分类： entertainment

The world of jazz has lost its last iconic giant from the genre’s golden age. Sonny Rollins, the trailblazing American tenor saxophonist universally known as the ‘Saxophone Colossus’, passed away at his home in Woodstock, New York, on Monday at the age of 95. The announcement of his death was shared in a heartfelt post on his official social media accounts, which confirmed the news of his peaceful passing.

A creative visionary who constantly reinvented his art across seven decades, Rollins transformed jazz into a medium for both social commentary and spiritual exploration. His bold, resonant saxophone lines gave voice to the aspirations of Black Americans during the civil rights movement, channeled collective national grief in the wake of the September 11 attacks, and reflected the mystical insights he gained during years of spiritual retreats in Asia. Born in Harlem to parents who migrated from the U.S. Virgin Islands, Rollins rose to join the ranks of the most influential saxophonists in jazz history, alongside legends including Charlie Parker, Coleman Hawkins, and John Coltrane — with whom he shared an affectionate yet complex artistic relationship.

Unlike many of his contemporaries from jazz’s post-WWII golden era, Rollins lived a remarkably long, disciplined life, continuing to refine and remaster his work well into his 80s, even as chronic respiratory issues gradually limited his public performances. When asked in a 2016 interview with Agence France-Presse about the secret to his longevity, Rollins attributed it to two things: his lifelong practice of yoga, which helped him stay focused and avoid the substance abuse that cut short the lives of many fellow artists, and his unquenchable thirst for creative growth. “I’m still alive because I’m still learning,” he famously said in that interview.

Rollins’ signature sound was distinct among major saxophonists of his generation: a biting, heavy delivery that often challenged listeners rather than soothing them, paired with an intricate, holistic approach to composition that framed music as a lifelong search for universal truth. His iconic nickname originated from his breakthrough 1956 album *Saxophone Colossus*, a record that redefined the hard bop genre, bringing raw, new power to the tenor sax while stripping jazz of unnecessary structural constraints. One of the album’s most enduring tracks, “St. Thomas”, wove in the Caribbean calypso rhythms Rollins had heard growing up, a nod to his Virgin Islands heritage that remains his most recognizable composition.

One of the most legendary stories of Rollins’ career came in the early 1960s, when overwhelmed by the pressure of his rising fame, he stepped away from the spotlight to practice daily on New York City’s Williamsburg Bridge, which connects Brooklyn to Manhattan’s Lower East Side. For three years, he played for nearly every waking hour, even through the cold of winter, turning the busy bridge into his private rehearsal space. This self-imposed public sabbatical yielded one of his most acclaimed albums, 1962’s *The Bridge*, and in recent years, proposals have circulated to rename the Williamsburg Bridge in his honor. Rollins also crossed over to mainstream audiences outside of jazz, making a notable guest appearance on The Rolling Stones’ 1981 hit album *Tattoo You*.

By his mid-20s, Rollins had already shared stages and recording studios with nearly every jazz legend of the era, including Parker, Miles Davis, and Thelonious Monk, with whom he was particularly close early in his career. He famously cut the classic 1957 album *Brilliant Corners* alongside the pioneering pianist. While many framed Rollins’ relationship with Coltrane as a rivalry — the two both pushed jazz into new creative territory and shared a fascination with Indian spirituality — Rollins offered a warm reflection on their connection later in life. Where Coltrane was known for his graceful, gentle texture, Rollins brought a firmer, more tangible command of musical dynamics, approaching composition with the intentional craft of a classical composer. The pair only recorded together once, on the title track of Rollins’ 1956 album *Tenor Madness*. Looking back on his early career, Rollins acknowledged he had been overly brash with his idols: “I look back on my relationship with Coltrane, and my relationship with Monk — a lot of stupid things I did with those people that I would not have done if I was more mature,” he said, calling Coltrane “a beautiful, beautiful human being.” Rollins was predeceased by his wife and manager of nearly 40 years, Lucille, who died in 2004.

Following his 1956 breakthrough, Rollins continued to innovate on 1957’s *Way Out West*, where he introduced his signature “strolling” technique: unaccompanied sax solos that flow over only bass and drums, forgoing the traditional piano chords that anchored most jazz ensembles of the era. Rollins often described his improvisational style as rooted in intuition rather than conscious planning. “When I play and I improvise, I don’t think, because music comes from the subconscious, someplace else,” he told news outlet The Root. “I’m just a human, so when I play my horn, I get into a state where the music plays me. I’m just standing up there and fingering my horn and blowing.”

His commitment to yoga extended far beyond physical health; the breathing techniques and mental discipline it afforded him deepened his fluency on the sax. A decade after his Williamsburg Bridge sabbatical, Rollins stepped away again in 1966, this time to study Zen meditation in Japan before moving to an ashram on the outskirts of Mumbai, India, where he arrived with nothing but a suitcase and his saxophone. Under the guidance of spiritual teacher Swami Chinmayananda, he spent his days studying and discussing sacred Vedic texts, performing rarely, before bringing his spiritual learnings into his music with works like *Patanjali*, named for the ancient founder of yoga. “Jazz artists were trying to find a way to express life through our improvisations. The music has got to mean something,” he later told National Public Radio.

Beyond his artistic innovations, Rollins was unafraid to use his platform to advance social justice. His 1958 work *Freedom Suite* was an explicit artistic statement in support of the rising civil rights movement. While the 20-minute instrumental piece spoke to artistic freedom on its surface, Rollins made its political purpose unmistakeable in the album’s liner notes — a strikingly bold stance for a Black artist of the era. “America is deeply rooted in Negro culture: its colloquialisms; its humor; its music,” he wrote. “How ironic that the Negro, who more than any other people can claim America’s culture as his own, is being persecuted and repressed; that the Negro, who has exemplified the humanities in his very existence, is being rewarded with inhumanity.” The album was so controversial that a later reissue was released under an alternate title, and Rollins faced pushback when performing the piece in the Jim Crow South. He doubled down on his advocacy for Black pride with *Airegin*, a fast-paced classic whose name is an anagram for Nigeria.

Late in his life, Rollins once again turned to music to process collective trauma after the September 11, 2001 attacks. Living just six blocks from the World Trade Center, he evacuated his home by walking down 40 flights of stairs and suffered respiratory irritation from the attack’s toxic fumes. Just four days later, he drove to Boston (all commercial flights were grounded nationwide) to perform a memorial concert that was later released as a live tribute album to the attacks’ victims.

After decades in New York City, Rollins retired to a quiet farm in upstate New York, where he had space to continue his meditation practice. In his final years, he acknowledged a growing pessimism about humanity’s trajectory, noting that he and his fellow mid-century artists once believed music could help bring about world peace. “But then I learned, and I lived a little longer,” he told AFP. “I realized that this world will never change. This world is meant to be a place of war, killing, everything — sickness, illness, death. That’s this world.”

Australian airline Virgin Australia has launched its first co-branded aircraft livery in nearly a decade, teaming up with Disney and Pixar to roll out a one-of-a-kind Toy Story 5 themed Boeing 737-800 that will traverse the country’s domestic network ahead of the animated sequel’s theatrical premiere on June 18. The airline officially revealed the custom-painted plane on Monday, which features beloved franchise characters Woody, Jessie and Buzz Lightyear across its entire exterior, kicking off a months-long cross-platform marketing campaign that brings the Toy Story magic to every step of the passenger travel journey.

This large-scale collaboration marks a celebratory milestone for the Toy Story franchise, which first captured audiences’ hearts more than 30 years ago. The custom aircraft is projected to be seen by hundreds of thousands of travelers, including international visitors exploring Australia, turning the plane itself into a flying billboard for the upcoming film. Beyond the eye-catching exterior livery, the partnership includes a full slate of themed activations rolling out across airport terminals, Virgin Australia lounges, and onboard domestic flights through mid-July.

Starting June 1, young passengers traveling with the airline will receive complimentary Toy Story 5-branded giveaways, including custom coloring activity packs. The airline’s inflight entertainment system will also add the entire existing Toy Story film collection to its library, alongside more than 60 other popular Disney movies for travelers to enjoy during their journey. Between June 15 and July 19, domestic passengers will be able to participate in a branded inflight game, with one grand prize winner receiving a Pixar-themed trip to Tokyo for up to four people.

One of the most charming additions to the campaign is Virgin Australia’s new “Toy Tickets” initiative, which lets children request personalized, official-looking boarding passes for the teddy bears and soft toys that accompany them on their trips. The concept for this unique offering was inspired by a real customer incident: a young child who accidentally left their beloved teddy bear on a Virgin Australia flight, and was reunited with the toy after the airline helped track it down.

Exclusive perks are also being offered to top loyalty program members: selected Velocity Frequent Flyer Platinum Plus members across Australia will receive access to special private screenings of Toy Story 5 ahead of its wide release.

Libby Minogue, Virgin Australia’s chief marketing and customer operations officer, explained that the partnership was designed to weave the beloved film franchise into the entire travel experience, creating memorable moments for guests of all ages. “Toy Story has always been about more than just characters, it’s the nostalgia and joy it holds for so many people,” Minogue said. “Through our partnership with The Walt Disney Company Australia, we’re bringing the magic into the travel experience, creating moments of surprise and delight for our guests in a way that is distinctly Virgin Australia.”

Minogue added that the collaboration aligns with the airline’s ongoing goal of reimagining air travel for modern passengers, while delivering enhanced value to its loyalty program members: “We are always looking for new ways to bring wonderful to flying and this partnership with Disney is the start of something magical and allows us to reimagine the travel experience in new and engaging ways, while delivering greater value for our Velocity Frequent Flyer members.”

Kylie Watson-Wheeler, senior vice-president and managing director of The Walt Disney Company Australia and New Zealand, echoed that excitement, noting that the collaboration lets fans of all generations celebrate the launch of the new sequel. “We’re thrilled to see Disney and Pixar’s Toy Story 5 take flight with Virgin Australia in this special celebration of the film,” Watson-Wheeler said. “Our iconic Toy Story characters and story have a special place in the hearts of generations. We can’t wait to see all the magical ways this collaboration brings joy to Virgin Australia customers.”

Hundreds of bold-haired enthusiasts flocked to southern Belgium this weekend to compete in the 4th annual European Mullet Championship, a joyful celebration of the iconic divisive hairstyle that has staged a surprising cultural comeback in recent years. Famed for its timeless tagline “business in the front, party in the back”, the mullet balances sharp, cropped sections at the front and sides with long, unapologetically flowing hair at the nape of the neck. First catapulted to mainstream popularity in the 1980s, the style quickly fell out of favor and was widely mocked for decades before reemerging as a subversive, countercultural statement among fans around the world.

The Belgian competition, inspired by a similar event launched in Australia, drew aspiring contenders from across Europe this year, with participants traveling from as far as France, Spain and England to showcase their takes on the cut. For the community that has rallied around the hairstyle, the mullet is far more than a passing fashion trend—it is a core part of identity and a way of life. “The mullet is open—to others, to difference, to adventure. It has a wild side,” explained event spokesperson David Hubert, who competes under the pseudonym Edgar Funkel.

Unlike typical hair competitions that judge only technical skill or aesthetic perfection, the European Mullet Championship prioritizes personality and shared values alongside styling. Hopefuls first completed a detailed personal questionnaire to help judges get to know them beyond their hair. “Of course, we choose a great hairstyle, but what we really want is to choose a wonderful person,” said 39-year-old jury member Lolita Demoustiez, who goes by Dalita. “What matters is that the person carrying the mullet truly embodies values such as tolerance, kindness and the freedom to be oneself.”

For many participants, the cut has had tangible, life-changing impacts. Christine, a 60-year-old Belgian competitor, shared that her striking silver grey mullet helped her navigate a recent period of intense personal hardship. “It feels absolutely brilliant, and I still haven’t taken any antidepressants,” she said, grinning as she showed off her hairstyle. “Long live the mullet!”

After preliminary selections, roughly 50 finalists took the stage to show off their mullets for a cheering crowd of spectators. Judges awarded titles across multiple categories, including junior mullet, traditional mullet, unusual mullet and veteran mullet, to celebrate the diversity of styles within the community. When the final votes were counted, the 2026 overall European crown went to the duo of 44-year-old Berenice and 46-year-old Samuel, who are known to their fans by their shared nickname BesaMulet.

The 79th Cannes Film Festival is drawing to a close this Saturday, with a star-studded awards ceremony set to crown this year’s Palme d’Or winner following two weeks of glitzy premieres, industry parties, and global cinematic showcases. Among the crowded field of standout competitors, one title has risen to the forefront of pundits’ predictions: *Minotaur*, a taut family drama from exiled Russian filmmaker Andrey Zvyagintsev, rooted in the context of Russia’s full-scale invasion of Ukraine.

The film centers on a cold, manipulative Russian businessman navigating the chaos of the country’s military mobilization for the war. In an interview with AFP, Zvyagintsev noted that his work carries a clear political message: “Those who agree that it’s time to put an end to this hell, and that it’s a nightmare and a disaster for Russia, those people will understand this film clearly.”

While *Minotaur* holds the top spot among early favorites, it faces stiff competition from a diverse slate of international contenders. Critics also highlight *La Bola Negra*, a high-budget Spanish production exploring multiple queer experiences; the stylized black-and-white historical drama *Fatherland*; and *Fjord*, led by Norwegian star Renate Reinsve. Dark horses in the race include *A Man of His Time*, a historical piece following an ambitious official in France’s World War II collaborationist government, and *All of a Sudden*, the acclaimed quiet drama from Japanese director Ryusuke Hamaguchi.

Deciding the winner will be an international jury led by iconic South Korean filmmaker Park Chan-wook, with panelists including Hollywood A-lister Demi Moore and Oscar-winning director Chloe Zhao of *Nomadland* fame. The winner will be revealed during Saturday evening’s closing ceremony. Last year’s top honor went to *It Was Just an Accident*, a political thriller from jailed dissident Iranian director Jafar Panahi that examines torture and state violence in the Islamic Republic.

Ahead of the main prize announcement, several awards have already been distributed across the festival’s parallel and side competitions. Iranian documentary *Rehearsals for a Revolution*, directed by exiled actress-filmmaker Pegah Ahangarani about political repression in Iran, took home the festival’s top documentary honor.

In a historic moment for Nepali cinema, *Elephants in the Fog* — the first Nepali feature ever selected for Cannes official competition — claimed the Certain Regard section jury prize. Its entirely transgender cast celebrated the win with song and dance on stage, with lead actor Pushpa Thing Lama wrapping the Nepalese flag around director Abinash Bikram Shah’s neck during an emotional embrace. The Certain Regard top prize went to Austrian director Sandra Wollner for *Everytime*, described by jurors as a “gripping tale on grief.”

In other early awards, 18-year-old Bradley Fiomona Dembeasset took home the best actor honor for his performance in *Congo Boy*, a crowd-pleasing rap drama following a Central African refugee that saw the young actor discovered during an open street casting in Bangui, the capital of the Central African Republic. British director Clio Barnard’s *I See Buildings Fall Like Lightning*, a portrait of five childhood friends that was one of the United Kingdom’s only feature entries at this year’s festival, claimed the top prize at the parallel Directors’ Fortnight section.

While this year’s edition drew its usual share of A-list Hollywood stars from John Travolta to Cate Blanchett, major U.S. studios were notably absent from the lineup. No major American production house opted to premiere a big-budget blockbuster at Cannes this year, following the same absence from the February Berlin International Film Festival — a gap that has sparked industry discussion about why leading studios including Disney, Universal, and Warner Bros. are stepping back from major European film events.

Beyond the race for the Palme d’Or, two key industry issues dominated conversation throughout the 11-day festival: the rising role of artificial intelligence in filmmaking production, and ongoing gender imbalance in the industry. Just five out of the 21 films competing for the festival’s top prize this year are directed by women, a statistic that has drawn renewed criticism from advocates calling for more equitable representation in global cinema.