June Lockhart, a popular actress of the 1950s and ’60s known for her roles in “Lost In Space,” “Lassie” and “Meet Me in St. Louis,” died of natural causes on Oct. 23 in Santa Monica, Calif. She was 100. Lockhart became known for her performances as Timmy’s foster mother, Ruth Martin, on the CBS series […]
Veteran actor Satish Shah, with his impeccable comedy timing and memorable performances on screen and TV, passed away on October 25 at around 2:30 pm at Hinduja Hospital in Mumbai. The veteran actor was 74 years old. The legendary actor was unwell for a long time with kidney problems and had recently undergone a transplant. His manager informed India Today that the actor’s body is currently at the hospital, and the funeral will be conducted on Sunday.
Having worked for over four decades in the field, Satish Shah became one of India’s dearest actors and best comedians. He reached a wide level of fame for the very first time with the 1983 hit ‘Jaane Bhi Do Yaaro’, where his brilliant comic performance and ability to get into several roles made him a household name. He performed unforgettable roles in films such as ‘Hum Saath-Saath Hain’, ‘Main Hoon Na’, ‘Kal Ho Naa Ho’, ‘Kabhi Haan Kabhi Naa’, ‘Dilwale Dulhania Le Jayenge’, and ‘Om Shanti Om’ throughout his life, where he demonstrated his phenomenal range for comedy, drama, as well as emotional roles.
On television, Shah reached legendary status with his portrayal of Indravadan Sarabhai in the hit sitcom ‘Sarabhai vs Sarabhai’, a role that continues to be celebrated as one of Indian television’s finest comic creations. His work in the 1984 sitcom ‘Yeh Jo Hai Zindagi’ also remains etched in the memories of audiences who grew up watching his effortless humor and charm.
Satish Shah’s passing is a warning that an era in Indian entertainment is over. His heritage is not so much his work, but the smiles, warmth, and laughter he drew out of millions. Friends, fans, and the film fraternity mourn the loss of a legend whose work will remain eternally relevant.
Dave Ball, the multi-instrumentalist, producer, and songwriter who performed alongside Marc Almond in the influential synth-pop duo Soft Cell, died yesterday (October 22). The band’s publicist, Debbie Ball, confirmed the news, writing that Ball died peacefully in his sleep at his London home. No cause was given. The musician was 66 years old.
Raised in Blackpool, England, after his adoption into a working-class family, Ball grew up a budding artist with a penchant for the Northern soul craze then sweeping the north of England, obsessively collecting Tamla and Stax singles. He moved to Leeds to study fine art in his late teens and met fellow student Almond, a lamé-clad performance artist. The pair bonded over punk and electronic music and cult films; after a few weeks of futzing with a Korg synthesizer, Ball enlisted his flamboyant new friend as a bandmate.
They were a strange pair—“Marc, this gay bloke in makeup; and me, a big guy who looked like a minder,” as Ball put it to The Guardian in 2017—but the contrast neatly superimposed onto their musical loves. They named the duo Soft Cell, punning on what they called “consumerist nightmares and suburban insanity,” and made songs amalgamating an unlikely trinity of Kraftwerk, Suicide, and cabaret. They made their live debut “at a college Christmas show two short months after they met, performing ramshackle, anticonsumerist songs against a backdrop of Super 8 films of destroyed radios and industrial landscapes,” Pitchfork’s Eric Torres wrote in his review of the band’s debut album, Non-Stop Erotic Cabaret. “The art-punk spark was lit.”
An early breakout single, “Memorabilia,” co-produced by Mute founder Daniel Miller, united their love of kitsch and acid house in a floor-filler that suggested the underground, avant-garde curios of their Some Bizzare label cadre were about to boil over. The eruption came with “Tainted Love,” a tempestuous, darkly intoxicating cover of a Gloria Jones song Ball had heard in a club as a teenager. Backed by a cover of the Supremes’ “Where Did Our Love Go,” the single was the United Kingdom’s second-best seller of 1981 and topped the charts in more than a dozen other countries.
The hit, and the debut album that followed, affixed Soft Cell in British music history: contemporaries of Depeche Mode and path-makers for bands like Pet Shop Boys, Erasure, and Spandau Ballet, even if Almond accused some of that crop of making heartless music “to pose against the Berlin Wall to.” The duo released two more studio albums in the ensuing years, The Art of Falling Apart and This Last Night in Sodom; both charted in the United Kingdom, despite the latter’s release after the group’s dissolution. Soft Cell also released one of the first remix albums, Non-Stop Ecstatic Dancing, and Ball, closely attuned to the evolution of electronic music, would fashion 12″ edits of their singles by splicing together segments of tape. Almond and Ball’s embrace of the clubland party lifestyle, and substance use, contributed to their split. As Ball wrote in his 2020 autobiography, Electronic Boy, “We’d been so successful very quickly, in constant demand and therefore always together—living out of each other’s pockets. I don’t think any relationship could have endured that pressure.”
Sam Rivers, longtime bass player and a founding member of Limp Bizkit, has died. He was 48.
The band (Fred Durst, Wes Borland, John Otto and DJ Lethal) revealed the news of Rivers’ death Saturday night (Oct. 18) in a tribute to the musician titled “In Loving Memory of Our Brother, Sam Rivers,” in a post on Instagram.
“Today we lost our brother. Our bandmate. Our heartbeat,” Limp Bizkit wrote on Saturday of Rivers, who was born in Jacksonville, Florida, in 1977 and was one third of the original formation of Limp Bizkit in 1994, alongside vocalist Durst and drummer Otto. (Borland and DJ Lethal joined in 1996.)
“Sam Rivers wasn’t just our bass player — he was pure magic,” his band members said. “The pulse beneath every song, the calm in the chaos, the soul in the sound. From the first note we ever played together, Sam brought a light and a rhythm that could never be replaced. His talent was effortless, his presence unforgettable, his heart enormous.”
Their statement continued: “We shared so many moments — wild ones, quiet ones, beautiful ones — and every one of them meant more because Sam was there. He was a once-in-a-lifetime kind of human. A true legend of legends. And his spirit will live forever in every groove, every stage, every memory. We love you, Sam. We’ll carry you with us, always. Rest easy, brother. Your music never ends.”
DJ Lethal left an additional comment on Instagram, writing, “We love you Sam Rivers. Please respect the family’s privacy at this moment. Give Sam his flowers and play Sam Rivers basslines all day! We are in shock. Rest in power my brother! You will live on through your music and the lives you helped save with your music, charity work and friendships. We are heartbroken. Enjoy every millisecond of life. It’s not guaranteed.”
Rivers’ cause of death has not been revealed.
He was diagnosed with liver disease in 2011 and received a liver transplant in 2017. Within this time period, he took a short hiatus from his work with Limp Bizkit — but was back with the band by 2018.
Limp Bizkit’s breakthrough came with the nu-metal band’s 1997 debut album, Three Dollar Bill, Y’all — featuring their cover version of George Michael’s “Faith,” which picked up radio airplay and had a music video in rotation on MTV and the network’s then-popular TRL (Total Request Live). But it was their 1999 sophomore album Significant Other that reached No. 1 on the Billboard 200 for the first time, and the set received three Grammy nominations — in the categories of best rock album and best hard rock performance (for their hit “Nookie,” as well as album track “Take a Look Around”). They’d have another Billboard 200 No. 1 with the 2000 album Chocolate Starfish and the Hot Dog Flavored Water.
To date Limp Bizkit has released a total of six full-length studio albums, with the most recent being 2021’s Still Sucks.
Limp Bizkit recently returned to No. 1 on a Billboard chart for the first time since 2011. The single “Making Love to Morgan Wallen” debuted atop Hot Hard Rock Songs, Alternative Digital Song Sales and Hard Rock Digital Song Sales the week of Sept. 27, 2025.
Limp Bizkit bassist Sam Rivers has died, the band said in a statement posted to social media. The 48-year-old died on Saturday, October 18, the nu metal band shared in an Instagram post.
While Limp Bizkit paid tribute to Rivers, they did not specify his cause of death or what exactly happened to him.
In an Instagram post, the band wrote, “Today we lost our brother. Our bandmate. Our heartbeat.”
“Sam Rivers wasn’t just our bass player — he was pure magic. The pulse beneath every song, the calm in the chaos, the soul in the sound. From the first note we ever played together, Sam brought a light and a rhythm that could never be replaced. His talent was effortless, his presence unforgettable, his heart enormous,” Limp Bizkit added.
Read More | Sam Rivers cause of death update: How did Limp Bizkit bassist die? First details out
The band further wrote, “We shared so many moments — wild ones, quiet ones, beautiful ones — and every one of them meant more because Sam was there. He was a once-in-a-lifetime kind of human. A true legend of legends. And his spirit will live forever in every groove, every stage, every memory. We love you, Sam. We’ll carry you with us, always. Rest easy, brother. Your music never ends.”
While Rivers’ exact cause of death has not been revealed yet, he had had various health problems. He had developed a liver disease after years of heavy drinking. He even received a life-saving liver transplant in 2017, according to alternativenation.net.
In a past conversation with Metal Injection, Rivers had opened up about being admitted to UCLA Hospital. “It got so bad I had to go to UCLA Hospital and the doctor said, ‘If you don’t stop, you’re going to die. And right now, you’re looking like you need a new liver,’” he had recalled.
KISS co-founder and guitarist Paul “Ace” Frehley died today (Oct. 16) from head injuries suffered during a recent fall in his recording studio. He was 74.
“We are completely devastated and heartbroken,” his family said. “In his last moments, we were fortunate enough to have been able to surround him with loving, caring, peaceful words, thoughts, prayers and intentions as he left this earth. We cherish all of his finest memories, his laughter and celebrate his strengths and kindness that he bestowed upon others. The magnitude of his passing is of epic proportions, and beyond comprehension. Reflecting on all of his incredible life achievements, Ace’s memory will continue to live on forever!”
Frehley was born on April 27, 1951, in the Bronx section of New York and taught himself how to play guitar as a teenager while listening to Jimi Hendrix and Led Zeppelin records. “Half of my friends are dead now or OD’d,” Frehley told SPIN in 1996. “My best friend hung himself at Rikers Island. It was a rocky road — but music got me away from those people.”
He joined the band that would become the face-painted, fire-breathing, blood-spitting KISS in late 1972 after answering an audition ad in the Village Voice. It wasn’t long before he rose to fame and fortune alongside vocalist/guitarist Paul Stanley, vocalist/bassist Gene Simmons and drummer Peter Criss, with KISS reigning as one of the most popular rock groups of the decade.
“I was in love with Zeppelin from the very first note I heard,” Frehley recalled to SPIN last year. “Jimmy Page is one of my favorite guitar players. I was determined to figure out all his solos. In those days, I had to slow the record down because some of his guitar playing was so fast. I couldn’t figure out the notes. That was a big pain in the ass back then because when you slow the record down, it changes the pitch. Then, I [had] to retune my guitar.”
In KISS, Frehley painted stars over his eyes and dubbed himself The Spaceman, owing to his childhood love for science fiction. He also wore enormous platform boots that often caused him to fall down — so much so that he would play solos while on his knees. Among the songs he either wrote or co-wrote for KISS are “Cold Gin,” “Parasite,” “Rocket Ride” and “Shock Me,” which was inspired by a near-electrocution onstage in Florida in 1976.
Criss was fired from KISS in 1980 and Frehley, who was always the moodiest, most down-to-earth person in the band and never as comfortable in the spotlight as Stanley and Simmons, left in early 1982 to pursue a solo career. He enjoyed a decent hit with his 1987 debut as Frehley’s Comet, but struggled with addiction and to compete with the nascent grunge movement of the early ’90s.
“There were some hard feelings when I left,” he told SPIN in 1996. “I had some substance-abuse problems at that point in my life. I wasn’t thinking straight. I was getting very suicidal, frustrated, the syndrome of too much too soon. The success of my solo album… that kind of planted the seed: ‘Hey, maybe I can do it on my own.’”
A lifeline came in 1996, when KISS’ original quartet reunited in makeup for what at the time was one of the most anticipated tours of all time. He exited KISS permanently in 2002 and only performed with the group once since, in 2018, although he was inducted with Stanley, Simmons and Criss into the Rock & Roll Hall of Fame in 2014.
This is a developing story.
Ace Frehley, the founding lead guitarist of Kiss, has died. A representative told Rolling Stone that Frehley sustained injuries following a recent fall at his home. He had since cancelled the remainder of his scheduled 2025 performances. “In his last moments, we were fortunate enough to have been able to surround him with loving, caring, peaceful words, thoughts, prayers and intentions as he left this earth,” Frehley’s family shared in a statement. “The magnitude of his passing is of epic proportions, and beyond comprehension.” He was 74.
Paul Daniel Frehley grew up in the Bronx. He received his first electric guitar as a Christmas present and was a member of several bands before answering Paul Stanley’s ad in 1972 seeking a lead guitarist. Stanley, Gene Simmons, and Peter Criss hired Frehley as a member of the band following his audition. In addition to providing the band’s iconic early riffs and solos, Frehley designed Kiss’ logo.
Like the rest of the band, Frehley was known not only for his playing, but for his on-stage theatrics and persona. He painted silver stars over his eyes—his persona in the band was “Space Ace” or “the Spaceman.” During solos, his guitar would emit smoke and lights, giving the appearance that it was catching fire. Frehley played on most of Kiss’ most iconic records, including their self-titled debut, Destroyer, and Alive!, though it took until 1997’s Love Gun for him to deliver his first lead vocal turn on “Shock Me.”
In 1978, all four members of the band released solo albums. Frehley’s was the most successful of the bunch, with his version of “New York Groove” landing on the Billboard singles chart. Frehley grew apart from Kiss’ creative direction and ultimately left the band in 1982. He continued making solo records and albums with his band Frehley’s Comet. His most recent solo album, 10,000 Volts, was released last year
Following an appearance on MTV’s Unplugged, the four founding members of Kiss reunited between 1995 and 2002; Frehley appeared on their 1998 album Psycho Circus. In 2001, he released his autobiography No Regrets: A Rock’n’Roll Memoir. In 2014, he and the rest of band’s original members were inducted into the Rock and Roll Hall of Fame. Frehley will become the third person ever to posthumously receive a Kennedy Center Honor when Kiss are recognized at the ceremony this December.
Rage Against the Machine’s Tom Morello, Pearl Jam’s Mike McCready, and members of Rush have all paid tribute to Frehley. “Our hearts are broken,” Gene Simmons wrote in a message posted to X. “No one can touch Ace’s legacy. I know he loved the fans. He told me many times. Sadder still, Ace didn’t live long enough to be honored at the Kennedy Ctr Honors event in Dec. Ace was the eternal rock soldier. Long may his legacy live on!”
Beloved R&B singer D’Angelo has died at the age of 51 after battling prostate cancer, according to his family. The musician, whose real name was Michael Archer, had backed out of a June performance at the Roots Picnic in Philadelphia “due to a longer-than-expected surgical recovery” without revealing specifics.
“We are heartbroken to announce that Michael D’Angelo Archer, known to his fans around the world as D’Angelo, has been called home,” said a family statement. “We are saddened that he can only leave dear memories with his family, but we are eternally grateful for the legacy of extraordinarily moving music he leaves behind. We ask that you respect our privacy during this difficult time but invite you all join us in mourning his passing while also celebrating the gift of song that he has left to the world.”
“Such a sad loss to the passing of D’Angelo,” DJ Premier wrote on X. “We [had] so many great times. Gonna miss you so much. Sleep peacefully.”
Raised in Richamond, Va., as the son of a Pentecostal preacher, D’Angelo struggled to reconcile his sexed-up musical persona with deeply embedded religious convictions. His 1995 debut, Brown Sugar, was an ode to weed and women, whose organic, throwback grooves owed more to the progressive mindset of late-’80s/early ’90s Native Tongues hip-hop than to the slick, digitized R&B of the day made by Boyz II Men and Keith Sweat.
Led by the provocative, nearly nude video for “Untitled (How Does It Feel),” 2000’s Voodoo was a very different story. It evolved from more than three years’ worth of sessions, mainly at New York’s Electric Lady Studios, and featured an impressive roster of soul, funk, and jazz players such as Roots drummer Ahmir “Questlove” Thompson, who became D’Angelo’s musical copilot, keyboardist James Poyser, guitarist Charlie Hunter and trumpeter Roy Hargrove.
“What was cool about it,” Thompson told SPIN in 2008, “was D had the A room [of the studio] on lockdown, and Common had the B room. Then Common brought [producer] Jay Dee inside, and next thing you know, both camps are working in each other’s studio.” Erykah Badu, Talib Kweli and Mos Def visited frequently, creating a ground zero for what Thompson called “a left-of-center” black music renaissance.”
The Roots Picnic set was to have been only D’Angelo’s second full concert since 2016. “Due to an unforeseen medical delay regarding surgery I had earlier this year, I’ve been advised by my team of specialist[s] that the performance this weekend could further complicate matters,” he wrote on Instagram at the time. “It is nearly impossible to express how disappointed I am not to be able to play with my brothers the Roots. And even more disappointed not to see all of you.”
“I’m so thankful to my beautiful fans for continuing to rock with me and I thank you for your continued support,” he added. “I’m currently in the lab and I can’t wait to serve up what’s in the pot.”
Thompson was instrumental in coaxing D’Angelo to release the 2014 album Black Messiah after a nearly 15-year hiatus. The path to that project, and the aftermath of the success of Voodoo, were chronicled in the 2019 documentary Devil’s Pie: D’Angelo, directed by Dutch filmmaker Carine Bijlsma. It also addressed the artist’s struggles with substance abuse, the loss of family members, fame and his recovery from a major car accident.
“Black Messiah is both ancient and fresh — a surging mass of old blues and new soul built from classic thought and rebel spirit, unending angst and beautiful struggle, sunshine and moonlight and cynicism and sex and fighting and loving and losing and praying and cussing and hating and hoping,” SPIN wrote in its contemporary review of the album.
D’Angelo’s only on-stage appearances since concluding promo work behind Black Messiah were at a 2021 Verzuz show at New York’s Apollo Theater and at that year’s Tribeca Film Festival, plus an April 2022 cameo with Questlove and Raphael Saadiq while covering Sly & the Family Stone’s “Babies Makin’ Babies” during the Netflix Is a Joke festival at the Hollywood Bowl in Los Angeles.
Saadiq previously told Rolling Stone that D’Angelo was actively working on new music, but nothing has come to light beyond “I Want You Forever,” his Jay-Z-assisted contribution to last year’s The Book of Clarence soundtrack.
D’Angelo is survived by three children. The mother of his first son, fellow R&B singer Angie Stone, died in a car accident in March.
Diane Keaton kept her personal life mostly private before her death at 79 in California, according to her family.
While she never shared any major health updates publicly in her final months, Keaton had previously spoken about her long battles with skin cancer and bulimia, according to E! Online.
Her trademark hats were more than a fashion choice. She began wearing them seriously after being diagnosed with skin cancer at 21.
“It’s a family history,” she told the Los Angeles Times in 2015. “I remember my Auntie Martha had skin cancer so bad they removed her nose. My father had basal skin cancer and my brother had it. It’s tricky with this skin cancer. That’s why you’ve got to put the sunblock on.”
Also read: Diane Keaton listed beloved $29M LA home for sale months before death amid ‘unexpected’ health decline
Keaton said she didn’t start caring for her skin until later in life. “Back in my 20s I didn’t pay attention much,” she admitted. “I didn’t research and didn’t really care and that was stupid because it’s dogged me my entire adult life, even recently. I didn’t start sun care until my 40s.”
After being treated for basal cell carcinoma in her 20s, Keaton was later diagnosed with squamous cell cancer, which required two surgeries, according to the Times.
She also spoke openly about her battle with bulimia, which began after being told to lose 10 pounds for a Broadway role early in her career.
“All I did was feed my hunger, so I am an addict,” she said in a 2014 interview with Dr. Oz. “It’s true. I’m an addict in recovery, I’ll always be an addict. I have an addictive nature to me.”
Keaton described how she would eat up to 20,000 calories a day before purging. “Typical dinner was a bucket of chicken, several orders of fries with blue cheese and ketchup, a couple TV dinners, a quart of soda, pounds of candy, a whole cake and three banana cream pies,” she said.
Eventually, she sought help. “Somebody mentioned that I seemed to have some mental issues, so I went to an analyst,” she said. “I would go five days a week.”
Keaton, who adopted daughter Dexter, 29, and son Duke, 25, in her 50s, later said she felt no need to hide her past.
“I have nothing to hide. It’s not relevant, but for me it feels good,” she wrote in her 2011 book Then Again, according to the New York Daily News. “I think I’m a sister to all the rest of the women, and I’m sure men as well, who have had some kind of eating disorder, and I’m a part of the team.”
Keaton accepted her Academy Award in signature style—a taupe blazer pinned with a pink carnation, a swaggeringly long skirt and clumpy ankle boots. She earned three more Best Actress Oscar nominations for Reds (1981), Marvin’s Room (1996) and Something’s Gotta Give (2003), for which she scooped a Golden Globe. Her performance as feminist Louise Bryant in Reds was feted as “nothing less than splendid” by The New York Times.
A face of L’Oréal since 2006, Keaton was a family favourite in Father of the Bride (1991), Father of the Bride Part II (1995) and The First Wives Club (1996). She later starred in The Family Stone (2005), Hampstead (2017), Book Club (2018) and voiced Dory’s goldfish mother in Finding Dory (2016). She directed Unstrung Heroes (1995), Hanging Up (2000), starring Lisa Kudrow and Meg Ryan, an episode of Twin Peaks (1991) and music videos including Belinda Carlisle’s 1987 hit Heaven Is a Place on Earth.
Keaton starred in eight Woody Allen films, including Manhattan, Sleeper (1973), Love and Death (1975), Radio Days (1987) and Manhattan Murder Mystery (1993), which earned her a Best Actress Golden Globe Award nomination. The couple first met—and dated for many years after—in 1968 when Keaton auditioned for Allen’s Broadway production of Play It Again, Sam at the Broadhurst Theatre, New York. She landed the lead part as the neurotic Linda Christie and reprised the role in Allen’s 1972 screen version. “She’d come in every day with an absolutely spectacularly imaginative combination of clothes. They were just great,” Allen told Rolling Stone in 1977. “Oh, she would—she was the type that would come in with, you know, a football jersey and a skirt… and combat boots and, you know… you know, oven mittens.” Allen predicted then that she “could be the biggest female star in the country.” The New York Times review read, “The supporting cast, especially Miss Keaton, is excellent.”