分类: entertainment

  • Campaigners call for Jared Leto’s concerts to be cancelled after criminal sexual conduct claims

    Campaigners call for Jared Leto’s concerts to be cancelled after criminal sexual conduct claims

    Fresh calls for the cancellation of two major Thirty Seconds to Mars arena shows in the UK are gaining traction, after women’s safety and anti-violence organizations added their voices to demands over serious sexual assault and grooming allegations against frontman Jared Leto. Leto, 54, who is also a well-known Hollywood actor, has forcefully denied all claims against him, but the accusations have sparked fierce debate over how the live events industry should handle high-profile performers facing criminal sexual misconduct allegations.

    The allegations first came to light in a recent BBC investigation and accompanying documentary *Jared Leto: Hollywood’s Dark Secret*, which shared testimony from 10 women who say they were subjected to inappropriate behavior by Leto between 2002 and 2016. At the time of the alleged incidents, all four of the women who spoke on the record were teenagers, while Leto was in his 30s and 40s. Nine of the 10 accusers have spoken publicly about their experiences for the first time through the investigation.

    One of the accusers, a former model named Alex, detailed a 2013 encounter at London’s O2 Arena that she says was pre-planned to put her in a vulnerable position. Alex, who was 19 at the time, told producers she intentionally claimed to be 17 to deter unwanted advances from Leto, who was 41 then. She said Leto responded by dismissing her age, telling her “Age is just a number, and anyway, we’re in Europe.” Later, after being encouraged to attend a private after-party at a nearby hotel, Alex arrived to find Leto alone. When she asked if she could rest on the room’s chaise longue, Alex says Leto made a graphic sexual remark that left her feeling threatened. She now believes the entire encounter was coordinated.

    The investigation also included testimony from two long-time crew members who worked with the band, both of whom described feeling deeply uncomfortable with Leto’s pattern of interactions with teenage girls. One former staff member alleged that crew were regularly told to invite young female fans backstage after they joined Leto on stage during performances. A second claimed that, during a period when the band was working at a residential recording location, Leto would typically meet with two different young girls at the house every day.

    The US rock band, which was co-founded by Leto and his brother Shannon in the late 1990s, rose to global fame with hit tracks including *The Kill*, *This Is War* and *Kings And Queens*, and has headlined major arenas across the world for more than two decades. Despite the serious allegations, the band’s scheduled 2025 shows at London’s O2 Arena and Manchester’s Co-op Live — two of the UK’s largest indoor venues — are still listed as going ahead, and tickets remain on sale to the public.

    Two leading UK anti-violence organizations have now publicly called for event organizers to scrap the planned concerts. Women’s Aid, a prominent domestic abuse charity, told BBC Newsbeat that it is deeply troubling that the shows are still scheduled to move forward, putting an alleged abuder in the public spotlight. “In light of the very serious allegations of criminal sexual conduct, we would urge organisers to put safety over profit and avoid platforming figures like this,” a spokesperson for the charity said.

    Janaya Walker, interim director of the End Violence Against Women Coalition, echoed that call, emphasizing that the decision should prioritize the safety of women and girls over commercial revenue. Walker said that the continued sale of tickets for the shows is deeply worrying, particularly for survivors of gender-based violence. “They’ll be seeing these reports and then seeing that things are moving forward seemingly without any consequence,” she said. “I think that will cause a huge amount of alarm and frustration and anger.”

    Walker added that the situation presents a critical test for the live events industry, forcing organizers to examine what message it sends to audiences when it continues to platform performers facing such serious allegations. “That’s the choice that I think is in front of them,” she said.

    Prior to the publication of the original BBC investigation, reporters made repeated attempts to contact Leto to get his response to the allegations, and he did not comment at that time. After the story was published, Leto released a statement through his representatives denying all wrongdoing. “I have never sexually assaulted anyone in my entire life. These claims are absolutely and categorically false,” he said.

    BBC Newsbeat has reached out to the tour promoters, the two venue operators, and the band’s representatives for comment on the calls for cancellation, but as of yet has not received any response from any of the parties.

  • Ian Fairweather, beloved Australian TV personality known for role on Here’s Humphrey, dies in hospital at 86

    Ian Fairweather, beloved Australian TV personality known for role on Here’s Humphrey, dies in hospital at 86

    A giant of Australian children’s television, Ian Fairweather — the original host of the long-running beloved program *Here’s Humphrey* — has passed away at the age of 86, his family has confirmed. The veteran broadcaster died at Gosford Hospital in New South Wales after suffering a recent fall, according to a family spokesperson who shared the news with public broadcaster ABC. The announcement was made public via a Facebook post Thursday afternoon by Bev Fairweather, who noted that the former Channel 9 personality, who graced Australian screens between the 1960s and 1980s, had lived an extraordinary life.

    For nearly three decades, Fairweather was a staple of Adelaide-based programming on Australia’s Channel 9, cementing his status as a household name across the country through his work on children’s content. His most iconic role came as the founding host of *Here’s Humphrey*, the iconic children’s series centered on the beloved character Humphrey B. Bear, which was produced in Adelaide and enjoyed decades of national popularity. Beyond children’s television, Fairweather was also a core cast member of the hit science educational program *The Curiosity Show*, which ran for 500 episodes on Channel 9 throughout the 1970s and 1980s, introducing generations of young Australians to basic scientific concepts.

    Colleagues who worked alongside Fairweather have paid tribute to his warm, joyful personality, remembering him as a uniquely talented broadcaster who touched countless lives. Penni Hamilton-Smith, who worked closely with Fairweather and went on to become a close personal friend, even named her son with the middle name “Ian Fairweather” after the pair made a friendly bet. “We’ve lost the most gorgeous, wonderful, talented, brilliant man,” Hamilton-Smith told ABC Adelaide. “As he got older, his face wrinkled into a smile because he was such a happy man – he was always confident, always happy, always thinking good thoughts about people.”

    Though Fairweather spent the vast majority of his life and career based in Adelaide, he relocated to the NSW Central Coast in his later years, where he spent his final days. Hamilton-Smith added that Fairweather’s legacy would live on through the joy he brought to millions of Australian children and viewers over his decades-long career: “He lived a full life, and he helped a lot of people along the way, and brought a lot of joy to a lot of people. God bless him.”

  • Should fans put their phones down at concerts? This K-pop band thinks so

    Should fans put their phones down at concerts? This K-pop band thinks so

    When rising K-pop boy band Cortis kicked off their debut global tour in Incheon, South Korea, on July 18, the five-member group made an opening statement that has divided their fanbase far beyond the packed stadium walls. Dressed in laid-back, street-style fits that leaned into their signature cool, unapologetic energy, one member stepped forward and shouted to the crowd: “Put your phone down.”

    Thousands of screaming fans responded with a sea of glowing phone screens held high, and a second, louder repetition only prompted a small portion of the audience to tuck their devices away. What could read as a lighthearted on-stage bit is actually the core mission of the tour, which bears the name *Put Your Phone Down*. After wrapping its initial stop in Incheon, the tour will travel to major North American cities including New York and Los Angeles before wrapping with a homecoming show in Seoul later this month.

    For Cortis, the message is nothing new: the group has long pushed for fans to trade viewing a show through a six-inch screen for immersive, in-the-moment connection with their performance. The stance, however, has clashed with the deeply ingrained norms of K-pop fan culture, where fan-recorded content functions as a valuable social and community currency.

    The divide is clear even among fans who attended the Incheon shows. For 22-year-old Park Ji-yeon, capturing every second of the performance was non-negotiable. She splurged on a rental of a high-end new smartphone for both days of the concert, motivated by the once-in-a-lifetime nature of the front-row spot she secured. “I don’t know if I’ll ever get this opportunity again,” Park explained in an interview with the BBC. “I usually film concerts because I know a lot of those memories will fade as soon as I leave the venue.”

    Other fans have embraced the group’s call to disconnect. Twenty-five-year-old Kim Ga-eun, who watched the shows from the venue’s amphitheater seating, noted that groups of fans in the standing section put down their phones to dance together, embodying exactly what the tour set out to achieve.

    Cortis, which debuted just over a year ago under BigHit Music — the same label that launched global supergroup BTS — has had a meteoric rise in the entertainment industry. Most of the group’s members are still teenagers, with the oldest, James, only 20 years old. Each of their music videos has racked up millions of views online, and just this past weekend, the group earned a major career milestone with a performance at Chicago’s iconic Lollapalooza music festival. The group’s name itself, derived from the phrase “colour outside the lines,” reflects their ethos of breaking convention — a value that clearly extends to their stance on concert phone use.

    Cortis is far from alone in this push. A growing number of high-profile artists across the globe have pushed for fans to put away their phones during live shows, taking increasingly bold stances. Singers Phoebe Bridgers and Alicia Keys have gone as far as requiring concertgoers to store their devices in sealed lock pouches for the entirety of a performance. In 2023, Welsh rock band Suede’s frontman Brett Anderson made headlines when he climbed over a stage barrier during a Singapore show to grab phones out of fans’ hands. Even Billie Eilish, who has acknowledged that filming helps fans hold onto memories after a show, has gently urged front-row audiences: “Put your phone down, I’m right here.” Back in the K-pop world, Cortis’ labelmates BTS have also made similar requests of their crowds, with member Jungkook once teasing an audience to stop staring at their screens and look at him directly.

    From an artist perspective, the push for phone-free shows centers on the value of live connection. “Interacting with fans is a really important part of performing, so I think they want people to focus more on that than on their phones,” Park said of Cortis’ request.

    But for K-pop fandoms, the practice of filming shows serves a purpose that extends far beyond personal memory. Fancams — close-up, individual clips focused on a single group member — are a cornerstone of online K-pop community life. Once shared, these clips are pored over by fans, who dissect choreography, hunt for tiny, unplanned moments of expression, and repurpose clips into fan-made content that keeps fan communities active long after a tour ends.

    This cultural context explains why Cortis’ repeated requests have left some fans frustrated. Disgruntled comments began circulating online immediately after the tour’s opening day, with many fans pointing to the exorbitant cost of attending live shows. Park, who spent more than 1 million won (roughly $700) to attend both days of the Incheon leg, noted: “I think a lot of fans spent similar amounts of money, so constantly hearing them asking us to put our phones down made some fans even more frustrated.”

    It appears the group heard these fan concerns, and softened their message by the second day of the Incheon run. Kim recalled that the framing shifted noticeably between the two shows: “On the first day, the message felt more like, ‘Let’s put our phones down and have fun together.’ On the second day, it changed slightly to, ‘We understand why you want to film, so let’s just make sure we enjoy ourselves together.’ They said filming was okay, but they wanted us to enjoy the concert together, and that ‘Put Your Phone Down’ was more of a mindset.”

  • Miss North Carolina USA stripped of title after ‘information’ surfaces

    Miss North Carolina USA stripped of title after ‘information’ surfaces

    In a stunning shake-up to the line-up for the upcoming 75th annual Miss USA pageant, Brittany Boltinhouse, the newly crowned Miss North Carolina USA, has been officially stripped of her title following a comprehensive internal review of newly surfaced misconduct allegations. Pageant organizers have not publicly shared specific details of the problematic conduct, but framed the dethronement as a difficult but necessary choice to uphold the core values and integrity of the Miss North Carolina USA program.\n\nThom Brodeur, president of the national Miss USA organization, released a formal statement clarifying the organization’s zero-tolerance policy for harmful, discriminatory speech and behavior. “The Miss USA organization does not tolerate racism, homophobia, transphobia nor language that strips any person of their dignity,” Brodeur affirmed. Contrary to speculation that the decision stemmed from a single isolated incident, Brodeur emphasized that the reviewed information revealed a pattern of inappropriate conduct spanning an extended period of time. “What was brought to us was not a single moment,” he explained. “It reflected conduct over an extended period of time. That is why this outcome was reached, and I stand behind it without qualification.”\n\nAccording to official announcements, Boltinhouse, 27, who won the Miss North Carolina USA title back in June, was already in active preparation to represent her home state at the national Miss USA competition scheduled to take place in Miami later this month. She was formally removed from her role on Wednesday. A Blaize Productions, the local organizer overseeing the North Carolina pageant, noted that the decision was not made hastily, and came only after a thorough review of all available information. “This decision was not made lightly,” the organisers said in a statement. “It followed a thorough review of recently surfaced information and was based on the totality of the circumstances and our responsibility to preserve the integrity of the Miss North Carolina USA title and the values of our organization.”\n\nBrodeur also confirmed that Boltinhouse has issued a private apology to organizers and plans to release a public statement of her own in the coming days. The BBC has reached out to Boltinhouse directly for additional comment, but had not received a response as of Thursday.\n\nFollowing Boltinhouse’s dethronement, first runner-up Myla Hadley has been tapped to step into the role and will represent North Carolina at the upcoming national Miss USA pageant. The winner of the Miami competition will go on to represent the United States at the global Miss Universe pageant slated for November.\n\nHadley addressed her unexpected new appointment in an Instagram statement Thursday, thanking her supporters and expressing readiness for the opportunity ahead. “I understand the seriousness and level of prestige that this title carries, and I can confidently say that both my team and I are ready to take this on,” she wrote. “While this may seem like a two-week turnaround given the circumstances, I’ve been preparing to represent at Miss USA since I first competed with this organization. I am ready to represent North Carolina.”

  • Amanda Knox claims show she is performing at Edinburgh festival honors her murdered former flatmate

    Amanda Knox claims show she is performing at Edinburgh festival honors her murdered former flatmate

    Nearly two decades after one of the most sensational murder cases in modern European history gripped global headlines, a new controversy has erupted around American exonerated suspect Amanda Knox, ahead of the debut of her one-woman comedy show at the world’s largest arts festival, the Edinburgh Fringe.

    In 2007, 21-year-old British student Meredith Kercher was found stabbed to death in the Perugia, Italy, apartment she shared with Knox, then a 20-year-old American exchange student, and two other Italian roommates. Knox and her then-new boyfriend Raffaele Sollecito were arrested and tried for the murder, with Knox serving almost four years in Italian prison before an appeals court ordered her release in 2011. Italy’s highest court ultimately issued a full acquittal for both Knox and Sollecito in 2015, after Ivory Coast national Rudy Hermann Guede—whose DNA was recovered at the crime scene—was convicted of Kercher’s murder. Guede was released from prison in 2021 after completing the majority of his 16-year sentence.

    Following her return to the United States in 2011, the now 39-year-old Knox has built a career as an advocate for wrongfully convicted people, hosting a podcast with her husband and releasing a memoir *Free: My Search for Meaning* in 2023. Her new show, titled *Cartwheel*, is set to premiere Friday at the Edinburgh Fringe, running for 11 consecutive nights through the festival’s August run. The title references a long-circulated, unsubstantiated rumor that Knox did cartwheels at a local police station in the days after Kercher’s killing. Promotional materials frame the performance as a middle-aged mother’s reflection on processing decades of public scrutiny and anger over her wrongful imprisonment, at a time when half the public still believes she is guilty and the other half demands she “move on.”

    The show has drawn fierce criticism from Stephanie Kercher, the sister of the murder victim, who told the BBC she believes the production trivializes and normalizes violence against women, and should be pulled from the festival lineup. While Stephanie acknowledged Knox has every right to rebuild her life after acquittal, she argued that turning the high-profile tragedy into a comedy act is unacceptable, adding that the project opens fresh wounds for her family. She called for the festival to deny the show a public platform, a position echoed by an online petition demanding the performance’s cancellation that has gathered more than 4,400 signatures as of Thursday. The petition claims the show mocks the brutal circumstances of Kercher’s killing to turn a personal tragedy into commercial entertainment.

    Knox has pushed back forcefully against the criticism in an Instagram post shared Thursday, rejecting the claims against her show and defending its place at the Edinburgh Fringe. She argued that *Cartwheel* honors Kercher’s legacy and explicitly condemns the violence that claimed Kercher’s life and upended her own life wrongfully. The American activist also dismissed the cancellation petition, noting that signatories are calling for the removal of a production none have yet seen, based on false accusations designed to shame her into silence. She added that the Edinburgh Fringe, famous for hosting provocative, personal work across all performance genres, is the ideal space for a show that addresses such sensitive, personal topics.

  • Why is Amanda Knox’s upcoming comedy show causing controversy?

    Why is Amanda Knox’s upcoming comedy show causing controversy?

    A planned stand-up comedy performance by Amanda Knox, the American woman once convicted and later acquitted of the 2007 murder of British student Meredith Kercher in Italy, has ignited fierce public controversy, with criticism coming directly from Kercher’s own family.

    In an interview with the BBC, Stephanie Kercher, the older sister of the slain victim, made clear that her family finds the idea of turning the 2007 killing and the surrounding legal saga into comedic material deeply unacceptable. Stephanie emphasized that there is nothing humorous about the brutal death of her sister, a young exchange student whose life was cut short in Perugia, and that no comedian could extract legitimate comedy value from the tragedy that shattered her family.

    Knox, who spent four years in an Italian prison before her conviction was overturned on appeal in 2011 and confirmed by the Supreme Court in 2015, has announced a series of comedy performances across the U.K. and Ireland, where she plans to draw from her widely publicized experience with the Italian criminal justice system. The booking of these shows immediately triggered backlash from crime victims’ advocates and members of the public, who argue that Knox is profiting from a violent crime that claimed an innocent young woman’s life.

    Critics of the show have also noted that the core subject of the comedy routine revolves directly around the circumstances of Kercher’s death and Knox’s own legal battle, making the family’s pain an unavoidable part of the performance. To date, Knox has not issued a public response to the Kercher family’s comments or the growing calls to cancel the scheduled tour dates.

  • Funeral of Irish actress Brenda Fricker  under way in Dublin

    Funeral of Irish actress Brenda Fricker under way in Dublin

    One month after the passing of groundbreaking Irish actress Brenda Fricker, the Academy Award winner is being laid to rest in her hometown of Dublin this Thursday, drawing tributes from fans and peers across the global film and television industries. Fricker, who was 81 at the time of her death, made history in 1990 as the first Irish woman ever to take home an Oscar, claiming the Best Supporting Actress statuette for her career-defining turn as Christy Brown’s loving mother in *My Left Foot*. In that iconic biographical drama, she starred opposite Daniel Day-Lewis, who earned his first Academy Award for his portrayal of Brown, a disabled Irish writer and artist who retained control of only his left foot. Fricker beat out A-list Hollywood contenders including Julia Roberts and Anjelica Huston to claim the prize, and in her acceptance speech, she dedicated the historic win to the entire people of Ireland.

    Born and raised in Dublin, Fricker launched her acting career in the 1960s, cutting her teeth on stage and small-screen roles starting with Ireland’s first domestic soap opera *Tolka Row*. By the late 1970s, she had landed a spot on the long-running British ITV staple *Coronation Street*, before joining the cast of the BBC’s hit medical drama *Casualty* for its very first episode in 1986. She became a fan favorite as warm-hearted nurse Megan Roach, a role she held as a series regular until 1990 before returning for guest appearances through her final on-screen turn in the show in 2010.

    Two years after her Oscar triumph, Fricker landed another role that cemented her global recognition: the gentle, wise homeless pigeon lady in 1992’s *Home Alone 2: Lost in New York*, who befriends protagonist Kevin McCallister, played by Macaulay Culkin. The role remains one of the most beloved in the hit holiday franchise, introducing Fricker to generations of young viewers. Her extensive resume of film and television credits also includes prominent roles in *So I Married An Axe Murderer* (1993), *Angels in the Outfield* (1994), *A Time to Kill* (1996), and the 2003 biographical drama *Veronica Guerin*. Late in her career, Fricker reflected publicly that her early Oscar win unexpectedly limited her career trajectory, saying she believed she would have landed more diverse, substantial roles over time had she not achieved such high-profile success so early.

    The funeral service is scheduled to begin at 11:00 a.m. local time at Dublin’s St Catherine’s Church, followed by a private burial ceremony for close family and friends.

  • Istanbul cymbals: From Ottoman war tool to pulse of global music

    Istanbul cymbals: From Ottoman war tool to pulse of global music

    Beneath the vaulted ceilings of a sun-dappled Istanbul workshop, the steady, rhythmic clang of hammers striking red-hot bronze fills the air. Three skilled craftsmen stand side by side, their calloused hands striking uniform, precise blows that slowly transform unrefined metal discs into one of music’s most iconic percussion pieces: the handcrafted Istanbul cymbal. What began as a tool of war on the battlefields of the Ottoman Empire has evolved over four centuries into a cornerstone of global music, beloved by jazz drummers around the world for their one-of-a-kind, rich tones.

    The story of modern Istanbul cymbals begins in the early 17th century, when cymbals already held a firm place in Ottoman culture. Military mehter marching bands relied on the loud, resonant clash of early cymbals to intimidate enemy forces and rally Ottoman troops during the empire’s expansion across the Mediterranean and Near East. It was not until 1623, however, that an Armenian alchemist named Avedis Zildjian revolutionized the craft through a proprietary metal alloy and heat treatment process that solved the biggest flaw of early cymbals: brittleness.

    Ethnomusicologist Audrey Wozniak, a leading scholar of Turkish musical traditions, notes that Zildjian’s innovation was no small feat. “It’s really hard to make good cymbals because they’re consistently being crashed, so to make something that wasn’t brittle which could withstand continuous use is quite an achievement,” she explains. Impressed by the quality of Zildjian’s creation, the Ottoman sultan granted him permission to open his first workshop in Istanbul, launching a dynasty of cymbal making that survives to this day. The closely guarded secret of Zildjian’s process was passed down through generations of the family, and even after the original Zildjian operation relocated to the United States in the final years of the Ottoman Empire, local craftsmen who trained with Zildjian’s masters kept the ancient tradition alive in Istanbul.

    Today, Istanbul remains the global epicenter of high-end handcrafted cymbals, with a handful of independent brands continuing to produce instruments using the same core techniques developed more than 400 years ago. At Bosphorus Cymbals, located on Istanbul’s northern outskirts, every step of the production process follows traditional methods, relying on coal and wood for heat rather than modern electric or gas power. The entire process to cast and finish a single cymbal can take up to a full week, with every stage holding equal importance.

    The journey from raw metal to finished instrument starts with casting. Master craftsmen mix copper, tin, and a closely guarded third secret ingredient that alters the metal’s consistency and final sound quality. The alloy is melted into molten bronze, poured into molds, and cooled to form rough disc-shaped blanks. Next, blanks are cycled through a glowing furnace and rolling mill up to 15 times, with each pass compressing and stretching the metal before it is tempered in cold water. “We use copper and tin and one more ingredient which is secret. Even though it’s in very small quantities, it gives the cymbal a different character in terms of consistency and sound,” explains 56-year-old Hasan Seker, a master cymbalsmith and co-founder of Bosphorus Cymbals who has worked in the trade since he was 12 years old.

    After shaping the central raised bell and cutting the cymbal to its final size, the most critical step begins: hand hammering. “Not a single blow is random,” Seker says, as the workshop’s three craftsmen land expert, targeted strikes that create the dark, complex tone that is the hallmark of Istanbul cymbals. Unlike mass-produced instruments, each hammer blow leaves a subtle unique mark on the metal’s surface, and the craftsman’s emotional state shapes the final sound. “When someone is hammering, he might hit softly, then something comes to mind, he gets angry and hit harder. Those variations in the metal’s surface, the reservations, the tension patterns diversify the sound. In a way, he gives the cymbal its soul,” Seker adds. Today, musicians from across the globe travel to the Istanbul workshop on a sort of pilgrimage to select their own custom cymbals, with the workshop’s walls lined with vintage posters of legendary jazz drummers who have become loyal devotees of the craft.

    At Nardis Jazz Club, a cozy, dimly lit venue tucked in the shadow of Istanbul’s iconic Galata Tower, drummer Derin Bayhan says he will never play any cymbals outside of those handmade in Istanbul. “Even if you bought two from the same series, the same weight and structure, the two cymbals wouldn’t perfectly match. Because it’s handmade, it’s basically an adventure,” Bayhan says. “So you search for one and when you find it, no-one else will have it: that sound is yours.”

    Jazz historian Berk Ozler explains that the enduring global popularity of Istanbul cymbals, even after the Zildjian family launched mass production in the United States, comes down to this pursuit of uniqueness among jazz musicians. “Mass production started when Zildjian went to the USA whereas the ones that stayed in Istanbul were handcrafted and still are. Jazz musicians chase after that uniqueness so that’s why they are very valuable,” Ozler notes. For centuries, the craft of Istanbul cymbal making has evolved from a weapon of war to the beating heart of global jazz, and with each strike of the hammer, a new one-of-a-kind piece of musical history is born.

  • Q&A: Ms. Lauryn Hill on the Diaspora Calling! festival in the UK, the Fugees’ legacy and D’Angelo

    Q&A: Ms. Lauryn Hill on the Diaspora Calling! festival in the UK, the Fugees’ legacy and D’Angelo

    Just moments before iconic musician Lauryn Hill joined an interview with The Associated Press, she and Fugees bandmate Wyclef Jean found themselves surrounded by fans in the heart of London’s Piccadilly Circus. Hanging above the crowd on the giant bright LED display of the Piccadilly Lights was a vivid, animated short film: a vibrant collage celebrating the heroes and cultural symbols of the global African diaspora, curated by Hill and created by Los Angeles-based artist Lauren Halsey.

    The core message of the public art installation was unmissable: it is a joyful tribute to shared community, interconnected culture, and the intersecting worlds of music and visual art. “The crowd was captivated,” Hill shared during the interview. Jean interjected, describing the moment as surreal. “The love was felt. It was amazing,” he said.

    This surprise public showcase served as a teaser for a far larger milestone: this week marks the first time Hill’s beloved Diaspora Calling! festival will land in the United Kingdom, 10 years after the event made its debut in Brooklyn, New York.

    Hosted by acclaimed comedian Dave Chappelle and featuring a stacked lineup of performers including Grammy-winning R&B icon Erykah Badu, rapper Giggs, Afrobeats star Fireboy DML, and reggae artists YG Marley and Zion Marley, the festival will take place at Milton Keynes’ iconic National Bowl venue. At the heart of the weekend’s programming, Hill and Jean — two-thirds of the legendary hip-hop trio Fugees — will perform their game-changing 1996 landmark album *The Score* in its entirety, to mark the record’s 30th anniversary.

    In an edited interview with the AP, Hill and Jean opened up about the festival’s origins, the enduring legacy of *The Score*, and how they hope to honor the late, influential musician D’Angelo nearly one year after his passing.

    When asked what drew the pair to bring Diaspora Calling! to the UK for the first time, Hill explained that the opportunity came organically through long-time industry partners. “We were given an opportunity by the promoters — the same promoters that do Reggae Land. He gave me the venue. And I said, ‘This is what I want to do.’ We’re basically blessed to have the opportunity. And, you know, ‘tis the season to bring people together in the name of growth, healing and pushing forward,” she said.

    Hill also confirmed that the UK stop will not be the only international edition of the festival, with more global stops firmly on the table for the future: “Absolutely, absolutely, absolutely,” she said when asked about expanding the event beyond the US and UK.

    Reflecting on how the festival’s core concept has evolved since its first Brooklyn gathering in 2016, Hill traced its origins back to a life-changing trip to Ghana early in her career. The connection she built on that trip planted the seed for a cross-continental gathering of the global African diaspora. Over decades of building community both together and separately, even when the Fugees were not actively performing or recording as a group, Hill and Jean built deep connections across diaspora communities worldwide — making now the perfect time to bring those communities together in one space, she explained.

    When it comes to curating the festival’s dynamic, cross-genre lineup, Hill says the process has been driven by respect and mutual excitement. “We put a call out to the people that we know, love and respect. And I’ve gotten so much positivity — an abundance of responses, in terms of the creative community out here wanting to participate. So that’s huge,” she said.

    The festival’s centerpiece performance, a full play-through of *The Score* for its 30th anniversary, finds the two musicians engaging with the album in a whole new way decades after its release. Both agree the record has lost none of its power or cultural resonance over 30 years, earning its place among other iconic timeless albums that shaped music globally.

    “Absolutely. That’s a timeless piece of work for us as well. Timeless. How do you feel about it, Wyclef?” Hill asked, prompting Jean to draw a parallel between *The Score* and other legendary albums that have stood the test of time, from Bob Marley’s *Exodus* to Pink Floyd’s *The Wall* and Bob Dylan’s early studio records. “That’s forever,” Jean said.

    Hill added that every performance of the decades-old record brings new energy and new meaning. “I think what is powerful about the album was that, you know, I’m a big fan of what Wyclef does. And I think he’s appreciative of what I do. So, we engage with each other’s art. And every time we perform it, even though (it’s) singing older lyrics, there’s a new energy, a new spirit. There’s a timelessness. I almost feel like we’re reclaiming timelines, healing timelines, so to speak, every time we’re performing,” she explained. Jean echoed that sentiment, noting that even after 30 years, performing the album still feels as fresh and exciting as it did the first time. “It doesn’t feel old,” Hill added.

    For Hill, performing the record at Diaspora Calling! is the perfect alignment of the album’s core ethos and the festival’s mission. “It’s kind of the pinnacle of what the Fugees were all about. Our makeup is diaspora calls. I think we were a call to a particular unity, a particular kind of reflection and a particular kind of resistance to certain ideas that we knew better than. And we wanted to channel that outside and have other people feel what we were certain about, which is that there was being and resourcefulness and incredible brilliance throughout diaspora. And that division was not really an option,” she said.

    Towards the end of the conversation, Hill reflected on the upcoming one-year anniversary of D’Angelo’s passing, after she paid tribute to the late artist alongside Roberta Flack earlier this year at the Grammys. Remembering D’Angelo as another timeless, irreplaceable creative soul, Hill said she hopes the world continues to lift up his extraordinary musical legacy, while protecting the privacy of his family. “He was good — without question,” she said.

  • This organ will play one composition until 2640. It’s redefining how slowly music can be played

    This organ will play one composition until 2640. It’s redefining how slowly music can be played

    In the medieval ruins-turned-arts space of Burchardi Church in Halberstadt, eastern Germany, an extraordinary experimental art project that redefines the boundaries of musical performance continues its glacial journey. Nearly 25 years after the first note resonated through the stone walls, the world’s slowest ongoing concert has hit a rare milestone: a manual chord change that brings the 639-year performance to roughly 4% completion.

    The ambitious initiative, known as the John Cage Organ Project Halberstadt, stages John Cage’s iconic experimental composition *ORGAN²/ASLSP (As SLow aS Possible)*, a work that demands the piece be played as slowly and softly as the interpreters choose. While project planning began in 2000, the performance officially launched on September 5, 2001, what would have been the avant-garde American composer’s 89th birthday, opening with a 17-month silent pause that stretched all the way to February 5, 2003, when the first chord finally echoed through the church. This week’s chord shift, which added an A4 pipe to expand the harmony from seven notes to eight, marks only the 17th sound adjustment in the work’s more than two-decade history. The next change is already scheduled for October 5, 2027, when an E4 pipe will be removed to alter the chord once again.

    The 639-year timeline, set to conclude on September 4, 2640, was not chosen arbitrarily. According to Anneli Borgmann, chair of the project’s board of trustees, the duration was selected as a tribute to the world’s oldest playable historic organ, which was constructed in Halberstadt in 1361 — exactly 639 years before the project was first organized in 2000. The organ itself, powered by a continuous electric blower system to sustain unbroken sound, has been engineered for extreme longevity. Master organ builder Johannes Hüfken, who crafted the new A4 pipe installed this month, confirms that all components are built to survive at least another 500 years, ensuring the performance can outlive multiple generations of stewards.

    What began as a radical experimental art concept has also reshaped the Burchardi Church itself. Before the project launched, the structure sat largely in ruins, but funds raised for the initiative paid for a new roof and critical structural repairs, saving the historic site for future generations. For visitors, the experience is unlike any traditional concert: the sustained chord resonates through the entire empty stone sanctuary, and shifting just a few feet dramatically alters how the sound is perceived, leading Jeffrey Lependorf, executive director of the New York-based John Cage Trust, to observe: “I think it really is the organ playing the church and not the other way around.” Lependorf, who has followed the project for years, says the deep, sustained vibrations of the organ are felt across the entire body, creating an immersive experience that cannot be replicated in modern performance settings.

    Beyond its artistic innovation, the project acts as a provocative meditation on intergenerational responsibility and long-term thinking, a reminder to plan for futures far beyond any single person’s lifetime. “This John Cage project is a good example of thinking ahead for the next generation — thinking outside the box, beyond the completely normal and traditional,” Hüfken noted. Curators and stewards regularly grapple with questions that stretch centuries into the future: Will the church still stand when the final chord sounds in 2640? Will Halberstadt, a city that has already survived two world wars, endure the accelerating impacts of climate change? To lock in access for the final performance, the project has already begun selling inheritable “final tickets” for the 2640 closing event, priced at 2,640 euros (approximately $3,045) apiece, that can be passed down through families for more than six centuries.