Culture

Artists are formed by the spaces they spend time in — and in the case of countless Los Angeles artists, writers and musicians, that place was the city’s oldest restaurant and bar, Cole’s French Dip, which is slated to close on Aug. 2.

Founded in 1908 by Harry Cole in downtown’s historic Pacific Electric building, then the city’s primary railway transit hub, the legendary public house is credited with inventing the French dip sandwich after its chef dipped bread in au jus to soften it for a patron who had trouble chewing. (Note: Philippe the Original in Chinatown takes issue with this story, claiming full credit for the juicy culinary delight.)

The possibility of an apocryphal legend aside, Cole’s went on to become one of the very best bars in the area, attracting a solidly blue-collar crowd over the years, including the notoriously ribald, drunken poet Charles Bukowski. The restroom even sported a placard that read, “Charles Bukowski pissed here,” an unflinchingly literal claim to fame frequently mentioned in self-guided tours of literary L.A. (Barney’s Beanery in West Hollywood has a less off-color plaque at its bar in reference to Jim Morrison, who allegedly relieved himself on the spot without heading for the urinals.)

I like to think of Bukowski with a beer and a shot of whiskey in front of him, scribbling away on a napkin at the bar in Cole’s. I’ve done the same over the years, having discovered the bar in 1999 when I first moved to Los Angeles. Downtown was not on the up-and-up in those days, and Cole’s had fallen on hard times but was still beloved.

Cole’s French Dip in 1996.

(Con Keyes / Los Angeles Times)

My rock band played a few shows in its back room, and I fell in love with what was at the time a true dive bar — a place where the occasional unhoused patron spent his Social Security check alongside a smattering of unknown, paint-spattered artists who stopped by from nearby studios. I remember meeting a musician there one night who invited me and a friend to his 6th Street loft and showed me literally thousands of records stacked like a maze throughout the space, so high that you couldn’t see over them, so many that I wondered if he had space to sleep.

Cole’s was that kind of bar — a refuge for artists and misfits, a place that didn’t care what your story was as long as you had a good one.

The last time I went to Cole’s before downtown bar magnate Cedd Moses (artist Ed Moses’ son) bought it and restored it to its early 20th century glory, a rat ran over my foot as I sat at a torn, tufted banquette. I love a good dive (my husband proposed to me at the now-shuttered Brown Jug in San Francisco’s Tenderloin District), but that was a bridge too far, even for me.

Moses has long had a deep affinity for dive bars and, in the aughts, went about transforming and resurrecting a number of spaces in downtown L.A., including Cole’s, in ways that stayed true to their historic integrity. His 213 Nightlife Group (now called Pouring With Heart), was integral to downtown’s prepandemic boom.

That downtown is once again suffering from the kind of trouble and malaise that beset it in the ’80s and ’90s should be cause for great concern. On the bright side, it’s times like these when artists can again afford to move in. Maybe they can rally to save Cole’s.

I’m arts and culture writer Jessica Gelt, warning you that there is now often a line to get into Cole’s, but encouraging you to go anyway. Paying your respects to the classic institution is worth the wait. Bring a good book and a sketch pad.

Best bets: On our radar this week

Uma Thurman in “Kill Bill: The Whole Bloody Affair.”

(Andrew Cooper / Miramax Films)

‘Kill Bill: The Whole Bloody Affair’
Quentin Tarantino presents rare screenings of the complete version of his four-hour martial arts epic that brought together “Vol. 1” and “Vol. 2,” with additional flourishes. Uma Thurman stars as the Bride in a quest for revenge against the title character (David Carradine) and his band of assassins (Lucy Liu, Daryl Hannah, Vivica A. Fox and Michael Madsen). Added flair: It’s the filmmaker’s personal 35 mm print screened at the Cannes Film Festival in 2006, so it has French subtitles.
Friday-Tuesday, Thursday-July 28. Vista Theater, 4473 Sunset Drive. vistatheaterhollywood.com

Artemisia Gentileschi in Naples
Curator Davide Gasparotto discussses the Italian artist’s work from the period she spent in Naples beginning in 1630. Gentileschi quickly became one of the most in-demand painters in the region, and Gasparotto illustrates the large-scale works, including the newly restored “Hercules and Omphale,” she completed during this time.
2 p.m. Saturday. J. Paul Getty Museum, 1200 Getty Center Drive, L.A. getty.edu

George Strait performing in 2021.

(Jack Plunkett / Invision / AP)

George Strait
Chris Stapleton and Little Big Town join the country legend on this stadium tour in support of his latest album, “Cowboys and Dreamers.”
5:45 p.m. Saturday. SoFi Stadium, 1001 S. Stadium Drive, Inglewood. sofistadium.com

TaikoProject
The L.A.-based taiko drumming group marks its 25th anniversary with a one-night-only concert featuring its innovative percussion work, plus guests including the Grammy-winning Latinx group Quetzal and multi-instrument soloist Sumie Kaneko, performing vocals, on the koto and the shamisen.
7 p.m. Saturday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. musiccenter.org

‘Bye Bye Tiberias’
Filmmaker Lina Soualem portrays four generations of Arab women, including her mother, actor Hiam Abbass, who carry the burden of history within them and deal with an evolving meaning of home. Preceded by a 1988 short, “Measures of Distance,” in which filmmaker Mona Hatoum combines letters from her mother in war-torn Beirut with layered images and voice to question stereotypes of Arab womanhood. Both films are part of the UCLA Film and Television Archive’s series “(Dis)placement: Fluctuations of Home.”
7:30 p.m. Saturday. Billy Wilder Theater, UCLA Hammer Museum, 10899 Wilshire Blvd., Westwood. hammer.ucla.edu

DeJuan Chirstopher and Kacie Rogers in the play “Berta, Berta.”

(Makela Yepez Photography)

‘Berta, Berta’
Andi Chapman directs the West Coast premiere of Angelica Chéri’s love story about a Black man seeking redemption in 1920s Mississippi. DeJuan Christopher and Kacie Rogers (“Furlough’s Paradise” at the Geffen) star.
July 19-Aug. 25; 8 p.m. Fridays, Saturdays and Mondays; 4 p.m. Sundays. The Echo Theater Company. Atwater Village Theatre, 3269 Casitas Ave. echotheatercompany.com

Catherine Hurlin as Giselle and Daniel Camargo as Albrecht in an American Ballet Theatre production of “Giselle.”

(Rosalie O’Connor)

Giselle
American Ballet Theatre dances this romantic tale set in the Rhineland forests where betrayal, revenge and forgiveness play out. With the Pacific Symphony.
7:30 p.m. Thursday and July 25; 2 and 7:30 p.m. July 26; 1 p.m. July 27. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. scfta.org

The SoCal scene

Conductor Thomas Sondergard, left, applauds solo pianist Kirill Gerstein on opening night of the L.A Phil at the Hollywood Bowl on July 8, 2025.

(Gina Ferazzi / Los Angeles Times)

The Los Angeles Philharmonic opened its 103rd season at the Hollywood Bowl earlier this month, and all was not well, writes Times classical music critic Mark Swed, noting low attendance, the cancellation of highly anticipated shows featuring Gustavo Dudamel with the Simón Bolívar Symphony Orchestra and a general edginess that has taken root in the city since the intensive ICE raids began.

“‘A Beautiful Noise’ is a jukebox musical that understands the assignment,” begins Times theater critic Charles McNulty’s review of the show playing at the Hollywood Pantages Theatre through July 27. Anyone familiar with McNulty’s taste knows this is high praise coming from a critic who often doesn’t take a shine to the genre. This musical gets a pass because it exists simply to pay tribute to Neil Diamond’s beloved catalog with “glorious” singing of “American pop gold.” Former American Idol winner Nick Fradiani delivers a “thrilling vocal performance,” McNulty notes.

The New Hollywood String Quartet celebrated its 25th anniversary with a four-day festival at the Huntington’s Rothenberg Hall, and Swed was there to capture the scene. The festivities conjured the magic of the legendary studio musicians who first formed the quartet in the late 1930s. Classical music fans and lovers of cinematic scores didn’t always see eye to eye, but it was Hollywood that “produced the first notable American string quartet,” Swed writes.

McNulty also reviewed two shows in Theatricum Botanicum’s outdoor season: “The Seagull: Malibu” and “Strife,” both of which are reimagined in the American past. Ellen Geer directed the former, setting Chekhov’s play in the beach city of Malibu during the 1970s. Geer co-directs John Galsworthy’s 1909 social drama alongside Willow Geer — moving the action from the border of England and Wales to Pennsylvania in the 1890s. The plays are ambitious, if uneven, writes McNulty.

Culture news

Attendees surround the stage area where singer-musician Abraham Alexander is performing with his band at KCRW’s summer nights event at the Hammer Museum.

(Kailyn Brown / Los Angeles Times)

The Hammer Museum is back with its annual summer concert series, which is free as always. There are two upcoming shows: Very Be Careful with Healing Gems and DJ Eléanora, July 31; and Open Mike Eagle with Jordan Patterson and J.Rocc, Aug. 19.

Ann Philbin, former director and current director emeritus of the Hammer Museum at UCLA, was named this year’s Getty Prize recipient. She chose to donate its accompanying, pay-it-forward $500,000 grant to NPR and its Los Angeles member stations, KCRW and LAist.

The “Jesus Christ Superstar” casting news keeping coming. Earlier this week, it was announced that Josh Gad will play King Herod and Phillipa Soo will play Mary Magdalene in Andrew Lloyd Webber’s iconic musical, staged at the Hollywood Bowl in early August and starring Cynthia Erivo as Jesus and Adam Lambert as Judas.

The Carpenter Center announced its 2025–2026 season, including an evening with Sandra Bernhard and Mandy Patinkin in concert; a cabaret series that opens with Melissa Errico performing Barbra Streisand’s songbook; a dance series featuring Alonzo King LINES Ballet; a “Wow!” series that includes the Peking Acrobats; and a Sunday afternoon concert series with a special tribute to the songs of John Lennon and Harry Nilsson.

— Jessica Gelt

And last but not least

Hot cheese bread and meat pies? Count me in!

The annual Tomorrowland festival is set to draw about 100,000 attendees, with many expected to camp on site.

A huge fire has engulfed the main stage of Belgium’s globally-renowned Tomorrowland electronic dance music festival, two days before the event was due to open to an expected audience of 100,000.

“Due to a serious incident and fire on the Tomorrowland Mainstage, our beloved Mainstage has been severely damaged,” festival organisers said in a statement on Wednesday.

“We can confirm that no one was injured during the incident,” it added.

Several hundred firefighters had fought to save the stage from the flames, and Antwerp prosecutors have opened an investigation, though they said the fire appeared accidental.

The annual Tomorrowland festival, held in the town of Boom, north of Brussels, is set to begin on Friday and approximately 100,000 participants are expected to attend, with many planning to camp on site for the duration of the event.

The 2025 edition is scheduled to run over the next two weekends.

Organisers said the festival’s campground will open as scheduled on Thursday, when attendees are expected to begin arriving, and emphasised that they are focused on finding solutions for the weekend events.

Several dozen DJs and electronic music stars, such as David Guetta, Lost Frequencies, Armin van Buuren and Charlotte de Witte, are to perform from Friday for the first weekend, with two-thirds of the events split between the now destroyed “Mainstage” and the “Freedom Stage”.

Founded 20 years ago by two Belgian brothers, Tomorrowland has become an internationally-renowned event. A winter festival is now held in the French ski resort of Alpe d’Huez and another in Brazil.

Last week, Warner Bros Pictures released a new reboot of the Superman film series. The movie soared to the top of the box office and grossed an estimated $122m in the United States in its opening weekend. Though the industry is celebrating the film’s early box office totals, they are well below the earnings of comparable blockbusters from a decade ago. For example, in its opening weekend in 2016, Warner Bros’s Batman v Superman: Dawn of Justice reaped a healthy $166m ($224m when adjusted for inflation).

Indeed, over the past few years, revenues from such films have steadily fallen, and the new Superman film is not an exception. In the 2010s, superhero movies regularly reaped more than $500m worldwide in box office totals. In recent years, far fewer have reached that high watermark – a fact that is causing unease in the industry. Last year, Hollywood trade magazine Variety warned that the genre was experiencing an “unprecedented box office drought”.

What made superhero movies fall off? According to Hollywood bigwigs, the reason is “superhero fatigue”, as Superman director James Gunn put it. Disney CEO Bob Iger opined that the prolific output of superhero movies “diluted [the audience’s] focus and attention”.

But their narrative — that consumers are simply getting “fatigued” with the genre — is reductive. As with all artistic genres, there are reasons why some rise or fall in popularity. Those reasons are intimately tied to politics.

Superhero boom and decline

Superhero fiction is a uniquely US genre, arguably invented in 1938 with the publication of the first Superman comic book. The first superhero comic adaptation was released in 1941 under the title Adventures of Captain Marvel. The genre was popular among Americans for decades, but it really took off following the 9/11 attacks in 2001.

Those attacks punctured the relative tranquillity (in the US, at least) of the post-Cold War era and put the US propaganda machine into overdrive. Americans were fed a cartoonish portrait of what a “supervillain” looked like, which fit easily into superhero movie narratives. These supervillains were — like America’s purported enemies — bent on global domination and opposed to liberalism and US hegemony.

The Pentagon played a prominent role in shaping propagandistic narratives in popular culture. As a longtime partner of Hollywood, the Department of Defense has long had the practice of loaning out military equipment to filmmakers in exchange for script approval rights. In the post-9/11 era, it had a say in the scripts of a number of superhero blockbusters, including Iron Man and Captain America. Captain Marvel was even used as a recruitment tool for pilots by the US air force.

As a result, many superhero movies depict the US military and superheroes working hand-in-hand to defeat supervillainy, jointly pushing a vision of Pax Americana: a world where the dominant global power is the US.

The protagonists are often portrayed as defenders of “American ideals” like democracy, inclusivity, and justice. Take someone like Captain America, who originated as a literal embodiment of the US cultural victory over fascism. Other popular superheroes of the past 20 years, like Black Panther, embodied liberal America’s multicultural, pluralistic ideals.

But in recent years, the political reality those heroes are meant to uphold has begun to fracture. A September 2024 poll asked Americans whether they agreed with the statement “my country’s leader should have total, unchecked authority”. An astonishing 57.4 percent of US respondents agreed.

Another poll conducted a year earlier found that 45 percent of Americans “point to people seeing racial discrimination where it really doesn’t exist as the larger issue”.

It increasingly seems that America as a liberal, pluralistic society — the way it is depicted in superhero films — is no longer a universal aspiration for many Americans.

There is also growing scepticism towards America’s moral authority and superpower standing in the world.

A 2024 poll from Fox News found that 62 percent of American voters described the US as “on the decline”. Only 26 percent thought it was rising. A 2023 poll from Pew Research — a year before Donald Trump was re-elected — reported that 58 percent of those polled said that “life in America is worse today than it was 50 years ago”.

Social cohesion collapsing

While public perceptions gradually changed in the post-9/11 period, there were events that accelerated this shift.

The precipitous drop in superhero movie box office totals began in 2020. Why that year? This was when the COVID-19 pandemic exacerbated already growing societal divisions.

The sense of a cohesive national identity fully shattered with the onset of this unprecedented public health emergency. Widespread mistrust of the government’s ability to manage the crisis — coupled with a deeply individualistic streak in Americans that precluded any understanding of social obligations that would prevent mass death, such as social distancing or lockdown measures — fostered a furious and splintered American body politic.

The singular vision of liberal American righteousness suggested by superhero films could not resonate amid this factional political landscape.

A year later came the US withdrawal from Afghanistan. The decision to pull out upset the notion of the US as a “heroic” intervener — a sort of global superman – heavily projected after 9/11. In contrast to Iraq, Afghanistan was long presented as a potential “success story”, or as The New York Times put it in 2005: the “American-led intervention that could wind up actually making people’s lives better”.

Of course, we all know how that turned out: the US entered Afghanistan in 2001 and exited in 2021, having killed more than 100,000 people and spent $2.3 trillion to pause Taliban rule for 20 years.

With its military power failing abroad and tensions rising at home, the US did not seem like a place that anyone — superhero or mortal — believed in any more. Inevitably, the domestic ills ignored by the political elites came to the fore. Real wages had been in decline for 30 years, while income inequality had been increasing, and infrastructure – decaying.

Americans on both left and right began to question the fitness of the US political system, long portrayed as the best in the world.

Many on the left now believe that corporate interests have so thoroughly captured the Democratic Party that they have ceased fighting for real wealth redistribution or social programmes, and conspire against progressive candidates who do believe in these things. Meanwhile, the American right has grown more venal, racist and authoritarian — the result of failing to understand the true reasons behind the country’s socioeconomic crises.

In depicting America as, ultimately, a force for good, the superhero movie genre does not speak to either of these political lines. Hollywood elites do not seem to understand this, however.

Gunn, who directed the new Superman movie, described the feature as a metaphor for American values. “Superman is the story of America,” Gunn said in an interview with The Times of London. “An immigrant that came from other places and populated the country, but for me it is mostly a story that says basic human kindness is a value and is something we have lost.”

His words spurred a furious reaction from the American right. “We don’t go to the movie theatre to be lectured to and to have somebody throw their ideology onto us,” Kellyanne Conway, former senior counsellor to President Trump, said on Fox News.

The recent American tendency to hyper-politicise film and slot all movies into either “woke” or “anti-woke” categories does not bode well for these kinds of tentpole blockbusters that, in days of yore, would attract audiences of all political stripes.

Superhero movies are an optimistic as well as a nationalistic genre — their primary message is that America, and the liberal order in general, are worth defending. But Americans no longer seem optimistic about the future, nor particularly attached to these ideological values. Fewer Americans seem to even believe in liberal pillars like democracy and multiculturalism — the kinds of things that superheroes typically fight for.

If we cannot seem to agree on what American values even are, it is understandable that we cannot agree on what kind of hero would embody the national spirit. Given these dispiriting political conditions, perhaps it is not super-surprising that Americans are not flocking to the superhero genre like they once did.

The views expressed in this article are the author’s own and do not necessarily reflect Al Jazeera’s editorial stance.

Added to the World Heritage list are two prisons: Tuol Sleng and M-13, as well as the execution site Choeung Ek.

Three notorious locations used by Cambodia’s brutal Khmer Rouge regime as torture and execution sites to perpetrate the genocide of Year Zero five decades ago have been added to UNESCO’s World Heritage list.

Two prisons and an execution site were inscribed on the list by the United Nations cultural agency on Friday during the 47th Session of the World Heritage Committee in Paris.

It coincided with the 50th anniversary of the rise to power by the communist Khmer Rouge, which caused the deaths of an estimated 1.7 million Cambodians through starvation, torture and mass executions during a four-year reign of violence from 1975 to 1979 before it was brought to an end by an invasion from neighbouring Vietnam.

UNESCO’s World Heritage list lists sites considered important to humanity and includes the Great Wall of China, the Pyramids of Giza in Egypt, the Taj Mahal in India and Cambodia’s Angkor archaeological complex.

Cambodian Prime Minister Hun Manet issued a message on Friday directing people to beat drums simultaneously across the country on Sunday morning to mark the UNESCO listing.

🔴 BREAKING!

New inscription on the @UNESCO #WorldHeritage List: Cambodian Memorial Sites: From centres of repression to places of peace and reflection, #Cambodia 🇰🇭.

➡️ https://t.co/seTyyVu3sT #47WHC pic.twitter.com/SPl7zlxeFh

— UNESCO 🏛️ #Education #Sciences #Culture 🇺🇳 (@UNESCO) July 11, 2025

“May this inscription serve as a lasting reminder that peace must always be defended,” Hun Manet said in a video message aired by state-run television TVK. “From the darkest chapters of history, we can draw strength to build a better future for humanity.”

Two sites added to the list are in the capital, Phnom Penh – the Tuol Sleng Genocide Museum and the Choeung Ek Genocide Centre.

Tuol Sleng is a former high school that was converted into a notorious prison known as S-21, where an estimated 15,000 people were imprisoned and tortured.

Today, the site is a space for commemoration and education, housing the black-and-white mugshots of its many victims and the preserved equipment used by Khmer Rouge tormentors.

The UNESCO inscription was Cambodia’s first nomination for a modern and non-classical archaeological site and is among the first in the world to be submitted as a site associated with recent conflict, Cambodia’s Ministry of Culture and Fine Arts said in a statement on Friday.

‘The Killing Fields’

Choeung Ek – a former Chinese cemetery – was a notorious “killing field” where S-21 prisoners were executed nightly. The story of the atrocities committed there is the focus of the 1984 film “The Killing Fields”, based on the experiences of New York Times photojournalist Dith Pran and correspondent Sydney Schanberg.

More than 6,000 bodies were exhumed from at least 100 mass graves at the ground in the early 1980s, according to Cambodian government documents filed with UNESCO.

Every year, hundreds hold remembrance prayers in front of the site’s memorial displaying victims’ skulls, and watch students stage dramatic re-enactments of the Khmer Rouge’s bloody crimes.

Another prison site, known as M-13 and located in a rural area in central Kampong Chhnang province, was one of the most important prisons of the early Khmer Rouge, where its cadres “invented and tested various methods of interrogation, torture and killing” but is today only a patch of derelict land.

A special tribunal sponsored by the UN, costing $337m and working over 16 years, only convicted three key Khmer Rouge figures, including S-21 chief torturer Kaing Guek Eav, before ceasing operations in 2022.

Pol Pot, leader of the Khmer Rouge regime, died in 1998 before he could be brought to trial.

UN cultural organisation this week announces its choice of sites to be granted World Heritage status.

The United Nations cultural organisation has added a remote Aboriginal site featuring one million carvings that potentially date back 50,000 years to its World Heritage list.

Located on the Burrup peninsula in Western Australia, Murujuga is home to the Mardudunera people, who declared themselves “overjoyed” when UNESCO gave the ancient site a coveted place on its list on Friday.

“These carvings are what our ancestors left here for us to learn and keep their knowledge and keep our culture thriving through these sacred sites,” said Mark Clifton, a member of the Aboriginal delegation meeting with UNESCO representatives in Paris.

Environmental and Indigenous organisations argue that the presence of mining groups emitting industrial emissions has already caused damage to the ancient site.

Benjamin Smith, a rock art specialist at the University of Western Australia, said Murujuga was “possibly the most important rock art site in the world”, but that mining activity was causing the rock art to “break down”.

“We should be looking after it,” he said.

Australian company Woodside Energy, which operates an industrial complex in the area, told news agency AFP that it recognised Murujuga as “one of Australia’s most culturally significant landscapes” and that it was taking “proactive steps … to ensure we manage our impacts responsibly”.

Delegation leader Raelene Cooper said the UNESCO listing sent “a clear signal to the Australian Government and Woodside that things need to change”.

Making the UNESCO’s heritage list does not in itself trigger protection for a site, but can help pressure national governments into taking action.

African heritage boosted

Cameroon’s Mandara Mountains and Malawi’s Mount Mulanje were also added to the latest edition of the UNESCO World Heritage list.

UNESCO Director-General Audrey Azoulay has presented Africa as a priority during her two terms in office, although the continent remains underrepresented.

The Diy-Gid-Biy landscape of the Mandara Mountains, in the far north of Cameroon, consists of archaeological sites, probably created between the 12th and 17th centuries.

Malawi’s Mount Mulanje, in the south of the country, is considered a sacred place inhabited by gods, spirits and ancestors.

UNESCO is also considering applications from two other African countries, namely the Gola Tiwai forests in Sierra Leone and the biosphere reserve of the Bijagos Archipelago in Guinea-Bissau.

On Friday, UNESCO also listed three notorious Cambodian torture and execution sites used by the Khmer Rouge regime to perpetrate genocide 50 years ago.

Made in Palestine is a documentary short set inside the Hirbawi textile factory, the last remaining producer of the traditional Palestinian keffiyeh in Hebron, in the occupied West Bank.

Run by three brothers, the sons of founder Hajj Yasser Hirbawi, the family business has preserved this craft since 1961. But the brothers say the factory is more than just a workplace.

It’s a living symbol of resistance, memory and pride, woven deep into Palestinian heritage and identity.

A film by Mariam Dwedar.

Germany shattered the world record for largest string orchestra as 1,353 musicians performed Beethoven’s “Ode to Joy.” The intergenerational event brought together players of all ages, beating the previous record set in Hong Kong in 2018.

Thousands of daredevils ran, skidded and tumbled out of the way of six charging bulls at the opening run of the San Fermin festival in Spain.

Monday was the first of nine morning runs during the famous celebrations held in the northern Spanish city of Pamplona.

The bulls pounded along the twisting cobblestone streets after being led by six steers. Up to 4,000 runners take part in each bull run, which takes place over 846 metres (2,775 feet) and can last three to four minutes.

Most runners wear the traditional garb of white trousers and shirt with a red sash and neckerchief. The expert Spanish runners try to sprint just in front of the bulls’ horns for a few death-defying seconds while egging the animals on with a rolled newspaper.

Thousands of spectators watch from balconies and wooden barricades along the course. Millions more follow the visceral spectacle on live television.

While goring is not rare, many more people are bruised and injured in falls and pile-ups with each other. Medics rush in to treat the injured and take the seriously hurt to a hospital.

Unofficial records say at least 15 people have died in the bull runs over the past century. The deadliest day on record was July 13, 1980, when four runners were killed by two bulls. The last death was in 2009.

The rest of each day is for eating, drinking, dancing, and cultural entertainment, including bullfights, in which the animals that run in the morning are slain in the bullring by professional matadors each afternoon.

The festival was made internationally famous by Ernest Hemingway’s classic 1926 novel, The Sun Also Rises, about American bohemians wasting away in Europe.

It’s July 4, and the country is gearing up to celebrate 249 years of independence from British rule with fireworks, beer and hot dogs. The month of July also marks nearly six months since President Trump took office and embarked on — among many other pursuits — a project to remake arts and culture in America into a set of ideas and ideals more closely resembling his own.

So many steps were taken so quickly toward a MAGA agenda for the arts that it is both helpful and worthwhile to look back on all that has happened since Jan. 20, when after being sworn in Trump issued a raft of executive orders including one titled “Defending Women from Gender Ideology Extremism and Restoring Biological Truth to the Federal Government,” which prompted the National Endowment for the Arts to review its grants in order to ensure that funds were not being used for projects deemed to promote “gender ideology.”

That same day Trump signed another executive order, “Ending Radical And Wasteful Government DEI Programs And Preferencing,” that resulted in the Smithsonian Institution shuttering its diversity offices. After that, the administration was off and running toward the end zone.

Here is timeline of Trump’s biggest, boldest, most controversial moves in American arts and culture:

Jan. 20: Trump dissolves the President’s Committee on the Arts and the Humanities, established by President Ronald Reagan in 1982 to advise on issues of cultural and artistic import. This surprised almost no one (Lady Gaga was its chair, and George Clooney and Shonda Rhimes were members), but it was an early sign of bigger changes to come.

Feb. 7: Trump takes to Truth Social to post the Truth that shook the arts world and broke the internet: “At my direction, we are going to make the Kennedy Center in Washington D.C., GREAT AGAIN. I have decided to immediately terminate multiple individuals from the Board of Trustees, including the Chairman, who do not share our Vision for a Golden Age in Arts and Culture. We will soon announce a new Board, with an amazing Chairman, DONALD J. TRUMP!”

Feb. 12: Trump’s newly appointed Kennedy board members make good on Trump’s Truth Social promise and appoint Trump chairman after firing its longtime president, Deborah F. Rutter. Trump names a former ambassador to Germany, Richard Grenell, as interim executive director and promises to make the Kennedy Center “a very special and exciting place!” TV producer Shonda Rhimes, musician Ben Folds and opera star Renée Fleming all step away from roles working with the center.

Feb. 20: Longtime Trump ally Steve Bannon told a CPAC crowd in Washington, D.C. that the J6 Prison Choir — composed of men jailed after the riot at the Capitol on Jan. 6, 2021 — would perform at the Kennedy Center. A rep for the center said, not so fast.

Feb. 26: The Washington Post reports on a pair of cancellations resulting from Trump’s orders that raise red flags for arts groups across the country. One is the cancellation of a U.S. Marine Band performance featuring high school students of color. The other is an exhibit featuring Black and LGBTQ+ artists at the Art Museum of the Americas.

Week of March 3: The Trump administration moves to fire workers with the General Services Administration, who were tasked with preserving and maintaining more than 26,000 pieces of public art owned by the federal government, including work by Millard Sheets, Ed Ruscha, Ray Boynton, Catherine Opie, M. Evelyn McCormick, James Turrell and Edward Weston. The future care and preservation of these artworks is cast into doubt.

March 14: Trump’s executive order, “Continuing the Reduction of the Federal Bureaucracy,” proposes the elimination of the Institute of Museum and Library Services, which also threatens museum libraries.

March 17: Trump pays his first visit to the Kennedy Center as chairman. He trashes the former management, saying the center has fallen into disrepair. He also expresses his distaste for the musical “Hamilton,” (which canceled its upcoming run of shows at the center after Trump’s takeover) and praises “Les Misérables.”

Late March: A Kennedy Center contract worker strips nude in protest of Trump’s takeover and is promptly fire, and prominent musicians, including Hungarian-born pianist András Schiff and German violinist Christian Tetzlaff, cancel shows in the United States. Tetzlaff told the New York Times that while in America he felt “like a child watching a horror film.”

March 27: Trump issues an executive order, “Restoring Truth and Sanity to American History,” which directs Vice President JD Vance to remove “improper ideology” from the Smithsonian’s 21 museums and the National Zoo in Washington, D.C. and vows to end federal funding for exhibitions and programs based on racial themes that “divide Americans.”

April 2: Under the orders of Elon Musk’s DOGE, the National Endowment for Humanities begins sending letters to museums across the country canceling grants, some of which had already been spent.

April 29: Trump fires U.S. Holocaust Memorial Museum board members picked by former President Joe Biden, including former Second Gentleman Doug Emhoff.

Early May: Arts organizations across the country begin receiving news of grant cancellations issued by the National Endowment for the Arts. The emails read, in part, “The NEA is updating its grantmaking policy priorities to focus funding on projects that reflect the nation’s rich artistic heritage and creativity as prioritized by the President.”

May 30: Trump announces on Truth Social that he’s firing Kim Sajet, the longtime director of the Smithsonian’s National Portrait Gallery — and the first woman to hold the role — for being “a highly partisan person, and a strong supporter of DEI.” Critics quickly respond that the president does not hold that power since the Smithsonian is managed by a Board of Regents and is not under the control of the executive branch. A little more than a week later, the Smithsonian asserts its independence and throws its support behind its secretary Lonnie G. Bunch. A few days later, Sajet steps down from her role of her own accord.

I’m arts and culture writer Jessica Gelt, still reeling from just how much has happened in six short months. Here’s this weekend’s arts and culture roundup.

Best bets: On our radar this week

Mary Pickford, one of the many stars featured in the Hollywood Heritage Museum’s exhibition, “From Famous Players-Lasky to Paramount: The Rise of Hollywood’s Leading Ladies.”

(Associated Press)

From Famous Players-Lasky to Paramount: The Rise of Hollywood’s Leading Ladies
The movie industry was built on star power, and women were at the forefront from the earliest days. A new exhibit at the Hollywood Heritage Museum celebrates actors such as Mary Pickford, Gloria Swanson and Pola Negri, who blazed a trail for those who followed, leveraging their fame and gaining creative control over their careers within studio mogul Adolph Zukor’s growing cinematic empire. The show includes costumes, props, personal items and ephemera used by the stars. The museum building, the Lasky-DeMille Barn, was the birthplace of Jesse L. Lasky’s Feature Play Company, which merged with Zukor’s Famous Players Film Company in 1916 before evolving into Paramount Pictures.
Open Saturdays and Sundays. 11 a.m.-3 p.m. Hollywood Heritage Museum, 2100 Highland Ave. hollywoodheritage.org

Michael Frayn’s madcap backstage comedy “Noises Off” plays the Old Globe Theatre in San Diego starting July 6.

(Ben Wiseman)

‘Noises Off’
James Waterston, Michelle Veintimilla and the virtuoso Jefferson Mays star in the Old Globe Theatre’s revival of Michael Frayn’s classic backstage comedy. The play, the forerunner of such slapstick stage works as “The Play That Goes Wrong,” revolves around a British theater’s touring production of a fictional sex romp called “Nothing On,” in which anything that can go badly does. As modern farces go, Times theater critic Charles McNulty wrote that Frayn’s play is “not only one of the funniest but may also be the most elegantly conceived.” Popular among regional theaters, the play was staged earlier this year at the Geffen Playhouse.
Sunday through Aug. 3. Opening night, July 11. Old Globe Theatre, 1363 Old Globe Way, San Diego. theoldglobe.org

Paul Simon, shown here performing in Central Park in New York in 2021, plays the Terrace Theater in Long Beach and Walt Disney Concert Hall in downtown L.A.

(Evan Agostini / Invision)

Paul Simon
Though a recent back injury required surgery and resulted in the cancellation of two shows, America’s troubadour is scheduled to bring his “A Quiet Celebration” tour to the Terrace Theater in Long Beach and downtown L.A.’s Walt Disney Concert Hall next week. Simon has been opening recent shows with a performance of his 2023 album “Seven Psalms,” a 33-minute song suite on aging and mortality, before turning to his diverse six-decades-plus catalog of music. In reviewing the then-76-year-old singer-songwriter’s 2018 Hollywood Bowl show, Times music critic Mikael Wood presciently noted that, despite it being billed as a “farewell show,” this did not seem like someone who was ready to hang up their guitar. “It was Simon’s searching impulse, still so alive in this show, that made it hard to believe he’s really putting a lid on it. Start saving for the comeback tour now.”
8 p.m. Tuesday. Terrace Theater at the Long Beach Convention Center, 300 E. Ocean Blvd., Long Beach;
8 p.m. Wednesday, July 11, 12, 14 and 16. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. tour.paulsimon.com

Patrons enjoy an evening at the Hollywood Bowl.

(LA Phil)

Prokofiev and Pride at the Bowl
The Los Angeles Philharmonic has two shows at the Hollywood Bowl next week that demonstrate the ensemble’s eclectic range. On Tuesday, Thomas Søndergård conducts Prokofiev’s Fifth, preceded by Coleridge-Taylor’s “Ballade in A minor, Op. 33” and “Rhapsody on a Theme of Paganini” by Rachmaninoff. Two days later, the group, conducted by Oliver Zeffman, celebrates Classical Pride with a program curated by Zeffman. It opens with Bernstein’s “Overture to ’Candide’” and closes with Tchaikovsky’s “Francesca da Rimini,” but the heart of the show brings together contemporary LGBTQ+ artists including vocalists Pumeza Matshikiza, Jamie Barton and Anthony Roth Costanzo for the world premiere of Jake Heggie’s song cycle “Good Morning, Beauty,” featuring lyrics by Taylor Mac; a performance of Jennifer Higdon’s “blue cathedral”; and a set of comedy, music and reflection from violinist and drag performance artist Thorgy Thor of “RuPaul’s Drag Race.”
Prokofiev’s Fifth, 8 p.m. Tuesday; Classical Pride, 8 p.m. Thursday. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com

Culture news

Executive and Artistic Director Thor Steingraber of the Soraya will step down in 2026.

(Luis Luque)

Thor Steingraber, executive and artistic director of the Soraya, announced he is stepping down after 12 years following the end of the 2025-26 season. In a letter to patrons, Steingraber wrote, “I’m not stopping, but rather am pivoting to new opportunities.” He previously directed opera for many years at L.A. Opera, San Francisco Opera, Lincoln Center and venues around the world, and he held leadership roles at the Kimmel Center in Philadelphia and the Los Angeles Music Center. Steingraber went on to thank his Soraya and CSUN colleagues, the many artists he’s worked with and supporters of the Soraya, including Milt and Debbie Valera and to the Nazarian family. No successor has been named.

For the first time since the 1912 Salon d’Automne in Paris, a rare Diego Rivera portrait is on exhibit, and fortunately for us, it’s at the Huntington Art Museum in San Marino. The painting is of Señor Hermenegildo Alsina, a Catalan bookbinder, photographer, publisher and close friend of Rivera. “This is a rare, early Rivera, from his European years, before he returned to Mexico and became synonymous with the muralist movement,” said the Art Museum’s director, Christina Nielsen, in the press release. “It’s elegant, formal, and very unlike the Rivera most people know.”

“Initial H: The Nativity,” a 15th century Italian manuscript leaf recently gifted to the J. Paul Getty Museum.

(Getty Museum, Gift of T. Robert and Katherine States Burke)

The J. Paul Getty Museum announced a gift of rare Italian manuscript illuminations last week. The collection of 38 manuscript leaves were donated by T. Robert Burke and Katherine States Burke. The works were made by the most prominent artists of the 14th and 15th centuries, including Lorenzo Monaco, Don Silvestro dei Gherarducci, Lippo Vanni, Giovanni di Paolo and Sano di Pietro. They depict religious scenes primarily drawn from the lives of Jesus, Mary and the saints and largely originated from Christian choir books. The donation also includes “Initial H: The Nativity,” made around 1400 by the prolific Don Simone Camaldolese. “The exceptional quality of the Burke Collection will radically change the Getty Museum’s ability to tell the story of Italian illumination,” said Elizabeth Morrison, senior curator of manuscripts at the Getty Museum, in a press release. The new pages will be available through the Getty Museum’s collection online once they are digitized.

The SoCal scene

Kamasi Washington, right, performs in the David Geffen Galleries at the Los Angeles County Museum of Art.

(Allen J. Schaben / Los Angeles Times)

The Los Angeles County Museum of Art held its first event Thursday night inside the Peter Zumthor-designed David Geffen Galleries last week. The new building may still be empty, but jazz saxophonist Kamasi Washington and more than 100 musicians filled it with a sonic work of art. Times classical music critic Mark Swed was there and found the experience captivating: “Washington’s ensembles were all carefully amplified and sounded surprisingly liquid, which made walking a delight as the sounds of different ensembles came in and out of focus. … The whole building felt alive.” Times photographer Allen J. Schaben was also there to capture the visuals.

The new David Geffen Galleries building was built in a Brutalist style.

(Christopher Knight / Los Angeles Times)

As far as the building itself, Times art critic Christopher Knight is less than enthusiastic, writing, “Zumthor and LACMA Director Michael Govan pronounce the new Geffen building to be ‘a concrete sculpture,’ which is why it’s being shown empty now. The cringey claim is grandiose, and it makes one wonder why being architecture is not enough. If it’s true, it’s the only monumental sculpture I know that has a couple of restaurants, an auditorium and a store. Apparently, an artistic hierarchy exists, with sculpture ranked above architecture.”

Jake Brasch’s “The Reservoir,” currently at the Geffen Playhouse, is about a queer Jewish theater student back home in Denver while on medical leave from NYU. Josh, the protagonist, is also battling alcoholism, trying to fix himself by attending to his four grandparents. In his review, Times theater critic Charles McNulty wrote that his patience ran thin with the play, “not because I didn’t sympathize with [Josh’s] struggles. My beef was that he sounded like an anxious playwright determined to string an audience along without forced exuberance and sitcom-level repartee. (Compare, say, one of Josh’s rants with those of a character in a Terrence McNally, Richard Greenberg or Jon Robin Baitz comedy, and the drop off in verbal acuity and original wit will become crystal clear.)”

— Kevin Crust

And last but not least

She Thought Lady Gaga Bought Her Art. Then Things Got Strange.

In a coffee city like Los Angeles, it’s no surprise that many coffee shops, teahouses and cafes take creativity to the next level. The sweet syrups and aesthetic latte art that marked our entry into customizable coffee culture were only the beginning — springboards for today’s caffeine scene where different flavors of fluffy cream tops and unique toppings, from sugar rims to cob-shaped corn ice cream, draw crowds to shops across the city.

Here, dramatic drinks take inspiration from a wealth of cultures and cuisines, from East Asian cafes and bubble tea shops where add-ons are the star to third-wave coffee shops highlighting flavors from around the world.

“We wanted something on the menu that was kind of a destination drink,” said Max Rand, the owner of Good Friend, a coffee shop that opened in East Hollywood last year. “That’s become a really popular thing in L.A. especially: something that people will go out of their way for, will drive across town for. It has to be interesting enough for someone to go out of their way to try it.”

Extravagant drinks aren’t always a hit — too many add-ons and the delicately bitter flavor of matcha disappears. Adding whipped cream and other flourishes can muddle the tasting notes that coffee roasters work so hard to highlight. Finding the sweet spot is difficult.

Achieving that balance — high-quality ingredients and processes complemented by unique flavors and presentation — is what makes a baroque beverage a winner. From coffee infused with yuzu to milky mango topped with matcha mousse, these are our favorite over-the-top drinks that taste just as good as they look.

SEOUL. June 30 (UPI) — North Korean leader Kim Jong Un met with visiting Russian Culture Minister Olga Lyubimova in Pyongyang as the two countries continue to strengthen bilateral ties, the North’s state-run media reported Monday.

The meeting took place on Sunday at the headquarters of the ruling Workers’ Party of Korea’s Central Committee and was also attended by Russian Ambassador to North Korea Alexandr Matsegora, the official Korean Central News Agency reported.

Lyubimova led a ministry delegation to mark the first anniversary of the countries’ comprehensive strategic partnership treaty, under which North Korea has sent troops and weapons to Moscow to aid in its war against Ukraine.

Kim said that “extensive and profound exchanges and cooperation in all fields are further expanding and developing day by day” in the wake of the partnership, according to KCNA.

“It is important for the cultural sector to guide the relations between the two countries,” he said. “It is necessary to further expand the exchange and cooperation in the field of culture and art to know well about each other’s excellent cultural traditions and learn more.”

Lyubimova said her visit came at a time when the “solidity and invincibility of the DPRK-Russia friendship and solidarity are being more clearly proved,” KCNA reported.

The Democratic People’s Republic of Korea is the official name of North Korea.

“Cooperation between the two countries in the cultural field has reached the highest level in history,” she added.

The two discussed future plans for cultural exchanges and attended a concert by North Korean musicians and a visiting troupe of Russian performers, the KCNA report said.

Photos released by KCNA showed images of North Korean troops deployed to Russia used as a stage backdrop.

North Korea has sent some 14,000 troops to help Russia recapture lost territory in Kursk Province from Ukrainian forces, according to a recent report from the 11-country Multilateral Sanctions Monitoring Team. Pyongyang acknowledged sending the troops for the first time in April.

The cultural meeting came on the heels of a pair of visits by Russia’s Security Council Secretary Sergei Shoigu this month.

On June 18, Shoigu announced that North Korea would send 6,000 military workers and combat engineers to help rebuild the Kursk region.

North Korea is likely to send additional troops to support Russia’s war against Ukraine in July or August, South Korea’s National Intelligence Service told lawmakers in a closed-door meeting on Thursday.

Only seven pages in, John Birdsall offers a conclusion to the question that titles his book, “What Is Queer Food?”

It’s a subject that has consumed him for decades, as a restaurant cook in the Bay Area and then as a journalist and author. In the last dozen or so years — when food media began more honestly grappling with identity and diversity in its subjects, and also with who is given opportunities to tell those stories — Birdsall won national awards for feats like his groundbreaking piece, “America, Your Food Is So Gay.”

The queering of American food

“Still, saying what queer food was on a granular level kept eluding me,” he writes in his new work, published this month. “Lots of us could say that queer food, like desire, exists, but nobody could definitely point through what is was.”

Drag-brunch eggs benedict? Rainbow cookies? Intentional diet choices? Suggestively shaped edible schtick?

“It shouldn’t have taken me as long as it did,” he accedes, “but at last I accepted the obvious truth that queer food is not a commodity. There is no essentialized cuisine of queerness, any more than there’s one simple answer for what it means to be queer.”

Acceptance is a doorway. He is freed to spend the rest of the book coupling meticulous research and gorgeous prose to illuminate lives that, in ways indirect and overt, shaped who we are as a culinary nation.

There’s Harry Baker, a man who flees from a sullied life in Ohio to Los Angeles and who, true to his name, develops a style of cake that becomes the de-facto dessert of young Hollywood; later it well be reworked and homogenized as a signature recipe for General Mills. There’s Esther Eng, an early 20th-century film auteur, her movies now mostly lost, whose fluency with the group dynamics of creating cinema translates to a second act as a New York restaurateur. In her masculine clothes and bluntly cropped hair, she is at once successful and invisible.

John Birdsall, author of “What Is Queer Food?”

(Courtesy of Rachel Marie Photography)

Birdsall notes that Craig Claiborne, then food editor of the New York Times and the father of modern American restaurant criticism, reviewed Eng’s self-named restaurant in the 1960s. Claiborne used his platform to push dining and cooking toward their current cultural status in the United States. Privately he was far more tragic — “haunted,” to use Birdsall’s word, by his difficult Southern childhood and misguided in a mess of a memoir published in 1983, 17 years before his death at 79.

Birdsall does not abide counterfeit joy. He narrates lives shaped by society’s denials, prejudices and punishments, and he lays their suffering bare. Some (among them Alice B. Toklas, James Baldwin and Richard Olney, one of my all-time favorite cookbook authors) know to leave the country to love in greater peace.

Where delight comes easy is in Birdsall’s prose. He took the narrative lessons he learned from his 2020 biography of James Beard, “The Man Who Ate Too Much,” to tighten the intricate threads of this opus. Characters that appear early in the book return for lightbulb impact. No strand dangles. Even when the reader feels his own rage — as when he veers into a personal story about making quiche for a Sunday open house in the storm-center of the AIDS crisis — his eloquence carries us through the bitterest aftertastes.

The past and present of gay restaurants

Birdsall centers his elucidation of queer culinary culture on people, and by extension the worlds around them. In “Dining Out: First Dates, Defiant Nights and Last Call Disco Fries at America’s Gay Restaurants,” also published this month, Erik Piepenburg shifts the focus to place.

His catalyst for his book: the accelerated disappearance of spaces by and for LGBTQ populations across America.

He opens with a requiem for a 24-hour diner in Chicago’s Lakeview neighborhood where he was a regular in the 1990s. “The Melrose was a gay restaurant because gay people made it one,” he begins. He watched older men share their meals and drag queens scarf bacon-and-cheese potato skins post performance, and took solace in blueberry silver dollar pancakes when chemistry fizzled with the guy across the table. The Melrose closed in 2017 after 56 years in business.

“When gay restaurants close, gay reliquaries empty of memory and meaning,” he writes. “Gone are favorite waitresses and go-to-meals, safe spaces and party places in the night’s last hours. For me and other gay people who love to eat out, losing a gay restaurant is a kind of dispossession.”

Erik Peipenburg, author of “Dining Out”

(Peter Larson)

Piepenburg traveled across the country throughout 2023, interviewing owners and customers of establishments still present and long gone. Chapters graft careful reporting with his own running commentary, at turns cheeky and poignant and angered by the tenuous state of gay rights and acceptance.

Some salute institutions like Annie’s Paramount Steak House in Washington D.C.; lesbian-feminist restaurant Bloodroot in Bridgeport, Conn.; and trans safe havens like Napalese Lounge and Grille in Green Bay, Wis. Others seek to debunk myths, including the supposed queer riot in 1959 at a downtown Los Angeles location of Cooper Do-nuts whose occurrence Piepenburg could find little hard evidence to support. To consider the future of gay dining, he considers two recently opened restaurants in Southern California: the Ruby Fruit in Silver Lake and Alice B. in Palm Springs.

Mara Herbkersman and Emily Bielagus, photographed in 2023, are owners of the Ruby Fruit, one of the restaurants mentioned in Erik Piepenburg’s book “Dining Out.”

(Brittany Brooks / For The Times)

Piepenburg has been writing for the New York Times for nearly 20 years, concentrating mostly on film (especially horror), television and theater. He is, in the most wonderful sense, not a food writer. He self-identifies as a “diner gay.” This is a work about history and, above all, community, not exalted poetry on the art of gastronomy.

What strikes me most about Piepenburg’s frame of reference is how explicitly and organically he twins the subjects of dining and sex. We rarely acknowledge the existence of sex in Food Writing. First, it’s the hardest subject to not be cringe about, and food and sex analogies usually land as ick. But also, most of us who cover restaurants are keenly aware of ugly power dynamics that went unspoken in male-dominated kitchens for decades, and the industry as a whole is in a slow but sustained corrective era.

The approach in “Dining Out” succeeds in its matter-of-factness. Lonely people congregate over holiday buffets in bathhouses. Men frequented — still frequent — certain gayborhood restaurants to cruise, to pose, to be themselves.

A bit of melancholy also winds through the book, as Piepenburg laments the “golden age” of gay restaurants that halted at the turn of the millennium, if not before, and also his own aging. Here is where I mention: I met the author 35 years ago, in my early college years before either of us was out, so I relate to his feelings on the passage of time. When in the book he references his ‘90s-era club kid days, sporting “shaggy wigs and carrying lunchboxes” at the Limelight in New York … I remember.

Of course, the release of Birdsall’s and Piepenburg’s books was planned for visibility during Pride month. Their merits, individual and collective, make for absorbing, enlightening reading far beyond 30 days of designated LBGTQ recognition.

Also …

Ceramicist Michael Frimkiss — who was born to a Jewish family in Boyle Heights in 1937 — died on Feb. 28 at 88, leaving a uniquely L.A. legacy of classical clay creations, as well as a family of artists in his wake.

Frimkiss’ wife is the Venezuelan-born ceramicist Magdalena Suarez Frimkess, who, received her first major museum retrospective last year at 95 at the Los Angeles County Museum of Art. His grandchildren — Sachi and Louie Moskowitz — are also artists. Born to Lelia Moskowitz, Frimkiss’ daughter from his first marriage, the Moskowitz siblings are currently staging an exhibition through July 27 titled “Made to Last” at Arcane Space gallery in Venice. Sachi is a ceramicist, like her grandfather, and Louie is a photographer.

The show is, in part, a tribute to Frimkiss and a nod to the artistic impulse passed down in the family through the generations.

As the family patriarch, Frimkiss distinguished himself as a uniquely Southern California artist who infused traditional clay vessels with pop culture aesthetics and cutting-edge social commentary.

Frimkiss’ father was also an artist who made his mark working in graphic design. He and his wife encouraged their son’s interest in art from an early age. After graduating from Hollywood High, Frimkiss won a scholarship to the school that would become known as Otis College of Art and Design. It was an exciting time for ceramics, with Peter Voulkos and his students creating a new Abstract Expressionist language for the art form.

An undated photo of ceramicist Michael Frimkiss.

(Lelia Moskowitz)

In a 2000 interview with The Times, Frimkiss talked about how a peyote trip in 1956 ended with his decision to pursue the art of ceramics: “He describes being awake for 24 hours, then having a vision like ‘a glow in my forehead.’ What he saw was material being shaped into a vessel, a process that he had glimpsed at Otis but never tried. ‘I thought, that must be pottery. I must be throwing pots. That’s the answer,’ he says.”

Frimkiss went on to work in a ceramics factory in Italy, before moving back to L.A. In 1963 he met and married Magdalena, and the couple settled into a home and studio near Venice Beach. Frimkiss’ life was marked by a difficult decades-long battle with multiple sclerosis, but he went on to define himself as an iconoclastic artist noted for a no-water throwing technique that created wafer-thin pots with inimitable qualities.

Frimkiss’ work is in the Smithsonian, the Museum of Fine Arts, Boston and the Museum of Modern Art in Kyoto, among others.

I’m arts and culture writer Jessica Gelt looking to get my hands in some clay. Here’s this week’s arts and culture rundown.

Best bets: On our radar this week

Jacqueline Misaye as Rosaline and Brent Charles as Berowne star in the Independent Shakespeare Co.’s outdoor production of William Shakespeare’s “Love’s Labour’s Lost.”

(Mike Ditz)

‘Love’s Labour’s Lost’
Romance is in the air as the Independent Shakespeare Co. launches its annual Griffith Park Free Shakespeare Festival. Four young gentlemen’s vow to devote themselves to the chaste study of academics is derailed by the arrival of four fetching noblewomen in the comedy “Love’s Labour’s Lost.” Catch the final preview tonight or attend Saturday’s opening night. The festival second show, the Elizabethan tragedy, “Doctor Faustus” by Christopher Marlowe, debuts Aug. 6.
Wednesdays, Thursdays, Fridays, Saturdays and Sundays through July 27 (except July 4). Outdoors at the Dell at the top of the Old Zoo, Griffith Park. indieshakes.org

Kamasi Washington brings jazz to the new David Geffen Galleries at the Los Angeles County Museum of Art.

(Illustrations by Lindsey Made This; photograph by Jeff Kravitz / FilmMagic)

Kamasi Washington Live
The jazz saxophonist and composer leads an ensemble 100-strong performing Washington’s six-movement suite, “Harmony of Difference,” in its entirety for the first time. The second two nights of a sold-out three-night stand (sign up for ticket availability alerts) marking the public’s first opportunity to visit the Los Angeles County Museum of Art’s new David Geffen Galleries prior to the installation of art. The Times will have boots on the ground reporting on the experience.
7 p.m. Friday and Saturday. David Geffen Galleries, Los Angeles County Museum of Art, 5905 Wilshire Blvd. lacma.org

‘Tombstone’
This premiere of a new 4K restoration of director George P. Cosmatos’ 1993 western about Wyatt Earp and that notorious shootout at the O.K. Corral also serves as tribute to actor Val Kilmer, who died earlier this year. The actor’s portrayal of John Henry “Doc” Holliday, which former Times film critic Peter Rainer called “a classic camp performance,” is one of the key reasons for the film’s longevity as a cult classic. Kurt Russell stars as Earp, with Bill Paxton and Sam Elliott as his brothers Morgan and Virgil.
7 p.m. Saturday. Academy Museum, David Geffen Theater, 6067 Wilshire Blvd. academymuseum.org

Takako Yamaguchi
In the third of its relaunched “MOCA Focus” exhibitions, which present an artist’s first solo museum show in Los Angeles, the institution turns its attention to the 72-year-old Japanese-born painter, whose appropriation of diverse imagery challenges ideals of ethnic identity and cultural ownership. The show features “archly stylized” oil-and-bronze-leaf seascapes that bring together her highly-crafted sense of “Eastern” and Western,” developed over 40 years. “The L.A.-based Yamaguchi either presents the canvas as if a sculptural element itself, painted with ridges and creases and layers of depth, or treats it as a neutral surface upon which she renders a form atop (parallelogram, eye, grid of circles), as though in shallow relief,” wrote Times contributor Leah Ollman in a 2019 review. “As she plays with illusion and dimension, these highly reduced images open up, their formal distillation yielding conceptual complexity.”
Sunday through Jan. 4. Museum of Contemporary Art, 250 S. Grand Ave., downtown L.A. moca.org

Tom Hulce in the Oscar-winning 1984 film “Amadeus.”

(Orion Pictures)

Ultra Cinematheque 70 Fest
Milos Forman’s “Amadeus,” Mel Brooks’ “Spaceballs,” John McTiernan’s “Die Hard” and Ivan Reitman’s “Ghostbusters” headline this summer’s edition of the American Cinematheque homage to large-format films. The monthlong, 33-film series kicks off with Stanley Kubrick’s “2001: A Space Odyssey,” screening at 7:30 p.m. Thursday and Friday at the Aero. The festival wraps Aug. 4 with Paul Thomas Anderson’s “The Master,” also at the Aero.
Thursday through Aug. 4. Aero Theatre, 1328 Montana Ave., Santa Monica; Egyptian Theatre, 6712 Hollywood Blvd. americancinematheque.com

Yankee Dawg You Die
East West Players present a new production of Philip Kan Gotanda’s 1988 play about the challenges faced by Asian American actors in Hollywood, which, unfortunately, remains very timely. Jennifer Chang directs Kelvin Han Yee and Daniel J. Kim as two performers who meet at very different junctures in their respective careers. In a 2001 review of an earlier EWP revival, former Times staff writer Daryl H. Miller called the play, “gently comic and quietly powerful.”
Thursday through July 27. The David Henry Hwang Theater, 120 N. Judge John Aiso St., Little Tokyo. eastwestplayers.org

Culture news

LACMA has acquired Jeff Koons’ topiary “Split-Rocker,” pictured at Rockefeller Plaza in New York City.

(Tom Powel)

The Los Angeles County Museum of Art announced the acquisition of Jeff Koons’ monumental topiary sculpture “Split-Rocker” to anchor the east side of the campus at the new David Geffen Galleries building. The 37-foot-tall living sculpture, created in 2000, is designed to nurture more than 50,000 flowering plants. “I couldn’t be more thrilled than to have a piece of floral work in Los Angeles where — horticulturally — there’s such a wide variety of plants that can be used in its creation,” Koons said in a phone interview with Times staff writer Jessica Gelt from his New York studio. “I hope people going back and forth on Wilshire Boulevard, and people visiting the museum, are able to enjoy and experience the change in the piece.” The project will be seeded in August with the hope that it will be fully established by April, when architect Peter Zumthor’s new poured concrete building is scheduled to open to the public.

Anaheim police have located two giant sculptures valued at a combined $2.1 million that were stolen from an Anaheim Hills warehouse reports Times staff writer Andrew J. Campos. The theft of the pieces, “Icarus Within” and “Quantum Mechanics: Homme,” by artist and filmmaker Daniel Winn, apparently happened June 14 or 15 and were recovered a week later in a trailer parked at an Anaheim residence, according to police. Composed of thousands of pounds of bronze and stainless steel, the sculptures typically require “about a dozen men and two forklifts to move” Winn said. “This is not an easy task.” No arrests have been made.

Italian artist Arnaldo Pomodoro died at home in Milan on June 22, the eve of his 99th birthday. A renowned sculptor whose art was publicly displayed around the world, including at the LADWP’s John F. Ferraro Building downtown, Pomodoro’s most famous works involved large “wounded” spheres made of bronze. He taught at Stanford University, UC Berkeley and Mills College in the 1960s and his “Rotante dal Foro Centrale,” part of the “Sfera con Sfera” series, can be found at the west entrance of the Berkeley campus.

The SoCal scene

James Van Der Zee, “Untitled,” 1927, gelatin silver print

(J. Paul Getty Museum)

“Queer Lens: A History of Photography,” the J. Paul Getty Museum’s newest exhibition, “is provocative and important, and the timing packs a wallop,” according to Times art critic Christopher Knight in his review of the show. The survey contains more than 270 works from the last two centuries and examines the ways “cameras transformed the expression of gender and sexuality.” Well-known artists such as Berenice Abbott, Anthony Friedkin, Robert Mapplethorpe, Man Ray and Edmund Teske are featured alongside many unknowns. “These days,” wrote Knight, citing the present anti-LGBTQ+ fervor in statehouses across the country and Washington, D.C., “the Getty is probably the only major art museum in America that could open an exhibition like ‘Queer Lens.’ Others wouldn’t dare.”

The Tony-winning revival of “Parade” tells the story of Leo Frank, a Jewish man in Georgia, who in 1913 was convicted of murdering 13-year-old Mary Phagan in a gross miscarriage of justice. His sentence was later commuted by the governor, but Frank was kidnapped and lynched by an angry mob. “This dark chapter in American history might not seem suitable for musical treatment,” wrote Times theater critic Charles McNulty in his review of the production currently at the Ahmanson Theatre. “Docudrama would be the safer way to go, given the gravity of the material. But playwright Alfred Uhry and composer and lyricist Jason Robert Brown had a vision of what they could uniquely bring to the retelling of Frank’s story.”

It may be summer in L.A., but Times classical music critic Mark Swed found the dance scene in full bloom. “I sampled three very different dance programs last weekend at three distinctive venues in three disparate cities and for three kinds of audiences,” wrote Swed. “The range was enormous but the connections, illuminating.” In an expansive few days, he witnessed the Miami City Ballet’s production of “Swan Lake” at Segerstrom Hall in Costa Mesa; the American Contemporary Ballet performing George Balanchine’s modernist classic “Serenade,” alongside new work by the company’s founder, choreographer Lincoln Jones, on a soundstage at Television City in the Fairfax district; and violinist Vijay Gupta and dancer Yamini Kalluri combining Bach and Indian Kuchipudi dance at the 99-seat Sierra Madre Playhouse. Still to come, Boston Ballet makes its Music Center debut, dancing “Swan Lake” at Dorothy Chandler Pavilion this weekend; and the L.A. Phil’s “Tchaikovsky Spectacular with Fireworks,” July 18 at the Hollywood Bowl, will feature the San Francisco Ballet dancing excerpts from “Swan Lake” and Balanchine’s “Diamonds” Pas de Deux.

The Lucas Museum of Narrative Art in Los Angeles is under construction and is expected to open its doors in 2026.

(Myung J. Chun / Los Angeles Times)

In case you missed it, Times contributor Sam Lubell wrote about the landscape design of the Lucas Museum of Narrative Art, which is scheduled to open in 2026. “George Lucas and wife Mellody Hobson chose Mia Lehrer and her L.A. firm, Studio-MLA, to design the 11 acres of landscape around — and on top of — MAD Architects’ swirling, otherworldly, billion-dollar building,” wrote Lubell. “The driving forces behind the Lucas Museum made it clear that the landscape had to tell a story too.” That narrative is more than enhanced by the stunning photography of The Times’ Myung J. Chun.

“I like the idea of giving life to the objects I create,” ceramicist Rami Kim said in a recent interview with Times staff writer Lisa Boone. “They’re my imaginary friends.” Korean-born and raised, Kim attended CalArts, earned a master of fine arts from UCLA and later worked in the animation industry. She discovered clay while making figures for stop-motion animation. Drawn to the tactile sensation of the medium, Kim began working characters into various ceramic forms. “Built by hand, their faces emerge from planters, ceramic dishes and slip-cast mugs like the cast of an animated Hayao Miyazaki movie,” wrote Boone in a compelling profile about how the artist began creating custom animal figurines for clients, many of whom, like Kim, have lost their pets.

— Kevin Crust

And last but not least

Looking for a Saturday complement to the Essential Arts newsletter? Try our weekly books newsletter. Enjoy interviews with authors, such as this one with Susan Gubar, who spoke to Times contributor Marc Weingarten about her new book, “Grand Finales: The Creative Longevity of Women Artists” — which profiles seven creators who found a second wind in their advancing years — plus news about the latest releases, the local literary scene and our favorite bookstores.

BALTIMORE — A federal lawsuit could open a new chapter in an escalating legal battle in Maryland, where officials are struggling to address an unexpected onslaught of claims alleging child sexual abuse in state-run juvenile detention facilities.

With thousands of similar claims already pending in state court, the litigation has raised questions about how Maryland will handle the potential financial liability.

The new federal suit, filed Wednesday on behalf of three plaintiffs, seeks $300 million in damages — an amount that far exceeds caps imposed on claims filed in state court. It alleges Maryland juvenile justice leaders knew about a culture of abuse inside youth detention facilities and failed to address it, violating the plaintiffs’ civil rights.

A message seeking comment was left Thursday with the state’s Department of Juvenile Services. The department generally doesn’t comment on pending litigation. The Maryland Office of the Attorney General declined to comment.

An estimated 11,000 plaintiffs have sued in state court, according to the attorneys involved. Maryland Senate President Bill Ferguson said Wednesday that he believes negotiations for a potential settlement are ongoing between attorneys for the plaintiffs and the attorney general’s office. Officials have said the state is facing a potential liability between $3 billion and $4 billion.

Lawsuits started pouring in after a state law passed in 2023 eliminated the statute of limitations for child sexual abuse claims in Maryland. The change came in the immediate aftermath of a scathing investigative report that revealed widespread abuse within the Archdiocese of Baltimore. It prompted the archdiocese to file for bankruptcy to protect its assets.

But Maryland leaders didn’t anticipate they’d be facing similar budgetary concerns because of claims against the state’s juvenile justice system.

Facing a potentially enormous payout, lawmakers recently passed an amendment to limit future liabilities. The new law reduces caps on settlements from $890,000 to $400,000 for cases filed after May 31 against state institutions, and from $1.5 million to $700,000 for private institutions. It allows each claimant to receive only one payment, instead of being able to collect for each act of abuse.

Suing in federal court allows plaintiffs to sidestep those limits.

“Despite Maryland’s recent unconstitutional legislative efforts to insulate itself from liability for the horrific sexual brutalization of children in its custody, Maryland cannot run from liability under Federal law,” plaintiffs’ attorney Corey Stern said in a statement. “The United States Constitution was created for all of us, knowing that some would need protection from the tyranny of their political leaders.”

The three plaintiffs in the federal case allege they were sexually abused by staff at two juvenile detention centers. While other lawsuits have mainly presented allegations of abuse occurring decades ago, the federal complaint focuses on events alleged to have happened in 2019 and 2020. The plaintiffs were 14 and 15 years old.

The victims feared their sentences would be extended if they spoke out, according to the complaint. They accuse state officials of turning a blind eye to a “culture of sexual brutalization and abuse.”

Stern said he anticipates more federal claims will be forthcoming.

Skene writes for the Associated Press.

James Felgate / BBC

‘My heart sank’

‘Risk of exploitation’

The Benin Bronzes were artefacts stolen during the UK’s imperial plunder of Benin, modern-day southern Nigeria.

The Netherlands has officially handed back 119 ancient sculptures stolen from the former Nigerian kingdom of Benin more than 120 years ago during the colonial era.

Olugbile Holloway, director-general of Nigeria’s National Commission for Museums and Monuments, said on Saturday that the artefacts were the “embodiments of the spirit and identity of the people from which they were taken from”.

“All we ask of the world is to treat us with fairness, dignity and respect,” he said at a ceremony held at the National Museum in Lagos.

Holloway added that Germany had also agreed to return more than 1,000 additional pieces.

The artefacts, known as the Benin Bronzes, are the latest return of precious history to Africa as pressure increases on Western governments to return items taken during imperialism.

Four of the artefacts are on display in the museum’s courtyard and will remain in the museum’s permanent collection, while the others will be returned to the Oba of Benin, Ewuare II – the traditional ruler of the Kingdom of Benin in southern Nigeria.

The Benin Bronzes include metal and ivory sculptures dating back to the 16th to 18th centuries.

The items were stolen in 1897 when British forces, under the command of Sir Henry Rawson, ransacked the Benin kingdom – modern-day southern Nigeria – and forced Ovonramwen Nogbaisi, the monarch at the time, into a six-month exile.

In 2022, Nigeria formally requested the return of hundreds of objects from museums worldwide. In the same year, about 72 objects were returned from a museum in London, and 31 were returned from Rhode Island in the United States.

The U.S. Army Corps of Engineers is in its final month of debris removal in Altadena. It has already cleared thousands of properties destroyed in January’s devastating Eaton fire and is working on the toxic ash and refuse that remains. Once the immediacy of that task fades, years of accounting for the neighborhood’s many losses lie ahead, as does the ongoing rebuilding.

The California African American Museum is contributing to that work with “Ode to ’Dena: Black Artistic Legacies of Altadena,” an exhibition on view through Oct. 12. The exhibition — organized in just three months in response to the fire — is curated by Dominique Gallery founder Dominique Clayton. It seeks to illustrate the importance of the unincorporated foothill community to Black artists including midcentury figures like Charles White, as well as contemporary practitioners including Martine Syms and Kenturah Davis.

Between 1910 and 1970, approximately 6 million Black Americans migrated from the South to other parts of the U.S.. In Southern California, Altadena became an attractive place for Black families to settle. The area didn’t participate in the redlining practices of other neighborhoods, making it a relatively welcoming place.

Many of those residents were artists and musicians, including the famed assemblage artist and former director of the Watts Towers Arts Center, John Outterbridge, whose home and studio burned in the fire. (Outterbridge died in 2020.)

In an online description of the “Ode to ’Dena” exhibition, CAAM notes that Altadena was “hailed as the epicenter of Black arts activity in Los Angeles County,” during the 1950s and ’60s, although that artistic center of gravity later shifted toward Watts after the 1965 Watts Rebellion. Nonetheless, CAAM notes, “Altadena continued to develop as a vibrant and creative haven with a distinctive Black cultural imprint. Since then, Altadena and the adjacent city of Pasadena have served as home to an extraordinary array of Black artists, educators, musicians, intellectuals, entrepreneurs, and activists.”

In addition to Outterbridge, White, Syms and Davis, the CAAM exhibit includes work by Betye Saar, Richmond Barthé, Mark Steven Greenfield, Nikki High, Bennie Maupin, Marcus Leslie Singleton, La Monte Westmoreland and Keni “Arts” Davis.

The Times’ Noah Goldberg wrote a feature on Davis after the Eaton fire — highlighting how the retired 75-year-old Hollywood set painter spent 40 years creating watercolors of his beloved neighborhood. After the destruction, he began painting the wreckage.

For more information on CAAM and the exhibition, click here.

I’m arts and culture writer Jessica Gelt here with an important Essential Arts update: From today forward, this newsletter will now run on Friday only — rather than Monday and Friday. Here’s this week’s slew of arts news.

Best bets: On our radar this week

The Euterpides & Serenade
It’s the last two weekends to catch young composer Alma Deutscher’s debut ballet, “The Euterpides,” a world-premiere collaboration with American Contemporary Ballet Director Lincoln Jones. The work is paired with George Balanchine’s “Serenade,” set to music by Tchaikovsky.
8 p.m. Friday and Saturday; June 26-28. Television City, 200 N. Fairfax Ave., Stage 33. acbdances.com

KCRW and CAAM Summer Nights
What better way to kick off summer than an all-ages dance party? In between live sets from guest DJ Damar Davis and KCRW DJ Novena Carmel cool your heels in California African American Museum’s galleries, currently featuring solo exhibitions by Awol Erizku, Darol Olu Kae, Nellie Mae Rowe and Tatyana Fazlalizadeh, plus the aforementioned “Ode to ’Dena” and a group exhibition of artists inspired by the concept of reparations. There will also be food trucks, a beer garden and crafts. Best of all? It’s free with an RSVP.
7-11 p.m. Friday. California African American Museum, 600 State Drive, Exposition Park. caamuseum.org

Patrick Dailey, center, and the W. Crimm Singers will perform Saturday at BroadStage in Santa Monica.

(BroadStage)

Sing the Story: Celebrating Black Artistry From Gospel To Soul
Patrick Dailey and the W. Crimm Singers, an ensemble devoted to the Black experience and its expression through music, take to the BroadStage for a genre-blending evening featuring spiritual medleys, soul classics and more. Part of a series of blues rhythms curated by the Reverend Shawn Amos.
8 p.m. Saturday. The Plaza, 1310 11th St. Santa Monica. broadstage.org/

Wendy Red Star, Indian Summer, 2016, Los Angeles County Museum of Art, gift of Loren G. Lipson.

(Wendy Red Star)

Before You Now: Capturing the Self in Portraiture
The Vincent Price Museum hosts a selection of photographs, prints, drawings, videos and installation art from LACMA’s collections that explores how American artists see and present themselves in their work. Laura Aguilar, Kwame Brathwaite, Kalli Arte Collective, Jennifer Moon, Wendy Red Star, Roger Shimomura, Cindy Sherman, Rodrigo Valenzuela and June Wayne are among the more than 50 artists redefining and expanding the concept of identity.
Saturday through Aug. 30. Vincent Price Art Museum, East Los Angeles College, 1301 Avenida Cesar Chavez, Monterey Park. vincentpriceartmuseum.org

Woody De Othello, “Still Life (Luggage and Things in Hand, Ready to Go),” 2020. Acrylic, gouache, watercolor and crayon on paper, 25.75 x 20 x 1 in. Private collection.

(Courtesy of the artist and Jessica Silverman Gallery.)

2025 California Biennial: Desperate, Scared, But Social
The latest edition of the large-scale, Golden State-focused exhibition explores the “richness of late adolescence, a stage of life full of hope and potential yet fraught with awkwardness, anxiety, and myriad pressures.” The show’s 12 featured artists include well-established veterans and some who are still teenagers: Seth Bogart; punk rock band Emily’s Sassy Lime (Emily Ryan, Amy Yao, Wendy Yao); rock band the Linda Lindas (Lucia de la Garza, Mila de la Garza, Eloise Won and Bela Salazar); Miranda July; Stanya Kahn; Heesoo Kwon; Woody De Othello; Laura Owens; Brontez Purnell; Griselda Rosas; Deanna Templeton; and Joey Terrill. The Biennial also features a presentation of paintings from the Gardena High School Art Collection, an assemblage of California Impressionism that began in 1919, and a program curated by present-day teenagers of works drawn from the Orange County Museum of Art collection.
Saturday through Jan. 4. Orange County Museum of Art, 3333 Avenue of the Arts, Costa Mesa. ocma.art

When the Violin
Choreographer/dancer Yamini Kalluri joins violinist Vijay Gupta for an evening of music by JS Bach and Reena Esmail. The program combines poetry, music and a combination of modern and traditional Kuchipudi dance.
7:30 p.m. Saturday. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd., Sierra Madre. sierramadreplayhouse.org

Georgia O’Keeffe, 1918, by Alfred Stieglitz.

(National Gallery of Art)

Georgia O’Keeffe: The Brightness of Light
A new documentary on the iconic American artist from Academy Award-winning director Paul Wagner (“The Stone Carver”). The film covers O’Keeffe’s life from Jazz Age New York to the New Mexico desert and features music by Emilie Levienaise-Farrouch and narration by Hugh Dancy, with Claire Danes as the voice of O’Keeffe.
7 p.m. Tuesday. Laemmle Royal, 11523 Santa Monica Blvd.; Aug. 2, Laemmle Newhall, Laemmle Glendale, Laemmle Town Center 5, Encino, Laemmle Monica Film Center and Laemmle Claremont 5. laemmle.com/film/georgia-okeeffe-brightness-light

Culture news

Kim Sajet, director of the National Portrait Gallery, in 2017.

(Kevin Wolf / AP Images for National Portrait Gallery)

The drama surrounding President Trump’s purported firing of National Portrait Gallery Director Kim Sajet reached a conclusion last week when Sajet decided to step down on her own terms. “It has been the honor of a lifetime to lead the Smithsonian’s National Portrait Gallery. This was not an easy decision, but I believe it is the right one,” Sajet wrote in a note to staff shared in an email by the Smithsonian Institution’s leader, Lonnie Bunch. Sajet’s announcement came two weeks after Trump claimed to have fired her for being, “a highly partisan person, and a strong supporter of DEI.” About a week later, the Smithsonian Institution released a statement asserting its independence in the face of Trump’s order, but that seems to not have been enough to persuade Sajet to stay.

The SoCal scene

Noah Davis, “1975 (8),” 2013, oil on canvas

(Kerry McFate)

The work of Seattle-born, L.A.-based artist Noah Davis — who died of a rare form of liposarcoma at the the age of 32 — is the subject of Times art critic Christopher Knight’s latest review. The Hammer Museum is staging a retrospective of Davis’ paintings. It’s only composed of about three dozen pieces, but Knight says it’s more than enough to show that “when Davis was good, he was very good indeed.” It is clear, Knight notes, that had his life not been cut tragically short, Davis was well on his way to further accomplishment. “The show affirms his gift for what it was: Davis was a painter’s painter, a deeply thoughtful and idiosyncratic Black voice heard by other artists and aficionados, even as his work was in invigorating development,” Knight writes.

The 2025 Ojai Music Festival was one of the best, writes Times classical music critic Mark Swed, of the annual event in the bucolic Ventura County town. Founded nearly 80 years ago by an East Coast music lover named John Leopold Jergens Bauer, the event was originally meant to be California’s answer to the Salzburg Festival. That aspiration never quite came to pass, but over the years the progressive gathering staged mostly at the Libbey Bowl has come to embody a groundbreaking ideal of new music. This year’s music director was the flutist Claire Chase, who, according to Swed, “collected concerned composers on a quest for a kind of eco-sonics capable of conjuring up the pleasure of nature and, in the process, saving our sanity.”

Last Saturday, Esa-Pekka Salonen, “conducted his San Francisco Symphony in a staggering performance of Mahler’s Symphony No. 2, known as the ‘Resurrection.’ It was a ferocious performance and an exalted one of gripping intensity,” Swed wrote in a glowing review of the legendary conductor’s final show with the troubled orchestra he opted to leave when he decided not to renew his contact after five years of serving as its music director. “The audience responded with a stunned and tumultuous standing ovation,” Swed notes.

Times reporter Kailyn Brown headed to the Music Center on Sunday — a day after the city’s massive “No Kings” protests — to talk to audience members who attended L.A. Opera’s “Rigoletto” and Center Theater Group’s “Hamlet” despite the recent tumult and nighttime curfew in downtown L.A. In a series of interviews, accompanied by smiling photos, Brown’s reporting shows what many Angelenos have been trying to tell friends and family outside of the city: It’s not as bad as it may seem on your social media feeds. Downtown L.A. is more or less back to normal. And besides: It’s never a bad idea to show up in support of the arts.

The marquee for the UCLA Nimoy Theater.

(Misha Gravenor)

CAP UCLA announced its 2025-26 season — its second under its new Executive and Artistic Director Edgar Miramontes. This season’s offerings include 30 performances featuring more than 100 international artists. “As borders become more intensified, Miramontes is committed to continued international exchange of ideas and learnings to encourage more empathy, connection, and shared understanding through presentations by acclaimed artists from around the world, spanning genre-defying jazz, Afro-Latin fusion, 21st-century classical music, and exciting new works in dance and theater,” the season release explains. Shows include: the Mexican collective Lagartijas Tiradas al Sol; basoonist and composer Joy Guidry; the jazz singer Lucía; trumpeter and composer Milena Casado; and Cuban musicians Alfredo Rodriguez and Pedrito Martínez, along with many others. “This season is more than a series of performances — it is a call to community,” Miramontes wrote in a note to patrons. “Exciting new theater, revolutionary music, and dance remind us that unity is not an ideal — it is an act. The stage becomes our platform, our laboratory, our refuge. Here, we witness. We reckon. We rejoice.” For tickets and the full schedule, click here.

Playwright Michael Shayan has released a new Audible Original play titled “Cruising.” It’s directed by Robert O’Hara, who was nominated for a Tony Award for directing “Slave Play” and is also in the midst of presenting his world-premiere adaptation of “Hamlet” at the Mark Taper Forum. The comedy follows an aspiring gay playwright who — suffering from a summer of writer’s block and apathy in his Encino apartment — embarks on a flamboyant cruise in his imagination, only to discover that his real life is falling apart around him. “Cruising” features the voices of Christine Baranski, Tituss Burgess, Cecily Strong, André de Shields and Andrew Rannells, and can be streamed here.

Los Angeles Chamber Orchestra announced its 2025-26 season, which continues this year at the Wallis in the Bram Goldsmith Theater. Offerings include a concert of classics led by Music Director Jaime Martín, featuring the German French cellist Nicolas Altstaedt; guest conductor Dinis Sousa with German violinist Isabelle Faust; violinist Anthony Marwood; pianist Richard Goode playing Mozart; a Brahms concert; a Baroque salon featuring harpsichordist Pierre Hantaï; and a performance by soprano Amanda Forsythe. For tickets and more info, click here.

— Jessica Gelt

And last but not least

What? You say you’d like a good beef roll for lunch? Me too! Here’s a list for where to find the best eight in the city by Times Food columnist Jenn Harris.

Project 2025 became a flashpoint during the 2024 presidential campaign. The sweeping conservative policy blueprint aims to overhaul the federal government and reshape United States society.

How closely is President Donald Trump following its direction? And how much does it test the limits of the Constitution?

Marc Lamont Hill talks to Paul Dans, the former director of Project 2025 at the Heritage Foundation.

Growing up in a small town in New Hampshire, Nora Princiotti lived two hours away from the nearest mall, so the Scholastic Book Fair was her lifeline to pop culture purchases.

In fall 2003, the then-9-year-old made a beeline to the fair and bought gum, glitter gel pens and “Metamorphosis,” the second studio album from “Lizzie McGuire” star Hilary Duff.

At that time, Duff was “the single most important person in the world to me outside my immediate family,” Princiotti writes in “Hit Girls: Britney, Taylor, Beyoncé, and the Women Who Built Pop’s Shiniest Decade.” “This is the first day of the rest of my life.”

This proclamation is no exaggeration. Duff’s CD was Princiotti’s gateway to the vibrant pop music universe of the 2000s — an era that “Hit Girls” thoroughly examines through the lens of some of the decade’s music icons.

The chronological book opens with Britney Spears reigniting industry interest in mainstream pop after the roaring success of her snappy debut single, 1998’s “…Baby One More Time.” Princiotti subsequently devotes chapters to Rihanna’s world-shifting dance music and savvy use of technology; the scrappy (and occasionally bumpy) pop-punk odyssey of Avril Lavigne; and the complicated relationship between indie rock and pop, exemplified by “American Idol” sweetheart Kelly Clarkson.

She also reexamines with a much kinder eye the music of Ashlee Simpson, whose career cratered after she was caught lip-syncing on “Saturday Night Live,” and then-tabloid fixtures Lindsay Lohan and Paris Hilton.

Princiotti, a staff writer at the Ringer who covers pop music and the NFL and co-hosts the podcast “Every Single Album,” says she was certain which artists needed to be included in “Hit Girls.”

“I had the idea a little bit before the Y2K resurgence that we’ve experienced over the last few years,” she says. “But it was trickling into the ecosystem. And I had this very clear idea that there are all these disparate segments of the pop star world and the version of that world that existed in the 2000s. … Even though that music is different, it all fit together to me really obviously, because I was the fan.”

Princiotti augments her rigorous research with colorful memories from this era, including chatting on AIM (her handle was mangorainbow99), digging up Taylor Swift rarities on YouTube and hearing Lady Gaga’s “Just Dance” at a high school dance.

Finding a cohesive story of the 2000s was more challenging. “The question that I had to answer [in the book] was, ‘Other than the audience — and other than having this feeling inside me that a book that covered the rise of Britney Spears also needed to cover ‘Rumors’ by Lindsay Lohan and also needed to cover Ashlee Simpson, because that’s how I lived it — what actually ties these artists together?’”

That uniting thread is Spears. The book deftly traces the parallels between the evolution of Spears’ career and how the decade itself unfolded — from the way her music broadened beyond teen pop (e.g. the electro-disco “Toxic”) to the negative impact the intense tabloid scrutiny had on her mental health.

“She is the artist of the 2000s,” Princiotti says. “If you think of the aughts as a whole, it starts with Britney, [and] she manages to keep it going. There’s so many things that I think just come back to that one woman.”

Princiotti also concludes that the female pop stars of the 2000s helped legitimize pop music.

“There’s something about what all of these women — because it is women in the book — did to chip away at the idea that pop is disposable and unserious music, that somehow got us to this place where it is more often recognized as a serious art form, something that moves culture [and] is worthy of real, deep criticism,” she says.

“You’re seeing every day where there are thesis-driven projects about Taylor Swift and the music of Taylor Swift, and [people asking,] ‘What does she mean to society?’ and ‘What does she mean to culture? The thing that struck me was, ‘Oh, we didn’t have that. It wasn’t like that — and now it is.’”

“I came away with an appreciation of just how early in her career she laid the blueprint of how she would develop her fan base,” Nora Princiotti says of Taylor Swift.

(Ballantine Books)

Given the book’s narrow time frame — “Hit Girls” starts just before Y2K and ends in the early 2010s — the book also takes a different spin on the careers of Swift and fellow superstar Beyoncé.

The latter was newly emerging as a solo artist with 2003’s “Dangerously in Love” after breaking through with Destiny’s Child. Princiotti argues that Beyoncé’s success on the pop charts opened doors for hip-hop and R&B artists, which had a seismic impact on culture as a whole.

Although these genres had started making massive inroads into the pop charts and mainstream music starting in the late 1990s, Princiotti observed in her research that magazine and tabloid covers still largely prioritized white artists.

“While there was a clear relationship between the interest in an artist like Britney Spears’s life and the interest in her music, that feedback loop did not exist for a lot of Black artists,” she writes. “Which meant that hip-hop could dominate popular music while being shut out of the elite celebrity spaces that promote true pop stardom.”

Swift, meanwhile, was an earnest country-pop wunderkind building her fan base one MySpace comment at a time — and even then happened to be a genius at understanding the psychology of fandom and the online habits of her followers.

“I came away with an appreciation of just how early in her career she laid the blueprint of how she would develop her fan base,” Princiotti says. “When it’s all said and done, we will look back at her artistic legacy, yes, as the songwriter of a generation, yes, as the poet laureate of young women.”

“But I do think that the legacy of Taylor Swift is going to start with the communities of people that she brought together within her fan base — and how powerful and sometimes scary and how mobilized that fan community has become, and how she built it to be that way.”

As with Swift, many of the artists in “Hit Girls” remain popular today. Lavigne and Beyoncé are currently on major tours; Clarkson has found success with her daytime talk show; Rihanna is a billionaire business mogul thanks to her brands Fenty Beauty and Savage X Fenty. And Duff, who now has four kids, starred in the TV show “Younger” and, most recently, the short-lived “How I Met Your Father.”

Near the end of “Hit Girls,” Princiotti explores the ongoing influence of these artists and this decade — from the current crop of young pop stars led by Olivia Rodrigo and nostalgia festivals like When We Were Young to fashion trends such as dark denim, “going-out” tops and butterfly hair clips.

Princiotti herself maintains a love of pop stars and offers solid theories about why this specific era remains such a fascination: a heady mix of nostalgia, second chances and perspective.

“For people like me who lived through at least some of it, it’s the ability to go back a little bit older and wiser,” she says. “We can take the best of it and then reexamine the worst of it with more open eyes. And there’s something to me that’s very satisfying about that.”

SALT LAKE CITY — The 39-year-old man shot and killed at a weekend “No Kings” protest in Salt Lake City was a successful fashion designer and former “Project Runway” contestant who devoted his life to celebrating artists from the Pacific Islands.

Arthur Folasa Ah Loo was killed when a man who was believed to be part of a peacekeeping team for the protest shot at a person brandishing a rifle at demonstrators, accidentally striking Ah Loo. Ah Loo later died at a hospital, authorities said.

Detectives don’t yet know why the alleged rifleman pulled out a weapon or ran from the peacekeepers, but they charged him with murder and accused him of creating the dangerous situation that led to Ah Loo’s death, Salt Lake City Police Chief Brian Redd said at a Sunday news conference.

The “self-taught” fashion designer from Samoa, known to many as Afa, was deeply connected to his culture and community, according to the website Creative Pacific, a nonprofit organization he co-founded to support artists from the Pacific Islands. Ah Loo’s designs, which often featured colorful geometric patterns, were inspired by his Samoan heritage.

Ah Loo leaves behind his wife and two young children, according to a GoFundMe for his family that raised over $100,000 in 48 hours.

He was a founder of Utah Pacific Fashion, an organization that celebrates artistic heritage from Oceania. Recently, he designed a garment for the star of the Disney Channel animated movie “Moana 2,” Hawaiian actor Auliʻi Cravalho.

Cravalho wore the outfit to the film’s red carpet premiere in Hawaii in November. She said in an interview with Vogue at the time that the design combined traditional and modern aesthetics from her culture. Ah Loo strung individual white dovetail shells into a cape-like shape reminiscent of Hawaiian ʻahu ʻula — a feather cloak worn by ancient Hawaiian royalty, according to Vogue.

“This was the first time I was so active in helping to design a custom look, and Afa surpassed what I had envisioned,” Cravalho told the magazine at the time.