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As President Trump declared Washington, D.C., a crime-ridden wasteland in need of federal intervention last week and threatened similar actions in other Black-led cities, several mayors compared notes.

The president’s characterization of their cities contradicts what they began noticing last year: that they were seeing a drop in violent crime after a pandemic-era spike. In some cases the declines were monumental, due in large part to more youth engagement, gun buyback programs and community partnerships.

Now members of the African American Mayors Assn. are determined to stop Trump from burying accomplishments that they already believed were overlooked. And they’re using the administration’s unprecedented law enforcement takeover in the nation’s capital as an opportunity to disprove his narrative about some of the country’s greatest urban enclaves.

“It gives us an opportunity to say we need to amplify our voices to confront the rhetoric that crime is just running rampant around major U.S. cities. It’s just not true,” said Van Johnson, mayor of Savannah, Ga., and president of the African American Mayors Assn. “It’s not supported by any evidence or statistics whatsoever.”

Trump has deployed the first of 800 National Guard members to the nation’s capital, and at his request, the Republican governors of three states pledged hundreds more Saturday. West Virginia said it was sending 300 to 400 Guard troops, South Carolina pledged 200, and Ohio said it would send 150 in the coming days, marking a significant escalation of the federal intervention.

Beyond Washington, the Republican president is setting his sights on other cities including Baltimore, Chicago, Los Angeles and Oakland, calling them crime-ridden and “horribly run.” One thing they all have in common: They’re led by Black mayors.

“It was not lost on any member of our organization that the mayors either were Black or perceived to be Democrats,” Johnson said. “And that’s unfortunate. For mayors, we play with whoever’s on the field.”

The federal government’s actions have heightened some of the mayors’ desires to champion the strategies used to help make their cities safer.

Some places are seeing dramatic drops in crime rates

Trump argued that federal law enforcement had to step in after a prominent employee of his White House advisory team known as the Department of Government Efficiency was attacked in an attempted carjacking. He also pointed to homeless encampments, graffiti and potholes as evidence of Washington “getting worse.”

But statistics published by Washington’s Metropolitan Police contradict the president and show violent crime has dropped there since a post-pandemic-emergency peak in 2023.

Chicago Mayor Brandon Johnson scoffed at Trump’s remarks, hailing the city’s “historic progress driving down homicides by more than 30% and shootings by almost 40% in the last year alone.”

Mayor Karen Bass of Los Angeles, where homicides fell 14% from 2023 to 2024, called the federal takeover in District of Columbia a performative “power grab.”

In Baltimore, officials say they have seen historic decreases in homicides and nonfatal shootings this year, and those have been on the decline since 2022, according to the city’s public safety data dashboard. Carjackings were down 20% in 2023, and other major crimes fell in 2024. Only burglaries have climbed slightly.

The lower crime rates are attributed to tackling violence with a “public health” approach, city officials say. In 2021, under Mayor Brandon Scott, Baltimore created a Comprehensive Violence Prevention Plan that called for more investment in community violence intervention, more services for crime victims and other initiatives.

Scott accused Trump of exploiting crime as a “wedge issue and dog whistle” rather than caring about curbing violence.

“He has actively undermined efforts that are making a difference saving lives in cities across the country in favor of militarized policing of Black communities,” Scott said via email.

The Democratic mayor pointed out that the Justice Department has slashed more than $1 million in funding this year that would have gone toward community anti-violence measures. He vowed to keep on making headway regardless.

“We will continue to closely work with our regional federal law enforcement agencies, who have been great partners, and will do everything in our power to continue the progress despite the roadblocks this administration attempts to implement,” Scott said.

Oakland officials this month touted significant decreases in crime in the first half of this year compared with the same period in 2024, including a 21% drop in homicides and a 29% decrease in all violent crime, according to the midyear report by the Major Cities Chiefs Assn. Officials credited collaborations with community organizations and crisis response services through the city’s Department of Violence Prevention, established in 2017.

“These results show that we’re on the right track,” Mayor Barbara Lee said at a news conference. “We’re going to keep building on this progress with the same comprehensive approach that got us here.”

After the president gave his assessment of Oakland last week, Lee, a steadfast Trump antagonist during her years in Congress, rejected it as “fearmongering.”

Social justice advocates agree that crime has gone down and say Trump is perpetuating exaggerated perceptions that have long plagued Oakland.

Nicole Lee, executive director of Urban Peace Movement, an Oakland-based organization that focuses on empowering communities of color and young people through initiatives such as leadership training and assistance to victims of gun violence, said much credit for the gains on lower crime rates is due to community groups.

“We really want to acknowledge all of the hard work that our network of community partners and community organizations have been doing over the past couple of years coming out of the pandemic to really create real community safety,” Lee said. “The things we are doing are working.”

She worries that an intervention by military troops would undermine that progress.

“It creates kind of an environment of fear in our community,” she said.

Patrols and youth curfews

In Washington, agents from multiple federal agencies, National Guard members and even the United States Park Police have been seen performing law enforcement duties including patrolling the National Mall and questioning people parked illegally.

Pentagon Press Secretary Kingsley Wilson said the National Guard troops will not be armed, but he declined to elaborate on their assignments to safety patrols and beautification efforts.

Savannah’s Johnson said he is all for partnering with the federal government, but troops on city streets is not what he envisioned. Instead, he said, cities need federal assistance for things like multistate investigation and fighting problems such as gun trafficking and cybercrime.

“I’m a former law enforcement officer. There is a different skill set that is used for municipal law enforcement agencies than the military,” Johnson said.

There has also been speculation that federal intervention could entail curfews for young people.

But that would do more harm, Lee said, disproportionately affecting young people of color and wrongfully assuming that youths are the main instigators of violence.

“If you’re a young person, basically you can be cited, criminalized, simply for being outside after certain hours,” she said. “Not only does that not solve anything in regard to violence and crime, it puts young people in the crosshairs of the criminal justice system.”

A game of wait-and-see

For now, Johnson said, the mayors are closely watching their counterpart in Washington, Muriel Bowser, to see how she navigates the unprecedented federal intervention. She has been walking a fine line between critiquing and cooperating since Trump’s takeover, but things ramped up Friday when officials sued to block the administration’s naming its Drug Enforcement Administration chief as an “emergency” head of the police force. The administration soon backed away from that move.

Johnson praised Bowser for carrying on with dignity and grace.

“Black mayors are resilient. We are intrinsically children of struggle,” Johnson said. “We learn to adapt quickly, and I believe that we will and we are.”

Tang writes for the Associated Press.

THIS is the astonishing moment a “jewellery thief” is wrestled to the ground and held in a “lion killer” chokehold by tourists.

Brazilian brothers Gabriel and Gustavo Galindo sprung into action after hearing screams from a man claiming he had been robbed.

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Both black belts in Jiu-Jitsu, the siblings quickly put the alleged thief into a “lion killer” chokehold – a popular martial art move that can, in some instances, be deadly.

When police arrived 10 minutes later to escort the man away, applause and cheers erupted for the two brothers.

Shocking footage shows the man pinned to the ground as he attempts to wriggle out of the stranglehold.

According to Brazilian news, the alleged thief tried to bite Gabriel before being warned to “stay still” or leave without an arm.

Gabriel said: “I put him on the ground to show him Brazilian jiu-jitsu.

“By then, there was already a crowd of people enraged with anger towards the unfortunate man.

“Some angry people started to beat him up, but I didn’t have the heart to let them hurt him too badly.”

“We stopped the robbery, taught the thief a lesson, and kept everyone safe.”

Posting the video online, Gabriel quipped: “Enjoying ourselves in Barcelona.”

The clip has massed thousands of views, with hundreds congratulating the holidaygoers for their efforts.

One user hailed the lads “champions” while another crowned them modern day superheroes.

The pair, who were in Barcelona, Spain on a European tour with their family at the time, later said they were left with a “good story to tell”.

Gabriel said: “And we went back to enjoying our day in Barcelona—with a great story to tell.”

Barcelona is notorious for its rampant thieves who target unsuspecting tourists.

Just a couple months ago, extraordinary footage emerged of another tourist tackling a thief to the ground and holding him in a chokehold.

Meanwhile, aast August, Sir Ben Ainslie was robbed at knifepoint for his £17,000 Rolex in the Spanish city.

Ainslie, 47, recalled the horror as a gang mugged him while out for a meal on Saturday night in Barcelona.

The terrifying attack unfolded when he was leaving a restaurant, as reported by local media La Vanguardia.

And last year, unbelievable footage captured a thief swiping a Brit tourist’s phone just as he proposed to his girlfriend in Barcelona.

Footage showed Charlie Bullock surprising his now-fiancée Hannah McNaghten by going down on one knee – but the romantic moment is cut short as a thug is captured nabbing the device.

Charlie propped up his phone on the wall as the two posed for a picture outside Barcelona‘s famous Arc de Triomf, with Hannah totally unaware of what would happen next.

And in 2022, Barcelona FC star Robert Lewandowski chased a thief who stole his £59,000 watch as he signed autographs.

Before an evening training session, the Poland hitman stopped to greet fans outside the club’s Ciutat Esportiva complex.

But one crafty thief used the distraction to open Lewandowski’s car door and make off with the high-end time piece.

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“Berta, Berta,” a two-character play by Angelica Chéri, was inspired by a prison work song from Parchman Farm, the notorious Mississippi State Penitentiary whose harsh conditions and history of forced labor extended the nightmare of antebellum slave plantations into the 20th century.

The play, which is receiving its West Coast premiere in an Echo Theater Company production at Atwater Village Theatre directed by Andi Chapman, is set in Mississippi in 1923. The action takes place in the home of Berta (Kacie Rogers), a young widow who’s awakened in the middle of the night by a visitor from her past.

Not just any visitor, mind you, but the love of her life. Leroy (DeJuan Christopher) arrives at the threshold of her small, well-cared for home in a clamorous uproar. He’s filthy, his white shirt is covered in blood, and Berta can’t tell if he’s possessed by the devil or out of his mind.

It turns out that he’s killed a man who claimed, falsely, to have slept with her. Berta is horrified that Leroy has done something so rash and violent. He holds it as proof of the depth of his love for her. But why, Berta wants to know, did he not get in touch with her after he was released from Parchman? The crime he’s committed will only send him back to where, in Leroy’s own pained words, “they take the colored man to kill him from the inside out.”

Berta and Leroy exchange grievances over the futility of their love. He can’t understand how she could have married; she’s bewildered that he could have expected her to wait indefinitely for a ghost. Their passion, however, won’t be denied, no matter how angry they make each other.

The play is pitched for maximum intensity, and Chapman’s direction encourages a mythic scope — a wholly appropriate approach for a drama that leaps over the safety of realism. Amanda Knehans’ beautifully designed set, as snug as it is appealing, grounds the action in a clean and cozy domesticity. But this is just an illusion, as the production makes clear through the expressionistic wildness of the lighting (Andrew Schmedake) and sound design (Jeff Gardner).

The couple has been granted a brief reprieve from their separation. Leroy, observing an old superstition, made an oath to the awakening cicadas that he will turn himself in if he’s given the chance to make peace with Berta. She has made her own pact with the insects, asking them to restore the life of her stillborn baby, whose corpse she has held onto in the hope that the cicadas will answer her prayer.

The pressurized, supernatural stakes in such tight quarters sometimes encourage Christopher to push a little too vociferously. Berta’s home is too small to contain Leroy — and Christopher’s performance never lets us forget it. But the turbulent charge of Leroy’s voice and body language serves another purpose: keeping the character’s history as an oppressed Black man cruelly cut off from his soulmate ever in sight.

Rogers’ Berta, comfortably situated in her domestic nest, scales her performance accordingly. She is our anchor into the world of the play, reacting to Leroy’s tumultuous intrusion with suspicion and alarm. But as the intimacy grows between the characters, the performers become more relaxed and playful with each other. The Wagnerian nature of Berta and Leroy’s love settles down without losing its miraculous mystery.

The Sunday matinee I attended was a Black Out performance — an opportunity for a Black audience to experience the play in community. Playwright Jeremy O. Harris championed this concept during the initial Broadway run of his groundbreaking drama “Slave Play.” There was backlash to the idea in London, where some critics found the practice racially exclusionary. But anything that promotes the communal embrace of art, particularly among historically underrepresented groups, ought to be celebrated.

I wasn’t the only white person in the audience at “Berta, Berta” on Sunday, but I was one of just a few. When I had initially learned from the show’s publicist that the performance was specially designated, I offered to come at another time, not wanting to take a seat from a community member. But I was assured that there was room and that I was most welcome.

Listening to the play in this special environment, I was more alert to the through line of history. Although set in the Deep South during the Jim Crow era, there appeared to be little distance between the characters and the audience. Berta and Leroy’s tempestuous love games were met with amused recognition. And the threats facing the couple, to judge by the audible response to the work, were received with knowing empathy.

At a different performance, I might have been more impatient with some of the strained dramatic turns. But the production’s living bond with the audience opened my eyes to the realism inherent in this folktale romance, laden with history and floating on a song.

Convincing young Black people to become cops long been a tough sell at summer job fairs.

But in recent months the pool of recruits at the Los Angeles Police Department has shriveled to the point of running dry. The last two training academy classes haven’t included a single a Black graduate.

Despite offering generous pay and pensions, police agencies across the country have struggled since the pandemic with finding enough new officers regardless of race.

At the LAPD, the number of Black recruits — especially women — has been dropping for years, leaving the department far short of diversity goals put in place decades ago to counter discriminatory hiring practices.

Compounding matters is President Trump, who has embarked on a far-reaching campaign against diversity, equity and inclusion, or so-called DEI policies.

LAPD Chief Jim McDonnell quietly shut down the department’s DEI program during an administrative reshuffling this year. Massive cuts to federal agencies and university programs have some officials sounding alarms about a ripple effect in police hiring.

The Oscar Joel Bryant Assn., which represents the LAPD’s 700 or so Black officers, said conversations about responding to attacks on pro-diversity programs “do not need to wait for the future.”

“[T]hose concerns are here today for all groups,” Capt. Capt. Shannon Enox-White, the association’s president, said in a statement. “When we swore an oath to protect the Constitution and the organization’s very mission statement elevates DEI (diversity, equity and inclusion) principles, I do not see how we can step away from them now or ever.”

Privately, some Black department officials expressed frustration with recent promotions announced by McDonnell. Only one Black leader moved up in rank. Emada Tingirides, a finalist for the police chief job is now the first Black woman in the department’s long history to hold the rank of assistant chief.

Many of the department’s older Black officers — who joined the force during a hiring push in the 1980s and ‘90s — are now nearing retirement. Several high-ranking Black LAPD officials, including Tingirides and Deputy Chiefs Gerald Woodyard and Alan Hamilton, have already enrolled in the deferred retirement program, meaning they probably will exit before the 2028 Olympic Games in L.A.

The department’s percentage of Black officers has dipped slightly to roughly 8% of the force, just below the percentage of Black city residents.

Diversity issues aside, the LAPD has grappled with other issues when it comes to finding and retaining cops of the future. The hiring process typically takes 250 days to complete after the background check, polygraph screening and a series of tests that each applicant is required to undergo. LAPD officials have said some exasperated candidates have opted to pursue opportunities with other agencies where the wait isn’t nearly as long.

But for some already in the department, the most glaring problem is a lack of support for Black people in uniform. They point to the quiet closure of the DEI office, whose staff members were reassigned and duties absorbed by other units. Proponents considered it a crucial support system for younger Black cops.

Without such support, they say, Black officers will be less likely to receive the professional development or opportunities to work in specialized units that can lead to supervisory roles.

Others argue that stories about the internal mistreatment of Black officers keep people from applying. This year, an officer from the department’s recruitment unit filed a complaint alleging he had recorded racist, sexist and homophobic comments by colleagues, which McDonnell and other officials condemned and pledged to investigate.

Over the last decade, the department has paid out more than $10 million in settlements or jury awards for officers alleging that they were discriminated against based on their race.

Like the city it polices, the LAPD has seen its demographics change dramatically in recent decades. With the department prodded by lawsuits and consent decrees, more than half of the once mostly white force is now Latino. But the number of Black cops — especially women — hasn’t budged much.

Some police critics said that increasing diversity alone isn’t a fix for larger, systemic issues with policing.

But a succession of LAPD leaders have said that diversifying the agency’s ranks is a priority, arguing that doing so can counter generations of distrust of police by Black Angelenos. Still, progress has been slow. A 2022 study by UCLA researchers revealed strong resistance within the department toward efforts to hire more women and officers of color.

Since the start of his second term in office, Trump has called diversity hiring efforts “illegal,” encouraging federal agencies to investigate and withhold funds from institutions that promote DEI practices.

Ivonne Roman of the Center for Policing Equity, a nonprofit think tank based at Yale University, said the president’s anti-affirmative orders will undoubtedly undercut efforts to turn the tide on declining Black officer numbers nationwide.

Even though most local police departments aren’t as dependent on federal funding as, say, public universities, police executives may feel less pressure to diversify their agencies in the current social climate, she said.

Steps such as the dismissal of Biden-era civil rights lawsuits that accused police departments of hiring disparities could embolden discrimination, she said.

“It’s going to have chilling effect,” Roman said.

THE countdown to Black Friday 2024 is officially on, and if last year is anything to go by, fans of Lululemon are in for a treat. 

From leggings to sports bras, Lululemon’s Black Friday deals have traditionally been worth waiting for, making it the perfect opportunity to refresh your wardrobe or invest in some premium gear at discounted prices.

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Sign up to the Lululemon newsletter to receive updates about its Black Friday sale

Known for its high-performance activewear and loungewear, Lululemon is a go-to brand for fitness enthusiasts and comfort seekers alike. 

With Black Friday around the corner, it’s time to start thinking about what deals might be on offer this year.

Here’s what to expect from Lululemon’s Black Friday sale in 2024, when the sale kicks off and how to prepare for the best discounts. 

So whether you’re after a new pair of the brand’s iconic Align leggings or you’ve been eyeing their latest athleisure pieces, here’s everything you need to know to shop smarter this November.

When is Black Friday 2024?

Mark your calendars: Black Friday 2024 falls on Friday, 29 November. While the main event takes place on this day, many brands, including Lululemon, often begin rolling out deals in the week leading up to Black Friday itself. 

If previous years are any indication, you can expect early access offers and sneak peeks in the days prior, so it’s a good idea to keep an eye on Lululemon’s website and sign up for any email alerts to stay ahead of the game.

Black Friday has grown to be one of the most significant shopping events of the year, and it’s not just confined to the Friday after Thanksgiving anymore. 

It’s now common for sales to extend throughout the weekend and into Cyber Monday, giving you plenty of time to shop and score great deals.

Ever wondered why Black Friday is called Black Friday? Find out here.

Is Lululemon taking part in Black Friday this year?

Yes, Lululemon is expected to participate in Black Friday 2024, just as it has in previous years. 

Whilst the brand is pretty selective with its discounts throughout the year, Black Friday is one of the rare occasions where you can expect to find significant price cuts across a variety of items. 

Last year, Lululemon offered up to 50% off on selected items, and this year is expected to be no different.

Although Lululemon doesn’t typically promote drastic storewide markdowns, it does provide substantial savings on select items. 

The Black Friday sale usually includes popular favourites like the Lululemon Align leggings, Define jackets and a range of accessories, making it a great time to stock up on essentials.

What to expect from Lululemon’s Black Friday sale 2024

While the official details for Lululemon’s Black Friday 2024 sale have yet to be released, we can make some educated guesses based on last year’s deals.

Expect markdowns on some of Lululemon’s best-selling items, including their famed yoga leggings, workout tops and accessories such as gym bags and water bottles. 

Based on previous years, discounts typically range from 20% to 50%, depending on the item.

Lululemon often includes a selection of seasonal and limited-edition styles in their Black Friday sale, so keep an eye out for exclusive pieces. 

Stock tends to move fast, so it’s best to be ready to shop as soon as the sale goes live to secure your must-have items.

What was in Lululemon’s Black Friday sale last year?

In 2023, Lululemon’s Black Friday deals included a variety of savings across their activewear and loungewear collections. 

Shoppers were treated to discounts on best-sellers such as the Align leggings, which were reduced by £14, while the Define jackets also saw significant markdowns. 

Accessories, including the popular Everywhere Belt Bag and water bottles, were also part of the sale.

Many of these items sold out quickly, so if you’re eyeing a particular piece, it’s worth making a list in advance and acting fast when the sale starts. 

Lululemon’s sales can be highly competitive, and sizes tend to sell out quickly, especially on staple items.

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When is Cyber Monday 2024 and is Lululemon taking part?

Cyber Monday falls on Monday, 2 December 2024, and Lululemon typically extends its Black Friday discounts through to Cyber Monday. 

If you miss out on a deal during the Black Friday weekend, Cyber Monday offers another chance to snag some bargains. 

While the best deals often go live on Black Friday itself, Cyber Monday can feature additional markdowns or further reductions on remaining stock.

How much does Lululemon’s shipping cost?

Lululemon offers free standard shipping on all online orders, which is a great perk for Black Friday shoppers who prefer to avoid the crowds. 

During busy shopping periods like Black Friday and Cyber Monday, Lululemon may offer expedited shipping at a reduced rate or for free on higher-value orders, so keep an eye on their shipping policies as the event approaches.

Does Lululemon offer any other discounts?

In addition to Black Friday sales, Lululemon has a few year-round discounts worth noting. 

The brand offers a ‘We Made Too Much’ section on their website, where shoppers can find discounted items throughout the year. 

Additionally, if you sign up to the Lululemon newsletter you can receive 10% off your first purchase.

While these discounts may not be combinable with Black Friday deals, they’re worth exploring if you qualify.

By keeping an eye on Lululemon’s website and being prepared ahead of time, you’ll be in the best position to score some great deals this Black Friday. 

ACTRESS Zendaya stretches out to show off her new sneaker range — but doesn’t lose her trainer thought.

She teamed up with Swiss sportswear brand On for her Cloudzone Moon footwear with fashion guru Law Roach.

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The 28-year-old also showed off her abs as she posed in a track jacket and matching shorts.

The new shoes are said to be about “balancing standout style with all-day comfort”.

Zendaya, who is engaged to British Spider-Man big screen hero Tom Holland, 29, say: “Movement has always been a part of how I connect with myself, and movement looks different for everyone.”

Meanwhile the apparel collection, features lightweight, breathable materials designed for everyday versatility.

They include a bomber jacket, a bodysuit and a track jacket with matching shorts.

Zendaya is currently in Glasgow, doubling as New York, to shoot Spider-Man: Brand New Day.

It’s amazing her head isn’t spinning.

The blockbuster film, due to be released next year, has generated excitement amongst locals over the last few months.

The eagerly awaited sequel will see Tom reprise his iconic role.

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BY rights, I shouldn’t really be talking to The Black Keys duo, Dan Auerbach and Patrick Carney.

But here they are on a Zoom call with me to discuss their thirteenth studio album, No Rain, No Flowers.

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The 11 tracks are coming kicking and screaming into the sunlight earlier than expected — and for good reason.

Last September, The Black Keys were supposed to start a North American arena tour in support of their previous album, Ohio Players, noted for songs written with Noel Gallagher and Beck.

But, to their dismay, the dates were scrapped, prompting the pair to fire their management team.

Without going into detail, Auerbach says: “The first thing I wanted to do was kill somebody and the second thing I wanted to do was kill somebody.”

Carney adds: “I don’t want to get into it too much because we’ve gotten letters telling us not to talk about it by one of the most powerful people in the music industry.

“We got f***ed by the person who was supposed to be looking out for us.

“So, because of some bad advice, we were left with no plans for the summer. We had to take one on the chin.”

The situation was a rare mis-step in The Black Keys’ upward trajectory, which stretches back nearly 25 years.

Starting out in a dingy basement in Akron, Ohio, childhood friends Auerbach and Carney took their exhilarating mix of bluesy garage rock to the world stage, drawing on soul, hip hop, psychedelia, you name it, along the way.

Their new album, however, is the product of unplanned time on their hands. Still smarting from losing their tour, they convened at Auerbach’s Easy Eye Sound studio in his adopted hometown of Nashville — and set about turning adversity into triumph.

‘Reminder of the power of our music’

“We realised that maybe we’d better do something positive with this free time,” says the singer/guitarist.

“So we dove head first into working with people we’d never met and trying things we’d never tried before as a band. Ultimately, it really helped us.”

For drummer Carney, it was a natural reaction to what had happened.

“When Dan and I are not on the road, we’re in the studio,” he says.

“So we thought, ‘Let’s just get back in there and reboot’.”

One thing that remains undiminished is the cast-iron bond between Auerbach and Carney.

The latter affirms: “We’ve been doing this together for almost 25 years — from the struggle to the big s**t.

We got f***ed… so we thought we should do something positive

Carney

“Dealing with being broke, dealing with getting money, headlining Coachella, dealing with getting married, getting divorced, having kids, we’ve been through it all.

“As screwed up as last year was, it had very little to do with us so we got back on it, to prove to ourselves what we can do.”

As we speak, The Black Keys have been back on tour — on this side of the Atlantic.

Carney says it can be “brutal chasing the festivals, sleeping on the bus or in hotel rooms.

“But getting out here and getting in front of these crowds has been the biggest reminder of the power of our music.

“Seeing the fans flip out has helped us to get our heads out of music-business bulls*t and back into what it’s all about”.

Auerbach agrees: “The show in London [at Alexandra Palace] was the biggest headliner we’ve ever played.

“It was great after the year we had. Whatever happens, we know the fans are still there for us.”

Another thrill was playing Manchester’s Sounds Of The City festival two days before the first Oasis homecoming gig at the city’s Heaton Park.

“The atmosphere was electric. Our audience was so up for it,” says Auerbach.

Noel and Liam are both incredible — we’re really happy for them

Auerbach

He credits Oasis with lifting the mood. “I feel like they’ve transformed the continent. We’ve never seen anything like it.”

And he couldn’t resist visiting the Oasis Adidas store. “I had one of the black soccer jerseys made — Oasis on the front and AUERBACH on the back. Had to do it, man, they’re the kings.”

It was in 2023 that The Black Keys visited Toe Rag Studios in Hackney, East London, to write three songs with Noel Gallagher, who they describe as “the chord lord”.

Auerbach says: “It was amazing. We just sat in a circle with our instruments and we worked things up from nowhere.

“Not too long after that we played a song with Liam [in Milan] and hung out with him afterwards. He gave us some really good advice about our setlist.

“Noel and Liam are both incredible — we’re really happy for them.”

‘We’d never written with a piano player’

We return to the subject of their new album, No Rain, No Flowers, which involved a new approach for The Black Keys.

Instead of big-name guests like Noel and Beck and, before them, ZZ Top’s Billy Gibbons, they turned to acclaimed songwriters — the unsung heroes — for their collaborative process.

They welcomed into their world Rick Nowels (Madonna, Stevie Nicks, Lana Del Rey), Scott Storch (Dr Dre, Nas) and Daniel Tashian (Kacey Musgraves).

Auerbach had encountered Nowels while producing Lana Del Rey’s 2014 third album Ultraviolence and had long been impressed with his keyboard skills.

He says: “We’d never written with a piano player before. After 20-plus years in the band, it was cool to try something new in the studio.”

Carney adds: “The way we worked with each one of these people was completely different.

“With Daniel, for instance, we’d start with a jam session. With Rick, it was all about getting the title of the song.”

And Auerbach again: “Scott’s all about instrumentation. He didn’t want to think about the words. He just lets you do that stuff afterwards.”

One of the co-writes with Nowels is the life-affirming title track which begins the album.

With lines like, “Baby, the damage is done/It won’t be long ’til we’re back in the sun”, you could be forgiven for thinking it reflects on the band’s recent woes.

Auerbach says it does, but only up to a point. “It started with the title and we built it from there.

“We tend to shy away from diary-type songs. It gives us ‘the ick’ when it sounds like somebody’s reading from their diary.

“But there’s a lot of truth in the song. It’s us trying to be positive, which maybe wasn’t how we were feeling.

“It was a nice thought to write a positive anthem but still have blood in the eye.”

If The Black Keys’ go-to sound has been the blues, this album is remarkable for its funky, airy and soulful vibe.

Auerbach says: “We were heavily influenced by soul growing up, maybe more than anything, and it really shows.

“With us, it’s all about the feel. When we started out, we didn’t know what the hell we were doing, but we knew when it felt right.”

Another strong touchstone has been hip-hop, which is why Auerbach and Carney are thrilled to have worked with Scott Storch, another dazzling keyboard player, who started out in the Roots and went on to work with Dr Dre, 50 Cent, Beyonce and Nas.

“We are a product of where we were raised,” affirms Auerbach. “We grew up in the golden age of hip- hop. That’s what pop music was for us.

“The first time I heard the Geto Boys was at the middle- school dance and it affected us.

That’s the s**t on those blues records I love so much. You hear Son House grunting when he’s playing slide guitar

Auerbach

“But then my mom’s family played bluegrass — I would listen to my uncles sing. And when The Stanley Brothers sing, it’s white soul music. I love it all.”

As for Storch, Auerbach continues: “We’ve obsessed over videos of him since we were in high school. Seeing him play all the parts of his hits makes our jaws hit the floor.

‘You can hear Scott physically grunting’

“The idea of getting him in the studio seemed crazy because he seemed like a larger-than-life figure.”

Auerbach was mesmerised by Storch when he arrived at Easy Eye Sound.

He says: “Scott’s a real player, an absolute musical savant. As a hip-hop producer, he tends to spend 99.9 per cent of the time in the control room.

“But we have all these acoustic pianos, harpsichords and analogue synthesisers. He was in heaven, and so were we watching him go from keyboard to keyboard.

“On Babygirl, he’s on an acoustic piano with microphones and you can hear him physically grunting in time with his playing. That’s got to be a first for Scott Storch on record.

“That’s the s**t on those blues records I love so much. You hear Son House grunting when he’s playing slide guitar.”

The No Rain, No Flowers album is loaded with hook-laden songs — the exhilarating rocker Man On A Mission, the psychedelic Southern rock swirl of A Little Too High.

One explanation for their eclectic approach is The Black Keys’ regular Record Hang in Nashville, which involves Auerbach and Carney hosting all-vinyl DJ dance parties.

For these, they scour online marketplaces and record shops for obscure but revelatory old 45s.

Carney explains: “We end up exposing ourselves to thousands of songs that somehow we’ve never heard.

“It’s really cool to be so deep into our career and uncovering all this incredible music. It’s totally reinvigorating — particularly when one of us finds a record that the other hasn’t heard and it’s a banger.” So check out Carney’s discovery Nobody Loves Me But My Mama by Johnny Holiday, which he describes as “f*ing insane — psychobilly fuzz rock”.

Then there’s Auerbach’s fave, Yeah Yeah by Blackrock, “a rare 45 instrumental which rearranged our minds. It still hits like crazy”.

We just fell right into it, started playing it and luckily we were recording

Auerbach

With The Black Keys, you always get a sense of passion for their craft, and for other people’s.

Auerbach says: “Pat and I were talking about this earlier — music can hypnotise you. You can use it for good or for evil. It’s a very powerful tool.”

And Carney: “It’s my biggest passion and it has been since I was 11.

‘Sensitive about what we listen to’

“I also think about the delicate balance you need when you do it for a living. You’re taking the thing you love the most but you never want to ruin it for yourself.

“Dan and I are very sensitive about what we listen to. We were at a music festival in a spot in between seven stages. It sounded horrible. I said, ‘This is the kind of thing that could make me hate music’.”

Finally, we talk about another of their own songs, the sublime, festival-primed anthem Neon Moon, which closes No Rain, No Flowers.

Written with Daniel Tashian, Auerbach modestly calls it a “first-take jam” but that doesn’t really do it justice.

“I think it just started with the ‘neon moon’ lyric,” he says. “We just fell right into it, started playing it and luckily we were recording.”

As the song gets into its stride, he sings: “Don’t let yourself get down too long.”

It’s a line that The Black Keys have taken to heart.

THE BLACK KEYS

No Rain, No Flowers

★★★★☆

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Tuesday night, Gustavo Dudamel was back at the Hollywood Bowl. This summer is the 20th anniversary of his U.S. debut — at 24 years old — conducting the Los Angeles Philharmonic, and becoming irrepressibly besotted with the amphitheater.

He walked on stage, now the proud paterfamilias with greying hair and a broad welcoming smile on his face as he surveyed the nearly full house. The weather was fine. The orchestra, as so very few orchestras ever do, looked happy.

For Dudamel, his single homecoming week this Bowl season began Monday evening conducting his beloved Youth Orchestra Los Angeles as part of the annual YOLA National Festival, which brings kids from around the country to the Beckmen YOLA Center in Inglewood. But it is also a bittersweet week. Travel issues (no one will say exactly what, but we can easily guess) have meant the cancellation of his Simón Bolívar Symphony Orchestra of Venezuela‘s trip to the Bowl next week. Dudamel will also be forced to remain behind with them in Caracas.

After 20 years, Dudamel clearly knows what works at the Bowl, but he also likes to push the envelope as with Tuesday’s savvy blend of Duke Ellington and jazzy Ravel. The soloist was Korean pianist Seong-Jin Cho, whose recent recording of Ravel’s complete solo piano works along with his two concertos, has been one of the most popular releases celebrating the Ravel year (March 7 was the 150^th anniversary of the French composer’s birth).

Ellington and Ravel were certainly aware of each other. When Ravel visited New York in 1928, he heard the 29-year-old Ellington’s band at the Cotton Club, although his attention on the trip was more drawn to Gershwin. Ellington knew and admired Ravel, and Billy Strayhorn, who was responsible for much of Ellington’s music, was strongly drawn to Ravel’s harmony and use of instrumental color.

On his return to Paris, Ravel wrote his two piano concertos, the first for the left hand alone, and jazz influences were strong. Cho played both concertos, which were framed by the symphonic tone poems “Harlem” and “Black, Brown and Beige, which Ellington called tone parallels.

There has been no shortage of Ravel concerto performance of late — or ever — but Ellington is another matter. Although the pianist, composer and band leader was very much on the radar of the classical world — “Harlem” was originally intended for Arturo Toscanini and the NBC Symphony; Leopold Stokowski attended the Carnegie Hall premiere of “Black, Brown and Beige,” as did Eleanor Roosevelt, Marian Anderson and Frank Sinatra — Ellington never played the crossover game. The NBC “Harlem” never panned out and became a big-band score. Ever practical, Ellington, who composed mostly in wee hours after gigs, always wrote for the occasion and the players. He tended to leave orchestration to others, more concerned with highlighting the fabulous improvising soloists in his band.

The scores, moreover, were gatherings, developments and riffs on various existing songs. “Harlem” is an acoustical enrapturement of the legendary Harlem Renaissance and one of the great symphonic portraits of a place in the repertory. “Black, Brown and Beige” is an ambitious acoustical unfolding of the American Black narrative, from African work songs to spiritual exaltation with “Come Sunday” (sung by Mahalia Jackson at the premiere) to aspects of Black life, in war and peace, up to the Harlem Renaissance.

Both works are best known today, if nonetheless seldom heard, in the conventional but effective orchestrations by Maurice Peress and are what Dudamel relies on. The version of “Black, Brown and Beige” reduces it from 45 to 18 too-short minutes.

The primary reason for these scores’ neglect is that orchestras can’t swing. The exception is the L.A. Phil. With Dudamel’s surprising success of taking the L.A. Phil to Coachella, there now seems nothing it can’t do.

The time has come to commission more experimental and more timely arrangements. But even these Peress arrangements, blasted through the Bowl‘s sound system and with the orchestra bolstered by a jazz saxophone section, jazz drummer and other jazz-inclined players, caught the essence of one of America’s greatest composers.

Ravel fared less well. The left-hand concerto has dark mysteries hard to transmit over so many acres and video close-ups of two-armed pianists trying to keep the right hand out of the way can be disconcerting. This summer, in fact, unmusical jumpy video is at all times disconcerting.

Ravel’s jazzier, sunnier G-Major concerto is a winner everywhere. But for all Cho’s acclaim in Ravel, he played with sturdy authority. Four years ago, joining Dudamel at an L.A. Phil gala in Walt Disney Concert Hall, Cho brought refined freshness to Tchaikovsky First Piano Concerto. In Ravel at the Bowl, amplification strongly accentuated his polished technique, gleaming tone and meticulous rhythms, leaving it up to Dudamel and a joyous, eager orchestra to exult in the Ravel that Ellington helped make swing.

Showboating Kyren Wilson spurned the chance to make history when he attempted a no-look shot on the black in his 6-5 victory over Si Jiahui at the Shanghai Masters.

The last-16 tie included six century breaks to tie the record for the most ever in a best-of-11 match – equalling Judd Trump and Neil Robertson’s meeting in the 2016 Masters and Robertson’s encounter with Mark Selby in 2020.

Wilson reached 97 in the deciding frame but opted for a no-look shot and missed the black.

The Englishman said he didn’t realise he was on the verge of breaking the record but said it wouldn’t have changed his approach.

“I did the silly no-look thing,” Wilson said.

“Especially in China, I feel the sport is blowing up out here and a lot of it is about doing things a bit differently. You have to have a bit of fun. The crowd appreciate that sort of thing.

“There’s no chance I’d have just rolled that black in, even if I knew about the record. It is still about doing things differently. We are stepping into a modern era in snooker.”

Elsewhere, defending champion Trump advanced with a 6-2 victory against Robertson.

Twelve years after a breakup that didn’t stick — and one year shy of the 20th anniversary of its biggest album — My Chemical Romance is on the road this summer playing 2006’s “The Black Parade” from beginning to end.

The tour, which stopped Saturday night at Dodger Stadium for the first of two concerts, doesn’t finally manifest the long-anticipated reunion of one of emo’s most influential bands; My Chem reconvened in 2019 and has been performing, pandemic-related delays aside, fairly consistently since then (including five nights at Inglewood’s Kia Forum in 2022 and two headlining appearances at Las Vegas’ When We Were Young festival).

Yet only now is the group visiting sold-out baseball parks — and without even the loss leader of new music to help drum up interest in its show.

“Thank you for being here tonight,” Gerard Way, My Chem’s 48-year-old frontman, told the crowd of tens of thousands at Saturday’s gig. “This is our first stadium tour, which is a wild thing to say.” To mark the occasion, he pointed out, his younger brother Mikey was playing a bass guitar inscribed with the Dodgers’ logo.

So how did this darkly witty, highly theatrical punk band reach a new peak so deep into its comeback? Certainly it’s benefiting from an overall resurgence of rock after years dominated by pop and hip-hop; My Chem’s Dodger Stadium run coincides this weekend with the return of the once-annual Warped Tour in Long Beach after a six-year dormancy.

Then again, Linkin Park — to name another rock group huge in the early 2000s — recently moved a planned Dodger Stadium date to Inglewood’s much smaller Intuit Dome, presumably as a result of lower-than-expected ticket sales.

The endurance of My Chemical Romance, which formed in New Jersey before eventually relocating to Los Angeles, feels rooted more specifically in its obsession with comic books and in Gerard Way’s frank lyrics about depression and his flexible portrayal of gender and sexuality. (“GERARD WAY TRANSED MY GENDER,” read a homemade-looking T-shirt worn Saturday by one fan.) Looking back now, it’s clear the band’s blend of drama and emotion — of world-building and bloodletting — set a crucial template for a generation or two of subsequent acts, from bands like Twenty One Pilots to rappers like the late Juice Wrld to a gloomy pop singer like Sombr, whose viral hit “Back to Friends” luxuriates in a kind of glamorous misery.

Gerard Way, from left, Mikey Way and Ray Toro perform as My Chemical Romance.

(Etienne Laurent / For The Times)

For much of its audience, My Chem’s proudly sentimental music contains the stuff of identity — one reason thousands showed up to Dodger Stadium wearing elaborate outfits inspired by the band’s detailed iconography.

In 2006, the quadruple-platinum “Black Parade” LP arrived as a concept album about a dying cancer patient; Way and his bandmates dressed in military garb that made them look like members of Satan’s marching band. Nearly two decades later, the wardrobe remained the same as the band muscled through the album’s 14 tracks, though the narrative had transformed into a semi-coherent Trump-era satire of political authoritarianism: My Chemical Romance, in this telling a band from the fictional nation of Draag, was performing for the delectation of the country’s vain and ruthless dictator, who sat stony-faced on a throne near the pitcher’s mound flanked by a pair of soldiers.

The theater of it all was fun — important (if a bit crude), you could even say, given how young much of the band’s audience is and how carefully so many modern pop stars avoid taking political stands that could threaten to alienate some number of their fans. After “Welcome to the Black Parade,” a bearded guy playing a government apparatchik handed out Dodger Dogs to the band and to the dictator; Way waited to find out whether the dictator approved of the hot dog before he decided he liked it too.

Fans react as My Chemical Romance performs.

(Etienne Laurent / For The Times)

Yet what really mattered was how great the songs still are: the deranged rockabilly stomp of “Teenagers,” the Eastern European oom-pah of “Mama,” the eruption of “Welcome to the Black Parade” from fist-pumping glam-rock processional to breakneck thrash-punk tantrum.

Indeed, the better part of Saturday’s show came after the complete “Black Parade” performance when My Chem — the Way brothers along with guitarists Frank Iero and Ray Toro, drummer Jarrod Alexander and keyboardist Jamie Muhoberac — reappeared sans costumes on a smaller secondary stage to “play some jams,” as Gerard Way put it, from elsewhere in the band’s catalog. (Its most recent studio album came out in 2010, though it’s since issued a smattering of archived material.)

Gerard Way of My Chemical Romance performs.

(Etienne Laurent / For The Times)

“I’m Not Okay (I Promise)” was blistering atomic pop, while “Summertime” thrummed with nervy energy; “Na Na Na (Na Na Na Na Na Na Na Na Na)” was as delightfully snotty as its title suggests. The band reached back for what Way called his favorite My Chem song — “Vampires Will Never Hurt You,” from the group’s 2002 debut — and performed, evidently for the first time, a chugging power ballad called “War Beneath the Rain,” which Way recalled cutting in a North Hollywood studio “before the band broke up” as My Chem tried to make a record that never came out.

The group closed, as it often does, with its old hit “Helena,” a bleak yet turbo-charged meditation on what the living owe the dead, and as he belted the chorus, Way dropped to his knees in an apparent mix of exhaustion, despair, gratitude — maybe a bit of befuddlement too. He was leaving no feeling unfelt.

There were three television characters who really mattered to me as a kid: Michael, Leroy and Theo.

In elementary school, “Good Times” was the television show that most closely resembled my family. And seeing reruns of Ralph David Carter’s portrayal of a precocious young boy learning what it means to be poor, gifted and Black is what moved his Michael from fiction to family for me.

By middle school, I was no longer wearing cornrows like Gene Anthony Ray, but I tried everything else to be like his character Leroy from the television show “Fame.” For some of my classmates, the performing arts were a fun way to express themselves, and the show was inspirational. For me, it was my way out of the hood, and Leroy was the blueprint. Through the Detroit-Windsor Dance Academy, I was able to take professional dance lessons for free and ultimately earned a dance scholarship for college.

But it wasn’t a linear journey. Despite being gifted, I struggled academically and required summer classes to graduate from high school. That’s why I connected with Theo, whose challenges in the classroom were one of the running jokes on “The Cosby Show.” The family never gave up on him, and more importantly, he didn’t stop trying.

Through the jokes about his intelligence, the coming-of-age miscues (and the dyslexia diagnosis), the storylines of Theo — like those of Leroy and Michael — often reflected struggles I foolishly thought no one else was experiencing when I was growing up. It is only through distance and time are we able to see moments like those more clearly. In retrospect, the three of them were like knots I held onto on a rope I had no idea I was climbing.

This is why the Black community’s response to the death of Malcolm-Jamal Warner this week isn’t solely rooted in nostalgia but also in gratitude. We recognize the burden he’s been carrying, so that others could climb.

When “The Cosby Show” debuted in 1984, there were no other examples of a successful two-parent Black family on air. We were on television but often trauma and struggle — not love and support — were at the center of the narratives. So even though Black women had been earning law degrees since the 1800s — beginning with Charlotte E. Ray in 1872 — and Black men were becoming doctors before that, the initial response from critics was that the show’s premise of a doctor-and-lawyer Black couple was not authentically Black.

That narrow-minded worldview continued to hang over Hollywood despite the show’s success. In 1992, after nearly 10 years of “The Cosby Show” being No. 1 — and after the success of “Beverly Hills Cop II” and “Coming to America” — the Eddie Murphy-led project “Boomerang” was panned as unrealistic because the main characters were all Black and successful. The great Murphy took on the Los Angeles Times directly in a letter for its critique on what Black excellence should look like.

However, Black characters like Michael, Leroy and Theo had been taking on the media since the racist film “The Birth of a Nation” painted all of us as threats in 1915. It could not have been easy for Warner, being the face of so much for so many at an age when a person is trying to figure out who he is. And because he was able to do so with such grace, Warner’s Theo defined Blackness simply by being what the world said we were not. This sentiment is embodied in his last interview, when he answered the question of his legacy by saying: “I will be able to leave this Earth knowing and people knowing that I was a good person.”

In the end, that is ultimately what made his character, along with Leroy and Michael, so important to the Black community. It wasn’t the economic circumstances or family structure of the sitcoms that they all had in common. It was their refusal to allow the ugliness of this world to tear them down. To change their hearts or turn their light into darkness. They maintained their humanity and in the process gave so many of us a foothold to keep climbing higher.

YouTube: @LZGrandersonShow

Moira Dingle has thrown several punches throughout her years in Emmerdale. But Natalie J Robb, who portrays her, remembers one real-life fight that left her injured.

She’s survived a brain tumour, kept Cain steady through the heartbreak of Nate’s death, and somehow held her family together.

Emmerdale’s Moira Dingle is about to face even more drama. “It’s all kicking off,” says Natalie J Robb, who plays the farmer. “She’s still in recovery, her tumour was only diagnosed last year.”

Moira has stood strong for hubby Cain, who’s still reeling after the discovery of Nate’s body in a lake. “She knows what it’s like to lose a child, so she knows the pain he’s feeling,” Natalie says, referring to the death of Moira’s daughter Holly. “But there’s just so many different emotions going on.”

Guilt is one of them. Before Nate’s death, he was beaten by Cain – fuelled by a rumour that Moira tried to kiss him. Believing Nate and Moira’s old affair had sparked again, Cain lashed out. “That fight they had,” Natalie says, “Moira believes she caused it.”

Moira is well-known for her intensity and her strong temper and fans often tell Natalie they wish they had Moira’s fire. In some ways, Natalie gets it.

Raised just outside Glasgow, she was a tomboy in a farming community. “There were more boys than there were girls. I didn’t get on with girls,” she admits. “I was into playing football.”

But life was tough early on – Natalie was picked on by other girls and sometimes, it was brutal. “I was walking home from school one night,” she says.

“I had a bit of a black eye, my lip was bleeding. My mum said, ‘Come with me.’ She dragged me to one of the girls’ house and said, ‘You’re going to fight her one-to-one.’”

The fight was stopped before it escalated but the lesson stuck. “I was terribly shy and quite sensitive,” she says. “But I’ve definitely changed. Maybe Moira has helped.”

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Now, the Dingle-Barton clan is about to be dealt another blow. Joe Tate’s gunning for Moira’s land, hoping to hand it over to Kim Tate, his step-grandmother.

“Moira can be a bit crazy, fierce and protective,” says Natalie. “But she’s a fair woman when it comes to farming and her business. What they’re trying to do to her is awful, it’s really bad. Her hands are tied.”

Butlers Farm is already struggling but losing it would leave Moira and Cain homeless. “The outcome is going to be much worse,” Natalie says.

“Ultimately, she thinks they’re going to have to sell. But Joe tells her fibs about her being a tenant farmer. She’s going to try to do everything to save it. But working with Joe? He gets right under Moira’s skin.”

As pressure mounts, Cain also locks horns with his brother Sam – who works for Kim and is friends with her through wife Lydia. Things boil over when two intruders are found hiding in Moira’s barn. Cain blames Joe, and tensions erupt.

“I go to punch Joe Tate, but as I do that, I punch Lydia in the ear,” Natalie says. “It’s very convoluted but it creates a big rift betweenSam and Cain.”

Luckily, the off-screen atmosphere is far calmer. Natalie and Jeff Hordley (Cain) have been filming together for over a decade. “We can work together with our eyes shut,” she says.

“We have a nice friendship and a good working relationship. But it was also nice to work with Ned Porteous, who plays Joe,and do things with Home Farm. It’s been talked about for a while, they’ve always wanted this land. They want the land for access, they don’t care about the farm.”

For Natalie, the storyline hits close to home. “I’ve got some farmer friends, they said that is the way it’s going a lot of the time. They’re making a lot of tenant farmers so they work their land,” she says.

“But they don’t have the same responsibility. It’s not theirs anymore, which is really sad. Farmers are a different breed, they have a different mindset and they don’t have time to mess around. They’re survivors. Even Jeremy Clarkson realises now how hard it is.”

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Canadian novelist Esi Edugyan’s “Washington Black,” a prizewinning story of race, romance, friendship and identity set in the early 19th century, has been translated by Selwyn Seyfu Hinds and Kimberly Ann Harrison into a Hulu miniseries. Unsurprisingly, it plays more like a miniseries than a novel, amplifying the action, the drama and the romance; beefing up lesser characters; drawing lines under, after all, valid points about prejudice, inequality and injustice; and dressing it up with Hollywood musical cues. Taking the show as a sometimes fantastic historical adventure, those aren’t bad things, but, unlike the book, subtlety is not the series’ strong suit.

Written in the first person, the novel proceeds chronologically, while the series, which follows other, sometimes added characters into interpolated storylines, switches between 1830 — when our hero, George Washington Black, called Wash, is 11 years old and enslaved on a Barbados sugar plantation — and 1837, when he lives as a free young man in Halifax, Nova Scotia, drawing beautiful pictures and designing a before-its-time airship. (For the benefit of American viewers wondering why we’re in Halifax, opening narration helpfully identifies it as the last stop on the Underground Railroad.)

The split timeline does make Entertainment Sense. We don’t have to wait around for young Wash (Eddie Karanja) to grow up into older Wash (Ernest Kingsley Jr.), and we are immediately introduced to Tanna Goff (Iola Evans), arriving from London with her father (Rupert Graves) for a “fresh start.” (There was a scandal back in Britain.) Unbeknownst to Tanna, her father plans to marry her off to a young Canadian bigwig (Edward Bluemel), for what he believes is her own security. This is new, if very familiar, material.

Wash and Tanna meet-cute at the docks where he works, when based on her skin, he mistakes her for a servant — she’s been passing for white, but he (and we) recognize her as a person of color. (Melanesian, to be exact.) In the coming days, he’ll contrive to meet her here and there, until they get friendly, and friendlier. Like Wash, she’ll be a voice for living free, “to be myself, to live in my own skin.” (“We’re both dreamers,” she muses. “Can’t we dream up a different world?”) Coincidentally, and not unfortunately, her papa is a marine biologist, the author of a book Wash, who has a keen interest in the subject, knows well. Wash’s gift for capturing the essence of living things on paper may prove useful to him.

1

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1. Eddie Karanja plays young Wash in the series. (James Van Evers / Disney) 2. Sterling K. Brown, an executive producer, also stars. (Chris Reardon / Disney)

Meanwhile, if that’s the word, back in 1830, the future looks dim for young Wash under the harsh rule of plantation owner Erasmus Wilde (Julian Rhind-Tutt), a situation eased only by his beloved caring protector Big Kit (Shaunette Renée Wilson). (Ironically, the end of slavery throughout the British Empire was just around the corner.) One day, Erasmus’ brother Christopher (Tom Ellis), called Titch, arrives driving a giant steam-powered tractor for no practical reason other than to announce him as a somewhat eccentric inventor, like Caractacus Pott; but it provides a point of connection between Titch and Wash, who becomes his assistant. Another character who had to leave London, Titch plans to use an island hilltop to launch his “cloud cutter,” a flying machine that won’t exist in the real world for many years but which looks cool. (Steampunk is the applicable term.)

When an incident on the island threatens to paint Wash, wrongly, as a murderer, Titch takes him up, up and away in his beautiful balloon. It’s in the supercharged spirit of this adaptation that when they crash into a sailing ship, it should be full of pirates, and not merely pirates, but pirates who have stolen from the British a new sort of craft powered by a dynamo that looks heavy enough to sink it. This passage is crafted to show us a self-determined society, multiethnic and multigendered. When the pirates mutiny (bloodlessly), the new captain is a woman. They like Wash more than Titch, whom they throw in the brig, but they are nice, relatively speaking.

Titch is an avowed abolitionist who won’t use the sugar the plantation produces, and though we are called upon to note small hypocrisies or to question his motivations — is he trying to assuage his 19th century white liberal guilt even as he uses Wash to his own ends? — I will declare him sincere, if also a man of his time. The showrunners put him into a (very) brief debate with fierce figure from history Nat Turner (Jamie Hector), opposing Turner’s militarism against Titch’s less persuasive “reason, logic and the appeal to man’s better nature,” an argument suspended when Turner holds a knife to his throat. (Wash intercedes on his behalf; he is more than once his mentor’s protector.) It also adds a shot of American history into this Canadian story.

Sterling K. Brown, an executive producer, plays Medwin, a character much expanded from the novel, the unofficial mayor of the Black community who will swashbuckle in when a day needs to be saved. (There are bounty hunters from down south, looking for Wash; Billy Boyd, former Hobbit, is wonderfully creepy as Willard.) As to Wash, it’s not enough that he’s a gifted artist and scientist; the show introduces him as “a boy brave enough to change the world.”

The novel trots the globe, from Barbados to Virginia to Nova Scotia to the Arctic to London to Morocco, and besides the hot-air balloon, includes the invention of the public aquarium. Though only four episodes of the series were available to review, photos indicate that lands of snow and sand are indeed on the itinerary (not sure about the aquarium), and as a fan of 19th century globe-trotting adventures, I do remain eager to see what the series makes of them. Kingsley and Evans, in their blossoming love story and otherwise, are good company throughout.

Edugyan ends her book on a suspended chord, a note of mystery I don’t imagine will be definitive enough for the filmmakers. But we shall see.

A judge in the US state of Kentucky has sentenced a police officer involved in the 2020 shooting death of Breonna Taylor to 33 months for violating her civil rights.

The sentencing of officer Brett Hankison was announced on Monday at the Louisville court and represents a repudiation to prosecutors, who had requested he receive a one-day sentence.

US District Judge Rebecca Grady Jennings sentenced Hankison at a hearing on Monday afternoon. She said that no prison time “is not appropriate” for Hankison and that she was “startled” that more people had not been injured in the raid.

Taylor, a 26-year-old emergency room technician, was killed in her apartment in the early hours of March 13, 2020, after police executed a so-called no-knock warrant, attempting to storm Taylor’s apartment unannounced, based on faulty evidence that her apartment was involved in a drug operation.

Thinking they were experiencing a home invasion, her boyfriend, Kenneth Walker, fired one shot at the suspected intruders. Police responded with approximately 22 shots, some of which went into a neighbour’s apartment, endangering a pregnant woman, her partner and five-year-old son.

A federal jury in November 2024 found Hankison responsible for using excessive force in violation of Taylor’s civil rights.

But last week, Department of Justice lawyers asked that Hankison be given a one-day sentence, plus three years of supervised release, arguing that a lengthy sentence would be “unjust”. Hankison shot 10 bullets into the apartment, though the shots he fired did not hit her.

Death was a catalyst for calls for racial justice

Taylor’s death, along with the murder of George Floyd in Minneapolis at the hands of a white police officer, led to racial justice protests across the United States over the treatment of people of colour by police departments.

During former President Joe Biden’s administration, the Justice Department brought criminal civil rights charges against the officers involved in both Taylor and Floyd’s deaths.

Hankison was convicted by a federal jury in November 2024 of one count of violating Taylor’s civil rights, after the first attempt to prosecute him ended with a mistrial.

He was separately acquitted on state charges in 2022.

The Justice Department’s sentencing memo for Hankison downplayed his role in the raid at Taylor’s home, saying he “did not shoot Ms. Taylor and is not otherwise responsible for her death”. The memo was notable because it was not signed by any of the career prosecutors – those who were not political appointees – who had tried the case. It was submitted on July 16 by Harmeet Dhillon, a political appointee by Trump to lead the Justice Department’s Civil Rights Division, and her counsel, Robert Keenan.

Keenan previously worked as a federal prosecutor in Los Angeles, where he argued that a local deputy sheriff convicted of civil rights violations, Trevor Kirk, should have his conviction on the felony counts struck and should not serve prison time.

The efforts to strike the felony conviction led several prosecutors on the case to resign in protest, according to media reports and a person familiar with the matter.

The department’s sentencing recommendation in the Hankison case marks the latest effort by the Trump administration to put the brakes on the department’s police accountability work. Earlier this year, Dhillon nixed plans to enter into a court-approved settlement with the Louisville Police Department, and rescinded the Civil Rights Division’s prior findings of widespread civil rights abuses against people of colour.

Lawyers for Taylor’s family called the department’s sentencing recommendation for Hankison an insult, and urged the judge to “deliver true justice” for her.

On Monday, the Louisville Metro Police Department arrested four people in front of the court, who it said were “creating confrontation, kicking vehicles, or otherwise creating an unsafe environment”. Authorities did not list the charges those arrested would face.

“We understand this case caused pain and damaged trust between our department and the community,” a police statement said. “We particularly respect and value the 1st Amendment. However, what we saw today in front of the courthouse in the street was not safe, acceptable or legal.”

A pre-sentencing report by the US Probation Office said that Hankison should face 135 to 168 months imprisonment on the excessive force conviction, according to the sentencing memo. But federal prosecutors said multiple factors, including that Hankison’s two other trials ended with no convictions, should greatly reduce the potential punishment.

BLACK Sabbath fans were left stunned by sky-high prices at Villa Park – with a pint setting punters back up to £8 during the legendary band’s final hometown gig.

The Back to the Beginning supershow, held at Aston Villa’s stadium in Birmingham, marks Ozzy Osbourne’s last ever live performance – and the first time the full band have played together in two decades.

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But for many fans, the bar and food prices were almost as jaw-dropping as the music.

Inside the venue, a pint of Poretti lager was going for £8, with a half pint at £4.

A pint of Somersby cider wasn’t far behind at £7, or £3.50 for a half.

Cocktail fans after something stronger had to fork out £13 for a draught Rum Punch – while even a bottle of water cost £3.50.

In the Doug Ellis stand, the prices were just as steep – with a Carlsberg Pilsner priced at £6.50, a glass of wine for £7, and both a gin and tonic and a vodka lemonade costing £7.50 each.

And it wasn’t just the drinks that had fans digging deep.

Food options were limited and pricey too – with a sausage roll setting you back £5, a steaky pasty £6.50, and Yardbirds chicken and chips costing a whopping £15.

Even the basics weren’t cheap – a can of Coke was £3.50, a bar of chocolate £2.50, and a bag of Walkers crisps £2.20.

Fancy a hot drink? That’s £3.95 for a tea and £4.50 for an espresso.

Fans weren’t impressed.

Some took to social media to vent their frustration, saying the prices were “festival-level rip-offs” and that it “left a bad taste before the music even started”.

One gig-goer told us: “I knew it’d be expensive but £8 for a pint and £7 for chips? That’s taking the Mick.”

Another said: “You expect a bit of markup, but this is madness.

Ozzy’s not the only one going out with a bang – so is my bank account.”

The backlash over food and drink prices follows recent criticism surrounding the cost of VIP meet-and-greet packages with Ozzy Osbourne, set to take place during his upcoming appearance at Comic Con Midlands.

Fans are being charged £666 for the ‘Ultimate Sin’ VIP package – which includes a group photo with Ozzy, Sharon, Kelly, and Jack. But only two people are allowed per photo (except under-5s).

Want an autograph? That’ll cost extra.

Ozzy will sign a book for £225, or a poster, album or toy for £375. And if you want him to sign your guitar or mic?

That’ll be £750 – bringing the total package cost to £1,416.

Fan backlash has been fierce. One wrote: “Laughable prices, genuinely laughable.”

Another joked: “Time to start selling me kidney.”

While fans might be fuming over costs, the buzz inside Villa Park is electric.

This is a historic night – the last time Birmingham’s own heavy metal gods will share the stage in their hometown.

Ozzy, who’s battled serious health issues in recent years, admitted he won’t be performing a full set.

He said: “We’re only playing a couple of songs each.

“I don’t want people thinking ‘we’re getting ripped off’, because it’s just going to be … what’s the word? … a sample.”

He added: “I’ll be there, and I’ll do the best I can. So all I can do is turn up.”

The Back to the Beginning festival line-up is packed with legends, including Metallica, Slayer and Pantera – all joining in to celebrate Black Sabbath’s final bow.

Fans from across the UK – and some flying in from overseas – have packed out the stadium to say one last goodbye to the band that helped invent heavy metal.

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If you’re a fan of taking your holidays onboard luxury cruiseliners to travel the world and experience far flung destinations, you might want to pay more attention to the type of jewellery you choose to take with you

Cruises are an increasingly popular way to enjoy a trip away from home to visit multiple destinations during one holiday. You only have to unpack once and get to enjoy all the onboard amenities, activities and fine dining right on your cabin doorstep every day.

You could be an experienced cruise traveller or be considering the option for your next vacation but it seems there’s a whole lot more that goes on behind the scenes than you might expect.

When it comes to choosing what accessories you take with you, it may, or may not – depending on your preference – pay to be wary of packing a certain type of jewellery.

According to one cruise worker who sailed the seas for 10 years, if you wear a black ring or jewellery with a pineapple theme, you could be approached by people with a preference for a particular type of lifestyle.

Lucy Southerton, 28, from Birmingham has plenty of knowledge about what goes on in the darker corners of the huge ships and has shared her experiences on her YouTube channel Cruising as Crew.

In one video from 2023, she claims that “swinging is a popular pastime” onboard the floating hotels – and suggests it could be because cruises offer an “enclosed population of people”.

Couples who enjoy swapping sexual partners, use certain techniques to identify other potential companions onboard, according to the former cruise worker.

One of them is by displaying the upside down pineapple symbol in some way. “Some people put the upside down pineapple on their cabin door,” Lucy says. “Some people wear an upside down pineapple like a hat or brooch.”

But there’s also a more “inconspicuous” way to alert others to your desires than dangling a spiky fruit from your person – and that’s by wearing a black ring on your right hand, apparently.

Although as Lucy points out, this more subtle sign can have its issues. “Imagine if you went up to someone and you’re like [in a suggestive voice], ‘Hey, I can see that black ring on your right hand,’ and they’re like, ‘Yeah it’s just a black ring on my right hand’. You can never really be sure whether that’s just something they like to wear, or if it’s a signal,” she warns.

According to Lucy, the third signpost that someone is a swinger open to offers is a male and female sign with “a third gender sign in there”. She also shares an “embarrassing story” about how she came to realise the significance of the pineapple. Revealing that a long time ago she used to work in a ship’s spa, she said a couple came in for a couple’s massage.

When she went back to the treatment room after they had got dressed to tell them about aftercare such as drinking plenty of water, she noticed they were both wearing silver upside down pineapple necklaces. “They weren’t like this bright yellow upside down. They’ve very subtle, very, very nice,” she recalls. “And I was like, ‘Oh I love your necklaces. I think it’s so cute that you’re both wearing matching necklaces. That’s really sweet, but why the pineapple? Like what does that represent to you in your relationship?’.”

The couple who she had built up a rapport with after treating them a few times, burst out laughing. “They were like, ‘Look, we’re swingers and this is how people can identify us as swingers,’.” Intrigued, she went on to have a conversation about it with them where they told her the terminology used within the community.

Apparently, a unicorn is a woman who wants to swing on her own and swing with another couple. “They’re basically like mythical creatures,” she says the couple informed her. “They don’t exist and if you find one then you’ve hit the jackpot.”

A rhino is a single man willing to swing, while a mermaid is a married woman who wants to swing with a couple on her own. The word ‘play’ means sex, so you may say you don’t play on the first date. Rainbow means they don’t discriminate on gender and will swing with “everyone and anyone”. While ‘DDF’ is drug and disease free.

Comments on Lucy’s video, which has had over a million views, were suitably amusing. “Thanks for the info on the up side down pineapple. I will be placing a sticker of one on my brother and sister in laws cabin door on our upcoming cruise. Boy will they be surprised:),” joked one.

Another shared: “I’ll never forget the amount of attention I got in the buffet on my first ever cruise – I bought shorts that had loads of little pineapples in all different directions – I innocently thought they were just ‘nice and summery’ – how wrong I was… Ha!”

A third wrote: “Jee whizz, I will have to make sure my pineapple earrings are pointing up,” while a fourth revealed: “My partner bought me a nice black ring for Valentine’s Day. Damn…I’ll have to have a chat with her.”

Early Saturday morning, New York City mayoral candidate Zohran Mamdani stepped on stage in the historically Black neighbourhood of Harlem.

His message was a familiar one: that he would be the best candidate to fight for the city’s marginalised and working classes.

“There have been many a question as to whether this city will simply become a museum of a place that once was — a museum of where working people could thrive,” Mamdani told the crowd.

On June 24, Mamdani scored an upset, winning New York City’s Democratic mayoral primary over frontrunner Andrew Cuomo, a former governor.

Just this Tuesday, the round-three results were released, showing Mamdani with a whopping 56 percent of the ranked-choice vote, dwarfing Cuomo’s 44 percent.

That dominant performance sent ripples around the United States political sphere. But it also led to scrutiny about where Mamdani’s weaknesses may lie.

Preliminary results suggest that Mamdani struggled in lower-income neighbourhoods like Brownsville and East Flatbush, where Cuomo took a marked lead.

In both of those areas, more than 60 percent of residents are Black. The neighbourhoods also share high poverty rates, with Brownsville at 32.4 percent and East Flatbush at 18.9, compared with the citywide rate of 18.2 percent.

One widely cited analysis from The New York Times found that 49 percent of precincts with a low-income majority tilted towards Cuomo, compared with 38 percent for Mamdani.

In precincts with a majority of Black residents, the pro-Cuomo number rose to 51 percent.

Those statistics raised questions about whether Mamdani’s promise to restore affordability in New York failed to resonate — or whether the numbers conceal a more complicated story.

A big-name opponent

Even before the primary results were called, there were some indications that Mamdani faced a steep challenge among lower-income and Black voters.

A Marist poll (PDF) from May found that 47 percent of respondents whose household income was less than $50,000 planned to vote for Cuomo as their first choice.

Mamdani was a distant second among the nine possible candidates, with 11 percent support. Meanwhile, he came in third place in the poll among Black voters, with 8 percent support to Cuomo’s 50 percent.

Experts say Cuomo had several factors weighing in his favour. Jerry Skurnik, a political consultant, pointed out that Cuomo was a well-known figure before June’s primary.

Not only was Cuomo a two-time governor, but he is also the son of a former governor.

His decades-long career in politics included stints in the cabinet of President Bill Clinton. Establishment figures like Congressman Jim Clyburn of South Carolina ultimately backed his campaign.

Mamdani, by contrast, is newer to the political arena: The 33-year-old has served in the New York State Assembly since 2020.

“Most people expected Cuomo to do well in the minority areas,” Skurnik said.

“He had name recognition, and he also had endorsements in most of those areas by local elected officials.”

Skurnik also noted that primaries typically attract older voters, who are considered a greater part of Cuomo’s voting bloc.

There, however, Skurnik points out that Mamdani defied the odds. A New York Times analysis suggested that voters in their 20s and 30s turned out in significantly higher numbers than for the 2021 mayoral primary.

That contributed to the highest overall Democratic primary turnout since 1989, when David Dinkins campaigned to become the first Black mayor of New York City.

“Younger voters came out in much higher numbers than anticipated,” Skurnik said. “Even in areas that Mamdani lost, he did by lower margins than people anticipated, paving the way for his victory.”

Courting the risk-averse

Other experts speculated that Mamdani, as a progressive candidate facing a centrist, might have been perceived as a riskier option.

John Gershman, a professor of public service at New York University, indicated that uncertainty can affect voter choices, particularly for those from vulnerable communities or precarious economic circumstances.

“For low-income families and the Black community, I think very much the calculus is not so much who’s the best candidate, but with which candidate am I risking the least, or am I least likely to lose?” Gershman said.

“In some ways, the devil you know is better than the devil you don’t.”

Gershman added, however, that Mamdani fit into a broader trend within the Democratic Party.

He pointed out that low-income voters leaned rightwards towards Republican Donald Trump in the 2024 presidential election despite Democrats having a stronger “anti-poverty element” in their agenda.

Trump even made headway among Black voters, though the majority remain Democrats.

Gershman tied the trend back to name recognition and media habits. More low-income voters, he said, get their news from legacy media sources like television and newspapers.

Cuomo relied more heavily on those outlets for publicity. While Mamdani did make a sizable TV ad buy, he also campaigned heavily on social media with videos that were more informal and conversational.

Some conservative commentators, however, seized upon The New York Times’ analysis to arrive at a different interpretation about why certain voters might perceive risk in Mamdani’s campaign.

Speaking to Fox News, Republican strategist Karl Rove cited the statistics to argue that low-income voters may fear the tax burden that might accompany greater anti-poverty spending.

“Low-income voters said, ‘You know what? We’re not dumb enough to think that this is all going to be cost-free,’” Rove said, taking a swipe at Mamdani.

“There aren’t enough rich people to pay all of the promises he’s making.”

A complex demographic patchwork

But many experts say the broad voting trends fail to capture the complexity and overlaps of the communities they represent.

Michael Lange, a writer and political strategist who researched the primary, noted that many low-income communities in New York are Hispanic or Asian — demographics that gave strong backing to Mamdani.

“There were many lower-income neighbourhoods that Zohran Mamdani did well in, particularly in Queens, [like] Elmhurst and Flushing, that are almost exclusively Asian,” Lange said.

Those areas, he added, “verge on low income to working poor to working class”.

Activist and local historian Asad Dandia, who supports Mamdani, warned it would be wrong to see his campaign as solely drawing white or upper-class voters.

Rather, Dandia argued that Mamdani’s candidacy brought together a patchwork of diverse communities, from the Pakistani enclave in Brighton Beach to the Latino majority in Corona, Queens.

Even in some Black and low-income neighbourhoods, Dandia pointed out that Mamdani came out on top.

“How can you say that he’s not appealing to low-income voters when he’s winning Harlem?” Dandia asked.

But communities are constantly evolving, as are their politics. Juan Battle, a professor at the City University of New York, emphasised that every election cycle is different — and voter priorities can shift.

He pointed out that, during the last mayoral election, crime was the dominant theme. It helped buoy the current mayor, former police officer Eric Adams, to power.

“If this were happening four years ago, where crime was a big issue, I don’t think that Mamdani would have won,” Battle said. “Cuomo would have definitely won.”

No monoliths in election season

Mandami is set to face Adams himself in November’s general elections. Cuomo, too, has not yet ruled out a third-party run on the final ballot.

Still, as the Democratic nominee, Mamdani has become the frontrunner in the race — and his campaign is likely to continue building its coalition, including through appeals to the demographics it may have lost in the primary.

That includes Black voters. But in order to succeed, Portia Allen-Kyle, the executive director of the racial justice group Color of Change, believes that Mamdani needs to understand the spectrum of viewpoints in the Black community.

“Black voters are not a monolith, as we saw that on [election] day,” she said.

Allen-Kyle believes authenticity and innovation will be key to reaching Black voters come November. She also warned against relying too heavily on the same popular shows where other politicians make appearances.

“In the same way you can no longer just go to churches to reach Black voters, we’re not all listening to The Breakfast Club or to Ebro in the Morning,” she explained, referencing two radio shows that Mamdani has appeared on.

As he continues to reach out to Black voters ahead of November, Mamdani has made allies with a civil rights icon: Reverend Al Sharpton.

At Saturday’s event, Sharpton himself reflected on The New York Times’ findings about Mamdani and the Black vote.

“There was a story in The New York Times, two days after the primary, about Black votes,” Sharpton told the crowd.

He pointed out that Mamdani could have chosen to appeal to other communities, where his support was stronger. But Mamdani’s “courage” had won his support.

“Any other kind of politician would have played against the Black community,” Sharpton said. “He decided to come to the Black community.”

Musical icon Angélique Kidjo has become the first black African performer to be selected for a star on the prestigious Hollywood Walk of Fame.

Kidjo, who comes from the West African country of Benin and has won five Grammy awards, was among the 35 names announced as part of the Walk of Fame’s class of 2026 list.

The 64-year-old was hailed as Africa’s “premier diva” during a press conference announcing the list on Wednesday.

Singer Miley Cyrus, actor Timothée Chalamet, actress Demi Moore and former basketball player Shaquille O’Neal are also among those set to be honoured with a star on Los Angeles’ famous walk.

Kidjo receives the honour after making music for more than four decades and releasing 16 albums.

The songstress has won fans across the world with her commanding voice and ability to fuse West African styles with the likes of funk, jazz and R&B.

Her long list of collaborators includes forces such as Burna Boy, Philip Glass, Sting and Alicia Keys.

Kidjo joins Charlize Theron, a white South African actress, in representing Africa on the Walk of Fame. Theron received her star in 2005.

The date on which Kidjo will see her star unveiled on the Walk of Fame has not yet been announced.

After recipients have been selected for a star, they have two years to schedule induction ceremonies.

Kidjo grew up in Benin, but left for Paris in 1983, citing oppression from the country’s then communist government.

“From the moment the communist regime arrived in Benin, I became aware that the freedom we enjoy can be snatched away in a second,” she told the BBC in 2023.

She said she has been driven by curiosity since childhood, adding: “my nickname was ‘when, why, how?’. I want to understand things, to understand my place in this world.”

Kidjo worked as a backing singer in France before striking out as a solo artist in 1990, with the album Parakou.

She is a Unicef and Oxfam goodwill ambassador, and has her own charity, Batonga, which is dedicated to supporting the education of young girls in Africa.