By JONATHAN LANDRUM Jr., Associated Press

SAN FRANCISCO (AP) — Brandi Carlile isn’t hedging.

When the multi-Grammy winner steps onto the field at Super Bowl to sing “America the Beautiful,” Carlile said she’ll perform fully live — with no prerecorded safety net, embracing the same risk she believes audiences take every day simply by showing up.

“The people deserve to have you live,” Carlile told The Associated Press on Thursday. “They need you to be taking the risk they’re taking every day when they walk out into those streets.”

That decision sets the tone for how Sunday’s pregame performers are approaching one of music’s most technically demanding stages. Some play it safe while others are fully present.

Carlile, who will perform before kickoff along with Charlie Puth and Coco Jones, described preparation that extends beyond rehearsals and sound checks. Having previously performed in large outdoor venues — including Elton John’s final tour date at Dodger Stadium in 2022 — she said singing in an open-air stadium introduces noticeable sound delay, where performers can hear their own voices echo back moments later.

“I’ve been preparing for it more spiritually than technically,” Carlile said. “I want to sing that song as more of a prayer than a boast.”

Performing live at the Super Bowl has long required a careful balance between authenticity and logistics. Because of stadium acoustics, broadcast delays and the precision demanded by a globally televised event, artists often blend live vocals with backing tracks or use prerecorded elements to ensure consistent sound quality across the venue and broadcast.

The practice is not new. Whitney Houston’s iconic 1991 national anthem performance was later confirmed to have used a prerecorded track. Katy Perry and other halftime performers have also used a mix of live vocals and reinforcement as part of highly choreographed productions.

The approach is common but the choice remains personal, shaped by an artist’s own philosophy and comfort level.

Jones, who will sing “Lift Every Voice and Sing,” framed her preparation less as declaration and more as discipline — rooted in respect for the song itself. Rather than focusing on whether a performance is live or supported, she emphasized repetition, rehearsing until muscle memory takes over.

“I try to overly practice,” she said. “When everything is second nature … I’m just a vessel.”

Jones has performed on stadium stages before, including Atlanta’s Mercedes-Benz Stadium, and said the scale amplifies pressure but doesn’t fundamentally change her mindset. She studies lyrics — her own and those she covers — to understand the emotion and intention behind every line before stepping onto the field.

From a sound standpoint, Jones stressed the importance of sound monitoring in a massive stadiums. Jones sought guidance from Alicia Keys, who became the first artist to sing the rendition of “Lift Every Voice and Sing” for the NFL in 2000.

“She just told me, ‘Don’t be nervous — be in the moment,’” Jones said. “That meant a lot coming from her.”

Puth, who will perform the national anthem, said he is approaching the moment as a producer as much as a vocalist — a mindset shaped by years of controlling sound from the studio to the stage. Though he has performed in stadiums before, he said each venue presents its own challenges.

“There’s not one stadium that sounds alike,” Puth said.

Known for his hands-on role in his music, Puth said maintaining control over sound is central to his preparation, particularly in a setting where acoustics, delay and broadcast demands intersect. The national anthem, one of the most scrutinized songs in American music, requires restraint as much as power, especially in a stadium setting, the singer said.

“You just make sure you don’t over sing,” said Puth, whose Super Bowl appearance arrives ahead of a busy year. His fourth studio album, “Whatever’s Clever,” is set for release March 27, followed by a world tour that will take him through arenas including New York and Los Angeles.

“The moment you start thinking about everybody else, you’re not locked into the music,” he continued. “And that’s when things don’t sound the way they should.”

For Carlile, the Super Bowl also serves as a bridge to what comes next.

Next week, she will launch the Human Tour, her first-ever arena headlining run. It’s a milestone she described as both thrilling and intimidating. But standing alone on the Super Bowl field, she said, offers a kind of preparation no rehearsal room can replicate.

“It’ll be the scariest thing I do this year,” she said. “So once that’s over, the Human Tour is going to be Disneyland all day long.”

Carlile said what she’s learning in this moment. She’s resisting perfection, staying present and trusting herself during her live performance, hoping she along with Puth and Jones’ performances give viewers some form of inspiration.

“You have to wake up and take a risk with yourself,” she said. “That’s what makes performance beautiful.”

By Adam Graham, Tribune News Service

It’s almost like a movie.

The Milford Independent Cinema will no longer be closing its doors, its Board of Directors announced Saturday.

On what was slated to be the one-screen cinema’s final day, the theater’s board said the theater can remain sustainable “in the near term,” according to a press release. The news comes following a successful crowdfunding effort that was “nothing short of remarkable,” the cinema’s operators said in a statement.

“We are truly blown away by the support, passion, and resilience of this community,” said the Milford Independent Cinema Board of Directors. “This theater exists because of the people who believe in it, show up for it, and see its value far beyond the screen.”

The theater announced in mid-January that it would be closing its doors at the end of the month, due to “significant and ongoing changes within the film exhibition industry.”

But then the community spoke up, and on Jan. 24, operators shared a message on social media saying that donations were pouring in and that they may be able to stave off closing. “There is hope!” they said at the time.

In recent years, Metro Detroit has seen the closure of several movie theaters and multiplexes, including the AMC Star Southfield, AMC Fairlane 21, Main Art Theatre, Maple Theater, Cinema Detroit and Regal Cinemas UA Commerce Township.

The Milford theater has been open since 1972 and has operated as a non-profit since reopening after the COVID-19 pandemic.

Saturday’s announcement didn’t come with a timeline attached, but operators said the theater will expand its offerings going forward with live events, “new and fun” film series, and new members will be added to its board. There will also be increased volunteer efforts and a new membership program for the theater.

The theater will take a short hiatus, and operators plan to reopen its doors on Feb. 11.

“From the bottom of our hearts, thank you,” the Board said in its statement. “Because of you, we are here— and we will continue to show up for this community just as you have shown up for us.”

©2026 The Detroit News. Visit detroitnews.com. Distributed by Tribune Content Agency, LLC.

There was no fat lady singing on Saturday night, Jan. 31, at the Detroit Opera House.

But things were certainly phat.

Part concert and part tribute, “Symphonic PFunk: Celebrating the Music of Parliament-Funkadelic” was a joyous throwdown that treated George Clinton’s famed funk catalog in a new way yet was undeniably a P-Funk throwdown joint.

With an hour and 45-minutes of music divided into two parts, the show needle-dropped into many of the highest points of that enduring body of work as well as a selection of deep digs, with the sold-out crowd of 2,700 dancing, arm-waving and whooping and in a manner decidedly different than, oh, “Madama Butterfly” or “La Traviata.”

The orchestral arrangements, meanwhile, — crafted by “Dancing With the Stars'” music director Ray Chew, who conducted the Detroit Opera Orchestra — largely inobtrusive and certainly eclipsed by the amplified power of the current Parliament Funkadelic lineup.

But when the orchestra did surface through the mix — during songs such as “(Not Just) Knee Deep,” “(I Wanna) Testify,” “Agua Boogie” and “Flash Light” — it added an audible richness and sonic depth to music created mostly at Detroit’s United Sound Systems studio during the 70s.

It didn’t take long for the part to get started as the Mothership and Clinton’s animated visage landed on the video screen and the ensemble kicked into a tight “P.Funk (Make My Funk the P-Funk).

In the flesh, the 84-year-old Clinton was animated and energetic in a dapper suit and fedora as he hyped the crowd along the front of the stage, mugging with Chew and the backing vocalists, including Sheila Brody Amuka in a tall Brides of Funkenstein wig and glittering bikini. Clinton was present for more than half of the 14-song show, occasionally sitting in an office swivel chair on stage and watching the rest from a private box on the Opera House’s mezzanine level.

The concert stayed hot with and without him, of course.

Clinton fronted a muscular rendition of the Parliaments’ 1967 hit “(I Wanna) Testify),” while Rahsaan Patterson joined the collective for “Aqua Boogie” and Labelle veteran Nona Hendryx came on board during “Mothership Connection (Star Child).” Living Colour’s Vernon Reid’s guitar acumen was featured during “Cosmic Slop,” while P-Funk mainstay Michael Hampton shredded on his guitar for “Alice in My Fantasies” and “Maggot Brain.”

A trio of P-Funk alumni — vocalists Sheila Horn and Paul Hill and drummer Gabe Gonzalez — reunited for a “Red Hot Mama” that lived up to its name, while the perennial “Give Up the Funk (Tear the Roof Off the Sucker)” did just that. And the roof stayed off as the whole company romped through an extended medley of “One Nation Under a Groove” and “Flash Light.” The encore, “Atomic Dog,” only kicked things up a notch as a dance team from the Omega Psi Phi fraternity worked its way down the aisle and onto the stage for an assemblage that looked epic — and operatic.

Clinton — who’s planning to launch a new Mothership show during the summer, 50 years after he introduced it — noted during the intermission that he and New York-based Chew Entertainment, which produced “Symphonic PFunk,” hope to keep the concept going; representatives of other venues, including the Hollywood Bowl, were there on Saturday to check it out. But there was only one proper place to start it, of course, and the Opera House certainly had the funk in abundance on Saturday night.

Before I tell you why you should watch the new documentary about Mel Brooks, I will tell you that 25 years ago, he told me, “You may be right. I have done everything there is to do in show business. … Everything except to be tall. That’s the one thing I’ve never accomplished, being tall. But I’m looking forward to that.”

He was a relative youngster then, 74 years old, but at a very important point in his life. He was generally regarded as a comedic giant, and why not? He had spent his life making people laugh, first as a Catskills comic and then as part of a glittering writing team (along with Woody Allen and Neil Simon) for Sid Caesar’s pioneering TV programs “Your Show of Shows” and “Caesar’s Hour”; as the co-creator of “Get Smart”; as the 2000 Year Old Man on a series of best-selling comedy albums with pal Carl Reiner; as movie writer, director, producer and actor in such films as “The Producers,” “Young Frankenstein” and “Blazing Saddles.”

But he had not had a critical or box-office hit since his 1977 Hitchcock spoof “High Anxiety.” And there he sat on a cold December day in 2000 in New York, taking a big risk, for many believed that the success or failure of the musical version of “The Producers” he was overseeing would provide the final sentence to his career.

Well, we all know what happened. “The Producers” would open in Chicago, move to Broadway and win a record 12 Tony Awards. The career carried on, and now here is Brooks, as charming, smart and, of course, funny as ever, as the centerpiece of a thoughtfully thrilling documentary now airing on HBO Max. “Mel Brooks: The 99 Year Old Man!,” exclamation point more than justified.

It may be a bit long at almost four hours (in two episodes, now streaming), but it is impossible not to enjoy. Its length is forgivable since one can sense the excitement and affection of filmmaker Judd Apatow, who interviews Brooks at length. Apatow, along with co-director Michael Bonfiglio, has previously also captured in documentary form George Carlin and Garry Shandling.

Drawing on ample archival footage and candid interviews, he and Bonfiglio take us back to the beginning with Brooks (born Melvin Kaminsky), the youngest of four boys of a widowed mother in Brooklyn, all of them off to World War II, all safely returned, with Brooks telling Apatow, “War changed me. If you don’t get killed in the Army, you can learn a lot.”

His career moves to the raucous Sid Caesar writers’ room and we do also hear, rather wistfully, from Brooks’ three children and his first wife, former Broadway dancer Florence Baum, before he was off to moviemaking in California in the early 1960s. His granddaughter Samantha is charming.

You will hear Brooks tell a terrific Cary Grant story (one he has told many times over the years on the various late-night talk shows where he has been a frequent guest) but, more tenderly, tales of his courtship and marriage to actress Anne Bancroft. Gene Wilder shares feelings that go far deeper than director and star. And we get details of Brooks’ long friendship with writer-director Reiner, from the early 1960s to their sharing dinners together as widowers every night watching “Jeopardy” on TV.

Bancroft died in 2005; their son, novelist Max, is tender in interviews. Reiner’s wife Estelle died in 2008 and Reiner in 2020. Hearing Reiner’s son, filmmaker Rob, talk about his father and Brooks gives one a chill, knowing this was one of the final conversations before he and his wife Michele Singer Reiner’s December murders.

The number of people with whom Brooks has shared his creative life will impress and perhaps surprise you. There’s Richard Pryor, who did a bit of writing for “Blazing Saddles,” who says, “He’s a loving man. It’s about love with him.”

The late director David Lynch credits Brooks with saving his career by hiring him to direct “The Elephant Man” after seeing Lynch’s “Eraserhead.” In addition to his own movies, Brooks produced such films, through his Brooksfilms, as “The Fly,” “My Favorite Year,” “Frances” and others, taking a rare low profile lest his name lead moviegoers to think they would be seeing comedies.

Naturally, we hear from a large crowd of showbiz folks and all of them — Ben Stiller, Jerry Seinfeld, Dave Chappelle, Sarah Silverman, Conan O’Brien, Josh Gad, Robert Townsend, Matthew Broderick, Nathan Lane and others — are complimentary. There must be someone in that backbiting swamp that is Hollywood who isn’t a Brooks fan, but such a person is not to be found here.

Whatever your relationship with Brooks beforehand, this film will enrich it. Will you understand what makes him tick? I don’t know, and you won’t care. Just spending time with him is satisfying enough.

His famously quick wit has not lost a step. When Apatow asks, “You lost your father at an early age?” Brooks quickly replies, “No, no. My father died.”

His ability to recall names and places and laughs is, frankly, astonishing. He is not only able to remember but to enjoy, to savor. We should all be so lucky.

In the film, he says, “Sometimes my comedy is just to celebrate the joy of being alive.” And as he has said many times in his many years, he has always used humor as “a defense against the universe.” Few, if any, have done it better.

rkogan@chicagotribune.com

By MARK KENNEDY, AP Entertainment Writer

NEW YORK (AP) — Some people see the glass as half full and some as half empty. Marc Shaiman is something else entirely.

“I’m not even happy with the glass,” he says with a laugh.

The award-winning Hollywood and Broadway composer and lyricist cheerfully likes to call himself an “Eeyore” and “a card-carrying pessimist” despite many of his biggest dreams coming true.

“Just as soon as something good happens, something bad’s going to happen,” he tells The Associated Press. “I am always waiting for that other shoe to drop, and it inevitably drops.”

His career and personal ups and downs are on full display this winter with Tuesday’s publication of his memoir, “Never Mind the Happy: Showbiz Stories from a Sore Winner,” which is filled with funny stories from a man who has helped fuel popular movies and musicals for decades.

“I’ve been lucky enough to do a lot and I’ve been lucky enough to have an outrageous longevity. I thought, ‘Let me write it down, finally,’” he says.

Tales of Bette Midler, Stephen Sondheim and the ‘South Park’ guys

The memoir charts the New Jersey-born musical prodigy’s rise from Bette Midler’s musical director in his teens to scoring such films as “Sleepless in Seattle” and “Mary Poppins Returns” and Broadway shows like “Hairspray” and “Catch Me If You Can.”

He’s worked with Billy Crystal, Martin Short, Luther Vandross, Raquel Welch and Rob Reiner, sparred with producer Scott Rudin and had a spat with Nora Ephron (“I’m certain she’s in heaven, telling all the angels she doesn’t like harps,” he writes). He also played at the White House and was a force in the early days of “Saturday Night Live.”

There was the time in 1999 that he got legendary composer Stephen Sondheim so high on pot at a party in his apartment that the iconic composer collapsed three times. “I’ve killed Stephen Sondheim,” he thought to himself. (Sondheim asked him to tell the story only after he died.)

He tells the story of hearing Meryl Streep repeatedly working on a song for “Mary Poppins Returns.” Moved, he and his writing partner, Scott Williams, knocked on her door to say how impressed they were by her dedication to rehearse. “Well, guys, fear can be a powerful motivator,” she told them.

“I’m mostly just trying to show how human everyone is — even these bold-faced names,” Shaiman, a two-time Grammy winner and two-time Emmy winner, says in the interview.

Shaiman isn’t above mocking himself, as he does for becoming an inveterate pothead and cocaine user. “I should go into the Guinness Book of World Records for being the only person who put on weight while being a cocaine addict,” he writes.

There are stories about how a misunderstanding over an unpaid bill with Barbra Streisand left him shaken for days and the time he insulted Harry Connick Jr. (Both would later reconcile.)

Then there was the time he found himself dressed in an ostentatious powder-blue suit and feather boa alongside Matt Stone and Trey Parker on a red carpet for “South Park: Bigger, Longer & Uncut” — they were dressed as Gwyneth Paltrow and Jennifer Lopez.

One lesson from Shaiman: ‘Show up’

One lesson Shaiman hopes to teach aspiring artists is to go for it: “What you can do is show up. Show up to everything. Say yes to everything because I’m a good example of that.”

He tells the story of Midler organizing a world tour and offering his services but being told she was only hiring local Los Angeles people. So he withdrew all his money from the bank, hopped on a flight from New York and called her from a phone booth: “I’m in L.A. Where’s rehearsal?”

“Even if you don’t get the job, keep your spirit up because someone in that room is going to remember you for another thing. That’s the thing I think to really learn from the book,” he says.

As a sign of Shaiman’s pull on Broadway, the audiobook will feature performances by Crystal, Short, Matthew Broderick, Megan Hilty, Nathan Lane, Katharine McPhee and Ben Whishaw, among others.

“I had included a lot of lyrics in the book and then I suddenly realized, ‘What, am I going to sing them all or speak them all?’ So I started calling friends, some who had sung those songs and some who had sung the demos,” he says.

Crystal met Shaiman at “Saturday Night Live” and quickly hit it off. In a separate interview, Crystal called his friend funny and quick to improvise, with an almost photographic memory of music.

“Look at his range: From ‘Misery’ to the beautiful score from ‘The American President.’ And I brought him in on ‘61(asterisk)’ and then the ‘Mr. Saturday Night’ score,” Crystal says. “He’s just so uniquely talented as an artist.”

Despite being a Tony Award winner in 2003 with “Hairspray” and earning two other nominations for “Catch Me If You Can” in 2011 and “Some Like It Hot” in 2023, Shaiman is flustered by Broadway.

His last two shows — “Smash” and “Some Like It Hot” — earned great reviews but closed early, a victim of high costs and fickle audiences.

“I wish the shows kind of stunk and I could go, ‘Oh, man, that really stunk. People are really not liking this,’” he says. “But when they’re enjoying it?”

Shaiman really has nothing else to prove and yet he laughs that his skin has gotten thinner — not thicker — over the years. He’d like to take it easy, but that’s not what Eeyores do.

“I don’t know how well I’ll actually do with retirement, but I’d like to give it a try.”

The Ark experimented with the format of its annual Ann Arbor Folk Festival on Friday night, Jan. 30, at Hill Auditorium.

And in Greensky Bluegrass, it couldn’t have found a better band to do that with.

For the first night of the 49th annual incarnation of the Ark’s largest fundraising event, the festival eschewed the usual multi-act bill (six will be part of the lineup on Saturday. Jan. 30) with truncated sets and presented a more traditional headliner-with-opening act (Junior Brown). That allowed Greensky, formed more than 25 years ago in Kalamazoo, to do what it does best — take a couple hours and stretch out, mixing tight songcraft with improvisational daring do, its five members improvising and dancing around expansive song arrangements.

It’s certainly worked for the group, whose plugged-in approach with acoustic instruments has made it one of the darlings of the nu (blue)grass world and a large-venue headliner around the world.

But the Greenskyers were clearly stoked to be playing their first Folk Festival, as well as returning to Ann Arbor for the first time since 2013; dobro player Anders Beck told the audience that the group, which headlined at the Fillmore Detroit last August, was actually planned to not play shows this winter and instead focus on making a new album, but that the Folk Festival was a gig on the band’s bucket list.

“It’s good to be playing Greensky Music in Michigan,” he noted.

The troupe’s two-hour, 16-song set certainly reflected that feeling as well as the sea change in approach for the festival, with many Greensky faithful standing throughout while some mainstays noticeably drifted out during the show.

Following a characteristically fiery set from country singer-guitarist Brown — an Ark regular resplendent in his suit and cowboy hat and dazzling as always on his hybrid “guit-steel” double-neck guitar — Greensky set the tone with a fast-paced “Past My Prime,” with mandolinist Paul Hoffman singing and the Beck picking through the first of his many solos during the night and the band’s custom light show immersing itself onto Hill’s walls and ceilings. But the set hit stride as the next three songs — “Monument,” “Streetlight” and a warp-speed “Burn Them” — flowed into each other, their sturdy melodies giving way to improvisational forays by Beck, Hoffman, guitarist-vocalist Dave Bruzza and banjoist Michael Bont, while Mike Devol held things together on his bass.

Likely takeaways for Greensky fans were epic, extended performances of “Whatchoo,”the Traveling Wilburys “Handle With Care” and “Don’t Lie,” as well the dobro-mandolin exchange during “Weather,” a particularly emotive “Windshield” and a playful romp through “Fixin’ to Ruin.” The group also covered fellow Michigander Billy Strings’ “While I’m Waiting Here,” and it encored with appropriate version of Jerry Garcia and David Grisman’s “Drink Up and Go Home.”

Whether it was a successful start for the festival will be the subject of review and discussion in days to come. But, no question, it was another successful — and more than that, really — night with an undeniably upper-strata live act.

The Ark’s 49th Ann Arbor Folk Festival concludes at 7 p.m. Saturday,. Jan. 31 at Hill Auditorium, 825 N. University Ave., Ann Arbor. Amos Lee, Dawes, the Crane Wives, Jon Muq, Rabbitolgy and emcee Ryan Montbleau perform. 734-761-1800 or theark.org.

By Adam Graham

agraham@detroitnews.com

If they came through town, Ken Settle photographed them.

The Rolling Stones, Soundgarden, U2, Guns N’ Roses, David Bowie, Prince, Stevie Ray Vaughn, B.B. King, Kiss, Metallica, the list goes on. And that’s to say nothing of homegrown superstars like Alice Cooper, Madonna and Bob Seger.

For more than 40 years, Ken Settle was a fixture at local concert venues of every size, from small clubs to supersize stadiums. The acclaimed rock photographer died Monday, according to a post on his Facebook page. He was 66.

Settle, known for his poof of blond hair parted in the middle, was born in Trenton and grew up in Westland. He shot Bob Seger when he was just 11 years old, when the longhaired rocker was playing a softball game against the staffers from WRIF-FM (101.1). He asked Seger if he could take his picture and Seger agreed.

A few months later, Settle borrowed his father’s camera and popped off some shots of Creedence Clearwater Revival at Cobo Hall, and it was there that he was bitten by the rock photographer bug.

“I remember walking down the aisle on the main floor of Cobo to get a bit closer to the stage, and I took a handful of fairly blurry, not-so-good photos,” Settle told WCSX-FM (94.7) in 2023. “But the energy and excitement of live music at Cobo Arena was electric and it was such a thrill to try to capture that — even in my little kid’s way of doing so.”

From there, he shot a ton of early Seger shows, when Seger and his band were working their way up the local ladder, and Settle in turn became a staple in photo pits at local concerts from artists of all ranks. His work appeared in Rolling Stone, Creem, Playboy, People, Guitar Player and other publications across the globe, as well as locally in MediaNews Group’s Michigan publications, including The Oakland Press and the Macomb Daily.

“Ken was one of the best shooters ever,” says Scott Legato, a fellow rock photographer who shared photo pits with Settle over the last 20 years. “He was just a great guy. He had a big heart, and he loved his cats.”

In addition to his cats — he had several, and was known for taking in strays — Settle also had an extensive collection of guitars and amplifiers.

“Ken was awesome. Nice guy, always helpful, always great to be around,” says Chris Schwegler, a fellow photographer who shot concerts with Settle for years and considered him a good friend. He says he would talk to Settle two to three times a week and was just texting with him the other day, helping him out with a computer problem.

As a photographer, “Ken knew what looked good for a photo, no matter who the artist was,” says Schwegler. “He knew the shot he wanted to get, and he knew how to get it.”

Settle’s photo archives are vast, culled from thousands of shows, from Nirvana to Nicki Minaj, from Janet Jackson to John Mellencamp, Bruce Springsteen to Lil Wayne. His photos have been hung in Hard Rock Cafes around the world, and his shots were used in episodes of VH1’s “Behind the Music.”

He captured artists on stage from the 1970s through the 2010s, as photography went from film to digital, as artist rules went from shoot-the-whole-show to just the first three songs. His images are a history of live music in Detroit.

Settle came up shooting film and was a holdout on switching to digital for a long time, and that discipline made him a better photographer, says Legato.

“He had a good eye. He could anticipate the shot and get the shot,” he says. Legato helped convince him to go to digital, he says, but Settle “still had the mindset that he was shooting film.”

Friends say Settle had complained of experiencing shooting pain in recent weeks, but he was hesitant to go to the doctor.

He had slowed down from shooting rock concerts after COVID-19, but was still active on social media, and tributes poured into Settle’s Facebook page following news of his death.

Steve Galli, a fellow rock photographer who had known Settle since the late 1970s, said Settle was one of the best shooters in the business.

“He was known all over. When I started traveling out of state to cover music fests, other photographers would say to me, ‘You’re from Detroit, you must know Ken Settle,'” says Galli. “Photographers from all over the country associated Detroit with Ken Settle.”

When other photographers were gathered front and center in front of the stage at a concert, “he’d be way over on the side, getting an angle no other photographer was getting,” Galli says.

Galli says he remembers being in photo pits waiting for Settle to show up, wondering if he was going to miss the show, only to see him emerge from the backstage area, where he had been shooting portraits of the artists before the concert began.

“We were thinking he missed out, when it was us missing out,” he says.

Settle was always helpful to newcomers, Galli says, and would freely share information and tips of the trade with others.

“He was such a nice person, a really bighearted guy,” says Galli. “Ken was a legend.”

By Adam Graham, agraham@detroitnews.com

The Milford Independent Cinema is ceasing operations, joining a host of other area movie theaters that have run their final credits in recent years.

The one-screen theater, founded in 1972, will close its doors Jan. 31, operators announced in an Instagram post on Sunday.

“This difficult decision follows extensive efforts to sustain operations amid significant and ongoing changes within the film exhibition industry,” the statement said. “Shifts toward streaming platforms, evolving film distribution models, rising operational costs, and increasing box office fees required to show first-run films have made it increasingly difficult for independent theaters to remain viable.”

The theater’s closing follows the shuttering of other Metro Detroit movie theaters and multiplexes, including the AMC Star Southfield, AMC Fairlane 21, Main Art Theatre, Maple Theater and Cinema Detroit, all of which have closed their doors since 2020. The Regal Cinemas UA Commerce Township closed in September after more than 27 years in business.

The Milford theater requires $70,000 in annual support to cover operating costs, the statement said.

“This decision was not made lightly and is not due to a lack of effort or community support,” the Cinema’s Board of Directors said in a statement. “The Milford community showd up for us time and time again — with attendance, fundraising, and unwavering commitment. We truly tried to evolve with the industry and meet the needs of our community. Unfortunately, we simply did not have enough time or the level of corporate and major donor support required to get where we needed to be.”

Details of the theater’s closing events will be announced in the coming days.

The Milford, which was run by the Henn family from 1972 to 2020 and reopened with new ownership in 2021 after shutting down during the COVID-19 pandemic, is currently showing “Song Sung Blue,” starring Hugh Jackman and Kate Hudson as a Midwestern couple who play in a Neil Diamond tribute band.

The theater had mapped out showings for its Film Appreciation Night for the rest of 2026, including free showings of “Fargo” (Jan. 26), “All the President’s Men,” “Trainspotting,” “The Searchers” and more.

Halsey hasn’t played a venue as small as the Fillmore Detroit since her first show in these parts — nine and a half years ago at Saint Andrew’s Hall.

But rest assured there was nothing small about the New Jersey-born modern pop singer’s show on Saturday, Jan. 17 — the first of two sold-out Back to Badlands dates at the Fillmore, continuing to celebrate the 10th anniversary of her double-platinum 2015 debut album “Badlands.”

Besides offering a generous selection of material (32 songs) from across her catalog, the two-and-a-half-hour spectacle delivered an arena-sized visual punch. Halsey and her three instrumentalists played on a two-tiered stage in front of a floor-to-ceiling high-def video wall that displayed a series of images and animations — and even 3-D imagery (glasses provided as fans entered) during a late-set “Lonely is the Muse,” as fans followed a reclining Halsey floating in front of them.

Halsey herself was the strongest effect, however, prowling and dancing around the stage in a low-plunge black halter-top and low-slug pants and exercising her pipes with extended notes on songs such as “Nightmare” “Without Me.” Fifteen songs from “Badlands” — its original and deluxe editions — were scattered throughout the night, non-sequentially, and the crowd was vociferously happy to hear the likes of “Coming Down,” “Strange Love” and “Garden” for the first time live in many years.

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It was a special night, by any measure, for those used to seeing Halsey in bigger spaces such as Little Caesars Arena and Pine Knob — including a season-opener at the latter last year. And that made some of her attitude for much of Saturday night a bit odd and, truthfully, disingenuous.

Early on, after performing “The Lighthouse,” Halsey dubbed the Fillmore “a weird (expletive) building,” different from other places the tour had played. “There are two shows happening,” she explained, maintaining that it required her to make grand movements and gestures for those in the balcony (“I have to make some (stuff) up on the fly,” she said) that might be off-putting to those packed in front of her on the main floor.

Eh? The former were certainly considerably a far sight closer than those in the back and top of LCA, or on the lawn at Pine Knob. And it’s highly doubtful that anybody down front really minded any of Halsey’s energetic movements. And yet it became a theme for the good stretch of Saturday’s show. At one point Halsey complained about the muted reaction from some “dudes” after she sang into their faces during “Hold Me Close;” “You guys are hard to impress, man,” she groused afterwards. “What do you want me to do?” (She did make a guess, if course. IYKYK.)

And later on, before her Chainsmokers collaboration “Closer” shook the Fillmore, Halsey said that, “I’ve accepted that you guys are tired tonight. You don’t have it; I get that” — even though the evidence right in front of her was quite contrary.

Fortunately she got over it before the end of the main set — or, in her view, the audience raised its game. Halsey did declare her strong affinity to Detroit and Michigan, celebrated in several of her songs (“It’s not like it’s an easy rhyme, y’know,” she quipped). And she rewarded the crowd with “a very special, once-in-a-lifetime Detroit encore” that veered from the tour’s usual program for a half-hour of deeper favorites such as a rocking “3am” (one of two songs on which Halsey played guitar), “Killing Boys,” “Clementine,” “929” and “Bad at Love” before the usual closer “Is There Somewhere.”

“I’ve had a great time with you tonight. Nobody loves you more than I do,” she shouted as the latter finished. The feeling was certainly mutual from the Fillmore crowd, and, despite any reservations she might have expressed earlier, “Badlands” proved to be a nice place for everyone to visit once again.

Halsey performs again on Sunday, Jan. 18, at the Fillmore Detroit, 2115 Woodward Ave. Doors at 7 p.m. Tickets are sold out. 313-961-5451 or thefillmoredetroit.com.

The state’s quarterly theme-park injury report for the final three months of 2025 includes a Nov. 25 death following a ride on Revenge of the Mummy, an indoor roller coaster at Universal Studios Florida.

An unidentified 70-year-old woman was unresponsive and later died at the hospital, according to the report compiled by the Florida Department of Agriculture and Consumer Services. The state’s major theme parks self-report about visitors injured on rides if they result in at least 24 hours of hospitalization.

The summary “reflects only the information reported at the time of the incident,” the report says. “Due to privacy-related concerns, the department does not receive updates to initial assessments of a patron’s condition.”

A Universal spokesperson said via e-mail that the company does not comment on pending claims. The Orlando Sentinel has requested records for the scene and date from the Orlando Police Department.

The Mummy ride, which opened in 2004, reaches 40 mph as it rolls through dark Egyptian-themed scenes and fiery effects amid appearances by animatronic Imhotep and scarab beetles plus a drop hill of 39 feet. It has appeared on the quarterly report about 20 times since opening, including the death of an Apopka man who fell from the loading platform onto the tracks in 2004. He died after a related surgery, and his death was ruled an accident by the Orange-Osceola Medical Examiner’s office.

The latest injury report, posted Thursday, has a mix of spinning rides and high-intensity attractions and roller coasters, including Epic Universe’s Stardust Racers.

On Nov. 6, a 78-year-old man had chest pain after being on the Epic coaster, and on Nov. 14, a 61-year-old man had cardiac arrest on the ride. Stardust Racers is considered Epic’s most intense ride, with dueling trains going up to 62 mph and a top height of 133 feet. Both sides include one inversion, sudden launches and intertwined-rails moments. The coaster debuted with the Universal Orlando Resort park in May.

In September, 32-year-old Kevin Rodriguez Zavala of Kissimmee died after riding Stardust Racers. His family and Universal reached an “amicable resolution” in December, but no details were shared. Later, five people filed lawsuits against Universal Orlando, claiming severe and permanent injuries after their heads slammed against the seats in front of them while on Stardust Racers.

Of the nine fourth-quarter reports filed from the three Universal Orlando parks, five involved Epic rides. Other incidents included Monsters Unchained: The Frankenstein Experiment, where a 41-year-old woman had numbness and visual disturbance on Oct. 4; on Oct. 25, a 19-year-old woman had altered mental status during Mario Kart: Bower’s Challenge, a flat ride with virtual-reality elements; and on Nov. 14, a 47-year-old woman had nausea after Yoshi’s Adventure, a slow-paced flat ride.

At Islands of Adventure, a 45-year-old women had motion sickness and stroke symptoms after riding the Incredible Hulk Coaster on Oct. 13 and a 49-year-old woman had chest pain after being on Jurassic World: VelociCoaster on Nov. 30. Also at IOA, a 61-year-old woman had lower back spasms after Doctor Doom’s Fearfall, a drop-tower ride.

At Walt Disney World, three Epcot incidents are on the new report. On Nov. 12, a 72-year-old woman was disoriented after exiting Guardians of the Galaxy: Cosmic Rewind, an indoor coaster; on Nov. 23, a 59-year-old woman had breathing difficulties while exiting Test Track; and on Dec. 28, a 35-year-old woman lost consciousness while on The Seas With Nemo and Friends, a low-speed dark ride that travels through an aquarium.

At Magic Kingdom theme park, a 65-year-old woman felt chest pain after Peter Pan’s Flight ride on Oct. 28, and a 42-year-old woman had a seizure while on Mad Tea Party, the spinning ride commonly called the teacups, on Nov. 22.

A 75-year-old woman had “stroke-like symptoms” aboard Slinky Dog Dash, a roller coaster at Disney’s Hollywood Studios, on Nov. 28.

No reports were filed in the quarter from SeaWorld Orlando, Legoland Florida, Busch Gardens Tampa Bay and their associated water parks.

By Mike Householder

The Associated Press

Researchers, documentary filmmakers and others will soon be able to get their hands on screenwriter and director Lawrence Kasdan’s papers at his alma mater, the University of Michigan.

Archivists are about a quarter of the way through cataloging the 150-plus boxes of material that document the 76-year-old filmmaker’s role in bringing to life iconic characters like Indiana Jones and Yoda, and directing actors ranging from Geena Davis and Glenn Close to Morgan Freeman and Kevin Costner.

“All I wanted to ever do was be a movie director. And so, all the details meant something to me,” Kasdan said in an interview with The Associated Press. “I couldn’t be happier to have this mass of stuff available to anybody who is interested.”

The archive includes scripts, call sheets and still photos — including a few rarities.

Before Costner became an Oscar winner and Hollywood icon, he worked various studio jobs while taking nighttime drama lessons. His break — or so he thought — came when Kasdan cast him in 1983’s “The Big Chill.”

Costner played Alex, whose death brings his fellow Michigan alums together. Unfortunately, his big flashback scene ended up on the cutting-room floor.

What are believed to be among the only existing photographs of the famously deleted scene are part of the Kasdan collection, now housed in Ann Arbor.

“Different people will be interested in different things,” Kasdan said, pointing to his work writing the “Raiders of the Lost Ark” screenplay as one possible destination for researchers. The archive features audio cassette recordings of Kasdan discussing the film with Steven Spielberg and George Lucas. It also includes Polaroids taken of cast and crew members on the sets of his movies.

There are props, too, including a cowboy hat from the 1985 Western “Silverado,” worn by none other than Costner. Kasdan and the kid from California would work together again on “Wyatt Earp” in the ’90s. Costner also starred in “The Bodyguard,” which Kasdan wrote.

A number of unproduced scripts also are part of the collection.

“I’ve always considered myself a director and a writer. And if you are really interested in any particular movie, you can follow the evolution of that movie in the archive,” Kasdan said.

Library staff members are working chronologically through Kasdan’s material, meaning the papers for Kasdan’s earliest work — including “Body Heat” and “The Big Chill,” as well as the scripts for two “Star Wars” classics, “The Empire Strikes Back” and “Return of the Jedi” — can be accessed first.

The remaining material should be completely processed by late 2026, said Phil Hallman, the curator of the collection. Hallman hopes to have Kasdan visit, perhaps next fall, to see the archive and take part in a symposium.

Kasdan’s papers are part of the University of Michigan Library’s Screen Arts Mavericks and Makers Collection, which includes Orson Welles, Robert Altman, Jonathan Demme, Nancy Savoca and John Sayles.

Kasdan, who grew up in West Virginia and earned a bachelor’s degree in 1970 and a master’s two years later, is the lone Michigan alum among the group.

“To be there, held in the same place as those wonderful directors, is really a great honor,” Kasdan said.

It will be a while before you can come and get those Motown memories this weekend.

After Monday, Jan. 19 — the Martin Luther King Jr. birthday observance — the Motown Museum will be closed for tours to allow for intensive construction of its $75 million expansion, which is slated to grow the shrine from two houses on Detroit’s West Grand Boulevard into a 50,000-sqare-foot facility housing interactive exhibits, artifacts, a professional recording studio and more, as well as the Hitsville NEXT educational academy.

The expanded museum is slated to open in the spring of 2027.

This week and weekend also feature days themed to specific artists from Motown’s history. The Marvelettes, Teena Marie, Stevie Wonder and the Temptations were covered earlier in the week, while the weekend will focus on the Four Tops (Friday, Jan. 16), Diana Ross & the Supremes (Sat., Jan. 17) and Smokey Robinson & the Miracles (Sunday, Jan. 18, with discounted admission). All will feature immersive tours, curated playlists, video footage and special giveaways.

MLK Day will also feature special immersive tours.

The museum will be open 10 a.m. to 6 p.m. each day. Call 313-875-2264 or visit motownmuseum.org.

BEVERLY HILLS, Calif. (AP) — The revolutionary saga “One Battle After Another” won best picture, musical or comedy at the 83rd Golden Globe Awards.

“Hamnet” won best picture, drama at the ceremony Sunday night.

Entering the night, “One Battle After Another” topped the list of nominations with nine, followed by “Sentimental Value” with eight.

Comedian Nikki Glaser hosted the ceremony from the Beverly Hilton in Beverly Hills. The night marked Glaser’s second consecutive year as host.

The first award of the night went to Teyana Taylor, who won female supporting actor, motion picture for “One Battle After Another.”

The Golden Globes bill themselves as Hollywood’s booziest bash. The awards show was broadcast on CBS and is available to stream through Paramount+.

Here’s a list of winners at Sunday’s Golden Globes:

Motion picture, drama

“Hamnet”

Motion picture, musical or comedy

“One Battle After Another”

Male actor, motion picture, drama

Wagner Moura, “The Secret Agent”

Female actor, motion picture, drama

Jessie Buckley, “Hamnet”

Female actor, motion picture, musical or comedy

Rose Byrne, “If I Had Legs, I’d Kick You”

Male actor, motion picture, musical or comedy

Timothée Chalamet, “Marty Supreme”

Female supporting actor, motion picture

Teyana Taylor, “One Battle After Another”

Male supporting actor, motion picture

Stellan Skarsgard, “Sentimental Value”

Motion picture, non-English language

“The Secret Agent,” Brazil

Motion picture, animated

“KPop Demon Hunters”

Director, motion picture

Paul Thomas Anderson, “One Battle After Another”

Screenplay, motion picture

Paul Thomas Anderson, “One Battle After Another”

Cinematic and box office achievement

“Sinners”

TV series, drama

“The Pitt”

TV series, musical or comedy

“The Studio”

Male actor, TV series, drama

Noah Wyle, “The Pitt”

Female actor, TV series, drama

Rhea Seehorn, “Pluribus”

Female actor, TV series, musical or comedy

Jean Smart, “Hacks”

Male actor, TV series, musical or comedy

Seth Rogen, “The Studio”

Limited series, anthology series or made for TV movie

“Adolescence”

Male actor, limited series, anthology series or made for TV movie

Stephen Graham, “Adolescence”

Female actor, limited series, anthology series or made for TV movie

Michelle Williams, “Dying for Sex”

Male supporting actor, television

Owen Cooper, “Adolescence”

Female supporting actor, television

Erin Doherty, “Adolescence”

Original song, motion picture

“Golden” from “Kpop Demon Hunters”

Original score, motion picture

Ludwig Göransson, “Sinners”

Stand-up comedy performance

Ricky Gervais, “Mortality”

Podcast

“Good Hang With Amy Poehler”

The Golden Globes bill themselves as Hollywood’s booziest bash. Political tension and industrywide uncertainty are the prevailing moods heading into Sunday night’s 83rd Golden Globes hosted by Nikki Glaser, a comic known for her roast appearances.

How to watch and stream the Globes and red carpet

The Golden Globes kick off at 8 p.m. EST on CBS while streaming live for Paramount+ premium subscribers. E!’s red carpet coverage begins at 6 p.m. EST.

The Associated Press is hosting a livestream show with a mix of stars’ arrivals, fashion shots and celebrity interviews. It is available on YouTube and APNews.

By JAKE COYLE, Associated Press

Paul Thomas Anderson’s ragtag revolutionary saga “One Battle After Another” took top honors at Sunday’s 83rd Golden Globes in the comedy category, while Chloé Zhao’s Shakespeare drama “Hamnet” pulled off an upset over “Sinners” to win best film, drama.

“One Battle After Another” won best film, comedy, supporting female actor for Teyana Taylor and best director and best screenplay for Anderson. He became just the second filmmaker to sweep director, screenplay and film, as a producer, at the Globes. Only Oliver Stone, for “Born on the Fourth of July,” managed the same feat.

In an awards ceremony that went almost entirely as expected, the night’s final award was the most surprising. While “One Battle After Another” has been the clear front-runner this awards season, most have pegged Ryan Coogler’s Jim Crow-era vampire thriller as its closest competition.

But “Hamnet,” a speculative drama about William and Agnes Shakespeare based on Maggie O’Farrell’s bestseller, won in the dramatic category shortly after its star, Jessie Buckley, won best female actor in a drama.

It was a banner night for Warner Bros., the studio behind “One Battle After Another” and “Sinners.” Warner Bros. Discovery has agreed to be sold to Netflix in an $83 billion deal. Paramount Skydance has appealed to shareholders with its own rival offer.

In his speech after winning best director, Anderson praised Warner co-chief Michael DeLuca.

“He said he wanted to run a studio one day and let filmmakers make whatever they want,” said Anderson. “That’s how you get ‘Sinners.’ That’s how you get a ‘Weapons.’ That’s how you get ‘One Battle After Another.’”

The final awards brought to, or near, the stage a handful of the most talented filmmakers together in Anderson, Zhao and Coogler — plus Steven Spielberg, a producer of “Hamnet.” Regardless of who won what, it was a heartening moment of solidarity between them, with a shared sense of purpose. Zhao fondly recalled being at Sundance Labs with Coogler when they were each starting out.

“As students, let’s keep our hearts open and let’s keep seeing each other and allowing each other to be seen,” said Zhao, while Coogler smiled from the front row.

“Sinners” won for best score and cinematic and box-office achievement. The win for box office and cinematic achievement, over franchise films like “Avatar: Fire and Ash,” was notable for Coogler’s film, a movie that some reports labeled a qualified success on its release.

Yet “Sinners” ultimately grossed $278 million domestically and $368 million worldwide, making it highest grossing original film in 15 years.

“I just want to thank the audience for showing up,” said Coogler. “It means the world.”

Coming off years of scandal and subsequent rehabilitation, the Globes and host Nikki Glaser put on a star-studded ceremony that saw wins for the streaming sensation “KPop Demon Hunters” (best animated film, song), a meta triumph for Seth Rogen’s “The Studio” and an inaugural award for podcasting that went to Amy Poehler’s “Good Hang.”

Many of the Oscar favorites won. Timothee Chalamet won his first Golden Globe, for “Marty Supreme,” after four previous nominations. The 30-year-old is poised to win his first Oscar. Fellow nominees like Leonardo DiCaprio and George Clooney stood to applaud his win.

“My dad instilled in me a spirit of gratitude growing up: Always be grateful for what you have,” said Chalamet. “It’s allowed me to leave this ceremony in the past empty handed, my head held high, grateful just to be here. I’d be lying if I didn’t say those moments didn’t make this moment that much sweeter.”

Glaser comes out swinging

The Globes, held at the Beverly Hilton in Beverly Hills, California, got underway with a pointedly political opening from host Nikki Glaser and an early award for the night’s favorite, “One Battle After Another.” Emceeing the show for the second straight year, Glaser kicked off the show with self-aware satire.

“Yes, the Golden Globes, without a doubt the most important thing happening in the world right now,” she said.

In a winning, rapid-fire opening monologue that landed some punch lines on the usual subjects — the age of Leonardo DiCaprio’s dates, Kevin Hart’s height — Glaser also dove right into some of her most topical material.

For the on-the-block Warner Bros., Glaser started the bidding at $5. Referencing the Epstein files, she suggested best editing should go to the Justice Dept. The “most editing,” however, she suggested deserved to go to Bari Weiss’ new CBS News — a dig at the Paramount Skydance-owned network airing the Globes.

Globes mix glitz and gloom

Political tension and industrywide uncertainty were the prevailing moods heading into Sunday’s awards. Hollywood is coming off a disappointing box-office year and now anxiously awaits the fate of one of its most storied studios, Warner Bros. Following the fatal shooting of Renee Good in Minneapolis by a U.S. Immigration and Customs Enforcement officer, several attendees wore pins reading “Be Good.”

The Globes, formerly presented by the Hollywood Foreign Press Association, have no overlap or direct correlation with the Academy Awards. After being sold in 2023 to Todd Boehly’s Eldridge Industries and Dick Clark Productions, a part of Penske Media, the Globes are voted on by around 400 people. The Oscars are voted on by more than 10,500 professionals.

But in the fluctuating undulations of awards season, a good speech at the Globes can boost an Oscar campaign. Winners Sunday included Rose Byrne (“If I Had Legs I’d Kick You”) for best female actor in a comedy or musical, and Wagner Moura, the Brazilian star of “The Secret Agent,” for best male actor in a drama. Kleber Mendonça Filho’s period political thriller also won best international film.

“I think if trauma can be passed along generations, values can,” Moura said. “So this to the ones who are sticking with their values in difficult moments.”

Other winners Sunday included the supporting actor front-runner, Stellan Skarsgård who won for the Norwegian family drama “Sentimental Value.” It was the first major Hollywood movie award for the 74-year-old, a respected veteran actor who drew a standing ovation.

“I was not prepared for this because I, of course, thought I was too old,” said Skarsgård.

‘The Studio’ and ‘Adolesence’ win

In the television awards, “The Pitt” took best drama series, while Noah Wyle won, too, brushing past his former “ER”-star Clooney on the way to the stage. Netflix’s “Adolescence” won four awards: best limited series, and acting awards for Erin Doherty, Stephen Graham and 16-year-old Owen Cooper.

Other winners included Rhea Seehorn for “Pluribus” and Jean Smart for “Hacks.”

But the most comically poignant award of the night went to “The Studio,” the best comedy series winner. Seth Rogen’s Hollywood satire memorably included an episode devoted to drama around a night at the Globes. (Sample line: “I remember when the red carpet of the Golden Globes actually stood for something.”) Rogen also won best male actor in a comedy.

“This is so weird,” Rogen said, chuckling. “We just pretended to do this. And now it’s happening.”

The new year is only a few days old, but Sponge is looking at plowing its way through a busy year ahead.

The Detroit band — whose gold-certified 1994 debut album “Rotting Pinata” launched the hits “Plowed” and “Molly (16 Candles”) — has an abundant schedule of shows already on tap, including the ’90s Cruise later this month with Sugar Ray, Tonic, Smash Mouth and others. Come July, Sponge will celebrate the 30th anniversary of its second album, “Wax Ecstatic,” and sometime this year, it will be releasing a new set, “Enclosing,” that frontman and co-founder Vin Dombroski says will likely be the band’s last.

“We’ve done many records,” explains Dombroski, citing listening habits and marketplace trends as reasons for a re-think. “It’s nice to talk about ‘a record’ … but everybody goes to YouTube and listens online. We sell some records at the shows, but I scratch my head and go, ‘Why am I even putting the effort into making a full-length record?’

“I’ll release songs, sure,” adds Dombroski, who describes “Enclosing” as “really dark.” “Nowadays, if you want content, just release a song. Why wait? But as far as a full-length album, I really have no more motivation to do it.”

Dombroski says Sponge hasn’t started thinking about “Wax Ecstatic’s” anniversary, but anticipates doing something to commemorate the album. Sponge also has its annual Bus Tour in St. Clair Shores set for March 28, and while he did not anticipate the band’s longevity, Dombroski is certainly happy to still be at it all these years later.

“I remember playing ‘Plowed’ the first time at the Ritz in Roseville, before anything was going on, and we got a really good reaction and thought, ‘Right, this one’s a keeper,'” says Dombroski, who recently released a single, “Maggot Wind,” with the Lucid, an all-star band he’s also part of. “Radio still plays it, and ‘Molly’ and sometimes others. We’re fortunate to have songs in movies sometimes, all kinds of stuff.

“It’s really the willingness of the guys in the band to get in the van and keep doing it. A lot of bands won’t do it like that anymore. We pretty much have this all down. Everybody gets along really well. They’re talented guys and decent people. I’m willing to do it, of course, but without the guys being good people and feeling the same way, I couldn’t do it.

Sponge performs at 8 p.m. Saturday, Jan. 10 at The Roxy, 401 Walnut Blvd., Rochester. 248-453-5285 or theroxyrochester.com. Sponge also performs with Everclear on March 18 at District 142, 142 Maple St., Wyandotte. Doors at 7 p.m. district142live.com.

Other music events of note this weekend (all subject to change) include …

FRIDAY, JAN. 9

• Wu-Tang Clan’s Ghostface Killah lays down the law at 8 p.m. at Sound Board in the MotorCity Casino Hotel, 2901 Grand River Ave., Detroit. 800-745-3000 or soundboarddetroit.com.

• Don Was and the Pan-Detroit Ensemble comes home to launch its latest tour with four shows — at 7 and 9 p.m. each night — through Saturday. Jan. 10 at the Blue Llama Jazz Club, 314 S. First St., Ann Arbor. 734-372-3200 or bluellamaclub.com.

• The Detroit Symphony Orchestra plays along with a screening of “Harry Potter and the Prisoner of Azkaban” at 7:30 p.m. at Orchestra Hall, 3711 Woodward Ave., Detroit. 313-576-5111 or dso.org.

• Eclectic New York singer and songwriter Nellie McKay performs for Friday Night Live! at 7 p.m. at the Detroit Institute of Arts, 5200 Woodward Ave., Detroit. 313-833-7900 or dia.org.

• Vocalist Lexie Blue sings at 8 p.m. at 20 Front Street in Lake Orion. 248-783-7105 or 20frontstreet.com.

• Trumpeter Trunino Lowe blows his horn through Saturday, Nov. 10 at the Dirty Dog Jazz Cafe, 97 Kercheval, Grosse Pointe. 313-882-5399 or dirtydogjazz.com.

• The Detroit Jazz Project takes over at 7:30 and 9:30 p.m. at Cliff Bell’s, 2030 Park Ave., Detroit. 313-961-2543 or cliffbells.com.

• Eastside Elvis & the Motor City Mafia shake it up at 8:30 p.m. at the Cadieux Cafe, 4300 Cadieux Road, Detroit. 313-882-8560 or cadieuxcafe.com.

• Penarth, the Walk Talkers and the Mansion triple-bill at 7 p.m. at the New Dodge Lounge, 8850 Jos Campau, Hamtramck. 313-638-1508 or thenewdodgelounge.com.

• Adjust the Sails, Dear Cincinnati, Hummus Vacuum and Loudfoxcult pile up at 8 p.m. at the Lager House, 1254 Michigan Ave., Detroit. 313-500-1475 or thelagerhouse.com.

• Reverend Robert Jones and Todd Albright team up at 7:30 p.m. at the Trinity House Theatre, 38840 W. Six Mile Road, Livonia. 734-436-6302 or trinityhousetheatre.org.

• That Arena Rock Show does just that at District 142, 142 Maple St., Wyandotte. And Rush Experience will create its own kind of arena rock experience there on Saturday, Jan. 10. Doors at 7 p.m. both nights. district142live.com.

• Blues guitarist Duke Tumatoe squeezes into The Ark for an 8 p.m. show. 316 S. Main St., Ann Arbor. 734-761-1800 or theark.org.

• Virtual: Depeche Mode’s concert film “M,” which debuted at last year’s Tribeca Film Festival and had a limited run in theaters in October, premieres on Netflix.

SATURDAY, JAN. 10

• The Detroit Symphony Orchestra Pops plays “Total Eclipse of the Charts: ’80s Chart Toppers” at 8 p.m. and again at 3 p.m. Sunday, Jan. 11 at Orchestra Hall, 3711 Woodward Ave., Detroit. A “Total Eclipse of the Chart: Afterdark” dance party takes place at 10 p.m. Saturday in The Cube. 313-576-5111 or dso.org.

• Performance artist Satori Circus presents Lads Insane: A Musical Celebration of David Bowie to commemorate the fifth anniversary of the British music icon’s death at 8 p.m. at the Tangent Gallery/Hastings Street Ballroom, 715 E. Milwaukee St., Detroit. tangentgallery.com.

• Albany punk rockers State Champs visit the Majestic Theatre, 4140 Woodward Ave., Detroit. Doors at 6 p.m. Real Friends, Driveways and Summerbruise are also on the bill. 313-833-9700 or majesticdetroit.com.

• Michigan music mainstay Joe Hertler performs a solo acoustic show at 8 p.m. at 20 Front Street in Lake Orion. 248-783-7105 or 20frontstreet.com.

• Singer-songwriter and comedian Kristin Key takes the stage at 8 p.m. at the Flagstar Strand Theatre, 12 N. Saginaw St., Pontiac. 248-309-6445 or flagstarstrand.com.

• Never The Crash, The Lion Within, Allen Pond and other bands perform as part of the Rise from the Ashes Benefit concert for those affected by the Sto-Away Self Storage fire in November in Rochester Hills. The show starts at 2 p.m. at the Diesel Concert Lounge, 33151 23 Mile Road, Chesterfield Township. 586-933-3503 or dieselconcerts.com.

• Detroit’s Lager House hosts Darkness on the Edge of Corktown 3, with more than 30 local artists playing tribute to Bruce Springsteen, at 8 p.m. Proceeds go to the Motor City Mitten Mission. 1254 Michigan Ave., Detroit. 313-500-1475 or thelagerhouse.com.

• Problems, Deadbeatdad, Origami Phase and Seanni B rock hard at 7 p.m. at the Sanctuary Detroit, 2932 Caniff, Hamtramck. 313-462-4117 or sanctuarydetroit.com.

• Bassist Gwenyth Hayes leads her band at 7:30 and 9:30 p.m. at Cliff Bell’s, 2030 Park Ave., Detroit. 313-961-2543 or cliffbells.com.

• Singer-songwriters Tom Alter, Bob Sky Young and Mary Hartman get together at 7:30 p.m. at the Trinity House Theatre, 38840 W. Six Mile Road, Livonia. 734-436-6302 or trinityhousetheatre.org.

• Popular local cover bands the Mega 80’s and the Square Pegz square off in an 80’s vs. 90’s show at the Magic Bag, 22920 Woodward Ave., Ferndale. Doors at 7 p.m. 248-544-1991 or themagicbag.com.

• Hotel California — The Original Eagles Tribute takes it to the limit at the Emerald Theatre, 31 N. Walnut St., Mount Clemens. Doors at 7 p.m. 586-630-0120 or theemeraldtheatre.com.

• The Loving Touch hosts a Broadway Rave. 22634 Woodward Ave., Ferndale. Doors at 7 p.m. 248-820-5596 or thelovingtouchferndale.com.

• Popular local singer-songwriter Jill Jack holds her annual Birthday Bash at 8 p.m. at The Ark, 316 S. Main St., Ann Arbor. 734-761-1800 or theark.org.

• Virtual: The Metropolitan Opera’s Live in HD series presents “The Stars of I Puritani” in theaters worldwide. metopera.org for theaters and showtimes.

SUNDAY, JAN. 11

• R&B singer Carl Thomas croons at 7:30 p.m. at Sound Board in the MotorCity Casino Hotel, 2901 Grand River Ave., Detroit. 800-745-3000 or soundboarddetroit.com.

• Dan Devins and the Blues Delegation play at a 3 p.m. matinee at the Cadieux Cafe, 4300 Cadieux Road, Detroit. 313-882-8560 or cadieuxcafe.com.

• Trumpeter Mason Bays closes the weekend at 5:30 and 7:30 p.m. at Cliff Bell’s, 2030 Park Ave., Detroit. 313-961-2543 or cliffbells.com.

• Ember & Ash, the duo of the Ragbirds’ Erin Zindle and Native Howl’s Alex Holycross, burns at 7:30 p.m. at The Ark, 316 S. Main St., Ann Arbor. 734-761-1800 or theark.org.

• Ann Arbor trio the Triumvirate starts at 6 p.m. at the Blue Llama Jazz Club, 314 S. First St., Ann Arbor. 734-372-3200 or bluellamaclub.com.

In Meadow Brook Theatre’s upcoming production of “All Shook Up,” Chad (Nick Cortazzo) shakes things up among some uptight small-town residents when he arrives with his guitar, playing Elvis tunes.

“Chad is a roustabout who has music inside of his heart,” said Cortazzo, a Pittsburgh native who lives in New York City. “He travels to little towns and communities and spreads joy, love and music.“

The people in this unnamed town are “stuck in their ways” until Chad shows up, Cortazzo said. The musical follows the plot of (Shakespeare’s) “Twelfth Night,” he noted. “It’s a big love web triangle. Everyone’s in love with everyone.

“Natalie (Mirabella Ziegler) is a mechanic in her dad’s garage. Her dad, Jim (Danny Gurwin), is getting over the death of his wife. He eventually falls in love with Sandra (Kassandra Aguilar-Haddock).

“Sylvia (Milika Cherée) runs the bar in town, and she has a daughter, Lorraine (Lauren M. Smith), who falls in love with Dean (Chase Williams), son of the mayor Matilda (Amy Hillner Larsen). She is strict, and everything needs to be her way. She doesn’t allow dancing, hip gyrating.”

Natalie falls in love with Chad. But Chad is in love with Sandra, who owns the town museum. Sandra is in love with Ed (Natalie in disguise). “She puts on a hat, draws with grease a fake beard and becomes Ed. She disguises herself so she can get close to Chad because he doesn’t give her the time of day,” Cortazzo said.

Audiences must wait till the end of the show to see who winds up with whom, Cortazzo said.

There are 24 Elvis songs throughout the show. Cortazzo sings most of them, “but we spread the wealth,” he said. “Everyone gets their chance to shine.”

The show starts with “Jailhouse Rock,” the first act ends with “Can’t Help Falling in Love,” and the second act starts with “All Shook Up.” The last song is “Burning Love.”

“The show was on Broadway in early to mid-2000s, and after that, they did a little reworking before launching the national tour,” Cortazzo said.

During his freshman year in high school, he played Dennis, who is portrayed by Jackson Cole Cook in this production.

“It’s fun to revisit the show in a different role 12 years later,” Cortazzo said. As the lead, he’s in almost every scene. “It’s a heavy lift, but it’s a fun challenge.”

Cortazzo graduated in musical theater in 2021 from Baldwin Wallace University in Berea, Ohio. He moved to New York and toured with “Hairspray” as Link Larkin from 2022-23. After that, he performed in regional theater productions. From 2023-24, he was part of the first national tour of “Hadestown.”

This is his first time at Meadow Brook.

“I didn’t know anyone in the cast before coming here,” he said. “It’s been great getting to know new people. Most of the leads (except actors playing Natalie and Dean, who are OU students) are from New York. The ensemble is primarily OU students.

“I hope everyone dances the night away with us!”

The show opens Wednesday, Jan. 7 and runs through Feb. 1 at the theatre on the campus of Oakland University, 378 Meadow Brook Road, Rochester.

“All Shook Up” is directed by Travis W. Walter with choreography by Jacob ben Widmar and music direction by Eric Shorey. Scenic design is by Jen Price Fick, assistant scenic design by Annie Eloise Findlay, lighting design by Matt Fick, assistant lighting design by Ash Ritter, costume design by Whitney Locher, wig design by Chad Harlow, assistant costume design by Trish Brown, sound design by Kyle Jensen and assistant sound design by Lorelei Preiss. The dance captain is Emily Ann Stys, and the assistant dance captain is Naomi Jarvis. Brittanie Nichole Sicker is the stage manager and Ellen Marie Peck is the assistant stage manager.

Tickets range from $40 to $48 and are available by calling the Meadow Brook Theatre box office at 248-377-3300 or going online to ticketmaster.com. Student discounts are available at the box office. Groups of eight or more should call 248-370-3316 for group pricing.

The overriding theme defining television in recent years has been a fear of the new. Which is why reboots and spinoffs continue apace, with old titles brought back from the dead (“Scrubs”) or from the not-so-distant past (“The Night Manager”) and intellectual property milked within an inch of its life (somehow HBO has yet another “Game of Thrones” series coming our way).

It’s as if everyone in Hollywood ran out of new ideas all at once. Don’t blame writers, but executives who are rapidly shepherding their industry towards irrelevance with an over-reliance on reworked IP, while original ideas are left unproduced. In better news, the winter Olympic Games are this year, with the opening ceremony taking place Feb. 6 on NBC. (The Super Bowl is that Sunday as well.)

“The Pitt”

The Pittsburgh-set medical drama from “ER” showrunner John Wells is back for a second season, premiering almost exactly a year after it first debuted. Imagine, a streaming series returning on a reliable schedule! Dr. Robby (“ER” veteran Noah Wyle) is back once again, overseeing the managed chaos, student doctors and medical residents of his emergency department. One of the best examples of competency as comfort, something we could all use more of at the moment in real life. From Jan. 8 on HBO Max.

“The Night Manager”

Stylish and prestige-y as hell, Season 1 of this Tom Hiddleston spy drama premiered (squints) eight years ago. Welp, this is how TV works today. Season 2 follows Hiddleston’s character across the UK, Spain, Colombia and France as he “races to expose a conspiracy designed to destabilize a nation.” From Jan. 11 on Amazon. 

“Hijack”

The first season of this “Die Hard” ripoff starring Idris Elba took place on a seven-hour flight from Dubai to London. For the entirely unnecessary second season, the setting is now a subway in Berlin that’s been taken hostage. If Elba’s character doesn’t say “Why does this keep happening to me?!” at any point, then what are we even doing here? From Jan. 14 on Apple TV.  

“Ponies”

“Game of Thrones” alum Emilia Clarke stars in this 1977-set Cold War thriller about two women (the other is played by Haley Lu Richardson) who become CIA operatives after their husbands are killed under mysterious circumstances in Moscow. The pair become “ponies” in the parlance — persons of no interest — in order to uncover the truth of what really happened. From Jan. 15 on Peacock. 

“A Knight of the Seven Kingdoms”

Another “Game of Thrones” spinoff. A prequel, this one takes place a hundred years before the events of “GoT,” as two unlikely heroes wander through Westeros: “A young, naïve but courageous knight, Ser Duncan the Tall, and his diminutive squire, Egg. Set in an age when the Targaryen line still holds the Iron Throne, and the memory of the last dragon has not yet passed from living memory, great destinies, powerful foes, and dangerous exploits all await these improbable and incomparable friends.” From Jan. 18 on HBO. 

“Steal”

Here I am typing “Game of Thrones” again because the show’s alum Sophie Turner returns to TV in this thriller about a heist at a British pension fund investment company: “But who would steal billions of pounds of ordinary people’s pensions and why? DCI Rhys (Jacob Fortune-Lloyd) is determined to find out, but as a recently relapsed gambling addict, Rhys must keep his own money problems at bay while dealing with the secret agendas and competing interests at the center of this far-reaching crime.” From Jan. 21 on Amazon.  

“Drops of God”

I really liked the first season of this emotionally engrossing drama about two young wine experts who battle for a massive inheritance. The series was also criminally underseen, likely because: 1) Apple’s approach to promotion leaves much to be desired; 2) there are no recognizable (American) stars; and 3) that title, which makes sense once you’ve seen the show, but otherwise … nope. It’s back for a second season and if you’ve been missing that frisson of discovery in your TV viewing, this one is worth seeking out. From Jan. 21 on Apple TV.  

“Bridgerton”

Not a fan of this show, but plenty are, so mark your calendars. The Shonda Rhimes historical romance returns for Season 4, with a focus on the family’s second-eldest son, Benedict Bridgerton (Luke Thompson), who falls for a servant who sneaks into a masquerade ball. Netflix is chopping the season into two parts. From Jan. 29 on Netflix; the second half premieres Feb. 26.  

“Dark Winds”

This adaptation of Tony Hillerman’s Leaphorn & Chee novels, with their stories of the Navajo Tribal Police in the 1970s, continues with a fourth season about a missing Navajo girl, which takes our investigators out of their usual setting and sends them to the underbelly of organized crime in Los Angeles. A tick or two better than your typical cop show, star Zahn McClarnon is reason enough to watch. From Feb. 15 on AMC.  

“Scrubs”

The medical comedy from the early aughts is back, reuniting the old gang: J.D. (Zach Braff), Turk (Donald Faison), Elliot (Sarah Chalke), Carla (Judy Reyes) and John C. McGinley’s memorably tangy Dr. Cox. New cast members include Vanessa Bayer and Joel Kim Booster. The premise appears to be the same as it was, picking up where the show left off. From Feb. 25 on ABC.

“Scarpetta”

A crime thriller based on Patricia Cornwell’s book series about the forensic pathologist Kay Scarpetta, played by Nicole Kidman. According to the marketing blurb: “With skilled hands and an unnerving eye, this unrelenting medical examiner is determined to serve as the voice of the victims, unmask a serial killer, and prove that her career-making case from 28 years prior isn’t also her undoing. Set against the backdrop of modern forensic investigation, the series delves beyond the crime scene to explore the psychological complexities of both perpetrators and investigators, creating a multi-layered thriller that examines the toll of pursuing justice at all costs.” From March 11 on Amazon.  

Albums don’t sell like they used to, but rest assured, they’re still being released.

And they still matter.

The long-player is, in fact, still the most potent and important musical expression, a chance to go on an aural journey that keeps you engaged from start to finish. That flies in the face of conventional wisdom about limited attention spans in the streaming world, but the significant number of albums that continue to come out shows that’s how artists prefer to pursue their craft.

That was certainly the case during the past 12 months, and 2025 welcomed so many good and, yes, great, albums that the annual ritual of picking the best is never easy. But after careful consideration and some (pleasurable) relistening, these were unquestionably our dozen favorites for the year, all works that are rewarding every time you listen to them.

Clipse, “Let God Sort Em Out” (self-released): The rap duo’s long road back — 16 years between albums — reaches a triumphant destination with this 13-track set. The chemistry between Pusha T and Malice is as tight as ever, and reuniting with Pharrell Williams to produce had us partying like it was the 2000s once again — with Kendrick Lamar, Nas, John Legend, Tyler, the Creator and others on the guest list.

Alice Cooper, “The Revenge of Alice Cooper” (earMUSIC): The event tends to be greater than the quality in these kinds of reunions — in this case, the original Cooper band’s first full album since 1973. But periodic recording since 2011 has honed the surviving quartet to this point. The songs and playing stand up to those classic 1970s records, and the magic of technology even allows the late Glen Buxton to be part of a couple of tracks.

De La Soul, “Cabin in the Sky” (AOI/Mass Appeal): Another welcome hip-hop return. Nine years and one death (Trugoy the Dove) later, this is still a special and forward-looking troupe that fills its ninth studio album with high conscience and advanced intent. Sporting sharp production, tough rhymes and a who’s-who list of collaborators, the 20-track set more than lives up to the designation of Mass Appeal’s Legend Has It … series.

Dropkick Murphys, “For the People” (Dummy Luck): After two previous albums of songs set to unused Woody Guthrie lyrics, Boston’s Celtic punk lords stay on target and deliver the right album for the times — ferocious anthems of resistance (and some personal reflections) that feature guest appearances by Billy Bragg, the Mary Wallopers and the scratch. Vocalist Al Barr is back for one track, too.

Florence + the Machine, “Everybody Scream” (Polydor): Florence Welch is no stranger to turning personal turmoil into anthems of resilience and joy, and we get more of the same on album number six. With songs inspired by an ectopic pregnancy and miscarriage, Welch and her crew — including collaborators Aaron Dessner of the National and Mark Bowen of Ides — stir a wealth of emotions and mystical perspectives into life-affirming catharsis that brings everybody out better on the other end.

Lord Huron, “The Cosmic Selector Vol. 1” (Mercury): The Michigan-formed, now Los Angeles-based indie rock group hits a new peak on this semi-conceptual 12-track work, with some of Ben Schneider’s most evocative songwriting (and vocals) and collaborations with actor (and fellow Michigander) Kristen Stewart and Blonde Redhead’s Kauz Makino.

Pulp, “More” (Rough Trade): It’s been 24 years since the British group’s last studio album (sensing a theme for the year here?), but it really sounds like no time has passed. While Oasis was ruling on the road, Jarvis Cocker and company brought another wing of Britpop back with these 11 songs (as well as the group’s on tour), all of which stand alongside the best of Pulp’s previous work.

Addison Rae, “Addison” (As Long As I’m Dancing/Columbia): The actress and TikToker has been dropping musical bon mots since 2021, but her first full album shows a fully developed talent that’s maybe a little bit smarter than her pop peers, but still just as much fun when it needs to be. “Fame Is a Gun,” as she sings, and Rae’s aim is absolutely true.

Ketch Secor, “Story the Crow Told Me” (Equal Housing/Firebird Music): The Old Crow Medicine Show leader goes out on his own for the first time and delivers a winning 12-song effort rooted in tradition, but made modern in its delivery. Secor plays more than a dozen instruments himself, as is his wont, and welcomes contributions from Marty Stuart, Jaren Johnston of the Cadillac Three, Old Crow mates Critter Fuqua and Willie Watson, and Molly Tuttle, returning the favor for her latest album.

Sparks, “Mad!” (Transgressive): The Mael brothers follow “Annette — An Opera by Sparks” with their 26th studio album and 12 songs that, per usual, deftly balance quirk with pathos and melodic sensibilities that are at once classic and idiosyncratic. Fifty-four years in Ron and Russell have their own lane, and they haven’t run out of road yet.

Turnstile, “Never Enough” (Roadrunner): The hardcore quintet from Baltimore takes the format in bold new directions on its fourth studio album, and first with guitarist Meg Mills. It’s daring stuff — flute solos, anybody? — that never ceases to work and yields fresh flavors on every listen.

Molly Tuttle, “So Long Little Miss Sunshine” (Nonesuch): The California-born singer, guitarist, banjoist and songwriter is among those taking bluegrass and Americana in new directions, with abundant songwriting, instrumental and vocal assistance from Ketch Secor throughout her fifth studio album. And be assured, you never heard the Icona Pop/Charli XCX hit “I Love It” quite like this.

12 others that we liked a lot

Bad Bunny, “Debi Tirar Mas Fotos” (Rimas Entertainment); Jon Batiste, “Big Money” (Naht Jona/Verve); The Black Keys, “No Rain, No Flowers” (Easy Eye Sound); David Byrne, “Who Is the Sky?” (Matador); Ethan Daniel Davidson, “Cordelia” (Blue Arrow); Olivia Dean, “The Art of Loving” (Capitol); Don Was & the Pan-Detroit Ensemble, “Groove in the Face of Adversity” (Mack Avenue); Geese, “Getting Killed” (Partisan/Play It Again Sam); Kendall Jane Meade, “Space” (Mother West); Mavis Staples, “Sad and Beautiful World” (Anti-); Jeff Tweedy, “Twilight Override” (dBpm); Wolf Alice, “The Clearing” (RCA/Columbia)

Our 25 favorite concerts of 2025

Guster, Jan. 29, Majestic Theatre

Elvis Costello & Steve Nieve, March 8, Michigan Theatre

Chiodos, March 20, Royal Oak Music Theatre

Herb Alpert & the Tijuana Brass, March 25, Masonic Temple Cathedral Theatre

Kraftwerk, March 28, Masonic Cathedral Theatre

The War and Treaty, March 29, Saint Andrew’s Hall

Jack White, April 12-13, Masonic Temple Theatre

Nick Cave & the Bad Seeds, April 19, Masonic Temple Theatre

Gang Of Four, May 7, The Magic Bag

Devo, June 28, Fillmore Detroit

Weird Al Yankovic, July 2, Pine Knob Music Theatre

Wu-Tang Clan, July 8, Little Caesars Arena

Vince Gill, July 24, Fox Theatre

Katy Perry, Aug. 3, Little Caesars Arena

Rufus Du Sol, Aug. 5, Pine Knob Music Theatre

Lord Huron, Aug. 9, Meadow Brook Music Festival

Nine Inch Nails, Aug. 22, Little Caesars Arena

Jason Moran, Jeff Mills and Jessica Care Moore, Aug. 29, Detroit Jazz Festival

Pulp, Sept. 17, Masonic Temple Theatre

Tedeschi Trucks Band and Gov’t Mule, Sept. 20, Pine Knob Music Theatre

Don Was & the Pan-Detroit Ensemble, Oct. 11, Majestic Theatre

Jon Batiste, Oct. 24, Fox Theatre

David Byrne, Oct. 25, Fox Theatre

Chris Isaak, Dec.16, Fox Theatre