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Strokes - Officially Licensed Merchandise

The Strokes are an American rock band from New York City. Formed in 1998. Memebers include; Julian Casablancas, Nick Valensi, Albert Hammond Jr., Nikolai Fraiture, Fabrizio Moretti. Discography includes; Is This It (2001), Room on Fire (2003), First Impressions of .... Show More Earth (2006), Angles (2011), Comedown Machine (2013). Tours include; 2010 Tour, Angles Tour, Comedown Machine, First Impressions of Earth, Future Present Past, Is This It, Room on Fire. Show Less

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Brooks Koepka makes major equipment change ahead of Masters

Multiple major champion Brooks Koepka has made a surprising change to his setup ahead of the first major of the year.

Brooks Koepka has put a new putter in the bag ahead of the first round of The Masters at Augusta National on Thursday. 

Traditionally, the five-time major champion uses a trusty Scotty Cameron Teryllium Tour Newport 2, but having struggled on the greens so far this season, he has switched to one of Scotty Cameron's mallet models, the Phantom X 5.5.

Koepka put his new flat stick into play for the first time at LIV Miami , and it endured a torrid first outing, with the big-hitting American finishing tied for 45th after shooting back-to-back rounds of five-over on Saturday and Sunday.

Koepka finished the week -4.4 strokes gained with his new putter in the bag. 

So far this season, he is ranked 35th on LIV Golf for putting, averaging 1.61 putts per green.

The change comes as a surprise so close to the first major of the year, and Koepka will be incredibly motivated to win it following his disappointing finish in 2023 when he relinquished a four-shot lead in the final round to the eventual winner, Jon Rahm .

The change has notably seen Koepka move away from a traditional blade design to a higher MOI mallet profile, a switch similar to the current world number one Scottie Scheffler made earlier this season.

Scheffler also moved away from a traditional blade made by bespoke putter company Logan Olson in favour of a TaylorMade Spider Tour X

The change instantly paid off for Scheffler and helped him secure back-to-back victories at the Arnold Palmer Invitational and Players Championship . 

Elsewhere in the field, Sergio Garcia has also changed his putter ahead of the Masters. The Golfyr Maker 3 has been replaced by a refurbished 1999 Scotty Cameron Del Mar Prototype that Garcia used as a rookie on the PGA Tour . 

Garcia enjoyed a great week in Miami with the new putter, narrowly missing out on victory to Dean Burmester in a playoff

His new putter was in red hot form and helped him 7.1 strokes on the field putting during the week. 

With several practice rounds remaining before the first tee shot is hit on Thursday, it will be interesting to see if both players stick with their new putters. 

• Brandel Chamblee goes nuclear (!) on Jon Rahm before 2024 Masters
• Brooks Koepka told by tour pro: Rory McIlroy's career is better than yours
• Report: LIV Golf officials invited to 2024 Masters

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Moscow, Russia

Puzzling out Moscow for visitors under 30

Navigation games on the streets and conversation clubs in hostels are all part of the fun of figuring out Moscow when you’re young at heart. Source: Press Photo.

Hugging strangers, reciting poetry and looking for bird-shaped graffiti is not usually part of a city tour—but Moscow Game Tour is no ordinary company.

Nikita Bogdanov, 25, founder of the company, says: “It’s not a regular tour, it’s a quest. You interact with Russian people, and you gain more experience.”

Moscow Game Tour is one of a new breed of innovative tours run by and for young people. They are either low-cost or free, and prioritise interacting with locals over traditional sightseeing.

Mr Bogdanov started Moscow Game Tour in 2009 to encourage visitors to explore areas outside the city centre. In the tour, which costs 700 roubles (about $22), participants are “players” and complete challenges that lead them to clues in the shape of a matryoshka doll.

Discovering fairy-tale Moscow

Strolling around the Kremlin

Discovering a glorious corner of paradise

Many tasks involve asking passers-by for directions or trying a Russian phrase. Along the way, players discover interesting features such as a monastery canteen, or a Socialist Realist statue.

Some clues are easier to locate than others. “There was one spot that we absolutely could not find,” says Vera Baranova, 25, who took part in a quest at Tsaritsyno Park in south-east Moscow. “When we asked someone, it turned out that we were actually right on top of it.”

Mr Bogdanov also operates the Moscow Free Tour, which provides an overview of major sites between Kitai Gorod and the Kremlin free of charge. In peak season, this more traditional outing attracts between a dozen and 40 people every day; the Game Tour runs only once or twice a week and usually attracts between five and 10 participants. Convincing visitors to sign up for an unconventional tour can be a challenge. “The Free Tour is more popular because it’s more easily understandable,” Mr Bogdanov says. “For the Game Tour, you need to explain to people what it is.”

Business has picked up as Mr Bogdanov has formed relationships with hotels, major tour agencies including TUI and companies such as Google. This year, he also began receiving support from Moscow’s Committee for Tourism and the Hotel Industry, which has launched a programme called “Moscow Fresh” to support creative tourism.

Moscow Game Tour is one of a new breed of innovative tours run by and for young people. Source: Press Photo.

In addition to the Free Tour and Game Tour, Mr Bogdanov’s company offers daily paid-for tours with a variety of themes. The retro Communist Tour visits central Soviet landmarks, including the Lubyanka (former headquarters of the KGB); the Gulag Museum; a Soviet-style canteen and Eliseevsky, a regal shop on Tverskaya Street considered the grandest store in the Soviet Union (which these days sells imported French yoghurt and other modern luxuries).

Visitors can also venture below ground on the Metro Tour.  The latter stops at some of the most ornate stations in Moscow’s beloved Stalinist metro system, such as the mosaic-adorned Komsomolskaya. In an attempt to supply visitors with information beyond the average pocket guide, the tour recounts little-known facts about the metro, such as how many babies have been born on it.

Alexei Sotskov, 30, was inspired to start Moscow Greeter , a local franchise of the international Greeter network, after giving informal tours to friends. “I have a lot of friends in foreign countries, and when they come to Moscow I show them interesting places. So I thought it would be a great idea to start running a tourist service,” he says.

The greeters are mostly students learning English who take visitors to lesser-known sights, such as the former royal estate Kolomenskoye, as well as exhibitions and sporting events. The greeters not only show the tourists around but they also chat to them. “Greeters talk about their lives, their parents, where they’re from in Moscow, and where they study,” says Mr Sotskov. 

“Traditional guides just give people information they read in a book.”

Valentina Lebedeva, a second-year linguistics student, has been a greeter for two months. “When most people come to Moscow, they visit the Kremlin and everything, but they go back and they still don’t really get how people really live here,” she says.

“Greeters offers tourists a good way to get a real impression of Russia, so that you don’t just visit the usual tourist sights.”

Another unconventional tour company, Lovely Russia , also strives to provide a more engaging experience for tourists. “A lot of the tours I saw being run by tour providers were really boring, just buses with large crowds of 60 year-olds,” says the company’s co-founder Anna Shegurova, 25. “There was not a lot for a younger crowd, a more off-the-beaten-path kind of thing.” Lovely Russia offers a variety of $22 tours in English. Locations include metro stations, Constructivist landmarks and a “Moscow as it is” outing that winds through the city’s side streets. At the end of the tour, guides suggest places where participants can enjoy a beer.

Ms Shegurova says the guides try to show visitors “a different side of Russia”.

“It’s a great city with a really long and interesting history… but you wouldn’t really know unless you have someone with you who’s able to share this history and make it interesting,” she says.

For visitors without a guide, getting around Moscow can still be a challenge. Over the past year,  some English-language signs indicating the locations of historical sights have been put up, but metro and street signs remain in Cyrillic.

Mila, volunteer for 'wow local'

“Coming here, it’s very hard to get orientated,” says Irina Tripapina, 25, the organiser of WowLocal . “We decided to compensate for the lack of information in English by establishing a community of volunteers who are willing to help visitors find their way.” After passing language and navigation tests, WowLocal volunteers are given T-shirts and badges emblazoned with the phrase “Ask Me, I’m Local.” 

“Tourists can meet WowLocal at any part of the city and at any time – even at night in Butovo,” says Ms Tripapina, referring to the suburb south of Moscow.

Since the project started in July, Ms Tripapina says it has recruited about 400 volunteers. She wears her badge every day on her way to work, and says she’s frequently stopped by foreigners asking for directions (as well as Russians looking for the metro).

Occasionally, she fields some more unusual requests: “Once, a guy from Britain asked me where to get a bowl of pelmeni,” she says.

WowLocal also brings together local people and tourists through city navigation games and conversation clubs at hostels. “We bring volunteers together with the travellers, so that they can share with each other,” explains Ms Tripapina.

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Maggie Rogers’s Journey from Viral Fame to Religious Studies

By Amanda Petrusich

In the fall of 2021, the singer and songwriter Maggie Rogers entered the graduate program at Harvard Divinity School. For anyone unacquainted with the particulars of the degree Rogers was pursuing—a master’s in religion and public life—it might have sounded as though she were abandoning burgeoning pop stardom to reinvent herself as a priest. “It’s a peace-and-justice program, it’s not a seminary,” Rogers told me over dinner in Cambridge, in early February. “I’m not from any particular religious tradition. I was not trained in any particular religious tradition.” Rogers, who is twenty-nine, was trying to make her life feel more useful and less surreal. “I woke up one day and I was famous,” she said. “I was really burnt out. I was diagnosed with chronic fatigue. I thought I wanted to quit music. A lot of what I came here to do was to think about how to create a more sustainable structure around a creative practice.” This spring, Rogers will release her third album, “Don’t Forget Me,” a breezy collection of pop-rock songs that she wrote in consecutive order, during five kinetic, bountiful days last winter. It is, in many ways, the loosest and most elemental music she’s made.

In 2016, Rogers was “discovered”—though the word almost feels too intentional—by the polymath hitmaker Pharrell Williams, while she was attending New York University. Williams visited one of Rogers’s classes at the Clive Davis Institute of Recorded Music, a program within the Tisch School of the Arts; he was an artist-in-residence there, and she was a senior. The institute is the sort of place where, say, Questlove might teach a seven-week course on the Beastie Boys, and the Beastie Boys might show up on the final day. During Williams’s visit, Rogers played him an early version of “Alaska,” a song she’d written after going to Berlin and having “a really spiritual experience” with dance music. “Club culture, for an N.Y.U. freshman or sophomore, always meant tight dresses, a certain amount of money, the meatpacking district,” Rogers said. “I didn’t have clothes for that.” The scene in Berlin was different—less preening, more raw. “They said I had to wear sneakers or I wouldn’t get in,” Rogers recalled. Meanwhile, she was learning more about how to produce and manipulate rhythm, using both analog and electronic elements (drums, bass, synthesizers, outboard gear, programming software). “I had always thought that singing was the oldest and most primal way to connect,” she said. “When I discovered the connection people can have through rhythm, something really changed.”

“Alaska” is a brittle meditation on interpersonal dissonance. “You and I, there’s air in between,” Rogers sings on the chorus. That tension is deftly mirrored in the song’s sound. There’s something earthy about Rogers’s presence (she was brought up in rural Maryland, and played the harp and the banjo as a teen-ager), yet the song’s production is spectral, icy, electronic. Rogers told me that she wrote “Alaska” in five minutes, which is how she often works: urgently and with deep focus, as though she were channelling a faint signal.

Williams’s meeting with the class was filmed. Rogers was wearing jeans, a thrifted L. L. Bean shirt, and a necklace made from two elk vertebrae strung on cooking twine. She told Williams that she had previously made only folk music. Her professor, the producer and engineer Bob Power, interrupted: “But kind of postmodern stuff, too. It was not just boom-chicka-boom-chicka.” She clarified her intentions for the track. “All I want to do is kind of combine that folk imagery and harmony and natural samples that I’ve been picking up while hiking over the last couple years with the sort of backbone and energy of dance music,” she said. “We’ll see if I’m successful.” As the song started to play, Rogers seemed a little unsure of where to direct her gaze. The video is endearing: a young artist presenting her work and nervously awaiting judgment. It soon becomes clear that Williams is feeling it. When the track ends, he tells her that he has “zero, zero, zero notes,” and then compares her individuality to that of the Wu-Tang Clan. “I can hear the journey,” Williams tells her. “I’ve never heard anything that sounds like that. . . . That’s a drug for me.”

The full thirty-minute clip of the class, including Williams’s responses to other students, was uploaded to his label’s YouTube channel in March of that year; in June, a fan posted Rogers’s portion to Reddit. It didn’t take long for the clip to go viral. One of Rogers’s childhood friends, Nora Neil, remembered Rogers calling to say that she was trending on Reddit. “I was at my grandmother’s house,” Neil recalled. “And I said, ‘I unfortunately do not know what that means.’ That first day, those first few hours, it was, like, ‘Whoa, what is this?’ . . . Her life really did change overnight.”

Rogers was one of the first pop stars to achieve fame by unintentionally captivating the Internet, and, strangely, she was also one of the last. These days, virality is not so much a lightning strike as a marketing scheme, reverse engineered by executives and masquerading as serendipity. A. & R. representatives often scout new talent by dissecting social-media numbers, as though music could be a “Moneyball”-style game of statistics. But in 2016 the online-to-IRL catapult was still unpredictable. It was exhilarating to watch the arc of its fling.

It helped that the distinctive sound of “Alaska”—a fusion of organic and synthesized—was beginning to take hold in independent music. For a brief moment, it seemed as though drum machine meets trail mix might be the next big vibe. A bidding war broke out among interested record labels. Rogers eventually signed with Capitol, where she was given her own imprint, Debay Sounds. In early 2017, she released an adventurous, genre-bending EP, “Now That the Light Is Fading,” which included an updated version of “Alaska.” She was invited to appear on the “Tonight Show” and “Saturday Night Live,” conspicuous bookings for an artist who had officially released only a handful of songs. Those early performances were magnetic. The first time I saw her live—in April, 2017, at Music Hall of Williamsburg, a six-hundred-and-fifty-person venue in Brooklyn—the room had the charged feel of a tent revival. Onstage, Rogers can be a little wild. Her movement is spontaneous, erratic; she can appear almost possessed. In the video for “Alaska,” she strides through a forest at dusk, wearing jeans and a baggy zippered sweatshirt, her hair down, no visible makeup, periodically twisting and jerking her body in a way that reminds me of both the best modern dancers and my toddler when she hears the Supremes.

Rogers told me that when she was in middle school she won an essay contest with a piece about watching other people have fun. “I fit in enough —I’ve always had amazing friends,” she said. “I don’t mean to self-aggrandize, like I’m some great weirdo. I think I’m a pretty normal dude.” She paused, and laughed. “But also, I’m pretty abnormal.” She described her favorite artists as “fearless freaks,” and said that she believes a little bit of estrangement can be a useful creative tool: “To make something real, sometimes it helps to know what it’s like to not be like everybody else.”

Rogers’s first full-length album, “Heard It in a Past Life,” came out in January, 2019, and débuted at No. 2 on the Billboard 200. The following year, she was up for Best New Artist at the Grammys. Speaking about it now, Rogers tends to emphasize that her time line was measured, nearly quaint by some standards—almost three years passed between her viral moment and the release of her first LP—but it’s clear that the pace and the scale of her success were nonetheless unnerving. On “Light On,” a single from “Heard It in a Past Life,” Rogers sings of feeling alienated, panicked:

Tried to slow it all down Crying in the bathroom, had to figure it out With everyone around me saying “You must be so happy now”

“I was so young, but I was also old compared with the age of people going through it now. I got to fully develop, go to college, fuck off, and think I was gonna be a journalist,” she told me. “I was in dumb bands playing in clubs and there’s no footage of it.” The experience of being thrust into celebrity meant, ironically, that she didn’t have time to make music. “I’d never been less of an artist than when I became a professional artist,” she said. “There was a really specific moment, in 2017 or 2018, where I was at camera blocking for what must have been my fourth or fifth or sixth late-night performance singing ‘Alaska.’ I had a massive panic attack. I was just, like, ‘What the fuck is my life?’ I felt like a show pony.”

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Rogers’s second album, “Surrender,” from 2022—a hungry, carnal pop record about yearning for transcendence—shares a title with her master’s thesis; her appearance at Coachella in April of that year fulfilled the degree’s public-presentation component. Rogers is now in the midst of a postgraduate fellowship, which will end in May. She’s using the time to adapt her thesis into a book, a process she has found similar, in one way, to songwriting. “You have to be specific about experience,” she said. The manuscript focusses on the idea of creativity as a form of religion, and stardom as a kind of default modern pulpit. “Early in my career, people were using religious language to describe my shows,” she said. “ Rolling Stone published a piece in 2019 with the headline ‘Maggie Rogers: Festival Healer.’ The BBC published one that said ‘Billie Eilish is my cult leader. . . . Maggie is my God.’ ”

Headlines are overblown by design, but her audience’s devotion—something akin to worship—was real. The tumult of the Trump Administration and the pandemic meant that Rogers’s fans, like everyone, were increasingly desperate for moral guidance. But Rogers was, too. “I was looking for answers, just the same as everybody else,” she said. “It was really jarring—people asking me for advice on suicide, or to perform marriages. I started to realize that there was this functional misalignment with the work that I had trained to do and the work that I was being asked to perform. I was put in this unconventional ministerial position without having undergone any of the training. Anyway, that’s how I made it to divinity school. What I ended up doing was developing a system for myself to hold these things. And then I went out and tested it.”

On a recent press tour in Britain, Rogers was reminded of how much more at ease she feels now. “I was being asked to do quippy promo stuff,” she said. “But that’s not who I am or what I do. The twenty-two-year-old version of me just wanted to be great at this thing. But I can’t improv with you—I can’t be the cool, funny girl.” She went on, “I wanted to have this life, and I was willing to do whatever I needed to do to support it. But then I learned that there had to be boundaries, because I’d walk away feeling like I’d betrayed myself.”

After our dinner, Rogers suggested that we visit the Emerson Chapel, a stately, wood-panelled room where she took a writing class with the author and conservationist Terry Tempest Williams. She zipped up a long parka, and we walked across Cambridge, propelled by a glacial wind. The campus was quiet. Rogers swiped us into the building. In 1838, the transcendentalist poet-philosopher Ralph Waldo Emerson delivered his Divinity School Address to a group of six graduates and their theology professors in the room. Emerson had resigned from his position as a Unitarian minister after growing frustrated by the way that Church doctrine cloistered the sacred and the profane. In his address, he suggested that God is present in everything. “He was basically, like, ‘What if the light outside was God?’ ” Rogers said. The room smelled of lemon oil. “I only feel ready for this now ,” she said, of her career. “I feel O.K. in the center of it. Finally.” We hung around, admiring the stained glass and the pipe organ, until a security guard appeared in the doorway and said that it was time to leave.

Rogers made “Don’t Forget Me” at Electric Lady, a recording studio on West Eighth Street, in Greenwich Village. One afternoon, she offered to give me a tour. The studio was built in 1970 for Jimi Hendrix, who died less than a month after it opened but remains its guiding spirit; in a portrait that hangs in a stairwell, he’s wearing some kind of exquisite jacket, four or five necklaces, a thin mustache. His eyes are cast downward. The air smells permanently of palo santo. On a coffee table were bowls of fresh fruit and jelly beans, and a copy of that morning’s Times . Rogers used to live on West Fourth Street. “I studied studios,” she said. “I would walk by every day and look at my reflection in the mirrored glass and be, like, ‘I wonder if I’ll ever get to record here.’ It was a place that I saw myself literally, physically reflected in, during a moment in my life where I was still really, really, really dreaming.”

Even though “Don’t Forget Me” wouldn’t be released for another month, Rogers was already working on songs for her next album. She speaks about songwriting as a full-body process. “When I’m writing, the first thing I do is take my shoes off. My hands get hot. It’s so fucking physical,” she said. The work also seems to require a kind of spiritual stillness. “It’s like a puzzle,” she said. “If you can keep your focus on it for long enough, it appears. It’s right there —but the second your brain moves it’s gone.” She often enters a kind of hyper-focussed state. “When I’m onstage, or when I’m making something, I’m not thinking about who I am or what I’m trying to do. Time gets really sinewy. It’s spidery and slow. There’s wonder. And it’s just special, and I’m in it , and my hands are up, and I’m figuring it out. And then I come out of it, and it doesn’t even ever feel like it was mine to begin with.”

Since “Heard It in a Past Life,” Rogers has mostly eschewed dance music for a fuller, more rock-and-roll-inflected sound. “Don’t Forget Me” reminds me of the mid-seventies output of Linda Ronstadt and Carole King—burly, coltish, tender, fun. Rogers is no longer reliant on confessional first-person writing. “I was picturing a girl in her twenties on a road trip,” she said. “In my brain, this record takes place within the span of twenty-four or forty-eight hours. It felt like writing a movie, scene by scene.” One track, “Never Going Home,” is a rollicking, propulsive recounting of a night out, part Shania Twain, part Sheryl Crow: “We get to talking, but those lips aren’t your lips / We lean together, those hips aren’t your hips,” Rogers sings. She told me, “I’ve never lived that story, but I can picture a version of my life where I was going through a breakup and a friend was, like, ‘Shut the fuck up, we’re going out,’ and took me dancing and made me make out with some guy.” Inhabiting different characters enabled Rogers to be goofier, friskier, more mischievous. “So Sick of Dreaming” contains a chatty spoken interlude about getting stood up at a steak house which ends with “I mean, what a loser!” I told Rogers that there was a giddiness to her delivery on this album that I hadn’t heard before. “My friends all said, ‘This is the side of you that we see,’ ” she said.

Rogers wrote most of the record with the producer Ian Fitchuk. They met in Los Angeles in 2019, when Fitchuk was there for the Grammy Awards. (He was a co-writer and co-producer on Kacey Musgraves’s “Golden Hour,” which won both Album of the Year and Best Country Album.) Rogers was having dinner with the writer Lizzy Goodman, who, years earlier, had hired Rogers as an intern and tasked her with transcribing many of the hundreds of hours of interviews that later made up “Meet Me in the Bathroom,” Goodman’s oral history of the post-9/11 downtown rock scene. After dinner, Rogers and Goodman were going to see the Strokes. “I scared her when I said hi and introduced myself,” Fitchuk recalled. In November, 2022, Rogers sent him a D.M. “We hopped on the phone, and he said, ‘You haven’t captured your live performance on a record yet.’ And I was, like, ‘Yeah, that’s completely true,’ ” she told me. “My record brain and my performance brain are binary. They’ve always felt like separate crafts to me, in a way. The spontaneity is the through line.”

She and Fitchuk booked studio time that December. “I didn’t have any songs written, there was no mood board, no color board, no feeling of ‘I need to document this thing in my life.’ Everything, everything , was a first take,” Rogers said. “I was playing instruments. Ian was playing instruments. I knew when something felt like me and when it didn’t. It was really instinctual.” She added, “We worked from ten to five. I went to dinner with my friends after.”

“Often, a song was fully formed in less than an hour, and then it was on to the next,” Fitchuk said. “I find that it’s easier to work with artists who have strong opinions,” he added. “It makes it easier to know when you’re on the right path.”

Despite the album’s effervescence, many of its tracks describe the protracted dissolution of a romantic relationship. “So much of this record is a breakup album,” Rogers said. “In the time since I made it, I actually have gone through a breakup.” That relationship, which Rogers said lasted five years, ended peacefully. “I’ve really grappled with that for the last couple months,” she said. “What does it mean? It wasn’t a premonition.” For now, Rogers described her heartache as falling in love backward. “You’re as on fire and awake to the world,” she said. “Music sounds better. Food sucks.” She added, “I’ve never been single, really. I’m in a grief season with it. But I also feel a sense of freedom.”

I told Rogers that I’d noticed a theme in her lyrics: the possibility of loving someone without possessiveness or panic. “Oh,” she said. “That’s cool. That’s how I feel about love.” She paused. “I think, in choosing someone, I want to be chosen back. You know? So much of this record is about mutual culpability.” She continued, “The art that means the most to me has some friction. To me, living a beautiful life is so much about devotion, and devotion to art is about telling the truth. That’s not always an easy story to tell, especially when it points back to ‘I’m fucked up, too.’ ”

In late February, Rogers performed at Carnegie Hall, as part of a benefit concert for Tibet House, a nonprofit created at the behest of the Dalai Lama, to protect Tibetan culture under Chinese occupation. The composer Philip Glass, a co-founder of the U.S. iteration of the organization, had sent Rogers a handwritten letter inviting her to participate. “I think you would enjoy it,” he had said.

Rogers told me that she was thinking about dressing “like Beethoven” for the event, and pulled up a selfie in which she was wearing black suit trousers paired with a white ruffled shirt, not unlike the infamous frilly blouse featured in the “Seinfeld” episode “The Puffy Shirt.” “I love clothes,” she told me later. “I love the world-building. That’s the childlike part of me. It’s also an environmental factor that helps me switch between my different brains. Putting the uniform on.” When she performed on the “Today” show shortly after “Heard It in a Past Life” came out, she wore a vintage T-shirt with a picture of Eleanor Roosevelt on it, tucked into high-waisted silk pants. “I was so terrified of being sexualized in any way that I kind of crushed my own sexuality in an effort to protect myself,” she said. Now her look alternates between vaguely professorial and something more glamorous. She has adopted a different hair style for each record, including long, surfer-girl waves for “Heard It in a Past Life” and a dramatic pixie cut for “Surrender.” These days, she wears her hair golden and shoulder-length. “It’s not, like, a pop-star thing,” she said, of the changes. “Anyone who’s known me for ten-plus years is, like, ‘Oh, we’re doing this again?’ I had a pixie cut in the sixth grade, in the eleventh grade, and my sophomore year of college.” I brought up a line from “Alaska.” (“Cut my hair so I could rock back and forth / Without thinking of you.”) “Thank you!” she said, laughing. “I have receipts! To me, it’s about the externalization of an internal transition. It’s sort of the same way I’m not good at hiding the way I feel. I’ll tell you. Or you can just check out my haircut.”

At rehearsals the day before the Carnegie Hall show, Rogers met Joan Baez, who was also scheduled to perform. Rogers told me that she had long admired Baez and her “writer-bohemian” contemporaries, such as Patti Smith and Joni Mitchell. “That’s the lineage that I want to write into,” Rogers said. While the rock band Gogol Bordello ran through its set, Rogers, Baez, and the avant-garde musician Laurie Anderson danced wildly on the side of the stage. Baez was doing a kind of euphoric jig; Anderson launched into a “Saturday Night Fever”-style arm roll. Rogers moved freely, lightly up and down, a blissful bounce that looked more like levitation.

Later that afternoon, Rogers and Baez decided to sing Bob Dylan’s “Don’t Think Twice, It’s All Right” together onstage. Dylan wrote the song in 1962. It’s the most treacherous kind of breakup tune, a little bitter, a little devastated: “I’m a-thinking and a-wonderin’ walking down the road / I once loved a woman, a child, I’m told / I give her my heart but she wanted my soul / But don’t think twice, it’s all right.” Rogers called her parents and encouraged them to come up from Maryland for the concert.

The next evening began with a chanted prayer by Tibetan monks, followed by Anderson performing a version of her song “Walk the Dog,” infused with spoken koans: “We don’t know where we come from,” she intoned. “We don’t know what we are.” What followed was appealingly loose. There were some sound problems—at one point, Michael Riesman, of the Philip Glass Ensemble, performing a section of “Music in Twelve Parts,” abruptly stood up from his keyboard and strode toward the sound board, looking pissed—but the energy was pure. “I am here to read an Allen Ginsberg poem while wearing Fenty Beauty concealer,” the comedian Bowen Yang announced, before reciting “Who Be Kind To,” a lusty and ecstatic piece from 1965. (“Desire given with meat hand and cock, desire taken with / mouth and ass, desire returned.”)

Rogers had nixed the Beethoven ensemble and was wearing a less aggressively collared shirt. She ran through an acoustic version of “Alaska,” backed by the Scorchio Quartet. It was followed by “Don’t Forget Me,” accompanied by the Patti Smith Band. Rogers’s voice gets a little raw on the chorus:

So close the door and change the channel Give me something I can handle A good lover, or someone who’s nice to me Take my money, wreck my Sundays Love me til your next somebody Oh, but promise me that when it’s time to leave Don’t forget me

Soon after that, it was time for the duet. Dylan likely didn’t write “Don’t Think Twice” about Baez, though they were involved in the early sixties, breaking up for good in 1965, as Dylan’s career was taking off. “I think about her and Bob Dylan—it just makes me want to fucking wreck that dude,” Rogers told me. “That song—the more I play it, the more I’m, like, ‘This shit’s fucking sad.’ ‘Don’t Forget Me,’ too. Both are sad as shit. The idea that the baseline is just someone to be nice to me—fuck, man.” Baez’s voice is lower, heavier, and grittier these days; when Rogers joined in for harmonies, it felt like a butterfly landing on a tree branch. They swapped the song’s pronouns (“I once loved a boy, a child, I’m told,” they bellowed), which gave it a pleasantly vengeful feel. The crowd went nuts. Later on, offstage, Baez told Rogers, “You sang all the notes I would have sung.”

Beginning when she was nine, Rogers spent her summers at Wohelo, an all-girls camp founded in 1907, on Sebago Lake, in Maine. There is no electricity or running water in the cabins. One morning, she texted me some old, sepia-toned photos of the place: girls in modest bathing costumes, rowing canoes. “I learned to write letters,” she said. “There were limits on technology in my life growing up that kept my inner kid safe for a long time.” For high school, she attended St. Andrew’s, a boarding school situated on more than two thousand bucolic, wooded acres in Middletown, Delaware. These traditional institutions—including, more recently, Harvard—are steeped in a sense of stoicism, seriousness, and erudition. They have had an undeniable aesthetic and spiritual influence on her. “It wasn’t until I saw ‘The Holdovers’ that I was, like, ‘I am deeply the product of this environment,’ ” Rogers told me. “I’m so obsessed with creating something that feels timeless but modern.”

Rogers, by her own admission, can be intense. “I’m so fucking headstrong,” she told me one morning. We were eating fried eggs at Washington Square Diner, an old-school breakfast joint near N.Y.U. “I’m not wishy-washy in any way. People get scared of me. But the right people aren’t scared.” In conversation, Rogers is open, generous, and cerebral. But she is not prone to abiding inanity. (Once, when I was pestering her to describe her childhood, she stopped me, suggested that I could probably find most of the information I was looking for online, and then said, “This is a little bit like fact-check-y speed dating,” which did not feel like a celebration of my reportorial prowess.) “I’m fundamentally in the business of selling my own emotions,” she said. “There has to be some real humanity kept sacred.”

It’s easy to be skeptical of artists who suggest that no, really, they can take it or leave it—celebrity requires constant and effortful maintenance, after all—but I came to believe Rogers when she said that she was more interested in the process of making things than in whatever happens afterward. For years, I heard the single “Light On” as about love doomed by bad timing—a person asking, earnestly, What if there was a way for us to hold and care for one another, beyond the sometimes impossible confines of a traditional relationship? The chorus presents a kind of compromise:

If you keep reaching out Then I’ll keep coming back If you’re gone for good Then I’m okay with that If you leave the light on Then I’ll leave the light on

During my time with Rogers, I started to hear the song as a rejoinder to fame. The sort of attention that she commanded at the start of her career has been supplanted by a quieter, steadier sort of stardom, and she is now focussed, she said, on recognizing “that the cup is full, and not overflowing, and how nice that is.” Buttering a triangle of toast, she continued, “That’s even better—there’s no mess. I’m trying to have a good time, and make shit that I love with people I love. If that works, if it communicates or connects, awesome. If it doesn’t, eighty thousand other records came out that day. It’s O.K!” She went on, “On ‘Heard It in a Past Life,’ I was very commercially ambitious. On ‘Surrender,’ I was very artistically ambitious. Now I’m in this era where it feels very personally ambitious, in the sense that I’m just trying to have the best time while I’m here.”

Musically, a focus on pleasure seems to suit her. The songs on “Don’t Forget Me” aren’t quite as tonally striking as “Alaska,” but they have an intoxicating ease: Rogers sounds unhurried, languid, free. I hear the single “So Sick of Dreaming” as a kind of modern companion piece to Linda Ronstadt’s “When Will I Be Loved,” a No. 1 country hit in 1975, written by the Everly Brothers. Both are refutations of selfish lovers, though “So Sick of Dreaming” contains a bolder declaration of independence. “I’m so sick of dreaming,” Rogers sings. “Oh, I’m all that I’m needing.”

I asked Rogers if she ever wished that her rise to fame had come about differently. She thought for a moment. “I wish that I had uploaded ‘Alaska’ myself,” she said. “But, because of the way it happened, this deeply unguarded version of myself as a student is the version people first saw. My authenticity was full and center. I didn’t have the chance to put on the mask.” She has also had to contend with another very famous person being an inextricable piece of her origin story. “I was being asked about him every single day, and had to be, like, ‘I don’t know him. You’ve seen everything,’ ” she said. More recently, she and Williams have reconnected. “Pharrell and I are friends now. He’s so cool—duh.”

The experience of performing “Alaska” at Carnegie Hall, in front of people culled from various corners of her life—her parents, classmates from Harvard, old professors, her musical peers, Joan Baez—felt like an apotheosis. “I’m gonna get emotional talking about it,” Rogers said, her eyes slowly filling with tears. “It’s been almost ten years since I wrote that song. I was thinking about the person who I was when I wrote it, and thinking about where I am now. I think the girl who wrote that song would be really proud.” She has been experiencing a lot of moments like this lately. In late March, she performed with Bruce Springsteen and the country singer Zach Bryan at the Barclays Center. “Craziest shit in the entire world,” she said the next morning. “My hand is purple. I overenthusiastically tambourined and gave myself a bruise.”

Rogers recently bought an apartment in New York. It was on a list of three things (find an apartment, release a new album, finish the book) that she wants to do before she turns thirty, at the end of April. One afternoon, she and I decided to visit the Dream House, a site-specific “sound and light environment” conceived in the nineteen-sixties by the minimalist composer La Monte Young and his wife, the multimedia artist Marian Zazeela. The Dream House has been situated in a two-room, third-floor space in Tribeca since 1993. (Young, who is eighty-eight, lives downstairs; Zazeela died last month.) Inside, two atonal compositions (one by Young and one by the artist Jung Hee Choi) play on large speakers. Neither of the pieces gestures toward melody or rhythm, and, because of the way that the speakers are arranged, every movement, however slight—a breath, a blink—changes the shape of the sound. Zazeela’s lights give the room a cool, pinkish-purplish glow. If you’ve ever walked by a buzzing neon sign late at night and wondered what it would be like if you could squeeze your entire body inside and slowly dissociate from time and space—welcome to the Dream House.

Shoes are not allowed, and, given the volume, talking isn’t possible. If you arrive with a companion, you will have to figure out a subtle little gesture to indicate to each other that your insides have been rearranged and you are ready to depart. The space features thick white carpeting. A stick of incense is perpetually crumbling to ash. After a while, Rogers and I sort of loonily nodded at each other, and stumbled back onto the street. She asked me if I knew how long we’d been inside. Time felt elastic. I guessed that it had been fifteen minutes—thirty, tops—though it had actually been an hour. “Dude,” Rogers said.

Outside, it was bracingly cold. We wandered around until we found a tiny champagne bar, which felt like an appropriate coda. Inside, we toasted to the Dream House, to dreams, to dreaming. Rogers said she’s trying to inch further away from the isolation of what she refers to as “first name, last name” pop stardom. It has been helpful to focus on music as an inherently communal practice, shared with her collaborators and her fans. “I had all these moments in the early years where I felt really alone,” she said. “I was putting so much of it onto one leg. Now it’s a tripod, and it’s so much more sturdy.” ♦

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Alexei Navalny 'was brutally murdered by the Kremlin': Latvian president condemns Russia's regime as politician once poisoned by Vladimir Putin 'collapses and dies after a walk' in prison

• The 47-year-old was last seen via video link during a court hearing on Thursday

By Chris Jewers

Published: 06:28 EDT, 16 February 2024 | Updated: 12:17 EDT, 16 February 2024

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Alexei Navalny was 'brutally murdered by the Kremlin,' Latvia's president has said, after Russia reported today the jailed opposition leader had 'collapsed and died'.

Russian news outlets announced Navalny's death - citing the Siberian prison service where he was serving his sentence - sparking shock and anger around the globe, with world leaders quickly pointing the finger at Russian president Vladimir Putin.

As  Putin 's fiercest foe, Navalny crusaded against official corruption and staged massive anti-Kremlin protests - drawing Moscow 's merciless retribution.

He once survived an assassination attempt involving the Novichok nerve agent, but returned to his homeland upon his recovery, despite knowing he would be arrested.

Ever since, he has been  serving time on extremism charges after being sentenced to 19 years behind bars, and in December was moved from a prison in central Russia to a 'special regime' penal colony known as 'Polar Wolf' above the Arctic Circle.

The 47-year-old was last seen via video link during a court hearing on Thursday. 

Dressed in black prison uniform, he appeared to be in good spirits - his trademark humour back on show. 'Your Honour, I will send you my personal account number so that you can use your huge salary as a federal judge to 'warm up' my personal account, because I am running out of money,' he said.

Navalny's mother Lyudmila said she had seen her son in the prison colony on Monday. At the time, she said: 'He was alive, healthy, cheerful.'

But the Federal Prison Service said in a statement today that Navalny felt unwell after a walk and lost consciousness. An ambulance arrived to try to save him, to no avail.

Speaking at the Munich Security Conference just hours after the news of her husband's death broke, Yulia Navalnaya said she was sceptical because it had come from Russian government sources.

Jailed Russian opposition leader Alexei Navalny is dead, the prison service of the Yamalo-Nenets region where he had been serving his sentence said on Friday

Russian news outlets announced Navalny's death - citing the Siberian prison service where he was serving his sentence - sparking shock and anger around the globe, with world leaders quickly pointing the finger at Russian president Vladimir Putin (pictured in Russia today) 

Navalny, pictured with his wife Yulia in happier times, crusaded against official corruption and staged massive anti-Kremlin protests - drawing the ire of the Kremlin

Navalny's final message: The Kremlin critic posted Valentine's message to his wife, Yulia, on Wednesday (pictured). 'Baby, everything is like in a song with you: between us there are cities, the take-off lights of airfields, blue snowstorms and thousands of kilometers,' it read. 'But I feel that you are near every second, and I love you more and more'

'We cannot trust Putin and the Putin government. They always lie,' said Navalnaya, who was solemn and tearful.

'But if this is true, I want Putin, his entire entourage, Putin's friends, his government to know that they will bear responsibility for what they did to our country, to my family, to my husband. And this day will come very soon.'

She called on the international community to unite against what she called Russia's 'horrible regime'.

'Both this regime and Vladimir Putin must bear personal responsibility for all the terrible things they have been doing to my country, to our country, Russia, in recent years,' she said.

The news of Navalny's death came from an official statement from Russia's prison system. 'On February 16, 2024, in correctional colony No. 3, convict Navalny A.A. felt unwell after a walk, almost immediately losing consciousness,' it said 

'Emergency doctors confirmed the death of the convict,' it added.

READ MORE:  Inside Alexei Navalny's four years of hell: Timeline of Russian opposition leader's battle against Vladimir Putin from Novichok poisoning to dying in prison 

Russian news agency Interfax reported that it was told the ambulance team reached the colony where Navalny was serving his sentence in seven minutes.

It took another two minutes to reach the patient, it claimed.

'The doctors who arrived at the scene continued the resuscitation measures that were already being provided by the penal colony's doctors. And they spent more than half an hour. However, the patient died,' said the local hospital.

Reports said his time of death was recorded as 2.17pm local time (7.17am GMT).

Christo Grozev, the lead Russia investigator with Bellingcat, noted that the statement announcing Navalny's death was posted just two minutes later - at 2.19pm.

Navalny's spokesperson said on the X social media platform that she was unable to confirm his death. Kira Yarmysh said that Navalny's lawyer was travelling to the site of the prison where he had been serving his sentence.

Leonid Volkov, a Navalny aide, said: 'The Federal Penitentiary Service in the Yamalo-Nenets District is disseminating news about the death of Alexei Navalny in IK-3.

'We don't have any confirmation of this yet. Alexey's lawyer is now flying to Kharp. As soon as we have any information, we will report it.'

Russia's TASS news agency reported that Navalny did not complain about health problems before his death.

Putin has been informed about his rival's death, his spokesman confirmed.

Dmitry Peskov said: 'As far as we know, in line with all the existing rules, the FSIN [prison service] are running all the checks and establishing... all of that. No orders are needed for that because there is a certain set of rules for these occasions.'

Asked if it was true there was a blood clot, he said: 'I don't know, I don't know…. The medics should establish [cause of death].'

In Putin's Russia, political opponents often faded amid factional disputes or went into exile after imprisonment, suspected poisonings or other heavy repression.

But Navalny grew consistently stronger and reached the apex of the opposition through grit, bravado and an acute understanding of how social media could circumvent the Kremlin's suffocation of independent news outlets.

He faced each setback - whether it was a physical assault or imprisonment - with an intense devotion, confronting dangers with a sardonic wit.

When Putin sent troops to invade Ukraine in 2022, Navalny strongly condemned the war in social media posts from prison and during his court appearances. 

Meanwhile, whenever Putin spoke about Navalny, he made it a point to never mention the activist by name, referring to him as 'that person' or similar wording, in an apparent effort to diminish his importance.

Reports of his death prompted shock and anger across Europe, with  Latvia 's president saying Navalny had been 'brutally murdered by the Kremlin'.

British Prime Minister Rishi Sunak paid tribute to the 'fiercest advocate for Russian democracy', saying Navalny was a prominent and persistent critic of Putin who had 'demonstrated incredible courage throughout his life'.

The Prime Minister said: 'This is terrible news. As the fiercest advocate for Russian democracy, Alexei Navalny demonstrated incredible courage throughout his life. My thoughts are with his wife and the people of Russia, for whom this is a huge tragedy.'

Foreign Secretary David Cameron said 'Putin should be accountable' for his death.

Lord Cameron said: 'Navalny fought bravely against corruption. Putin's Russia fabricated charges against him, poisoned him, sent him to an arctic penal colony & now he has tragically died.

'Putin should be accountable for what has happened - no one should doubt the dreadful nature of his regime.'

Former prime minister Boris Johnson said there was 'no doubt' that Navalny had been 'put to death' by Putin 'simply because he had the courage to oppose the Russian tyrant. 

'With this murder Putin plunges new depths of depravity and drags his country further into the darkness.'

The White House said if confirmed, Navalny's death would be 'a terrible tragedy.'

Speaking on NPR, White House National Security Advisor Jake Sullivan also added the Kremlin's 'long and sordid' history of harming its opponents 'raises real and obvious questions about what happened here.'

Vice President Kamala Harris said the US was working to confirm the death of Navalny, adding that it would be a further sign of Putin's brutality.

US president Joe Biden had warned in June 2021 that Putin would face consequences if Navalny died in prison.

Navalny is seen on a screen via video link from a penal colony in the Vladimir Region during a hearing at the Basmanny district court in Moscow, Russia April 26, 2023

A view of the entrance of the prison colony in the town of Kharp, in the Yamalo-Nenetsk region about 1,200 miles northeast of Moscow, Tuesday, January 23, 2024

France  said the opposition leader had paid with his life for resisting 'oppression', while German Chancellor Olaf Scholz said Navalny 'paid for his courage with his life.'

The EU said it held President Putin's Russia solely responsible for the death.

'Alexei Navalny fought for the values of freedom and democracy. For his ideals, he made the ultimate sacrifice,' European Council President Charles Michel posted on X. 'The EU holds the Russian regime for sole responsible for this tragic death.'

Ukrainian president Volodymyr Zelensky said it was 'obvious' Navalny had been killed by Putin. 'Putin does not care who dies as long as he keeps his position,' he said. 

'And that is why he should not keep anything. Putin should lose everything and answer for what he has done.' 

Exiled Belarus leader Sviatlana Tsikhanouskaya said: 'This death is further proof that for dictators, human life has no value.

'The Putin regime, like the Lukashenko regime, in an effort to maintain power, gets rid of opponents by any means. Alexei, like many Belarusian political prisoners, was repeatedly sent to a punishment cell. This was done for the 27th time in February.

'We all saw in the photo how such conditions of detention affected his condition. That is why I have no doubt that Navalny was purposefully killed by the Putin regime.'

Anti-Putin campaigner Bill Browder said in a statement: 'Let's make no mistake, Putin assassinated Alexei Navalny. He did so because Alexei Navalny was brave enough to stand up to Putin. He did so because Navalny offered the Russian people an alternative to kleptocracy and repression. This is a tragic day for Navalny and his family, but also for Russia and the hope for a better future.'

Browder also expressed his shock and sorrow for Navalny's family - his wife Yulia Navalnaya, 47, and their two children - a son and a daughter.

'I feel terrible for his family and I feel terrible for all the people of Russia that were hoping there could be a brighter future through someone like him,' he said.

Russians also hit out at the Kremlin following the news.

Garry Kasparov, a Russian chess grand master, said Putin 'murdered' Navalny 'slowly and publicly in prison' while Russian Nobel Peace winner Muratov also described Navalny's death as 'murder'.

Russian writer Akunin Navalny said with his death, Navalny 'has become immortal'.

Evgenia Kara-Murza, wife of British-Russian dissident Vladimir Kara-Murza who is currently jailed in Siberia, said: 'During a recent court hearing, Alexei looked well and was, as always, in good spirits.

'Having witnessed two assassination attacks on my husband, I respect his team's decision to abstain from comments until they've been able to see Alexei.'

But Putin's apologists were quick to hit back at the international reaction.

Russian foreign ministry spokeswoman Maria Zakharova said: 'The immediate reaction of NATO leaders to Navalny's death in the form of direct accusations against Russia is self-exposing.

'There is no forensic examination yet, but the West's conclusions are already ready.'

Top Putin propagandist Margarita Simonya, head of the RT state media empire, said: 'I was waiting to see who would be the first to say 'political assassination'.

'The Guardian seems to be the first,' she said, adding: 'but the Oscar is still going to Latvia - their [president] declared as much as 'brutally murdered.'

'I won't even begin to explain to them that everyone has long forgotten [Navalny], that there was no point in killing him, especially before the elections, that it would be beneficial to completely opposite forces.

'Why explain something when they already know it all perfectly well.'

Navalny (pictured with his wife Yulia Navalnaya) miraculously survived a suspected assassination attempt with a nerve agent in August 2020 during a flight. He was evacuated to a hospital in Germany, and the use of a Novichok nerve agent was later confirmed.

Navalny and his wife Yulia (left) seen on a monitor screen during an offsite court session in the penal colony N2 (IK-2) in Pokrov, Vladimir region, Russia, February 15, 2022

Navalny stands inside a glass cell during a court hearing at the Babushkinsky district court in Moscow in January 17, 2022

Navalny was also seen in January when he was  moved to a Russian penal colony in the Arctic Circle , smiling and laughing while in court via video-link. 

The hearing was for one of many lawsuits he filed against the penal colony - this particular one challenged one of his stints in a 'punishment cell'.

At the hearing, Navalny cracked jokes about the Arctic weather and asked if officials at his former prison threw a party when he was transferred.

His allies decried the transfer to a colony in the town of Kharp, in the Yamalo-Nenets region about 1,200 miles northeast of Moscow, as yet another attempt to force Navalny into silence.

The remote region is notorious for long and severe winters. Kharp is about 60 miles from Vorkuta, whose coal mines were part of the Soviet gulag prison-camp system. 

Since August 2022, Navalny had been ordered to a punishment cell 27 times, the last occasion on February 14. In total, he spent 308 days in the punishment cell.

There were claims a sadistic Putin demanded to see reports - and even live footage - of Navalny undergoing punishment, and being humiliated by guards.

Navalny had been on the Kremlin's radar for over a decade.

In 2013, he was convicted of embezzlement on what he called a politically motivated prosecution and was sentenced to five years in prison, but the prosecutor's office later surprisingly demanded his release pending appeal. 

A higher court later gave him a suspended sentence.

The day before the sentence, Navalny had registered as a candidate for Moscow mayor. The opposition saw his release as the result of large protests in the capital of his sentence, but many observers attributed it to a desire by authorities to add a tinge of legitimacy to the mayoral election.

Navalny finished second, an impressive performance against the incumbent who had the backing of Mr Putin's political machine and was popular for improving the capital's infrastructure and aesthetics.

His popularity increased after the leading charismatic politician, Boris Nemtsov, was shot and killed in 2015 on a bridge near the Kremlin.

Navalny miraculously survived a suspected assassination attempt with a nerve agent in August 2020 during a flight to Moscow from the Siberian city of Tomsk, where he was organising opposition candidates.

He collapsed in the aisle while returning from the bathroom, and the plane made an emergency landing in the city of Omsk, where he spent two days in a hospital while supporters begged doctors to allow him to be taken to Germany for treatment.

Once in Germany, doctors determined he had been poisoned with a strain of Novichok - similar to the nerve agent that nearly killed former Russian spy Sergei Skripal and his daughter in England in 2018.

The attack also resulted in the death of another woman.

After being poisoned, Navalny was evacuated to a hospital in Germany. The use of a Novichok nerve agent was later confirmed in a lab

Navalny walks to take his seat in a Pobeda airlines plane heading to Moscow before take-off from Berlin Brandenburg Airport (BER) in Schoenefeld, on January 17, 2021

Opposition leader Alexei Navalny is escorted out of a police station on January 18, 2021

Navalny's arrest in 2021 sparked massive protests that reached to Russia's farthest corners and saw more than 10,000 people detained by police

Navalny was in a medically induced coma for about two weeks, then labored to recover speech and movement for several more weeks.

His first communication while recovering showed his defiant wit - an Instagram post saying that breathing on one's own is 'a remarkable process that is underestimated by many. Strongly recommended.'

The Kremlin rejected it was behind the poisoning, but Navalny challenged the denial with an audacious move - essentially a deadly serious prank phone call. 

He released the recording of a call he said he made to an alleged member of a group of officers of the Federal Security Service, or FSB, who purportedly carried out the poisoning and then tried to cover it up.

The FSB dismissed the recording as fake.

Russian authorities then raised the stakes, announcing that during his time in Germany, Navalny had violated the terms of a suspended sentence in one of his embezzlement convictions and that he would be arrested if he returned home.

But remaining abroad wasn't in his nature. Despite knowing he would be detained, the father of two returned to Russia in January 2021. 

In just over two weeks, he was tried, convicted and sentenced to two years in prison.

The events sparked massive protests that reached to Russia's farthest corners and saw more than 10,000 people detained by police.

As part of a massive crackdown against the opposition that followed.

A Moscow court in 2021 outlawed Navalny's Foundation for Fighting Corruption and about 40 regional offices as extremist.

The verdict that exposed members of his team to prosecution.

Despite the outcry, Navalny was behind bars ever since, and received three prison sentences, all of which he rejected as politically motivated.

Less than a month after the start of the war in Ukraine, Navalny was sentenced to an additional nine-year term for embezzlement and contempt of court in a case he and his supporters rejected as fabricated. 

The investigators immediately launched a new probe, and in August 2023 Navalny was convicted on charges of extremism and sentenced to 19 years in prison.

After the verdict, Navalny said he understands that he's 'serving a life sentence, which is measured by the length of my life or the length of life of this regime.'

Since then, he had spent months in isolation at Prison Colony No. 6 before his transfer to IK-6. He was repeatedly placed in a tiny punishment cell over alleged minor infractions, like buttoning his prison uniform wrong.

They also refused to give him his mail, deprived him of writing supplies, denied him food he had ordered and paid for in addition to regular meals, and would not allow visits from relatives, Navalny argued in his lawsuits, challenging his treatment.

A documentary called 'Navalny' that detailed his career, his near-fatal poisoning and his return to Moscow won an Academy Award for best documentary in March 2023.

Navalny was asked for a documentary: 'Alexei what if you're arrested and thrown in prison, or the unthinkable happens and you're killed? What message would you leave behind for Russian people?'

He said in English: 'My message for the situation when I am killed is very simple, not give up.'

Then he said in Russian: 'I have an obvious thing [to say] don't give up, you shouldn't and must not give up. If it happened, it means that we are extraordinarily strong at this moment if they decided to kill me. This force has to be used. Don't give up!

'Remember that we are a huge force which is under pressure of these bad guys only because we can not realise how strong we really are. All that is needed for the evil to succeed is good people not acting. That's why you should not not act.'

Director David Roher said in accepting the Oscar: 'Alexei, the world has not forgotten your vital message to us all: We must not be afraid to oppose dictators and authoritarianism wherever it rears its head.'

Navalny's wife also spoke at the award ceremony, saying: 'My husband is in prison just for telling the truth. 

'My husband is in prison just for defending democracy. Alexei, I am dreaming of the day you will be free and our country will be free. Stay strong, my love.'

Russian opposition leader Alexei Navalny, his wife Yulia, daughter Daria and son Zakhar pose for a picture outside a polling station during the Moscow city parliament election in Moscow, Russia September 8, 2019

Navalny addresses supporters and journalists after arriving from Kirov at a railway station in Moscow, Russia July 20, 2013

Policemen detain Navalny during a rally in support of investigative journalist Ivan Golunov, who was detained by police, in Moscow, Russia June 12, 2019

In his last post Navalny had sent a Valentine's message to his wife.

It read: 'Baby, everything is like in a song with you: between us there are cities, the take-off lights of airfields, blue snowstorms and thousands of kilometers. But I feel that you are near every second, and I love you more and more.'

Navalny's reported death comes a month before Russia's presidential elections, which will run from March 15 to March 17.

Putin is widely expected to win, keeping him in power until at least 2030.

Share or comment on this article: Alexei Navalny 'was brutally murdered by the Kremlin': Latvian president condemns Russia's regime as politician once poisoned by Vladimir Putin 'collapses and dies after a walk' in prison

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A History of Moscow in 13 Dishes

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A Masters winner’s new purpose? Bringing ‘humanity’ to its broadcast

Long ago, but not too long, Trevor Immelman was one of South Africa’s finest junior golfers in the late 1980s and into the ‘90s. Loads of natural talent. Good enough to get the attention of the country’s icon, Gary Player, and his generation’s hero, Ernie Els.

But Immelman was small and the wind was strong. Cape Town, his hometown, sits between the Indian and Atlantic Oceans, where the cold Benguela Current and the warm Agulhas Current smash together, forming a southeasterly wind tunnel that dominates the land.

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Immelman was left-handed, but grew up swinging the opposite, thanks to a discarded set of right-handed clubs in the family garage. As a kid, he realized the only way to play through the wind was a swing requiring imagination and violence. As a matter of instinct, he turned his left wrist down hard, striking the ball from a deep, steep angle of attack. Trapping, compressing. Big collision at impact. Big club-turf contact. Enough friction to penetrate the wind and anything else. In time, a natural swing developed with an aggressive lead wrist. Immelman developed into a classic low-ball hitter. He figured that if he ever won a major, it’d be an Open Championship, along the howling links of Scotland or England.

This is where, when telling his story, Immelan drops his left elbow atop the table of a posh Beverly Hills restaurant, rattling the place settings.

“This,” he says of his left hand, “was my weapon.”

Until it wasn’t.

“The Chair,” as they call it, is a place of ultimate distinction in a sport carved by history and status. It takes eight men two days to construct the 24-by-24 mobile studio tower for each CBS Sports golf broadcast. The structure stands a few stories tall, screens positioned everywhere, computers and cameras, seats arranged for analysts and producers. In front of the window overlooking the 18th green, two seats face forward. One is for Jim Nantz. The other is for the lead CBS golf analyst.

Dr. Cary Middlecoff established things in the mid-60s. Then Ken Venturi for 35 years, emerging as CBS’ counter to NBC’s searing Johnny Miller. Venturi turned The Chair into a place of eminence. “He created the aura,” Nantz says. “There’s a reason that chair has been reserved for very few.” Lanny Wadkins followed Venturi, sitting next to Nantz for five years. Then, from 2006 to 2022, Nick Faldo settled in; a six-time major winner with unimpeachable experience, an English accent and knighthood. How’s that for authority?

The Chair is not only the arbiter to CBS’ PGA Tour broadcasts, it is, far more notably, part of the soundtrack to the Masters Tournament. If CBS producer Sellers Shy is conductor, and Nantz is concertmaster, Immelman is the brass among an orchestra of analysts. The sovereign sound for all to follow.

“The analysis is on the spot. What someone faces. What the analytics say. He’s got that down,” Nantz says. “And then there’s the humanity side of it that separates people in the role. It has to be commentary with a heartbeat. He has a natural warmth about it.”

Such a vantage point is not naturally occurring, especially in golf.

Sean McManus, the chairman of CBS Sports, was tasked with handpicking Faldo’s replacement in the summer of 2022. When he called Immelman, it was moments before he was to go live on a Golf Channel pregame show. Immelman got up from the desk to take the call and wasn’t quite sure what he was hearing. It didn’t make sense. CBS lead analyst? The Chair? Immelman was a few years into a promising broadcasting career, but he was a two-time PGA Tour winner and not exactly a household name. “Let’s call it what it is, they took a frickin’ flier on me,” Immelman says. “Trust me, it caught me off guard more than it caught anyone else off guard.”

The unsentimental honesty of a good analyst.

One who understands why he’s here; and how his place in the golfing world is one of earned stature, fleeting fulfillment and realized purpose. And how easily his world could’ve spun otherwise.

Immelman nearly threw up on the Augusta National practice green before the final round of the 2008 Masters. He was 28 years old, ranked 29th in the world, and entered the final round with a two-shot lead. He was about five hours away from delivering on all of his promise.

As a kid, Immelman was so obsessed with golf that he watched and rewatched VHS recordings of any tournament broadcast on TV; learning the game, replicating the swings. He was so good, so young, that he was shipped to the U.S. to live with a family in Orlando, Fla., and compete against the best juniors in the world. At 15, he was interviewed at the 1995 Rolex Junior Classic and compared to Els, a ​​Johannesburg native who’d won the prior year’s U.S. Open. “Those are some pretty big shoes to be trying to put on my feet, wouldn’t you say?” Immelman responded. The next day, Immelman beat a young man named Bubba Watson to win the tournament.

Immelman was an amateur phenom, finishing runner-up in the 1997 British Amateur and U.S. Junior, then winning the following year’s U.S. Amateur Public Links at Torrey Pines. He played in his first Masters at 19, shooting an opening-round 72 alongside Player, who rushed to tell reporters afterward, “I saw a future champion out there.” Immelman turned professional soon after and promptly won the 2000 Kenya Open.

After spending years on the Sunshine Tour and European Tour, Immelman, approaching his mid-20s, moved to the U.S. with his wife, Carminita. “I was strong, and I was fit, and I was working like an animal,” he remembers. He was named 2006 PGA Tour Rookie of the Year.

To this day, Immelman says, the window of time from May 2006 to February 2007 is a time capsule that he forgets where he buried. “That was it, man. Legit, proper, elite-level golf. The real thing. The best golf I ever played.” The game was easy, he says, and results followed. He beat Tiger Woods, Vijay Singh and Phil Mickelson to win the 2006 Western Open.

Then the window closed. A debilitating stomach virus struck Immelman before the 2007 Masters, sapping him. He dropped over 20 pounds and never fully regained his form that summer. In December, Immelman felt terrible on the driving range at the South African Open. Pangs of pain around his rib cage. He withdrew two holes into the tournament. What was thought to be an injury was a tumor attached to his diaphragm. He was in surgery two weeks later, only learning after the fact that the growth was benign.

Immelman arrived at Augusta in April 2008 as a broken man. In eight post-surgery tournament starts, he’d missed four cuts and posted one top-40 finish. He hoped to make it through the week.

Three rounds later, Immelman was the solo leader.

He warmed up that Sunday next to Woods, a 13-time major winner who’d won eight of his previous 10 starts. Woods was six shots back and teeing off two groups behind Immelman. About an hour before those final groups set out, a gust of wind swept across the property. Then another. The wind was kicking up.

Despite a five-hour dinner conversation going deep into the prior night, Immelman was up and moving early on this Friday morning. We met at the valet stand of the Beverly Wilshire Hotel, where Nantz, his CBS broadcast partner, happened to pass. Nantz invited us to join him and Al Michaels for breakfast at Bel-Air Country Club, a request no sensible person would decline. Bel-Air is about as swank as it gets. Jimmy Stewart, Fred Astaire and Ronald Reagan were once members. Clint Eastwood, Jack Nicholson and Tom Cruise are said to be current members.

Nantz and Michaels are of a certain station in this world. Human iconography of how we consume sports. Voices so distinct they seem to ring from otherworldly cords. Immelman would’ve been right to join them. He occupies The Chair, doesn’t he? Why not enjoy elegant eggs and high society?

But we kept moving. This morning was the second round of the Genesis Invitational and Immelman needed to work. Plus, he told Adam Scott he’d meet him on the driving range around 10. So Immelman told Nantz, sorry, mate, maybe next time, then climbed into his rental car, and drove to Riviera Country Club.

“I can’t believe I turned that down,” he finally realized on the way there. “What the hell am I doing?”

Immelman parked near the CBS compound, a pop-up city with all sorts of people carrying all sorts of things, zipping here and there in golf carts amid a maze of fiber cables. Instead of breakfast with Nantz and Michaels, he wanted to stop by Titan and Apollo, the two massive production trucks that travel the country as mobile headquarters for CBS’ 18 tour events. He popped in to see the boss, Sellers Shy, CBS Sports’ lead golf producer.

Immelman had a schedule to keep, but was running a touch behind. He hopped in a cart and raced over to the range, where Scott was waiting. The two are dear friends, dating back to junior golf, when Scott was the next great player emerging from Australia. Today, at 43, Scott is still a top-50 player in the world and looking to wring out the last of his talent, maybe outwit time and capture that elusive second major. It’s not entirely unreasonable. Scott played in a Presidents Cup two years ago and ranks ahead of Scottie Scheffler, Justin Thomas and Jordan Spieth in ball speed this season. He can still tell himself that all it takes is one good week.

Scott arrived at Riviera hoping to tweak some things off the tee. He asked his old pal for counsel, so there was Immelman, hands behind his back, watching Scott smash drives, first from head-on, then behind him. Like an old coach, Immelman swirled two golf balls in his right hand. Then he stepped in with some thoughts, mainly telling Scott to stop second-guessing his new driver head. After a half-hour, the two made their way to Riviera’s first tee. Fans along the rope line yelled for Scott, the 2013 Masters winner, wishing him well on his way into the arena.

There the two parted ways.

As Scott teed off, Immelman dipped into the CBS tower for a tutorial on his new telestrator. He’d been practicing at home in Florida on a model CBS sent him, but this was the real thing. Some new features are nearly ready to be introduced to the broadcast, some at Genesis, some further down the line. Immelman spent 45 minutes. “Interesting. Cool. Cool. Oh, that’s cool. What does this do?”

Then back to the range. Immelman wanted to chat up a few players, but mostly wanted to see Tiger Woods’ pre-round warm-up. It turns out Immelman is one of the few people alive who can 1) dare step into the middle of a Woods range session and 2) get his time of day. Woods, 48, told Immelman he wasn’t feeling particularly well and apparently wasn’t kidding. He withdrew after six holes that afternoon.

Immelman drove around Riviera, appraising a few course changes. He narrated it all, imagining what the players would see over the weekend, when they’d be on the course and he’d be in the booth. He wrote the script in real time, tucking it away for his mind’s eye. “A mini rehearsal,” he called it.

Then Trevor Immelman, 44, returned to his car, ready to watch the afternoon broadcast back at the hotel, penning pages upon pages of handwritten notes.

There, seeing Immelman watch the action, shirt untucked, totally immersed, it all started to become clearer. The prior night it was pointed out to him that he’s only a year older than the likes of Scott and Justin Rose, and a few years younger than Woods; and that he should still be out there, that he should’ve played with Scott on the 2022 Presidents Cup team, not captained it. To which Immelman said, no, he’s long ago accepted how this all played out.

Sounded nice, but c’mon.

Then, though, Immelman explained something, a dash of perspective that anyone who’s ever lost anything could maybe use. “A lot of times I think to myself, the career that I had actually prepared me for the broadcasting career, which is actually what I’m supposed to be doing.

“Does that make sense?”

It’s starting to.

Only 25 minutes after teeing off the 2008 Masters with a two-shot lead, Immelman watched Brandt Snedeker walk across Augusta’s second green, waving his visor in the air. An eagle on No. 2 and the Masters was tied.

This could’ve all ended right there. Snedeker wasn’t the only one making noise. Woods was out there. Phil Mickelson, too. What if Immelman faded? Maybe never to be heard from again? No one could’ve known then, or even imagined it, but the 28-year-old South African with the spikey hair and the pure swing wouldn’t post a single top-10 finish in another major for the remainder of his career. Hell, he’d only play in 23 more.

“I think about it all the time,” Immelman said 16 years later.

Augusta was brutal that Sunday, its red cedars bowing to the wind. On the broadcast, Faldo, from The Chair, told viewers, “The course is going to win today, but someone will wear a green jacket.”

Only a classic low-ball hitter could do it. Immelman wrote a single word in his yardage book, UNFLAPPABLE, and figured out his way around the course. He turned numb; numb in a good way, like being alone in a tunnel, hearing only the echo of your footsteps.

In the end, for those four days in April of 2008, Immelman was exactly who he was always supposed to be.

Him and his weapon. That left hand made him the ninth player ever to post three rounds in the 60s to start the Masters. His guts made him tough enough to fight out a final-round 75, increasing his final lead to three strokes.

“When I look back, there’s a million places I could have lost it,” Immelman said.

The next win — his final career win — came at the Hotel Fitness Championship at Sycamore Hills Golf Club in Fort Wayne, Ind. It was September 2013 and Immelman edged a 21-year-old named Patrick Cantlay by one stroke in the Web.com Tour event. Prize check: $108,000.

Viewed from a lens pulled so far back it can stretch from South Africa to Augusta to Fort Wayne, it can come to feel as if the remainder of Immelman’s playing career was a dowry paid for those four days in April 2008. His left wrist began to ache soon after his Masters victory, but Immelman played through the pain, adapting his swing to lessen the tension, knowing it would hurt, regardless. Eventually, “I’d get to the top and my brain would just be like, flinchy.”

He cried after finishing T-20 at the 2009 Masters, not only because of the emotion, but because he was able to get through the week without withdrawing. That summer, he underwent surgery to address severe tendinitis and tears in the cartilage. He missed some time, but rushed back, trying to find his swing, grinding again. By the time he returned to Augusta for the 2010 Masters, Immelman was down to 263rd in the world rankings.

It’s difficult now not to wonder, what if he had simply taken a full season off? Maybe longer. Allow his hand to heal. Immelman could never bring himself to stop pounding the ball, just like that kid in South Africa. Instead, he chased his own ghost, trying to recreate a swing that didn’t exist anymore.

“It was just never enough,” he says. “When you’ve concocted this certain expectation for yourself — it’s dangerous.”

In 2018, amid one of his many comeback attempts, Immelman finished T-3 in the Scottish Open. As the rules go, the top three Scottish Open finishers not already qualified for the following week’s Open Championship earn places in the field. The first two spots went to Brandon Stone and Eddie Pepperell. The third came down to Immelman and Jens Dantorp of Sweden, who also finished T-3. Dantorp got the spot, thanks to a higher world ranking. Immelman had entered the week at 1,380th in the OWGR.

Leaving the course that day, so narrowly missing a chance to play in his first Open in six years, Immelman should’ve been devastated. Except that pain never came. He was scheduled to work for Golf Channel at the Open as an on-course analyst. He was excited. Driving from North Berwick to Carnoustie that Sunday night, Immelman realized he was more looking forward to talking about the game than to playing it.

A different road.

The Chair requires a vantage point of truth-telling. Sure, it could come from a six-time major winner or a big personality with a big name and a big game.

Or it can come from a guy who was given everything by the game, and had it all taken back.

Immelman knows all too well that if his four days of fulfillment had come at, say, the PGA Championship, or if he’d been an Open champion instead of a Masters champion, that he likely wouldn’t be the lead analyst at CBS, and that his place in the game would be so vastly different.

That, it turns out, makes all the difference. Immelman’s brand of analysis is straightforward, never breaking eye contact. When on-air, you’d never know how much work goes into what he says because from the time it goes from his mind to his mouth it’s pared to a statement freed of reluctance. Immelman not only makes efforts to maintain relationships with tour players young and old, but also consumes all the content that his audience consumes — the vast, influential world of golf podcasts — and is friends with those who produce them. It all sets him up to operate from a perch of perspective that we, the audience, can understand.

“It’s because he has absolutely no ego,” Sellers says. “He’s right in the middle of everything, but he doesn’t let on how smart he is. He understands that less is more.”

As Nantz puts it: “He wants to enlighten the viewer. His commentary is not filled with a lot of ‘I’ or ‘me’ or ‘we.’ It’s all from the players’ perspective.”

It might not be so obvious now, but when professional golf is more complicated and broken than ever before, Immelman could very well become the game’s most reliable voice for the next quarter century or so. The pas de deux between he and Nantz works well and there’s no reason to see it ending. Faldo stepped away at 64. Do the math.

“I don’t know about that,” Immelman says, “but I know I’m going to work my ass off.”

In private, he likes to be overly self-deprecating about his career. He says “back in my day” as if it were another lifetime and labels himself “a nice player.” Then conversation turns to his serial misfortunes, and you can see it. He doesn’t want anyone to feel sorry for him, but behind the eyes, there’s a player.

But that’s the beauty of Immelman’s dexterity.

His weapon wasn’t his hand.

It’s his voice.

(Illustration: John Bradford / The Athletic ; photos: Richard Green / CBS Sports)

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Brendan Quinn covers college basketball and golf for The Athletic. He came to The Athletic from MLive Media Group, where he covered Michigan and Michigan State basketball. Prior to that, he covered Tennessee basketball for the Knoxville News Sentinel. Follow Brendan on Twitter @ BFQuinn

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The masters 2024 power rankings: top 10 golfers to watch.

After an electric finish to the Valero Texas Open, all eyes and private planes are headed directly toward Augusta, Georgia for the 2024 edition of The Masters! History and legacy breathe effortlessly through the tall pines as the familiar roars from the crowd are set to echo through the greatest single golf property on planet Earth. Welcome to The Masters week, and we're here to highlight 10 players in particular that I believe should have their size specs on file with the tailor because this may be their week to slide on the iconic green jacket.

There is possibly no other course on the planet that we are more intimately familiar with as viewers. The setup rewards course history, experience, and aggressiveness like none other. There are places to attack, but it's perhaps even more about understanding where NOT to miss and not biting off more than you can chew on occasion. As the game has suffered in terms of viewership and hostility, I have to say, it will simply be magnificent to see the best in the world all back together, in the same field, competing at Augusta National Golf Club.

My goal with these weekly piece has always been to provide a place to start your research and preparation for the incoming week. I have carefully evaluated the field to project Augusta National course fits and expected results, in an attempt to give you a glimpse at how my brain operates when it comes to handicapping golf. In addition to my Top 10 rankings, I will provide a brief summary for each player to give some reasoning behind their rankings. As always, thank you for your support, and good luck. Bring on The Masters!

#10. Dustin Johnson

Dustin Johnson being the 327th ranked player in the world according to the latest OWGR rankings should be cause for a system overhaul. Johnson still has plenty of game when he is firing on all cylinders, which he showcased earlier this season when he won at LIV Las Vegas. The strokes gained data recently released by LIV Golf would indicate that Johnson has begun to sort things out with the Driver and it has once again become a weapon.

He won The Masters in runaway fashion a few years back, albeit in totally different course conditions as the event was held in November that year. In my opinion, he has one more great run in him and now is as good of a time as any. He needs to clean up his weekends in Major Championships. If you rule out the Open Championship last year which was a disaster for Johnson, in his previous 4 Major Championships he was able to get himself firmly in contention, shooting a combined -15 on Thursday/Friday. On the weekend, he was a combined +17 in those starts.

Clean up the weekend and I expect him to make a run for another Masters green jacket! And nobodymakes a pimento cheese as awkwardly as DJ!

🌺🥪 2020 #TheMasters champion Dustin Johnson shares how to make the famous pimento-cheese sandwich. pic.twitter.com/lN7DjxWiJS — NUCLR GOLF (@NUCLRGOLF) April 2, 2024

#9. Wyndham Clark

Yes, it's finally time we start putting proper respect on Wyndham Clark's name. The 2023 US Open Champ finished runner-up to Scottie Scheffler at both the Arnold Palmer Invitational and THE PLAYERS Championship. Clark is set to take on another big stage and attempt to break some longstanding narratives that have been in place around Augusta National.

He'll tee it up this week as a debutant and a right-handed player who strikes with a predominant fade, two factors that are definitely working against him in terms of tradition. That said, there is something special about Clark, he's shown tenacity and guts that have filtered into a clutch putting stroke on the weekends of Major Tournaments. We'll see if he can bury some more misconceptions to compete in the biggest and most iconic setting in professional golf.

#8. Viktor Hovland

Get ready, because the only place you may see more azaleas than on Viktor Hovland's shirt next week is behind the green on 13. Hovland has struggled to carry over his form, which peaked at the end of the 2023 season. From my understanding, he's recently moved to Florida and has been hard at work on the range sorting out the kinks ahead of Major Championship season with his team and coaches.

Hovland took a giant step forward with his performance in Major Championships and would appear to be on the precipice of breaking through soon. He has played his last 5 Major Championships with a combined score of -30 under par, an astonishing total number. Hovland finished with the top 20 in every one of those starts. It's a massive week for Hovland and a giant test for the status of his game moving forward in his 2024 campaign.

#7. Hideki Matsuyama

After another potential injury/withdrawal scare before the Valero Texas Open, of course, Hideki Matsuyama went on to finish T7 despite a shaky opening round 73. Matsuyama has resumed his position as one of the best ball strikers in the world and is poised to bring his amazing form to Augusta National where he won the 2021 Masters. Matsuyama gained over 6 strokes on Approach at that Masters which he also managed to do a few starts ago at The PLAYERS.

You have to wonder if the injuries, plus the wear and tear on his body will continue to add up eventually, but there is no doubt that this week is monumental in his career as Matsuyama gets older. He has seen just about every lie, from every location, on every hole through his years at this tournament. He's a unique combination of a player who is in peak iron form and is also amongst the best course fits in the field. At roughly 25-1, there may not be a better bet on the board.

Hideki Matsuyama. Texas Open: 3rd (currently) Players: T6 API: T12 Riviera: Win Phoenix: T22 2023 Masters: T16 2022 Masters: T14 2021 Masters: Win 2020 Masters: T13 SG tee to green since Jan. 1: 3rd (behind Scheffler/Schauffele) Still 25-1 to win the Masters. — Kyle Porter (@KylePorterCBS) April 6, 2024  

#6. Jordan Spieth

I'll be completely honest, one week ago I was totally out on the form and the prospects of winning the Masters for Jordan Spieth. That said, this guy always finds a way, an unconventional one, but a way nonetheless. Spieth has managed to ignore the somewhat erratic form in two of the previous three editions of The Masters where he finished T4 and T3. Again, he finds a way.

I had some serious concerns about his ability to control the Driver, but he was able to put some of that to rest last week at the Valero Texas Open. Spieth himself seems rather satisfied with what he's seeing in practice and is just awaiting the moment when it all comes together. Will that moment come at Augusta National? I can't say that I would be shocked, he's always got Georgia on his mind. He hit one off the clubhouse and into a gutter in Texas last week, so of course he probably wins the Masters right? Spiething.

Here's Jordan Spieth talking about the "bizarre" nature of his game at the moment. Noted that he "drove the living piss out of the ball today." pic.twitter.com/xvHFfYSEoC — Patrick McDonald (@pmcdonaldCBS) April 5, 2024

#5. Brooks Koepka

After Round 1 at LIV Miami last week, I was ready to fire on as many Brooks Koepka Masters future bets as I could get my hands on. I decided to let the weekend play itself out, and now I have some questions. Interestingly, I noticed that Koepka switched to a mallet-style putter. I had gotten so used to the classic blade he used for all his previous majors, which presented us fans with a putting stroke as unphased by pressure as I have ever witnessed.

He struggled in the final two days at Doral, imploding on the par-5s and making bogeys in bunches. That said, nobody switches the gear into full "killer mode" like Koepka in Majors. He carried a big lead into the final day of the Masters last year and spoke openly about realizing a specific mistake he made that day. Koepka said he learned from that Sunday and it wouldn't happen again. In the next Major at Oak Hill, he won! He's been waiting to get back on the hollowed ground at Augusta for a year and his chance to win the one he wants the most in his career, The Masters!

#4. Xander Schauffele

Xander Schauffele is a player who you would think would be carrying the burden of a massive monkey on his back and stressing about finding a path to victory, thus capitalizing on his robotic consistency of form. He appears to me to be so focused on the big picture and ready to finally break the wall down. Schauffele has habitually found himself in contention at Major Championships. He briefly held the lead in the 2019 Masters on the back nine, finished in 3rd place in 2021, and recorded a T10 in the 2023 Masters.

Schauffele has a new weapon for 2024 with the Callaway AI Smoke Driver. He has gained over +2.5 strokes off the tee in each of his last four starts, with three resulting in top-5 finishes. He seems poised, and at ease with the current place of his game, even despite growing anticipation and anxiety from the media side. I witnessed a player in a good spot mentally at The PLAYERS, and I really believe that 2024 is the year that he finally wins a Major. We'll have to wait and see if it happens this week, but our guy @ModelManiac already has a bet in for Schauffele to compete in all four!

💰Xander Schauffele T20 in all 4 majors +800 @ Bet 365 His last 7 majors: 17th 10th 18th 10th 15th 14th 13th Some other thoughts: Ludvig at +600 for this bet is LAUGHABLE! 🤮 >>>Tiger Woods<<< in his first four majors: T22, T17, T9, T24 ... ...his next four though: 🏆, 2,… pic.twitter.com/Yp0vS2IKZT — Byron Lindeque (@TheModelManiac) April 2, 2024

#3. Rory McIlroy

It's cliche to say that nobody wants it more, but it rings emphatically true when talking about Rory McIlroy and The Masters. The green jacket is of course his final hill to climb to achieve the Grand Slam. It has been squarely on his mind for the greater part of the last 10 years. He possesses all the tools and knowledge to dismantle Augusta National from a course setup standpoint, but at this point, the mental hurdles he has to clear to capture his dream are the only things holding him back.

He spoke at length last season about his intense pre-tournament prep that included hundreds of practice holes played and a centered focus. McIlroy decided to shake things up in a major way this season leading into the Masters. He played three times in Florida which was unusual for him, and competed last week in the Valero Texas Open for the first time in years. Maybe this has all been an attempt to take his mind off Augusta and the pressure that we all know awaits him. McIlroy had a great Sunday in San Antonio to ultimately finish in solo 3rd place. He's certainly hoping he can take that momentum and parlay it into a late Sunday tee time at Augusta.

#2. Jon Rahm

It's really hard to defend your title at The Masters, no player has done it since Nick Faldo in 1990. The host of the Champions dinner is on a mission to do so, and from a content perspective, I feel like all has been quiet in terms of the Jon Rahm hype. Well...not here. He's my favorite bet to win at around 14-1. This is a player who is hungry to compete again with his former colleagues. He has definitely heard the noise and felt the absence of PGA Tour competition over the past four months. After a solid showing at LIV Miami, Rahm seems to be [peaking at a golf course that he has absolutely torn apart during his career.

In the past five Masters, Jon Rahm has been the best player at Augusta National, and the margin is wide. Rahm has gained a ridiculous +47.5 total strokes at Augusta during that span. The next closest player is +35. He understands the assignment at this course is just hitting greens, which he has quietly continued to do this season on LIV while nobody is paying attention. He currently ranks second on LIV in GIR and also leads LIV in total birdies. He has a lot to prove and baby number three on the way, but Rahm has the type of spirit that seems to relish his back semi-against the wall. Rahm has the chance to again prove to the world that there is more than one super-elite playing professional golf right now!

Thought this was interesting - an aspect of this player's game that doesn't get talked about enough: Of the 83 players with 12+ Masters rounds since 2015, Hideki Matsuyama ranks 2nd in scrambling percentage (65.6%). Jon Rahm leads at 65.7%. — Justin Ray (@JustinRayGolf) April 1, 2024

#1. Scottie Scheffler

I spent hours researching trends, player form, alternate angles, and storylines for players competing in the 2024 Masters. The process helps me separate players with similar odds and look for potential betting opportunities that may be underlooked and valuable. It helped me to curate this list which I hope was presented in an entertaining and thoughtful article. I could point to a million different data points that will all tell you the same thing...that nobody is playing golf as well as Scottie Scheffler.

He's the man, the Universal World Heavyweight Champion of professional golf and The Masters is his Wrestlemania. The odds board will tell you that Scheffler is three times more likely to win the Masters than the next-best player. You won't see an argument from me. Is he a good value option at +450 to win? My gut and mind will always say to put my dollars elsewhere. That said, if he gains one stroke putting then he probably wins this thing by two strokes. Shocker, your number one player in my power rankings by a large margin, is Mr. Scottie Scheffler.

Scottie Scheffler opened as the favorite to win The Masters on @DKSportsbook but @thefantasygrind is FADING him?🤔 Geoff joined @EmersonLotzia on @TheSweatDK to share this thoughts🔽 pic.twitter.com/M7P7fNZXjL — DraftKings Network (@DKNetwork) April 7, 2024

Best of luck this week Rotoballer family! Enjoy the best week in golf and wall-to-wall coverage of every shot. It's Masters week!

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If you read my articles @RotoBaller or listen to @TheTurnGolfPod I’ve been telling y’all it was #WinningSeason when golf came back! Shoutout to the entire @RotoBallerPGA squad and all you guys that support my work for all the ❤️ pic.twitter.com/07a4ynvbSU — Joe Nicely (@JoeNicely) June 28, 2020

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My friend Andrew Cooper (@CoopAFiasco on X) says it all the time. To be a top-producing tight end for fantasy football, you have to be one of two things, an athletic freak or a top-2 target earner on your team. Preferably both, with a lean toward being a top-2 target earner first. But it's an... Read More

Avoid These Wide Receivers in 2024: Fantasy Football Outlook

Football never sleeps at RotoBaller! The staff is already looking ahead to the 2024 season to help our readers get the jump on their competition. RotoBaller analyst LaQuan Jones discusses some Wide Receivers that you should AVOID in 2024 fantasy football drafts. Win MORE in 2024 with RotoBaller! Be sure to tune into RotoBaller Radio... Read More

Re-Drafting The 2018 NFL Draft: Entire First Round Do-Over

The 2024 NFL Draft is rapidly approaching - the Combine is complete, pro days are finished, and front offices are putting final touches on their draft boards. Round 1 selections will alter the course of franchises - some for the better, and some not so much. Meanwhile, the 2018 NFL Draft class is gearing up... Read More

Blockbuster Trade Ideas for the 2024 NFL Draft

The 2024 NFL Draft is three weeks away, and the rumor mill is heating up. While the NFL Draft is full of chaos and excitement without trade action, everyone loves to see a blockbuster deal made. A few expected blockbuster deals are getting thrown around on social media, headlined by the Minnesota Vikings trading into... Read More

Newly Signed Free Agents with Bust Potential in 2024 - Fantasy Football Preview

NFL free agency is starting to wind down. Things felt completely out of control this year (in a good way) and left us on the edge of our seats. We saw some major player movement, and there have been times when a player’s fantasy football production has improved after a team change. Christian Kirk and... Read More

Best Fantasy Football Landing Spots for Top Rookie TEs - 2024 NFL Draft

It was just one year ago that a deep tight end class was entering the 2023 NFL Draft. Dalton Kincaid was a first-round pick to the Buffalo Bills, while Sam LaPorta, Michael Mayer, Luke Musgrave, Luke Schoonmaker, and Brenton Strange all went in the second round. Even Tucker Kraft -- who had a respectable rookie... Read More

2024 NFL Draft: Second-Round Wide Receiver Predictions

Football never sleeps at RotoBaller! With the 2024 NFL Draft fast approaching, we're digging into what might transpire in this year's edition. RotoBaller's David Rispoli digs into Kyle Lindemann's RotoBaller 2024 NFL Mock Draft and highlights potential landing spots for some of the top wide receiver prospects. How many WRs will go in the second... Read More

Free UFL Betting Picks - Best Bets, Odds, Predictions for Week 2

Well, the Brahmas and Showboats are looking like two of the best teams in the league, the two best 2023 XFL teams ended up getting worked, the Birmingham Stallions continue to roll, and Jake Bates kicked his way 64 yards into legendary status--all in Week 1. I never should have faded the Birmingham Stallions (even... Read More

Three Overvalued Fantasy Football Rookies- 2024 NFL Draft Outlooks

The 2024 NFL Draft is fast approaching. Also around the corner are dynasty fantasy football rookie drafts. It’s the most exciting time of the year. There’s nothing like drafting your favorite college players and watching them become stars on your dynasty team. As fun as that sounds, there are players who disappoint every draft cycle.... Read More

2024 NFL Draft: How Many Running Backs Go In The First Three Rounds?

Football never sleeps at RotoBaller! With the 2024 NFL Draft fast approaching, we're digging into what might transpire in this year's edition. RotoBaller's David Rispoli digs into Kyle Lindemann's RotoBaller 2024 NFL Mock Draft for potential landing spots for the top running back prospects. How many RBs will go in the first three rounds of... Read More

Early Fantasy Football ADP Analysis - Values and Avoids

When preparing for your fantasy football draft, it’s always a good starting point to see where players are being selected in drafts. One way you can do so is by analyzing average draft position (ADP). This helps you get an edge in your league by identifying breakouts, values, or potential busts. Depending on the site,... Read More

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