For San Francisco fans of Lionel Richie and Earth, Wind & Fire, the party at Chase Center ended before it even started.
Earth, Wind & Fire abruptly called off its concert at the NorCal venue on Thursday, notifying fans in a social media statement that the cancellation was “due to a medical emergency involving a member of our band.” A spokesperson for the San Francisco Fire Department confirmed to The Times that personnel were dispatched at 5:30 p.m. to respond to a medical emergency at Chase Center. One person was transported to a hospital via private ambulance, but the individual’s identity was not disclosed. TMZ reported that the Fire Department responded to a “cardiac incident.”
A representative for Earth, Wind & Fire did not provide additional details. The band said in its post that it has rescheduled Thursday’s show for a later date to be announced soon and that tickets will be valid for the new date. “We sincerely apologize for the unexpected change and appreciate everyone’s understanding,” the band said.
Live Nation announced Richie and Earth, Wind & Fire’s joint Sing a Song All Night Long tour in January. The tour kicked off in June but quickly hit a snag when Richie also suffered an unspecified health issue while on the road. Richie, 77, postponed a stop at Chicago’s United Center and another show at the Schottenstein Center in Columbus, Ohio, after he brought his first tour stop to an abrupt end.
The Grammy-winning hitmaker of “Hello” and “Say You, Say Me” unexpectedly stopped the concert at the Grand Casino Arena in St. Paul, Minn., after taking a seat on stage multiple times during his performance of “Dancing on the Ceiling” and telling his audience he felt “dizzy,” according to videos shared on social media.
“When you are feeling dizzy, sit your a— down,” he joked, according to video a fan posted to TikTok. “When you are feeling strange about yourself, sit your a— down.”
TMZ reported at the time that the singer-songwriter was hospitalized after the health scare. Paramedics reportedly met the artist backstage and transported him to a nearby hospital out of precaution. In a statement following the incident, Richie thanked fans for their support and informed them, “I’m doing well, and I’m grateful for all of you.”
The Sing a Song All Night Long tour is slated to continue Saturday at Acrisure Arena in Palm Desert. Richie and Earth, Wind & Fire are scheduled to play the Intuit Dome in Inglewood on Sunday. The tour ends Aug. 14 at the Moody Center in Austin, Texas.
A major incident has been declared by Police Scotland as emergency services continue to tackle a wildfire which has been burning in the Cairngorms National Park for 10 days.
The force said it followed “a significant change in weather conditions” which has increased the risk of fire spreading towards the village of Nethy Bridge.
All Nethy Bridge residents have been evacuated as a precaution to allow emergency services to continue their response.
But a local resident told the BBC the wildfire should have been declared a major incident sooner and the lack of communication from authorities had been “pretty poor”.
The BBC has contacted the Scottish government and Police Scotland for comment.
First Minister John Swinney, who held a meeting of the Scottish government’s resilience room early on Saturday, said additional police resources were being deployed to assist with the Nethy Bridge evacuation.
He urged people to “respect the exclusion zone that’s been put in place”, adding that the change in weather conditions illustrated “the scale and difficulty of the situation that we are managing”.
Supt Judy Hill said weather conditions “experienced within the Cairngorms over the last 24 hours have added further complexities to this situation”.
“With evidence suggesting the fire is spreading towards Nethy Bridge, the decision has been taken to declare a major incident and evacuate residents as a precaution.”
She said additional police resources were being deployed to help contact those who need to leave their properties.
Residents in the region have been moving to emergency shelters and making last-minute preparations before the arrival of the super typhoon.
In the Northern Mariana Islands, Rota – the southernmost inhabited island, about 50km north-east of Guam – is taking a direct hit, according to the NWS.
The mayor’s office has published an advisory urging residents to prepare for “destructive winds”, adding that “conditions are expected to deteriorate rapidly, making it unsafe to be outdoors”.
The NWS also warned that winds are not forecast to fall below typhoon force until early afternoon on Monday, and below tropical storm force until after midnight.
Guam, usually a sun-soaked tourist destination with a population of about 170,000, has opened five evacuation centres in its schools. These sites have a maximum capacity of around 1,700 and are primarily intended for vulnerable people.
The island’s civil defence office said at 13:00 local time on Sunday that one of the evacuation sites had already reached maximum capacity and that people were being redirected to another site.
Lionel Richie brought the first stop on his summer tour with Earth, Wind & Fire to an abrupt stop Wednesday evening, citing his health.
The 77-year-old Grammy winner, hitmaker of “Hello” and “Say You, Say Me,” unexpectedly hit pause on the concert at the Grand Casino Arena in St. Paul, Minn., after taking a seat on stage multiple times during his performance of “Dancing on the Ceiling” and telling his audience he felt “dizzy,” according to videos shared on social media.
“What I have learned about my years of being in the business, when you are feeling dizzy, sit your a— down,” he joked, according to a TikTok posted Wednesday evening by user ynaffitmocha. “When you are feeling strange about yourself, sit your a— down.”
Moments later, saxophonist Dino Soldo informed the audience that the singer was “not feeling well” and would not continue the concert. A representative for the singer did not respond to a request for comment, but TMZ reported on Thursday the singer-songwriter was hospitalized after the health scare. Paramedics reportedly met the artist backstage and transported him to a nearby hospital out of precaution.
A spokesperson for the Saint Paul Fire Department did not immediately respond to a request for confirmation on Thursday.
Live Nation announced “American Idol” judge Richie and Earth, Wind & Fire’s joint tour in January, unveiling a 26-city circuit that includes stops in Chicago, Orlando, San Francisco and Los Angeles. Richie and the “September” group are next set to perform at the United Center in Chicago on Friday and again at Schottenstein Center in Columbus, Ohio. It is currently unclear whether Richie will resume performing for those concerts.
Richie and Earth, Wind & Fire are scheduled to play Inglewood’s Intuit Dome on Aug. 9. The tour ends Aug. 14 with a show at the Moody Center in Austin.
PARIS — There’s a present-day answer to the question that was posed in verse by the French medieval poet and street brawler François Villon: “Where are the snows of yesteryear?”
They’re right here, in high summer, on Paris’ oldest bridge, the Pont Neuf, where an enormous art installation, a trompe l’oeil inflatable snow-clad mountain range, has arisen over the river Seine.
Using about 200,000 square feet of printed fabric, Paris-born street artist JR has created “La Caverne du Pont Neuf.” It’s his version of and homage to the innovative work of groundbreaking environmental artists Christo and Jeanne-Claude.
They’re the fabled duo who first wrapped the arches of this same bridge in straw-colored fabric in 1985. Over the years, they also surrounded 11 islands in Florida’s Biscayne Bay with flamingo-pink cloth, hung saffron-colored fabric “gates” in New York’s Central Park, installed a “running fence” of billowing white material across nearly 25 miles of Sonoma and Marin counties and, in 1991, planted 3,100 yellow umbrellas, blooming like 20-foot-tall poppies, through the Tejon Pass north of L.A.
I interviewed Christo in 2011, and he was eloquent about how his and his wife’s work alters perceptions of nature, and about the deliberately transient character of the art itself. JR, an acolyte of their work, told me in an email that “an ephemeral artwork forces you to come now, and usually to come with other people. The visit becomes a shared moment … and this moment becomes a memory.”
In a city celebrated for artworks that have survived for centuries, this installation was very nearly too transient. A kooky hailstorm in late May, a heat wave in June, followed by ruthlessly ripping winds, delayed the opening by days. At last, beginning one midnight, the air pumps began and the work arose like a limestone-colored soufflé. It will be open around the clock until June 28.
Plus ça change, plus c’est la même chose. Back in 1985, Christo’s engineer on the Pont Neuf project, Ted Dougherty, pointed out that above 25 mph, “wind is not our friend.”
The piece works from two vantage points: from afar — visible from a lot of central Paris — and also from inside it, in the “cave” part. Pedestrians crossing the bridge pass through a fabricated interior, a cavern-like space printed in 3D realism and enhanced with a specially designed scent to evoke the dank, earthy aroma of humankind’s early habitations.
JR and Thomas Bangalter in “La Caverne du Pont Neuf” in Paris.
(Tara-Jay Bangalter)
JR intended it to be both. “From the start I designed two works in one. There is the silhouette — what you catch from the quais, from the bridges, from a boat on the Seine or simply walking past on your way somewhere else. That image belongs to everyone, including the people who never chose to look at art that day.”
And then, he said, “there is the inside, which is slower and more intimate, almost in the dark, hard to photograph.” That aspect is “a journey to cross the bridge, to go from darkness to light.”
When Christo and Jeanne-Claude wrapped the arches of the Pont Neuf more than 40 years ago, it took years of planning and permits to make it happen. “La Caverne du Pont Neuf” was a breeze by comparison.
JR, whose other vast outdoor works have delivered double-takes of humans’ scale and their architecture, told me that cities have come to understand “that public art brings people together and that the image travels around the world. Once Christo showed it could be done safely and beautifully, the conversation changed. It was much easier for me to have my project accepted, thanks to them. They also proved the economic positive impact to the cities they worked in. I believe there should be more large-scale, ambitious public art projects.”
It’s one thing to conceive of such a project and another altogether to make it happen — so much technology, compared to, say, mixing paints and choosing a paintbrush. But the science that “La Caverne” required “is the art, not an obstacle to it,” JR said.
“Trompe l’oeil turns adults back into children,” JR said.
(Elea Jeanne Schmitter)
All the canvas, the engineering, the meticulous assembly, the permits — “none of that is preparation for the work, it is the work. Christo taught me this. The process is visible, and even more after the storm we experienced a couple of days before opening to the public. Nature always reminds you who is in charge. When the wind tore the canvas before we opened, we took it down, re-sewed it, reinforced it,” all in full public view.
“Where I stay careful is in not letting the technology become the subject. The augmented reality by Snap’s AR Studio adds to the project, doesn’t take you away from it.”
That air should be JR’s vital collaborator — no complex and costly scaffolding for these magic mountains — is nothing new in Paris.
The first free flight of humans above the earth, on Nov. 21, 1783, sent aloft two men in a hot-air balloon crafted by the Montgolfier brothers from silk fancifully painted in blue and gold with figures of the zodiac. It wafted across Paris for about 25 minutes at about 3,000 feet. Ephemeral, yes — and unforgettable.
Artists and couturiers are fond of the whimsy of trompe l’oeil, the trick of the eye, the illusion of reality. I am a sucker for it, for fashion like that of clothing designer Elsa Schiaparelli. JR has used it often, as a massive-scale magical deception to make the Louvre Pyramid “disappear” into the old Louvre, and opening up an imaginary subterranean world below the Eiffel Tower.
“Trompe l’oeil turns adults back into children,” he told me. “You know it isn’t real, you know that ‘La Caverne du Pont-Neuf’ is not made of rock, that this is printed canvas. And yet your eye wants to believe it, and for a moment you let yourself. That gap between knowing and believing is where the play happens, and people love being inside that gap.”
Earth Wind & Fire’s “September,” with its nonsensical phrase “ba-dee-ya,” has been streamed more than 2.3 billion times on Spotify, more than the band’s next five songs combined (including “Let’s Groove,” “Boogie Wonderland” and “Shining Star”).
With networks and streamers seeking to create compelling content, many have found the answer in true stories. But with the surge in documentaries, it can be hard to sift through what’s worth your time. Each month, we provide an inside look at a documentary and others you should add to your queue.
But he also explores, in depth, the complexities of the band’s central figure, Maurice White. A self-affirming visionary who wanted to bring hope to people, White mixed journaling with talk of spaceships and metaphysics. However, he was also traumatized by a childhood in which his mother moved to Chicago for more opportunities, leaving White in Memphis, where he was once brutally beaten by white policemen. Those scars created a man who was a distant father and equally remote with his band members at the peak, mistreating them with casual disdain until everything fell apart.
Questlove recently spoke by video call about the film, now streaming on HBO Max, which features interviews with family, surviving band members, childhood friend Booker T. Jones and a couple of fans named Barack and Michelle Obama. This interview has been edited for length and clarity.
What drew you to this story?
In 2020, I was DJing on the internet, live streaming and I was DJing to calm people down from thinking they’re going to die in the apocalypse. One day I did an Earth, Wind & Fire set and when I got to the fourth hour, I thought, “Yo, is this one of the most relentlessly positive groups of all time?”
I started researching the lyrics and realized this band tricked us into positivity, like getting us to eat our vegetables. I started wondering how a band like that got past the velvet rope and realized that none of it was by accident, it was all by design. Their music was so good and you start singing the lyrics and there’s an osmosis effect of positivity that gets you.
When I started this in 2023, I had a spooky feeling that the turmoil of 2020 was going to visit us again, so I thought people would want something to watch that will help them plant seeds of what to do.
Maurice White, the band’s central figure.
(Henry Diltz / HBO)
You save “September” to the end. Was it so people would see the band was more than their biggest hit or to send audiences off humming and happy?
It’s an unlikely legacy song. They have so many meaningful songs like “Shining Star,” while “September” is a leftover that was a filler song from a greatest hits album that became a career-defining song.
Initially, I was coming out the gate with “September,” just, “Let’s get this out the way.”
It took a while. Early on the Obamas weren’t part of the project. I interviewed them the morning after the 2024 elections; they were so professional and so in the moment and also helped us process the day.
We’d never gotten to see them sit next to each other and be playful and dance. And I didn’t say, “OK, let’s see how you move, dance for 12 seconds,” I was just playing something and they started dancing and the camera happened to be running.
But they put the song in context. In 2009, they said, “What’s the statement we want to make to America to show this is a new era at the White House?” And Earth, Wind & Fire was chosen to be one of the bands at the inauguration and it was that song. So my producer said, “Now we can treat ‘September’ like an encore.” We used that story to show how that song grew on its own organically.
White is a complicated guy. Was it challenging to balance everything in your narrative?
Oftentimes Black artists are seen as caricatures or one-dimensional. It’s easy to do the gotcha of “You’re so positive and metaphysical, what about this or that?” My goal is always to find a human element that you see yourself in. In Maurice’s case with his career, he did drink the Kool-Aid. But his personal life stemmed from not ever forgiving his mother for leaving him behind when he was little. When we hold anger and other emotions in, when we refuse to talk to our partners or friends — and you want people to read your minds — that’s when it becomes a problem. But I wanted to show that in a way where I don’t spell it all out. Hopefully people will make the connection of the importance of dreaming and planning and affirmations but also the importance of letting things go, like forgiving people.
PARIS — Russian teenager Mirra Andreeva was already a tennis phenom at age 15.
At 19, she’s a Grand Slam champion.
The eighth-ranked Andreeva ended the run of 114th-ranked Polish qualifier Maja Chwalinska by 6-3, 6-2 in the French Open final on Saturday.
Andreeva became the youngest player to win the women’s singles title since Monica Seles, who was 18 when she landed her third straight French Open in 1992.
“You’re so young and talented. It’s so annoying,” Chwalinska told Andreeva during the awards ceremony.
When Andreeva executed a backhand cross-court winner on her first match point, she threw her racket into the air and dropped on her knees to the clay to celebrate.
Mirra Andreeva returns a shot against Maja Chwalinska during the French Open women’s final on Saturday.
(Thibault Camus / Associated Press)
During the trophy presentation, Andreeva took the unusual step of thanking herself “for believing in myself, always giving my 100%, even when it’s tough, trying every day to be better as a person and as a player, believing that I can do this, fighting so many demons inside of me.
“Only I know how tough it was for me,” Andreeva added. “How nervous I was throughout these two weeks.”
Chwalinska was attempting to become the first qualifier to capture the Roland Garros title.
Andreeva was born in Siberia and moved to Sochi and eventually France to develop her tennis career.
She drew loud applause from the crowd on Court Philippe-Chatrier when she spoke a few words of French during the trophy presentation.
“Thanks for your support today and over these past two marvelous weeks here in Paris,” Andreeva said. “It was very important for me.”
Alexander Zverev plays Flavio Cobolli in the men’s final on Sunday to conclude the wildest Grand Slam in recent memory.
Andreeva has been considered a Grand Slam contender since she burst onto the scene as a 15-year-old at the 2023 Madrid Open, where she became the third-youngest player to win a main draw match at a WTA 1000 tournament and made the quarterfinals.
Lately, Andreeva has had to contend with playing under neutral status and without her country’s flag due to the war with Ukraine.
When she beat Marta Kostyuk in the semifinals, Kostyuk refused to shake her hand, as has been the custom for Ukrainian players facing Russians ever since the war started in 2022.
Andreeva has gone a step further than her coach, Conchita Martinez, who lost the 2000 French Open final to Mary Pierce.
Pierce presented the winner’s trophy to Andreeva.
The final was played under mostly sunny skies but wind was a factor in the first Grand Slam final for both players.
Chwalinska double-faulted on the opening point of the match but she was the first player to hold serve in the fifth game for a 3-2 lead.
But then Andreeva won nine straight games to take control as she found a way to hit through the wind and answer Chwalinska’s array of spins and drop shots.
Andreeva produced 25 winners to Chwalinska’s 10 and also had fewer unforced errors: 26 to 29.
There was a strong Polish presence in the crowd.
When Chwalinska was introduced, fans held aloft red-and-white Polish flags and chanted her name: “Ma-ja, Ma-ja.”
Andreeva had little support from the crowd, although there was a shout of “Davai Mirra!” (“Go Mirra”) in Russian late in the match.
In men’s doubles, top-seeded Marcel Granollers and Horacio Zeballos retained their title with a 6-4, 6-2 win against Harri Heliovaara and Henry Patten.
Dampf writes for the Associated Press. Samuel Petrequin contributed to this report.
Nope, it’s not AI. It’s just a really big flag with bright lights, draped on Hoover Dam for the next several weeks.
As a display to mark the 250th anniversary of U.S. independence, the states of Nevada and Arizona and the federal Bureau of Reclamation teamed up to hang and illuminate an enormous American flag on the dam on Memorial Day.
The display, scheduled to be in place through July 4, is visible to anyone crossing between Arizona and Nevada on U.S. Route 93, which goes across the top of the dam. The flag is 150 feet tall and 300 feet long, spread on the south-facing side of the dam and lit by 550 LED lights (powered by dam-generated electricity).
A wider view of the illuminated U.S. flag at Hoover Dam.
(Michael Bittle)
It’s a spectacle that comes at a challenging moment for Hoover Dam, as experts warn that Lake Mead’s dwindling water levels could threaten the dam’s ability to generate hydropower. “Slap a flag on it, that’ll fix it,” suggested one of several Reddit commenters who were moved to snarkiness by the flag image.
The dam, a frequent day-trip destination from Las Vegas, stands 35 miles east of the Las Vegas Strip, about 295 miles northeast of Los Angeles. The site features a visitor center and overlook, and guided and self-guided tours.
Installation of the display involved dozens of riggers and two cranes. The flag, which is roughly the dimensions of a football field, has been previously used for celebrations at Indianapolis Colts and Las Vegas Raiders football games.
Within two days after it was hung, gusts of wind up to 50 mph prompted organizers to lower the flag last Wednesday as the National Weather Service declared a wind advisory for the area. Organizers raised the flag again late Friday.
Strong winds are not uncommon in the area. Organizers said weather “may periodically require the flag to be temporarily lowered.” Updates on the flag’s status can be found on the Hoover Dam Facebook page.
The Las Vegas Convention and Visitors Authority paid for the display. A spokeswoman said the cost, including flag, production, installation costs and six weeks of lighting, will be between $750,000 and $1 million.
The dam, a five-year construction job that was completed in 1936 during the depths of the Great Depression, is often hailed as one of the nation’s most impressive works of infrastructure. Though this is not the first time a flag has been draped on it, organizers have called the display “the most ambitious long-duration installation ever attempted at Hoover Dam.”
