D4vd is the “target” of a Los Angeles County criminal jury investigation into the death of a teenage girl. The singer’s star was on the rise, with a global tour in his future, before the discovery of the girl’s remains in the front trunk of his Tesla.
The singer, whose real name is David Burke, has been the subject of the probe since November, months after the dismembered body of 14-year-old Celeste Rivas Hernandez was found in the car after it was towed off a street in Hollywood.
According to a grand jury subpoena seeking to have Burke’s father, mother and brother testify in L.A., the musician is described as “Target David Burke,” who may have committed a criminal offense in California, “to wit: One count of Murder.”
The document was part of a legal challenge to the subpoenas filed by the singer’s family in Texas. The newly unsealed documents reveal that, when Los Angeles police opened up the Tesla trunk, they found “a black cadaver bag covered with insects and a strong odor of decay” inside. Investigators had been granted a search warrant to look in the vehicle Sept. 8 after a tow yard worker noticed a rotting smell emanating from the vehicle.
According to the document, detectives partially unzipped the bag and found “a decomposed head and torso.”
Criminalists and medical examiners then processed the body.
“Upon removing the cadaver bag from the front storage compartment, it was discovered the arms and legs had been severed from the body,” the subpoenas noted. “A second black bag was discovered underneath the cadaver bag. Upon opening the second bag, the dismembered body parts were discovered.”
Los Angeles County Deputy Dist. Atty. Beth Silverman issued the subpoenas on Jan. 15, with Superior Court judge Craig Richman approving them.
The First Court of Appeals in Texas on Feb. 9 denied petitions from the three Burke family members to ignore the subpoenas.
In November, prosecutors began presenting evidence to a grand jury, described at the time as an investigative grand jury, according to a source who spoke on the condition of anonymity because they were not authorized to discuss the case with the media.
Since then, numerous witnesses have been called in to testify, among those, one of the musician’s managers. A friend of D4vd, Neo Langston, was arrested in Montana after ignoring a subpoena and was recently forced to return to L.A. to testify.
In a Texas appeals court footnote, the court refers specifically to the singer’s true name. The court states that the “underlying case” is “The People of the State of California v. David Burke,” pending in the 506th District Court of Waller County, Texas, with Judge Gary W. Chaney presiding. There is no public case with that name, but grand jury proceedings are confidential.
The singer’s father, Dawud, mother, Colleen, and brother, Caleb, reside in Texas, according to court records. Lawyers for the trio could not be reached for comment.
Detectives have spent months investigating the circumstances surrounding the girl’s death, as well as her relationship with D4vd.
His Tesla sat abandoned on a street in the Hollywood Hills for several weeks — potentially months — before its removal.
L.A. Police Capt. Scot Williams, who leads the Robbery-Homicide Division, said the girl had been “dead for at least several weeks.” Williams said the body had not been decapitated or frozen, as some news outlets have reported.
Detectives determined that the Tesla had been parked on Bluebird Avenue since late July — around the time D4vd began a national tour. The tour was canceled soon after the death investigation drew worldwide media attention.
Kelly Osbourne has denied the use of fat jabs yet is still receiving swarms of abuse onlineCredit: GettyKelly Osbourne received comments from nasty trolls after attending the Royal Ascot Millinery Collective during London Fashion Week at Claridge’sCredit: GettyKelly has been submitted to a slew of abuse over her weight and appearance since her dad passedCredit: Splash
Kelly, 41,has denied the use of weight loss jabs, but has become the target of a slew of online abuse.
The singer and TV star has now called out the vicious online trolls for subjecting her to the string of vile comments.
Posting an unsavoury comment to her social media where a cyber bully claimed she “looked like a dead body”, Kelly responded: “Literally can’t believe how disgusting some human beings are! No one deserves this sort of abuse!”
Alongside her statement, she posted a collection of fans comments sticking up for the star and slamming the awful message.
Kelly continued sticking up for herself as she posted yet another comment dissecting her weight loss and appearance.
She said: “This too shall pass, but like, holy f**k.”
The TV legend has bee forced to fend off a torrent of online abuse since the tragic passing of her dad Ozzy Osbourne.
But, things escalated when snaps of Kelly at the Royal Ascot Millinery Collective at Claridge’s emerged.
Kelly has often been candid about struggling with her weight, telling fans her insecurity developed in her teen years – while starring on the hit reality show The Osbournes.
Talking on The Osbournes podcast last year, Kelly said: “I got pulled into the head of the agency’s office and he … gave me a whole speech about how I was too fat for TV and I needed to lose weight, and that if I lost weight, I would look better.
Jack Osbourne, Sharon Osbourne and Kelly Osbourne walked back to their car after viewing tributes to the late Ozzy Osbourne from fans, as his funeral cortege travelled through his home city of BirminghamCredit: GettyKelly Osbourne recently penned a heartfelt post about grief seven months after her dad, Ozzy’s tragic deathCredit: Instagram/kellyosbourne
“And he was just saying, ‘You’re not a movie star, but you could be one if you lost weight.’”
Kelly recently penned an emotional message about grief seven months after 76-year-old Ozzy’s death.
She said: “Some grief doesn’t end. It changes shape. It becomes a weight you learn to carry, the ache woven it your day. Making it through doesn’t mean leaving it behind.
“It means finding strength to live and love and keep going even with forever resting heavily on your heart…”
The Black Sabbath singer died at home with wifeSharon, 73, and his kids by his side, back in July 2025.
“If I love you, I have to make you conscious of the things you don’t see.”
James Baldwin’s quote about the artist’s role in society is emblazoned on billboards across Los Angeles this winter. Created by artist Patrick Martinez, the purpose of the signage is two-fold: to promote Frieze Los Angeles and, in the case of neon signs at the art fair’s entrance, to stand as a discrete work of art on its own.
Martinez, an East Los Angeles-based artist, has long translated protest language into storefront-style neon, a strategy he now extends into a broader campaign tied to Frieze, which runs Feb. 26 through March 1 at the Santa Monica Airport and features more than 100 galleries.
This year, however, some of the fair’s most compelling work may be happening outside the tent. Frieze Projects’ “Body & Soul” features eight installations staged across Santa Monica’s Airport Park and beyond. The initiative is intended, organizers say, to broaden the fair’s reach beyond its art world audience — positioning Frieze as a civic platform rather than a purely commercial event.
In addition to Martinez’s creations, “Body & Soul” brings together site-specific works including Amanda Ross-Ho’s durational performance rolling a 16-foot inflatable Earth around the perimeter of a nearby soccer field; Cosmas & Damian Brown’s interactive fountain installation incorporating ceramic heads, incense and water; and Shana Hoehn’s first large-scale public sculpture, fabricated from a fallen tree sourced through Santa Monica’s Urban Forest program. Off campus, Kelly Wall extends the program to a former Westwood Village newsstand, where glass “magazines” will be displayed — 136 in all, priced at $300, with 15 given away.
Martinez’s billboards bearing 2024’s “If I Love You (James Baldwin)” serve as the most highly visible part of the fair’s public outreach. His neon installations respond to ICE raids and immigrant rights, placing protest at the literal threshold of one of Los Angeles’ most visible art events.
L.A. artist Patrick Martinez’s work is featured on billboards around the city, as well as at the entrance to Frieze Los Angeles.
(David Butow / For The Times)
The public art program acts as “a way that we can bring in people who may not be just the ticket goers or the VIP,” said Christine Messineo, Frieze’s director of Americas.
It also serves to amplify the city’s cultural temperature.
“Our job is to represent what’s happening in our community,” Messineo said, adding that immigration and social impact are not anomalies at the fair but part of its foundation.
Some of Martinez’s neon entrance signs — including “Abolish ICE” (2018), “No Body Is Illegal” (2021) and “Then They Came for Me 2” (2025) — predate the current political moment. Instead, they emerge from years of observation and protest.
The artist credits Messineo with approaching him last summer to utilize what he calls his “urgent warning signs” as the face of the fair. Demonstrators also carried signs bearing Martinez’s imagery last June during protests against ongoing federal immigration crackdowns in downtown Los Angeles.
Those events, Martinez says, are not experienced evenly across the city — particularly by the well-heeled audience that attends Frieze and spends $85 to $106 for weekend general admission tickets.
Patrick Martinez, “If I Love You (James Baldwin),” 2024.
(artwork Patrick Martinez / photo Paul Salveson)
Martinez wants his signs to unsettle viewers who are insulated from the city’s unrest.
“The Westside people aren’t even going to see any of that, right? So it’s bringing that kind of mindfulness to that space.”
“It felt prescient then,” Messineo said of engaging Martinez last year, “and I think even more so now.”
Frieze has integrated public art into its Los Angeles fair since its 2019 debut. But the works in “Body & Soul,” produced with the nonprofit Art Production Fund, lean into the particular conditions of public space.
The exhibition brings together Los Angeles artists exploring ideas of memory, community and collective experience — often in quieter ways than Martinez’s overt messaging.
Additional participants include Dan John Anderson, Polly Borland and Kohshin Finley.
Casey Fremont, Art Production Fund’s executive director, said most of the works are newly commissioned.
The program is designed to prioritize innovation over sales. “It isn’t transactional. It’s really just about experimenting and giving the public the opportunity to experience art like they’ve never experienced before.”
Artists scale up — and slow down
“Body & Soul” marks several participants’ first ventures into public work, including Hollywood artist Finley, whose “The Piano Player” will be installed near the corner of Airport Avenue and Donald Douglas Loop. Finley’s piece arranges ceramic vessels inside shadow-box shelving that the artist describes as containers for memory — some “you love to take out and peek into,” others that “should just stay shut forever.”
Kohshin Finley’s “The Piano Player” arranges ceramic vessels inside shadow-box shelving that the artist describes as containers for memory.
(Micaiah Carter)
The title references the film “Casablanca,” and its piano player, Sam, whose music stirs up memories of the central love story.
Finley said the public setting creates an unusually direct encounter as he, like many of his fellow artists, will be standing with his work.
“A lot of people have never seen a living artist,” he said.
Ross-Ho takes visibility even further with her inflatable soccer ball Earth, which weighs 78 pounds. The familiar “blue marble” image will no doubt draw spectators at the Airport Park Soccer Field outside the Frieze tent.
Amanda Ross-Ho is creating a durational performance on a soccer field by Frieze Los Angeles.
(Jennelle Fong for ILY2)
Ross-Ho’s performance, “Untitled Orbit (MANUAL MODE),” functions as an endurance test that is a response to what she calls “the temporal container of the art fair” — and to the pressures of contemporary life.
“Gesture and duration are the ways that I could achieve scale rather than something that was materially constrained like a giant sculpture,” she said.
Designing for gathering
Brown’s installation, “Fountain: Sources of Light,” invites guests to congregate. Positioned between the Airport Park playground and dog park, it combines running water, ceramic vessels, incense and sound.
“I really wanted to make a fountain because I thought that [it’s] something that … people tend to gravitate to,” he said.
The work will incorporate metal plates and bowls created by participants in the youth workshop Art Sundae, taking place Feb. 28 at Airport Park.
Near Brown’s fountain, Echo Park artist Hoehn will present “Deadfall,” a massive fallen fig tree embedded with carved cheerleader legs and skirts — imagery drawn from her Texas upbringing.
Shana Hoehn with one of her carved wooden sculptures.
(Josh Cohen)
“I’ve been working with cheerleading iconography for the past few years,” she said, linking the imagery to what she calls an omnipresent football culture layered with “American patriotism and militaristic qualities.”
Hoehn acknowledged that the fair’s four-day window and limited nearby parking may keep the audience closer to fair-goers than the broader public the program aims to reach.
Beyond the airport fence
A few miles away in Westwood Village, Mar Vista artist Wall will extend the program beyond the airport campus with “Everything Must Go,” installed at a defunct newsstand and on view from 5:48 p.m. (sunset) to 8 p.m. during the fair.
Where magazines and newspapers once were, glass stand-ins bearing skyline imagery will occupy illuminated lightbox shelves. As the glass “magazines” are removed, glowing silhouettes mark their absence.
Kelly Wall, ‘Everything Must Go’.
(Kelly Wall)
Wall’s related project will appear on the Frieze campus with found newspaper boxes transformed into lightbox displays for her glass publication.
“In things coming to an end, there is no real end … there’s transformation,” she said. “How you might see [the piece] may differ depending on different times — or where you’re personally at in your life.”
Italian cricket is in crisis days after the country’s T20 World Cup debut, as it emerged that a senior national governing body official has been investigated over a sexual assault allegation.
Federazione Cricket Italiana (FCRI) women’s cricket co-ordinator Prabath Ekneligoda, 57, was the subject of a criminal investigation relating to a claim he inappropriately touched a member of the Azzurri women’s national team.
Multiple members of the Italy board are said to have resigned over this case and other governance issues, BBC Sport has been told.
The sexual assault allegation was made to police in Rome in March last year by a player who has represented the national team.
The player, whose identity is protected for legal reasons, alleged that the sexual assault occurred during a massage on a knee injury at a training session, and she had been scared to report the incident because she feared it would cost her a spot in the team.
An investigation was concluded by a Rome prosecutor in November 2025 and Ekneligoda was interviewed by police the following month.
A decision is now set to be made on whether there is sufficient evidence to bring it to trial. Ekneligoda’s lawyer said his client denies the allegations, that there are ulterior motives to the allegations, and that a witness supports his version of events.
FCRI said in a statement to BBC Sport it “noted proceedings are currently under way before the federal prosecutor’s office” and will “co-operate with the relevant authorities”.
“The Italian Cricket Federation reiterates that its conduct is guided by principles of fairness, transparency and the protection of its registered members, as well as by the ethical and civic standards that underpin the sporting system,” added the statement.
“The federation therefore defers to the competent judicial authorities for any determinations arising from the matter.”
Ekneligoda, who is originally from Sri Lanka, was suspended from his role with the FCRI in November but has remained a visible presence on the Italian cricket scene.
He is the partner of FCRI president Maria Lorena Haz Paz and accompanied her to India for the men’s T20 World Cup.
BBC Sport has seen evidence that Ekneligoda attended Italy’s matches wearing official accreditation and was permitted to sit with the rest of the FCRI party.
Ekneligoda was also seen at various events laid on for Italy’s cricket delegation, including a reception at the Italian consulate in Kolkata for officials, players and coaching staff.
The FCRI, its president Haz Paz, and safeguarding officers, had full knowledge of the seriousness of the claims made against Ekneligoda before the World Cup.
As of Monday, Ekneligoda was still listed as the women’s cricket coordinator on the FCRI website.
Sources have told BBC Sport that some members of the FCRI’s board have resigned over the matter, and other governance issues, which has placed Haz Paz’s position under greater scrutiny.
Senior officials in Italian cricket fear potential reputational damage, and the possibility of legal cases, will hamper opportunities to capitalise on their debut T20 World Cup appearance and grow the game further in the country.
Haz Paz was appointed president of the Italian cricket federation in February 2025 until 2028.
Italy’s debut at the T20 World Cup, and the stories of some of their players, had captured the imagination of the cricket world.
The following article contains spoilers forEpisode 7, “1:00 P.M.,” of “The Pitt” Season 2.
The education begins almost immediately. A young woman who has just experienced a sexual assault is in triage, and “The Pitt’s” Dr. Robby (Noah Wyle) enlists Dr. Al-Hashimi (Sepideh Moafi) to assist charge nurse Dana Evans (Katherine LaNasa) with the patient.
“We can call for a SANE,” another nurse suggests when Dana says she’ll be occupied.
“On a holiday? Could be hours,” responds Dana, a veteran who knows better, as the Fourth of July shift enters afternoon hours. “We’re not going to make this patient wait. And since I’m the only SANE on staff …”
A what? The quick reference sets in motion what “The Pitt” aims to shed light on: a sexual assault forensic exam, also known as a rape kit exam. The episode delves into the confidential medical procedure to collect DNA and evidence and gives one of the most detailed depictions of the process for television.
But before cameras venture into the room with the patient, Dana gives recent nursing school graduate Emma (Laëtitia Hollard) — and the audience — an overview. A SANE is a sexual assault nurse; they perform forensic exams, collect evidence and hand it over to the police, if a report is made. They also provide resources, support and may even testify in court.
The storyline serves a dual purpose, according to Kirsten Pierre-Geyfman, who co-wrote the episode with the show’s creator, R. Scott Gemmill. “We wanted to highlight the very important and incredible work of a SANE, especially in the department setting,” she says. “And we also wanted to see the bravery it takes for a survivor to come forward, let alone do a rape kit … It’s not an easy decision for somebody to make, and it’s not an easy process for somebody to go through.”
“I wanted people to understand the extent of the exam, I think that’s a misconception among a lot of people,” said Dr. Kathleen Sekula, a SANE at Duquesne University in Pittsburgh who also consulted the show’s team.
Ilana (Tina Ivlev) arrives at the ER in Episode 7 of “The Pitt.”
(HBO)
The case in Episode 7, “1:00 P.M.,” involves a visibly shaken young woman, Ilana, played by Tina Ivlev. The writing team knew they wanted to detail the process, not the trauma, Pierre-Geyfman said, so the information about what Ilana experienced is minimal: She was at a barbecue with friends when she was assaulted by a male friend.
“The thing that struck me was the fact the other shows might focus on what happened and then dive into that,” Ivlev said. “What I loved about this, the minute she starts talking about it, they cut [away]. There’s so much underneath it. I wanted it to be similar to real life when you have a traumatic situation happen — sometimes you can be hyperfocused on certain details, then other things are cloudy. Her head is spinning. She’s in shock.”
As with many of “The Pitt’s” cases, the story serves to bolster the emotional arc of the show’s healthcare providers, in this case Dana, who assists with the exam from start to finish as the department’s certified SANE nurse. Last season, she was brutally punched in the face by a disgruntled patient while taking a smoke break. That violent attack left her rattled and contemplating an exit from the job, but after taking a few weeks off, she ultimately returned to work — though the assault’s lingering impact has sharpened her edges.
“With Dana’s arc and her own assault last season, she’s definitely calcified a little this season,” Pierre-Geyfman said. “She’s trying to create a little bit of distance between her and her patients, and is really trying to prioritize her nurse’s safety. You see her struggle a little bit with that with this patient. She’s wanting to do more for her.”
On screen, the assessment begins with Dr. Al-Hashimi checking to see if Ilana has any injuries that need immediate attention and getting an intake of prescription medications and any known allergies to medications. Securing two triage rooms to complete the exam as a way to ensure privacy in the busy emergency department, Dana, with help from Emma, begins the evidence collection while carefully outlining the process to Ilana. For starters, once Dana opens the kit, Ilana cannot leave the room but is free to take a break as needed.
To avoid contamination, Dana puts on a face shield and opens the kit, which is a rectangle-shaped box that contains items like paper bags to store evidence and swabs for collecting biological samples. The first step requires Ilana to change into a robe, undressing on top of pads placed on the floor so each item of clothing can be packaged into separate bags and collected as evidence. She’ll be given new clothes, Dana assures her. Dana raises a large piece of cloth to give Ilana privacy as she completes the process.
Eventually Dr. Al-Hashimi returns to examine Ilana, checking for any pain on her body or need for X-rays or imaging — she notes two areas of bruising to be documented by Dana with photos. Dana seals the camera’s memory card in an evidence envelope. Next, with the lights off, Dana runs a black light over Ilana’s body. Dana relays that if there’s a part of Ilana’s skin that glows, she’ll swab it with a wet, then dry, cotton swab. Dana next swabs Ilana’s mouth — the inside of her cheek and along the gum line — and her finger nails. At various points, Dana is careful to assess Ilana’s comfort with each step and uses statements like “This will not define you,” while Ilana shows signs of stress about the length of the process.
Emma (Laëtitia Hollard) assists Dana (Katherine LaNasa), who leads the exam as the SANE (sexual assault nurse) on duty.
(HBO)
At one juncture, an advocate from Pittsburgh Action Against Rape, otherwise known as PAAR, arrives to further detail the resources and assistance they can offer, a service that’s available regardless of whether a patient decides not to complete the rape kit exam. Throughout the process, Ilana is assured that she can complete the exam even if she’s vacillating on whether to file a police report — that decision can be made at a later time and none of it goes on her permanent medical record. But when the exam pivots to external and internal vaginal collection, Ilana panics once she’s instructed to place her feet in stirrups to get into position. Dana suggests a break.
“I don’t want a break, I want to stop,” Ilana proclaims. “He’s my friend. He knows all my friends. It was just a dumb — he was drunk. He didn’t mean — it didn’t mean anything.”
It brings a pause to the process, which will carry over into Episode 8. In trying to show the scope of the exam, the medical drama takes liberties in its completion time. Sekula said it’s rare for an exam to be completed in under three to four hours.
Not all nurses are certified to be a SANE, and certification requirements vary by state, according to Sekula. It’s a role that requires extreme attention to detail and thoroughness, as their work bridges the healthcare and legal systems. While preparing for the episode, Hollard said she marveled at the precise protocols involved and the support that’s provided.
“On a technical level, it’s so meticulous,” Hollard said. “There’s so many parts, so many envelopes. You have to take these swabs and they can’t touch each other. And the legality of it all — the way this kit is happening is how they would do it with PAAR in Pittsburgh, but that’s not the same way they do it in California, or [the way] they do it in different states.”
While “The Pitt” is frequently recognized for its hyperrealistic medical procedures, the episode’s director, Uta Briesewitz, knew she wanted to film the exam in a way that mirrored the sensitivity healthcare professionals strive to exhibit, with shots that weren’t invasive or fixated on Ilana’s body. For example, when Ilana is undressing, the camera is fixed on Dana being mindful to give her privacy even in their close proximity — an out of focus glimpse of Ilana’s bare backside comes only when getting a reaction of Emma taking in the weight of the moment. Later, when the blue light is being run down Ilana’s body, her hospital gown is carefully place to avoid exposure. In addition to a SANE consultant being on set to assist with queries about the process, there was also an intimacy coordinator to help with the comfort level of filming the scenes.
“On a technical level, it’s so meticulous,” said Laëtitia Hollard of the process. “There’s so many parts, so many envelopes. You have to take these swabs and they can’t touch each other.”
(HBO)
“It was a very sensitive line because women can get re-traumatized,” Briesewitz said. “I remember one of our more detailed conversations with our SANE nurse was about when Dana had to look with the black light for bodily fluid. How do we make sure she would not miss anything but, at the same time, give the victim the feeling that they’re still protected? It was super helpful to have our SANE advisor on set to say the way she would do it. ‘One arm comes out of the sleeve, then I hold up her gown this way, and I would do it like that …’”
LaNasa found her time at the UCLA Health Rape Treatment Center crucial to chart both her character’s ease in the room and her sensitivity to the task at hand: “I went back a second time because I knew I was going to have to use the kit … I wanted it to look like I had used the kit many times and I knew what I was doing.”
Reflecting on the case as a mirror to her character’s journey, LaNasa pointed out that Dana never pressed charges against Doug Driscoll, the man who assaulted her.
“It’s different in this situation,” LaNasa acknowledged. “I thought it was great information that we got out of this, which is that you can go and do a rape kit, you can have the evidence collected, and you don’t have to decide on that day when you’re traumatized if you want to press charges or not. I think that part of Dana’s hypervigilance is probably because there was no justice for her. I think why she’s cracked this season is because she didn’t take care of herself. She’s reeling from that. She let him beat her up. At the same time, she doesn’t want Tina’s character to feel any pressure, but I think she wants it for her. She wants her to have the ability to change her mind later.”
“We’re going to hear Dana, later in the season, refer back to this process that these people have to go through, in defense of a sexual assault victim,” LaNasa teased. “It’s big on her mind. She’s been doing it quite a while.”
Slowly, LeBron James put on a pair of ice bath toe booties and dipped his left foot and then his right foot into a bucket that had been prepared for him following a Lakers game at Crypto.com Arena. His longtime personal trainer and athletic performance coach, Mike Mancias, next wrapped both of James’ knees and his back in ice.
James closed his eyes for a few seconds and leaned back in his chair as the media gathered around him for his postgame interview.
This was just another step James has taken to care for his body, a step that shows the lengths he takes in the maintenance of his 6-foot-9 frame that has helped him have an illustrious 23-year career, longer than any player before him.
“Obviously I didn’t know it would be 23 years. I didn’t know that, but I know I didn’t want to have no six- or seven-year career. I can’t become legendary in six or seven years,” James told The Times. “I always had a mission. When I knew I could play this game at a high level, like, going to Chicago and playing with MJ [Michael Jordan] and all those guys when I was a sophomore [in high school]. And then when I went up to Cleveland and played against the Cavs when I was a junior and I was like, ‘Oh … I belong. I belong.’ I knew I still had to learn and I still had to continue to get my body right, continue to learn the game and nuances.
“But I was playing against NBA guys for a long time and I was like, ‘If I get the opportunity to crack the league, if I get the opportunity to showcase what I’m able to do, the only thing that can stop me is if I don’t take care of my body. The only thing that can stop me from being the greatest or one of the greatest to ever play this game is if I do not take care of myself.’ I did take care of my body. That’s it.”
James’ dedication to self care has become legendary in the sporting world. He is known to invest moire than $1.5 million annually for a comprehensive approach to keeping his body fine-tuned.
James considers himself a biohacker: someone who uses science and technology to make their body function better and more efficiently.
He talked about using Normatec leg compression boots, hyperbaric chambers to restore oxygen, cryotherapy, red-light therapy and other cutting-edge technologies to maintain elite performances and longevity at the age of 41.
He talked about prioritizing sleep and nutrition, avoiding artificial sugars and fried foods.
When he missed the first 14 games this season because of sciatica, James cut back on drinking wine, one of his passions, in order to get his body back to full health.
“Obviously it’s gotten even more detailed as me and Mike have built a program,” James said. “It’s been 22 years of our program.”
LeBron James jokes with trainer Mike Mancias while sitting out a game with the Cavaliers in 2010 to rest for playoffs.
(Mark Duncan / Associated Press)
It has worked for James to the highest order, as he has become the leading scorer in NBA history with 42,975 points.
Though his streak of being voted as a starter to the All-Star team was snapped at 21 years in a row, James still extended his NBA record to 22 selections when the coaches voted him in as a reserve for the tournament that will be played Sunday at Intuit Dome.
Over his career, James said, he’s received plenty of offers to try new ways to do his physical therapy. For the most part, he has said no.
“It’s all type of … that is presented to you,” James said, smiling. “[People] are always trying to get you to do s—. But once we got the connection, it wasn’t really many people that we allowed to come and be in what we do. We had a couple of guys obviously throughout the process that helped along the way. But, nah, we knew what we wanted to do.”
When James was growing up in Akron, Ohio, and it became obvious he was athletic, he said his uncle, Curt, encouraged him to start taking care of his body immediately. His mother, Gloria, advised him to listen.
“I used to stretch before I went to bed and when I woke up, when I was like 10 or 11 years old,” James said. “My uncle Curt, my mom’s younger brother, used to make me do 100 calf raises a day and he used to make me do 50 pushups and 50 situps a day.”
James shook his head and laughed recalling those moments.
LeBron James glides past Kings forward DeMar DeRozan for a reverse dunk during a game in December.
(Eric Thayer / Los Angeles Times)
“He told me I had to get my calves stronger if I wanted to be great,” James said, smiling. “I never knew what that meant, whatever. But yeah, my uncle used to tell me to do that, and then a good friend of mine used to always tell me to stretch before I got in the bed and after I got out of the bed when I woke up the next morning. I don’t know, man. I’ve been doing this for a long time.”
At no time during all this did James know what that advice would mean for his future.
“No, but I had people that I trusted,” James said. “I was icing after every game my rookie year. I was 18 years old. I was icing after games when I was a high school senior, a high school junior. Like, I was lifting [weights] my senior year.”
James told a story about playing in an AAU tournament with Kendrick Perkins when he was 14 and how some players were sitting in the stands eating fast food.
“They were eating McDonald’s,” James said, smiling, “and I was eating fruits.”
Jason Kidd, the Hall of Fame point guard who’s now coach of the Dallas Mavericks, was an assistant with the Lakers when James led them to the 2020 championship, and the two were teammates on the 2008 USA Olympic team that won the gold medal in Beijing.
Kidd has watched how James is averaging 22 points on 50.2% shooting, 7.1 assists and 5.8 rebounds this season and can’t help but marvel at how he continues to be a highly effective player with so many miles on his body.
“He’s had some injuries, but he’s taken care of his body, he’s always prepared himself for the marathon,” Kidd said. “But I think it’s the mental side. I think that’s the hardest part is to wake up and say, ‘Do I need to go play against a 20-year-old or a 19-year-old?’ He’s won championships, he’s been MVP, he’s been the face of the league. He’s a billion-dollar company.
“So, it’s the mental side. Understanding that he loves competition and he loves the game of basketball. So I think for him to do it at 41 is incredible.”
When the Lakers faced Kidd’s Mavericks on Thursday night, James was back in the lab early getting his body ready about six hours before tipoff.
LeBron James talks with assistant coach Jason Kidd during a 2020 playoff game.
(Associated Press)
It didn’t matter that it was the last game before the weeklong All-Star break. In James’ eyes, if you take care of your body, it will take care of you.
“I woke up this morning, went straight downstairs, got a stretch, did a little activation, like a little small lil’ lift” of weights, James said after the game. “Then I iced after that. Then I used the Normatec to pump my legs for an hour. Then I took a nap in the hyperbaric chamber for an hour and a half. Then I got in the cold tub, again, before I came here. So, I started my process here when I got here at 1:15 and prepared for a 7 o’clock game. It’s just around the clock.”
And as it turned out, all his work led to yet another record for James.
His triple-double of 28 points, 12 assists and 10 rebounds made him the oldest player to accomplish the feat, pushing him past Karl Malone, who was 40 when he did it in November 2003.
And now comes another record with the All-Star Game.
Los Angeles police officers must turn on their body cameras at the scene of federal immigration enforcement operations and preserve the footage, according to an executive directive issued by Mayor Karen Bass on Tuesday.
Since June, federal immigration raids have disrupted neighborhoods and communities across Los Angeles and around the nation, including at work sites, along neighborhood streets and in commercial areas.
Often, police officers have responded to the scene to try to keep order amid tensions between immigration agents and community members.
“The point that we’re trying to make here is that ICE enforcement is not welcome here,” Bass said at a news conference Tuesday morning. “We have resisted against it since this terror started, and we will continue to do that.”
In addition to recording the federal immigration agents’ actions, LAPD officers must document the name and badge number of the agents’ on-scene supervisor, summon emergency personnel if someone at a scene is injured and take reports from the public about federal agents’ alleged misconduct, Bass’ five-page directive states.
The directive also prohibits federal immigration agents from using city property and imposes a fee on owners who allow federal agents to use private property.
The effort builds on a previous Bass directive that aimed to restrict the city from assisting federal immigration agents. The LAPD has a long-standing policy that its officers should not be involved in immigration enforcement.
The Department of Homeland Security did not immediately respond to a request for comment.
Bass noted that officers are supposed to turn on their body cameras anyway, including when they’re responding to a call from the public or when another law enforcement agency asks for assistance.
“We’re saying we really want you to do that, even if you are there and there’s not a disturbance that breaks out, if you’re there on the scene,” Bass said.
The LAPD did not immediately provide comment. The Los Angeles Police Protective League, which represents rank-and-file LAPD officers, did not respond to a request for comment.
In Chicago, the mayor issued a similar directive in January, instructing the Police Department to “investigate and document” alleged illegal activity by federal agents, said Tania Unzueta, political director of Mijente, a national group that organizes within Latino and Chicano communities.
“ICE’s power must be challenged at every level, and local governments have a critical role to play in holding the line against federal enforcement,” Unzueta said.
But in Los Angeles, immigrant rights advocates expressed concerns about requiring the LAPD to police another agency.
Maegan Ortiz, executive director of the Institute of Popular Education of Southern California, or IDEPSCA, cited the LAPD’s history of using excessive force against civilians and said that in the recent immigration raids, officers have sometimes inflamed instead of defused tensions.
“Are they really the best people to determine what is excessive use of force, given the literal millions of dollars that we’re seeing paid out in settlement because of use of force by LAPD?” Ortiz said. “Can we trust this police department to police others when they can’t police themselves?”
James “Jim” Willis, a former LAPD detective who later worked for the L.A. Police Commission’s inspector general’s office, said he agreed with the directive’s intent: to bring greater accountability to Immigration and Customs Enforcement operations. But he has questions about how it would work in practice.
For one thing, he said, it’s unclear whether LAPD officers are supposed to respond whenever an ICE operation is underway. Doing so would put further strain on a department that is down hundreds of officers from a few years ago, he said.
It’s also unclear what will happen with the recorded footage.
“Who’s going to audit this?” he asked. “Do you now create a new group, a new division and new section?”
Since rolling out the tiny recording devices in 2015, the city has spent millions of dollars, both on the body cameras themselves and data storage for the digital files. LAPD officials have conceded that the vast majority of the footage gathered by officers goes unwatched, since there isn’t enough manpower to review it.
At Tuesday’s news conference, Jocelyn Duarte, executive director of the Salvadoran American Leadership and Educational Fund, praised Bass’ directive and called on the Los Angeles Board of Commissioners, which provides civilian oversight of the LAPD, to ensure that officers “protect Angelenos from lawless federal conduct.”
“Local law enforcement must not be complicit through silence or inaction when federal agents overstep legal and ethical boundaries,” Duarte said. “Now it is imperative that our commission and LAPD fully implement this directive and make it clear that our city will not allow for fear-based enforcement to define life in our neighborhoods.”
Ortiz said she is excited that the directive imposes fees on private property owners who allow federal immigration agents to use their property. The Institute of Popular Education of Southern California has been a leader in calling for a boycott against Home Depot, which has not taken a public stance against repeated raids at the day labor centers that the organization runs at the stores.
“I do think that something does need to be done with these huge billion-dollar corporations who are allowing this and are choosing to stay silent while their customers are being dragged away and disappeared,” Ortiz said.
Twisted Sister has canceled all of its 50th anniversary performances following the departure of lead singer Dee Snider because of “a series of health challenges.”
In a statement posted Thursday on Instagram, the heavy metal band said all scheduled shows beginning April 25 in São Paulo and through the summer have been canceled “due to the sudden and unexpected resignation” of Snider. The “I Wanna Rock” singer is no longer able to perform in the way that he used to because of multiple heath issues.
“I don’t know of any other way to rock,” Snider said in a statement accompanying the band’s announcement. “The idea of slowing down is unacceptable to me. I’d rather walk away than be a shadow of my former self.”
“The future of Twisted Sister will be determined in the next several weeks,” the band’s statement read.
The separate statement regarding Snider’s health explained that a “lifetime of legendarily aggressive performing has taken its toll on Dee Snider’s body and soul.”
Also posted to the “We’re Not Gonna Take It” singer’s Instagram account, the statement said that Snider “has had several surgeries over the years” to help manage his degenerative arthritis. His condition meant he had only been able to “perform a few songs at a time in pain.”
“Adding insult to injury, Dee has recently found out the level of intensity he has dedicated to his life’s work has taken its toll on his heart as well,” the statement continued. “He can no longer push the boundaries of rock ‘n’ roll fury like he has done for decades.”
The body of Lil Jon’s son Nathan Smith, who performed as DJ Young Slade and went missing Tuesday night, was recovered Friday from a pond near his home in Milton, Ga., according to local police. The rapper’s son was 27.
“I am extremely heartbroken for the tragic loss of our son, Nathan Smith. His mother [Nicole Smith] and I are devastated,” Lil Jon and his ex-wife wrote Friday on social media.
“Nathan was the kindest human being you would ever meet. He was immensely caring, thoughtful, polite, passionate, and warmhearted — he loved his family and the friends in his life to the fullest.”
They said their son was “amazingly talented” as a music producer, artist and engineer. Nathan Smith was a graduate of New York University, his parents said.
Nathan Smith, a.k.a. DJ Young Slade, performs with his father, Lil Jon, at the Hollywood Palladium in March 2014.
(Kevin Winter / Getty Images )
“We loved Nathan with all of our hearts and are incredibly proud of him. He was loved and appreciated, and in our last times together we’re comforted in knowing that we expressed that very sentiment to him,” the parents concluded before thanking the many local authorities and rescuers who helped search for their son.
The Milton Police Department said Tuesday on social media that Nathan Smith hadn’t been seen since he “ran out of his house” at 6 a.m. that day.
“Subject left on foot and does not possess a phone. He may be disoriented and in need of assistance,” the statement said. “Family and friends are concerned for his safety.”
On Friday, Milton police said in a statement that teams had expanded the search to include the pond in a nearby park after failing to find Smith elsewhere. Divers with the Cherokee County Fire Department recovered a body from the water shortly before noon local time Friday, the statement said.
“The individual is believed to be Nathan Smith, pending official confirmation by the Fulton County Medical Examiner’s Office,” police wrote, adding there was no indication of foul play. However, the official cause and manner of death were still to be determined.
“We extend our deepest condolences to the Smith family during this difficult time. The department respectfully asks the community and members of the media to honor the family’s request for privacy as they grieve and navigate this tragedy,” the statement concluded.
Lil Jon and Nicole Smith expressed gratitude in their post confirming their son’s death. The two married in 2004 after welcoming Nathan in 1998 but split up amicably in 2022.
“Thank you for all of the prayers and support in trying to locate him over the last several days,” they wrote Friday.
