breaking

Srinagar, Indian-administered Kashmir — The gold earrings were a gift from her father on her birthday just months earlier. But on March 21, as South Asia marked Eid‑ul‑Fitr, Masrat Mukhtar handed them over to an aid collection effort to help civilians in Iran trying to survive the US-Israel war on the country.

She was one of many in Indian-administered Kashmir who paused their customary rituals and celebrations on the auspicious day to contribute cash, household items, and personal assets for a people more than 1,000 miles away.

Her cousins followed, each bringing items of personal value. Families offered copper utensils, livestock, bicycles, and portions of savings. Children broke their piggy banks, sharing savings they had carefully collected over several years. Shopkeepers and traders handed over parts of their earnings.

“We give what we love. This brings us closer to them,” said Mukhtar, a 55-year-old woman from Budgam in the central part of Indian-administered Kashmir, before referring to a name by which the region has historically also been known. “This is what Little Iran does for its namesake. The bond persists through time and conflict.”

That bond, rooted in more than six centuries of historical connections, has taken on a much more overt presence during the war – drawing recognition from Iranian authorities, and concerns over some fund collection methods from Indian officials.

One daughter’s wealth, to another daughter

In Zadibal, a Shia-majority area of Srinagar – the biggest city in Indian-administered Kashmir – 73-year-old Tahera Jan watched neighbours contribute copper pots.

“Kashmiris traditionally collect these utensils for their daughters’ weddings. We chose to give them instead to daughters who lost mothers and sisters in the attacks,” Jan said.

Sadakat Ali Mir, a 24-year-old mini-truck driver, contributed one of the two vehicles he drives for his livelihood. Other contributors offered bicycles, scooters, and other essential items. Children, including nine-year-old Zainab Jan, handed over piggy banks.

To be sure, that Shia constitute between 10 to 15 percent of Indian-administered Kashmir’s population is a factor in why the war in Iran resonates so deeply in the region. But donations for Iran have extended well beyond Shia. Several Sunni families observed simpler Eid meals, redirecting household resources towards Iranian relief. Some shopkeepers closed early, while families adjusted daily routines to contribute.

Political and religious figures also participated. Budgam lawmaker Aga Syed Muntazir Mehdi donated a month’s salary to the relief effort. Imran Reza Ansari, a Shia scholar and leader of the People’s Conference party, noted public participation across communities.

Similar donation campaigns in support of Iranians have also been reported from Pakistan, Iraq and other countries.

But at the heart of this outpouring of support for Iran in Indian-administered Kashmir – which also witnessed large rallies after the killing of Iranian Supreme Leader Ayatollah Ali Khamenei on February 28 – are rare cultural ties that Kashmir and what was then Persia have shared for centuries.

‘Little Iran’

Sufi scholar Mir Sayyid Ali Hamadani arrived in Kashmir from Hamadan in Iran in the 14th century, introducing religious practices, art forms, and Persian literary traditions. Persian architectural influences appear in historical mosques, and the Persian language has shaped local literature.

Irshad Ahmad, a scholar of Central Asian studies, said donation drives drew on this historical reservoir, with prayers, rituals, and art forms reflecting longstanding ties. Kashmir has historically been referred to as Iran-e-Sagheer, or Little Iran.

The donations carry personal and cultural meaning beyond financial value, said experts. “People are not only parting with objects; they are sharing emotional continuity,” Sakina Hassan, a lecturer on humanitarian practices in New Delhi, said.

More than 2,000 people have been killed in Iran during the war, which is on pause at the moment amid a fragile ceasefire brokered by Pakistan. The first round of direct talks between the United States and Iran in Islamabad last week broke down without a deal, and mediators are working on pushing the two sides towards new talks. The ceasefire is set to expire next Wednesday.

Millions in donations

The scope of donations from Kashmir is significant. Estimates from local authorities place the value of contributions at up to six billion rupees ($64m), including cash, gold, jewellery, household items, livestock, and vehicles.

Collection points in Srinagar, Budgam, Baramulla – another major city – and the region’s northern districts were staffed by volunteers documenting donations.

Small contributions, including coins, piggy banks, and utensils, make up a large portion of total aid in terms of volume. Syed Asifi, a volunteer managing central Srinagar collections, said even individuals with limited means brought what they could.

Medical kits were assembled by local doctors, and supply drives were organised by students and educational institutions based on assessed needs in Iran.

The Iranian embassy in New Delhi acknowledged contributions in a post on X: “We sincerely thank the kind people of Kashmir for standing with the people of Iran through their humanitarian support and heartfelt solidarity; this kindness endures.” A video shared by the embassy showed a widow donating gold she had kept as a memento of her husband, who died 28 years ago.

That post was subsequently pulled down by the embassy, though the mission later posted again, thanking the people of India and Kashmir.

The embassy added that Kashmir’s contributions constitute a substantial portion of donations from India, with local sources estimating the Valley’s share at more than 40 percent of the total.

Security concerns

But while the majority of donations are directed towards humanitarian purposes, Indian authorities have raised concerns about potential misuse. Jammu and Kashmir Police and the State Investigative Agency (SIA) have said some funds collected through door-to-door drives by unverified individuals could be diverted to local networks of separatists and armed groups.

“People depositing money directly to the Iranian embassy should not be worried,” said a senior official, speaking on condition of anonymity. “Collections by middlemen without transparent monitoring may not reach the intended recipients.”

Authorities have also asked volunteers to maintain records to ensure compliance with fundraising regulations.

There’s a reason for this concern, say Indian authorities.

They point to the example of 2023, where funds collected in southern Kashmir – ostensibly for humanitarian purposes – were allegedly instead funnelled towards rebel groups. Organisers of the Kashmir drives for Iran maintain that all efforts are humanitarian.

Country singer Ray Stevens is recovering after breaking his neck.

On Sunday, Stevens, 87, fell and broke his neck, according to a press release shared with The Times. The two-time Grammy winner was “briefly hospitalized in the Nashville area and is now recovering at home,” and was advised by doctors to wear a neck brace for the next four weeks.

“Despite the injury, he remains fully mobile and in good spirits as he continues his recovery,” the statement read.

Stevens still plans to release his upcoming album, “Favorites Old & New,” this Friday. The album features recordings of classic songs like “It Had to Be You” and “Come Rain or Come Shine,” as well as originals.

“I had a lot of fun creating this album, ‘Favorites Old & New,’” explained Stevens in the press release. “It really does contain a few of my favorite old songs as well as favorite new ones penned by some talented writers. I just hope Ray Stevens fans enjoy it as much as Ray Stevens!”

In July, Stevens suffered a heart attack that required a heart catheterization and subsequent surgery. Shortly after the procedure, Stevens’ Instagram account shared that he was “working towards recovering from this surgery.”

“Ray is very grateful for all of the cards and get-well messages,” the post read. “Everything is Still Beautiful!!!!”

Stevens was inducted into the Country Music Hall of Fame in 2019. Upon his induction, he quipped to The Times that his retirement was not on the horizon.

“I feel fine; I’ll probably keel over after I hang up the phone. [He laughs.] But I’m gonna do what I want to do because I can,” Stevens said.

SIR Paul McCartney got a social media platform ban — for supposedly breaking the rules on his own fan page.

The Beatles legend, 83, joined a Reddit forum to send photos from his no-phones-allowed gig that took place in Los Angeles last Friday.

But his official account on the site was taken down by moderators who thought it was spam — sparking fury from fans.

It is thought Sir Paul’s media team was posting on his behalf.

A message, alongside a link to photos, said: “We wanted to make sure you had memories from the show to share with friends, family and loved ones.”

It was the first time since 2020 that the account of the former Wings frontman, who composed classic 1973 album Band on the Run, had been used.

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But hours later, a message on his u/paulmccartney profile said: “Paul McCartney has been banned.”

One fan on the forum declared: “What clownery is going on here that Paul McCartney himself gets banned? I wanted to see the photos but now I can’t.”

The account has since been allowed back on Reddit — but with the photos message still deleted.

It is unclear why he got the boot in the first place.

The forum warns there must be no advertising on its list of rules. Reddit also has a zero-tolerance policy towards spam, banning things judged as responsible for “artificially inflating exposure to unwanted or irrelevant content”.

Sir Paul, who also played the Fonda Theatre venue on Saturday, releases his 19th solo studio album, The Boys of Dungeon Lane, in May.

Ranting about the decline of comedy specials while releasing a new one at the same time feels a bit like an oxymoron. But somehow it still makes sense coming from alt-comedy pioneer David Cross, who isn’t just complaining; he’s finding his own route to making specials feel special again. The only way to do that is by putting one out in the manner he’d like to see more often — starting by making the whole crowd stand up too.

Capturing the energy of a concert at the famous 40 Watt Club in Athens, Ga., was the first step in differentiating “The End of the Beginning of the End” from the typical hour you watch on a big streamer. And, with this new special, Cross is able to get back to his own beginnings of touring across the country with love bands as his openers, performing for crowds for as long as he could until he had to run offstage to pee.

Premiering the special earlier this month on his website (and on April 7, it will be available on YouTube via production company 800 Pound Gorilla), Cross is hoping the special connects with comedy fans in a way that we’ve forgotten specials could.

This interview has been edited for length and clarity

Your new special is called “The End of the Beginning of the End.” What does that title mean to you as it relates to the impending doom of what we’re all living right now.

David Cross: Well, you can look at it in a couple different ways. To me, it signifies that the beginning of the end has occurred. And we are now at the end of the beginning of the end. And from where you go with that, that’s for you to decide.

One of the things I love about the special is the fact that you shoot it at a club in the style of a live–music concert.

I’ve shot specials in theaters and it’s just different, not that one is better than the other, but they’re just different. You have a different relationship with the audience. When I first started touring, I would go to music venues and I’d have a band open for me and then I would just go up and pretty much [perform] as long as I could until I had to pee. Sometimes I’d have a band playing, sometimes two bands, then I’d go out. And I did that a couple of times, and then stopped doing that and did theaters, and I decided for the last two specials I’m going to go to, when I shoot it, I’ll go to a music venue, and I was at the 40 Watt Club in Athens this last time, I was at the Metro in Chicago before that, both places I played on earlier tours, and, you know, it’s not seated. People are standing there at the stage, and I prefer it. It’s more fun. It’s not as lucrative but, to me, a more fun show to do.

Comedian David Cross

(Jason Armond / Los Angeles Times)

The ambience of it was great. You can hear people shouting and drinking and having a good time, and the crowd work is also a little more spontaneous and fun than it would be in a regular venue.

Yeah, well, there’s more opportunity for that. But my thing has never been about crowd work. I like engaging with it, it’s kind of a nice distraction from the set that you’ve been doing 100 times, 150 times at that point. So it’s always fun to have that thing happen and that feeling of spontaneity. And like the guy [who I talk to in the crowd during the special], I could not have asked for [someone better]. I mean, even if it was scripted, it wouldn’t have been as good. The guy who [I talk to] during the stuff about hiking Machu Picchu [with Bob Odenkirk], that’s just… [chef’s kiss].

Speaking of Bob Odenkirk, you guys have this long relationship. How would you describe the dynamic of working with Bob and just how you guys bounce ideas off each other?

I mean, it’s great. We have an inordinate amount of respect for each other, both as people and as creative partners. And so there’s never any real issues. There’s things we will definitely disagree with, but we’re both decent people. So you know somebody backs off and says, “OK, let’s do it that way.” But even then, there aren’t that many of those [issues]. We just have really worked well at building something or molding it, creating it and shaping it. And our aforementioned hike to Machu Picchu, we have a documentary about that, that will be premiering at a fancy festival at some point in the near-future. And so we got that doc and we’ve been working on that. And for the way we work now, because he lives in L.A. and I live in New York, and it’s been like that for a while, he’ll write a bunch of stuff, I’ll make notes, I’ll write my things, send it back. And so we’re able to do that and not necessarily have to be in the same room because we’ve had 30-plus years of working with each other.

It’s a kind of like an unspoken language you guys probably have in terms of comedy, which is super important, I imagine, just for collaborating.

Yeah, and it’s something we discovered very early on … before there was even “Mr. Show,” what would ultimately become “Mr. Show,” when we got together to write sketches for this bigger kind of comedy collective thing, and these shows that we would all do with each other, for each other, and the stuff that we would write together was just, like, really good, easy writing — again, one person adding this thing and one person saying here’s a switch yeah and another person adding this thing in. It was fun, it’s cool, still is. One thing he doesn’t get credit for is he’s a really decent human being. And with all the awfulness in the world that’s magnified, every sense is bombarded with it — it’s just good to be hanging with somebody whose energy is a good person, a decent person and an equitable, nice guy, so that’s good as well.

Comedian David Cross poses for a portrait ahead of his comedy special “The End of the Beginning of the End.”

(Jason Armond / Los Angeles Times)

One thing you guys also have in common is you both have kids, and he has a comedy show for kids called “The Appropriate Show.” Have you taken your daughter to see it?

It’s a sketch show [in which] all the sketches are appropriate for kids to watch. And the sketches have been done in other sketch shows onstage, live. And he puts together this thing once, twice a year here in L.A. And I took my daughter to it last year. It’s just sketches that kids can [understand]. At least if they don’t understand the actual references they get the archetype. “Oh, that’s the boss, that’s that uh… And it’s great, it’s a really cool idea uh… “ And would an ass— think of [a show like] that? No, one good decent person; a good man. But listen, this interview isn’t about me, it’s about Bob Odenkirk, so let’s get back to that.

Well, speaking of having comedy geared toward kids, your daughter’s at an age where she’s probably consumed or seen some of your comedy at this point.

Not, not really. No, no.

Do you shield her from your stuff, or are you not so concerned about it?

I don’t actively shield her, but I don’t introduce her to anything. So I was a little bummed out, and I got over it pretty quickly, but when I found out that she had seen a little bit of “Alvin and the Chipmunks,” and only because I don’t want to spoil the enjoyment of what movies are and what kids’ movies are and how things work. And I feel like that would introduce an element of reality that I want her to be able to just enjoy these things without — she’s seen “Kung Fu Panda”when she was younger, like, I don’t know, three, four, five times, has no idea that I’m in that, that my voice is in there. She knows I do stand-up, she gets that now. And when she was younger, she’d say, “Daddy’s silly for a living.” … I’m just trying to ride the balance of letting her have those childhood joys and experiences.

Comedian David Cross.

(Jason Armond / Los Angeles Times)

Does having a kid make you think about what’s coming up in the future of comedy, or what kids are gonna maybe find funny, or what they find funny now? Do you have any thoughts on kid comedy in general?

Not really. I mean, I can see that she and her friends, who are kind of like-minded, are naturally funny, and then that’s kind of encouraging and heartwarming and they’re silly, but I’ll be long gone when that generation is is providing comedy. And I’m still, although I’ve kind of given up, I’m still trying to grasp what works now. I mean, it’s short-term TikTok, Instagram stuff. There are some amazing, like really, really great things being done as far as film sketches for YouTube channels. “Almost Friday,” they’ve got genius-level stuff. I mean, really good. And where the sketch goes in a place, you’re never ahead of it, goes in a place where you’re not expecting. It’s really well written and well performed.

What are your thoughts on what a comedy special is nowadays or what it should be?

I mean, that’s a great question. I think anybody who plays with the form, whether I think it’s that funny or not, is different. But I’m happy when anybody kind of tries at least to play with a form. I just went to Rory Scovel‘s taping last week of his latest special. I don’t know when that’ll air, but if you’ve seen the beginning to his first special, stuff like that where you’re like, “Wait, what’s happening? What’s going on?” I love stuff like that.

I still get excited to watch specials by some of my favorite comics, but there’s a quality that’s missing. And these are stand-ups I love, and they’re not that great. They’re not bad but they’re not special, you know? And all those guys I mentioned, and more, have great specials. Like, you can go back and they’re great. And I don’t know why that is. I mean, there’s still funny stuff, but I don’t ever want to get to that place where its just feels a little phoned-in a little bit… that is, in part, why the last two specials were shot in this more intimate setting that feels special. And … as I said, the energy’s different, it’s a little bit different, and it’s less slick. It feels like you’re in the moment. You don’t need a million dollars to shoot a special. You don’t 28 camera angles, it‘s just bull—. And it takes something away.

Comedian David Cross

(Jason Armond / Los Angeles Times)

It all should feel the right amount of unsafe as well, I think.

That’s never gonna happen at a theater show. You’re never gonna feel that. And I don’t know, it really does feel almost like maybe we peaked in a sense, like there’s too much, and because of that, these things aren’t special. They’re not revelatory, they’re not unique. I dunno, can 18,000 people in an arena really relate to a … billionaire talking about how they’re gonna get canceled. I mean, is that a thing I guess? Those other big, slick specials that are shot in, like, a 3,200-seat, 3,500-seat theater, it just feels like, “Oh this person is up there and I’m listening to their jokes.” There’s nothing wrong with that. They’re often very funny jokes, but it doesn’t go beyond that. It’s just like, “All right, tell me your joke.” It might as well be an audio thing, you know?

Well, hopefully the robots aren’t coming for your job anytime soon.

Absolutely not. I mean, this could be naive, but I feel 100% safe that you are never going to replicate an evening of stand-up at a nigtclub like that. And not sitting down at tables while you’re having drinks and waitresses are coming by. I’m talking about everybody’s up on the stage, sold-out, maximum capacity; everybody’s there, focused, we’re all sharing that thing. You can’t. AI’s not going to be able to do that.

Yeah, the robots can’t do that, Terminator can’t do that..

Oh, I forgot about Terminator. He could do that. G— it.