By MIKE HOUSEHOLDER

ANN ARBOR, Mich. (AP) — The Red Hot Chili Peppers may be strongly associated with southern California, but drummer Chad Smith’s heart never left the Midwest.

The Rock & Roll Hall of Famer, who grew up in suburban Detroit, is gifting a need-based music scholarship to the University of Michigan.

“A lot of people (say), ‘The Chili Peppers, West Coast band, California this and California that.’ I get it. I was born in St. Paul, Minnesota,” Smith told The Associated Press in an interview Sunday, just hours before he made the official announcement during a surprise appearance at the Ann Arbor school’s annual Band-O-Rama event. “The Minnesota connection is strong. The Michigan connection is strong.

“And that’s why we’re here. It’s a natural, authentic fit for us.”

Smith, 64, performed the RHCP hit “Can’t Stop,” alongside the Michigan Marching Band at Hill Auditorium.

The Curtis & Joan Smith Scholarship, which is named in honor of Smith’s parents, will be awarded to an incoming University of Michigan School of Music, Theatre & Dance student, beginning in 2026.

The scholarship is a partnership between the School of Music, Theatre & Dance and the Chad Smith Foundation and comes on the heels of one with the same name launched two months ago at the University of Minnesota. Smith’s parents are Minnesota alums.

Michigan’s version of the Curtis & Joan Smith Scholarship will support incoming freshmen to the School of Music, Theatre & Dance undergraduate program who demonstrate financial need and a strong commitment to pursuing a music career. The scholarship reinforces CSF’s mission to expand access to high-quality music education and career pathways for aspiring musicians across the country.

Smith attended Lahser High School in Bloomfield Hills, Michigan, and began his career playing in clubs and bars across the Detroit area. He credits his parents with nurturing his love of music and supporting his dream to pursue it professionally.

“My mother is 98 years young. Still going. She’s here today — amazing,” Smith said. “So, to be able to honor her (and) my father unfortunately passed away, but they were so integral in helping me with my musical path.”

Smith has been with the Red Hot Chili Peppers since the late 1980s. During that time, the quartet, which also includes singer Anthony Kiedis and bassist Flea, have been one of the biggest-selling music acts, mixing layers of funk, punk, rap and traditional pop over a foundation of rock.

The backward-baseball-cap-wearing Smith has held down the beat on such hits as “Give It Away,” “Under the Bridge” and “Dani California.” The Chili Peppers were inducted into the Rock & Roll Hall of Fame in 2012.

“I’m fortunate to be in a band people like and I play the drums and maybe some drummers or musicians will get inspired just from my story,” Smith said. “So, yeah, it’s just an opportunity to give back to what I’ve been so lucky to have and for next generations of musicians to be able to pursue what they love.”

Jim McCarty and Johnny “Bee” Badanjek may not be household names, but in the music world, the guitarist and drummer, respectively, are legends.

And now the two Detroiters are the subject of a documentary series, “Jim and the Bee,” that will have a premiere screening this weekend before airing next spring.

The three-part series examines the duo’s careers, which include tenures with Mitch Ryder & the Detroit Wheels, Detroit, Cactus, the Rockets and more. McCarty currently leads his own band, Mystery Train, while Badanjek — whose session resume includes work with Alice Cooper, Edgar Winter, Nils Lofgren and others — is also a noted painter who released a solo album.

Ken LaPlace, whose Ortonville-based Living Legends Motion Pictures directed and co-executive produced “Jim and the Bee,” says the plan began after Badanjek appeared on its syndicated PBS cooking show “The Melody Grill.” “The original plan was to produce a simple half-hour feature on Johnny,” he explains. “Word got out and pretty soon, we had a list of well-known rockers calling to be in it, and here we are today.”

Filming took place between March 4, 2024, and Oct. 2, 2025, including interviews with Cooper, Lofgren, Suzi Quatro, Ted Nugent, ZZ Top’s Billy Gibbons, the E Street Band’s Max Weinberg, Mark Farner, the Smithereens’ Dennis Diken and others. It’s slated to be shown in three parts on WDCQ in Saginaw, most likely in March, and is being pushed to other PBS outlets. An extended trailer is available on YouTube.

The “Jim and the Bee” premiere takes place at 6 p.m. Saturday, Nov. 1, at Harpo’s Concert Theatre, 14238 Harper Ave., Detroit. 313-824-1700. Proceeds will benefit sick, injured and disabled first responders through the nonprofit Living Legends Organizations. Attendees will have the opportunity to sign a petition requesting Ryder and the Detroit Wheels to be inducted into the Rock and Roll Hall of Fame.

STAMFORD, Conn. (AP) — Mike Tirico, Maria Taylor, Ahmed Fareed and Noah Eagle will work multiple events in February as NBC broadcasts the Milan-Cortina Winter Olympics, Super Bowl 60 and the NBA All-Star Game.

On Feb. 8, Tirico will handle play-by-play in a Super Bowl for the first time after being the pregame host in 2022. After the Super Bowl postgame, he will host “Primetime in Milan” from Levi’s Stadium in Santa Clara, California.

Tirico, who will be hosting NBC’s primetime Olympic coverage for the fifth time, will begin hosting from Italy on Feb. 10 until the conclusion of the games on Feb. 22.

Tirico will also be part of NBC’s debut of “Sunday Night Basketball” on Feb. 1 when he calls the Los Angeles Lakers-New York Knicks game at Madison Square Garden.

Taylor will be the lead host of the Super Bowl pregame for the first time. On Feb. 7, she will be the primetime host of Olympics coverage and then will be the late-night host from Italy beginning on Feb. 10. This will be the fourth Olympics assignment for Taylor, who joined NBC in 2021.

Taylor will also host the debut of “Basketball Night in America” on Feb. 1.

Fareed will anchor the NBA All-Star Weekend coverage from Inglewood, California, Feb. 13-15 as well as being the daytime host of Olympics coverage on Feb. 7.

Eagle will call his first NBA All-Star Game on Feb. 15 as well as All-Star Saturday. He will also be part of the Super Bowl pregame and has NBA games on Feb. 1 (Oklahoma City at Denver) and Feb. 22 (Boston at Los Angeles Lakers).

Today show co-anchors Savannah Guthrie and Craig Melvin will also be part of Olympics coverage. Guthrie will host the Opening Ceremony with Terry Gannon Feb. 6 and then “Primetime in Milan” on Feb. 9. Melvin has the Late Night show from Feb. 7-9.

“The Fresh Prince of Bel-Air” alum Floyd Rogers Myers Jr., who appeared on the hit show as a child, has died. He was 42.

The “Jacksons: An American Dream” actor suffered a heart attack at his Maryland home early Wednesday, his mother, Renee Trice, confirmed to TMZ.

This was the fourth in a string of heart attacks over the past three years, according to Trice.

Myers’ screen career was short but notable, as the younger version of Will Smith in a 1992 “Fresh Prince” episode, “Will Gets Committed.”

The Daily News has reached out to Smith for comment.

Later that year, Myers appeared as Marlon Jackson, ages 7 to 9, in Parts I and II of “The Jacksons: An American Dream.” The Emmy-winning miniseries about the Jackson family also starred Lawrence Hilton-Jacobs as patriarch Joe Jackson, Angela Bassett as matriarch Katherine Jackson as well as Holly Robinson Peete, Terrence Howard, Billy Dee Williams and Vanessa Williams.

Myers’ last screen appearance was in 2000, when he was credited as a student in “Young Americans,” which aired for one season and starred Kate Bosworth and Ian Somerhalder.

A banner hanging above Jon Batiste’s stage Friday night, Oct. 24, at Detroit’s Fox Theatre declared that, “This is the circus of love. Under our tent there is revival and joy.”

The two-hour show was, in fact, all of the above.

Born into and raised in the New Orleans tradition, Batiste has proven over the course of his 20-year recording career to be master of musical alchemy and excellence. Friday’s concert was another case in point, as the multi-instrumentalist and singer led his facile and physical nine-member band through a set of songs that were dizzying in their range, an aural circus — as advertised — from Beethoven (“5th Symphony in Congo Square” from last year’s “Beethoven Blues” album) to be-bop, funk to blues to gospel, a few choice covers, singalong moments for the crowd of nearly 4,000 (including David Byrne, who’s performing at the Fox on Saturday,. Oct. 25) and plenty of the also-promised joy throughout.

It started that way, in fact, as Batiste — sporting a black, studded mariachi suit — strolled down the Fox’s center aisle, smiling as he banged on a tambourine on his way to the tent-styled stage before leading the group into an exultant version of “Let Got Lead.” “I love you even if I don’t know you,” the former “Late Show with Stephen Colbert” music director told the audience — one of his trademark hook-lines — before delivering a “public service announcement” that “it’s time to shake your tail feather.” Flashing the hand sing for love repeatedly, he later explained that, “This is not a concert; this is a spiritual practice,” promising, too, that “no matter how dark it gets, we can win…y`all.”

There is no darkness at a Batiste concert, however, and certainly not on Friday. He and the band shifted gears with Formula 1 precision but avoided any whiplash with a spirited demeanor — and a daring-do sense that they didn’t necessarily know what waited on the next turn but were perfectly capable of steering their way through it.

The result brought roof-raising renditions of the title track from Batiste’s latest album “Big Money,” an achingly soulful “Cry,” “I Need You” and a pairing of Beyonce’s “American Requiem,” which Batiste co-wrote, and his own “Freedom.” Vocalist Desiree Washington took the spotlight for a Motor City-appropriate take on Aretha Franklin’s “I Never Loved a Man (The Way I Loved You)” and Andra Day joined Batiste and company for “Lean On My Love,” their duet from the “Big Money” album, and the Impressions’ “It’s All Right.”

The troupe also extended the polyrhythmic blues of “Petrichor” into a percussive jam that found Batiste working the drum kit after he’d already played piano, guitar, saxophone and melodica.

Batiste did just fine when he was on his own, too. Besides the Beethoven moment, he performed a solo piano jazz improvisation and then, later in the show, put together medley that knitted the Beatles’ “Golden Slumbers,” Tupac’s “Changes,” Bruce Hornsby’s “The Way It Is” and Leonard Cohen’s “Hallelujah” into a moving and pointed tone poem that held the Fox crowd rapt until Batiste called it to join in for the closing chorus of the latter.

His “healing song” “Butterfly” was nothing short of beautiful and teed up a “Worship” that finished the night with Batiste, as is his tradition, leading the band back up through the theater’s center aisle — revived, joyful and definitely feeling the love for another masterful performance.

Johnny Depp appears set to return to the mainstream as Ebenezer Scrooge in Paramount Pictures’ adaptation of Charles Dickens’ “A Christmas Carol,” helmed by horror movie director Ti West.

The 62-year-old “Pirates of the Caribbean” star — whose career suffered for years in the wake of abuse allegations leveled by ex-wife Amber Heard — is said to be in final talks to star in “Ebenezer: A Christmas Carol,” according to Variety and Nexus Point News.

Andrea Riseborough, similarly no stranger to controversy albeit of lighter fare, is also set to star.

While West is primarily known for making horror films, including the recent “X” trilogy, it’s not yet clear whether his version of “A Christmas Carol” will flirt with the gory genre.

The movie, which Paramount hopes to release next November, will mark Depp’s first role from a major studio since 2018’s “Fantastic Beasts: The Crimes of Grindelwald.”

He has slowly but surely been returning to the cinematic forefront after Heard, now 39, seemingly accused him of domestic abuse in an op-ed for The Washington Post, just over a month after the release of that film.

The allegations, after which Depp was fired from both the “Fantastic Beasts” and “Pirates” franchises, resulted in the exes facing off in a 2022 joint defamation trial that captivated the internet and led both performers to becoming persona non grata.

Riseborough, for her part, may best be known now for her eyebrow-raising Best Actress nomination at the 2023 Academy Awards. Her consideration campaign for “To Leslie” was accused of violating Academy rules by somehow enlisting a slew of celebrities to publicly sing her praises and increase her chances of a nomination.

The nod spurred a probe, which found “tactics that caused concern,” though the nomination was not rescinded.

Kim Kardashian got candid about a recent health scare, revealing on the season 7 premiere of “The Kardashians” that she’d been diagnosed with a brain aneurysm.

The SKIMS founder fought back tears while talking about the diagnosis in a trailer that played at the beginning of Thursday’s season opener.

In the clip, the 45-year-old can be seen lying in an MRI machine and later telling her family the scan found “a little aneurysm.”

According to the Mayo Clinic, a brain aneurysm is “a bulge or ballooning in a blood vessel in the brain.” Though most aren’t serious, especially if they’re small, the condition can become life-threatening if an aneurysm ruptures, causing bleeding in the brain.

Kardashian went on to tell her family that her doctor blamed the aneurysm on stress. Elsewhere in the premiere, she admitted that a lot of her stress comes from her ex-husband, Kanye West, with whom she shares four kids between the ages of 6 and 12.

“I feel more stressed probably just because I have to protect my kids,” she said. “Everyone around can handle (the drama), but I want to protect my babies.”

She noted that for years she’s been “able to hide” her ex-husband’s controversies and public outbursts from their kids, but it’s getting harder to do so as they get older. Kardashian later said her relationship with West feels like “a little bit of Stockholm syndrome.”

“I always felt really bad and always wanted to help,” she explained. “(People think) I should have stuck it out and I could have helped. … (But) as much as people think that I have the luxury of walking away and not dealing ever again, that’s not my reality. This person — we have four kids together.”

Kardashian also partly blamed her ongoing psoriasis flare-ups to the stress of co-parenting with West.

“I haven’t had psoriasis since my divorce (in 2021), but it’s starting to come back,” Kardashian told a producer while looking at the red rashes on her legs. “It always flares up whenever I start feeling stressed.”

Still, the mother of four said she isn’t looking for an apology from her ex and just wants to find peace no matter how he behaves.

“I’m not looking for it,” she explained. “I don’t care. Is it sad, it’s so f—ing sad. But I can’t stress too much about that. I have to worry about other things.”

Lukas Nelson has been known, for all of his life, as Willie Nelson’s son and occasionally part of his family band. And for 16 years of his music-making life he was the leader of the band Promise of the Real, which backed Neil Young as well as releasing eight albums of his own.

Now this Nelson, 36, is out on his own.

During June, Nelson — who won Grammy and BAFTA awards for the songs he wrote for the hit 2018 remake of “A Star is Born” — released “American Romance,” the first album to bear his name alone. Produced by longtime friend Shooter Jennings, the 12-track set includes a collaboration with Sierra Ferrell (“Friend in the End”), as well as a new version of “You Were It,” the first song Nelson ever wrote — at 11 years old — that was first released on Willie Nelson’s 2004 album “It Will Always Be.”

The set ushers in what Lukas Nelson acknowledges is a new era in his career, one he feels will allow him to make a wide array of music, entirely on his own terms…

* Nelson says via Zoom from New York that he considers stepping away from Promise of the Real — whose other members are working in Young’s Chrome Hearts band — to be “almost cosmetic. What happened to me was the name Promise of the Real was so tied into Neil Young from the times we’d been playing with him that I felt like I wanted to make sure I could do something different, that felt different, that maybe fans of Neil Young or even fans of my dad wouldn’t necessarily be bummed about. I love Neil Young fans, and I love my dad’s fans, but I want to bring other fans along, too. And I felt like sometimes people were getting a little aggressive about me not playing as much guitar or rocking out at certain points. I wanted the freedom to NOT do that, and to do what I want to, when I want to. So I just felt I had to change the name, really.”

* He acknowledges that the tenor of “American Romance” is a bit quieter and more reflective than the harder-rocking Promise of the Real material. “I have so many songs. I was in a flow of writing, and you can’t really tell yourself to write a certain song — some people can, but for me, whatever comes out comes out. So I was writing a lot of songs that were more about lyrics and vocals than they were about rockin’ out. That’s just what was coming out, and I wanted to focus on those songs. Since then, I’ve written a lot of rockers.” (laughs)

* Nelson — who splits time between homes in Nashville and Maui — considers “American Romance” to be a kind of aural travelogue, inspired by his own journeys as a musician. “Moving, traveling — up until this point in my life and, actually, continually that has been my biography the defining aspect of my life. That’s what’s kept me from getting married and having kids. It’s what keeps me from so much. It’s a romance; there’s happiness and sadness, and heartbreak and elation. It kind of covers the gamut.”

* As “American Romance” is his first “solo” album, Nelson felt it would be appropriate to include “You Were It” as the closing track. “I was on the school bus one day when I was 11, and it started playing in my head and I realized it was a song that hadn’t been written yet. So I wrote it and played it for my dad, and he liked it so much he put it on his album. That gave me a lot of confidence; I knew it wasn’t just fluff ’cause dad put it on his album. I figured it was appropriate to finally put it out, and what better way to put it out than on a record with just my name on it. It’s very stripped down; that’s me at my core, so it was kind of a nice callback.”

* Nelson says he has “so many things I’m excited about in the future, including both music and movies. “I’m working on a movie project right now that I can’t really talk about yet, but I’ve written 30 songs for that with Ernest, and that’s exciting. I’ve got some other stuff in New York that I might be doing soon. And I’m planning on recording another album coming up pretty soon; I’m writing for that now, ’cause I can’t stop the songs from coming. I just wrote a song with Ben West and Laci Kaye Booth that feels like a mix of Radiohead and country. So it’s hard to say; I can just tell you there’s a lot of music, and some fun stuff on the horizon.”

Lukas Nelson performs Wednesday, Oct. 22, at the Majestic Theatre at the Majestic Theatre, 4140 Woodward Ave. Doors at 7 p.m. 313-833-9700 or majesticdetroit.com.

Cemeteries are the last place one might look for things to do over the weekend. But, if you appreciate reflection and history over busy bars and music, Elmwood Alight at the historic Elmwood Cemetery in Detroit might be the thing for you.

The immersive tours take place October 17-18. Tickets are $40.

Amy Elliott Bragg is director of the Historic Elmwood Foundation.

She joined Cary Junior II on The Metro to discuss the two-night event.

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Looking to be entertained this weekend? There’s plenty of the usual fare — lots of music, movie openings, TV, etc. But if you feel like stepping out for something special, there are a few significant opportunities in the metro area over the next few days …

• The Detroit Institute of Arts celebrates the opening of its reimagined African American Art Galleries with a number of events during the weekend. A preview for members runs all day on Friday, Oct. 17, with the grand opening and member lecture taking place at 6 p.m. in the Detroit Film Theatre. A special gala opening will be held at 6 p.m. Saturday, Oct. 18, and the galleries open to the public at 10 a.m. Sunday, Oct. 19. 5200 Woodward Ave., Detroit. 313-833-9700 or dia.org.

• Comedian and actor John Mulaney is making himself at home this weekend. He wraps a two-night stand on his “Mister Whatever” tour at 7:30 p.m. Friday, Oct. 7, at the Fox Theatre, 2211 Woodward Ave., Detroit. 313-471-7000 or 313Presents.com. Mulaney then moves to the Fillmore Detroit for one more show on Saturday, Oct. 18. 2115 Woodward Ave. Doors at 7 p.m. 313-961-5451 or thefillmoredetroit.com.

• The Dance @ Detroit Opera season begins with performances by Stars of the American Ballet at 7:30 p.m. Saturday, Oct. 18 and 2:30 p.m. Sunday, Oct. 19 at the Detroit Opera House, 1526 Broadway St., Detroit. The company will salute iconic choreographers Jerome Robbins, Twyla Tharp, Gerald Arpino and George Balanchine. Daniel Ulbricht, artistic director, will speak an hour before each performance. 313-237-7464 or detroitopera.org.

• We often forget that “Steel Magnolias” was a stage play — in 1987, by Robert Harling — before it became a hit film two years later. You can see it at 7:30 p.m. Saturday, Oct. 18 and 2 p.m. Sunday, Oct. 19 at the Macomb Center, 44575 Garfield Road, Clinton Township. 586-286-2222 or macombcenter.com.

• “The Rocky Horror Picture Show” 50th Anniversary Spectacular Tour — featuring cast members Barry Bostwick (Brad Majors), Laura “Little Nell” Campbell (Columbia) and Patricia Quinn (Magenta) — stops Saturday, Oct. 18 at the Masonic Temple Theatre, 500 Temple St., Detroit. Doors at 7 p.m. 313-548-1320 or themasonic.com.

Barry Bostwick to appear with ‘Rocky Horror’ co-stars in Detroit to celebrate film’s 50th anniversary

By MARK KENNEDY, Associated Press

NEW YORK (AP) — Broadway is a tense place these days after two major labor unions authorized strike action amid ongoing contract negotiations with producers.

Actors’ Equity Association — which represents over 51,000 members, including singers, actors, dancers and stage managers — and American Federation of Musicians Local 802 — which represents 1,200 musicians — have voted in favor of a strike authorization, a strategic step ahead of any work stoppage. No strike has been called.

Members of both unions are currently working under expired contracts. The musicians’ contract expired on Aug. 31, and the Equity contract expired on Sept. 28.

Both unions want pay increases and higher contributions by producers toward employee health care costs, a key sticking point. Actors Equity also wants producers to hire more backup performers and stage managers, add protections for performers in the event of injury and put limits on how many performances in a row actors can be asked to do without a day off.

The health of Broadway — once very much in doubt due to the COVID-19 pandemic — is now very good, at least in terms of box office. The 2024-2025 season took in $1.9 billion, the highest-grossing season in recorded history, overtaking the pre-pandemic previous high of $1.8 billion during the 2018-2019 season. It has been a long road back from the days when theaters were shuttered and the future looked bleak.

The unions are pointing to the financial health of Broadway to argue that producers can afford to up pay and benefits for musicians and actors. Producers, represented by The Broadway League, counter that the health of Broadway could be endangered by increasing ticket prices.

“On the heels of the most successful season in history, the Broadway League wants the working musicians and artists who fueled that very success to accept wage cuts, threats to healthcare benefits, and potential job losses,” Local 802 President Bob Suttmann said in a statement Tuesday.

A strike would cripple most of Broadway, but some shows might continue. “Beetlejuice” and “Mamma Mia!” arrived as part of tours and so do not have a traditional Broadway contract. And shows playing at nonprofit theaters, such as the musical “Ragtime” at Lincoln Center Theater and the play “Punch” from the Manhattan Theatre Club, have separate labor agreements.

The most recent major strike on Broadway was in late 2007, when a 19-day walkout dimmed the lights on more than two dozen shows and cost producers and the city millions of dollars in lost revenue.

More than 30 members of Congress, including the entire New York delegation, have signed a letter urging all sides to bargain in good faith and avoid a strike.

“A disruption to Broadway will result in significant economic disruption to not just the New York metropolitan area but harm theater workers and patrons across the country and around the world,” the letter states.

Tony Award-winning actor Barry Bostwick, alias Brad Majors from “The Rocky Horror Picture Show,” is going on a North American tour across 40 cities to celebrate the movie’s 50th anniversary.

Alongside co-stars Nell Campbell, alias Columbia, and Patricia Quinn, alias Magenta, Bostwick will appear at the Masonic Temple Theater in Detroit at 7 p.m. Saturday, Oct. 18. There will also be a live shadow-cast with Michigan Rocky Horror Preservation Society members, a memorabilia display and costume contest. The actors will speak about “Rocky Horror” and be available for a VIP Meet & Greet Experience. No outside props are permitted. However, every ticket purchased includes a bag of props.

“The crux of the evening is we’re just throwing a big party for those who want to come and witness what they remember from back in high school or college or if they’re a virgin to this whole phenomenon,” Bostwick said. “It’s an experience, a happening. It’s something that can’t be recreated. Every night we do it is different. Our job … is to continue that sense of party that you originally felt when you experienced it for the first time. We’re on our third generation of partygoers now; that’s a lot of beer in the bellies!”

Celebrations throughout metro Detroit mark ‘Rocky Horror’ 50th anniversary

Directed by Jim Sharman (who co-wrote the screenplay with creator Richard O’Brien), “Rocky Horror” blends comedy, parody, musical, horror and science-fiction, paying homage to low-budget 1950s-60s sci-fi and horror movies. It’s based on 1973’s musical stage production, “The Rocky Horror Show,” which O’Brien wrote.

“I’ve been a fan of this movie ever since we made it way back when. I continue to push its entertainment value. … It’s a one-off; it’s a phenomenon. It’ll never be recreated in the way that the fans created this entertainment. They really are the ones who made ‘Rocky Horror’ into what it is,” Bostwick said. “We just made a little movie in five weeks in 1974. When we left England in November of that year, it was like: ‘That was fun. That filled up a month-and-a-half of our lives. We sang good music and made some new friends.’”

“Rocky Horror” also stars future Oscar winner Susan Sarandon (“Thelma & Louise”) as Janet Weiss and Tim Curry (“Legend”) as Dr. Frank-N-Furter, who also originated this role onstage.

It begins with newly-engaged couple Brad and Janet, whose car breaks down. They walk to a nearby castle and meet mad scientist Frank-N-Furter, who creates his own Frankenstein’s Monster, the musclebound Rocky (Peter Hinwood). Subsequently, Frank-N-Furter seduces the couple. In the end, it’s revealed he’s an alien transvestite from the planet Transsexual in the galaxy of Transylvania.

Upon release, “Rocky Horror” received negative reviews. However, it became a hit on the midnight movie circuit. The screening of nonmainstream movies at midnight was aimed at building esoteric audiences, encouraging repeat viewing and social interaction. Fans began dressing up as the characters, spawning similar performance groups across the nation. Around the same time, fans began performing alongside the film and screaming back at the screen. Bostwick attributed its success to its legion of fans.

“I don’t think a lot of people were into it until it really took off on the midnight circuit,” Bostwick said. “I think the organic quality of how it became what it became is so special. Sal Piro was the first one to organize the audience into the party in which it became. Sal was always the host. He started the first fan clubs. He started working with 20th Century Fox to promote it, create the fanbase for it, and coalesce the fanbase worldwide. He published newsletters and wrote books about it. It’s him and the fans he was able to gather who created this entertainment.”

“Buffy the Vampire Slayer” alumnus Anthony Stewart Head played Frank-N-Furter in the 1990 West End stage revival. He offered his insight into the phenomenon.

“The original (stage) show was a massive success and, initially, the movie didn’t do as well as they expected,” Head said. “Someone said they left space in the edit for the audiences to laugh, which made it (drag) out a bit. It was because the audience then came up with the idea of heckling and chanting in the gaps that made it such a ‘live show’ film, and people would see it over and over. That then transferred back into the stage show, and the audience chanted and threw things onto the stage, (making) it a ‘Rocky Horror’ ‘community’ experience.”

Bostwick’s musical theater background on Broadway landed him “Rocky Horror.” He praised Curry, who had a stroke in 2012, calling him a consummate professional.

“Tim just blew the walls down! I wanted to work with him because he was such a phenomenon. When they offered it to Susan and me, it was a no-brainer. Who wouldn’t want to work with Tim and who wouldn’t want to be in something that was colorful, weird, and really different for the time? It propelled my musical career further than if I was just a guy on the Bowery, which I was just a guy on the Bowery, but I actually had some work behind me.”

Bostwick continued: “Tim had the grounded, sorta over-the-top wit that character needed with the undercurrent of evil, which that character had. Because he was such a good actor, there were so many layers to the character. I was a witness to this amazing creature that interacted with Susan and I on a daily basis making the film. At the same time, I knew Tim was a gentleman, a kind and compassionate human being, and not that character, who was weird and evil. I hope he continues to share his wit, sense of humor, and talents with the world – even though he’s been ill for many years now.”

Head also praised Curry.

“I loved Tim Curry’s manifestation of the character, both dark and funny,” Head said. “I will never get over the original live show; his performance was a real game-changer. You loved him and hated him at the same time. This should also be attributed to (O’Brien’s) creation of the character within the extraordinary story. The movie was a great translation of that, and we see deeper inside all of them, especially Tim’s Frank-N-Furter.”

Bostwick pointed out it’s the longest, continuous-running movie in film history because it’s always playing in movie theaters somewhere every week.

“It’s something when people say if we’d know that it would have the legs it would have, you have to say 'no' because this kind of entertainment didn’t exist – where the audience came in and threw stuff and yelled stuff and acted out the characters. And they still do!” he said. “I can only say it happened because of the fans. It happened simply because of the audience who wanted to act up, act out, and have an evening in the theater that they controlled with their enthusiasm and drunkenness.”

If you go

“The Rocky Horror Picture Show” at the Masonic Temple Theater, 500 Temple St., Detroit. Actors Barry Bostwick, Nell Campbell, and Patricia Quinn will appear at the screening at 7 p.m. Saturday, Oct. 18. The event will run for about 2 hours and 10 minutes. No outside props allowed. Due to its content, viewer discretion is advised. Ticket prices range from $73-$301. Call 313-548-1320 or visit themasonic.com.

The Oct. 18 event at the Masonic Temple Theater in Detroit with actors Barry Bostwick, Nell Campbell and Patricia Quinn isn’t the only way to celebrate the 50th anniversary of “The Rocky Horror Picture Show.”

So come on up to the lab and see what’s on the slab.

Barry Bostwick to appear with ‘Rocky Horror’ co-stars in Detroit to celebrate film’s 50th anniversary

The Michigan Rocky Horror Preservation Society, a live performance group dedicated to the preservation of audience participation of “Rocky Horror,” hosts screenings of the 1975 cult classic twice a month in Wayne.

There will also be “The Rocky Horror Show Live” at the Redford in Detroit the weekend of Nov. 7-8.

“Our cast isn’t affiliated with the performance at the Redford, but we are all very excited to go see that cast! It’s not that often that the live musical is produced around (metro Detroit), so it’s a treat to go see,” said Isabella Levitt of Bingham Farms.

Levitt, an alumna of Groves High School in Birmingham and Oakland University, has been a member of the MiRHPS since 2021. She’s portrayed Janet onstage, among other characters.

“The mission of MiRHPS is to create a safe and productive space for folks to indulge in their passion and participate in keeping a queer legacy of 50 years alive,” she said. “Between hearing about the movie for the first time and attending a screening, I showed the movie to as many people as I could and became fascinated by its place in queer culture. I attended my first show and continued to be an audience member until I was 21, when I joined MiRHPS.”

At first, Levitt was adamant she wouldn’t get onstage. She was fine helping behind the scenes. However, an emergency arose, and she stepped in to play Janet at the last minute.

“The rest is history, but that moment did change my life in so many ways,” Levitt said. “Shadow-casting is just so much fun! (Actor) Sal Piro started the shadow-casting tradition shortly after the film was released, and the ability to jump onstage and transform into someone else, to express yourself entirely freely in an accepting space is something that will always be needed, especially in the queer community. For many shadow-casters, it isn't even about the movie anymore. As much as I love the movie, I continue to come back because of the love I have for preserving queer culture and the love I have for my chosen family.”

She’s looking forward to performing with her fellow MiRHPS members when Bostwick, Campbell and Quinn come to Detroit.

“We've performed with Barry and Pat in the past,” Levitt said. “We will have the pleasure of meeting them before the show, as well.”

Created by Richard O’Brien, “Rocky Horror” began as a musical in 1973, spoofing low-budget science-fiction and B-horror movies. Bostwick, Susan Sarandon and Tim Curry starred in the movie. Curry played mad scientist Dr. Frank-N-Furter, the role he originated onstage and the franchise’s most popular character.

“There’s not a lot of words to describe Curry’s performance other than iconic,” Levitt said. “His voice and presence on the screen make it difficult to look at anyone or anything else. He captures your attention and never lets go. It never gets old to watch.”

Anthony Stewart Head, alias Rupert Giles on “Buffy the Vampire Slayer,” portrayed Frank-N-Furter onstage in the 1990 West End revival. He saw the stage version when it debuted in 1973 at the King’s Road Theatre in London, calling Curry’s performance a “real game-changer.” Yet Head made the role his own.

“I felt Frank-N-Furter growing inside of me, his voice in my head – different from everyone else who’d played him. It was quite bizarre. I felt truly connected to him,” recalled Head. “When (designer) Sue Blane and I talked about how I wanted to look, I said I’d always thought of having high heels than the platform shoes that he normally wore because I wanted to be very active. The platforms were very fashionable in the 1970s … but I felt they were a bit clunky for me. I also changed the hospital gown he appears in when he unleashes Rocky; there’s a bunch of classic B-horror pic references, which I thought might be enhanced by being dressed as a 1940s nurse. I also thought about wearing a wig because my hair was short … but would that fit, being wigged up? Then I suddenly thought of him actually wearing one himself and removing it in his apparently emotional moment when he sings, ‘I’m Going Home.’”

One of the most flattering things to happen to Head was when two friends saw his performance and didn’t realize it was him onstage until 20 minutes into the show.

“Once they had, they couldn’t believe I could be so unpleasant,” he said. “Watching the show online … takes my breath away at how I legged it around and all over the stage. I had memories of being active, but seeing it manifest itself in reality leaves me speechless. I couldn’t do it now. I think I’d rather leave it out there in people’s minds – very glad to.”

Head spoke about if Giles and Frank-N-Furter were to meet.

“First, would he be attracted to him? Maybe not, but Frank-N-Furter might find a way to deceive him. I wonder if they would stretch back to when Giles was Ripper (his dark side). I definitely think he’d like him, but wouldn’t trust him. Maybe he’d think he was a sexy, songful demon,” offered Head. “I’ve been so lucky to have been part of so many iconic shows, the last being ‘Ted Lasso.’ They live in my heart, and I do not take any of it for granted. I grew both Giles and Frank-N-Furter from within me. I sensed them there and ultimately let them be heard. It’s wonderful to be a part of two shows that people have told me changed their lives.”

Both Head and Bostwick offered their advice to actors performing “Rocky Horror” onstage.

“Do what Chris Malcolm (the original Brad) advised me to do in response to audience heckles: Write down a bunch of responses. I gathered a bunch of one-liners from all sorts of places, (including) a few from Rhea Perlman on ‘Cheers,’” Head said.

“They have to be grounded in reality with the characters. It’s not a comic book. That’s the mistake they make; they go out there and put a joke on top of a joke,” explained Bostwick. “It’s not as much fun if these people aren’t serious about who they are and where they are, even though the setting is absurd, their characters are not absurd.”

If you go

The Michigan Rocky Horror Preservation Society hosts “The Rocky Horror Picture Show” with a live cast on the second and fourth Saturday of each month at Phoenix State Wayne Theater, 35310 W. Michigan Ave., Wayne. Doors open at 11:15 p.m. Tickets cost $10 and $5 for a bag of props. No outside props allowed. Viewer discretion is advised. For questions or more information, contact michiganrhps@gmail.com.

“The Rocky Horror Show Live” will be at the Redford Theatre, 17360 Lahser Road, Detroit, at 8 p.m. Nov. 7 and 3 and 8 p.m. Nov. 8. Tickets cost $25, which includes a bag of props. No outside props allowed. Viewer discretion is advised. For questions or more information, contact 313-537-2560 or visit redfordtheatre.com.

It would make sense that a home town show would be special for a band known as the Pan Detroit Ensemble.

And indeed it was on Saturday, Oct. 11 at Detroit’s Majestic Theatre — especially as it was celebrating the release of its first album.

The nine-member troupe is the brainchild of Don Was, the award-winning elite producer and Blue Note Records label president from Oak Park. It’s been together less than two years and played its first “proper” concert on just over 16 months ago at Orchestra Hall. During the interim the Ensemble has toured internationally in addition to preparing the new “Groove in the Face of Adversity,” which came out the day before the concert.

And as Saturday’s hour-and-40-minute show demonstrated, the nonet has grown into an electrifying ensemble, one capable of — in the Detroit music tradition — exploring a repertoire that blends jazz virtuosity with funk energy and a fearless spirit. Was even acknowledged before a couple of the night’s 15 songs that “we sorta knows this, sorta don’t.”

“We’re on a…mission to promulgate the indigenous sounds of our home town,” Was told the Majestic crowd — which greeted the group with a standing ovation even as it walked on stage — before the Ensemble began the night with its rendition of Hank William’ “I Ain’t Got Nothin’ But Time,” adding that in playing Detroit “it’s so nice to be somewhere we don’t have to promulgate.”

What’s changed for the Ensemble since that Orchestra Hall show is the benefits of time. Back then it was a band of players so skilled that their sheer chops belied its short time together. On Saturday, however, it was evident how it has grown into a true, well, ensemble during the intervening months; the arrangements flowed with instinctive acumen, freely improvising upon the songs’ frameworks and often reaching a place of intuitive, organic ecstasy.

It was clear throughout that the Ensemble didn’t necessarily know what was coming from its individual members but still knew exactly what it was doing.

Was made early mention of his 45-year association, dating back to his band Was (Not Was), with keyboardist Luis Resto and saxophonist David McMurray, who were featured on “You Asked, I Came” from Was’ score for the 1994 film “Backbeat” and Yusef Lateef’s trippy “Nubian Lady.” All of the players — drummer Jeff Canaday, trombonist Vincent Chandler, trumpeter John Douglas, guitarist Wayne Gerard and percussionist Mahindi Masai — received spotlight moments throughout the night, while vocalist Steffanie Christi’an showed an even greater comfort in her role, commanding the stage with a ferocious, loose-limbed exuberance.

The substantial number of Deadheads at the Majestic did their part in twirling to Jerry Garcia’s “Loser” and a trio of tracks — “Help on the Way,” “Slipknot” and a euphoric “Franklin’s Tower” — from the Grateful Dead’s 1975 album “Blues For Allah.” The Ensemble dipped into the Was (Not Was) canon for the first-album favorite “Carry Me Back to Old Morocco” and, towards the end of the night, “Wheel Me Out,” which came out of a rendition of Cameo’s “Insane” and found Resto adding violin to the mix.

The Ensemble ended the show with the Impressions’ defiant “This is My Country,” which Was noted “is unfortunately becoming ore apropos every day.”

It’s still a young band, but it’s clear the Ensemble is a growing concern — it already has another tour set for January, including four shows Jan. 9-10 at the Blue Llama Jazz Club in Ann Arbor — that’s only growing in potency and is promulgating its Pan Detroit heritage in a manner that does the city proud.

Everybody loves a reunion — and the “Everybody Loves Raymond” team is giving the people what they want.

Ray Romano, who starred as sports journalist Ray Barone, and creator Phil Rosenthal will host “Everybody Loves Raymond: 30th Anniversary Reunion” on Nov. 24 at 8 to 9:30 p.m. ET, to commemorate both the 29 years since the Long Island-set sitcom premiered on Sept. 13, 1996 and the two decades since the show took its final bow in May 2005.

“Audiences are invited back to the recreated Barone living room for an unforgettable evening with America’s favorite family,” reads CBS’ press release.

There will be a “moving tribute” to the late Doris Roberts and Peter Boyle, who starred as Ray and Robert’s overbearing mother and sardonic father Marie and Frank — “fan favorites and the emotional anchors of the series.”

Brad Garrett and Patricia Heaton, who starred as Ray’s brother Robert and Ray’s wife Debra, will take part in the special’s “candid conversations,” as will Madylin and Sullivan Sweeten.

The Sweetens played Ray and Debra’s kids Ally and Michael, along with their late brother Sawyer, who played Michael’s twin Geoffrey. Sawyer died by suicide in 2015 at age 19.

“Raymond” earned 69 Emmy nominations and 15 wins — including twice taking home the award for Outstanding Comedy Series — during its nine-season run.

Speaking to the Daily News in October 2020, Emmy winner Rosenthal ruled out a reboot or remake “because we’re missing key ingredients” in the absences of Boyle and Roberts, who died in 2006 and 2016, respectively: “There is no show without them.”

“There’s an old showbiz axiom, by the way: get off the stage before somebody says, ‘Get off the stage.’ And we did. CBS wanted us to continue,” said Rosenthal. “And we wanted to stop before we became lousy.”

By HILLEL ITALIE, AP National Writer

NEW YORK (AP) — Drawing upon her personal and political past, Jane Fonda has revived an activist group from the Cold War era that was backed by her father and fellow Oscar winner, Henry Fonda.

Jane Fonda announced she had launched a 21st century incarnation of the Committee for the First Amendment, originally formed in 1947 in response to Congressional hearings aimed against screenwriters and directors — notably the so-called “Hollywood Ten” — and their alleged Communist ties. Signers of the new organization’s mission statement include Florence Pugh, Sean Penn,Billie Eilish, Pedro Pascal and hundreds of others.

Wednesday’s news comes in the wake of Jimmy Kimmel’s brief suspension by ABC over his on-air comments after conservative activist Charlie Kirk’s assassination. President Donald Trump was among those who had wanted Kimmel to be fired.

“The federal government is once again engaged in a coordinated campaign to silence critics in the government, the media, the judiciary, academia, and the entertainment industry,” the committee’s mission statement reads in part.

“We refuse to stand by and let that happen. Free speech and free expression are the inalienable rights of every American of all backgrounds and political beliefs — no matter how liberal or conservative you may be. The ability to criticize, question, protest, and even mock those in power is foundational to what America has always aspired to be.”

The Fondas each have had long histories of activism, whether Jane Fonda’s opposition to the Vietnam War or Henry Fonda’s prominent support for Democratic Party candidates, including John F. Kennedy, for whom the elder Fonda appeared in a campaign ad in 1960.

Henry Fonda, who died in 1982, joined the 1947 First Amendment committee along with such actors and filmmakers as Humphrey Bogart, John Huston, Lucille Ball and Frank Sinatra. Although highly publicized at the time, the committee had a short and troubled history. Bogart and others would find themselves accused of Communist sympathies and would express surprise when a handful of the Hollywood Ten, including screenwriter Dalton Trumbo, turned to have been Communist Party members at one time or another.

By the following year, Bogart had published an essay in Photoplay magazine entitled “I’m No Communist,” in which he confided that “actors and actresses always go overboard about things” and warned against being “used as dupes by Commie organizations.” Trumbo and others in the Hollywood Ten would be jailed for refusing to cooperate with Congress and found themselves among many to be blacklisted through the end of the 1950s and beyond.

I am acquiring costume paraphernalia for Halloween parties that haven’t even been conceived yet.

If there is a costume contest, I will be there with bells (and wigs and masks and tutus) on.

I have been known to carry a cape and wizard hat in my car just in case of a sartorial emergency. And it has come in handy, thank you very much.

There is an artistry to a good costume. The combination of whimsy and vulnerability necessary for a grown adult to commit to a public game of dress up with an outfit inevitably revealing a glimpse into their spirit is endlessly charming.

Be brave this Halloween. Put down the “this is my costume” T-shirt. You’re better than that. Let me help!

1. Nostalgia factor

There is nothing like dressing up to make you feel like a kid again. If you’re drawing a blank on who to portray, think back to your favorite childhood cartoons, movies, action figures, books, cereal mascots or video game characters. Sure, you might not find a readymade Count Chocula or Junie B. Jones costume available in a big-box store near you, but it’s not hard — and can even be pretty fun, if you ask me — to gather some pieces here and there that get the job done. Make the 7-year-old version of you smile! Plus, there’s nothing like the high of locking eyes with someone who also loved the obscure computer game character you’ve embodied and seeing their face light up, too.

2. Get thrifty and crafty

Once you’ve honed in on who or what you want to be, a thrift and craft store will make it come to life. Dedicate a day to hitting a few thrift spots to find the perfect blue jacket to pull off Cap’n Crunch. Stop by a craft store on your way home to pick up some blue posterboard so you can DIY his hat. If you work better in teams, host a costume crafting party one weekend in October. Invite your friends over, throw on a spooky movie and supervise each other’s hot glue gun usage while you work on your masterpieces. You’d be surprised how much money you can save picking up glasses, jewelry, leather jackets, jerseys or whatever you’re in the market for at a thrift store. I once thrifted a hand-sewn ET costume clearly made with love by a janky seamstress, and it remains a Halloween costume highlight.

3. Shop local for accessories

If the costume you’ve settled on requires accessories that feel a bit too specific to make or thrift yourself — a sword, a certain wig, a mustache, fangs — then Denver is home to great local costume shops that beat out the chain retailers every time. Lakewood houses Disguises, at 10500 W. Colfax Ave., where you can walk through a maze of costumes and accessories all year round. South Broadway’s Wizard’s Chest, at 451 Broadway, offers year-round help with costumes, a professional theatrical make-up counter, and all kinds of aesthetic accouterments. Witch hats just look better when they’re bought locally, folks.

4. Retro is the way to go

If you really want to stand out this Halloween, an easy way to take a basic costume — witch, astronaut, clown, vampire — and give it a unique spin is to style it vintage. Look up old Halloween costume photos, scour eBay for retro plastic masks or do your hair and makeup reminiscent of a bygone decade. A retro space girl! A 1920s clown! A 1950s robot! Check the thrift stores for some of that authentic antique goodness or shop your grandma’s closet. Play with decades and have some good, old-fashioned fun.

5. RIP

When in doubt, zombie-fy yourself. If you’re going to recycle an old costume, paint your face green and rub some eyeliner under your eyes and, voilà, you’re the zombie version. Even better if you’ve got a pretty costume — ballerina, princess, cheerleader, etc. Coming from the gal who was Zombie Jo March (of “Little Women,” of course) a few years ago, anything can be zombie-fied, friends. Unleash the brains-eater within.

Detroit’s arenas are packed with fans and money on game day. But the workers who make it all run say the pay often doesn’t match the hustle.

The Detroit Industry Standard Boards for sports arenas have been meeting to discuss challenges people working at Little Caesars Arena, Comerica Park and Ford Field are facing. 

They are nearing the end of the process and will submit recommendations to improve working conditions at professional sporting events and concerts in Detroit. 

The process also shows the different needs of workers and employers. 

A letter from Ilitch Sports and Entertainment said compensation is not the primary motivation of workers. The company manages Comerica Park, Little Caesars Arena, and is the owner of the Detroit Red Wings and Detroit Tigers. 

Professor Kess Ballentine, who conducted two surveys of Detroit arena workers, said many work multiple jobs. But Michigan’s preemption laws make it illegal for any city to raise the minimum wage, along with changing other working standards. 

Producer Jack Filbrandt spoke with Detroit Documenters Ashley Williams and Noah Kincade to learn more. 

Related: Many Detroit arena workers living in poverty, WSU survey finds

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It’s not hard to figure out Jake Bass’ inspiration for his One Night Only Music Revue on Thursday, Sept. 25 in Pontiac.

“I wanted to have this old school, Motown Revue style event,” explains the Ferndale-based musician, producer and recording engineer, who owns and operates F.B.T Studios and Basement Sounds 2.0 record company. The studio was started by his father Jeff Bass and uncle Marky Bass, who among other credits were the first producers to work with a fledgling Eminem during the late 90s.

For his Revue, Bass has assembled a lineup of artists “who are either signed to (Basement Sounds) or have worked in (F.B.T.) the last few years and give them an opportunity to showcase what they do and talk about what we already put out and new music they have coming out…basically give them this platform they might not otherwise be able to get on their own.”

The Revue roster includes singers Mama Yaya and Apropos, rappers Drew Verde and Ryn Scott, rock act Better Unsaid and singer-songwriter Dan Tillery. The show will also feature a variety of guest performers, including singer Israa — who finished no. 2 on the Fox network singing competition show “Alter Ego” (Mama Yaya also made the Top 10) — and Raquel Soledad, as well as Swifty McVay from the rap group D12, which Bass also works with.

Bass’ father and his brother Mark Bass, meanwhile, will join an all-star house band that includes a number of

An all-star house band will back the performers throughout the night, with DJ Bam spinning between sets.

The concept of the Motown (Revue) is what really turned us on about getting all the artist and the diversification and put it out there,” Jeff Bass says. “So there’s a little bit of everything for people.”

Jeff Bass will be filming and recording the show as well, with plans to make a documentary about the event. “This is going to be an event that hopefully inspires and motivates people…to really have an experience,” he says. “I want people to leave feeling like they can conquer the world, and be excited about the future of music here.”

The One Night Only Music Revue takes place at 8 p.m. Thursday, Sept. 25, at the Crofoot Ballroom, 1 S. Saginaw St., Pontiac. 248-858-9333 or thecrofoot.com.