enormous range; the uncanny, beautiful thing about Anderson’s voice is that when she started ascending even into the soprano sphere, she held those notes so beautifully. They were emanating from below, grounded in that low voice. It made for a mesmerizing sound. I’ve made a playlist to accompany the book.

She embodied this kind of fierce dignity and grace in the face of racial discrimination. But as you point out, she was reluctant to make herself a symbol of the civil rights movement, preferring to let audiences focus on her artistry.

In 1939, she was banned from performing in Washington’s Constitution Hall because of her race, and her manager, with help from Eleanor Roosevelt, arranged a performance in front of the Lincoln Memorial on Easter Sunday. Yet, the night before the performance, she was trying to get out of it. She felt the whole affair had turned into a civil rights demonstration. When it came time to write her memoirs in 1956, she wanted to excise the event from the book. She felt that what she could do is be an example of excellence and possibility for aspiring black artists.

She did play to segregated audiences, even long after she had become a national star.

[This type of segregated performance featured what] was called vertical seating. But she refused to forsake her career, which she had worked so hard to attain, and so she played these segregated shows. Eventually, there was a performance in Virginia which was boycotted, and that sort of broke the trend. She then performed in front of an integrated audience in Florida.

There is an encounter with Albert Einstein, of all people, who counsels her to take a stand against these racist booking policies.

In 1937, she showed up for a concert in Princeton, New Jersey, only to discover she was being refused a room at the Nassau Inn. As it turns out, she had a friend in Princeton who had seen her at Carnegie Hall and had meekly gone backstage to meet her. This was Albert Einstein, who was teaching at Princeton University at the time, and who offered to put Anderson up for the night at his house. He really pressed her on being more outspoken on racial equality.

Anderson played Europe multiple times in the 1930s, right before the rise of Hitler and the Third Reich. As you write, German audiences were blown away by Anderson’s mastery of their music, specifically Franz Schubert’s Lieder, or art songs, which were among Anderson’s most beloved repertoire.

So extraordinary, right? She also made two tours of the Soviet Union during that time. They went crazy for her in the Scandinavian countries, as well. But for the German audiences who are so nationalistic about their Leider, it was confusing. They couldn’t imagine how a Black American woman could sing their music so beautifully.

Anderson was the first Black soloist to perform at the Metropolitan Opera in New York, in Verdi’s opera Un ballo in maschera.

That was really a huge risk and a huge leap for her. She wasn’t a trained opera singer, and she had to dig deep into that material. She was already 58 by that time. There is a radio recording of the performance. There’s this dignity, like she’s calling upon this power. It’s exhausting and it’s draining, but it’s also exhilarating.

This Q&A was edited for length and clarity.

📰 The Week(s) in Books

Book jacket for “Body Language” by Meg Howrey

(Los Angeles Times illustration; jacket from Doubleday)

Marlon James has published his highly anticipated new novel “The Disappearers,” a sprawling story about gay culture in ’80s Jamaica, and Mark Athitakis is quite taken with it. “James is … determined to unwind the cliches of gay fiction: the tragic victim, the heartwarming gestures of solidarity, the blunt porniness,” he writes. “Mere survival will have to be enough for most of these characters; the sense of fear is pervasive, but so is a determination to work through it.”

What’s it like to be the primary dissenting liberal voice on Fox News? Stephen Battaglio found out when he talked to Jesssica Tarlov about her hybrid memoir and self-help book “I Disagree.” “I have a good amount of shyness to me,” she tells Battaglio. “I have a lot of imposter syndrome. I’m constantly in wonder that I ended up getting to do this and that hopefully, am the right person to do it.”

Meg Howrey’s fifth novel, “Body Language,” a twisted family saga, is “smart, sardonic and powerful,” according to Meredith Maran.

Finally, Emily Wilson, the classicist who has been a lightning rod of controversy over her disparaging remarks in regard to the film version of “The Odyssey,” is going to translate Homer’s epic for a second time, reports Emily St. Martin.

📖 Bookstore Faves

The Hammer Museum’s gift shop is one of the best art book shops in L.A.

(Eric Petschek)

Sure, the Hammer Museum’s gift shop stocks the requisite art-themed mugs, tea towels and tchotchkes, but it’s also one of the best art book shops in L.A. Inside the sleekly designed Hammer Store is a vast inventory of monographs, children’s books and critical texts about modern and contemporary art. In an email exchange, store managers Sara Beattie and Brooke Berlin tell us what museumgoers are buying right now.

Hammer’s store is really the best museum bookshop in L.A. How do you decide what to put on the shelves?

We’re an eclectic bunch of book nerds and love the written word. We start by looking at upcoming programming, exhibitions and the season, and we buy accordingly. And we have a great team that gives us suggestions. We’ve learned to trust our instincts. The Hammer is an experimental institution, and we approach our buying in that spirit.

Do you have patrons that are not necessarily there to check out museum exhibits?

Of course! We’re not only a museum, but a cultural center, which means there’s always something happening — like mindful meditation on Thursdays, or family programming on weekends, or people coming in just to enjoy a meal at Lulu.

What kinds of books tend to do well for you?

Art monographs, especially on contemporary or Los Angeles artists; books about living more conscientiously; and everyone loves a children’s book (even if it’s just to heal your inner child). We love finding unique books that can’t be found elsewhere. Whenever we can, we work with small presses and book distributors. They often make books that can only fully be enjoyed or understood by seeing them in person.

Is there any particular title that is presently selling well?

“Mindfulness in the Garden: Zen Tools for Digging in the Dirt” by Zachiah Murray; Sanzu Wada’s “Vol. 1 Dictionary for Color Combinations”; “The Hippest Trip in America: By Land, Air and Sea” by Alake Shilling.

Why do we still enjoy art books, when we can look at millions of paintings and sculptures on the internet?

Why go outside if you can look through a window? There is a lot of talk of people returning to the analog or physical media, and that includes renewed interest in physical books. BookTok is huge. People love talking about books and showing off their special deluxe book editions on TikTok. Art books by their very nature are deluxe, image filled and thoughtfully designed. A well-produced book is an art object in itself. Nothing beats the experience of paging through a beautiful book. That experience can’t be replicated on a screen.

The Hammer Museum store is located at 10899 Wilshire Blvd., Los Angeles.

For 10 days, the center of the cinematic universe is the Toronto International Film Festival, whose closest geographical landmark is currently a ludicrous controversy.

“Welcome to TIFF and welcome to the beautiful shore of — say it with me — Lake Ontario,” festival CEO Cameron Bailey said on opening night as he introduced “Being Heumann,” director Sian Heder’s crowd-pleasing follow-up to her best picture Oscar-winner “CODA.”

The crowd said it back. Google Maps, however, insists that the festival is actually a 15-minute stroll to Lake America. I’ve yet to hear a single person call it that without an eyeroll.

What’s in a name? Last year in the spirit of patriotism, my favorite Toronto coffee shop taped over the menu listing for its Americano to re-dub it a Canadiano. This fall, the sign has returned to Americano. Taking a pause from politics, I ordered a flat white.

Yet, the festival’s programmers seem to be decentralizing their attention-hogging neighbors to the south. Typically, TIFF is a launch pad for awards contenders. But there are fewer high profile Hollywood filmmakers this year than usual — which was also the case in Cannes. Perhaps these international festivals are testing their own waters to see if they’re obliged to invite Americans to their party.

Instead, the Toronto line-up boasts pointed films about fascism. On its surface, Michaël R. Roskam’s “Le Faux Soir” is a procedural account of how a network of rebels in occupied Belgium published its own parody issue of a pro-Nazi newspaper on the 25th anniversary of Armistice Day in 1943. Most of the script’s energy goes to talking about typesetting and rotary press flongs, but right before the end credits roll, “Le Faux Soir” blurts out its timeliness about combating Le Fox News with comedy. Metaphorically alluding to the satirical newspaper “The Onion,” the narrator says that to pull off this operation, the team had to stick together like layers of an onion: “Never forget, onion is strength.”

Plenty of local comedies abound, including “The Stunt Driver” by Michael Dowse (“Goon”), an energetic biopic about Ken “The Mad Canadian” Carter, the ’70s speedster who vowed to vault across the mile-wide river between Ottawa and New York in a rocket-powered Lincoln Continental. The site of Carter’s jump is four hours away from the fest, although at his car’s top speed of 280 mph, you could get there in less than one. Safer just to enjoy Jay Baruchel’s funny and endearing portrait of a reckless risk-taker who hates being called a daredevil as much as he resents Ben Foster’s Evel Knievel attempting to give him some advice. “Canadians are God’s chosen people,” Carter growls defiantly. “The last thing we need is a Yankee doodle dandy telling us how to do our jobs.”

It’s also possible that this year’s lack of big films — unlike 2025’s “Frankenstein,” “The Smashing Machine” and “Wake Up Dead Man: A Knives Out Mystery” — is just a reflection of the industry’s changing tides. Two of the buzziest guests at this year’s fest have been Inde Navarrette of the micro-budget horror hit “Obsession,” which premiered at last year’s TIFF, and British Columbia-born Hudson Williams of the TV hockey romance “Heated Rivalry.” Twelve months ago, both actors were anonymous Gen Z-ers who could have easily popped into Tim Hortons for a maple-glazed donut without causing a stir. Now they’re stars.

Personally, I’m all for fresh talent. Audiences and critics alike are bored of film executives clinging to the same proven names and proven plots as tightly as worry beads. Yes, I’m hoping to see some Oscar contenders while I’m here and have my fingers crossed for a few movies I’ll be seeing shortly. But for the sake of filmgoing at large, I’d be more thrilled to spot another under-the-radar “Obsession.”

So far, I haven’t found one. However, I have seen ingenuity made for peanuts, like Jenna Cato Bass’ “Future Tense,” a South African sci-fi drama about a travel service that allows the wealthy to blip back to the 1600s to hot tub under the clear skies before the land was ruined by centuries of trash, trade and colonization. Mismatched new couple Tara and Lwando (Kristen Raath and Lawrence Maleka) — she’s white and sunny, he’s Black and snide — take a blistering vacation that their relationship might not survive.

The script gets screwy in the last act, but Bass proves she can pull off a bold time travel premise using only tastefully bland décor, gorgeous nature footage and a couple of menacing brutes with guns. As a bonus, Raath, her lead, has the spunk, charm and smile of Karen Allen, giving a breakout performance that’s such a delight that you could almost swear the “Raiders of the Lost Ark” ingenue had leapt back four decades to star in the film.

An image from “Voices,” a musical drama set in the 1960s.

(TIFF)

While we’re talking about pivotal moments in personal histories, nine years ago Deanté Gray was a rookie wide receiver for the Houston Texans. He tore his ACL in practice and, after muscling through that disappointment, is now a first-time feature director with “Voices,” a lean and loud musical-thriller about thwarted dreams. Set in one tatty motel room in 1967 Detroit, “Voices” is a vicious flick about rising two soul acts hellbent on getting on stage that night to impress Motown Records’ Barry Gordy.

Technically, only the Harmony Brothers, Bubbles and Melvin (Joe Maye and Jamal R. Averett), are booked to play the gig. But a fame-hungry bellboy, Jordan (Francis C. Edemobi), and his cousin Derrick (Ezekiel Ajeigbe) hatch an impulsive, half-baked plan to perform in their rivals’ place. Egged on by Derrick’s ambitious girlfriend Mia (Raél Ba), who’s angling to be the duo’s opening act, this bad idea crescendos with a half-dozen original songs — and a body count.

The sound design of “Voices” is raw and the rumored $50,000 budget so strapped that minor period piece inconsistencies like cheap plastic trash cans sneak into the frame. Who cares? Sam Buckner III and Charlie T. Savage’s smart and surprising screenplay is crowded with scenes that let its cast shine. Someone — ideally, several people — in here will wind up getting their own major break.

Admittedly, I’m biased. Morbid musicals are one of my favorite micro-genres, from “Little Shop of Horrors” and “All That Jazz” to “A Star Is Born” and “Cabaret.” (If you haven’t seen Steve Martin’s 1981 Depression-era hoofer “Pennies From Heaven,” do that this week.)

Add Theo Rhys’ “Stuffed” to that list. Jodie Comer (“Killing Eve”) plays a goth taxidermist; Harry Melling (“Pillion”) is a lonely man terrified of dying, buried and forgotten. Can she convince the sad sack to kill himself now to become a piece of her permanent collection?

The plot alone gives you the shivers, nodding to predatory internet meet-ups and that volatile mix of victimization and egomania that causes people to hurt themselves and/or others. Dark as the story is, though, co-writer Joss Holden-Rea’s tunes are stunners with limber melodies and creatively off-kilter lyrics. “My past is still before me,” Melling belts, picturing himself proudly mounted in a velvet suit and bronze plaque.

“Stuffed” isn’t for everyone. But my fellow sickos are going to love this bleak and lovely tragicomedy once it sets sail from these shores (whatever they’re called by then) to a theater near you.

Cheryl looks poised to replace Sir Tom Jones on The Voice following his explosive statement on his axing and the latest bookies odds which seem to be in her favour

Cheryl looks poised to replace Sir Tom Jones on The Voice. The former Girls Aloud star, 42, has taken time out of the spotlight in recent years but, almost 20 years after she joined The X Factor, it’s thought that she could be about to become a TV talent show judge all over again.

It all comes just days after it emerged that music legend Tom, 86, who first appeared on The Voice in 2012, had been axed from his position and made it clear that he didn’t want to leave.

A source told The Sun: “They adore Tom but felt Cheryl Tweedy would be better suited taking his seat. Talks were ongoing with both of them but everyone knew Tom was the backup option in case Cheryl fell through.”

The insider went on to claim that the whole situation could’ve been dealt with better and alleged that Tom’s fans have been left “furious” by the whole thing.

It comes as bookmaker Coral has priced up the contenders to join the new coaching panel on The Voice UK, with former I’m A Celebrity…Get Me Out Of Here! star Aitch long odds-on at 1-8 and Cheryl even shorter at 1-10 to take one of the hot seats.

With ITV reportedly planning a major shake-up to the hit singing show, Coral makes Olly Murs 6-1 to be signed up, Rita Ora can be backed at 8-1 and Jess Glynne is 10-1.

“The odds suggest Aitch and Cheryl look very likely to join the new-look coaching panel on the next series of The Voice. Both have been popular in our betting, and it would be a big surprise if they did not appear on the red seats next year,” said Coral’s John Hill.

In his post, Tom said he was ‘not thrilled’ by what ITV have offered him. He wrote: “To be clear, I did not want to leave The Voice as I love the show and really appreciate the audience. “ITV made this decision – obviously a while ago, and I was just told recently.

“The reason given is because of a financial difficulty with insurance. They now say in the press they want to ‘refresh’ the show, and a new coaching line-up there wouldn’t be a chair for me.

“They are offering a much-reduced role where I would make an appearance but without being actually involved from the start, and I’m not thrilled about that. So the only thing I know right now is that there’s never a good time to fire an 86-year-old who’s still pretty good at his job.”

A spokesperson for The Voice told the Mirror: “We have loved working with Sir Tom Jones over the past nine years on The Voice UK. While he will no longer be a full-time coach on series 15, we continue to talk to Sir Tom and his team about his involvement in the next series.”

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