city

A federal judge has dismissed a lawsuit filed by the Trump administration that sought to block what it called L.A.’s “illegal” sanctuary city law.

In a weekend ruling, U.S. District Judge Fernando M. Olguin granted the city’s motion to dismiss the complaint, which alleged that the city ordinance violates the intergovernmental immunity doctrine by regulating and discriminating against the federal government.

Olguin ruled that the government’s allegations were “insufficient to establish that the Ordinance violates the intergovernmental immunity doctrine,” but granted the administration permission to file an amended complaint by July 3.

“The Ordinance does not directly regulate the federal government,” Olguin said in his ruling. “Rather, it ‘controls the actions of [the City’s] own agents and agencies.’”

The White House and the Department of Justice did not immediately respond to a request for comment.

Although the administration could refile its complaint, L.A.. City Atty. Hydee ‌Feldstein Soto celebrated the dismissal as a legal victory.

“This order reinforces the well-established principle that local governments have the authority to decide how to use their personnel and resources,” Feldstein Soto said in a statement.

The lawsuit, filed by the Trump administration in California’s Central District federal court last June, said the country is “facing a crisis of illegal immigration” and that its efforts to address it “are hindered by Sanctuary Cities such as the City of Los Angeles, which refuse to cooperate or share information, even when requested, with federal immigration authorities.”

The lawsuit came as immigration agents descended on Southern California, arresting thousands of immigrants and prompting protests across the region.

“The situation became so dire that the Federal Government deployed the California National Guard and United States Marines to quell the chaos,” the lawsuit states. “A direct confrontation with federal immigration authorities was the inevitable outcome of the Sanctuary City law.”

The law was proposed in early 2023, long before Trump’s election, but it was finalized in the wake of his victory in November 2024.

Under the ordinance, city employees and city property may not be used to “investigate, cite, arrest, hold, transfer or detain any person” for the purpose of immigration enforcement. An exception is made for law enforcement investigating serious offenses.

The ordinance bars city employees from seeking out information about an individual’s citizenship or immigration status unless it is needed to provide a city service. They also must treat data or information that can be used to trace a person’s citizenship or immigration status as confidential.

“The goal of this ordinance, and of LAPD’s immigration-related policies … is to encourage victims of and witnesses to crime to feel safe coming forward to seek help from LAPD regardless of their immigration status,” Feldstein Soto said in her statement. “It does not obstruct or impede lawful federal immigration enforcement operations.”

The government in its original filing said that Trump campaigned and won the 2024 presidential election on a platform of deporting “millions of illegal immigrants.” By enacting a sanctuary city ordinance, the City Council sought to “thwart the will of the American people regarding deportations,” the lawsuit states.

“The Supremacy Clause prohibits the City of Los Angeles and its officials from singling out the Federal Government for adverse treatment — as the challenged law and policies do — thereby discriminating against the Federal Government,” the lawsuit says.

Trump’s Department of Justice contends that L.A.’s sanctuary city ordinance goes much further than similar laws in other jurisdictions by “seeking to undermine the Federal Government’s immigration enforcement efforts.”

The Westside subway extension has long been L.A’s most stubborn urban fantasy: an infrastructural mirage chugging toward the sea, and then, with less sex appeal, Westwood. Stalled since the ‘80s, the first western leap of the elusive project is now real. And in the month or so since the Metro D Line pushed beyond Wilshire/Western to three new stations — Wilshire/La Brea, Wilshire/Fairfax, and Wilshire/La Cienega — multiple rides have made the benefits, and shortcomings, clear.

Suddenly the city feels different. Not transformed, exactly. But more connected. The fracturing grip of the city’s incomprehensible expanses, clogged arteries, and stagnant governance — all intimidating barriers to healthy civic life — feels a little looser. The dense belt tying the city together more complete, a critical mass of movement, still expanding, where there used to be a vestigial nub.

The stations, too, feel more connected, with art, architecture and infrastructure blending seamlessly into a cohesive experience, a tribute to Metro’s sharpened design approach and its ever-evolving commitment to public art. But above ground, it’s a tale of two (transit) cities. Outdoor plazas lack the kind of textured civic presence that’s been created below. Metro, which has become the most dominant regional force for urban transformation, is still less ambitious once it leaves the station box.

Passengers wait to board the first train to arrive at the Metro D Line at the Wilshire/Fairfax station in Los Angeles in early May.

(Genaro Molina / Los Angeles Times)

Before descending into the new stations, you might want to take a moment to appreciate that they exist at all, surviving, among other trials, a massive methane explosion, federal and local bans, major delays, and a battalion of lawsuits. Then notice how their myriad components work together. Art, for instance, is not simply attached to walls, but forms them, its patterns tracing your descent through space. Lighting doesn’t just illuminate surfaces, but becomes an artful complement to what’s around it. Escalators are not just conveyances, but reflective surfaces forming a utilitarian palette for art and light. The line between each piece becomes blurred, creating a sense that all is working together — a layered place that is intuitively easy to use.

This fluent incorporation of art builds on the long-running L.A. Metro Art program (formerly Metro Art in Transit), which since the early ‘80s has commissioned and installed over 200 artworks across the sprawling system, from mosaics and photography to multi-story murals. In fact, it’s quietly hummed along as one of the most successful public art programs in the country.

Artist Fran Siegel’s artwork at the Wilshire/La Brea Metro station is part of one of the most successful public art programs in the country.

(Carlin Stiehl / For The Times)

In many of its earlier iterations, art and architecture were conceived together to create strange, jaw-dropping, one-of-a kind spaces, like Peter Millar and Ellerbe Becket’s Santa Monica/Vermont station. Opened in 1999, this Red line stop featured among other things, a goliath stainless steel wing canopy topping a 42-foot-tall, raw concrete-clad escalator cavern, lit by massive skylights, etched with row after row of enigmatic questions.

Another personal favorite is Stephen Antonakos’ “Neons for Pershing Square,” a postmodern wonderland of suspended neon sculptures in the depths of downtown’s Pershing Square station that creates a kind of 3-D sculpture playing off the ‘80s gridded ceilings and Miami Vice white columns.

Wild creativity aside, these 20th century stations are marked by inconsistency in quality, comfort, and maintenance — and the lack of predictability can be confusing. (Wait, where do I go now?) This includes Metro’s inaugural A line, in which art-driven architecture, though fun, often feels like a quixotic gesture, unable to compete with loud, uncomfortable, concrete-dominated settings.

A man waits for a train on a platform at the Wilshire/Vermont station, which is along Metro’s B Line, formerly the Red Line.

(Brian van der Brug / Los Angeles Times)

Lines opened in the 2010s had their own issues. The Expo line (now the E line), barely 14 years old, features rather tentative wavy canopies and surface wraps and comparatively small spaces for artworks. With the new extension, Metro has found a balance between completely foregrounding art and relegating it to background. The new designs are guided by a “kit of parts,” a shared language of materials, lighting, signage, and wall systems that was developed first by local architects Johnson Fain and later by the global architectural firm Gensler, which served as the D Line’s systemwide station designer.

Yes, I miss the epic scale and immersive feeling of those older stations. But the tradeoff is a cleaner, brighter, more legible and human-scaled version, lending long-needed coherence to both the stations themselves and the system at large. And by the way, the art is still fantastic.

At the descending entryway of Wilshire/La Brea, for instance, the cosmic, angled lines of Eamon Ore-Giron’s “Infinite Landscape: Los Angeles Para Siempre,” which are embedded into porcelain enamel, channel not only the geometric forms of Wilshire’s Art Deco Buildings, but the visceral one-point perspective of a train speeding into a tunnel, and even the angled geometries of adjacent escalators.

Artist Eamon Ore-Giron’s “Infinite Landscape: Los Angeles Para Siempre,” at the Wilshire/La Brea Metro station.

(Carlin Stiehl / For The Times)

Heading down allows you to ponder its shifting mysteries. Circular abstractions might suggest headlights zooming along Wilshire, or perhaps a train’s fast-approaching lights? Its artfulness expands outward. Frosted glass panels wrapping the entry portal are clad with a similarly mystical language, accentuated by neon strips of light, with the lightweight canopy above reflecting the colorful lines. Art and architecture are working together, each feeding off the other.

A particularly fertile locale for drama at each station are the wide bands of art topping the tunnels themselves: beacon-like destinations for your eyes, not to mention invitations to occupy more of the platform. In the same station, Mark Dean Veca’s “Miracle of La Brea” takes its cues from the curvy ornament and stepped motifs of the nearby Wilshire Tower’s Art Deco façade. Look closer, and those crisp patterns dissolve into swirling, viscous forms that evoke the La Brea Tar Pits, flowing oil, and even barley-shaped references to the area’s agricultural past. The mural’s repeating forms also mirror the station’s rigorous order, its clean, syncopated forms and linear perspectives.

Another hallmark of the new stations is how they subtly make infrastructure itself into art. Celebrating — whether intentionally or not — the improbable engineering feat of carving a subway under one of the most dense, congested, and geologically and politically complicated parts of Los Angeles. Jogging white lines along concourse floors, meant as tactical guides for the vision impaired, rhythmically and playfully lead you forward. Glinting stainless steel railings, gridded perforated metal ceilings, and thin bands of suspended light bouncing off polished terrazzo floors, pull you forward on stairs and platforms, tracing the speed and linear movement of trains. Corduroy concrete walls, etched with endless vertical grooves, give tunnels a tightly rhythmic texture while still exposing their hefty bones.

The Wilshire/La Brea Metro station is part of the D Line extension and features evenly lit spaces, with porous surfaces and long sight lines to improve navigation and safety. Glass fare gate doors organize entry without turning the stations into fortresses.

(Carlin Stiehl / For The Times)

The quality of surfaces and experiences has been upgraded too. Unlike most older Metro stations, where low light and heavy surfaces can feel tired and oppressive, spaces are more evenly lit, with porous surfaces and long sight lines to improve navigation and safety. Glass fare gate doors organize entry without turning the stations into fortresses. Glass elevators and large cuts between levels create a sense of connected, kinetic openness.

Sometimes this palette feels too uniform and predictable. The heroic scale and quirkiness of older stations can be more exciting; more unique to their place. A surprise or two never hurt anyone. But overall it’s a good balance of unity, utility and identity, allowing the art to sing, but as part of a chorus, not a soloist.

The tune, however, shifts dramatically above ground. Station plazas wrap handsome modern architecture—clean, controlled, well-detailed portals of beveled stainless steel, frosted glass, and art peeking above entryways and on peripheral panels. But the hard plazas themselves are barren; lacking enough shade, art, greenery and invitation. Benches, where they exist, are tiny and defensive.

Pedestrians walk past the Metro D Line at Wilshire and LaBrea, which features a barren plaza lacking the beauty and design of the art-filled stations below.

(Kayla Bartkowski / Los Angeles Times)

These places seem scared to let people linger — clearly trying to avoid some of the city’s intransigent challenges, like homeless encampments, disorder, maintenance burdens, and controversy. This is understandable, but in avoiding those risks, the areas also avoid the purpose of public space: to create a place for everyone, not just a zone for people passing through.

Yet life appears anyway. At Wilshire/Fairfax, a dance class from a nearby studio recently gathered in a thin sliver of shade around the station. It was beautiful, and improvised, but also indicative of the underlying problem. Civic life was there, but the space had failed to make enough room for it. Imagine if that plaza had real shade, generous seating, creative sculpture, plantings, water, and edges that encouraged people to stay.

Another unresolved question is service. On multiple visits trains were not crowded. They also didn’t come often enough. Ten or 12 minutes of stagnant wait time does not feel like freedom if you are trying to lure Angelenos out of cars.

The last-mile problem doesn’t help. There is no easy parking near stations for those who don’t live close, no seamless transfer or final step. The bikes that Metro provides still have share docks, meaning you’ll need to find another dock on the far end (good luck). This remains, as it should, a system for people who already need transit. But for an institution struggling to add ridership, you wonder if it can become a system for people who have choices.

The Wilshire/La Cienega Metro station is part of L.A.’s new D Line extension. The outdoor plazas are not conducive to community or gatherings.

(Carlin Stiehl / For The Times)

Still, we should not understate what has happened. Los Angeles finally has subway stops that serve some of its densest, most public destinations, and Metro is still growing. The D Line makes the Miracle Mile feel less like a traffic corridor and more like a metropolitan spine. It suggests a Los Angeles in which neighborhoods, jobs, cultural destinations, and sidewalks begin to connect physically and with surprising immediacy. (Twenty minutes from LACMA to downtown feels like light speed!) It makes the city feel more like a city.

It also reveals the imbalance of power and imagination in Los Angeles. Metro, for all its flaws, has the ability to marshal money, planning, engineering and art at a scale the city itself generally cannot. All the more reason to branch more boldly beyond its tracks and stations.

The question remains: Can the agency coordinate with government, developers, cultural institutions, and neighborhoods to make these stations into places rather than portals?

The new stops prove that Los Angeles can design infrastructure artfully below ground. Above ground, however, it too often retreats into caution. The subway has arrived. The city around it still has to catch up.

There are few things a Los Angeles local is less likely to do than take a Hollywood sightseeing tour on a big, garish bus. Only rush-hour traffic and $20 tacos inspire the same level of dread.

Yet nearly everyone aboard the open-air bus for a Tuesday night production of “California Gothic: A Bus Tour” was an L.A. resident. The show, which is produced by the aggressively hip New Theater Hollywood, recently wrapped its third “season” after debuting in February and returning for an April encore. Set on a moving bus, the 1.5-hour-long experience is part esoteric Tinseltown history lesson, part immersive theater. The narrative conjures meaning from the Los Angeles cityscape by fusing a hodgepodge of textbook theories about the sprawling metropolis onto the gritty reality of daily life.

“We originally organized this thinking there would be more people coming who aren’t from here,” said Oliver Misraje, the show’s writer and primary tour guide, as the bus pulled away from the curb at Santa Monica and Wilcox. “But this just goes to show how much people love the city and are from here, contrary to popular belief.”

In lieu of celebrity-hungry tourists, “California Gothic” has been packing its bus twice a night with rowdy young scenesters and in-the-know locals eager to absorb its heady mix of California history, public intellectualism and performance artistry.

While the show wrapped its latest run in mid-June, it will reopen its automated doors during the last week of October for a special “ghost tour” edition co-written by Misraje and New York it girl Ruby McCollister.

The bus arrives for New Theater Hollywood’s “California Gothic: A Bus Tour.”

My tour was far less steeped in irony than I feared. As the bus wound its way through the streets of Hollywood, starting at the New Theater’s doorstep before eventually circling the Hollywood Walk of Fame, Misraje led the audience through his take on the death of the “California dream” and the rotting carcasses of empty buildings and broken promises left in its wake. Along the way, we encountered a haunted-eyed Marilyn Monroe impersonator (Brooks Ginnan), a masked Hollywood legend known as the Duchess of Argyle (Shauna Frente) and a singing, swaggering “Rat Czar” with a lot to say about real estate developers (Loren Kramar).

Yes, it’s whimsical, and yes, it references Mike Davis’ “City of Quartz” more than any of the TMZ-type excursions it gently parodies, but it’s still, at its heart, a bus tour.

In a nod to classic Hollywood tour advertisements, the show’s winkingly all-caps poster declares, “You Will See: The Hollywood Sign, Marilyn Monroe, the Schizo City State.” There is also a stash of BuzzBallz ready-to-drink cocktails for trivia winners, but Misraje and his cast do not deliver their performances with smirks or smarm. They commit full-throatedly to playing out Misraje’s vision of a Hollywood haunted by the dreamers it’s wronged and the secrets it’s plastered over.

“Ultimately, we are trying to pay homage to the bus tour format, which is intrinsically ‘carny,’” Misraje said, likening himself to a carnival barker espousing aesthetic philosophy aboard an ever-changing “Ship of Theseus.”

Before the performers infiltrate the ship, “I’m trying to intentionally set up audience expectations to think they’re going to get this run-of-the-mill Hollywood death tour,” he explained. “I consider myself a kind of impish person, but still fundamentally sincere.”

1

2

3

1. Tour guide Oliver Misraje begins the show. 2. Rat Czar, portrayed by Loren Kramar, performs during the bus tour. 3. Guests board the bus.

Given the show’s monologue-heavy format and bevy of literary references, it’s no surprise that the concept began as an essay. Misraje, a 27-year-old writer and self-described “Hollywood hustler” raised primarily in the Inland Empire, was inspired after the 2025 Palisades and Eaton fires to stage a piece he had written bridging his love of Gothic literature with his “welfare class” upbringing in a family of seven raised by a single mother, which he considered gothic in its own right.

“We were in the Inland Empire and it was the 2008 financial crisis,” he said. “There was all this imagery of things famously California-coded, like the suburban house, the pool, the strip mall, and when we were there, it was just, like, destroyed. There were abandoned housing subdivisions rotting in the sun.”

The perfect setting, he explained, for the kind of “literature that emerges after the failure of a historical project.”

After reaching out to New Theater co-owner Calla Henkel and conceiving the project, Misraje and his producers elected to turn the funhouse mirror onto Hollywood, framing the neighborhood with historical context and Freudian theory but ultimately letting it speak for itself.

The bus passes the TCL Chinese Theatre.

The highly mutable nature of street life and the participatory character of the show means its tone can shift drastically from tour to tour, even within the same night. Sometimes, the streets appear glittering; other times, seedy and dangerous. Once, there was a showdown with another tour bus — one presumably not carrying theatergoers. At a different show, a drunk pedestrian tried to board the bus during faux-Monroe’s speech. One particularly harrowing night, someone circled the bus on an electric scooter, shouting homophobic slurs at the all-queer cast.

“It’s almost like surfing,” Misraje said. “There’s so much chaos you’re confronting, and you have to find a way to ride it and let it be a part of the show.”

The show’s high production costs make bringing in a profit difficult, but Misraje said he and the New Theater Hollywood team plan to revive it periodically, with an evolving story and cast of characters.

On my tour, no performer better represented the blurred line between theater and street life than the Duchess of Argyle, a.k.a. the Mysterious Masked Lady of Hollywoodland, a.k.a. Shauna Frente, a busty Blanche DuBois figure in an eyeless flapper mask and gartered stockings. Just three days before, she had been evicted from a home on Argyle Avenue that once allegedly belonged to Cecil B. DeMille. This happened after a lengthy legal battle, during which the show helped raise money for temporary housing.

As the Duchess spilled neighborhood secrets, our bus repeatedly passed an Extra Space Storage facility painted with images of old Hollywood behemoths: Lucille Ball, Groucho Marx and the like. The intermingling smells of sizzling hot dogs, urine and marijuana wafted through the open windows.

Hollywood may be ghostly, the Duchess told us, but it was hers to haunt.

Duchess of Argyle (Shauna Frente) tells Hollywood stories during the tour.

(Carlin Stiehl / For The Times)

A New Zealand expat and his Spanish wife, who share travel guides about Spain on YouTube, have named one city as their top destination

Perched on a narrow strip of land encircled by the Atlantic Ocean lies Cádiz, one of the oldest continuously inhabited cities in Western Europe, which one expat living in Spain is urging visitors to make time for. The capital of the Province of Cádiz, in the autonomous community of Andalusia, the city is over 3,000-years-old and dotted with remarkable ancient buildings gazing out over the breathtaking blue waters that surround it.

New Zealand expat James and his Spanish wife Yoly, who both reside in Spain, have made it their mission to help others experience Spain on a deeper level through the travel guides they share on their YouTube channel @spainrevealed. They spotlighted the magnificent city of Cádiz as their “number one place to visit” on any trip to Spain, reports the Express.

“You see this city deep in the southwest of Spain on this impossibly small spit of land is the most magical city in Spain according to me,” said James.

Indeed, the expat fell so deeply in love with the region that he has long dreamed of living there for a period. He even goes as far as suggesting it would be a “crime to visit Spain without seeing Cádiz”, a sentiment his wife Yoly wholeheartedly echoes, describing such an omission as “unforgivable”.

James places the city’s rich history at the very top of his list of favourite things about Cádiz, with traces of its remarkable past visible at virtually every corner.

“There’s almost a sense that Cádiz has so much history that it can’t keep up it can’t keep it in check and all of these historic buildings are being beaten by the weather that comes off the Atlantic so it’s a challenge to keep these buildings in a state of good repair,” he said.

“And for better or worse what that does mean is that these historic parts of Cádiz have this gritty authenticity to them.”

Centuries-old buildings and cobbled streets are dotted throughout the city’s various districts, known in Spain as barrios, including El Pópulo, La Viña, and Santa María. El Pópulo is the city’s most ancient quarter, situated at the gateway to the historical centre, nestled between the Town Hall and the Cathedral.

It is widely regarded as the true medieval heart of the city, with roots stretching back to the 13th century.

The promenade is another unmissable attraction, where visitors can stroll along and take in the city’s breathtaking scenery, including the shimmering golden dome of the cathedral.

The Cathedral itself ranks amongst the most iconic landmarks in Cádiz, blending baroque and neoclassical architectural styles. Visitors can even embark on tours to oft-overlooked sections of the cathedral, including its crypts.

Plaza de las Flores is a charming square flanked by an array of cafés serving up local delicacies such as churros and fried fish, while Mercado Central buzzes with stalls brimming with locally-sourced produce.

While the millennia-old heritage forms a significant part of the fabric of Cádiz, the city has also welcomed modernity, as evidenced by the contemporary Parador de Cádiz.

The hotel first opened its doors in 2013 and boasts a stunning outdoor swimming pool with Atlantic views as its backdrop.

Flights from London to Cádiz take around two hours and 45 minutes with the nearest airport to the city is Jerez. From there it takes 45 minutes to drive with flights starting from £67.

Democratic socialists are looking to extend their power in Los Angeles City Hall this fall with their biggest prizes yet: mayor and city attorney.

Mayoral candidate Nithya Raman and city attorney hopeful Marissa Roy, both members of the Los Angeles chapter of the Democratic Socialists of America, are heading into the Nov. 3 general election with strong showings in the June 2 primary as tailwinds.

If she prevails in November, Raman would join the ranks of democratic socialists leading big U.S. cities, including New York’s Zohran Mamdani and Seattle’s Katie Wilson. Washington, D.C., looks to be next: Janeese Lewis George won the Democratic primary for mayor there this month, all but ensuring her a general election win in that deep-blue city.

In Los Angeles, a democratic socialist mayor and city attorney could mean added clout because of an ideological lockstep between the two offices, said Fernando Guerra, a political science professor at Loyola Marymount University. In such a scenario, he said, the city attorney’s office is less likely to be a check against the mayor’s authority to set policy on issues such as land use and public safety.

“It’s incredibly substantive that the city attorney will interpret much of the policy that the mayor may push to be the right policy, and not challenge it,” Guerra said.

The election of Raman and Roy would also underscore the leftward tilt of Los Angeles, which has four City Council members, including Raman, who are DSA members — two of whom were reelected in the primary. City Controller Kenneth Mejia, who was recommended (although not formally endorsed) by DSA, was also reelected.

The DSA champions ideas sharply to the left of more establishment Democrats, such as incumbent L.A. Mayor Karen Bass. The L.A. DSA chapter, for example, says its objectives include abolishing prisons and defunding the police.

DSA-L.A. co-chair Sean Wakasa said his organization is thriving in L.A. and across the country because it has destigmatized the concept of socialism.

“Democratic socialism ultimately, at the end of the day, is about making the politics that working-class Americans can see themselves in,” Wakasa said.

In Los Angeles, Wakasa said, a DSA mayor would be expected to build more public transit, strengthen protections for renters, fight for workers’ rights, raise the minimum wage and defend local immigrants from the federal government.

The city attorney, he said, would be expected to defend working-class Angelenos by enforcing renter protections, resolving wage-theft issues and enforcing sanctuary city policies.

Business groups and public safety advocates have voiced concerns over the prospects of DSA members calling the shots at City Hall.

“They would run roughshod over the city,” said Stuart Waldman, president of the Valley Industry and Commerce Assn. He said Raman and Roy “don’t just drink the DSA Kool-Aid, they live it.”

Waldman said he would expect Los Angeles under democratic socialist leadership to adopt overzealous tenant protection policies that would discourage new rental development. He said they would also seek to weaken the police, leading to a “free-for-all for crime.”

“They would run business out,” Waldman said.

Roy, who has promised to turn the city attorney’s office into “the largest public interest law firm in the city,” targeting wage theft, tenant harassment and other issues, disputed Waldman’s assertion.

“Allowing corporate bad actors to violate our laws doesn’t make L.A. safer or more affordable — enforcing protections for renters, workers, and consumers does,” Roy said in a statement.

Raman said in a statement that she shares “DSA’s commitment to fighting for working people and those who have been left behind by a political system that too often serves powerful interests instead of everyday Angelenos.”

But she also said “there is no liberal or conservative way to fill a pothole.”

“I’ve always believed the most progressive thing you can do is actually make government deliver,” Raman said. “Every time City Hall fails to do that— potholes that don’t get fixed, streetlights that stay dark, 911 calls that go unanswered — it erodes people’s faith that government can solve problems at all.”

Rick Cole, a former deputy mayor of L.A., said the DSA label for both candidates doesn’t mean they’ll adhere to the most dramatized versions of what DSA stands for. Neither candidate is an ideologue, he said.

Raman’s membership in DSA “is a signifier she’s going to be more skeptical of current policing,” said Cole, a Pasadena City Council member. “She’s going to be more focused on affordable housing. She’s going to be more focused on a humane approach to getting people off the streets.”

A poll by the UC Berkeley Institute of Governmental Studies that was co-sponsored by The Times showed that in a head-to-head runoff, Raman was supported by 32% of the registered voters polled, compared with 28% for Bass.

Bass finished first in the primary, ahead of Raman, with former reality TV personality Spencer Pratt finishing in third place.

With Pratt now out, the race is on for both campaigns to appeal to his voters, who are generally considered more conservative. Even so, the Bass campaign said it doesn’t plan to focus on Raman’s DSA affiliation.

“What’s important isn’t labels — it’s what her [Raman’s] record shows, and that’s voting over and over and over to allow encampments near schools and to shrink our police force. It goes against what L.A. needs and what most of L.A. believes,” Bass campaign spokesperson Alex Stack said in a statement.

Raman, who was twice elected to the City Council with DSA support, has voted against additional police hiring and spending and creating new anti-encampment zones around the city.

One irony is that the three other members of the DSA on the City Council — Eunisses Hernandez, Ysabel Jurado and Hugo Soto-Martínez — have all endorsed Bass, citing the mayor’s fierce resistance to the Trump administration’s immigration raids last year, among other factors.

In the primary, DSA’s L.A. chapter recommended Raman but didn’t endorse her, with the distinction being that an endorsement comes with active canvassing and support from DSA members. DSA-LA co-chair Leslie Chang said it wasn’t yet clear whether her group would endorse Raman in the runoff.

A DSA endorsement for Raman now might be a mixed blessing, given that Pratt’s support came from more conservative parts of the city, said Christian Grose, a political science professor at USC.

“Karen Bass is not popular with Pratt voters, and the DSA is not popular with Pratt voters, but that’s who will decide the mayor’s election,” he said.

Roy, a deputy state attorney general, finished first in the city attorney primary by a wide margin and will compete against John McKinney, a deputy district attorney, in the runoff.

McKinney said electing Roy to the city attorney’s office would be like “going back in time” to when George Gascón was the top prosecutor in Los Angeles County, which police and prosecutors said was a disaster for public safety.

In the recent City Council primaries, DSA-endorsed incumbents Hernandez and Soto-Martinez both won reelection easily, while DSA-endorsed Faizah Malik failed to push incumbent Traci Park into a runoff in her Westside district.

In the Council District 9 race, DSA-endorsed community organizer Estuardo Mazariegos will be in a runoff with Jose Ugarte, a former aide to termed-out incumbent Curren Price.

DSA leaders are pleased overall with how their candidates have performed.

“DSA has really claimed a foothold for ourselves in L.A. County politics,” Chang said.

New Angel City FC midfielder Ally Sentnor said she believes the team can break out of its slump and win during her introduction to the fans.

“Angel City has so many tools and opportunities at their disposal and it’s right there,” Sentnor said during a season-ticket holder party Saturday. “And it’s just pushing over the edge of just little things that are gonna make this team a constant top-of-the-table contender.”

Angel City traded for Sentnor, bringing her to her third National Women’s Soccer League team. Sentnor was selected by the Utah Royals with the first pick in the 2024 draft. She was acquired by the Kansas City Current in August 2025 and helped them finish atop the table.

This season, she has started 12 league matches, earning two goals and two assists.

U.S. midfielder Ally Sentnor and Japan defender Moeka Minami go up for the ball during a friendly on April 14 in Seattle.

(Lindsey Wasson / Associated Press)

“This is an important moment for our team and we are very excited to welcome Ally to Los Angeles,” Angel City sporting director Mark Parsons said. “Ally is one of the world’s top young talents, has senior U.S. women’s national team experience and has built up important minutes in the NWSL.”

She arrived the same week Angel City sent midfielder Kennedy Fuller to Bay FC and fired coach Alexander Straus. The team went on a 1-6-1 slide before the World Cup break and sits in 12th place in the 16-team league.

Parsons said it was important to make the coaching change with 19 games remaining and a chance to move up the standings. Assistant Leif Gunnar Smerud was named interim coach while the team searches for Straus’ replacement.

“We’d been really clear over the last 12 months when we made the hire that this is a team heading in a direction to be able to make the playoffs,” Parsons said, noting the coach has to be able to continue to develop players and put them in position to succeed.

Sentnor hopes to add a new layer to the team, making a difference on and off the field.

“Most of the team style speaks for itself on the field, and all these girls are absolutely incredible and I’m excited to go in those relationships,” Sentnor said. “The energetic, passionate style of play is something really exciting.”

Sentnor, 22, brings experience to the Angel City roster at a relatively young age. She grew up in the national team system since age 12. She recalled traveling from Massachusetts to Colorado to attend camps and take the next steps in her career.

She has 22 appearances with the national team, recording seven goals and three assists.

The Massachusetts native hasn’t lived on the East Coast in years and has enjoyed traveling the country. She’s looking forward to the weather in California.

“It’s so fun for me to be able to try out different cities across the United States and immerse myself in different cultures,” Sentnor said.

She said her family attends many of her games, helping her feel comfortable anywhere she plays.

“Home is where the people are, so when my family travels and comes out here, it feels like home. So wherever my people are is where home is,” Sentnor said.

Instead of the usual phalanx of cars and buses, Saturday evening traffic on Wilshire Boulevard was replaced by massive balloons, mobile sculptures, gaggles of gallerists and an endless array of elaborate costumes.

The first-ever Los Angeles Art Parade, a collaboration between the Los Angeles County Museum of Art (LACMA) and famed gallerist Jeffrey Deitch, transformed the stretch of Wilshire known as Museum Row into a human-powered exhibition of the city’s dynamic art scene.

About 146 groups, made up of more than 1,400 participants, marched in the parade, with projects ranging from larger-than-life marionette dolls to squads of children in do-it-yourself costumes to mobile re-creations of LACMA’s most iconic art pieces.

The parade followed an all-day block party thrown by LACMA as part of its Grand Opening Weekend, celebrating the new David Geffen Galleries and the completion of the 20-year-long, $724-million campus construction project. Together, the block party and art parade attracted an estimated 60,000 attendees, who swarmed the galleries, danced to explosive DJ sets, and lined the streets to watch the eclectic procession of artists.

People dance during Flying Lotus’ DJ set at the Los Angeles County Museum of Art (LACMA) in Los Angeles.

(Ariana Drehsler/For The Times)

According to LACMA Director and Chief Executive Michael Govan, the event was a long time coming and “just the beginning” of how his team plans to use the campus space, which he previously called the city’s “living room.”

“We’re not gonna close Wilshire every weekend, but it’s an example of what we can do,” Govan said. “It’s really exciting to see the building work.”

Following a crowd-drawing DJ set from electronic low-fi hip-hop artist Flying Lotus, Govan introduced L.A. County District 2 Supervisor Holly J. Mitchell. She said the event made her “proud to represent LACMA” and to be a Metro board member, referencing the recently-opened Metro D-line extension, which dropped attendees off a quick stroll from LACMA’s entrance.

“Just seeing you all at this amazing public facility does my heart good,” she said. “This is your local government at work.”

1

2

3

1. Silhouettes of people watching the parade. 2. A man and woman wearing tulle over them walk in the parade. 3. The crowd at the Los Angeles County Museum of History, Science, and Art (LACMA) Block Party. (Ariana Drehsler/For The Times)

As the party raged on LACMA’s campus, hundreds of parade participants hurriedly prepared for their debuts in the corners of nearby streets and parking lots. One group inflated a giant disco ball, while another smeared themselves with body paint next to a line of rehearsing dancers. Elsewhere, a megaphone-wielding leader herded dozens of black cats in the style of artist Gary Baseman into some semblance of order.

Deitch originally staged the first Art Parades in New York City’s SoHo neighborhood between 2005 and 2008. While those took a more art-world-exclusive approach, Deitch said the Los Angeles version was designed with inclusion in mind. The call for parade proposals was open to “emerging and established artists and creatives of all ages and backgrounds,” according to guidelines, as long as the work was appropriate for all ages and didn’t require a motorized element.

“The New York one was much more oriented toward people in the art community. We didn’t put out this kind of open call,” Deitch explained. “This is very different in its openness and its diversity. There are some famous artists and famous choreographers, L.A. legends. But there are also mothers from the San Fernando Valley with their children. I really love that.”

Artist Jordan Rountree’s rolling woodcut-sculpture called the Devil Jack in a Box with Crocodile appeared in Saturday’s Block Party and Art Parade hosted by the Los Angeles County Museum of Art’s (LACMA).

(Ariana Drehsler/For The Times)

“It’s just a very open platform, so you don’t have to have an M.F.A. to express yourself as an artist,” he added.

The procession was dizzying in its variety and scale. While many projects leaned into beauty and whimsy, others took a more overtly political approach, displaying anti-ICE messages on T-shirts and signs, sporting trans pride flags, or, in the case of performance artist Amy Kaps, wearing an unraveling U.S. constitution.

Some even referenced local causes, such as the “Boo Boo Bandage Brigade for Safe Streets,” which advocated for fixing sidewalks and increasing accessibility downtown. One particularly moving display by the Pali-Altadena Collective featured participants carrying miniature models of buildings and landmarks lost in the 2025 fires.

Chicana artist Nao Bustamante and Track 16 Gallery brought “Brown Disco” to the streets, which featured a giant gold disco ball and figures from decades of L.A. queer nightlife.

The crowd at the Los Angeles County Museum of Art (LACMA) Art Parade.

(Ariana Drehsler/For The Times)

“As a brown, queer person, I think that this really brought a light into our community, and now its presence [creates] an intergenerational conversation,” said Track 16 Assistant Director Steve Galindo. “The nightlife scene is how we come out as queer people, so it’s really special to be in the parade.”

For Joie Mitchell, volunteer coordinator for the Bob Baker Marionette Theater, which recently purchased its permanent Highland Park home, the parade was an opportunity to “show up for L.A. and be involved in the art history of this city.”

“Puppetry has been part of the arts for so many years,” added Daisy Hernandez, the theater’s production manager. “It’s a way that people express themselves, just like every other art form. So that’s what we’re here to do: express ourselves through puppetry.”

For more than four decades his voice was embraced by millions, a calming baritone in a sea of Lakers bedlam.

Yet in the most unfair of twists, on the night his career ended he was silent and alone.

Three months ago, Lawrence Tanter was walking through his bedroom when he suddenly collapsed while losing all strength in his arms and legs.

He fell and couldn’t get up. He lives alone, so he couldn’t cry out for help. He was able to secure his phone, but he says he was too stubborn to call 911.

“I wanted to get up by myself,” he said. “I knew I would eventually get up by myself.”

But this 6-foot-7 bear of a man was too weak to get up by himself. Listening to a Lakers road game on a bedside radio, he remained on the floor and eventually fell asleep until finally summoning his oldest friend the next morning.

Lakers star LeBron James salutes public address announcer Lawrence Tanter before the start of a game in 2024.

(Mark J. Terrill / Associated Press)

“I got there and I’m like, why didn’t you call sooner?” Joe Williams said. “I told him, ‘I know you’re a warrior but, c’mon man, this is serious.’”

Serious enough to be diagnosed as a stroke. Serious enough to quietly end the most sonorous, soothing stretch in local sports history.

For 43 years as the Lakers’ iconic public address announcer, Tanter has been the coolest sound in the city, the measured, reassuring voice that decorated the team’s two hype-filled homes with gravitas and grace.

When the Lakers announced his retirement last week as he continues to battle effects from the March 17 stroke, the man known to everyone as simply “LT” closed his career with taciturn perfection, summing up a Lakers lifetime in eight words.

“It’s been a great run,” he intoned this week from a hospital bed, his pipes still the strongest part of him. “I’ve been blessed.”

It is Lakers fans who have been blessed, gifted with a voice that, whenever they attended a game, reminded them they were home.

“LT is in every way a part of Laker history,” said former Laker and current broadcaster Mychal Thompson. “He too is a Laker legend.”

Lakers public address announcer Lawrence Tanter gets set up at the scorer’s table before a game in 2011.

(Gary Friedman / Los Angeles Times)

When the retirement news broke with the Lakers announcing they were moving LT into an advisory role — a classy good-bye — fans everywhere broke out their LT best.

“Toooo many steps.” … “James Woooorthy.” … ”LeBronnnn James.”

And, of course, everybody’s favorite…“Llllaker Girlsss.”

“I always imagine, if he could hear God’s voice, it would sound like LT’s,” Thompson said.

This was never more true than on a somber night in late January in 2020. LT put his giant arms around a grieving city with pregame introductions that will never be forgotten.

“At one guard, number 24, 6-6, 20th year out of Lower Merion High School, Kobeee Bryant.”

The player taking the court was Avery Bradley.

“At the other guard, number 24, 6-6, 20th year out of Lower Merion High School, Kobeee Bryant.”

Lakers public address announcer Lawrence Tanter watches play from his spot at the scorer’s table during a game in 2012.

(Mark J. Terrill / Associated Press)

The player taking the court was Danny Green.

And on it went, all five Lakers introduced as Kobe Bryant before their game against the Portland Trail Blazers, the ultimate tribute before the Lakers’ first game since Bryant’s death.

It might have been LT’s finest hour, and every second of it broke his heart.

“The hardest introductions ever,” he remembered.

LT handled it simply by being LT, a comforting bard who could elicit much emotion with a slight change in cadence or key.

“With his timing, his rhythm, he could get excitement going without raising his voice,” said Bob Steiner, the retired Lakers executive who hired LT in 1982. “Lawrence became a star in the same way Chick Hearn was.”

While working for the Lakers, LT also worked for several jazz and rhythm and blues radio stations in town, most notably KJLH, which gave him built-in credibility in the city.

“If you go around town, you will find that he was known almost as much for his radio work as his public address work,” Williams said.

In combining the rhythm of jazz with the tenor of basketball, LT was the coolest cat at the scorer’s table, a distinctive figure in a white goatee and a newsboy cap who raised the roof while never raising his voice.

“I never tried to be a cheerleader,” said LT, 76. “I just tried to be a public address announcer.”

While many of today’s public address announcers are screamers, LT was so subtle that his most repeated call involved not the action, but the in-game entertainment.

“Everywhere we go, somebody recognizes his voice and does an imitation,” Williams said. “But nothing gets repeated like ‘Llllaker Girlsss.’”

Those two words, uttered at the end of every routine by the iconic dance team, contain the essence of LT’s greatness. He knows what you’re watching doesn’t need any embellishment; he’s capturing the scene with the power of subtlety.

“You’re sitting in the stands and when the dancers finish dancing, you say to your friends out loud, ‘Llllaker Girlsss,’ and everybody laughs,” said Pete Arbogast, who was the master of ceremonies when LT was inducted into the Southern California Sports Broadcaster Hall of Fame last year.

LT’s speech that afternoon was dominated by individual thank-yous to his many friends who attended the ceremony, typical LT humility.

“From my nose to my toes, I say thank you,” he concluded.

Lakers public address announcer Lawrence Tanter is given brownies by actress Dyan Cannon before the start of a game in 2011.

(Los Angeles Times)

Today it is the Lakers who are thanking him.

“Since the 1980s, LT has narrated every chapter of Lakers basketball, connecting generations of fans, players, coaches and staff while becoming a trusted and unforgettable part of the Lakers experience,” Lakers governor Jeanie Buss said in a statement. “I am incredibly grateful for everything he has given to this franchise.”

His next stop should be the Naismith Memorial Basketball Hall of Fame, where he deserves to be enshrined as a contributor, becoming the first public address announcer to receive such an honor.

What other PA voice defined a franchise like LT? Who else missed just two games in 43 years? Name another PA announcer who accumulated nine championship rings yet refuses to wear any of them, ever, because it was never about him?

“It’s high time the Hall of Fame inducts him as a valuable and legendary contributor to the game,” Thompson said.

And if he is one day inducted, how would he introduce himself?

“At one forward, number 43, 6-foot-7, from Thornton Township High School, Llllawrence TAN-ter …”

LT laughed at the thought. He never actually would say that. But wouldn’t you like to hear it? Just once?

“Laker games,” Thompson said, “will never sound the same again.”

WE all know that Universal is building its very first European theme park right here in the UK.

While it’s setting up base in Bedford, it could have been somewhere else completely – and it happens to be the ‘coolest’ city in Britain.

Planning documents revealed that Universal had previously considered building its upcoming theme park on the outskirts of Milton Keynes.

But when certain “terms could not be agreed”, a site in Bedford was picked instead.

Milton Keynes is just a half an hour drive away from Bedford but is completely different being a city, and in Buckinghamshire.

Last year, Milton Keynes was named one of the top ten destinations for Brits to visit in 2025 behind the likes of Milan, Rome and Tokyo.

SCHOOL’S OUT

Just 6 weeks until school summer hols! Cheap all inclusives where kids go FREE

CHEAP DATE

Our fave cheap European destinations with flights under £20 & hotels from £24pp

The city was even declared one of the ‘coolest’ places to live last year by The Times.

There’s plenty of activities to do in Milton Keynes – most of which you’ll find at Xscape.

Inside there’s everything from indoor skydiving to bowling, arcades, climbing walls, trampolines, escape rooms – even indoor ski slopes.

For restaurants, there are high-end spots on 12th Street and plenty of bars too.

Milton Keynes has its own theatre too with plays and touring West End musicals on throughout the year.

Nearby is Willen Lake which is popular for watersports like paddleboarding, kayaking, aqua parcs and open water swimming.

There’s also Woburn Safari Park and Woburn Abbey which has a 3,000-acre deer park.

Bletchley Park which was once the top-secret home of Britain’s World War Two Codebreakers sits just outside of the city centre.

Visitors can spend the day at the attraction which celebrates the place where Alan Turing helped to crack Enigma and save millions of lives.

Tickets for adults start from £25.87, for children (between 12-17) entry starts from £13.50, for children aged 8-11 tickets cost £6.75.

The new Universal theme park will be constructed in Bedford and it has recently announced that it will be officially called ‘Universal United Kingdom Resort’.

The park was given the green light last year with work on the site starting in early 2026.

Once open, it will be the first Universal theme park in Europe, and it’s scheduled to open in 2031.

As for what kind of themed lands and rides would open at the UK Universal, very little is known.

But there are rumours suggesting that some could be based on James Bond, Paddington, Lord of the Rings, Minions, Jurassic World, and Back to the Future.

There’s also expected to be hotels on-site as well as a new train station.

PARIS — There’s a present-day answer to the question that was posed in verse by the French medieval poet and street brawler François Villon: “Where are the snows of yesteryear?”

They’re right here, in high summer, on Paris’ oldest bridge, the Pont Neuf, where an enormous art installation, a trompe l’oeil inflatable snow-clad mountain range, has arisen over the river Seine.

Using about 200,000 square feet of printed fabric, Paris-born street artist JR has created “La Caverne du Pont Neuf.” It’s his version of and homage to the innovative work of groundbreaking environmental artists Christo and Jeanne-Claude.

They’re the fabled duo who first wrapped the arches of this same bridge in straw-colored fabric in 1985. Over the years, they also surrounded 11 islands in Florida’s Biscayne Bay with flamingo-pink cloth, hung saffron-colored fabric “gates” in New York’s Central Park, installed a “running fence” of billowing white material across nearly 25 miles of Sonoma and Marin counties and, in 1991, planted 3,100 yellow umbrellas, blooming like 20-foot-tall poppies, through the Tejon Pass north of L.A.

I interviewed Christo in 2011, and he was eloquent about how his and his wife’s work alters perceptions of nature, and about the deliberately transient character of the art itself. JR, an acolyte of their work, told me in an email that “an ephemeral artwork forces you to come now, and usually to come with other people. The visit becomes a shared moment … and this moment becomes a memory.”

In a city celebrated for artworks that have survived for centuries, this installation was very nearly too transient. A kooky hailstorm in late May, a heat wave in June, followed by ruthlessly ripping winds, delayed the opening by days. At last, beginning one midnight, the air pumps began and the work arose like a limestone-colored soufflé. It will be open around the clock until June 28.

Plus ça change, plus c’est la même chose. Back in 1985, Christo’s engineer on the Pont Neuf project, Ted Dougherty, pointed out that above 25 mph, “wind is not our friend.”

The piece works from two vantage points: from afar — visible from a lot of central Paris — and also from inside it, in the “cave” part. Pedestrians crossing the bridge pass through a fabricated interior, a cavern-like space printed in 3D realism and enhanced with a specially designed scent to evoke the dank, earthy aroma of humankind’s early habitations.

JR and Thomas Bangalter in “La Caverne du Pont Neuf” in Paris.

(Tara-Jay Bangalter)

JR intended it to be both. “From the start I designed two works in one. There is the silhouette — what you catch from the quais, from the bridges, from a boat on the Seine or simply walking past on your way somewhere else. That image belongs to everyone, including the people who never chose to look at art that day.”

And then, he said, “there is the inside, which is slower and more intimate, almost in the dark, hard to photograph.” That aspect is “a journey to cross the bridge, to go from darkness to light.”

When Christo and Jeanne-Claude wrapped the arches of the Pont Neuf more than 40 years ago, it took years of planning and permits to make it happen. “La Caverne du Pont Neuf” was a breeze by comparison.

JR, whose other vast outdoor works have delivered double-takes of humans’ scale and their architecture, told me that cities have come to understand “that public art brings people together and that the image travels around the world. Once Christo showed it could be done safely and beautifully, the conversation changed. It was much easier for me to have my project accepted, thanks to them. They also proved the economic positive impact to the cities they worked in. I believe there should be more large-scale, ambitious public art projects.”

It’s one thing to conceive of such a project and another altogether to make it happen — so much technology, compared to, say, mixing paints and choosing a paintbrush. But the science that “La Caverne” required “is the art, not an obstacle to it,” JR said.

“Trompe l’oeil turns adults back into children,” JR said.

(Elea Jeanne Schmitter)

All the canvas, the engineering, the meticulous assembly, the permits — “none of that is preparation for the work, it is the work. Christo taught me this. The process is visible, and even more after the storm we experienced a couple of days before opening to the public. Nature always reminds you who is in charge. When the wind tore the canvas before we opened, we took it down, re-sewed it, reinforced it,” all in full public view.

“Where I stay careful is in not letting the technology become the subject. The augmented reality by Snap’s AR Studio adds to the project, doesn’t take you away from it.”

That air should be JR’s vital collaborator — no complex and costly scaffolding for these magic mountains — is nothing new in Paris.

The first free flight of humans above the earth, on Nov. 21, 1783, sent aloft two men in a hot-air balloon crafted by the Montgolfier brothers from silk fancifully painted in blue and gold with figures of the zodiac. It wafted across Paris for about 25 minutes at about 3,000 feet. Ephemeral, yes — and unforgettable.

Artists and couturiers are fond of the whimsy of trompe l’oeil, the trick of the eye, the illusion of reality. I am a sucker for it, for fashion like that of clothing designer Elsa Schiaparelli. JR has used it often, as a massive-scale magical deception to make the Louvre Pyramid “disappear” into the old Louvre, and opening up an imaginary subterranean world below the Eiffel Tower.

“Trompe l’oeil turns adults back into children,” he told me. “You know it isn’t real, you know that ‘La Caverne du Pont-Neuf’ is not made of rock, that this is printed canvas. And yet your eye wants to believe it, and for a moment you let yourself. That gap between knowing and believing is where the play happens, and people love being inside that gap.”

Good morning, and welcome to L.A. on the Record — our City Hall newsletter. It’s David Zahniser, with an assist from Noah Goldberg and Melissa Gomez, giving you the latest on city and county government.

It’s long been the Holy Grail for the reform crowd that tracks L.A. city government: expanding the size of the City Council.

The idea of giving L.A. more council members was endorsed by the city’s redistricting commission in 2021. Two years later, the concept was debated at length by a council committee focused on reform. After that panel failed to reach a decision, the idea was assigned to the city’s Charter Reform Commission, which endorsed the change, saying the council should have 25 members, up from 15.

Yet even after that five-year journey, the council voted Wednesday to push a proposed ballot measure on that topic off to the future, sending the idea to a new reform committee for more deliberations.

So what happened this time around?

For one thing, the 13-member citizens commission that recommended the idea didn’t offer a lot of specifics on how the change would work.

The commission recommended 10 additional council members, a move that would cause each district to shed more than 100,000 residents, leaving each member with about 159,000 constituents.

But it never explained whether that decrease should be accompanied by a similar reduction in a council member’s salary, now nearly $245,000 a year.

“That’s one of the reasons why [council expansion] is slated for further study,” Councilmember Bob Blumenfield said in an interview. “While the commission might have had a nice discussion and a negotiation among themselves, what we need to have in front of us to vote responsibly is context and information.”

A councilmember’s pay could be a major sticking point for voters during a campaign over council expansion — especially if an opposition campaign arose to defeat it.

Blumenfield said the commission failed to vet other issues, including the number of council aides needed for each district if a district is smaller.

Councilmember Tim McOsker expressed a similar view.

“I think there were gaps in what the commission proposed — substantive gaps,” he said.

Backers of council expansion have argued that an increase in the number of districts would make the council more responsive and more diverse. Opponents said bigger does not necessarily mean better representation.

Raymond Meza, who chaired the Charter Reform Commission, acknowledged that pay, staffing and the cost of each council office didn’t come up during his panel’s deliberations. Those questions should have fallen to the council, which reviews and approves the city budget each year, he said.

“They would need to figure this out through the budget process, like they figure out most other things in the city,” he said.

Meza said he believes that, in the end, council members didn’t want to dilute their own power. Former City Councilmember Mike Bonin offered a similar take, saying elected officials generally don’t want to risk changing the system that got them into office.

“They are in power because of the way the system is structured,” said Bonin, who now runs the Pat Brown Institute for Public Affairs at Cal State LA.

Before sidelining the expansion proposal, Council President Marqueece Harris-Dawson said a larger council would shift the balance of power at City Hall, giving the mayor greater authority and the council less of it.

In the end, none of these delays may end up mattering. No one at City Hall expected council expansion to happen until 2032 anyway, since the change would require a new round of redistricting — the process of drawing new boundaries for each council district. Redistricting won’t happen until after the release of results from the 2030 U.S. Census.

In other words, there’s still time for voters to act.

What happened to the City Hall misconduct measure?

Here’s another proposal that got shunted to the sidelines during the council’s eight-hour marathon meeting: what to do about city elected officials who are charged with serious crimes.

Charter reform was, in part, a reaction to a string of corruption scandals. Among them: three sitting council members who were charged with felonies between 2020 and 2023.

In each case, council members had to decide whether to use their power, spelled out in the City Charter, to suspend colleagues accused of wrongdoing — stripping away their duties until their criminal cases were resolved.

The council moved swiftly to suspend then-Councilmember Jose Huizar in 2020, taking action the day he was arrested, before he even pleaded “not guilty” to racketeering and other charges. The council suspended then-Councilmember Mark Ridley-Thomas in 2021 after a lengthy floor debate, with some saying he was being denied his due process rights. (Ridley-Thomas, who was found guilty of seven felonies, is fighting his conviction.)

A few years later, the council decided not to suspend Councilmember Curren Price, allowing him to step off of his council committees but preserving his other council duties as he contests charges of embezzlement, perjury and conflict-of-interest violations.

Although the case is still ongoing, Price is back on various city committees.

Each of those cases put the council in a bind. Voting in favor of suspension can mean depriving a council member’s constituents of representation. It also runs counter to the idea that a colleague is innocent until proven guilty.

Voting against suspension has its own set of dangers, such as undermining trust in city government. It could also allow an elected official accused of wrongdoing to continue taking part in decisions about contracts, real estate development and other matters where the potential for corruption exists.

Under the current system, a council member can be suspended with just eight votes. Harris-Dawson, who supported the suspension of Huizar but opposed it for Ridley-Thomas, said early on that he wanted the Charter Reform Commission to look at the process for disciplining elected officials accused of wrongdoing.

The Charter Reform Commission offered its answer two months ago, recommending that the council retain the power to suspend, but only with a three-fourths vote — 12 out of 15. That safeguard was meant to guard against potential abuses of power, said Meza, the former commission chair.

The council declined to put that idea on the ballot, saying it needs more study.

Asked about that decision, Harris-Dawson said he has long had serious problems with the idea that “one set of elected officials could suspend another set of elected officials.” He suggested that a third party in another branch of government — not the council — determine whether a member merits suspension.

Under that arrangement, the council could initiate the process but leave it to a judge or other party to make the final call, he said.

“I personally think that we have checks and balances in government that should be respected,” Harris-Dawson said.

A last-minute union threat

One ballot proposal that did survive this week’s gauntlet of votes was a plan to increase, not decrease, the council’s power. That proposal, backed by Councilmember Hugo Soto–Martínez, would give the council the authority to set policy at the Los Angeles Police Department.

But even that proposal may be in danger, thanks to a dispute that has erupted between the city’s labor negotiators and the Los Angeles Police Protective League, the union representing rank-and-file officers.

Union leadership said this week that the league was not formally asked by management to meet and confer over various charter proposals dealing with the LAPD, including the one focused on policy. That step is legally required before such measures can be sent to voters, the union said.

City Administrative Officer Matt Szabo, the city’s chief labor negotiator, told council members on Monday that his office sent three emails to various employee units asking if they wanted to confer over the charter changes. He said his office received no response from the police union.

A day later, after learning of Szabo’s remarks, the league fired back.

In a letter to council members, the union said it only received emails about charter reform that had nothing to do with policing. Those emails did not constitute a formal invitation to meet and confer about potential changes at the LAPD, the union said.

The city “did not follow the law and did not formally contact us,” union President Ricky Mendoza said in a statement.

The council voted to draft the change in LAPD policy making, pending a confidential report from the city attorney on whether the city first has to bargain with the police union. Council members cast that vote even after the union demanded that they suspend any further consideration of the proposal for the Nov. 3 ballot.

If the city attorney concludes that the LAPD ballot proposal does not require further talks, the Police Protective League will file a lawsuit to protect its members’ legal rights, union officials said.

On Wednesday, Szabo said the proposal to give the council power over LAPD policy decisions doesn’t require collective bargaining.

The proposal to give council say over policy at the LAPD wasn’t the only one focused on that department. Another measure discussed by the council would have given the police chief power to terminate alleged problem officers.

The council sent it to a committee for more study. The union said that proposal also would have required a meet and confer process.

State of play

— CITY CHARTER GRAB BAG: As noted earlier, the council voted to draft an assortment of charter amendments for the Nov. 3 ballot, including one to allow the council to give noncitizen residents the right to vote in local elections. The council also ordered up a measure doubling the amount of money allocated for the Department of Recreation and Parks, discarding an alternative plan that would have increased it by 50%. Other measures would switch the city to a two-year budget process and require a five-year plan for maintaining and upgrading city infrastructure.

— KNOWING ME, KNOWING ULA: Looking to boost apartment construction, the council backed a surprise plan to rewrite Measure ULA, the tax on high-end property sales passed by voters in 2022 and sometimes called the mansion tax. The council voted 9-5 to instruct the city’s lawyers to draft a measure exempting apartment buildings sold within 10 years of construction from having to pay the tax. Another vote will be needed to get it on the ballot.

— ZOO STORY: Membership at the Los Angeles Zoo has fallen by 23% over the past year, dropping from 36,914 in April 2025 to 28,440 in February, according to a report issued by the Los Angeles County civil grand jury. That report urged the city to create a new public-private partnership to run the facility, saying such a move will be critical for the zoo’s long-term survival.

— SHERIFF SUBPOENAS: L.A. County’s Civilian Oversight Commission is suing the Sheriff’s Department, asking a judge to order the release of records on three use-of-force incidents involving its deputies. The commission issued three subpoenas to the agency in February 2025, but according to the suit, the department has declined to fully comply.

— UNION DUES AND DON’TS: A former high-level officer with L.A.’s firefighter union has been accused of stealing more than $82,000 from a charity for injured firefighters to pay for his online gambling, his mortgage and other personal expenses. Adam Walker, former secretary of United Firefighters of Los Angeles City Local 112, was charged with one count each of grand theft and forgery, prosecutors announced Wednesday.

— DOG DISASTER: The Los Angeles Police Department is facing a public outcry after its officers shot and killed the dog of a woman celebrating the New York Knicks’ NBA championship in Canoga Park. Video on social media showed the dog’s owner sobbing and hugging her dog, who was wearing a Knicks T-shirt, as several LAPD officers stood nearby.

— BASS WEIGHS IN: The Canoga Park incident prompted Mayor Karen Bass to issue a statement promising a thorough and transparent investigation into the death of Jameson, the dog killed by the LAPD. “Every life lost to violence is a tragedy, and we know that the devastating loss of Jameson will be felt by his family forever,” she said. “I have spoken directly to the Chief to ensure a full investigation and accountability for any wrongdoing.”

— OFFICE FIRE: A fire broke out at a building in Pacific Palisades where former mayoral candidate Spencer Pratt maintained an office for his crystals company. Pratt, whose home burned in the 2025 Palisades fire, called the latest blaze “very suspicious.” The fire department said it’s investigating.

QUICK HITS

• Where is Inside Safe? The mayor’s signature program to address homelessness went to a stretch of Silver Lake Boulevard that passes under the 101 Freeway. That area is represented by Soto-Martínez.
• On the docket next week: The council meets Wednesday to take up the massive 4th & Central project, which calls for offices, retail space and nearly 1,600 units of housing on a 7.6-acre site in downtown.

Stay in touch

That’s it for this week! Send your questions, comments and gossip to LAontheRecord@latimes.com. Did a friend forward you this email? Sign up here to get it in your inbox every Saturday morning.

Just past noon, a young man appeared on the north side of San Vicente Boulevard, a block west of Hauser, and eyeballed the flow of westbound traffic.

When he saw an opening, he slid across to the median strip, where he waited for eastbound traffic to let up before crossing over to the south side of San Vicente to pick up some takeout food. And then he retraced his steps across the 150-foot wide thoroughfare that knifes through the heart of the city along what once was the Red Car line of the Pacific Electric Railway.

He should have used the nearby crosswalk, but there aren’t enough of those on the boulevard, so pedestrians routinely skitter and scoot across the street like they’re in a game of Frogger.

I watched this drama the other day from Dam Good Coffee, where I met with two guys who live in the neighborhood and, in their spare time, have been doing a lot of thinking. They’re fine-tuning a pitch to reengineer the boulevard, reduce traffic, improve access to two new transit lines and transform the Mid-City portion of San Vicente Boulevard — from the Beverly Center on the west to just past La Brea on the east — into a 3-mile, 30-acre linear park.

Ambitious. Outlandish. Insane.

From left, Catherine Geanacouras, Oren Hadar and Michael Wacht of the San Vicente Park Foundation have a plan to turn a stretch of San Vicente Boulevard into a greenway.

(Christina House / Los Angeles Times)

It’s all of that and a longshot undertaking, given the countless obstacles that can derail their dream. But Oren Hadar, a sound engineer, and Michael Wacht, an architect, are serious, along with a small coalition of neighborhood believers.

“One of the things I always say is L.A. needs to get back into the business of taking big swings,” Hadar said. He is motivated in part by the fact that his two young kids don’t have a nearby park to play in.

The big swing comes at a time when Los Angeles has just fallen from 90th to 93rd in terms of park acreage, investment and accessibility in the annual Trust for Public Lands ranking of the 100 largest cities in the U.S. You’d think a city with great weather and thousands of apartment dwellers with little or no outdoor space would fight its way into the top 10 rather than settle for sinking to the bottom of the heap.

“What if L.A.’s next great park was already here, hiding in plain sight?” a narrator asks in a video that appears on the group’s San Vicente Park website.

Local resident Jo and her dog Elle carefully cross San Vicente Boulevard in Los Angeles on Wednesday, June 17, 2026.

(Christina House/Los Angeles Times)

Sun-baked asphalt would give way to turf. Pedestrians and cyclists would have more breathing room. There’d be far less traffic.

“You can put in micro forests,” Wacht said. “You can do farmers markets. You can do growing areas. You can do fountains. Playgrounds.”

Catherine Geanuracos, a CicLAvia board member who was an advocate for turning the Silver Lake Reservoir into an aquatic park, joined our conversation and called the idea “eminently feasible.”

“I think this is what makes L.A. great,” Geanuracos said. She’s lived in New York City and San Francisco and thinks there’s greater opportunity here for engaged residents to advance their civic improvement ideas.

The advocates said they’d gotten some encouragement from Councilmembers Heather Hutt and Katy Yaroslavsky, whose districts include the area of the proposed park. Hutt’s office sent me a statement saying she supports “effrorts to create more walkable, green communities.” She said she has encouraged the group to keep exploring the vision, and she looks forward to hearing input from various other neighborhood groups.

Hadar writes a blog called The Future Is L.A., which is part love letter to Los Angeles and part lament on unmet potential.

“Just about every other major American city has a policy and research think tank dedicated to pursuing ideas that could make the city better,” Hadar recently wrote, calling for L.A. to have its own.

I don’t want to say the park idea’s chances are slim, but let’s look at a few hurdles.

Traffic passes through the intersection of San Vicente Boulevard and La Brea in Los Angeles on.

(Christina House / Los Angeles Times)

L.A. city government has trouble managing existing parks and even the open spaces around City Hall, so how can it build and care for another 30 acres of greenery?

The cost would be in the millions, and the cup does not runneth over.

And then there’s the biggest pothole of all on the road to pastoral wonder:

Creating the park would mean squeezing off one or two lanes of traffic in each direction of San Vicente. That would dump more cars onto surrounding streets and set up another road diet clash that pits car culture against growing demand for a city that is safer and more inviting for those who walk, bike and use transit.

All of this would be examined in a feasibility study the advocates are raising money for. But the supporters claim San Vicente is lightly traveled compared to Wilshire, Pico and Olympic, so stealing traffic lanes wouldn’t be catastrophic.

I mentioned that I’d think twice about sending kids to play in a median strip park. But the supporters said San Vicente would become more of a neighborhood service street than a thruway, with safer crossings into the new park, which by the way already has plenty of full-grown trees.

When I took a walk and polled people on the park idea, I got mixed reactions.

“That’s a bad idea,” said a man who was walking along the median strip. He said he thought that after the addition of bike lanes a few years ago squeezed vehicular traffic, San Vicente became more dangerous, and the idea of a park between lanes of traffic sounded disastrous to him.

Miguel Lopez looked like he was trying to bring the park vision to life. He sat on the median strip reading a book and smiled when he was shown a rendering of San Vicente Park.

Blanca Vanburian practices tai chi in her yard along San Vicente Boulevard on Wednesday.

(Christina House / Los Angeles Times)

Blanca Vanburian, who was doing a variation of Tai Chi on the lawn outside her apartment building, had several good questions, including one about whether the city could be trusted to maintain a new park. She said a lot of residents would be concerned about new traffic flows through side streets, and she wondered if the park would attract more homeless people.

Hadar told her the feasibility study would probe all of that, and the more she heard, the more Vanburian came around to the idea of the park.

“It’s up to us how we use public space,” Wacht said, looking out on a particularly unattractive stretch of roadway that generates so much exhaust and serves as a barrier, dividing two neighborhoods. “I get disappointed when I see so much of it devoted to this, and it’s keeping us from being more of a cohesive neighborhood.”

Margaret Free walks three basset hounds, named Bob, Doris and Ruth, along San Vicente Boulevard in Los Angeles on Wednesday.

(Christina House / Los Angeles Times)

Margaret Free was walking three Basset hounds — Bob, Doris and Ruth. She said she and the dogs could be counted as four votes in favor of the park.

A woman named Jo safely managed a Frogger crossing with her dog, Elle. Jo said she was absolutely in favor of a park and doesn’t think losing lanes of vehicle traffic is a bad thing, but she feared backlash from drivers who disagree and asked me to withhold her last name.

Joshua Mock, owner of Dam Good Coffee, said everyone would benefit from the park, especially neighborhood children. “It’d be dope,” he said, “and good for business.”

For all the doubters, the advocates point to several projects around the country where public spaces were repurposed, including the New York City High Line. And they note that several local projects are in the design or construction phase, including the L.A. River master plan, the Broadway-Manchester streetscape project and the park under the Sixth Street bridge.

If you have ideas for remaking your neighborhood, send them my way.

And take big swings.

steve.lopez@latimes.com

If you’re searching for a Sardinian city break with a difference, Cagliari has stunning Mediterranean beaches, flamingos and ancient history – and it’s just a short flight from the UK

If you’re contemplating a weekend escape this year, you’ve likely thought about one of Italy’s major destinations – timeless Rome or the enchanting cathedrals of Florence. Architecture, history, sunshine and some of the finest cuisine on the planet – Italian city breaks are difficult to surpass.

But here’s our suggestion – venture beyond the conventional and uncover something away from the masses, with even more on offer.

Roughly 220 miles from Rome sits Sardinia, and at the southern extremity the city of Cagliari is, according to my travel guide, “older than Rome”. It’s a city that combines multiple dimensions: ancient and contemporary, urban and natural, monumental and everyday.

Like Barcelona, it achieves the ideal balance between city and beach getaway. The beach, the largest stretch of sand I’ve witnessed in Europe, is merely 10 minutes drive from the centre, so you can transition from sipping cocktails in a rooftop bar in the Castello district, to barefoot walks along the shoreline.

And if you’re seeking a taste of nature, the salt flats – home to Cagliari’s flock of flamingoes – is a brief bus journey from the old town, reports OK!.

The historic core of the city is the Castello district, positioned on a limestone hill and surrounded by imposing walls. I had the privilege of exploring its delightful, narrow streets, and became captivated by the shaded piazzas and panoramic vantage points overlooking the Gulf of Angels.

While tourist favourites such as the Amalfi Coast and Rome continue to hog the limelight, Cagliari is steadily carving out a reputation as a must-visit destination — perfect for those seeking a hidden gem well away from the crowds. Here’s my ultimate itinerary.

Stay by the sea in Cagliari

You could always opt for the old town, but to truly soak up this coastal city, The MGallery Palazzo Tirso is a five-star boutique hotel tucked away in La Marina, one of Cagliari’s four historic quarters. From its rooftop terrace, you’ll be treated to stunning sea views alongside the magnificent sights of Castello.

For a holiday packed with rest and relaxation, Palazzo Tirso has everything you need, boasting a sauna, steam room, spa pool and a selection of L’Occitane-fuelled treatments. The 25-minute massage left me feeling as though I’d ascended into heaven.

The hotel also houses two restaurants: rooftop venue Cielo, offering all-day dining and aperitifs with DJs, and Terra, a genuinely gourmet spot showcasing prestigious recipes crafted by Palazzo Tirso‘s chefs.

My standout meal was at Sa Schironada, a charming little restaurant just a six-minute stroll from the Palazzo Tirso hotel. We shared a plate of traditional Sardinian bread and olive oil — which you simply can’t get enough of in Italy — and for my main, I tucked into a generous platter of mouth-wateringly delicious mussels in garlic and white wine sauce, accompanied by more Sardinian bread.

It was, needless to say, a glorious overload of carbs and seafood that left me fit to burst, but every single mouthful was absolutely worth it.

Spend a day flamingo spotting

Cagliari is extraordinary for its natural surroundings, so it’s essential you explore the Molentargius Salt Flats, where colonies of pink flamingos make their home. They’re situated within a protected park – a rare example of a lagoon ecosystem nestled inside an urban environment.

Alongside flamingos, you could also catch sight of the great white pelican, a cattle egret colony or, if you’re fortunate, the purple swamphen, with its metallic blue plumage and scarlet beak.

To enter the park, you can rent a bike for approximately €15 per day, or take a guided mini bus tour through the park, where they’ll provide a tour guide and a pair of binoculars.

Exploring the beach

Poetto Beach extends for several kilometres, and it’s among the defining features of local life. Far more than simply a beach, it’s a social hub: bustling throughout the year, where sports, relaxation, and community spirit converge.

The sheer scale of Poetto left me stunned. I’m accustomed to town beaches that are compact and pebbly, but this beach’s scenic expanse is magnificent.

From it, you also enjoy a stunning view of the Devil’s Saddle, the promontory at the precise centre of the Gulf of Angels and – according to legend – the location of the battle between good and evil. Good must have triumphed because the place is paradise.

Cocktails with a Michelin-starred chef

In an immersive cocktail experience courtesy of the Palazzo Tirso hotel, you can savour cocktail pairings crafted by Michelin-starred chef Pichaya “Pam” Soontornyanakij, aka Chef Pam – who received The World’s Best Female Chef status in 2024.

Her signature creations include Caviar-Crowned Tartare, Sun-Kissed Crab, and Squid’s Midnight Dip. Bite-sized masterpieces bursting with character, these are far from ordinary bar snacks.

Every piece is carefully designed to complement the drink alongside it, transforming an evening tipple into a truly curated occasion.

For wine enthusiasts, just 35 minutes north, tucked away amongst the rolling hills of Donori, lies Tenute Maestrale, a contemporary winery surrounded by undisturbed vineyards producing superb white, rosé and red wines, with tastings of three wines and traditional snacks starting from just £28.

When to visit Sardinia’s capital

Cagliari is stunning throughout the year, particularly during summer when the beaches and bustling streets truly come alive. For a genuine festival atmosphere, The Feast of Saint Efisio takes place annually from 1st-4th May.

It’s an 80km pilgrimage from Cagliari to Nora, retracing the route of Saint Efisio’s martyrdom. Thousands of participants, adorned in traditional costumes, accompany the saint’s statue on elaborately decorated ox-drawn carts.

It ranks amongst the longest and most ancient pilgrimages in the world, with the city traversed by a procession of 2800 people in traditional dress from across Sardinia, followed by 270 horsemen of Campidano, the Militiamen and the Guardiania.

How to book your Cagliari getaway

Rooms at MGallery Palazzo Tirso begin at £240 for bed and breakfast. You can reserve directly via the hotel’s website, or via Booking.com or Expedia.

The mayor of Venice is proposing an increase to the city’s controversial tourist entry fee, which could see the charge rise to as much as €50 (around £43) in a bid to tackle overtourism.

Brits heading to a beloved European holiday hotspot could soon face a new £43 levy. Simone Venturini, the newly appointed mayor of Venice, is putting forward plans to significantly raise a contentious tourist charge for visitors entering the historic city.

In 2024, Venice made history as the first tourist destination to impose an entry fee, initially set at €5, approximately $4.30, on busy days spanning April to July. Additional days were subsequently added to the scheme, with the charge for last-minute visitors later rising to €10, roughly £8.60.

Politicians maintain that the levy would help alleviate overcrowding in the ancient city and would deter people from visiting during peak periods. This comes as approximately 30 million people annually are believed to flock to Venice.

Mr Venturini is now pushing to raise the entry fee to as much as €50. This, he argues, will “discourage people further from coming to Venice at certain times of the year”.

Speaking to Corriere della Sera, he said: “If today it ranges from €5 to €10, my proposal is to increase it to €30 to €50.”

Critics of the initiative however claim it has made minimal impact on tourist numbers. Most visitors reportedly view it as “relatively insignificant” when weighed against the cost of a single glass of wine or a pint, reports The Telegraph.

Venice has continuously grappled with the challenge of overtourism. This comes as the city’s population has plummeted from approximately 170,000 in 1950 to roughly 48,000 today.

Visitors to Venice consistently exceed the number of locals. However, there were concerns that a hefty entrance charge might put off tourists who were deemed less affluent.

Former city mayor Massimo Cacciari went so far as to describe the fee as “barbarous”. He said: “There is no other city in Italy or Europe where you have to enter with a ticket, as though it was a museum.

“It is barbarous, uncivilised and, in my opinion, against the constitution. It is simply obscene. I thought that Venturini would be more intelligent than his predecessor and would scrap the fee.”

One business owner, however, has urged for the charge to be increased even more substantially. Jewellery shop proprietor Setrak Tokatzian suggests the city ought to be introducing a €100 levy on visitors.

Tourism expert Doug Lansky, recognised as ReThinkingTourism online, reckons the €5 charge would be unlikely to put anyone off. In a YouTube video he said: “I predicted that €5 wouldn’t have any effect.

“I mean, €5 isn’t enough to get me to choose one dinner entre over another at a restaurant, I’ve paid that much for a cappucino or a bottle of water at a concert.”

Mexico ‌City’s government said it is considering measures to limit ⁠the sale ⁠of alcohol in public spaces, after more than 700,000 people gathered downtown to celebrate Mexico’s football team advancing to the knockout stage ⁠of the World Cup.

Mexico’s victory against South Korea saw massive street celebrations, with fans dressed in green El Tri jerseys or wearing colourful Lucha ⁠Libre masks and dancing in the rain, waving flags, singing anthems and blowing on vuvuzelas.

The next morning, Reforma Avenue — one of the city’s main arteries — was littered with rubbish, and many of its yellow cempasuchil flowers had been ‌trampled over. Authorities collected some 40 tonnes of waste around the historic centre.

Mexico City’s government secretary Cesar Cravioto told a news conference on Friday that part of the government’s duty of care during the massive football event is prevention, and this involves controlling illegal sales of alcohol on the streets.

Cravioto said the government would ask restaurants and bars in ⁠the area to prevent customers from taking alcoholic ⁠drinks off premises and that convenience stores nearby could be asked to stop selling alcohol in the hours before a big game.

The government said it was planning on setting up ⁠seven more large screens around the centre-in addition to the current 12 — to help disperse crowds, ⁠and that it would deploy more personnel ⁠to limit the sale of beer by street vendors.

“We will keep insisting that fans have fun but without excessive alcohol consumption,” Cravioto said.

In Boston, another World Cup host city, Scottish fans, ‌known as the “Tartan Army”, drank such vast quantities of beer after Scotland’s team beat Haiti 1-0 at the city stadium that several bars reported ‌running dry.

Mexico is set to face the Czech Republic in the group stage on Wednesday.

ONE of Europe’s most popular destinations is set to hike its tourist entry fee in the fight against swarms of seasonal visitors.

The mayor of Italian jewel Venice is pushing to raise the city’s controversial entry fee to as much as €50 (£43).

The proposal has already triggered fierce backlash, with critics branding it “barbarous” and unconstitutional.

Simone Venturini told The Times that increasing the charge is essential if Venice is to manage the growing pressure of overtourism.

He said: “The higher the ticket price, the better for us.”

Venice introduced its controversial pay-to-enter scheme in 2024, charging visitors on peak days up to €10 to access the historic city.

TRAIN CHAOS

Traveller chaos to major airport as officials say ‘do not travel’ after crash

DEEP DIVE

We’ve travelled all over Britain and found its best beaches – here are our faves

Under the current system, day-trippers who book less than four days before their visit pay €10, while those who reserve more than four days in advance pay €5.

Visitors entering before 8.30am or after 4pm are exempt, as are residents, people born in Venice, students and workers.

Tourists staying overnight in hotels or rental accommodation also do not have to pay.

Tickets are purchased online and checked at key entry points, including the railway station.

Those caught without one can face fines of up to €300.

The city is also expanding the scheme, increasing the number of chargeable days from 54 to 60 this year.

Opponents argue the scheme has done little to reduce visitor numbers.

Official figures show average daily visitor numbers fell only slightly during the summer, from 16,676 in 2024 to 13,046 in 2025.

Venturini insists the goal is not to put a cap on tourism altogether.

He said: “We need to keep an eye on the total number of visitors to Venice, but we do not want to put a maximum limit on tourists, so instead we can aim to get them to spread out and avoid coming on those days when we face the prospect of 80,000 visitors.

“That means getting the Italian parliament to approve higher prices, let’s say €30 or €50.

“That will cover the cost of services for tourists, including removing the growing amount of rubbish, but we could also offer ticket holders discounts for museums.”

The idea of charging visitors even more has provoked strong opposition.

Critics argue that if Venice is serious about reducing overcrowding, it should instead focus on limiting the number of properties being rented out through Airbnb.

Former mayor Massimo Cacciari said: “There is no other Italian or European city that you have to buy a ticket to enter, as if it were a museum.

“This is barbarous, uncivil and in my opinion anti-constitutional.”

Constitutional expert Ludovico Mazzarolli also told Corriere della Sera that a €50 entry fee could conflict with the Italian Constitution’s principle of free movement within the country.

Venice is not the only city trying to manage surging visitor numbers.

In Rome, authorities have introduced a €2 charge to access the lower area around the famous Trevi Fountain.

Meanwhile, the island of Capri continues to grapple with huge summer crowds, welcoming as many as 50,000 visitors a day during July and August.

To keep its narrow streets moving, visitors are encouraged to keep right when walking uphill and left when heading down.

Tour groups are now capped at 40 people, while guides leading more than 20 tourists must use wireless earpieces instead of loudspeakers.

WASHINGTON — As Janeese Lewis George paves a path to the mayor’s office in Washington, D.C., she’s told voters they could have it all.

Her unapologetically expansive, left-wing agenda includes subsidized or even free childcare, increased down payment assistance for homebuyers and community resources to reduce crime, plus a promise to aggressively confront President Trump’s attempts to reshape the nation’s capital.

“People are tired of hearing what government can’t do. They want to hear what government can do,” Lewis George said in an interview before the city’s primary, where she defeated her Democratic opponents and positioned herself to win the general election in November in a city dominated by Democrats.

Lewis George’s victory signals a break with a quarter-century of centrist governance in Washington, and it puts her in the vanguard of democratic socialists who have ascended in urban politics over the last year. Zohran Mamdani toppled Andrew Cuomo, the scion of a political dynasty, on his way to becoming New York City mayor. Katie Wilson won an upset victory to lead Seattle last fall. And this month, Nithya Raman clinched a spot in the November runoff against Los Angeles Mayor Karen Bass.

All of them are members of the Democratic Socialists of America, or DSA. The political organization has seen its membership ranks swell from a few thousand to more than 100,000 nationwide over the last decade after an influx of younger Americans joined following the presidential bids of Vermont Sen. Bernie Sanders, also a self-described democratic socialist.

There’s little sign of national coordination among the candidates, and it’s unclear whether voters are gravitating toward their promises of improved government services, their vows to fight the Trump administration or their critiques of capitalism.

But from coast to coast, confrontational progressives are advancing in mayoral races. City leaders can draw outsized attention for their successes and failures, and democratic socialists will be under pressure from residents to deliver on their vows for a new kind of governance. Whether that translates to national politics is a next test for their movement.

“They are all channeling a displeasure with a status quo and a serious desire for economic populism that the establishment Democratic Party hasn’t been preaching,” said Eric Stern, a Democratic strategist with Fight Agency, a political consulting firm that strategized Mamdani’s mayoral campaign.

Stern added that Democratic voters appeared more willing to support the most progressive candidate in mayoral races rather than in contests for the U.S. House. Candidates like Mamdani and Raman, Stern said, are “daring voters to dream and fall in love not just with the individual candidates but also the political process as a whole.”

A rising left navigates America’s urban challenges

The trend of progressives surging in urban areas may have limits for its broader impact on Democratic politics. Democratic mayors in cities including Atlanta, Houston, Miami and San Francisco won on relatively moderate platforms in recent years.

Progressive have also faced noteworthy challenges. Chicago Mayor Brandon Johnson was endorsed by the city’s DSA chapter during his 2023 mayoral run but has since faced criticism from both moderate and liberal local leaders on issues such as immigration, the local budget and public safety. Recalls and public pressure ousted progressives elected to district attorney offices in multiple jurisdictions over the last five years, when criminal justice reform efforts ran into dissatisfaction over public disorder following the COVID-19 pandemic.

Trump’s hardline immigration and law enforcement tactics have also become a challenge for liberal cities. The president’s agenda poses an especially serious threat to Washington, D.C., because of its status as a federal territory.

“Maybe we take back Washington and run it on a federal basis,” Trump told reporters this month when asked about the potential election of a democratic socialist as the district’s mayor. “We won’t put up with it.”

But progressives hope the current wave of anti-Trump furor in deep blue cities across the country will help buoy the chances of those on the hard left.

“It’s not folks looking for the leftmost option so much as looking for a candidate who’s gonna be on their side,” said Ravi Mangla, speaking for the left-wing Working Families Party. The party often endorses the same candidates as the DSA and is readying to target more mayoral offices in the country’s biggest metropolises this fall and in 2028.

“It’s less about whether you are on the right or on the left so much as whether you are willing to punch up at the powerful,” he added.

Mamdani and Lewis George are both self-described “sewer socialists” who emphasize the need for responsive government services rather than critiques of market economics. The phrase recalls the socialist Gilded Age mayors whom critics derided as too preoccupied with managing public works projects.

The term’s revival is partly a strategic move to align leftist ideas with concerns over affordability and the economy, voters’ top concern in the midterm elections, and shift the public perception of democratic socialists from firebrands who support radical policies to independent-minded public servants.

“This is absolutely a change election and I’m excited to bring the change that people want, which is really putting people first in the city and having the moral clarity and courage to stand up to Trump,” Lewis George said.

For voters the ‘socialist’ label did not seem to matter

While conservatives have used the “socialist” label to attack Democrats as extreme or incompetent, some D.C. voters appeared ambivalent before Tuesday’s primary.

Several lifelong residents said they believed Lewis George was a “fighter” but didn’t think she’d have much of an impact on the local economy, given the city’s status as a federal district.

“I go back and forth on my own labels and whether I am supportive of that movement or not, but I am supportive of making D.C. more affordable,” Owen Fitzgerald, a University of Maryland graduate student, said of his support for democratic socialism.

Fitzgerald voted for Lewis George because she would stand up to Trump and said he’d first learned of her campaign from friends in his neighborhood. But he didn’t know she was a democratic socialist until he saw news reports describing her with the label.

“It sends a cultural message to this administration that the people who are surrounding them in the capital are opposed to their platform, opposed to their political agenda, and I think that it will send a message, both nationally and internationally,” Fitzgerald said.

Brown writes for the Associated Press.

Civic pride, sure. But what is it really worth to the city of Anaheim to have its name on the hometown baseball team?

Hundreds of millions of dollars, the city has said. As the Angels’ stadium lease approaches its end, and as Anaheim prepares for negotiations either with Arte Moreno or a potential new owner, it’s worth keeping in mind.

So too is a concept floating around City Hall in Anaheim: What if we could put a new stadium and a youth sports complex next to one another?

Nothing is imminent, and even a bill winding its way through the state legislature would not necessarily require the Angels to return Anaheim to the team name.

It’s leverage: If the Angels’ owner wants to build atop the stadium parking lots, the city can pursue an exemption to a state law that currently restricts what can be built there, which could mean more money for the team and its development partners. In exchange for the exemption, the team name would revert to the Anaheim Angels.

If that’s the carrot, this is the stick: The city would have to approve the zoning changes that could make the land “two to three times more valuable than it is as a parking lot,” Anaheim Mayor Ashleigh Aitken said.

Said Aitken: “There are no gifts. For an ownership to truly be a partner to the city in what that property could be, there is going to have to be some realization that Anaheim is not Los Angeles.”

The Angels’ stadium lease expires in 2032, and the team can extend it through 2038. A new owner could move the Angels — or at least leverage the threat of a move — but Anaheim offers a 150-acre site with what every owner in pro sports covets: land around the venue to turn the property into a year-round money-making operation.

The standard ballpark villages include restaurants, shops, hotels, homes, offices and entertainment venues. The Ducks are launching one, called OC Vibe, around Honda Center, and within walking distance of Angel Stadium.

What intrigues the city, for at least part of the parking lots around Angel Stadium: a youth sports park for all those travel ball teams. Ontario is building a 199-acre one around a minor league ballpark; Irvine has a 194-acre one up and running at its Great Park.

Katie Wright, who books sports events for Anaheim’s tourism bureau, said there would be a market if her city built a sports park.

“The demand for, specifically, soccer, baseball and softball is tremendous,” Wright told the Anaheim City Council in April. “They would be filled every single weekend, I think.”

What Anaheim has that Ontario and Irvine do not: Disneyland down the street for visiting families, a variety of restaurants within walking distance, and hotel rooms aplenty. In Anaheim, 40% of the city’s general fund comes from taxes on hotel rooms.

“With Angels baseball right next to a youth sports facility, to have the synergy of hotels and restaurants, and players interacting with the Little League kids and soccer fields,” Aitken said, “I just think it’s a unique opportunity.”

Everything old is new again: In 1996, Anaheim pitched a youth sports center called the “Little A” in part of the stadium parking lots as part of a ballpark village that never materialized.

What might be in the best interest of the city now might not be in that of the developer, whether that turns out to be the Angels or a real estate partner. While a sports park might drive tax revenues to the city, a developer might pay the most for land used for hotel and retail properties, said Louis Tomaselli, the Irvine-based executive managing director at JLL, a nationally prominent commercial real estate brokerage.

“A youth sports complex would likely be at or near the bottom from a land value perspective,” Tomaselli said.

That’s all part of the negotiation, and for now the city of Anaheim has no party with which to negotiate. That leaves room for all sorts of brainstorming, including Aitken’s curiosity about flanking the development with high-rise residential buildings, similar to the condominiums that have risen next to Petco Park in San Diego. In some of them, you can watch the game from your balcony.

But let’s get back to the value of the Anaheim name on the baseball team.

“A lot of times, we get the question, ‘Exactly where is Anaheim?’” Wright, the Anaheim tourism official, told the City Council. “We’re always fighting to say, ‘We’re not L.A.’”

In 2005, when Anaheim sued the Angels after Moreno slapped the Los Angeles label on the team, the city commissioned experts that testified the name change would cost Anaheim nearly $200 million over the following decade and close to $400 million through 2029. The Angels dismissed both numbers as wildly high, but that is what the city presented in court.

I asked Sean Moran of Los Angeles-based Innovative Partnerships Group for an update. Moran estimated the worth of the Anaheim name at $26.5 million per year — or more than $500 million over the life of a 20-year deal — based on the value of references to the city on game broadcasts, digital and social media, highlight clips, betting sites, in fantasy leagues, and more.

“I don’t think you can put a monetary value on civic pride and respecting your fan base,” Aitken said. “So, if a new owner wants to come in and start fresh and really respect the fan base in Orange County, the name should not even be a negotiating point.

“It should be the first thing you do, out of respect for where this team is located, and the fan base that is so loyal in good times and bad.”

Perhaps. But, if I’m the new owner of the Angels and the city is on record saying its name on the team is worth hundreds of millions of dollars, the first thing I say to the city in negotiations is: You can get your name on the team for that $500 million, which would help me build a new ballpark that could cost $1.5 billion.

Who else could benefit from that? Moreno, as the need for a new owner to pay for a ballpark could lower the sale price.

Even without that exemption from state law, a new owner could pursue a fair amount of development on land Anaheim has failed to develop for 60 years, on a site the city’s own land use plan envisions as “an exciting mix of high energy uses while providing additional housing.” Or a new owner could simply inherit the existing lease and deal with potential development later.

You can start to get the shape of what the bargaining might look like. Avelino Valencia (D-Anaheim), the assembly member who introduced the bill in Sacramento intended to spur the return of the Anaheim Angels name, included a provision that says resolution would take precedence over legislation.

“If there is another outcome that takes place, in negotiations or deal-wise, there would be no need for this, right?” Valencia said.

All of that could be years down the road, so no sense arguing all the finer points now. Aitken promises a series of community meetings first, so that Anaheim residents can share how they envision the future of the Angel Stadium property, with or without a baseball stadium.

This should come up for discussion too: The Anaheim Angels name might be ideal for the city, but what, if anything, should the city give up to get it? The last time the city asked, Moreno just said no. If a new owner would be willing, should the taxpayers of Anaheim consider subsidizing the name?

PHILADELPHIA — The Trump administration can replace a slavery exhibit at George Washington’s home in Philadelphia, a federal appeals court panel said Thursday, striking down a lower court’s injunction that required the National Park Service to reinstall the interpretive panels.

The unanimous ruling by the three-judge panel of the 3rd U.S. Circuit Court of Appeals said a lower court judge wrongly interpreted Philadelphia’s contract claims involving Independence National Historical Park, saying the city merely having standing to sue did not mean its arguments had merit. The panel also praised the plans for the replacement installation, writing that they were “full of historical context,” despite objections from historians and city officials that the content appears whitewashed.

The ruling comes a week after a Massachusetts federal judge ordered the Trump administration to restore sites changed under an executive order calling for the nation’s museums, parks and landmarks to not display elements that “inappropriately disparage Americans past or living.” The federal government has asked for a stay on that ruling while it appeals.

It was unclear how the Massachusetts ruling would affect the restoration or replacement of the panels at the President’s House Site. About half the large panels at the outdoor exhibit had been restored before a February pause in the work.

Messages to spokespeople for the Department of Interior and the National Park Service were not returned.

In a statement on Instagram late Thursday, Philadelphia Mayor Cherelle Parker vowed to pursue legal avenues to reverse the decision.

“We cannot and WILL not rest until the full story of American history – including the existence of Slavery at the President’s House here in Philadelphia – is told, for our Nation and the World to see,” she wrote.

Dawn Chavous, a volunteer for Avenging the Ancestors Coalition, one of the advocacy groups that helped develop the site in the 2000s, said they are disappointed with the decision but are speaking to their attorneys and considering options.

“For decades, ATAC has worked to ensure that the stories of the enslaved African descendants who lived and labored at the President’s House are not erased, overlooked, or misrepresented,” the group said in an emailed statement. “That commitment remains unwavering. We believe that historical truth matters, and we will continue to advocate for the protection, preservation, and accurate interpretation of this important chapter of American history.”

The city of Philadelphia sued in January after the National Park Service, in response to President Trump’s executive order, removed the explanatory panels from the President’s House Site, where George and Martha Washington lived with nine of their slaves in the 1790s, when Philadelphia was briefly the nation’s capital.

The city had worked in tandem with the federal government, historians and private partners to create the exhibit in the early 2000s — as part of a longstanding cooperation agreement over the downtown historical park — and contributed $1.5 million toward its creation.

The city argued that the federal government must consult with the city before making changes to the President’s House Site. Justice Department lawyers argued the administration alone can decide what stories are told at National Park Service properties.

In its ruling Thursday, the appeals panel said the maintenance portion of the contract between the city and the federal government could not be interpreted to mean the site would remain as it was when it was completed.

“The duty to ‘maintain’ is better understood as a general management obligation that accompanies ownership, not a promise that the exhibits will forever remain in place regardless of the owner’s wishes,” the opinion said.

Casey and Lauer write for the Associated Press. Casey contributed to this report from Boston.

Daiki Kaneko had only 24 hours before his World Cup journey took him to Dallas, where his home country’s squad will take on Sweden.

The Japanese soccer fan was making the most of it on Tuesday in Inglewood, snapping pictures of SoFi Stadium before taking in a different kind of monument: a space-age, two-story branch of the chicken chain Raising Cane’s, complete with a 308-square-foot screen, a mirrored dog sculpture and a massive halo hovering around the exterior.

For Kaneko, 25, who lives in the Tokyo suburbs, it was the perfect encapsulation of American grandeur.

“All this for chicken,” he said. “I love America.”

Inglewood is already diverse — most residents are Latino or Black, and nearly a third are immigrants. But during the World Cup, it’s looking more like the United Nations. English, Japanese, Swiss, Iranians, Paraguayans, Bosnians, Belgians and others are flocking to the city of about 102,000, where eight matches are being played at SoFi Stadium.

Though visitors from abroad may not have heard of Inglewood until now, they’re soaking up the vibes of a city that has long been a major sports and entertainment hub, home to venues such as the Kia Forum and Intuit Dome, and a crucible of Black culture, immortalized in hip-hop songs by artists such as Tupac Shakur and Dr. Dre.

“We’re an international city now,” Mayor James Butts said.

Butts said locals were already proud of what the city has become, but the World Cup has put the celebratory feelings over the top.

“We have people from so many different countries migrating to Inglewood, and there’s an explosive sense of community pride,” he said.

Bartender Elijah Gonzalez, left, mixes a drink at the Nile Bar in Inglewood while customers watch a World Cup soccer preview.

(Allen J. Schaben / Los Angeles Times)

City officials are doing everything they can to embrace the spirit of the tournament, including speeding up permits so small businesses and neighborhoods can hold World Cup gatherings and watch parties, Butts said. During the U.S.’s opening match against Paraguay on June 12, the city hosted the Wood Cup, a block party on Market Street that brought in more than 5,000 people.

Businesses across the city are embracing the tournament as well, vying for a piece of the roughly $17 million the city expects to haul in. For a few weeks, concerns about skyrocketing housing costs and gentrification, brought on by the city’s increasing popularity as a place to settle down, are taking a back seat to the sheer fun of international soccer.

The supersized Raising Cane’s had its grand opening on June 11, the first day of the tournament. During the USMNT’s opening match, Cinepolis, a luxury movie theater down the road from SoFi Stadium, turned into a global sports hub, according to CEO Luis Olloqui.

Maddy Daversa, a bartender at the Meeting Spot, a restaurant near the stadium, said 2,000 people poured in when the Americans played Paraguay.

“I was selling beers for five hours straight,” she said. “It was crazy.”

Daversa said the restaurant is usually closed on Mondays but opened in hopes of getting some spillover fans from the Iran-New Zealand game at SoFi.

“Every table was full,” she said. “We’re taking advantage.”

Tuesday was an off day for Inglewood, with no games at SoFi. But the energy was still palpable, with locals sporting soccer jerseys and tourists popping up across the city.

“I just want to be where the fans are,” said David Meier, a Swiss fan in town for his home country’s match against Bosnia-Herzegovina on Thursday.

Meier, 45, plans to explore L.A. via bars, restaurants and watch parties, taking in every game that his schedule will allow before heading north of the border to Vancouver, where Switzerland will face Canada on June 24.

“Everyone has been so kind,” he said. “Soccer and beer turns strangers into friends.”

Flags from countries competing in the World Cup are on display at Manchester Boulevard and South Market Street in Inglewood.

(Allen J. Schaben / Los Angeles Times)

The energy carried over to Market Street, a historic shopping district about a mile from SoFi Stadium. Businesses set up signs, posters and international flags to lure locals and tourists alike, while the Miracle Theater hosted a watch party for the match between France and Senegal.

Owen Smith, who co-owns the theater with his wife, Mariana, said a Senegalese friend who grew up in France asked if he would be willing to show the game on the big screen. A day later, fans of both teams assembled inside, snapping photos in front of a giant inflatable World Cup trophy in the lobby.

“The Miracle is a cultural event theater. It’s about accommodating the community,” Smith said.

Benyam Woldegiorgis, who co-owns the Nile Bar on Market Street, is showing every single World Cup match — all 104 of them.

“It brings in business,” he said. “Usually it’s just football, basketball and baseball, but now we’re adding soccer to the mix.”

Dionte Johnson, owner of the streetwear store Kingsrowe, partnered with Adidas to hold a watch party for the U.S. team’s opener and said the turnout was massive, bringing in loads of Mexico fans who are local residents, even though their team had already won their opener the day before.

“The downside of the World Cup is that tickets are so expensive, so a lot of locals can’t go check out the games themselves. That’s why we’re hosting events,” Johnson said. “The games are in our backyard, so this is something people have had on their calendar for a long time.”

Homeowners are cashing in as well, with some renting out their places on Airbnb for a small fortune, figuring that crashing on a friend’s couch or booking a hotel room elsewhere is well worth the lofty payouts brought by World Cup demand.

Across L.A., hotel demand lagged compared with initial expectations, but short-term rental prices still jumped 56% compared with typical rates, and more than 70% of rentals were booked by December 2025.

In Inglewood — especially for rentals walkable to SoFi Stadium — prices became dizzying.

David Orenstein and his wife, Peggy, run an Airbnb across the street from SoFi Stadium. It usually rents for $400 per night, but for the U.S. team’s opening game, it went for $3,000.

(Robert Gauthier / Los Angeles Times)

Peggy Orenstein and her husband, David, own a home steps from the stadium that typically rents for $400 a night on Airbnb. For the U.S. team’s opener, the nightly rate shot up to $3,000.

For other matches, the four-bedroom house is going for $1,200 to $1,500 a night. Orenstein said the high demand and international crowds are a teaser for what’s to come.

“Next up is the Olympics,” she said. “This is a great learning lesson for what we can expect.”

The New York Knicks celebrated their first NBA title in 53 years with a frenzied ticker-tape parade through Manhattan. The Knicks, along with finals MVP Jalen Brunson were awarded keys to the city by Mayor Zohran Mamdani in front of thousands of fans.