battle

JEREMY Clarkson’s partner, Lisa Hogan, is “proud” of his decision to go public with his cancer diagnosis, saying it has helped thousands of people.

The former Top Gear presenter is in remission after revealing on the latest series of Clarkson’s Farm that he had been diagnosed with “aggressive” prostate cancer.

Lisa says The Sun columnist was initially reluctant to share his diagnosis with the public.

Speaking to the Daily Star, she said: “I’m really happy he caught his prostate cancer early and I’m really proud of him for putting it on the show, because that was a really big decision.

“When I was filming him in hospital, at first he said please don’t.

“It was (producer) Andy Wilman who convinced him to do it, to help everybody else.

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“When the show came out, Prostate Cancer UK had 30,000 people going on to their website in one day.”

The charity confirmed that in the 24 hours after Jezza, 66, dropped the bombshell news, some 16,749 men took their online risk checker.

That was the highest figure since former Prime Minister David Cameron, 59, revealed last year that he’d also had prostate cancer.

The organisation also had 43,543 visitors to its website – the highest of the year so far and double the number they’d normally receive.

Hogan says Clarkson has also benefited from opening up to those around him.

“Yes, of course it was a terrible worry,” she added. “But what I did encourage him to do was to talk to his friends.

“He didn’t want to initially, but he’s got lots of friends who’ve been through the same thing and he’s been talking to them about it. I think that’s really helped.”

Clarkson revealed in June that he is in remission.

Recently speaking with The Times, Jeremy said of his health: “I am well. I am not unwell.

“I mean, I was unwell, but only for a very short period of time.”

He also revealed in June lifestyle changes after his cancer battle as he admitted “I want to see my grandchildren grow up”.

Jeremy said to The Sunday Times: “I really like seeing my grandchildren. I want to watch them grow up.

“I drive much more slowly. I’m a bit of a dawdler. I go for walks a lot. I have vegetarian food.”

He shares three children – Emily, Finlo and Katya – with his ex-wife Frances Cain.

His eldest, Emily Clarkson, has two children with her husband Alex Andrew.

The NHS has also revealed a new study which will see thousands more men have access to the prostate cancer test used to diagnose Jeremy.

The Stockholm 3 blood check is said to be more accurate at spotting aggressive tumours than the prostate-specific antigen test currently used by the NHS.

The test will be offered to up to 10,000 men aged 45 to 74 at a discounted £99 and given free on the NHS to 2,000 more on lower incomes.

It would typically cost £500 at a private clinic.

ANGIE Best has revealed that she’s back in hospital after a suffering ‘setback’ following her battle with colon cancer.

The former model, 74 – who announced that she was diagnosed with the disease in January – shared that she was cancer-free back in July.

“Colon cancer is a growth of cells that begins in a part of the large intestine called the colon,” Mayo Clinic states.

Angie, who is the ex-wife of football legend George Best, has been keeping fans up to date on social media after having traditional medicine, chemotherapy and immunotherapy, as well as an alternative mistletoe therapy in Switzerland.

Taking to her page earlier today, Angie said: “Update my homies. I find myself back in the hospital.

“I have an infection. They think it’s bacterial. Bt I have to stay here a few days for results and to make it better.

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“See you on the other side.”

She captioned the post: “Slight setback but nothing that can’t be fixed.”

Many rushed to the comments section to share that she is in their thoughts, including her reality star son Calum, who wrote: “I love u and we have got this.”

Another said: “You are in my prayers.”

“Sending love and hugs and strength xx,” a third chimed in.

A fourth added: “Wishing you a speedy recovery sending love and prayers.”

After major surgery to remove a tumour from her colon in July, Angie told fans the incredible news that she is free of the disease.

Sharing her good news on Instagram, she wrote: “Bit different from all the miserable videos of the last 7 months. I’m a truly happy grateful girl, it’s over.”

In a video update, a relaxed Angie explained: “The chemo and the immunotherapy prior had shrunk my 30cm lump down to a little tiny bit that was attached to the colon.

“They shrunk it, now we go in and cut it out… A bit like an interior designer coming in and moving the furniture around, but it still works.

“So then it’s done, they sew you up, then they wait three days, and in those three days, they give you fluids only.

“So of course I lost so much weight, this is why I look so drawn, but I’m not worried about that because I’ve just been eating some shrimp tempura and I’m gonna gain that weight back again without no worries about that.

“On the fourth day, they give you your first meal, very sensible meal, all white.

“And then they wait for the next morning to see if you go to the bathroom.

“I did. And again the next day and again the next day, so everything was working as it should perfectly in my little colon.

“I’m so happy because now I can officially say with gratitude and love that I am cancer free and healing. All I’ve got to do now is get better.

“I’ve got to heal and I can do that. That’s what I’m good at. God knows it’s the only thing I’m good at.

“But I can’t come home yet because this was such a major operation. I have to wait eight days and sit and wait, but I’m gonna use that time to heal and get better.

“I’ve got so much I want to do. I’m going to reinvent myself at the ripe old age of 74. Wish me luck!”

AN emotional Celine Dion has been hailed a ‘true fighter’ as she sobbed through her return to stage after her battle with stiff-person syndrome.

The singer, 58, who was diagnosed with the rare autoimmune neurological disorder in 2022, is performing at the Plenitude Arena in Nanterre, west of Paris, tonight.

According to Patient Info, SPS “is a very rare, long-term condition that causes painful muscle spasms and debilitating muscle stiffness”.

When she revealed her diagnosis, Celine cancelled all of her tour dates for 2023 and 2024, but in March this year it was reported that she was going to return to stage for her first tour in six years.

Talking to her fans at the venue, which has a capacity of 40,000, Celine said: “I had promised myself not to cry.

“I don’t keep my promises. But I’m so happy to see you all.

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“I missed you. I’m going to sing like you without crying.”

Many rushed to X, formerly known as Twitter, to share their love and support towards the star.

One said: “You really did it Celine Dion! Thank you for coming back, you did better than ever legend.”

“What a come back! Celine Dion in Paris – powerful, emotional and simply unforgettable. A true legend,” another wrote.

A third added: “The best to ever do it has returned! Great to see Celine back after so many health challenges and she still sounds amazing.”

A fourth chimed in: “I admire her strength, her courage and her incredible talent.”

A fifth said: “So happy for Celine Dion. All she wanted is go back on stage. She did it. What a fighter!”

Celine will be performing another 25 shows at the arena.

Her last date this year is October 17, and then she will return next year in May for her remaining gigs.

It comes after she made her made her first public performance after revealing she is living with SPS when she closed the Olympics opening ceremony in Paris for the 2024 Olympics.

Some of Celine’s songs include My Heart Will Go On, The Power of Love and All By Myself.

AN AMERICAN heavy metal group has confirmed they are locked in a legal battle with the estate of their late bandmate.

The Blood and Thunder hitmakers have been forced to release a statement to their Instagram page addressing the previously-unearthed feud and how they will proceed.

Oblivion singers Mastodon, a Grammy-nominated band formed in Atlanta, told how what they deem a “meritless lawsuit” is centred on their late Brent Hinds.

The band’s guitarist Brent quit the group in March 2025 after 25 years together, prior to his death in a motorcycle crash in the August.

The group’s founding member passed aged 51, after his Harley-Davidson collided with a BMW SUV.

Prior to his death it appeared there were frictions between the musician and the band, and this only seems to have developed a year since the tragedy.

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Mastodon have now told of the fresh legal woe and uploaded a statement which read: “Sadly, a private business dispute with the estate of our dear departed friend Brent Hinds was made public.

“We strongly deny allegations of ill intent on our part and intend to vigorously defend what we believe is a meritless lawsuit.

“We don’t intend to speak publicly on this going forward, as we feel this wouldn’t honour Brent’s memory or the legacy of his musical gifts”.

Fans were quick to respond to support the group, who now are formed of Troy Sanders, Bill Kelliher, Brann Dailor, Nick Johnston and João Nogueira.

One wrote: “Nobody’s business but yours. The fans are here for the music my guys. Congrats on the excellent new album”.

A second put: “We love Brent, we love Mastodon”.

A third posted: “This is really disheartening. Hoping things can be resolved”.

Last year, Brent told Billboard that his departure from the group was not mutual.

He then said the remaining members “kicked me out”.

This came after the band said they had “mutually decided to part ways”.

The new lawsuit has seen a civil complaint filed by the Hind estate, against the band’s members, on behalf of the late musician on September 3 according to loudwire.com.

As per The Atlanta Journal-Constitution, the lawsuit claims Mastodon failed to pay Brent for his share of the business after his exit.

It claims although the wheels were in motion for the group to buy him out of his share in “band related business” he had not in fact signed the paperwork prior to his passing.

As such, it claims his stake remains valid.

Representatives for his estate also suggest Brent’s image was also used to present the band’s Marrow Deep album, in the same legal challenge.

The lawsuit claimed: “Defendants selected and placed a recognizable image of Brent on the album cover of Marrow Deep and disseminated that cover to advertise, market, distribute and sell physical albums, digital downloads and streams, merchandise and related goods or services”.

FORMER glamour model Katie Price has shared a worrying health update about her mum, Amy, amid her terminal illness battle.

Amy Price was diagnosed with a terminal lung disease called Idiopathic Pulmonary Fibrosis (IPF) back in 2017 with the irreversible scarring of the lungs making it difficult for her to breathe.

During a Good Morning Britain interview in May, Katie, 48, told how her mum was “really not well.”

The admission came two months after Amy was hospitalised in March after being diagnosed with an infection.

Amy has been in and out of hospital, battling the cruel disease for years.

Now, Katie has shared a health update on her mum and it doesn’t sound positive as she’s made a return to the hospital.

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Speaking on her podcast The Katie Price Show, she said: “Mum is still in hospital. She’s very poorly.

“She’s very poorly at the minute, but she loves watching what we’re doing. She loves us at the NTAs, she loved it, seeing us all there.”

Amy appeared fit and fighting at the launch of her new documentary Katie Price: Nothing To Hide.

The glamorous 74-year-old made sure she was right by her daughter’s side for her big night.

She wore a beautiful white and blue floral dress and was seen posing up for snaps with a beaming Katie.

During a podcast episode with her sister, Sophie, back in July Katie revealed she was terrified her mum was going to die while they were filming her Sky show.

“There were so many times we thought we were gonna lose mum through the filming,” admitted Katie.

Sophie agreed saying at one point, she didn’t think Amy was “going to make it.”

Katie went on: “She just keeps battling through and I never thought she’d make the BAFTAs [in February], none of us did.”

In 2023, Amy underwent a major lifesaving lung transplant after being in critical condition in a coma.

Despite the transplant, Amy’s health has remained touch-and-go with Katie noting her struggles with mobility and breathlessness.

Birds of a Feather star Pauline Quirke was diagnosed with dementia in 2021.

Pauline Quirke’s son Charlie has spoken out about his mum amid her dementia battle, revealing “every day is different”.

The actress went public with her condition last year after first being diagnosed with dementia in 2021. Since then, the Birds of a Feather star has stepped out of the spotlight.

And on Wednesday (September 9), her son Charlie appeared on ITV’s Lorraine, where he spoke about a new campaign he is a part of for Alzheimer’s Research UK.

He said: “Alzheimer’s Research UK has made this brand campaign, and it’s putting a positive light on something that doesn’t have a lot of positivity around it. We believe someone alive today could be the first person to be cured of Alzheimer’s disease.”

Charlie then issued a fresh update on his beloved mum. Lorraine asked him: “When I was telling everyone you were in this morning, and you know the affection for your mum is huge, they just all want to know how she is?”

Charlie replied: “Mum, she’s great. Every day is different, it’s part of our journey. We still do as much as we can, we still go out for lunch, I made her sit through the West Ham win last night.”

Charlie added, “We’ve got such a close family unit that it makes it easier on our journey. But touch wood, she’s happy.”

Lorraine said: “That’s the main thing, that she’s happy and she’s safe and she feels surrounded by people that love her.”

Former Emmerdale actress Pauline’s dementia diagnosis became public knowledge last year, though her son Charlie Quirke disclosed in November that Pauline could still identify her relatives.

He revealed to BBC Breakfast at the time: “My mum knows exactly who we are. Every time she sees all of us, she smiles, laughs, says ‘I love you’, says ‘hello’.”

Pauline’s spouse, Steve, admitted they remain uncertain about precisely where the actress stands regarding the dementia, a condition that leads to deteriorating cognitive and memory abilities.

He explained: “Unfortunately, we are not in the state where we can do much about it. Just take every day, and try to take the best moment out of that day you can.

EastEnders airs Monday to Thursday at 7:30pm on BBC One.

Jeremy Clarkson opened up on his ‘annoying’ cancer battle at the NTAs, after winning big with his Clarkson’s Farm co-stars.

Jeremy Clarkson made a comment about his recent cancer battle after winning big at the National Television Awards this evening, beating out stiff competition from Stacey Solomon and Tyson Fury.

The former Grand Tour host, 66, has delighted fans with his Clarkson’s Farm series in recent years, with the Amazon Prime Video show taking home the first ever Reality Docuseries at the NTAs.

The hit show was up against At Home With The Furys, Fletchers’ Family Farm, Mortimer & Whitehouse: Gone Fishing and Stacey & Joe for the first ever award of its kind.

Appearing in the press room following the latest addition to his trophy cabinet, he shared an update on his health after breaking the news of his prostate cancer diagnosis in the most recent season.

“I had a heart thing and a bit of cancer but we live in a time when doctors can fix things very easily,” he said. “It was annoying rather than emotional – I missed a lot of the harvest, which I love.”

Speaking onstage during the ceremony he also took the opportunity to celebrate his co-stars, telling the star-studded: “Crikey! Some lovely programmes in that category.

“I don’t want to drone on forever but I just want to say on behalf of everyone who makes this show, thank you.”

Jeremy stunned fans – and his Clarkson’s Farm castmates – when he spoke candidly about his health in the most recent series, and was seen telling Kaleb Cooper that the disease was “aggressive” but had been discovered early.

He also revealed that he had undergone an operation to remove part of his prostate. In an update after the episode aired, he shared that he is now in remission.

Jeremy’s appearance at the NTAs comes after Kaleb gave the Mirror an update after 11 sheep were stolen from Clarkson’s Farm last week.

The Clarkson’s Farm breakout star told us on the red carpet: “We had 11 sheep stolen. It’s in the police’s hands now, so we’re just waiting to hear back from their investigation.

“But it’s going to be incredibly hard to track down because, of course, it’s been so dry this year, so we can’t find tracks, you know? They’re checking all the cameras in the local area at the moment to see if they can track it back.”

The Clarkson’s Farm star said that while sheep theft was not something he heard about particularly often, its impact on farmers could be devastating.

He added: “I wouldn’t say it happens a lot. I think it happens, but you don’t hear of it very often. But it’s very serious. You’ve actually taken someone’s livelihood away.

“[They rely on] that money to keep the farm going, keep people paid and jobs, and so on. So I think it’s very serious. We had 11. I’ve heard of some cases where it’s been about 50.”

Like this s tory? F or more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

BEIRUT: Since a ceasefire went into effect between Israel and Hezbollah more than two months ago, fighting has stopped in much of Lebanon, but not on a strategic hill overlooking parts of a main southern city.

In recent weeks, Ali Taher hill has been the scene of daily shelling and airstrikes by Israel’s military. Hezbollah, a militant group backed by Iran, has repeatedly attacked Israeli forces in the area with drones.

The United States, which is mediating talks between Lebanon and Israel, had wanted Hezbollah to hand over the hill to the Lebanese army as part of larger plan to disarm the militant group and dismantle its infrastructure. But Hezbollah has refused.

Lebanon and Israel reached a framework agreement in June stating Israel will withdraw from Lebanon as Hezbollah is disarmed. The militant group was not a party to the negotiations and has rejected calls to disarm in areas north of the Litani river, which is where Ali Taher is located.

A full-on battle over this hill near the city of Nabatiyeh could escalate fighting across the country, and unrest in Lebanon complicates efforts to resolve the war in Iran.

On Thursday night, Israel’s military announced it had taken “operational control” of Ali Taher and a network of tunnels beneath it that Hezbollah uses to shelter its fighters and weapons. It is unclear how far Israel’s control extends. Just before Israel’s announcement, its air force was still targeting the hill, according to Lebanese state media.

There has been no official statement from Hezbollah since Israel’s announcement.

US pushes Lebanon to pressure Hezbollah

Hezbollah firmly rejected a proposal from the Lebanese government to hand over Ali Taher to the country’s army. It fears Israel would then seize control of the hill from the Lebanese army and then demand the handover of more territory.

Israel had occupied Ali Taher for 18 years before it withdrew from Lebanon in 2000.

The hill has a strategic location overlooking several villages as well as main roads leading to Nabatiyeh. Losing full control of it would disrupt Hezbollah’s presence and supply lines in the area.

The Israeli military says the site is also important to Hezbollah because of tunnels it built there, with funding from Iran.

Israel said in its statement Thursday that the hill housed underground command centers, weapons storage rooms, generators, living quarters, showers and a kitchen. Israel said it cleared Ali Taher of Hezbollah fighters and was working to “neutralize underground infrastructure sites.”

Hezbollah legislator Ihab Hamadeh questioned why the Israeli military was still attacking the hill if it was really in control of the area, according to the Arabic-language version of Russia’s state-funded news outlet Sputnik. An Associated Press photographer who visited the nearby village of Kfar Rumman on Friday saw no sign of Israeli military presence on the hill.

The hill, topped with a shrine to a Muslim scholar, sits north of the Litani river, which has become the de facto boundary of the area captured by Israel since its latest war with Hezbollah began in early March.

Fighting in the area has heated up in recent weeks

Israel has been conducting military operations around Ali Taher since July, said Nasser Khdour, a Middle East researcher at the Armed Conflict Location & Event Data Project, or ACLED, a US-based group that tracks conflicts around the world.

Hezbollah official Mahmoud Qamati told a Lebanese podcaster in late August that the group’s fighters were repelling attempts by Israeli troops to take Ali Taher. But he, and others, downplayed the significance of the site should Israel take it.

“Ali Taher is important, but if it is lost it does not mean the end of Hezbollah,” Qamati said.

In mid-August, Israel carried out a series of airstrikes on southern Lebanon that it described as retaliation for a Hezbollah drone attack on Ali Taher that seriously wounded three soldiers. The Israeli strikes, which killed 11 people, including women and children, were the deadliest since the US-brokered ceasefire went into effect in late June.

On Aug. 27, Israel carried out a series of airstrikes, killing one person and wounding six, after the military said Hezbollah fired two explosive drones at Israeli troops in the area. Hezbollah did not claim responsibility for any of the attacks.

Lebanon says Israel is hindering its army

Lebanon’s Deputy Prime Minister Tarek Mitri told an Arab TV station in late August that the Lebanese army was ready to take over Ali Taher.

He accused Israel of blocking the army due to its own political considerations ahead of Israeli national elections on Oct. 27.

“The problem is not in the Lebanese army’s readiness but in Israel’s stance,” he said.

Lebanese and Israeli officials are set to meet for negotiations in Rome later this month. Meanwhile, Hezbollah, which has always refused to speak directly to the US, appears to be changing its policy after the major setbacks it has suffered during its wars with Israel since 2024.

A Lebanese official told The Associated Press that indirect contacts are going on between the US and Hezbollah, but refused to give any details. He spoke on condition of anonymity in line with regulations.

The US ambassador to Lebanon, Michel Issa, said recently that Washington is ready to speak with Hezbollah if the group agrees to disarm.

Still, Hezbollah is not likely to take any move forward regarding talks with the US without a green light from its main backer, Iran. While talks with the US over their war have stalled, Iran has sought guarantees that Israel will halt its attacks on Hezbollah as part of any permanent deal.

Capture of Ali Taher could lead Israel to other Hezbollah strongholds

The capture of Ali Taher would open the way to Nabatiyeh and also lead to the nearby Apple Province and Rihan Mountain, where Hezbollah has been building up its presence since the late 1990s.

Israeli leaders have repeatedly pledged to leave troops in Lebanon and threatened to escalate military pressure until Hezbollah disarms.

“Israeli control of the area is an operational and military setback for Hezbollah,” said Khdour of ACLED. He said clearing these sites helps Israel protect towns in the northern part of its country, and increases pressure on Hezbollah.

“This will strengthen Israel’s position in any future negotiations over its withdrawal,” said Khdour.

A MARRIED At First Sight star has tearily opened up about a five-year health battle she’s been going through.

Erica Roberts, who rose to fame on the dating show in 2023, took to social media to share her frustration as she’s been left with even more unanswered questions following further medical tests.

In a new video, the reality star explained that she has been having blood tests for the last five years which have consistently come back with worrying results – including a low white blood cell count.

Erica recently underwent yet another blood test and was met with the same results.

After being told by doctors that they don’t know the reason for the abnormalities in her results, Erica explained that she’s feeling sick of the ongoing situation.

“It’s just frustrating because I really feel like I’ve been trying to change my lifestyle, do what I can to be healthy and just try to figure out what’s going on with my body and It’s just frustrating, I feel like I’ve been the healthiest that I’ve ever been in my whole entire life, so why are my levels dropping?

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“Why is it getting worse? I just don’t know what to do anymore, it’s so frustrating,” said Erica with tears in her eyes.

She continued: “This has been going on for five years, like, every single time I get my bloods done with my doctor I’m like, ‘What can we do?’ and they’re just like, ‘Oh we’ll just keeping checking it’ and I just don’t feel like that’s good enough.”

The emotional star explained that undergoing a blood panel test with private brand Biosensitive meant she was able to see her results more in depth – and has caused her to become more worried about the situation.

“Now I know that I just need to push my GP or just go private because there is clearly something going on and it needs to be fixed,” said Erica.

The star explained in the video that she suffers from health anxiety and told fans in the comment section she has already been diagnosed with Hashimoto’s and an underactive thyroid.

Hashimoto’s disease is an autoimmune condition that attacks the thyroid gland and can lead to an underactive thyroid.

Amid the grapevines that once provided a steady income for her family, 56-year-old Palestinian farmer Theeba al-Sabaa spends much of her day guarding her home and farmland in the occupied West Bank from settlers.

From dusk till dawn, she works on her land in the town of Beit Ummar, north of Hebron, known by locals as “Jabal Sabaa”.

Theeba is engaged in a daily battle against the encroaching settler outposts that have emerged among the rolling hills that surround her, and which block access to sections of her land.

“By God, the land has taught me patience, and to cling to my right, for as long as I have a right, I must take it and never let it go,” she told Al Jazeera.

“I will never leave it because I worked hard on it, I toil and sweat on it, so I will not leave my toil and sweat, or the toil of my children and my husband, to go to someone else.”

Weaponising livestock

Since mid-2024, when settlers established new outposts on the nearby hills, every one of Theeba’s moves has been monitored.

Settlers frequently approach the perimeter of her home and deliberately release livestock into the cultivated fields.

“They enter with their sheep into our land after we plow and fix it, grazing in it, trampling the crops, and stomping on them with their sheep, leaving nothing,” Theeba said.

“As soon as they feel any movement or anyone entering the land, you find them attacking us immediately.”

This intimidation extends to the adjacent fields, where 59-year-old Anwar Sabarneh lives with his extended family of seven brothers.

Due to the repeated settler violations, two of his brothers have been forced to abandon their land.

Sabarneh, who supports a family of 14, owns several dunams of vineyards located just 300 metres (980 feet) from his home. With aggressive settlers around, reaching them has become a dangerous ordeal.

Military complicity

Sabarneh said that the Israeli army even demands permits from Palestinians to work on their own land.

“The army came with the settlers to ask me for a permit so I can work in my home, in front of my house’s door, and on my land where I am the rightful owner,” Sabarneh said.

Farmers are also barred from building anything on their land. Sabarneh’s sheep have also been locked in a barn for over eight months due to the dangers posed by settlers.

“If they see me taking the sheep out, the settlers chase me, kidnap them, and steal them,” he said.

When Sabarneh’s children have tried to retrieve their stolen sheep, Israeli soldiers have arrested and beaten them.

A forced exodus

Repeated pogroms by settlers against Palestinian farmers reflect a broader strategy targeting agriculture across the southern West Bank.

Settlers and the Israeli troops carried out 11,074 attacks in the West Bank during the first half of 2026, according to the Colonization and Wall Resistance Commission. This includes 3,488 carried out by settlers.

Hasan Breijieh, a settlement affairs expert and director at the commission, told Al Jazeera that continuous settlement expansionism, alongside restrictions on Palestinian movement, are the primary reasons that so many Palestinians have been forced to flee their farms.

“Military gates erected at the entrances of Palestinian communities have tightened control over…  access to their orchards and vineyards,” he said.

Bypass roads, built by Israel, have also hindered “connectivity between Palestinian communities”, Breijieh said.

Under such restrictions, Palestinian farmers have faced a fourth consecutive season without being able to harvest olives, grapes, or guava. Their lands have been “neither plowed nor pruned”, and have been forcibly abandoned.

In the face of such oppression, Palestinian women like Theeba al-Sabaa have continued to play a pivotal role in protecting their land, particularly when men have been killed or detained by Israeli forces.

“They continue to maintain their leadership role in preserving the family’s agricultural legacy today,” Breijieh said. “This land was historically the primary source of livelihood for families, and a Palestinian cannot leave it voluntarily, no matter the sacrifices.”

He recalled his own grandfather, who went to his fields to bid farewell before dying. “Goodbye, vineyard,” he said to his land.

Tatuy TV is celebrating its 19th anniversary at a very difficult time in our history as an independent nation. With a people engulfed in daily hardship and our sovereignty compromised on several fronts, the outlook is clearly bleak.

In this editorial, we take a close look at the situation in Venezuela, not to sink us further into despair, but to reject the normalization of the current course.

We refuse to accept this neocolonialism as inevitable or even desirable. Gaining clarity on the current context is essential for us to regroup and rebuild our future.

The Pessimism of the Intellect

Although this story did not begin on January 3 (and we must analyze how we reached that point), recent months have been marked by a dizzying political shift in favor of the bourgeoisie – both domestic and foreign – and US imperialism. Our current condition as a country is one of completely compromised sovereignty.

If oil revenues go into an account at the US Treasury Department, and the national government has to submit a budget in order to have its own resources (partially) released, if judicial and electoral bodies are appointed under US tutelage, if the most important laws are drafted in consultation with the White House and Chevron executives, if the imperial army can come and go as it pleases and bomb whatever it wants on national soil, what is truly left of an independent nation?

In what world can a country that maintains criminal sanctions against our people, that bombed Venezuela and kidnapped its president, be an “ally”? The US ambassador struts around “inspecting” infrastructure and hospitals as if he were the overseer on a plantation, escorted by the adeco [anti-Chavista opposition] deputy foreign minister [Oliver Blanco], who smiles like a good little Yankee lapdog.

We could dwell on the battle of numbers surrounding the recent “historic” oil agreement with the Trump administration. However, the analysis is quite clear. The Rodríguez government has already rolled back national control and participation in the oil industry to disastrous levels, and this deal will offer even less favorable terms for the country.

Plain and simple, Venezuela’s oil reserves, even if they formally remain its property, have been placed at the service of an empire seeking to halt its decline. That gringo monster that sows death and destruction throughout the world now runs on Venezuelan fuel.

Selling Snakeoil and Hoping it Trickles Down

If in recent years there was any gap between a policy of class reconciliation in the face of economic blockade and a discourse that retained certain key elements of the Bolivarian project, that gap has now closed completely.

Gone are any notions that PDVSA can produce oil, that housing is a right and not a commodity, that land should belong to those who work it, and so on, not to mention terms like “socialism” or “anti-imperialism,” which have disappeared entirely.

Instead, today the goal is exclusively to create the best possible conditions for capital. Laws must be reformed, assets denationalized and privatized, evictions carried out in both rural and urban areas, foreign currency handed out to the bourgeoisie without restraint, and labor regulations made more flexible – whatever it takes so that the wealthy can feel confident they will earn even more money.

And then the trickle-down effect will follow. All the key tenets of the neoliberal discourse of the past 40 years are now commonplace in the national government’s rhetoric: that we must attract investment because that is the only way to create jobs, and that the only way to have schools and hospitals is by subordinating the energy industry to the United States and its corporations.

There is no better example of this surrender to foreign capitalist interests than the fact that half the country is permanently in the dark so that corporations can continue to extract their profits from our subsoil.

Nor is the avalanche of reversals anywhere near over. Still to come are the government’s plan to privatize state assets, the labor reform tailored to [business lobby] FEDECÁMARAS’ interests, the downsizing of the state in the name of “efficiency,” and the restructuring of a debt as massive as it is illegitimate, all aimed at deepening Venezuela’s dependence even further.

Tragedy and Farce at the Same Time

For years, internal debate was suppressed and repressed because we were under siege by imperialism and the fascist international. It did not matter that the discussion was about the best way to resist without sacrificing the project. We had to remain silent in the face of all kinds of abuses, since if the right-wing opposition came to power, it would dismantle all the gains of the revolution and hand over the oil on a silver platter to the United States.

And now the official propagandists want to prove that you can square the circle, that what has all the hallmarks of colonial surrender and submission is in fact a “win-win” strategic advance.

There is no mistake more serious and outrageous than taking the people for fools. For months we heard that we had to prepare for people’s war, that the U.S. would face its own “Vietnam 2.0” and would not receive a single drop of oil if it were to attack Venezuela. No one wanted a bloodbath, but it was asserted that we had to asymmetrically resist against imperialist aggression. Then after January 3 we were told that we didn’t have enough weapons and that being a vassal of the empire is not so bad.

Another central argument was internationalism. We were told that despite all the setbacks and internal contradictions, Venezuela was still on the “good side,” the side of multipolarity. And that was not a lie. Venezuela maintained relations with Cuba and sent oil there – albeit less than in the past –, supported Iran, fiercely defended the Palestinian cause, and denounced imperialism in multilateral forums.

Today, Venezuela’s foreign policy is no different from that of any other country subordinate to Washington. Not a drop of oil for Cuba, zero support for Iran, an alliance with the Gulf monarchies, silence on Palestine, and restored ties with Israel. Strategic relations with Russia and China are being sidelined, and their companies are gradually being displaced to make way for those authorized by Trump.

Those who adapt and justify any scenario are opportunists who lack principles. The sole objective is to remain in power, even if it means implementing the exact opposite of what was previously proclaimed. The current leadership simply concluded that the best bet for staying in power was to be as useful as possible to imperialism.

History Is Not Over

In the not-so-distant past, the Venezuelan people reclaimed their dignity, which had been stripped away by one group or another for centuries, and emerged as the protagonists of their own history. They did so under the leadership of Comandante Chávez. Grassroots struggles propelled Chávez to Miraflores presidential palace, and he, as an “outsider,” changed the rules of a game that had until then been reserved exclusively for the elites.

This phenomenon was no historical accident. It was not the result of oil at $120 a barrel. It was a heroic creation, born of struggle, critical thinking, and a clear vision: socialism. Along the way, mistakes were made; old vices were ignored, and new ones were created. We must be willing to debate all of this with humility and honesty.

However, we will not renounce Chávez simply because his legacy was trampled upon by those who represent the very opposite of the Bolivarian project, yet cling to the image of the Comandante to inherit a legitimacy they never deserved.

Revolution does not happen through shortcuts. The struggle is also for historical memory. And here, those who want to be the Titanic’s orchestra just to hold onto their positions or small fiefdoms are free to do so. But they should at least have the dignity not to pretend that this course has anything to do with Chávez and Bolívar.

The empire is making plans for Venezuela’s future while different factions fight to become the lackey government of the moment. The challenge, both in our nation and across the continent, is to reorganize our equals, the working people who have nothing to lose but their chains. Starting over does not mean starting from scratch.

From our media front, as well as in the political spaces where we participate, we will do our part to bring these struggles to light and sharpen our collective consciousness. Imperialism and its lackeys will not have the final say. The Venezuelan people will once again become protagonists and set the wheels of their history in motion.

The views expressed in this article are the author’s own and do not necessarily reflect those of the Venezuelanalysis editorial staff.

Translated by Venezuelanalysis.

Source: Tatuy Tv

If anyone wants to know what “big-boy” football in Southern California looks like, Santa Margarita’s 21-20 road win over Corona Centennial on Friday night gave fans everything they expected from two powerhouse programs.

“There was greatness on that field,” Santa Margarita coach Carson Palmer told his players afterward.

From cornerback Caron Williams producing a pick six on the final play of the third quarter to Mighty Mouse 5-foot-4 running back Adrian Petero rushing for 108 hard-earned yards in 23 carries to run out the clock, the Eagles (2-0) are proving they are no one-hit wonder after winning last year’s Southern Section Division 1 championship over Centennial.

“Even if I can’t find a hole, I’ll make one,” Petero said.

Unlike that 42-7 loss at the Rose Bowl, Centennial rallied from a 14-0 deficit. An 11-yard touchdown run by Braylin Drake with 7:33 left put the Huskies within 21-20. But Santa Margarita’s Jake Martin deflected the PAT attempt, and the Huskies (1-1) never got another opportunity to score against a defense with top linemen, young and sensational linebackers and defensive backs who engaged in hand-to-hand combat with one of the best receivers in the nation in Quentin Hale.

Santa Margarita’s defense celebrates a pick six by Caron Williams (21) at the end of the third quarter from 30 yards.

(Craig Weston / For The Times)

Centennial was at a severe disadvantage by not having two potential starters available on its offensive line because of injuries. Then the Huskies lost a third lineman in the third quarter. Quarterback Jaden Jefferson was left having to run for his life from the outset but used his instincts and intelligence to find ways to succeed. He passed for 192 yards with touchdowns of seven yards to Hale and 24 yards to Kennie Leggett. He adjusted to the pass rush by scrambling up the middle for gains of 11 and 15 yards. Hale caught seven passes for 105 yards.

For some unknown reason, Williams, a junior, now has five of his six career interceptions against Centennial. He said the pick six was no surprise.

“I saw it coming,” he said. “I saw the quarterback’s eyes.”

“Defense suffocating,” is what Palmer told his players in his postgame talk, and he was right.

Santa Margarita’s defense controlled much of the first half because of its ability to put pressure on Jefferson. It wasn’t until Centennial’s final possession of the first half, when trailing 14-0, that Jefferson finally started to connect with Hale. Jefferson got the ball to Hale for a touchdown, rolling left and throwing off his back foot to find Jefferson in the back of the end zone.

Santa Margarita’s defense lost nine of its 11 starters to graduation and was supposed to need time this season to develop, but the guy who wears No. 99 for the Eagles, Kingston Jimmerson, had two sacks in the first half. He’s 6-foot-2, 270 pounds, only.a sophomore and likes to manhandle ballcarriers.

“When he’s a senior, he’s going to be an All-American,’’ Williams said.

Also contributing was 6-5, 225-pound freshman lineman Kaleb Herndon and linebacker Cruz Nunez, a transfer from JSerra. Then there’s freshman linebacker Aydan Steen, who contributed two huge tackles in the second half in critical situations.

Short touchdown runs by Petero and Jaion Smith accounted for Santa Margarita’s first-half touchdowns. Centennial fumbled on its first possession to set up Petero’s two-yard TD run.

The last time Centennial coach Matt Logan was on the same field with Santa Margarita, his face with bright red at the Rose Bowl. He blamed himself for his team’s poor performance. “We weren’t prepared to play football that night,” he said.

This time, the Huskies were able to stay close with the help of a defense that sacked Santa Margarita quarterback Fletch Palmer three times. Cal-bound Miles Schirmer was effective on the defensive line.

“The defense played phenomenal,” Logan said. “We were not on the same page on offense. The kids didn’t waver and kept fighting.”

Venezuelan popular artist Luis Mariano Rivera was born on August 19, 1906. His music is a tribute to life and a commitment to his community’s identity and cultural sovereignty. Rivera’s works remind us that when a people sow their land and tell their stories, they become resistant to oppression and invincible against foreign domination.

A brief and affectionate profile

In the fertile and sunny lands of eastern Venezuela, specifically in the lush village of Canchunchú in Bermúdez Municipality, Sucre State, Luis Mariano Rivera was born on August 19, 1906, 120 years ago. His life was shaped by the rural realities of this area, which combined the abundance of nature with the profound inequalities of a latifundista-dominated agrarian economy.

His childhood was marked by early orphanhood and farm labor. Far from leading to resentment or resignation, this experience shaped in Rivera a loving and vital sensibility that allowed him to dismantle traditional notions of property and patriarchal-landowner hierarchy, enabling him to identify with the land, plants, and animals that surrounded him. This connection to the land enriched his imagination, and his extended family ultimately came to encompass the entire territory.

Rivera’s creative work blossomed after he turned 48. A self-taught musician, poet, and playwright, he composed his first verses using the Venezuelan four-stringed cuatro guitar as his primary instrument. His artistic output became an act of defiance that placed elements dismissed by the dominant culture at the center of Venezuelan poetry: local biodiversity, manual labor, trees, fruits, and wildlife.

Through his popular theater plays and musical compositions, Rivera portrayed a cosmogony in which nature is not merely a resource to be exploited, but a subject with rights to be loved and respected.

Although he never joined any political party nor sought public office, his approach to life and art constitutes a profound political statement. In a Caribbean and Venezuelan context where the neocolonial oil rentier model displaced agricultural production and fueled the exodus from the countryside to the city, Rivera’s insistence on staying in Canchunchú and singing about rural life was a clear act of resistance.

His politics were rooted in pacifism, fraternity, and love for the land. In the face of the metastasizing commodification of life, he prioritized the ethics of care, respect for natural cycles, and community solidarity. Various artists of national and international renown, including Alí Primera, Lilia Vera, Cecilia Todd, Soledad Bravo, Gualberto Ibarreto, and Morella Muñoz, performed his songs, transforming his local message into a banner of continental identity. Alí Primera, in particular, saw Rivera as a beacon of popular dignity, celebrating his ability to transform everyday rural life into revolutionary and loving poetry.

Luis Mariano Rivera passed away on March 15, 2002, in Carúpano, Sucre State, at the age of 95, after nearly a century devoted to cultivating the poetry of life, simplicity, and affection. His legacy is recognized as a symbol of the musical identity that flows directly from the harmonious relationship with the land and the wisdom of the people.

Sound, memory, and collective identity

In many of the ancestral cultures of Abya Yala, sound is part of the creation myth of the women and men who originally inhabited these territories. For all of humanity, sounds have played an important role in the formation of identities. Languages and music stem from this very relationship and our need to connect, to name ourselves, and to determine our own destinies.

Every landscape has its own sonority. In other words, a set of sounds that form its geohistory. This includes our ways of speaking and our music, but also the sounds of the wind, the rain, the sea, the river, birds, insects. In short, all the sounds of life expressing itself, as well as the sounds of human inventions that are now part of our daily lives.

Within this spectrum, there are human beings who manage to connect the sounds of past, present, and future memories to bequeath a sonic identity that transcends the purely artistic realm, becoming the very landscape narrated in their poetry. Luis Mariano Rivera is an example of this transcendental audacity to place oneself beyond time with a unique music.

At the age of 48, driven by the desire to express himself without relying on others to write his letters and thoughts, he taught himself to read and write. Already in his mature years, he began composing verses, parrandas, merengues, and eastern joropos through which he paid tribute to the flora, fauna, and everyday life of his village.

Rivera’s remarkable sensitivity stems from his direct observation of the countryside. His lyrics preserve idioms, sayings, and oral expressions from eastern Venezuela that would otherwise have been lost. Long before the rise of globalized environmental movements, his songs already championed the balance between humans, wildlife, and flora from a local, community-based, and decolonizing perspective. Rivera’s legacy transcends mere musical composition; he represents a defense of communal life and a living example of how it is possible to reclaim one’s own history to create sounds that cement collective identity.

For him, Canchunchú was not merely a geographical reference point, but the center of the world. By singing about his village and embracing rural daily life as a symbol of belonging with a claim to universality, he created an affective geohistory that recognized the dignity of life as equivalent to that of the cherry, the guácara [snail], and the mango. He showed to his community that their own reality is worthy of being celebrated and sung about. As such, his work did not stem from ego. It was born out of the village’s celebrations and gatherings, and like collective knowledge, it has no other purpose than enjoyment and the strengthening of collective unity.

Singing honestly about one’s own village, honoring the vernacular of one’s community without resorting to artificial language, taught us a sense of pride in our ways of feeling, understanding, and reasoning. 

Rivera’s music, paraphrasing Alí Primera, grounds us in our own land, with the profound simplicity of one who surrenders to the magnitude of the surrounding beauty. His deep connection to his native Canchunchú never served as chauvinistic isolation or picturesque folklorism. Rather, it was a gateway to the human condition prior to the violent irruption of Western capitalist modernity, with its imposition of individuality, the commodification of nature, and linear progress, at the expense of communal memory. Rivera’s work operates in the opposite direction: it reconnects with an organic body of knowledge that does not require academia to be legitimate, because it is engraved in the lived collective experience.

It is no secret to anyone that traditional community music, as well as rural poetry, serves as a means of transmitting memory. It is not mere entertainment. Rhythmic patterns, melodic turns, and poetic meter interact with the biological, agricultural, and communal cycles that humankind has cultivated for millennia.

Rivera did not theorize about nature: he embodied it. His philosophy sprang from working the land, from sweat, and from the sounds of the countryside. It is the knowledge transmitted through the body and emotion, that “communal way of life” that predates modernity and remains a reservoir from which to conceive alternatives to capitalism, fascism, imperialism, and Zionism.

True universality does not consist in erasing differences under a single mold with domineering hegemonic pretensions, but rather in reaching our very roots. When we reaffirm the dignity of our communities, we validate the “peripheries” as the center of our own worldviews without the need for external recognition.

Rivera demonstrates that the periphery is a center in and of itself by stripping away the pretensions of colonial modernity. His music taps into the common core of humanity: the wonder of being alive, communal solidarity, and respect for the sacred meaning of life. And this is not a nostalgic gaze toward the past, but rather a reservoir of meaning and hope for the present. It reminds us that beneath the veneer of modernity, the human species remains hardwired to come together, celebrate, and sustain communities.

Finally, Rivera’s production is above all an expression of love. Love toward the full life experience. But when a poet sings about love, it is usually limited to romantic love, or heartbreak in the absence of corresponding feelings. Nevertheless, Rivera did count on a “spiritual companion,” to use his own words: Maximina Marsella, known as La Negra Marsella and whom he affectionately called “la negra,” in what is a very common expression in Venezuela. She was presented as the only woman capable of understanding his silences and his late passion for words. He dedicated many love verses to her, expressing how they shared feelings and devotion for the small things in life and the land.

Writing our own history and cultural sovereignty

The act by which a dispossessed individual reclaims control over the written word is, in essence, an act of sociopolitical liberation. For Luis Mariano Rivera, the decision to learn to read and write on his own as an adult was not merely a matter of functional education or an attempt to conform to bourgeois standards. It represented taking control of his own narrative and a fundamental reaffirmation of his personal and communal sovereignty. In a system dominated by the colonialism of knowledge, where official writing has historically functioned as a mechanism of subordination and administrative control, mastering the alphabet from the campesino perspective means dismantling the monopoly on truth. Rivera lucidly understood that mastering the written code granted him the historical ability to cease being a passive subject, an object of study in folklorism, and become the chronicler and philosopher of his own time. He ceased to be narrated by others and assumed authorship of his territorial memory.

This literacy and poetic endeavor took place against a profoundly adverse historical backdrop. Throughout the twentieth century, Venezuela underwent a traumatic transformation driven by the emergence of the neocolonial oil enclave. Urban modernization advanced aggressively through its ideological and economic strategy of marginalizing the countryside, dismantling traditional community structures, and promoting rural depopulation in favor of slums in the major cities.

The extraction of hydrocarbons by transnational corporations tied to the geopolitical interests of US and European imperialism came alongside an overwhelming wave of cultural propaganda. This ideological penetration sought to impose the American consumerist lifestyle, eroding peasant identity and dismissing local agriculture as synonymous with backwardness and savagery. Venezuela, which was barely emerging from the devastating aftermath of the war of independence and successive nineteenth-century insurrections, revolutions, and civil wars stoked by local elites and foreign capital, saw its food sovereignty and historical memory shaken.

Amid this landscape of alienation, where the country was rapidly transforming into a consumerist, import-dependent enclave, Rivera’s insistence on remaining in his Canchunchú valley and singing about the communal way of life was not a nostalgic or folkloric retreat, but rather a deeply political and assertive affirmation of cultural re-existence.

He sang with such transparent and loving clarity that his powerful message took root in the national collective imagination, ethically reframing the traditions, sufferings, joys, and experiences of campesinos in eastern Venezuela. Against the aesthetics of waste and the logic of neocolonial dispossession, he countered with the ethics of care and the sacredness of everyday life. His compositions served as a mechanism for preserving historical memory: he warned against the collective amnesia regarding the communal way of life driven by the discourse of developmental modernity; he championed food sovereignty in the face of dependence on the globalizing market; he dignified rural labor in the face of urban prejudice, revealing the profound ecological philosophy inherent in popular knowledge. But, moreover, his profound poetic work demonstrates that true national sovereignty is more than just the defense of natural resources or borders. It requires the preservation of the collective soul, the dignity of the living word, and the self-determination of the people’s power.

Luis Mariano Rivera’s life journey teaches us that decolonization is not achieved solely through theoretical confrontation or bellicose rhetoric, but above all through an organic connection to the land and the community. By recognizing himself through his own voice, he prevented imperialist corporations and the oil industry’s maelstrom from erasing the humanity of his surroundings. His music endures as an indestructible testament to cultural sovereignty: living proof that a people who remember their roots, cultivate their land, and tell their own stories become resilient in the face of modern oppressions and invincible against any attempt at external domination.

Fabiola José is a Venezuelan singer. She has performed in countries across South America, Africa, Europe, and Asia. Her singles and albums are available on all digital platforms. She hosted and produced “Cantante y Sonante” for Radio Nacional de Venezuela. In 2018–2019, she created a series of videos for social media, published on her YouTube channel #HechoEnCasa. She holds a bachelor’s degree in Music from IUDEM, Caracas (2005); specialized under Maestro Tom Krause in Spain (2007); and an M.A. in Arts and Cultures of the South from UNEARTE, Venezuela (2020).

Fidel Barbarito is a Venezuelan musician and researcher, with a bachelor’s and master’s degrees in music and history, respectively. He teaches in the undergraduate and graduate programs at the National Experimental University of the Arts (UNEARTE). Together with Fabiola José, he promotes several musical projects aimed at disseminating traditional repertoires, integrating them with contemporary compositions inspired by these sounds. Joropo llanero. Parranda de reexistencia is one of his published essays.

The views expressed in this article are the authors’ own and do not necessarily reflect those of the Venezuelanalysis editorial staff.

DOLLY Parton’s cause of death has been revealed as the country music superstar died following a “brief battle with cancer”, aged 80.

The Queen of Country passed away on Tuesday after suffering from a number of health issues in recent months.

It has now been revealed that Dolly died “surrounded by loved ones” in Nashville after a “brief battle” with cancer, reports People.

Representatives revealed the news in a statement to the outlet which did not reveal the type of cancer Dolly had been battling.

The statement read: “Our beloved Dolly Parton spent her life and career bringing joy, laughter, hope and integrity into everything she touched.

“Her unmatched generosity reached the lives of countless people whom she would never meet, yet she was always there to offer a helping hand.

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It comes as:

“Whether it be the hundreds of millions of books donated through her invaluable Imagination Library or funding research that helped create a lifesaving vaccine used around the world, Dolly’s unconditional love for all people was the guiding force for her lasting impact.

“After bravely facing a brief battle with cancer, Dolly departed her Earthly life today at the Vanderbilt-Ingram Cancer Center surrounded by loved ones.”

Dolly’s nephew Bryan Seaver announced her death in a heartbreaking statement on her official Instagram page Tuesday afternoon, shocking her fans worldwide.

Dolly had been struggling with her health for some time before her passing and was forced to bow out of numerous gigs.

She told PEOPLE on Friday: “I am dealing with some health issues that I just didn’t pay attention to when I was watching over Carl.”

Her beloved husband of 60 years, Carl Thomas Dean, died last March after being diagnosed with Alzheimer’s disease in 2019. He was 82 years old.

After cancelling a slew of shows in December, the Tennessee native admitted she needed to go through “a few procedures”.

Last October, Dolly’s sister Frieda had pleaded with her fans to pray for her sibling due to fears around her health.

It was only earlier this month that she shared an update with fans on social media saying she had a “few little health issues”.

She added that “sometimes I get a little dizzy and I get dehydrated”, saying her doctors had banned her from traveling to the opening of Dollywood’s latest ride.

But during her last public appearance, Dolly appeared upbeat at the unveiling of her new Nashville truck stop.

And just one week before her death, she shared about her excitement to open a new museum in her very last post.

Dolly has no children but leaves behind her legacy in music.

Across her illustrious career, Dolly became one of the most-honored female country performers of all time.

Dolly Parton’s Career Highlights

Dolly Parton is one of the most well-known country stars in the business, and her career has continued to flourish. Here’s a look at the highlights of the music legend’s decades-long career.

• Dolly wrote and released her first single, Puppy Love, including the B-track Girl Left Alone, on Goldband Records when she was 11 years old.
• Although her single wasn’t a big hit, she ended up performing at Nashville, Tennessee’s Grand Ole Opry for the first time at 13 years old and was introduced by Johnny Cash.
• Dolly made the Billboard country charts in January 1967 with two singles from Monument Records: Dumb Blonde and Something Fishy.
• The singer earned her first number-one hit in 1971 with her single Joshua.
• In 1974, Dolly’s arguably most well-known song, Jolene, reached number one on the country charts.
• Her music continued to succeed, and she was awarded the Female Vocalist of the Year award at the CMAs in 1975.
• Dolly’s track, Here You Come Again, achieved platinum status in 1978, and the album earned her a Grammy award for Best Female Country Vocal Performance.
• In 1980, Dolly starred in her first film, 9 to 5, alongside Lily Tomlin and Jane Fonda and released her hit song of the same name.
• The star opened her famed amusement park, Dollywood, in Pigeon Forge, Tennessee, in 1986.
• Later that year, she was inducted into the Nashville Songwriters Hall of Fame.
• At 75 years old, Dolly recreated her 1978 Playboy Cover for her husband Carl Dean’s birthday.
• In May 2022, it was announced that Dolly would officially be inducted into the Rock & Roll Hall of Fame, alongside Eminem, Lionel Richie, Carly Simon, Eurythmics, Duran Duran, and Pat Benatar.

A total of 25 of her singles or albums became Gold, Platinum or Multi-Platinum records. 

She had 26 songs reach number one on the Billboard country charts – a record for a female artist – and 42 career top 10 country albums.

As of 2012, she had written more than 3,000 songs and sold more than 100 million records.

She also boasts a whole host of awards including 11 Grammy Awards alongside 55 nominations.

Dolly is also in several halls of fame across the US including the Hollywood Walk of Fame, Country Music Hall of Fame and the Nashville Songwriters Hall of Fame.

In 2023, she was even ranked at number 27 on Rolling Stone‘s 2023 list of the 200 Greatest Singers of All Time.

California Atty. Gen. Rob Bonta made it clear Tuesday he holds the power to extract major concessions in the battle over the proposed Paramount-Warner Bros. merger.

A day after canceling settlement talks, Bonta said he remains open to meeting with Paramount Skydance executives to find remedies to resolve the antitrust lawsuit stalling David Ellison’s $111-billion takeover, but called on the company to end its “amateur hour” conduct.

“If you want to have an adult, legitimate, serious settlement discussion — no problem,” Bonta said during an appearance in Los Angeles. “But if you want to play games, we’ve got better things to do.”

The attorney general, who is leading the coalition of 12 states that filed an antitrust lawsuit to block the merger, repeated his stance that Paramount must make significant concessions to end the court battle — such as selling cable television channels. However, Ellison has been resistant because his company will need the steady cash-flow from Warner’s basic cable channels, including TBS, TNT and CNN, to make payments on $80-billion in debt Paramount will take on to finance the industry-reshaping deal.

Ellison’s promise to release 30 movies a year, following the merger, won’t cut it, the attorney general said.

Bonta, who was speaking at press conference to highlight public safety, expressed frustration with Paramount afterweeks of drama.

Paramount first threatened to leave California if Bonta continues to wage his court battle. Then, on Friday, Paramount accused actor Mark Ruffalo (a staunch deal critic) of making antisemitic comments, prompting prominent Jewish organizations to join the fray. One Jewish leader suggested Bonta was in cahoots with Ruffalo.

That wasn’t the issue, Bonta said, specifically pointing to leaks about the settlement talks that appeared in various news outlets.

Some reports suggested Bonta’s office sought the negotiations amid withering political pressure. Gov. Gavin Newsom, Los Angeles Mayor Karen Bass and Xavier Becerra, the Democratic nominee for governor, have separately urged a settlement to end the antitrust fight.

Bonta set the record straight: “Paramount reached out to us to have settlement discussions,” he said. “They asked for them.”

Bonta’s beef was that the substance of the nascent negotiations appeared in newspaper articles despite both sides agreeing to hold confidential talks, Bonta said, adding that crossed the line. The Wall Street Journal reported that California’s top prosecutor planned to ask Paramount for agreements to keep Warner Bros. and the Paramount Pictures film studios separate units as well as an agreement to sell some cable channels.

“We thought they were reaching out to us in good faith … unfortunately, they violated the rules of engagement,” Bonta said. “They leaked lies to the press while we were in settlement negotiations. That’s not okay … That is amateur hour.”

Paramount declined to comment. On Monday, Paramount denied it was the source of the leaks.

Bonta’s comments appeared as a show of strength after major court wins.

The coalition of attorneys general, who also represent New York, New Mexico, Colorado, Nevada and Oregon, last month won a temporary restraining order that blocked Paramount from closing the deal. Rather than lose in a hearing over a more consequential preliminary injunction, Paramount voluntarily agreed that it would not finalize the transaction until after the trial or by June 1, whichever date comes first.

U.S. District Court Judge Araceli Martínez-Olguín set a March 2 trial, which was in line with the plaintiff states’ request. Paramount had lobbied for a November date.

“We are winning in this lawsuit,” Bonta said. “They have eight of the biggest law firms in the country, making every imaginable argument under the sun. And they lost, the judge said: ‘You are likely to lose this case’… the states are likely to succeed on the merits.”

For now, no new settlement talks are scheduled.

Bonta expressed an openness to finding a truce.

“If they are willing to clean things up, put a lid on their lying leaks and engage in a way that is sincere and in good faith, we will be where we always are … happy to meet,” Bonta said.

Staff writer Kevin Rector contributed to this report.

Kinshasa, DR Congo – President Felix Tshisekedi is due to leave office in 2028 under the current Constitution of the Democratic Republic of the Congo. Yet with more than two years to go, a battle over the rules governing what happens when his mandate ends is already reshaping Congolese politics.

In May, Tshisekedi said he had not sought a third term but would accept one if the Congolese people wanted him to continue. The remarks revived opposition fears that constitutional reform could eventually open a path beyond the existing two-term limit.

Under the current constitution, the president is elected for five years, renewable once, while the number and length of presidential terms are protected from constitutional revision.

Tshisekedi’s camp says the country needs institutional reform. Opponents of the reform fear the process could ultimately be used to change the rules governing presidential succession.

The dispute is unfolding as the DRC fights a rebellion in the east led by M23, an armed group that operates within the broader Alliance Fleuve Congo (AFC), a political-military coalition that controls Goma and Bukavu, the capitals of North Kivu and South Kivu.

With an opposition mobilisation planned for September and Tshisekedi preparing to outline an inclusive national dialogue, the confrontation is entering a critical phase.

The referendum battle

The confrontation accelerated in June when the Parliament of the Democratic Republic of the Congo passed legislation setting out conditions for organising a referendum.

The Constitutional Court ruled in July that the law complied with the constitution, while raising concerns about some of its provisions. On August 10, Tshisekedi formally asked the presidents of the National Assembly and Senate to reconsider the legislation in light of the court’s observations. The National Assembly said the fresh deliberation would be placed on the agenda for its September session.

The legislation provides for a constituent assembly followed by a referendum in the event of what it describes as a “major dysfunction” of state institutions.

Critics of the process say the mechanism could eventually be used to alter provisions that currently prevent Tshisekedi from seeking a third term. The government, meanwhile, has presented constitutional reform as a broader institutional issue rather than an explicit bid to extend the president’s tenure.

The main opposition group campaigning against the process is known as C64, or the Article 64 coalition. Its name refers to Article 64 of the DRC’s constitution, which calls on citizens to oppose anyone who takes power in violation of the constitutional order.

C64 says it will resist any attempt to use constitutional reform to extend Tshisekedi’s mandate beyond 2028. The coalition announced a nationwide mobilisation for September 15, with demonstrations in Kinshasa expected to converge on the Palais du Peuple, the seat of parliament.

Taking the fight to parliament

The dispute has already spilled onto the streets.

Thousands demonstrated in Goma and Bukavu on July 28 against proposed constitutional changes and any attempt to extend Tshisekedi’s time in office.

In Kinshasa, protesters are expected to converge on the Palais du Peuple.

For C64, the destination is deliberate: the coalition wants to take its protest to the institution at the centre of the constitutional process.

Jean-Marc Kabund, a Congolese opposition politician, told Al Jazeera that no constitutional revision, referendum or legal manoeuvre should be allowed to circumvent the current constitution.

He warned that this happening while the country is at war could deepen divisions and threaten national cohesion.

A constitutional fight during a war

The constitutional dispute is unfolding alongside a conflict that has transformed eastern Congo.

M23 and the AFC have seized large areas of territory, including Goma and Bukavu. The Congolese government accuses Rwanda of supporting M23, a charge that Kigali denies.

The war is also raising questions about the 2028 elections.

Tshisekedi has warned that elections may not be possible if the fighting continues, arguing that it would be difficult to organise a credible vote while parts of the country remain outside government control.

Emmanuel Bugama, a Congolese political analyst based in Bunia, told Al Jazeera that national interests should come before political disputes.

“The nation’s best interests should take precedence over these political squabbles,” he said.

The view from Goma

In Goma, the argument is being watched from a city no longer under Kinshasa’s control.

Gentil Mulume, a civil society activist in Goma, told Al Jazeera that any constitutional change extending Tshisekedi’s mandate would not be recognised in territory controlled by M23 and the AFC.

“If Tshisekedi dares to amend this constitution to extend his term of office, it will not be recognised here,” he said.

Mulume said the dispute was part of a deeper divide between Kinshasa and the east. He argued that continued Tshisekedi rule could be viewed there as a form of domination and that self-determination should be part of the political debate.

His comments illustrate how a constitutional confrontation in Kinshasa is being interpreted in territory already beyond the government’s effective control.

What do ordinary Congolese know?

There is also a more basic question: how much do ordinary citizens understand about the proposed changes?

Kevin Kalala, a 30-year-old mobile-credit retailer in Kinshasa, told Al Jazeera that he does not know enough about the constitution to take a position.

“We do not know what our constitution entails,” he said. “The Congolese state should start by teaching us about our constitution.”

Kalala said citizens should first be shown which provisions need changing, why they need changing, and what the benefits would be.

“I am neither for nor against amending the constitution,” he said.

An offer of dialogue

As tensions rise, Tshisekedi has proposed an inclusive national dialogue involving political parties, civil society and religious groups.

While in Libreville, Gabon, on August 16, he said he would soon address the nation to set out his vision and the contours of the talks. The date and format of the dialogue have yet to be announced.

Tshisekedi has ruled out sitting with people he accuses of siding with Rwanda or the armed rebellion.

Martin Fayulu, who challenged Tshisekedi in the 2018 presidential election, has called for former President Joseph Kabila and Corneille Nangaa, the political leader of the AFC, to participate.

For now, the constitutional dispute is running alongside the war in the east and the uncertainty over the 2028 elections.

The question is no longer only whether the constitution will change. It is whether Congo’s political forces can agree on the rules for what happens when Tshisekedi’s current mandate ends.

“We are certainly heading towards one of the most decisive periods in our recent history,” Bugama told Al Jazeera. “The country is under the control of an armed group, whilst the government in Kinshasa is posturing over constitutional reform instead of tackling what matters most.”

Sandra Bullock has opened up about her late partner Bryan Randall’s private battle with ALS.

The “Practical Magic 2” star discussed what it was like to care for Randall while honoring his request to keep his amyotrophic lateral sclerosis diagnosis a secret for years during her appearance on the “SmartLess” podcast.

“I wasn’t allowed to speak about it,” Bullock told hosts Jason Bateman, Will Arnett and Sean Hayes in a clip of the episode posted by TMZ. “That was the request, and I honored it. … He asked me not to share … and it isolated me in the process.”

She explained that Randall, who died in 2023 at age 57, had been ill for half of their relationship and that his diagnosis came amid the COVID-19 pandemic.

Bullock and Randall had also kept their relationship fairly private. The couple started dating in 2015 after they reportedly met at Bullock’s son Louis’ fifth birthday party. Randall, a photographer, had been hired to capture images of the celebration. Bullock also has a younger daughter, Laila, whom she adopted in 2015. The couple was also raising Randall’s older daughter, Skylar.

Over the years, Bullock and Randall debunked rumors about their engagement and marriage numerous times.

“I don’t need a paper to be a devoted partner and devoted mother,” Bullock said in 2021.

The “Ocean’s 8” star described Randall’s diagnosis as “traumatic” and that she had started grieving him four years before his death. Bullock’s sister, Gesine Bullock-Prado, had been the only person who had known about Randall’s diagnosis “for a while” although the actor eventually also confided in friends Jennifer Aniston and Bateman’s wife, Amanda Anka, according to People.

“My person left a lot earlier than the body left,” Bullock said in the podcast. “I don’t think I ever dealt with that until after he passed.”

Bullock’s episode of the “SmartLess” podcast will be released on Aug. 24 but is available now to SiriusXM early access subscribers.

The first time that artist and filmmaker James Spooner heard Patti Smith’s song “Rock n Roll N—,” he cringed and reflected on the years of racism, microaggressions and abuse he dealt with as a young Black punk rocker in California’s high desert and later, New York.

According to Spooner’s new book, “It Starts With Anger,” this moment of reflection is a catalyst that prompts him to pursue a closer examination of the experiences and challenges Black people face in punk rock and alternative music scenes that are predominantly white.

“If there was such a thing as a ‘Rock n Roll N—’ Patti Smith wasn’t going to be the one to define it. Right then, I decided I was going to make a movie,” Spooner writes in his book.

In 2003, Spooner started working on a documentary called “Afro-Punk,” which took him across the country as he interviewed Black artists, musicians and fans to talk about their experiences in punk rock. “Afro-Punk” starts by calling out Smith’s controversial song before diving into what it means to be Black in a music scene intended to welcome outsiders, but which nonetheless alienates and projects harmful values toward people who are not white.

“I don’t think she’s a bad person, I think she’s a white person who was trying to be edgy and then just like doubled down her whole career,” Spooner told The Times. “I’m all for and have always been understanding of people who make mistakes, people should have an opportunity to correct themselves.”

The punk rock documentary is being rereleased this month after Spooner launched a successful Kickstarter campaign to remaster the film. The rerelease coincides with the publication of Spooner’s new book, “It Starts With Anger,” which covers the author’s personal history, the creation of the documentary, the larger Afropunk brand (it does not use a hyphen like the film), and the eventual demise of his brainchild at the hands of corporate ventures. “Afro-Punk” will premiere in Los Angeles and New York, with a special screening and book talk on Sunday at the Skirball Cultural Center with former S.O.A. and Black Flag vocalist Henry Rollins.

“Young people at the time needed it,” Spooner says about his documentary “Afropunk.” They needed that connection to see that there were other young Black punk rockers, they needed to hear from them and know that they had common experiences.”

(Lisa Nola )

“Before there was anything negative attached to it and before there was any corporate interest attached to it, people saw the movie and were like, ‘Oh, that’s my story, I guess I’m an Afropunk and didn’t even know it,’ and then they started calling themselves that,” Spooner said. “I helped define an experience for a group of people in the underground, I inadvertently helped to define an experience for a lot of people who feel othered and ostracized.”

Spooner, who upheld punk’s DIY ethos by shooting, producing, directing and editing the entire project himself, recently regained the rights to his film after a contentious years-long legal battle against his former business partner, Matthew Morgan, and Essence Ventures, the current owners of the Afropunk brand.

“The way that it all turned out in the end, it’s like, not everybody gets to see the long arc of justice in their lifetime, but to be so hurt and slighted and then watch karma do its thing is like, why waste time with being pissed off anymore? There are still things that I wished wouldn’t have happened, but I’m lucky in the end,” the Afropunk founder said.

After Spooner made his documentary, he realized how much the film resonated with Black punks who yearned for community and acceptance. Damon Locks, a visual artist and musician who was featured in the documentary and later worked as a publicist for the Afropunk festival, said he was “really impressed” with the film when it first came out, and that “James’ instincts were correct” when it came to the vision and execution.

“Young people at the time needed it, they needed that connection to see that there were other young Black punk rockers, they needed to hear from them and know that they had common experiences,” he said.

Eager to extend the reach of “Afro-Punk” beyond the documentary, Spooner began organizing a series of DIY underground punk shows known as “The Liberation Sessions,” with the goal of developing this concept into a major festival. He also decided to enter a business relationship with Morgan, who offered to manage Spooner’s creative affairs and help him take “Afro-Punk” to the next level.

According to Spooner, Morgan wanted to bring in corporate sponsors and feature music genres outside of punk to generate more interest and maximize profits. Spooner said he reluctantly compromised, yet after several years of working with Morgan, Spooner grew disillusioned with what Afropunk the festival became.

Maurice “Moe” Mitchell, vocalist for hardcore band Cipher and national director of the Working Families Party, was featured in the documentary and performed at several Afropunk shows and festivals. He said what happened with Afropunk is “a tale as old as time” and Morgan being outside of the movement led to “moneyed interests” altering what Spooner had created.

“At some point, those interests figure out how to co-opt, how to monetize, how to profit, how to take over this thing and it becomes a shell of itself, no longer owned or operated by the original originators, just a product or a marketing scheme for some company,” Mitchell said. “And that is rinse and repeat what happens to really good art and really good movements, and it’s what happened with Afropunk.”

By 2008, Spooner decided he wanted to walk away. He moved to Los Angeles and signed over the Afropunk rights and trademark to Morgan.

“My priority was to the kids … and I didn’t want for them to not have Afropunk just because I was over it, just because I moved on to the other side of the country, I could have just been like, ‘F— you, everything’s in my name, if you want it, sue me,’ I could have done that and I probably would have won because everything is in my name,” the punk filmmaker said. “I also was incredibly broke, I was not only broke when I moved to L.A., I was like $20,000 in debt on credit cards, so it was not like I was in a good place to continue this thing.”

As “Afro-Punk” returns to screens in Los Angeles and New York, Spooner leans into punk’s rebellious ethos, reclaiming his work and spotlighting Black liberation in loud, uncompromising ways.

(Lisa Nola )

In 2020, Spooner sued Morgan for failing to make contractual annual payments and failing to observe a clause in their 2010 agreement that mandated that if more than 50% of the company was sold, Spooner was entitled to a share of the profit. In 2020, Essence Ventures acquired the Afropunk LLC, but Spooner was not made aware of the sale. After a complicated legal battle against both Morgan and Essence Ventures, Spooner settled, successfully recovering the rights to the film in 2025, which he says was more important to him than financial compensation.

Representatives for Essence Ventures did not immediately return requests for comment.

“I didn’t start ‘Afro-Punk’ with money in mind, I wanted people to see my film,” Spooner said. “I wanted people to see my film, and then people saw the film, and then I wanted those people to stay in the room together and become friends, and all of that happened.”

Mitchell, who ended up becoming friends with Spooner after participating in the documentary, said he is “very happy” that Spooner “came out vindicated” in the legal struggle. The Cipher frontman believes “Afro-Punk” is an important documentary that shows “what it means to be a person of color in America,” and which makes visible the identity issues Black people experience beyond the punk rock community.

“That’s also the story of Black people when we lean into our liberation, right?” Mitchell said. “Like we are expressing ourselves in very loud and uncompromising ways that challenge the status quo and so I’m really happy that this film is coming out because this is a moment where we need as many people, as many Black people, to lean into who we are in loud and uncompromising ways, because we have a whole political structure that is demanding our compromise.”

As Spooner celebrates the release of his new book and the premiere of his remastered film — which he says still needs distribution — he hopes that he can continue shedding light on the Black experience and sharing the legacy of what he created as a young Black punk rocker.

“It’s wild to me that I made something when I was 25 that people still care about, and I hope that it keeps reaching another generation and proves itself to be valuable in some kind of way,” he said.

Supreme Court grants jailed ex-PM Imran Khan transfer to hospital for nearly a month after concerns were raised over his blood pressure.

Islamabad, Pakistan — Pakistan’s Supreme Court on Tuesday ordered the transfer of Imran Khan, former prime minister and founder of the opposition Pakistan Tehreek-e-Insaf (PTI) party, from Rawalpindi’s Adiala prison to Islamabad’s Shifa International Hospital within two days, accepting a demand his party had been making for months.

Uzair Bhandari, one of Khan’s lawyers, told Al Jazeera the three-member bench also ordered a medical board be formed to oversee Khan’s treatment, including the ex-prime minister’s sister, Dr Uzma Khan, and his personal physician, Dr Faisal Sultan.

“The court also directed that Khan’s family be allowed to meet him at the hospital and that he be permitted to speak with his sons, who live abroad,” Bhandari said.

The next hearing has been fixed for September 16, and Khan should remain hospitalised until at least then as per the order, according to the lawyer. This will be the longest period that Khan will be physically outside jail premises since he was imprisoned in August 2023, convicted in several corruption-related cases that he and his party insist are politically motivated.

The order followed a report Adiala jail’s superintendent submitted to the court on Monday, detailing a cardiac board’s August 10 review of Khan, 73, which recorded fluctuating blood pressure and anxiety linked to restricted contact with his family.

During Tuesday’s hearing, the court pressed Pakistan’s advocate general over gaps in the report, saying Khan’s “pulse and heart condition were not normal” and that his vital organs “had started being affected”.

Courts had twice declined similar transfer requests since February, including an Islamabad High Court ruling that ordered a medical board’s assessment instead.

Zulfi Bukhari, a senior PTI leader, told Al Jazeera the ruling reinforced the party’s longstanding position that Khan needed independent, specialised treatment outside Adiala jail.

“Medical care provided within the prison system is no substitute for a thorough evaluation by independent specialists of his choosing,” he said, adding that PTI had consistently called for Khan’s transfer to Shifa International and access to his own doctors.

Government officials have insisted any transfer required judicial authorisation rather than executive discretion.

Rana Sanaullah, adviser to the prime minister, told the Senate on Monday that Khan was receiving “the best available medical treatment” and that his condition did not support PTI’s concerns.

The order lands amid a wider standoff over access to Khan, which PTI has increasingly framed as the precondition for reviving talks with the government. The government, for its part, has renewed efforts to engage in dialogue but to no avail as yet, while PTI leadership has announced a countrywide protest on September 27.

A YOUNG rock bassist in Australia has revealed he only months to live after being diagnosed with colorectal cancer.

Jordan Brunoli, 29, is the bass guitarist for Brisbane-based band Bugs and last year was told he had colorectal cancer.

The rocker gave a devastating update that after trying all kinds of medical interventions he was told in June that his prognosis was terminal, with him having between three to four months to live.

“I have spent over a year now trying different chemotherapy drugs, backed by an amazing oncologist and treatment team,” Jordan wrote on the band’s Instagram. 

“Unfortunately I have a mutation that causes rapid growth of tumours, and none of the treatments have been able to stop the cancer from spreading. I am now entering the final chapter of my life after being told in June I had a prognosis of 3-4 months.”

Jordan vowed to live his life to the fullest and thanked his bandmates, Connor Brooker and Brock Weston and the wider Bugs team for rallying around him to record their latest album, Head Noise.

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“I’m forever grateful for the support from Con, Brock and our OG Bugs team who have banded together to indulge my wish, to release our album and play some shows before I go,” he wrote.

“Head Noise means so much to me. I can’t wait for you to hear the whole album.

“We’ve worked on it for the last 2 years, through the good and the bad. We kept recording when I was recovering from surgery, sick from chemo, even when I had neuropathy so bad I couldn’t feel the guitar I was playing.”

He added: “My focus has always been on enjoying the music and sharing it with others.

“Playing, recording and touring around Australia with Bugs has been the opportunity of a lifetime. I just wanna say, if there were a few final shows coming up, you can bet your ass I’ll be playing them.”

Jordan concluded: “Thank you everyone, and watch me enjoy the f**k out of the rest of my life.”

The bassist revealed his cancer diagnosis last year and explained it was at stage 4 because it had spread to his liver and lymph nodes.

Jordan had surgery to remove part of his bowel and got a permanent stoma before beginning chemotherapy.

Bugs launched a fundraiser at the time to help pay his medical bills and to cover his living costs while he couldn’t work.

The musician used his platform to raise awareness about bowel cancer and its rise amongst people under 50.