block

April 23 (UPI) — Senate Republicans have again blocked the Democrats from curbing President Donald Trump‘s ability to wage war with Iran, as negotiators try to find a diplomatic end to the conflict during the fragile cease-fire.

The Senate voted 51-46 on Wednesday afternoon against Sen. Tammy Baldwin‘s War Powers Resolution, the fifth time since March 4 that the Senate has voted against directing the removal of U.S. Armed Forces from hostilities with Iran until authorized by Congress.

As with previous votes, Wednesday’s was mostly along party lines with Republican Sen. Rand Paul of Kentucky again voting with his Democratic colleagues, and Democratic Sen. John Fetterman of Pennsylvania again voting with the Republicans.

“This entire war has been unnecessary, illegal and unwise. And we need to put a check on this president before it gets even worse,” Baldwin said from the Senate floor on Wednesday.

“Unfortunately, the president has shown us that he did not have a plan after day one. The president said the war would be over in a matter of days; we are coming up on the two-month mark with no real end in sight. And over the course of 50-plus days we have seen nothing short of a disaster.”

Sen. Tammy Duckworth, D-Ill., a veteran, vowed in a statement that the Democrats will continue to do all in their power to end the war.

“It’s infuriating that Senate Republicans keep shirking their oaths and giving Donald Trump the green light to plunge our nation even deeper into his war of choice, further endangering our troops abroad and surging prices at home,” she said.

“This wanna-be dictator keeps breaking every single promise he’s made to the American people who are sick and tired of watching Republicans duck their responsibility to stop this chaos.”

The war began Feb. 28 with the United States and Israel attacking Iran.

Since then, 13 Americans have been killed. At least 3,646 people have been killed in Iran, according to HRANA.

Gas prices have surged as Iran has restricted access to the important Strait of Hormuz energy transportation route, and the United States is enforcing a blockade of Iran’s ports, cutting it off from sea-based trade.

The vote was held as a two-week cease-fire was to end before President Donald Trump announced an indefinite extension amid negotiations. On Wednesday, Iran’s military claimed to have seized two cargo ships in the conflict over the waterway.

Since the war began, Democrats have been seeking to rein in Trump’s war powers, arguing the ongoing war with Iran violates the Constitution, which mandates that only Congress has the power to declare war.

Democrats in the Senate have pledged to use their powers to force weekly debates on the war as well as weekly votes, forcing Republicans to repeatedly and publicly state their position on the conflict.

The vote was held less than a week before the 60-day limit of the war passes. On April 28, the War Powers Act will compel Trump to seek congressional authorization for the war.

Sen. Lisa Murkowski, R-Alaska, has said that Trump should have sought Congress’ authorization, and appears to be leading Republican efforts to draft legislation for the continuation of the use of military force as that deadline comes.

“My focus is on the safety of America’s armed forces and the American civilians who are on the ground in the Middle East,” she said in a statement in early March, just days after the war began.

“At this point, we have little choice but to continue the military operation to degrade and destroy Iran’s capability for nuclear weapons.”

Serving, blocking, passing and hitting.

Mira Costa put it all together over the final three sets of its Bay League boys’ volleyball showdown with Redondo Union on Monday night, prevailing 26-28, 25-13, 25-18, 25-22 to avenge a five-set loss in the teams’ first meeting and stake its claim for the No. 1 seed in the Southern Section Division 1 playoffs.

“Last time we didn’t think they were as good as they were, but we’ve watched a lot of film since then and saw where they like to go,” said outside hitter Mateo Fuerbringer, who finished with a match-high 27 kills and four of his team’s nine aces. “We didn’t pass that well in the first set, but after that we started spreading the ball around more and our serving was really good tonight. We got them out of system a lot.”

Colby Graham had nine kills and three blocks and ended each of the middle sets with a kill as the Mustangs (31-2, 7-1) totaled 15 stuff blocks. Wyatt Davis added eight kills and three blocks and Enzo Barker finished with five kills and two aces.

Redondo Union’s Vaughn Flaherty, left, and JR Boice try to block a hit from Mira Costa’s Colby Graham.

(Steve Galluzzo / For The Times)

Mira Costa snapped Redondo Union’s 18-match winning streak and evened up the league standings, but the Mustangs gained the tiebreaker by virtue of fewer sets lost head-to-head.

Mira Costa saved three match points in the first set before Mavrick Essert ended it with one of his eight kills for the visiting Sea Hawks (26-3, 7-1). His older brother Cash Essert had 11 kills and JR Boice added 10 but Redondo Union was unable to maintain its momentum, never leading once in the last three sets.

Redondo Union keyed on Fuerbringer to win the first encounter 27-25, 21-25, 25-22, 21-25, 15-13 on its home court March 26, but Monday’s match was a different story as Mira Costa varied its attack to keep the Sea Hawks on their heels.

“We were gassed the first time because that was right after we played Loyola,” Mustangs setter Jake Newman said. “Loyola took a lot out of us even though we won. So we weren’t prepared for Redondo, but this time around we had two weeks to practice and study their tendencies.”

Mira Costa libero Dane Del Riego returns a serve in a four-set victory over Redondo Union on April 20, 2026.

(Steve Galluzzo / For The Times)

Newman said closing the match in four sets was critical.

“At 24-22 we were telling each other we have to win, we’re not letting this go five,” he said. “We needed to beat them in four for the league championship.”

Mira Costa lost to Corona del Mar in tournament play early in the season but has since defeated the Sea Kings twice. It also has victories over Huntington Beach, Loyola and Newport Harbor — all of which will likely make the highest division.

Redondo Union won its own Varsity Invitational tournament Saturday, rallying to beat Loyola in the finals, and swept Newport Harbor at home March 21.

Coach Greg Snyder praised the Mustangs for executing the game plan to near perfection but warned it may not be the last time they have to face their archrival.

“That’s a really good team we just beat … we could very well see them again the playoffs,” he said. “I wouldn’t be surprised if that happens.”

When the heads of three Los Angeles Unified School District unions stood side by side at City Hall to announce their new contracts after nearly going on strike hours earlier, one of them looked out of place.

Max Arias was decked out in a purple letterman’s cardigan emblazoned with “99,” for Service Employees International Union Local 99. United Teachers Los Angeles President Cecily Myart-Cruz wore a tie-dyed T-shirt that read “Solidarity LA.”

And then there was Maria Nichols, who looked like the school principal she once was.

Shiny black shoes. Black slacks. Light makeup. Tight smile. The only flash of color was her green V-neck union T-shirt, the logo peeking out of a black blazer.

Arias and Myart-Cruz gave impassioned speeches hailing the last-minute deals, which still need to be approved by union members and the school board. Nichols, who leads the Associated Administrators of Los Angeles/Teamsters Local 2010, started with a joke about her mere year and 10 months as a union leader.

“I’m the new kid on the block,” the 60-year-old said. “But we made a commitment. It’s not about equality, it’s about equity. … We are all better today for our collective work.”

AALA’s tentative contract calls for raises of more than 11% for the LAUSD’s 3,000 principals, assistant principals and middle managers — a lower percentage increase than SEIU’s 24% and UTLA’s 14%. But the contract also secured a 40-hour week with flex time off for extra hours, addressing long-standing complaints about grueling schedules.

On top of all that, Nichols has led her members into a new era.

“For a long time, principals have been perceived” as a class apart from other school employees, Arias said at the City Hall news conference Tuesday.

Not only are they many workers’ bosses, but with median salaries of $160,139 for elementary schools and $174,628 for higher grades, they make a lot more money. When UTLA went on strike in 2019, AALA stayed on the job.

This time, AALA and the other two unions vowed to all go on strike together if any one of them failed to get a contract.

“So them coming in,” Arias continued, “really shows our members that it is important to start figuring out how we work in solidarity.”

Nichols “called us and said, ‘I know that you guys have already been rolling, but I want to join in,’” Myart-Cruz added. “Having the leadership to be able to articulate that message to her administrators is a great thing. Solidarity is a great thing, but we now have unity.”

“I may be the new kid on the block,” Nichols told me afterward with a grin, “but I’ve been fighting for better schools for 42 years.”

We met a few days later at AALA’s Echo Park office.

“Excuse the mess,” Nichols cracked as we walked to her corner suite. She now wore a bright red pantsuit, union pins on her lapel. Hundreds of signs reading “Enough is Enough” leaned upside down against desks and cabinets. Chips, water and other snacks were piled inside collapsible carts.

“This was all going to be used for the strike,” she said. “You know what they say — expect the best but prepare for the worst.”

AALA /Teamsters 2010 President Maria Nichols hugs UTLA President Cecily Myart-Cruz during a news conference announcing a tentative agreement between LAUSD and the unions representing teachers, principals and workers at City Hall in Los Angeles on April 14, 2026. Above them is SEIU Local 99 President Max Arias.

(Robert Gauthier / Los Angeles Times)

A breakfast of blueberries and yogurt sat untouched as Nichols recounted her life story. She moved to Los Angeles at age 5 from her native Peru to join parents who left after a military coup. A star volleyball setter at Fairfax High, she gave up a University of Arizona scholarship her freshman year after breaking her wrist and finding it “too hard to watch the games and not be involved.”

Back home, she joined LAUSD as a bilingual teacher’s assistant while pursuing a degree in physical therapy at Cal State Northridge. Thanks to a succession of bosses she called “angels,” she stayed in public education. She worked in San Fernando Valley elementary schools as an assistant, a teacher and an assistant principal before a decade-long run as principal at Vena Avenue Elementary in Arleta, which was designated a California Distinguished School during her tenure.

That led to a promotion as a regional director for Valley schools, a job she loved despite the difficulties of shrinking budgets and enrollment. Nichols credited then-LAUSD Superintendent Austin Beutner with granting autonomy to principals in the district.

“We were all administrators from the field that had served time in this district and gone up the ranks,” she said. “That disappeared with [current Supt. Alberto] Carvalho. Gone. Gone.”

She pointed to a flow chart on the wall, titled “Ready for the World,” that Carvalho’s team distributed after he arrived in 2022. He brought in his own people instead of empowering existing administrators, she said.

“It’s a great plan,” Nichols said with no sarcasm while reading its goals aloud. “Because that is what we want. But we don’t invest in staff because we have a shortage. … We can’t have joy and wellness if your people are drying on the vine because they’re exhausted.”

Friction between principals and teachers over budgets and educational strategies increased. Frustrated, Nichols attended her first AALA meeting about two years ago.

“There were like 20 people there. And I thought, ‘This is it? This is where we are?’” she recalled.

Some principals urged her to run against the union’s incumbent president. One of them was Kathie Galan-Jaramillo, whom Nichols had hired to lead Sylmar Leadership Academy.

“Our union was very small, and it was very difficult for us to stand for what we believe in,” Galan-Jaramillo said. “But Maria knew all of the things and hurdles that we [administrators] had to do and go through, and the expectations.”

To prepare for negotiating a new contract, Nichols studied the existing one.

“It was so weak. The language was so antiquated,” she remembered thinking, especially when it came to making sure members weren’t being overworked. “And then I looked at UTLA’s contract and I said, ‘Holy crap. No wonder they get everything.’”

At the end of 2024, 85% of AALA members approved a Nichols-backed merger with Teamsters 2010, which represents higher education workers in California, to shore up their resources and try a different, tougher mindset.

“She has what’s lacking among many leaders — she has the judgment and humility to say, ‘I have things to learn and I’m up to it,’” said Teamsters 2010 Secretary-Treasurer Jason Rabinowitz, who sat with Nichols in contract negotiations. “And she’s a learner and quick study. That’s not always easy to do, because labor leaders have ego.”

After contract talks hit an impasse in February, Nichols reached out to Arias and Myart-Cruz to share research and strategy. They sold her on a united front. But initially, not all AALA members embraced the move, with some questioning why the union would still strike after getting a new contract.

“I was getting a lot of push back from members — ‘But if we get a TA [temporary agreement], why would we strike?” Nichols said. “But it wasn’t about the TA anymore. It was about the coalition. It was about sticking together. It was about power and unity. … My folks were not used to that.”

Nichols expects that AALA members will ratify the agreement.

“We’ll be done, and in May, we [Arias and Myart-Cruz] will go out and have some dinner, and, you know, adult beverages,” she said with a loud laugh.

Maria Nichols, head of the LAUSD principals union, AALA/Teamsters 2010, at her AALA office in Echo Park.

(Robert Gauthier / Los Angeles Times)

Then comes what she describes as the new alliance’s “heavy lies the crown” moment.

LAUSD plans to bankroll the contracts with money from Sacramento that may or may not come through, even as it plans to cut more than 600 jobs and school enrollment keeps dropping. SEIU’s new contract includes extra hours for members — who include custodians, bus drivers and cafeteria workers — so they can qualify for health benefits, Nichols pointed out.

“They deserve it,” she said, citing her respect for them because her father was a dishwasher and her mother cleaned houses. “But that impact of health benefits, it’s going to be directed at school budgets. OK, great. We got all of these wins, but how is that going to impact our budget at schools? Where’s the money going to come from?”

But these were issues for another day.

The conference room table was now covered in stacks of the same green T-shirt Nichols had worn at City Hall.

“We were going to give them out during the strike,” she said as her staff busied for a flurry of meetings. “But we’ll still give them out. We’ve got a job to do.”

AFTER the whirlwind success of No1 hit Stick Season, Noah Kahan didn’t rush back into the studio.

In fact, he stopped completely. Facing writer’s block and still processing everything that had happened, he stepped away for six months, forced to rethink not just the music, but what success meant.

His 2022 album Stick Season — rooted in Vermont and exploring mental health, identity and small-town life — transformed the singer from a cult folk artist into a global name.

Topping the charts in the UK, the record was also certified multi-platinum in the US, where it sold over four million copies and had billions of global streams.

Kahan was nominated for a Grammy for Best New Artist and the emotionally raw, nostalgic and deeply personal record was widely seen as one of the defining albums of the decade.

“I just couldn’t write for a while,” he confesses. “When I first got off the road, I didn’t make any music in a long time.

speaking out

Victoria Beckham breaks silence on Brooklyn feud for first time

BAY BEAUTY

Iconic Baywatch star signs up to reboot alongside Brooks Nader and Livvy Dunne

“I spent months not doing anything and it was painful because I like to be busy.

“It took so much strength for me to push that feeling away.

“I’m aware of how rare the moment was, how big the moment was and how lucky and fortunate I was, but my whole life I was trying to prove to people that I had a place here. So when the huge moment was happening, instead of being like, ‘Yeah, I made it’, I was like, ‘Oh my god, how am I going to stay here?’.”

That pressure quickly took its toll. Kahan said: “Writer’s block is such a lonely feeling — it makes you feel like your value’s been taken away. I felt completely unable to open up about it, but I ended up reaching out to friends.

“Marcus Mumford really helped. He understood what it’s like to be under a lot of pressure and afraid of failing and gave me great advice.”

Kahan also had to redefine success. It was not chasing numbers — just being able to make music was enough.

He says: “I learned the hard way about burnout. Success is a double-edged sword. I’ve always said if I had any, or if my tour sells out, I’d be happy. But the second it sells out, you’re looking at the next thing to achieve.

“Starting off this new album was really scary. I had to realise I didn’t need to be the biggest artist in the world or where Stick Season took me. I didn’t need to be successful to be loved.”

Kahan is in London for a few days to promote The Great Divide, his fourth studio album, which is out next Friday.

Taking time off to reset both mentally and emotionally was essential to writing again.

“I’ve struggled with my mental health,” he says candidly.

“But I was struggling more than anybody knew. I’ve struggled with anxiety, depression and body dysmorphia, but it was the OCD that I hadn’t figured out.

“I was diagnosed with OCD last year. It’s not about washing my hands a thousand times — it’s obsessive thinking. I was struggling with a lot of self-esteem and confidence issues, but I’d never dealt with anything so acutely like OCD. I’m supposed to be the singer who’s open about his mental health, but I felt so much shame.

“I needed medical intervention and therapy, and I didn’t want to be open about that because I was afraid. It was frightening as I’d been stripped of

this thing I loved.

“I couldn’t express myself through music any more, and so I didn’t tell anybody and it came to a breaking point.”
Through help and time, Kahan started to recognise his disorder in ways he hadn’t before.

“Now I wake up knowing my day is not going to be decided by what I see on my phone,” he says when discussing how therapy has helped him.

“Before, I’d have 700 brilliant words of praise, but it would be the one negative word that would shatter me. For a long time, I thought I was crazy.”

In August 2025, Kahan married his longtime partner Brenna Nolan, bringing a new sense of stability to his life.

The singer has also made a Netflix documentary — Noah Kahan: Out Of Body. It captures this difficult period, which he sees as part of his healing.

He says: “Making the film was a strange but amazing process. Having people follow you around took time to get used to, but they captured a really honest moment for me. Watching it back with my family was emotional. It showed how we really are.

“It was hard seeing how unhappy I was then, but in the end, it told a beautiful story.”

He adds: “My family are on the new record. I love the song American Cars. It’s about my sister.

“Whenever things were tough at home, she’d drive up from New York in a rental car, sunglasses on, just a total badass.

“She’s a surgeon, she just gets things done. She’d come back and help us through it, and the song came from that. Like, you need to come home and help fix this.”

The Great Divide is an album about friendship, miscommunication, regret and personal growth, and the title track became the guiding, emotional “north star” of the record.

He says: “Yeah, The Great Divide is really about a friendship that didn’t work out — one where I wasn’t able to express myself.

“And then there’s a song, Dan, which is about the opposite — being open, telling each other how much you care, facing hard truths. It ends in a way that really encapsulates the whole record. It’s probably my favourite song we made.

“There are a lot of stories,” he adds.

“It’s very emblematic of my childhood and a lot of people’s, young men in particular. Talking about feelings or asking difficult questions can feel like more discomfort than it’s worth, but the consequence is you don’t really know someone as well as you think you do.”

It’s an expansive album with 17 tracks, including the gorgeous We Go Way Back, Willing And Able, Haircut and Porch Light.

He adds: “I can’t wait to see crowds singing back Willing And Able, and Haircut started from that idea of someone coming back to town changed — like they’ve outgrown it. I felt like I’d become that person, only going home for inspiration instead of really being there.

“The song is almost someone singing to me, saying, I’m glad you’ve figured things out, but at least I’m still here and still real. You’ll leave again, and we’ll still be here. That’s what it’s about.

“Then, Porch Light is really about my biggest fear — how I’ve changed.

“I worry about going home and feeling like people see me differently, like I’ve become this ‘Hollywood’ version of myself, too big for where I’m from. That my relationship with Vermont has been changed by success and leaving Vermont for Nashville.

“But my family has always kept me grounded. They’re so happy for me. I wanted to write about that fear you have in your head before you even pick up the phone.

“You’re always anticipating what people might think. But there’s a silver lining in Porch Light. It’s about people saying, ‘We still care about you, we’ll still be here — but you need to figure things out first’.”

And that sense of place runs throughout the album.

“Yeah, the first and last songs really frame the album — I wanted them to feel like an intro and an outro,” Kahan says.

“The first track, End Of August, is this big, building track about that time of year in Vermont . . . It’s that moment when the tourists leave and the people who live there can finally come out of hibernation — like, ‘They’re gone’.”

He’s been working with Stick Season collaborator Gabe Simon, The National’s Aaron Dessner — best known for his work with Taylor Swift, Bon Iver and, more recently, Gracie Abrams — plus Ed Sheeran and Mumford & Sons.

Kahan says: “Gabe and I are really close — we went through a lot making Stick Season, so on this album we leaned on each other. He’s like a brother and the perfect person to go through this with.”

Aaron Dessner brought calm, structure and creative balance to the process.

“Aaron came in early on, but I was intimidated at first,” admits Kahan. “I looked him up on Wikipedia and was terrified of his success. This guy’s a legend.

“This was where Taylor Swift writes and Justin Vernon (Bon Iver), who works with Aaron, is my hero. Aaron has a magic to his music — a real understanding of what an artist is trying to say. But he’s a sweet, calm man who lives a very humble life in upstate New York on a farm.

“I needed him to stabilise me creatively. He is regimented in how he makes music and I need a routine. He is an amazing producer and this album sounds so f*****g cool because of what Aaron did.”

The sound on the new album is more expansive than Kahan’s earlier music and includes horns, guitar and richer production.

He says: “Honing on a sound and a theme started the process. Aaron’s place had dirt bikes, fishing rods and skeet shooting — all the things that I grew up doing.

“We couldn’t make the music in Vermont this time and the setting was really important, feeling connected to nature and beauty.

“It’s hard for me to make music in a city. Whenever I’m in a city, all I write is, ‘Get me out of the city’ songs.”

He adds: “We were also still in the middle of touring and I was over the Stick Season songs.

“There’s a lot of electric guitar on the new record, and bouzouki and mandocello, instruments we haven’t really used before. It’s a new confidence, but having spent three years on the road, I just want to make music that’s exciting to play live.”

It’s the connection with his audience that remains key.

He says: “I love it when I see fans singing back my songs as it means they’re feeling it.

“I’m always honoured when someone says my music has helped them to reach out for help. Though it can be overwhelming when people tell me they’re struggling with difficult thoughts.

“I don’t always feel equipped to handle that and I worry I’m not helping in the way they need. It’s hard when you feel you’re letting someone down.”

Now, his attention is focused on bringing the album to the stage.

He says: “I’m looking forward to playing these new songs. This record tells a story, so we’re working on the stage design, setlist and lighting to tell that story. We’re playing stadiums now, but I want fans to still have an intimate experience.”

Kahan returns to historic Boston baseball stadium Fenway Park, the home of the Boston Red Sox, for four nights this July.

He will also be back in the UK, including three nights at London’s O2 in November.

He says: “I’m excited about those dates, but my dream is to play Stamford Bridge.

“It’s my favourite sport and I love Chelsea FC. But I was told you can’t play there. I’ve achieved so much already, but that is my ultimate dream.”

• The Great Divide album is out next Friday, April 24.

NOAH KAHAN – The Great Divide

★★★★★