Ace Frehley, the original lead guitarist and founding member of the glam rock band Kiss, who captivated audiences with his elaborate galactic makeup and smoking guitar, died Thursday. He was 74.
Frehley died peacefully surrounded by family in Morristown, New Jersey, following a recent fall, according to his agent.
Family members said in a statement that they are “completely devastated and heartbroken” but will cherish his laughter and celebrate the kindness he bestowed upon others.
Kiss, whose hits included “Rock and Roll All Nite” and “I Was Made for Lovin’ You,” was known for its theatrical stage shows, with fire and fake blood spewing from the mouths of band members dressed in body armor, platform boots, wigs and signature black-and-white face paint.
Kiss’ original lineup included Frehley, singer-guitarist Paul Stanley, tongue-wagging bassist Gene Simmons and drummer Peter Criss. Frehley’s is the first death among the four founding members.
Band members took on the personas of comic book-style characters — Frehley was known as “Space Ace” and “The Spaceman.” The New York-born entertainer and Rock & Roll Hall of Famer often experimented with pyrotechnics, making his guitars glow, emit smoke and shoot rockets from the headstock.
“We are devastated by the passing of Ace Frehley,” Simmons and Stanley said in a joint statement. “He was an essential and irreplaceable rock soldier during some of the most formative foundational chapters of the band and its history. He is and will always be a part of KISS’s legacy.”
Born Paul Daniel Frehley, he grew up in a musical family and began playing guitar at age 13. Before joining Kiss, he played in local bands around New York City and was a roadie for Jimi Hendrix at age 18.
Kiss was especially popular in the mid-1970s, selling tens of millions of albums and licensing its iconic look to become a marketing marvel. “Beth” was its biggest commercial hit in the U.S., peaking at No. 7 on the Billboard Top 100 in 1976.
As the Kennedy Center’s new chairman, President Donald Trump named Kiss as one of this year’s honorees.
In 2024, the band sold their catalog, brand name and intellectual property to Swedish company Pophouse Entertainment Group in a deal estimated to be over $300 million.
Frehley frequently feuded with Stanley and Simmons through the years. He left the band in 1982, missing the years when they took off the makeup and had mixed success. Stanley later said they nearly replaced Frehley with Eddie Van Halen, but Vinnie Vincent assumed the lead guitar role.
Frehley performed both as a solo artist and with his band, Frehley’s Comet.
But he rejoined Kiss in the mid-1990s for a triumphant reunion and restoration of their original style that came after bands including Nirvana, Weezer and the Melvins had expressed affection for the band and paid them musical tributes.
He would leave again in 2002. When the original four entered the Rock & Roll Hall of Fame in 2014, a dispute scrapped plans for them to perform. Simmons and Stanley objected to Criss and Frehley being inducted instead of then-guitarist Tommy Thayer and then-drummer Eric Singer.
Simmons told Rolling Stone magazine that year that Frehley and Criss “no longer deserve to wear the paint.” “The makeup is earned,” he added. “Just being there at the beginning is not enough.”
Frehley and Kiss also had a huge influence on the glammy style of 1980s so-called hair metal bands including Mötley Crüe and Poison.
“Ace, my brother, I surely cannot thank you enough for the years of great music, the many festivals we’ve done together and your lead guitar on Nothing But A Good Time,” Poison front man Bret Michaels said on Instagram.
Harder-edged bands like Metallica and Pantera were also fans, and even country superstar Garth Brooks joined the band members for a recording of their “Hard Luck Woman” on a 1994 compilation.
Frehley would appear occasionally with Kiss for shows in later years. A 2023 concert at Madison Square Garden was billed as the band’s last. While Stanley and Simmons said they would not tour again, they’ve been open to the possibility of more concerts, and they’ve stayed active promoting the group’s music and memorabilia.
Hannah Schoenbaum, Andrew Dalton, The Associated Press
A recent video promoting independent presidential candidate Robert F. Kennedy Jr. promises to “start with some irrefutable facts.” The over 30-minute video, narrated by actor Woody Harrelson, begins with some biographical truths about the candidate, but veers into promoting various debunked or unsupported narratives about vaccines.
The pro-Kennedy super PAC American Values 2024 paid for the video, titled “Who is Bobby Kennedy?” Posts of the video have been viewed more than 100 million times on X, where Kennedy promoted it as “The Bobby Kennedy video Meta doesn’t want you to see.” Elon Musk, who owns X, shared Kennedy’s post.
Meta, which owns social media platforms including Instagram and Facebook, has said that a link to the video was “mistakenly blocked” temporarily after being incorrectly flagged as spam. The super PAC behind the video and Kennedy have both sued Meta, claiming election interference.
Kennedy has a history of spreading false or misleading information on vaccination, autism and COVID-19, among other topics. Below, we discuss a few of the claims made in the video that we previously addressed in a three-part series about Kennedy last year.
Debunked Claims on Vaccines and Mercury
According to the video, a pivotal moment in Kennedy’s career came when he met parents who believed that mercury in vaccines had harmed their children. The video doesn’t explicitly state how the parents believed the vaccines had injured their children, but Kennedy has said in the past mothers of autistic children brought the issue to his attention. A wide range of evidence indicates that there’s no link between thimerosal — a mercury-containing preservative — and autism or other conditions.
However, one parent provided Kennedy with scientific studies that convinced him, in his words, that “I got to drop everything and do something about this.” This led Kennedy to publish a 2005 article for Salon and Rolling Stone, which advanced the unsupported idea that thimerosal had caused an increase in autism and other disorders. Salon eventually retracted the story.
The Kennedy video doesn’t mention that extensive research has failed to show any relationship between thimerosal in childhood vaccines and neurodevelopmental disorders. In fact, the rate of autism continued to rise after thimerosal was removed from childhood vaccines in 2001, indicating that it did not explain the increase in diagnoses of the condition. This increase was likely caused in large part by growing awareness of autism, changes to how it is defined and the growing availability of services for children who get the diagnosis.
Missing Facts on Vaccine Safety Testing and Manufacturer Liability
Kennedy goes on to state in the video: “Thanks to pressure from millions of people, they’ve taken mercury out of most vaccines, but pharmaceutical companies are still immune from prosecution and litigation, and vaccines aren’t subject to the same rigorous safety testing as other medicines, and that’s not right.”
Kennedy’s statement about the liability of vaccine makers needs context, and his claim about vaccine safety testing is misleading.
As we have written previously, the National Childhood Vaccine Injury Act of 1986 in many cases prevents people from suing vaccine makers for alleged vaccine harms. Instead, people must seek help from a government program.
If a compensation claim is rejected or it takes too long to get a response, people can still sue, and vaccine makers can still be held liable in certain situations, such as where negligence, fraud or manufacturing flaws led to vaccine injuries. Kennedy has himself been involved in an ongoing lawsuit against Merck on behalf of clients allegedly harmed by the human papillomavirus vaccine Gardasil.
The law was passed because lawsuits against vaccine makers — even those that turned out to be unjustified — were dampening companies’ enthusiasm for making vaccines. The law also led to the creation of the Vaccine Adverse Event Reporting System, a national surveillance system used by the Food and Drug Administration and Centers for Disease Control and Prevention to identify potential vaccine safety concerns. VAERS accepts unverified reports of any health issue that occurs after vaccination.
VAERS is just one part of a larger system that promotes vaccine safety in the U.S. Vaccines undergo testing for safety and efficacy before entering the market. As they are rolled out to the larger population, they undergo safety monitoring using systems such as VAERS and Vaccine Safety Datalink, which uses data from health care organizations across the country to monitor for possible connections between health events and vaccination.
It is unclear what exactly Kennedy means when he says that “vaccines aren’t subject to the same rigorous safety testing as other medicines.” We reached out to the Kennedy campaign for more information but have not received a reply.
Kennedy has previously falsely claimed that placebo-controlled trials are required for medications but not for vaccines. As we have said, vaccines are typically tested in controlled trials, but it is not feasible for all vaccines to be tested in placebo-controlled trials. For instance, if an effective vaccine is already available against a disease and researchers are testing a new version, it would be unethical to randomly assign some people to receive a placebo instead of an already available vaccine. For similar reasons, not all drugs are tested in placebo-controlled trials.
A theme of the video is the idea that Kennedy has been unfairly criticized and attacked because he holds companies accountable. The video extends that argument to imply without evidence that attempts to hold Kennedy accountable for his statements on COVID-19 were in fact motivated by pharmaceutical companies.
“I feared that a rushed COVID vaccine wouldn’t be as safe or as effective as we were promised,” Kennedy says. “And I also felt that lockdowns were going to do more harm than good, especially to small businesses and to children. Well, when I made those arguments publicly I was silenced.”
This is a highly pared down account of Kennedy’s statements on COVID-19. Among many other unfounded claims, Kennedy has said that the COVID-19 vaccine was the “deadliest vaccine ever made,” and that “there is an argument” that COVID-19 is ethnically targeted. He has promoted disproven COVID-19 treatments and inflated the costs, while discounting the benefits, of COVID-19 restrictions.
The narrator, Harrelson, then outlines a conspiracy: “So powerful corporations and partners in the media have a playbook they use on you when you beat them too much and in areas you can cost them real money. They implemented every page in the playbook on Bobby when he decided to question the absolute moral purity of the gods of Big Pharma.” The video, meanwhile, shows logos of a collection of pharmaceutical companies, with Pfizer’s at the center.
Various media outlets over the years havepublishedarticlespointing out Kennedy’s misleading and false claims. The video visually highlightssome of these articles, including ours, as part of a “playbook” in which they “attack you broadly and they question your facts.”
To be clear, the COVID-19 vaccines were rolled out rapidly — amid a deadly pandemic — because experts judged that the benefits outweighed the risks. Ample research has since affirmed that the vaccines protect against severe disease and that serious side effects are rare.
Editor’s note: SciCheck’s articles providing accurate health information and correcting health misinformation are made possible by a grant from the Robert Wood Johnson Foundation. The foundation has no control over FactCheck.org’s editorial decisions, and the views expressed in our articles do not necessarily reflect the views of the foundation.
It seems like there’s a new “emerging artist” every day. TikTok viral hits become international earworms overnight, propelling artists to instant, but fleeting, fame. It makes sense then, that artists with staying power have often toiled away for years before achieving mainstream success.
It’s easy to believe that, these days, the music industry values virality above all. But the artists shaping music as we know it rarely emerge from nowhere.
Just look at the 2024 Grammy Award Winner for Best New Artist, Victoria Monét. Monét released five EPs before her debut studio album, Jaguar II (2023), and its lead single, “On My Mama,” gave her commercial success. But before Monét’s solo career took off, she was a frequent collaborator of Ariana Grande. She’s also worked on songs and albums for artists like Nas, Travis Scott, Blackpink, Fifth Harmony, T.I., Lupe Fiasco, Chrisette Michele, Brandy, Coco Jones, Chloe x Halle, and more. Over a decade in the industry prepared her to become the verifiable star she is now.
Some of our other artists to watch for 2024 have experienced similar tenures in the industry before finally garnering long-term success. Sabrina Carpenter started her career with Disney and has finally become the popstar she was born to be with Emails I Can’t Send — her fifth studio album. Same with queer trailblazer Renee Rapp, who starred in Mean Girls: The Musical on Broadway before landing the role in the film adaptation and bursting onto the music scene with her debut album Snow Angel.
What sets these artists apart from the bright but brief flames sparked on TikTok is their dedication to their artistry and self-image. Years of learning how to perform, sharpen their sound, and crafting their public persona prime them for impact and longevity. It takes time to hone lasting talent. And time makes it more satisfying when a musician or a band finally punches through to the mainstream.
Many artists thrive in niche subcultures playing to curated crowds. Those are some of my favorites — there’s nothing like a basement show packed shoulder-to-shoulder with a small group of people who share your private music obsession. But the artists that shape music as we know it today are coming from all genres. They manage to transcend their niches and add to the collective conversation in a fresh way. But how do they do it? And how do we know which artists are changing music in real-time?
What is the Rolling Stone Future of Music Showcase?
Everyone fancies themselves a music critic these days. I’m not immune to this. I watch deep dives on my favorite artists on TikTok, curate my Spotify playlists like they’re museums, and wax poetic about why my favorite albums deserved Grammys.
Here at Popdust, we know a thing or two about emerging artists. Which is why we went down South to Austin, Texas for SXSW to catch some of this year’s most exciting acts in person.
SXSW 2024 was bigger and better than ever. Its crowning jewel is the Rolling Stone Future of Music Showcase, which brings together the buzziest and best music acts across genres. The four-night event caps off each evening at SX, bringing an array of artists and audiences together in Austin, Texas.
What an ideal compliment to the dive bar shows and daytime music showcases. But this high-octane event is more than just a flashy festival. It’s a great predictor of the artists who will prove themselves influential in the coming years. “Artists of tomorrow,” as Rolling Stone likes to call them.
Last year’s performers included artists like Coco Jones, Remi Wolf, Chlöe Bailey, Blondshell, and others who have only become even bigger stars over the past year.
After this year’s lineup, wiill Rolling Stone’s penchant for successful predictions be proven again? Given the record-level excitement for the event, all signs point to yes.
Emerging Artists to Watch From the Rolling Stone Future of Music Showcase 2024
With 40,000 fans RSVP’ing for the ACL Live event, Austin’s iconic Moody Theater was packed. Each night, fans lined up for hours for a chance to make it into the venue — some for over 14 hours — with the line for Música Mexicana superstar Peso Pluma stretching for blocks and blocks. Sponsors like StockX, ~Pourri, and Bacardi also put on activations and events to celebrate the music and the fans.
With this much fan excitement, the lineup simply had to deliver. Genres included urbano, Southern rock, Afrobeats, hip-hop, amapiano, soul, funk, and good old indie-alt.
Here is each day’s lineup:
Day 1 (Tuesday, March 12) — Teezo Touchdown, Veeze, Lola Brooke, and Chase Shakur
Day 2 (Wednesday, March 13) — Peso Pluma, Young Miko, Kevin Kaarl, J Noa, and Pink Pablo
Day 3 (Thursday, March 14) — Flo Milli, Pheelz, Preacher, Uncle Waffles, Black Sherif, and Flyana Boss
Day 4 (Friday, March 15) — Faye Webster, Red Clay Strays, Scowl, Dylan Gossett, and Jackie Venson
Take note — you’ll be seeing these names everywhere soon.
Recap: Everything you missed at Rolling Stone’s SXSW Showcase
While all of the artists highlighted at this year’s Rolling Stone Future of Music Showcase are sure to be somewhat influential, we’re most excited to see the trajectory of the headliners who are changing the game right now.
Here’s a recap of their performances and why, if you’re not already a fan, you will be soon.
Teezo Touchdown
Texas’s own Teezo Touchdown headlined opening night. You’ve probably heard him on “RunItUp” by Tyler, the Creator; “Modern Jam” by Travis Scott; or “Amen” by Drake. After years of high-level features, he finally released his debut album How Do You Sleep at Night? in September 2023. On stage at SXSW, it’s clear that Teezo’s experience opening for Tyler, the Creator in 2022, and Travis Scott last year has contributed mightily to his magnetic stage presence. Running across the stage brandishing a microphone wrapped in a flower bouquet, Teezo’s energy was infectious. And the crowd ate it up.
His blend of rock, rap, and pop music is telling of his generation — one who resists genres and embraces the fluidity of form. He also shared a heartwarming story about how he busked at SXSW in 2018. Look at him now! He recently announced a single “MASC” with Doja Cat and A$AP Rocky for Doja’s Scarlet 2 Claude Deluxe album. Touchdown’s only getting hotter and hotter.
Peso Pluma
Mexico’s favorite rockstar headlined Night 2. After earning the longest lines in SXSW history, his performance proved well worth the wait. Peso Pluma’s signature brand of “música mexicana,” took the crowd to exciting heights. His youthful energy filled the theater — especially when he joined the audience in the pit. It was a sight to behold.
Dubbed the “Mexican Mick Jagger,” the Gen Z star will release his new album this summer. His undeniable charisma is embedded in his music, earning him a fanatic base of loyal listeners and a chokehold on the music scene. Just wait, he’ll soon transcend boundaries beyond Latinx Pop and hit everyone’s speakers this summer.
Flo Milli
Flo Milli had a lot to celebrate as she headlined Night 3 literally as her second album dropped. Iconic behavior. She took the crowd through familiar favorites, her new songs, and premiered a new remix featuring Cardi B and SZA — not bad co-signs for an emerging artist.
I saw Flo Milli perform in 2020, and watching her on the giant Moody Theater stage was like watching her come alive on a whole new level. After her song “Never Lose Me” got massive attention last year, Flo Milli is poised to be one of music’s next It-Girls. Her versatility is thrilling and admirable, so is her personality and signature tag — if you know, you know.
Faye Webster
Like Flo Milli, I’ve seen Faye Webster before. Not once, not twice, but three times. The first was in 2017 — how can it be six and a half years ago? My penchant for “sad girl music” drew me to Webster’s artfully whiny voice and nostalgic yearning. But the Atlanta native is more than another girl whining about her breakups (even though, from Taylor Swift to Olivia Rodrigo, I eat them all up).
Webster was signed to a rap label and takes lyrical influence from hip-hop and blues artists. She has an energetic stage presence that matches her quirky sound that kept the crowd moving all throughout her set.
From the sultry sweetness of her TikTok viral hit “Kingston” to the high kicks and guitar riffs pulled off during songs like “I Think I’m Funny Ha Ha” and “In A Good Way,” Faye proves herself to be music’s ultimate cool girl. Rockstar and cry-inducing crooner in one? It’s giving Billie Eilish.
What to learn from the Rolling Stone Future of Music Showcase 2024
The future of music, according to Rolling Stone, is genre-fluid, youthful, and packed with energy. It also has one important factor: the ability to connect to an audience. Whether it’s on stage of through headphones, all the emerging artists have managed to connect with their ideal audiences and stay there thanks to their dedicated artistry and unique perspectives.
I’m excited to see what all these acts have in store for us next. And for Rolling Stone Future of Music Showcase at SXSW 2025!
Elle Darlington has all the makings of your classic popstar: a whimsical, dynamic vocal range, the songwriting prowess to make any song an instantaneous pop hit, and a high-energy aura that’s both contagious and compelling.
Similarly to the rest of the world, Darlington started uploading her music to TikTok during lockdown – where we found a fresh way to discover artists without the help of a label. From there, it didn’t take long for the world to fall in love with Elle Darlington, who amassed over 1.1 million followers thanks to her song covers.
In October of 2023, a few short years after Darlington’s college tutor suggested she start posting her music online, she released her debut single, “wish you would.” Reminiscent of pop-diva greats like Mariah Carey and Ariana Grande, Elle Darlington entered the music scene swinging (even hitting insane whistle notes).
“wish you would” displays her dreamy voice and ear worm-y lyrics that send me back to the early 2000’s. Her voice is glamorous and her music hits the sweet spot between nostalgic and completely, utterly unique. In terms of debut singles, it’s hard to craft one as astonishing an introduction to an artist as “wish you would.”
Since then, Elle Darlington continues to prove she is bringing back the era of the popstar. Following up with a refreshing holiday song, “Christmas Is You”, Elle often nods to Mariah Carey’s iconic “All I Want For Christmas Is You” as her go-to Christmas jam.
And then there’s her latest release, “hiatus”, which blends pop and R&B almost seamlessly. A song about needing a break from someone who isn’t good for you anymore, “hiatus” is yet another immaculate contribution to Darlington’s discography. You can listen to “hiatus” below.
What makes Elle Darlington different isn’t the features in magazines like Peopleand Rolling Stone, or the record deal with Columbia Records…but the effortless talent that just exudes from her, the way the term “popstar” can be thrown into the mix and no one will bat an eye. Because some people just have the It Factor, and she’s one of them.
As she takes the world by storm, I got the chance to speak with Elle Darlington about her new singles, what comes next, and much more. Check it out below!
PD: You’ve been studying music your whole life. Who were your inspirations growing up and how did they influence your career?
My first awakening into music was watching Hannah Montana when I was super young. The show was what first introduced me to ‘pop stars’. I wanted to be like her so bad! As I grew up a little I was obsessed with Rihanna, Beyonce, and Ariana Grande.
PD: Your career took off on TikTok, where you began posting covers and gathered a following. Did you have a plan when going on the app? What kind of covers are your go-to?
No! I had no expectations, it was actually a tutor at my college who suggested I start uploading videos. I made my account for fun in lockdown to keep myself busy and it grew from there. I like to keep my videos spontaneous so there’s isn’t much planning involved. I do love to cover a power ballad though!
PD: Your debut single, “Wish You Would”, came out in October. After working on this project for over two years, what have you learned about yourself as a songwriter so far?
I need to write about true experiences. It took a while to become comfortable opening up to people so that my songs could reflect my life and my vision. Once I learned how to channel my emotions it made the process way easier for me and I really feel like the more genuine I am, the more people can relate to my songs.
PD: You have an amazing way of storytelling. If you had one piece of advice for those starting out, what would it be?
Don’t be afraid of what people are going to think of you. Everyone starts somewhere! And trust your gut, if you believe in it, go for it.
PD: Your new song “Hiatus” is coming out in February. What was the inspiration behind it?
“hiatus” came from a relationship where I was feeling really unappreciated and had to learn to put myself first and walk away. I hadn’t heard the word put into a song before and I thought it was a really interesting way to talk about a breakup.
PD: What is one thing you want your audience to take away from your music?
I want my audience to connect my music with whatever they’re going through. Sing along to it, cry along to it.. anything it makes them feel really!
PD: What’s next for you in 2024?
I can’t wait to show everyone all the different things I’ve been working so hard on over the past couple of years…so lots of music to be released in 2024! and hopefully a lot of live shows too.
Jann Wenner, who co-founded Rolling Stone magazine and also was a co-founder of the Rock & Roll Hall of Fame, has been removed from the hall’s board of directors after making comments that were seen as disparaging toward Black and female musicians.
“Jann Wenner has been removed from the Board of Directors of the Rock & Roll Hall of Fame Foundation,” the hall said Saturday, a day after Wenner’s comments were published in a New York Times interview.
A representative for Wenner, 77, did not immediately respond for a comment.
Wenner created a firestorm doing publicity for his new book “The Masters,” which features interviews with musicians Bob Dylan, Jerry Garcia, Mick Jagger, John Lennon, Bruce Springsteen, Pete Townshend and U2’s Bono — all white and male.
Jann Wenner speaks in conversation with Bruce Springsteen at 92NY on Sept. 13, 2022, in New York City.
Getty Images
Asked why he didn’t interview women or Black musicians, Wenner responded: “It’s not that they’re inarticulate, although, go have a deep conversation with Grace Slick or Janis Joplin. Please, be my guest. You know, Joni (Mitchell) was not a philosopher of rock ‘n’ roll. She didn’t, in my mind, meet that test,” he told the Times.
“Of Black artists — you know, Stevie Wonder, genius, right? I suppose when you use a word as broad as ‘masters,’ the fault is using that word. Maybe Marvin Gaye, or Curtis Mayfield? I mean, they just didn’t articulate at that level,” Wenner said.
Wenner co-founded Rolling Stone in 1967 and served as its editor or editorial director until 2019.
He also co-founded the Rock & Roll Hall of Fame, which was launched in 1987.
In the interview, Wenner seemed to acknowledge he would face a backlash. “Just for public relations sake, maybe I should have gone and found one Black and one woman artist to include here that didn’t measure up to that same historical standard, just to avert this kind of criticism.”
Last year, Rolling Stone magazine published its 500 Greatest Albums of All Time and ranked Gaye’s “What’s Going On” No. 1, “Blue” by Mitchell at No. 3, Wonder’s “Songs in the Key of Life” at No. 4, “Purple Rain” by Prince and the Revolution at No. 8 and Ms. Lauryn Hill’s “The Miseducation of Lauryn Hill” at No. 10.
Rolling Stone’s niche in magazines was an outgrowth of Wenner’s outsized interests, a mixture of authoritative music and cultural coverage with tough investigative reporting.
NEW YORK (AP) — Jann Wenner, who founded Rolling Stone magazine and was a co-founder of the Rock & Roll Hall of Fame, has been removed from the hall’s board of directors after making comments that were seen as denigrating Black and female musicians.
“Jann Wenner has been removed from the Board of Directors of the Rock & Roll Hall of Fame Foundation,” the hall said Saturday, a day after Wenner’s comments were published in a New York Times interview.
A representative for Wenner, 77, did not immediately respond for a comment.
Wenner created a firestorm doing publicity for his new book “The Masters,” which features interviews with musicians Bob Dylan, Jerry Garcia, Mick Jagger, John Lennon, Bruce Springsteen, Pete Townshend and U2’s Bono — all white and male.
Asked why he didn’t interview women or Black musicians, Wenner responded: “It’s not that they’re inarticulate, although, go have a deep conversation with Grace Slick or Janis Joplin. Please, be my guest. You know, Joni (Mitchell) was not a philosopher of rock ’n’ roll. She didn’t, in my mind, meet that test,” he told the Times.
NEW YORK, NY – APRIL 07: Jann Wenner speaks onstage during the 32nd Annual Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on April 7, 2017 in New York City. The broadcast will air on Saturday, April 29, 2017 at 8:00 PM ET/PT on HBO. (Photo by Kevin Mazur/WireImage for Rock and Roll Hall of Fame)
Kevin Mazur via Getty Images
“Of Black artists — you know, Stevie Wonder, genius, right? I suppose when you use a word as broad as ‘masters,’ the fault is using that word. Maybe Marvin Gaye, or Curtis Mayfield? I mean, they just didn’t articulate at that level,” Wenner said.
Wenner founded Rolling Stone in 1967 and served as its editor or editorial director until 2019. He co-founded the Rock & Roll Hall of Fame, which was launched in 1987.
In the interview, Wenner seemed to acknowledge he would face a backlash. “Just for public relations sake, maybe I should have gone and found one Black and one woman artist to include here that didn’t measure up to that same historical standard, just to avert this kind of criticism.”
Last year, Rolling Stone magazine published its 500 Greatest Albums of All Time and ranked Gaye’s “What’s Going On” No. 1, “Blue” by Mitchell at No. 3, Wonder’s “Songs in the Key of Life” at No. 4, “Purple Rain” by Prince and the Revolution at No. 8 and Ms. Lauryn Hill’s “The Miseducation of Lauryn Hill” at No. 10.
Rolling Stone’s niche in magazines was an outgrowth of Wenner’s outsized interests, a mixture of authoritative music and cultural coverage with tough investigative reporting.
Amid accusations of creating a “toxic” workplace, Jimmy Fallon has reportedly apologized to his staff at The Tonight Show.
According to numerous sources, Fallon apologized to employees at the late-night show over Zoom following a Rolling Stone report that accused him of fostering an unhealthy work environment that some staffers say was detrimental to their mental health.
Speaking to two current and 14 former employees at The Tonight Show, the publication said Fallon’s behaviour created an “ugly environment behind the scenes.” Apparently, his “erratic” nature — which sources said included “outbursts” and belittling of colleagues — caused staff members to cry and one said they even considered taking their own life.
“It was like, if Jimmy is in a bad mood, everyone’s day is f—ed,” one former employee said. “People wouldn’t joke around in the office, and they wouldn’t stand around and talk to each other. It was very much like, focus on whatever it is that you have to do because Jimmy’s in a bad mood, and if he sees that, he might fly off.”
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Two current and 14 former employees tell Rolling Stone that Jimmy Fallon’s ‘The Tonight Show’ has been a toxic workplace for years — far outside the boundaries of what’s considered normal in the high-pressure world of late-night TV.https://t.co/I9PWr4vAyH
Rolling Stone published a followup piece shortly after Thursday’s initial exposé, with reports that Fallon, along with showrunner Chris Miller, addressed the matter with staff over Zoom.
“It’s embarrassing and I feel so bad,” two employees who were in the meeting claim Fallon said, according to the Rolling Stone article.
“Sorry if I embarrassed you and your family and friends.… I feel so bad I can’t even tell you,” the article quotes Fallon as saying.
“I want the show to be fun, (it) should be inclusive to everybody,” Fallon reportedly continued. “It should be the best show, the best people.”
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Jimmy Fallon poses at the opening night of the new Matthew Lopez play ‘The Inheritance’ on Broadway at The Barrymore Theatre on Nov. 17, 2019 in New York City.
Bruce Glikas/FilmMagic
The stories shared with Rolling Stone have raised eyebrows.
“Nobody told Jimmy, ‘No.’ Everybody walked on eggshells, especially showrunners,” a former employee told the magazine. “You never knew which Jimmy we were going to get and when he was going to throw a hissy fit. Look how many showrunners went so quickly. We know they didn’t last long.”
In the nine years since Fallon succeeded previous host Jay Leno, nine different showrunners have managed The Tonight Show, which employees say only added to the difficult environment on the show.
Rolling Stone writes that they contacted approximately 80 employees while looking into Fallon’s alleged behaviour. The outlet noted that “while many of them praised Fallon’s immense talent and comedic gifts, not a single one agreed to speak on the record or had positive things to say about working on The Tonight Show.”
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A current employee told People magazine that many working on the show today felt “frustrated” by Thursday’s accusations.
“I know this sounds cliche and quite corny: he just really wants to make people happy and have a really creative, fun show,” the staffer said. “He wants guests to leave happy and feel like they had a positive experience. He truly, genuinely feels that way.
“Things have changed so much for the better, and it’s disheartening to see some of these old accusations being brought up again. It’s such a stressful time in the entertainment industry, I can understand how old experiences and grievances can bubble back up, but none of this sounds like the show that I’ve worked for for the past year, give or take.”
Following Rolling Stone’s initial piece, NBC issued a statement: “We are incredibly proud of The Tonight Show, and providing a respectful working environment is a top priority. As in any workplace, we have had employees raise issues; those have been investigated and action has been taken where appropriate. As is always the case, we encourage employees who feel they have experienced or observed behavior inconsistent with our policies to report their concerns so that we may address them accordingly.”
The Tonight Show is currently on hiatus due to the ongoing actor and writer strike. Fallon has teamed up on a podcast with late-night hosts Stephen Colbert, Seth Meyers, Jimmy Kimmel and John Oliver to raise money in support of their striking staff.
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Stephen Colbert, Jimmy Fallon, and Conan O’Brien team up to riff on Trump’s attack on them
When I was in high school and university, every Wednesday afternoon required to the Rexall drug store in my small prairie hometown. That was the day any new music magazines appeared in the racks. Using money I earned stocking shelves in the local grocery store, I’d grab the latest editions of Rolling Stone (which came out every two weeks), and monthlies like CREEM, Trouser Press, and Circus for international news, and Music Express to learn about what was happening in Canada.
My parents were appalled, of course, at what they considered a waste of money. And when I brought home the infamous Rolling Stone issue — “Rock is Sick and Living in London” — featuring the Sex Pistols on the cover (a newsstand sales disaster for the magazine in October 1978), my parents openly wondered if I needed to be institutionalized for my own good.
Rolling Stone Cover 17 Oct 1978.
My music magazine habit only got worse over the decades. Occasionally, I’d see a copy of Melody Maker or The NME — horribly outdated by the time they arrived in Canada — in a specialty bookstore and grab them for a look at the oh-so-exotic scene in the UK. When Chapters and Indigo arrived with their giant selection, my spending on music magazines grew to several thousand dollars a year.
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By this time, there was also Alternative Press, Raygun, Option, Shift, Maximum RocknRoll, and Modern Drummer all from the U.S. with domestic backfill from Canadian Musician, Chart Attack, and Graffiti. I bought them all, all the time. But most of my cash went to British publications.
There were so many great magazines from the U.K., especially in the late 1990s — Q, Select, Vox, Mojo, Record Collector, Uncut, The Word, The Face, Smash Hits, Sounds, Kerrang — and a bunch of others I know I’m missing. I hoovered them up every month, storing back issues carefully on shelves in the basement. This formed an indispensable research archive for my Ongoing History of New Music radio show.
How could the British support so much music journalism? A lot had to do with the role the music press had carved out for itself since at least the 1950s. With BBC radio refusing to play or cover popular music beyond a few hours a week — too lowbrow for the Beeb — print was the only place to learn about The Beatles, The Stones, Led Zeppelin, Deep Purple, Eric Clapton, and all the great U.K. stars. Yes, there were private broadcasts from Radio Luxemburg and pirate stations like Radio Caroline, but if you wanted your music to be covered in-depth, you needed the weeklies and monthlies.
British publications became not just information sources, but arbiters of taste, anointers of stars, and laid waste to acts that bored them. They also believed it was their solemn duty to push music culture forward by identifying (and often inventing or outright fabricating) new scenes and sounds. The weeklies, NME and Melody Maker, were very good at this, each in its own way. Folk, trad jazz, folk, psych, glam, punk, ska, rockabilly, New Romantics, C-86, acid house, rave, shoegaze, Madchester, Britpop — none would have flourished as they did had it not been for the coverage and occasional fictions created by British music magazines.
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Alas, though, the golden age for music magazines has passed. With the rise of the internet, it was no longer necessary to wait for a magazine to tell you what was happening. Circulation dropped precipitously. Meanwhile, declining physical record sales meant a fatal drop in advertising by record labels. Margins shrank and then disappeared. Experienced staff saw story commissions dry up and were eventually laid off. Ownership was consolidated and razor-sharp focus on writing and interviews suffered. Bloggers and streamers became the new influencers.
Outside of Mojo and Record Collector, there are precious few physical publications I still buy, although often with misgivings. Don’t the publishers realize that those of us who still buy physical magazines don’t have the eyesight we once did? Why is so much of each issue in six-point fonts?
So many once-great and bloody essential magazines have gone out of business. Graffiti was gone by 1986. Sounds became extinct in 1991. It became impossible to get Music Express after Christmas 1996. Vox disappeared in the summer of 1998. Having stood on its own since 1926, Melody Maker was folded into rival NME in 2001 with Select ceasing publication around the same time. Smash Hits died in 2006. Q, which underwent at least half a dozen re-launches in a bid to survive, finally gave up the ghost in 2020.
Some have transitioned to online. There might still be physical editions of Rolling Stone and Alternative Press — that will tell you how long it’s been since I’ve looked at a magazine rack — so I dip in from time to time whilst browsing.
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But there are a couple of reasons to be optimistic. Online subscriptions are far cheaper than having issues mailed to you, especially from overseas. Information arrives regularly and promptly, not two or three months out of date. And it can be immeasurably more convenient to take a bunch of reading material on an iPad for a long flight.
And there are signs of physical life. Kerrang keeps the faith as a quarterly. CREEM magazine is also back as a four-times-a-year publication that, boy howdy, is as irreverent as issues of old. Meanwhile, after five years of being online-only, The NME has returned as a print publication this summer with a promise of six issues a year. And Mojo and Record Collector seem to be in it for the long haul.
Oh, and that archive of old magazines in my basement? They became a fire hazard and a potential city for rodents, so I pawned them all off on a guy who ran a used record store. I see now that was a mistake because many issues are now coveted by collectors. That includes my old “Rock is Sick” edition of Rolling Stone. I just saw it up for auction with an asking price of US$770.
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Alan Cross is a broadcaster with Q107 and 102.1 the Edge and a commentator for Global News.
This article was featured in One Story to Read Today, a newsletter in which our editors recommend a single must-read from The Atlantic, Monday through Friday. Sign up for it here.
Robert F. Kennedy Jr.’s speech is warbling, crackling, scratchy—sort of like Marge Simpson’s. His voice, he told me, is “fucked up.” The official medical diagnosis is spasmodic dysphonia, a neurological disorder that causes involuntary spasms in the larynx. He didn’t always sound this way; his speaking style changed when he was in his 40s. Kennedy has said he suspects an influenza vaccine might have been the catalyst. This idea is not supported by science.
He was telling me about his life with one arm outstretched on the velvet sofa of his suite at the Bowery Hotel in Lower Manhattan. It was the end of May, and a breeze blew in through the open doors leading to a private terrace. Two of his aides sat nearby, typing and eavesdropping. A security guard stood in the hallway.
Kennedy was finishing a plate of room-service risotto, and his navy tie was carefully tucked into his white button-down shirt. He’s taller, tanner, and buffer than the average 69-year-old. He is, after all, a Kennedy. His blue eyes oscillate between piercing and adrift, depending on the topic of discussion.
He told me that he’s surrounded by “integrative medical people”—naturopaths, osteopaths, healers of all sorts. “A lot of them think that they can cure me,” he said. Last year, Kennedy traveled to Japan for surgery to try to fix his voice. “I’ve got these doctors that have given me a formula,” he said. “They’re not even doctors, actually, these guys.”
I asked him what, exactly, he was taking.
“The stuff that they gave me? I don’t know what it is. It’s supposed to reorient your electric energy.” He believes it’s working.
When he was 19, Kennedy jumped off a dock into shallow water, which he says left him nearly paralyzed. For decades, he could hardly turn his head. Seven years ago, at a convention of chiropractors, a healer performed a 30-minute “manipulation of energy”—making chanting noises while holding his hands six inches over Kennedy’s body. The next morning, his neck felt better. “I don’t know if they had anything to do with each other, but, you know, it was weird,” he said.
Though he’s been a member of the premier American political dynasty his whole life and a noted environmentalist for decades, most people are just now discovering the breadth and depth of Kennedy’s belief system. He has promoted a theory that Wi-Fi radiation causes cancer and “leaky brain,” saying it “opens your blood-brain barrier.” He has suggested that antidepressants might have contributed to the rise in mass shootings. He told me he believes that Ukraine is engaged in a “proxy” war and that Russia’s invasion, although “illegal,” would not have taken place if the United States “didn’t want it to.”
Kennedy reached a new level of notoriety in 2021, after the publication of his conspiratorial treatise The Real Anthony Fauci: Bill Gates, Big Pharma, and the Global War on Democracy and Public Health. It has sold more than 1 million copies, according to his publisher, “despite censorship, boycotts from bookstores and libraries, and hit pieces against the author.” The book cemented his status as one of America’s foremost anti-vaxxers. It also helped lay the foundation for his Democratic presidential primary campaign against Joe Biden.
On the campaign trail, he paints a conspiratorial picture of collusion among state, corporate, media, and pharmaceutical powers. If elected, he has said he would gut the Food and Drug Administration and order the Justice Department to investigate medical journals for “lying to the public.” His most ominous message is also his simplest: He feels his country is being taken away from him. It’s a familiar theme, similar to former President Donald Trump’s. But whereas Trump relies heavily on white identity politics, Kennedy is spinning up a more diverse web of supporters: anti-vaxxers, anti-government individuals, Silicon Valley magnates, “freethinking” celebrities, libertarians, Trump-weary Republicans, and Democrats who believe Biden is too old and feeble for a second term.
So far, Kennedy is polling in the double digits against Biden, sometimes as high as 20 percent. What had initially been written off as a stunt has evolved into a complex threat to both Biden and the establishment wing of the Democratic Party. Put another way: Kennedy’s support is real.
He is tapping into something burrowed deep in the national psyche. Large numbers of Americans don’t merely scoff at experts and institutions; they loathe them. Falling down conspiratorial internet rabbit holes has become an entirely normal pastime. Study after study confirms a very real “epidemic of loneliness.” Scores of people are bored and depressed and searching for narratives to help explain their anxiety and isolation. Scroll through social media and count how many times you see the phrase Burn it down.
Even though Kennedy remains a long-shot candidate, his presence in the 2024 race cannot be ignored. “My goal is to do the right thing, and whatever God wants is going to happen,” Kennedy told me. He now earnestly believes that in 12 months, he will be the Democratic nominee for president.
“Every individual, like every nation, has a darker side and a lighter side,” Kennedy told me. “And the easiest thing for a political leader to do is to appeal to all those darker angels.”
He was talking about George Wallace, the segregationist Alabama governor and subject of Kennedy’s senior thesis at Harvard.
“Most populism begins with a core of idealism, and then it’s hijacked,” he said. “Because the easiest way to keep a populist movement together is by appealing—you employ all the alchemies of demagoguery—and appealing to our greed, our anger, our hatred, our fear, our xenophobia, tribal impulses.”
Does Kennedy consider himself a populist? “He considers himself a Democrat,” his communications director, Stefanie Spear, told me in an email. The most charitable spin on Kennedy’s candidacy is that he aims to be the iconoclastic unifier of a polarized country. He looks in the mirror and sees a man fighting for the rights of the poor and the powerless, as his father did when he ran for president more than half a century ago.
Kennedy markets himself as a maverick, someone outside the system. But he’s very much using his lineage—son of Attorney General Robert F. Kennedy, nephew of President John F. Kennedy and Senator Ted Kennedy—as part of his sales pitch. Now living in Los Angeles with his third wife, the actor Cheryl Hines, he nonetheless launched his campaign in Boston, the center of the Kennedy universe. The phrase I’M A KENNEDY DEMOCRAT is splashed across the center of his campaign website. Visitors can click through a carousel of wistful black-and-white family photos. There he is as a young boy with a gap-toothed smile, offering a salute. There he is visiting his Uncle John in the Oval Office.
Robert F. Kennedy and his wife, Ethel, with their seven children, in February 1963. (Ethel was expecting their eighth child in June.) The boys, from left, are Robert Jr., 8; David, 7; Michael, 4; and Joe, 10. The girls, from left, are Kathleen, 11; Kerry, 3; and Mary Courtney, 6. (AP)
In reality, his relationship with his family is more complicated. Several of his siblings have criticized his anti-vaccine activism around COVID. Last year, at an anti-vaccine rally in Washington, D.C., Kennedy suggested that Jews in Nazi Germany had more freedom than Americans today. In response, his sister Kerry Kennedy tweeted, “Bobby’s lies and fear-mongering yesterday were both sickening and destructive. I strongly condemn him for his hateful rhetoric.” (He later issued an apology.) In 2019, a trio of notable Kennedys wrote an op-ed in Politico pegged to a recent measles outbreak in the United States. RFK Jr., they said, “has helped to spread dangerous misinformation over social media and is complicit in sowing distrust of the science behind vaccines.” Several Kennedys serve in the Biden administration, and others—including RFK Jr.’s younger sister Rory and his first cousin Patrick—are actively supporting Biden’s reelection effort.
Multiple eras of Kennedy’s life have been marked by violence and despair. He was just 14 years old when his father was assassinated. His second wife, Mary Richardson Kennedy, struggled with mental illness and died by suicide while the couple was estranged and in the process of divorcing. He told me he believes that “almost every American has been exposed, mostly within their own families, to mental illness, depression, drug addiction, alcoholism.” In 1983, Kennedy himself was arrested for heroin possession and entered rehab. He recently told TheWashington Post that he still regularly attends 12-step meetings.
Kennedy maintains a mental list of everyone he’s known who has died. He told me that each morning he spends an hour having a quiet conversation with those people, usually while out hiking alone. He asks the deceased to help him be a good person, a good father, a good writer, a good attorney. He prays for his six children. He’s been doing this for 40 years. The list now holds more than 200 names.
I asked him if he felt that his dad or uncle had sent him any messages encouraging him to run for president.
“I don’t really have two-way conversations of that type,” he said. “And I would mistrust anything that I got from those waters, because I know there’s people throughout history who have heard voices.”
He laughed.
“It’s hard to be the arbiter of your own sanity. It’s dangerous.”
The morning before we met, I watched a recent interview Kennedy had given to ABC News in which he said, “I don’t trust authority.” In our conversation, I asked him how he planned to campaign on this message while simultaneously persuading voters to grant him the most consequential authority in the world.
“My intention is to make authority trustworthy,” he said, sounding like a shrewd politician. “People don’t trust authority, because the trusted authorities have been lying to them. The media lies to the public.”
I was recording our conversation on two separate devices. I asked him if the dual recordings, plus the fact that he could see me taking notes, was enough to convince him that whatever I wrote would be accurate.
“Your quotes of mine may be accurate,” he said. “Do I think that they may be twisted? I think that’s highly likely. ”
I wondered why, if that was the case, he had agreed to talk with me at all.
“I’ll talk to anybody,” he said.
That includes some of the most prominent figures in right-wing politics. He told me that he’d met with Trump before he was inaugurated, and that he had once flown on Trump’s private plane. (Later he said he believes Trump could lead America “down the road to darkness.”) He told me how, as a young man, he had spent several weeks in a tent in Kenya with Roger Ailes—they were filming a nature documentary—and how they had remained friends even though Kennedy disapproved of Ailes’s tactics at Fox News. He also brought up Tucker Carlson. I asked if he’d spoken with the former Fox News host since his firing earlier this spring.
“I’ve texted with him,” Kennedy said.
“What’s he up to?” I asked.
“He’s—you know what he’s up to. He’s starting a Twitter … thing. Yeah, I’m going to go on it. They’ve already contacted me.”
Kennedy told me he’s heard the whispers about the nature of his campaign. Some people believe his candidacy is just a stalking-horse bid to help elect Trump, or at least siphon support away from Biden.
One week before Kennedy entered the race, the longtime Trump ally and self-proclaimed “dirty trickster” Roger Stone wrote a curious Substack post titled “What About Bobby?” in which he suggested the idea of a Trump-Kennedy unity ticket. In a text message to me, Stone said his essay was nothing but a “whimsical” piece of writing, noting that the idea had “legal and political” obstacles. A photo of the two men—plus former National Security Adviser Michael Flynn, a notable conspiracy theorist—had been circulating on the internet; Stone called it opposition research from Biden’s team. “Contrary to Twitter created mythology, I don’t know Robert Kennedy,” he texted. “I have no role in his campaign, and certainly played no role in his decision to run.”
I asked Kennedy about a recent report that had gotten some attention: Had Steve Bannon encouraged him to enter the race?
“No,” he said. “I mean, let me put it this way: I never heard any encouragement from him. And I never spoke to him.” He then offered a clarification: He had been a guest on Bannon’s podcast during the pandemic once or twice, and the two had met a few years before that.
When I asked Bannon if he had urged Kennedy to challenge Biden, he said, “I don’t want to talk about personal conversations.” He told me he believes Kennedy could be a major political figure. “I was pleasantly surprised when he announced,” he said.
“He’s drawing from many of those Trump voters—the two-time Obama, onetime Trump—that are still disaffected, want change, and maybe haven’t found a permanent home in the Trump movement,” Bannon said. “Populist left, populist right—and where that Venn diagram overlaps—he’s talking to those people.” Bannon told me the audience for his podcast, War Room, “loves” Kennedy. “I think Tucker’s seeing it, Rogan’s seeing it, other people—the Tucker-Rogan-Elon-Bannon-combo-platter right, obviously some of us are farther right than others—I think are seeing it. It’s a new nomenclature in politics,” he said.
“And obviously the Democrats are scared to death of it, so they don’t even want to touch it. They want to pretend it doesn’t exist.”
Photograph by Chris Buck for The Atlantic
Perhaps more than anyone in politics, Kennedy is the embodiment of the crunchy-to-conspiracist pipeline—the pathway from living a life honoring the natural world to questioning, well, everything you thought you knew. For much of his life, he was a respected attorney and environmentalist. In the 1980s, Kennedy began working with the nonprofit Riverkeeper to preserve New York’s Hudson River, and he later co-founded the Waterkeeper Alliance, which is affiliated with conservation efforts around the world. Like many other environmentalists, he grew distrustful of government, convinced that regulatory agencies had fallen under the thrall of the corporations they were supposed to be supervising.
I asked Kennedy if there was a link between his earlier work and his present-day advocacy against vaccines. “The most direct and concrete nexus is mercury,” he said.
In the 2000s, Kennedy said, he read a report about the presence of mercury in fish. “It struck me then that we were living in a science-fiction nightmare where my children and the children of most Americans could now no longer engage in this seminal primal activity of American youth, which is to go fishing with their father and mother at their local fishing hole and come home and safely eat the fish,” he said.
As an environmentalist, Kennedy traveled around the country giving lectures, and about two decades ago, mercury poisoning became a focal point of these talks. He soon noticed a pattern: Mothers would approach him after his speeches, telling him about their children’s developmental issues, which they were convinced could be traced back to vaccines that contained thimerosal, a mercury-based preservative. “They all had kind of the same story,” Kennedy said. “Which was striking to me, because my inclination would be to dismiss them.”
He said that one of these women, a Minnesotan named Sarah Bridges, showed up on his front porch with a pile of studies 18 inches deep, telling him, “I’m not leaving here until you read those.” Kennedy read the abstracts, and his beliefs about vaccines began to shift. He went on to become the founder of Children’s Health Defense, a prominent anti-vaccine nonprofit.
When I contacted Bridges, she noted that she is a college friend of Kennedy’s sister-in-law and clarified that she had approached Kennedy while visiting his family’s compound in Hyannis Port, Massachusetts. Nevertheless, she confirmed that she gave Kennedy a stack of documents related to thimerosal, and that this likely was the beginning of his anti-vaccine journey.
Bridges’s family story is tragic: One of her children ended up in the hospital after receiving the pertussis vaccine. He now lives with a seizure disorder, developmental delays, and autism—conditions Bridges believes were ultimately caused by his reaction to the vaccine, even though studies have shown that vaccines do not cause autism. Bridges says she received compensation from the National Vaccine Injury Compensation Program, colloquially known as “vaccine court,” for her son’s brain damage.
Bridges doesn’t consider herself an anti-vaxxer. She told me that she still talks with Kennedy once in a while, but that she was surprised to learn he was running for president. She’s a lifelong Democrat, and declined to say whether she would support him in the election. She did tell me that she has received two doses of the COVID vaccine. She views the extremity of her son’s reaction as the exception, not the rule. “I think the American public is smart enough that we can have a nuanced conversation: that vaccines can both be a public good and there can be—and there, I think, is—a subset of people who don’t respond to them,” she said.
Kennedy’s campaign manager, the former Ohio congressman and two-time presidential candidate Dennis Kucinich, strongly objects to anyone labeling his candidate “anti-vax.” When I used the term to describe Kennedy, Kucinich told me that such a characterization was a “left-handed smear” and “a clipped assessment that has been used for political purposes by the adherents of the pharmaceutical industry who want to engage in a sort of absurd reductionism.” Kennedy, he said, stands for vaccine safety.
I asked Kucinich to specify which vaccines Kennedy supports. He seemed flummoxed.
“No!” he said. “This is … no. We’re not—look, no.”
At one point, Kennedy looked me dead in the eye and asked if I knew where the term conspiracy theory came from. I did not. He informed me that the phrase was coined by the CIA after his uncle’s assassination in 1963 as part of a larger effort to discredit anyone who claimed that the shooter, Lee Harvey Oswald, hadn’t acted alone. This origin story is not true. A recent Associated Press fact-check dates the term’s usage as far back as 1863, and notes that it also appeared in reports after the shooting of President James Garfield in 1881.
JFK’s assassination and Kennedy’s father’s, just five years apart, are two of the defining moments of modern American life. But they are difficult subjects to discuss with surviving family members without feeling exploitative. Kennedy doesn’t shy away from talking about either murder, and embraces conspiracy theories about both.
“I think the evidence that the CIA murdered my uncle is overwhelming, I would say, beyond a reasonable doubt,” he said. “As an attorney, I would be very comfortable arguing that case to a jury. I think that the evidence that the CIA murdered my father is circumstantial but very, very, very persuasive. Or very compelling. Let me put it that way—very compelling. And of course the CIA participation in the cover-up of both those murders is also beyond a reasonable doubt. It’s very well documented.” (In a written statement, a CIA spokesperson said: “The notion that CIA was involved in the deaths of either John F. Kennedy or Robert F. Kennedy is absolutely false.”)
Two years ago, hundreds of QAnon supporters gathered in Dealey Plaza, the site of JFK’s assassination. They were convinced that JFK Jr., who died in a plane crash in 1999, would dramatically reappear and that Donald Trump would be reinstated as president. I asked Kennedy what he made of all this.
“Are you equating them with people who believe that my uncle was killed by the CIA?” he asked. There was pain in his voice. It was the first time in our conversation that he appeared to get upset.
Robert F. Kennedy Jr. as pallbearer during his father’s funeral (Photo by Fairchild Archive / Penske Media / Getty)
Unlike many conspiracists, Kennedy will actually listen to and respond to your questions. He’s personable, and does not come off as a jerk. But he gets essential facts wrong, and remains prone to statements that can leave you dumbfounded. Recently, the Fox News host Neil Cavuto had to correct him on air after he claimed that “we”—as in the United States—had “killed 350,000 Ukrainian kids.”
I brought up the QAnon adherents who’d flocked to Dallas because I wanted to know how he felt about the fact that so many disparate conspiracies in America were blending together. I asked him what he would say to Alex Jones, the conspiracist who spent years lying about the 2012 massacre at Sandy Hook Elementary School.
“There’s only so many discussions that you can have, and only so many areas where you can actually, you know, examine the evidence,” Kennedy said. “I’d say, ‘Show me the evidence of what you’re saying, and let’s look at it, and let’s look at whether it is conceivably real.’” He told me he didn’t know exactly what Jones had said about the tragedy. When I explained that Jones had claimed the whole thing was a hoax—and that he had lost a landmark defamation suit—Kennedy said he thought that was an appropriate outcome. “If somebody says something’s wrong, sue them.”
“I mean,” he said, “I know people whose children were killed at Sandy Hook.”
Who will vote for Kennedy?
He was recently endorsed by the Clueless star Alicia Silverstone. Earlier this month, Jack Dorsey, the hippie billionaire and a Twitter co-founder, shared a Fox News clip of Kennedy saying he could beat Donald Trump and Ron DeSantis in 2024. “He can and will,” Dorsey tweeted. Another tech mogul, David Sacks, recently co-hosted a fundraiser for Kennedy, as well as a Twitter Spaces event with him alongside his “PayPal mafia” ally Elon Musk. Sacks, whose Twitter header photo features a banner that reads FREE SPEECH, has an eclectic history of political donations: Mitt Romney, Hillary Clinton, and DeSantis, to name a few.
Kennedy continues to win praise from right-wing activists, influencers, and media outlets. While some of this support feels earnest, like a fawning multithousand-word ode from National Review, others feel like a wink. The New York Post covered his campaign-kickoff event under the headline “‘Never Seen So Many Hot MILFs’: Inside RFK Jr’s White House Bid Launch.”
So far, Kennedy hasn’t staged many rallies. He favors long, winding media appearances. (He’s said that he believes 2024 “will be decided by podcasts.”) He recently talked COVID and 5G conspiracy theories with Joe Rogan, and his conversation with Jordan Peterson was removed from YouTube because of what the company deemed COVID misinformation. The day we met, Kennedy told me that he had just recorded a podcast with the journalist Matt Taibbi.
I asked Taibbi, who wrote for me when I was an editor at Rolling Stone and who now publishes independently on Substack, if he could see himself voting for Kennedy next year.
“Yeah, it’s possible,” Taibbi said. “I didn’t vote for anybody last time, because it was …” He trailed off, stifling laughter. “I just couldn’t bring myself to do it. So if he manages to get the nomination, I would certainly consider it.”
Years ago, in a long Rolling Stone article, Kennedy falsely asserted that the 2004 election had been stolen. The article has since been deleted from the magazine’s online archive.
“I’ve never been a fan of electoral-theft stories,” Taibbi said. “But I don’t have to agree with RFK about everything,” he added. “He’s certainly farther along on his beliefs about the vaccine than I am. But I think he is tapping into something that I definitely feel is legitimate, which is this frustration with the kind of establishment reporting, and this feeling of a lack of choice, and the frustration over issues like Ukraine—you know, that kind of stuff. I totally get his candidacy from that standpoint.”
Kennedy’s campaign operation is lean. He told Sacks and Musk that he has only about 50 people on the payroll. He’s beginning to spend more time in the early-voting state of New Hampshire. I asked Kucinich about Kennedy’s plans for summer: large-scale rallies? A visit to the Iowa State Fair? He could offer no concrete details, and told me to stay tuned.
Despite the buzz and early attention, Kennedy does not have a clear path to the nomination. No incumbent president in modern history has been defeated in a primary. (Kennedy’s uncle Ted came close during his primary challenge to Jimmy Carter in the 1980 election.) Following decades of precedent, the Democratic National Committee won’t hold primary debates against a sitting president.
“We’re not spending much time right now thinking about the DNC,” he said. “We’re organizing our own campaign.”
Spokespeople for the DNC, the Biden campaign, and the White House did not offer comment for this article.
“Democrats know RFK Jr. isn’t actually a Democrat,” Jim Messina, who led Barack Obama’s 2012 reelection campaign and is in close touch with the Biden 2024 team, said in a statement. “He is not a legitimate candidate in the Democratic primary and shouldn’t be treated like one. His offensive ideas align him with Trump and the other GOP candidates running for president, and are repellent to what Democrats and swing voters are looking for.”
I asked Kennedy what he thought would be more harmful to the country: four more years of Biden or another term for Trump.
“I can’t answer that,” he said.
He paused for a long beat. He shook his head, then pivoted the conversation to Russia.
“I think that either one of them is, you know, I mean, I can conceive of Biden getting us into a nuclear war right now.”
Kennedy’s 2024 campaign, like Trump’s, has an epic We are engaged in a final showdown tenor to it. But maybe this sentiment runs deeper than his current candidacy. These are the opening lines of Kennedy’s 2018 memoir, American Values:
From my youngest days I always had the feeling that we were all involved in some great crusade, that the world was a battleground for good and evil, and that our lives would be consumed in that conflict. It would be my good fortune if I could play an important or heroic role.
Since meeting Kennedy, I’ve thought about what he said about populism—how it emerges, how it’s exploited and weaponized. He seems to believe that he is doing the right thing by running for president, that history has finally found him, as it found his uncle and father. That he is the man—the Kennedy—to lead America through an era of unrelenting chaos. But I don’t know how to believe his message when it’s enveloped in exaggeration, conspiracy, and falsehoods.
The United States has grown only more conspiratorial in the half century since the publication of Richard Hofstadter’s “The Paranoid Style in American Politics.” There are those who refuse to get the COVID vaccine because of the slim potential of adverse side effects, and then there are those who earnestly fear that these innoculations are a way for the federal government to implant microchips in the bodies of citizens. The line between fact and fantasy has blurred, and fewer and fewer Americans are tethered to something larger or more meaningful than themselves.
Kennedy was raised in the Catholic Church and regularly attended Mass for most of his life. These days, he told me, his belief system is drawn from a wide array of sources.
“The first line of the Tao is something to the effect that ‘If it can be said, then it’s not truth’—that the path that is prescribed to you is never the true path, that basically we all have to find our own path to God, and to enlightenment, or nirvana, or whatever you call it,” he said.
He’s now walking his family’s path, determined to prevail in the battle of good against evil. He’s said he’s running under the premise of telling people the truth.
But as with so many of the stories he tells, it’s hard to square Kennedy’s truth with reality.
As a writer, there are times when you almost feel morally obligated to complete a task that no one else wants to do. In this case, I fed the inexplicable, dark need within the depths of my soul to watch Sam Levinson and Abel “The Weeknd” Tesfaye’s show on Max, The Idol.
The Idol has quickly become the internet’s most talked about television show for all the wrong reasons. It’s not the fan fervor that followed other Max shows like White Lotus or Succession. It’s morbid curiosity at best.
Following its debut at Cannes Film Festival, no one has been able to stop talking about its insanity: unnecessary vulgar sex scenes, a plot that was filled with holes and questions, and a debate about whether it’s a product of bad acting or bad writing…or both.
But are we really shocked that Euphoria creator Sam Levinson, known for his borderline concerning references to sex and violence in his shows — who argued with actress Barbie Ferreira over character Kat’s storyline and caused her eventually to leave the show, who had multiple actresses express discomfort in the amount of nudity, who had no writers room — created this disaster?
The Drama Surrounding The Idol
Originally, this catastrophe was directed by Amy Seimetz who left when most of the series was finished. With HBO citing a major creative overhaul, reports swirled elsewhere that The Weeknd was unhappy with the female direction the show was taking. Out with female directors, in with resident evil Sam Levinson.
Not only did this cost the show around $70 million, it also caused delays. Levinson then peppered in his signature overseasoning of sex to really mess the whole thing up. It started with reports saying the show had more sex than even Euphoria, which broke boundaries being a show following hyper-sexual teenagers. In a tell-all expose, Rolling Stone reported:
“Four sources say that Levinson ultimately scrapped Seimetz’s approach to the story, making it less about a troubled starlet falling victim to a predatory industry figure and fighting to reclaim her own agency, and more of a degrading love story with a hollow message that some crew members describe as being offensive.”
Levinson was absent from the set early on, says Rolling Stone, devoting most of his time to the Emmy-award-winning Euphoria. Subsequently, this gave Tesfaye free reign. The show “drastically changed” from the original Seimetz version to something more…of a joke.
So I Watched The Idol Myself
Needless to say, the scathing reviews and meme-worthy clips I’d seen on my social media were not enough to keep me away. The show had an absurd premiere week, with over 900,000 viewers, surpassing Max’s biggest shows: Euphoria and White Lotus. My sick curiosity killed the cat.
It’s every bit as terrible as expected, despite a star-studded cast of The Weeknd, BLACKPINK’s Jennie, Troye Sivan, and Lily-Rose Depp, who plays popstar Jocelyn. Jocelyn, who is known in public for her scandals and mental breakdowns, falls under the spell of The Weeknd’s Tedros. That’s about all I know for sure.
Tedros is supposedly the leader of a cult, but you wouldn’t get that from episode one…which fails to reach many points other than Jocelyn wanting to expose herself on the cover of her album. Jocelyn attends a club (sans security because that would make too much sense) and meets Tedros (who unfortunately has a rat tail) and is instantly enamored.
This is all the proof I need that Jocelyn has no real friends. If Tedros approached me at a club, my friends would already have tackled him linebacker-style before we could say hello. No shot.
But the reviews don’t lie, there’s too much sex. It’s all about sex. There are constant lewd references, vulgar, NSFW dialogue, and full-frontal nudity. I can’t even take the show seriously because I spend half of it fast-forwarding through sex scenes.
I understand that they are trying to convey that Lily-Rose Depp’s character is vulnerable and clearly lacking any sort of creative direction…but they spend 30 minutes on each scene. Surely there’s a better way to speed up the plot?
I cringe every time The Weeknd comes on screen, partly because I know there is some sort of sexual act about to occur and also because I can’t imagine letting his creature of a character within 50 yards of me at any point in my life.
Overall, it’s horrid. I can’t even tell you it’s worth the watch because I struggled to get through three episodes and my roommate got mad at me for making her watch with me. In short, if you watch The Idol, your friends will like you less.
One thing can be said for the proprietors of the MAGA Mall: They know their brand.
The right-wing-merch retailer’s setup was among the most impressive at this year’s Conservative Political Action Conference—a gargantuan display of apparel and tchotchkes meticulously curated to appeal to every segment of the Donald Trump–loving clientele. There were the MAKE AMERICA GREAT AGAIN hats in “classic” red for those who prefer a timeless look, and the ULTRA MAGA 45 hats for the more trend-conscious. There were T-shirts with Trump as Superman and T-shirts with Trump as the Terminator and—because even the most patriotic T-shirt designers eventually run out of ideas—T-shirts with Trump as the Geico lizard. (You can save 40% off everything by switching to Trump.)
When I stopped by the booth on Friday afternoon, I noticed a smattering of non-Trump-branded products in the mix and thought I’d spotted a clever angle for a story.
“How’s the Ron DeSantis stuff selling?” I asked two people running the booth.
“Oh, good, another one,” the woman mumbled. “You’re the third one to ask today. You media?”
I nodded, feeling somewhat less certain of my cleverness, and sheepishly confirmed that I was a reporter. She seemed to stifle a sigh. “Not great,” she said, gesturing toward a cap that read MAKE AMERICA FLORIDA: DESANTIS 2024. “It’s about 50 to one Trump.”
As I turned to go, I heard her add, “But, I mean, we have a lot more Trump stuff …”
It was a perfect microcosm for CPAC’s strange vibe in 2023. Billed as the conservative movement’s marquee annual gathering, the conference was once known for its ability to draw together the right’s various factions and force them to compete noisily for supremacy. In the 1990s, Pat Buchanan rallied paleoconservative activists against the Bob Dole wing of the GOP. In the early 2010s, Tea Partiers in Revolutionary-era garb roamed the premises while scruffy libertarians hustled to win the straw poll for Ron Paul. Yes, the speakers would say controversial things, and yes, presidential candidates would give sporadically newsworthy speeches. But more than anything, it was the friction that gave the proceedings their electric, carnivalesque quality—that rare, sometimes frightening sense that anything could happen.
This year, that friction was notably absent. Trump, who jump-started his career as a political celebrity with a speech at CPAC in 2011, has so thoroughly captured the institution that many of the GOP’s other stars didn’t even bother to show up. Everything about the conference—the speakers, the swag, the media personalities broadcasting from outside the ballroom—suggested that it was little more than a three-day MAGA pep rally.
The result: In my decade of covering the event, I’d never seen it more dead.
I wasn’t the only one who noticed. Eddie Scarry, a conservative writer and longtime CPAC attendee, tweeted that the conference had devolved into a parade of “peripheral figures, grifters, and aging Fox News personalities who show up like they’re rock stars. Not to mention, 80% of it remains a tribute to Trump. Who is that still fun for?” Sponsors grumbled to Rolling Stone that turnout had dropped off from past years. My colleague John Hendrickson, who attended on Saturday, wrote that the conference had a “1 a.m. at the party” vibe, and wondered if 2023 would be remembered as “the last gasp of CPAC.”
The relative dearth of Republican star power this year could be attributed to the scandal surrounding CPAC’s chairman Matt Schlapp, who was recently accused of fondling a male campaign aide against his will. (Schlapp has denied the allegation.) But in an interview with NBC News, one anonymous GOP operative said that top Republicans had already come to view the conference as a chore in recent years. “Someone said to me, ‘We all wanted an excuse not to go, and Schlapp gave it to us,’” the operative said.
The apparent decline in interest isn’t just about CPAC. It speaks to a serious problem for Trump’s 2024 campaign: His shtick has gotten stale. Which makes it awkward that so many party leaders continue to treat him like he’s still the generational political phenomenon who galvanized the right in 2016—the natural center of attention.
Writing last year in National Review, the conservative commentator Michael Brendan Dougherty noted that Trump’s appeal in 2016 resided largely in his image as a disruptive outsider who said shocking, outlandish things. To recapture that magic, Dougherty wrote, “Trump needs to re-create the iconoclastic thrill of supporting him, the empowering sense that he is an instrument for crushing the establishment in both parties.”
Instead, Trump has followed a different trajectory. His CPAC speech on Saturday night, like so many of his recent appearances, felt predictable and devoid of vitality as he rambled past the 90-minute mark in front of a not-quite-full ballroom. Trump, in other words, has become the establishment—and the establishment, by definition, is boring. He might as well attach an exclamation point to his campaign slogan and start asking voters to “please clap.”
Jack Malin, a freshman at Florida Gulf Coast University, traveled to CPAC this year for the first time, with a group of college Republicans. When I asked him what he thought of Trump, Malin talked about the transgressive excitement he felt as a high-school kid following the 2016 election. Trump got him interested in politics. But Malin is not so into Trump anymore. “I would say, as much as people love him, his four years have come and gone,” Malin told me. For 2024, he likes DeSantis, the Florida governor, and so do most of his friends.
As Malin spoke, I glanced past him at a crowd of onlookers that had formed around Donald Trump Jr., who was recording an interview with Steve Bannon. There was a time when these two men were seen—by critics and supporters alike—as dangerous provocateurs. Spellbound fans would hang on their every word; indignant journalists would live-tweet their speeches and interviews. Now their rhetoric about “deconstructing the administrative state” and “draining the swamp” just sounded like white noise. (As Trump and Bannon ranted, I watched some spectators turn their interest toward a baby and mom at the edge of the crowd.)
Nowhere was the general ennui at CPAC more palpable than in Exhibit Hall D, on the ground floor of the convention center in National Harbor, Maryland. In some ways, the scene was the same as in years past: nicely dressed conservatives perusing rows of booths set up by think tanks, lobbyists, and vendors. There were, as ever, exhibits for niche companies such as The Right Stuff, a dating app for Republicans, and Patriot Mobile, “America’s only Christian conservative wireless provider” (for those tired of relying on godless liberals for Wi-Fi.) The aforementioned MAGA Mall occupied one corner of the room, competing with at least two other booths peddling Trump-branded paraphernalia. And a mock Oval Office—adorned with various photos of Trump—was available for selfies.
But there was something perfunctory and rote about all the ostentatious Trump worship. At one booth, a group called the Conservative Caucus was showing off an oversize scroll topped with the message Thank You for Your Service President Trump! (Followed by a disclaimer in much smaller print: Not an endorsement, just a BIG thank you!)
A friendly guy working the booth, Art Harman, told me proudly about how the scroll contained more than 100,000 signatures and ran 135 feet long when fully unfurled. Once we started talking politics, though, Trump seemed to slip from his mind. When I asked him who he thought of when he pictured the future of conservatism, he answered quickly: DeSantis.
“He’s a more youthful guy. He’s energizing people a lot,” Harman said, going on to extol the Florida governor’s many virtues. He paused for a moment to think. “He’s kind of the only one who comes to mind offhand.”
Shoot, the way MJ sang #WithAChildsHeart when he was a CHILD makes him top three at the least and if Celine Dion isn’t in the Top Ten at the LEAST what are we really doing?!
Let’s be real who is ever taking @RollingStone seriously ever again? Y’all didn’t even include CELINE DION on the top 200 list of best singers of all time?? I don’t even think JHud was on there either.
Rolling Stones mag not including Celine Dion in the greatest singers of ALL TIME! Someone needs to be fired from their job cos that’s mins baffling. CELINE DION… she’s literally one of the best selling artists of all time. @RollingStone you okay???
Where is @celinedion? 200 best singers and you can’t even mention one of the most successful game-changing artist of history? I mean… She has a full career in 2 different languages, she opened the path to residencies in Las Vegas, she sang ALL BY MYSELF, 200M albums sold….
Dion apologized for taking so long to reach out to fans regarding the diagnosis, saying in a video posted last month: “As you know I have always been an open book, and I wasn’t ready to say everything before, but I am ready now.
“I have been dealing with problems with my health for a long time, and it’s been really difficult for me to face these challenges and talk about everything I have been going through.”
The list excludes all-time greats such as Nat King Cole, Tony Bennett, Dionne Warwick and Johnny Mathis, with one exclusion in particular looking like a titanic mistake: Celine Dion.
Rolling Stone tried to anticipate the reaction to some of the snubs by saying in the intro that it’s a “Greatest Singers” list, not a “Greatest Voices” list.
“Talent is impressive; genius is transcendent,” the editors wrote.
This year’s covers saw everything from fashion fantasies and illustrative political statements to career revivals and retirement announcements; from Lizzo in Bad Binch TongTong and Beyoncé in Harris Reed atop a horse to Nicole Kidman in the now-infamous Miu Miu micro set. There were less gray gradient backdrops from Vogue and a lot more color through styling, set design and makeup (not to mention casting), perhaps signifying a shift in direction of fashion’s perspective. It’s fair to say 2022 brought the best of the best from our favorite magazines.
Browse our picks for the most memorable covers of 2022 below:
Selena Gomez has been open about her physical and mental health journeys. And this week, she’s opening up more than ever before, with a deep interview with Rolling Stone and the release of her new Apple TV+ documentary “Selena Gomez: My Mind and Me.”
Ahead of Friday’s release of her documentary, Rolling Stone published an interview with Gomez in which she details her mental health struggles in her 20s before she was diagnosed with bipolar disorder, which causes “dramatic shifts” in a person’s mood, energy and thought processing, according to the National Alliance on Mental Illness.
“People with bipolar experience high and low moods—known as mania and depression—which differ from the typical ups-and-downs most people experience,” the organization says.
“I’m going to be very open with everybody about this: I’ve been to four treatment centers,” Gomez, 30, told Rolling Stone. “I think when I started hitting my early twenties is when it started to get really dark, when I started to feel like I was not in control of what I was feeling, whether that was really great or really bad.”
Gomez, a former Disney star who has become a force in the entertainment and business worlds, went on to tell the magazine that her mania and depression spells would last weeks or months, with no particular triggers. During her highs, she thought she had to share her wealth with everyone she knew – at one point she was convinced she had to buy everyone a car. But then a switch would flip and she would get hit with depression and soon after, isolation.
“It just was me not being able to move from my bed. I didn’t want anyone to talk to me. My friends would bring me food because they love me, but none of us knew what it was,” she said. “Sometimes it was weeks I’d be in bed, to where even walking downstairs would get me out of breath.”
She told Rolling Stone that for years, she contemplated suicide. She never attempted it.
“I thought the world would be better if I wasn’t there,” she said.
In 2018, when Gomez was in her mid-20s, she said she started to hear voices that eventually triggered psychosis. Gomez’s memory of this time is scant, but told the magazine she ended up at a treatment facility for several months. Eventually, she said, she started slowly “walking out of psychosis” and was diagnosed with bipolar disorder.
But the diagnosis didn’t put an immediate end to the struggle. The combination of medications she was on made her feel “that I was gone.”
“There was no part of me that was there anymore,” she said.
Eventually, her medications were sorted and she was able to begin healing. It took “a lot of hard work,” she said, to accept her diagnosis and learn how to manage it.
This journey, as well as others, is documented in her newly released documentary “Selena Gomez: My Mind and Me.” When Apple+ screened the film, Gomez refused to watch, but did pay attention to how the audience responded. It was clear it had an emotional impact.
“I was like, ‘OK, if I can just do that for one person, imagine what it could do,’” she told Rolling Stone. “Eventually I just kind of went for it. I just said, ‘Yes.’”
If you or someone you know is in emotional distress or suicidal crisis, call the National Suicide Prevention Hotline at 1-800-273-TALK (8255).
For more information about mental health care resources and support, The National Alliance on Mental Illness (NAMI) HelpLine can be reached Monday through Friday, 10 a.m.–6 p.m. ET, at 1-800-950-NAMI (6264) or email info@nami.org.