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WASHINGTON — Calling Donald H. Rumsfeld energetic was like calling the Pacific wide. When others would rest, he would run. While others sat, he stood. But try as he might, at the pinnacle of his career as Defense secretary, he could not outmaneuver the ruinous politics of the Iraq war.

Regarded by former colleagues as equally smart and combative, patriotic and politically cunning, Rumsfeld had a storied career in government under four presidents as well as nearly a quarter century in corporate America. After retiring in 2008 he headed the Rumsfeld Foundation to promote public service and to work with charities that provide services and support for military families and wounded veterans.

The two-time Defense secretary and one-time presidential candidate died Tuesday, surrounded by his family in Taos, N.M. He was 88.

“Rummy,” as he was often called, was ambitious, witty, engaging and capable of great personal warmth. But he irritated many with his confrontational style. An accomplished wrestler in college, Rumsfeld relished verbal sparring and elevated it to an art form; biting humor was a favorite weapon.

Still, he built a network of loyalists who admired his work ethic, intelligence and impatience with all who failed to share his sense of urgency.

From his earliest years in Washington, he was seen by friend and foe alike as a formidable political force. Bryce Harlow, an associate of President Nixon who helped persuade Rumsfeld to resign from Congress and join Nixon’s Cabinet as director of the Office of Economic Opportunity in 1969, called him “rough and ready, willing to tangle” and “the kind of guy who would walk on a blue flame to get a job done.”

Rumsfeld is the only person to serve twice as Pentagon chief. The first time, from 1975 to 1977, he was the youngest ever. The next time, from 2001 to 2006, he was the oldest.

He made a brief run for the 1988 Republican presidential nomination, a spectacular flop that he once described as humbling after being used to success at the highest levels of the government, including stints as White House chief of staff, a U.S. ambassador and a member of Congress.

For all Rumsfeld’s achievements, it was the setbacks in Iraq in the twilight of his career that will likely etch the most vivid features of his legacy.

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By the time he arrived at the Pentagon in January 2001 for his second stint as Defense secretary, the military that Rumsfeld inherited was in a slow-motion transition from the Cold War era to a period dominated by ethnic conflicts in the Balkans, humanitarian crises in the Horn of Africa and spasms of terrorism around the globe. Among the other prominent worries: China’s military buildup and the nuclear ambitions of Iran and North Korea.

But nine months into his tenure, on Sept. 11, Rumsfeld found himself facing a threat that would consume the remaining years of his tenure. When a hijacked American Airlines jetliner slammed into the Pentagon, he was in his third-floor office, meeting with nine House members. He later recalled that at the instant of impact, the small wood table at which they were working trembled.

Rumsfeld was among the first to reach the smoldering crash site, and he helped carry the wounded in stretchers before returning to his duties inside the building.

The nation suddenly was at war. U.S. forces invaded Afghanistan on Oct. 7, and with Rumsfeld at the Pentagon helm, the Taliban government in Kabul was toppled within weeks. Frequently presiding at televised briefings on the war, Rumsfeld became something of a TV star, known for his plainspokenness.

Within months of that success, President George W. Bush’s attention shifted to Iraq, which had played no role in the Sept. 11 attacks. Rumsfeld and others in the administration asserted that Iraqi President Saddam Hussein was armed with nuclear, biological or chemical weapons, and that the U.S. could not afford the risk of Hussein one day providing some of those arms to Al Qaeda or other terrorist groups.

The U.S.-led invasion of Iraq was launched in March 2003 with a go-ahead from Congress but no authorization from the United Nations Security Council. Baghdad fell quickly, but U.S. and allied forces soon became consumed with a violent Iraqi insurgency. Critics faulted Rumsfeld for dismissing the public assessment of the Army’s top general, Eric K. Shinseki, that several hundred thousand allied troops would be needed to stabilize Iraq.

Defense Secretary Donald H. Rumsfeld arrives in Baghdad in April 2006 to meet with U.S. and new Iraqi government officials.

(Jim Watson / AFP/Getty Images)

Square-jawed with an acid tongue, Rumsfeld grew combative in defense of the war effort, and became a lightning rod for Democrats’ criticism. Years afterward, the degree of blame that should be shared among the White House, Rumsfeld and the U.S. military for the disasters in Iraq remained in debate.

In “By His Own Rules,” a 2009 biography of Rumsfeld, author Bradley Graham wrote that it was “both incorrect and unfair to heap singular blame” for Iraq on Rumsfeld.

“But much of what befell Rumsfeld resulted from his own behavior,” Graham wrote. “He is apt to be remembered as much for how he did things as for what he did. And here, too, he was an internal contradiction. Capable of genuine charm, kindness and grace, he all too frequently came across as brusque and domineering, often alienating others and making enemies where he needed friends.”

In his 2011 memoir, “Known and Unknown,” Rumsfeld offered no hint of regret about Iraq, but acknowledged that its future remained in doubt.

“While the road not traveled always looks smoother, the cold reality of a Hussein regime in Baghdad most likely would mean a Middle East far more perilous than it is today,” he wrote.

He seemed unconvinced that the failure to find weapons of mass destruction in Iraq poked a hole in the justification for invading, writing: “Our failure to confront Iraq would have sent a message to other nations that neither America nor any other nation was willing to stand in the way of their support for terrorism and pursuit of weapons of mass destruction.”

Rumsfeld twice offered his resignation to Bush in 2004 amid disclosures that U.S. troops had abused detainees at Iraq’s Abu Ghraib prison — an episode he later referred to as his darkest hour as Defense secretary.

Not until November 2006, after Democrats gained control of Congress by riding a wave of antiwar sentiment, did Bush finally decide he had to go. Rumsfeld left office in December and was replaced by another Republican, Robert M. Gates.

Defiant to the end, Rumsfeld expressed no regrets in his farewell ceremony, at which point the U.S. military’s death toll in Iraq had surpassed 2,900. The number would eventually exceed 4,400.

“It may well be comforting to some to consider graceful exits from the agonies and, indeed, the ugliness of combat,” he told his colleagues. “But the enemy thinks differently.”

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Born in Chicago in 1932 as the second child of George and Jeannette Rumsfeld, Donald Rumsfeld wrote in his memoir that he and his father shared a favorite sports team: the Chicago Bears. He recalled that while listening to a Bears game on the radio at home one Sunday in 1941, the announcer interrupted the broadcast to announce that Japanese airplanes had launched a surprise attack on Hawaii.

Rumsfeld was 9.

“I could feel that something terrible had happened,” he wrote. “I saw it in my parents’ faces and heard it in the tense voices reporting the news of the attack.”

After Pearl Harbor, Rumsfeld’s father joined the Navy at age 38, and the family moved frequently to be near him on the West Coast.

In high school Rumsfeld met his future wife, Joyce Pierson. He attended Princeton on a partial scholarship and joined the campus Navy ROTC program to cover his other expenses. In June 1954, Rumsfeld graduated and was commissioned an ensign in the Navy. Six months later he married Joyce.

Rumsfeld launched his Washington career in 1957 as an assistant to Rep. David Dennison (R-Ohio). Soon he was serving as a congressman himself, first elected to represent Illinois in 1962. He served four terms.

One of his early acts as a member of the Nixon White House was to hire a young Dick Cheney, starting a lifelong friendship.

Rumsfeld was working as U.S. ambassador to NATO in Brussels when he was recalled to Washington to lead President Ford’s transition team after Nixon resigned in August 1974. He became the new president’s chief of staff, and in November 1975, his Defense secretary.

After leaving the Pentagon in 1977, Rumsfeld embarked on a successful business career, including as chief executive officer, president and then chairman of G.D. Searle & Co., a major prescription drug manufacturer.

He still dabbled in government service, including serving as a special envoy to the Middle East for President Reagan from 1983 to 1984. It was in that capacity that he met with Saddam Hussein in Baghdad in December 1983, while Iraq was at war with Iran.

“None of us in the Reagan administration bore any illusions about Saddam,” Rumsfeld wrote in his memoir. “Like most despots, his career was forged in conflict and hardened by bloodshed. He had used chemical toxins in the war he initiated with Iran three years earlier. But given the reality of the Middle East, then as now, America often had to deal with rulers who were deemed ‘less bad’ than the others.”

Two decades later, he was again dealing with Hussein, this time overseeing a U.S. invasion that toppled the Iraqi leader — and led to Rumsfeld’s own downfall.

He is survived by his wife, Joyce; three children; and his grandchildren.

Ben Jones, the actor best known for portraying trusty mechanic Cooter Davenport on “The Dukes of Hazzard” before serving two terms in Congress as a representative from Georgia, has died. He was 84.

Jones died Sunday of a heart attack at his home in Virginia, his wife, Alma Viator, said on social media.

“I lost the love of my life today,” Viator wrote on Facebook. “Ben passed from a massive heart attack. He was home resting in his favorite chair waiting for the Braves to come on and whoop the Yankees. Ben had the most amazing rich full life. He loved and was loved by so many. He will be missed. I loved him so so much.”

A character actor whose earliest credits include films such as “Together for Days” (1972) and “Moonrunners” (1975), Jones’ break came when he landed the role of “Crazy Cooter” Davenport on the CBS action comedy “The Dukes of Hazzard.” The series, which aired from 1979 to 1985, primarily followed close-knit cousins Bo (John Schneider) and Luke Duke (Tom Wopat), as well as those in their orbit in the fictional Hazzard County, Georgia.

“The Dukes of Hazzard lost another integral part of their cast today,” Wopat wrote in his tribute to Jones on Instagram. “Ben Jones was a fine friend and a fierce advocate of all the best things we can offer in the entertainment business. He will be sorely missed… Denver Pyle frequently said to Ben, ‘I’m not your Uncle Jesse!’ But I feel like we lost a Duke cousin today.”

Initially introduced as a gruff wild man without much regard for the law, Davenport eventually settled into a loyal, fun-loving “honorary Duke” beloved by fans. The mechanic would often help repair the show’s signature vehicle, an orange 1969 Dodge Charger known as General Lee.

Despite mixed reviews from critics — former Times television critic Howard Rosenberg denounced it in 1980 as “a spittoon of a series about hotrod-speeding, card-carrying hicks somewhere in the South” — “Dukes” was one of the most-watched television shows of its time. Jones would return to play Davenport after his political career in the TV films “The Dukes of Hazzard: Reunion!” and “The Dukes of Hazzard: Hazzard in Hollywood,” where the character was also revealed to have ventured into politics as a congressman.

Born Aug. 30, 1941, in Tarboro, N.C., Jones grew up in Virginia and North Carolina before eventually attending the University of North Carolina, Chapel Hill, to study writing. He was open about his struggles with alcohol and told The Times in 1993 that he had been sober since 1977.

After his time on “Dukes,” Jones was persuaded to run for office, challenging a popular Republican incumbent, Pat Swindall, for his seat representing Georgia in the U.S. House of Representatives. Though he lost his first attempt in 1986, Jones won their rematch two years later after Swindall had been indicted for perjury in relation to a money-laundering scheme. (Swindall was later convicted.)

Jones, a Democrat, served two terms representing Georgia’s 4th Congressional District before redistricting took his seat. He later attempted to challenge then-Rep. Newt Gingrich for his seat but lost in the primary. He ran for office again after moving to Virginia, challenging Republican incumbent Eric Cantor for his seat in 2002 but was again unsuccessful.

“I think there are a lot of similarities between politics and entertainment, even more so with the advent of television,” Jones told The Times in 1993, shortly after leaving office. “It’s all about communication.”

Proud of his Southern heritage, Jones was also known for his controversial defense of the Confederate flag, which he described in a 2015 essay published by the New York Times as “a symbol of a non-racist Southern spirit” that had been “appropriated and desecrated” by racists.

Jones is survived by Viator, his fifth wife; his three children, Rachel, Jeanne and Walker; three stepchildren and 10 grandchildren, according to the New York Times.

Peter Katsis, a music manager who helped shepherd the careers of Smashing Pumpkins, Jane’s Addiction, Morrissey and Backstreet Boys, has died. He was 69.

Representatives for Katsis confirmed his death on Thursday in Los Angeles, from complications of congestive heart failure, in a statement to the Hollywood Reporter and Billboard. “To the music world, Peter was one of the most influential managers of his generation. His vision, instincts and fierce belief in his artists helped shape some of the most important careers in music for more than four decades. He saw possibilities others didn’t, inspired those around him to dream bigger, and fought relentlessly for the people and artists he believed in,” his family said.

“Peter was simply larger than life. He loved fiercely, laughed loudly and lived with extraordinary courage and conviction. Above everything else, he loved his family. He was our strength, our fiercest advocate, and the person we could always count on to believe anything was possible. The void he leaves in our lives and our hearts is immeasurable.”

Katsis’ career began in Chicago, where he managed the groundbreaking industrial rock group Ministry. He also worked with emerging regional house music acts, helming A&R for the essential label Trax Records and booked acts like Marshall Jefferson and Adonis at globally prominent nightclubs.

After moving to Los Angeles in the early ’90s, he worked with the Cramps and other experimental rock acts before joining Jeff Kwatinetz at the Firm. There he managed hard rock acts including Korn and Limp Bizkit, helping make them superstars of the “TRL” era. He also worked with 30 Seconds to Mars, rapper Snoop Dogg, and played a major role in building Audioslave, the supergroup of Soundgarden’s Chris Cornell and members of Rage Against the Machine.

Katsis took on diverse pop acts like Enrique Iglesias as well, and helped turn the Backstreet Boys into a stadium act, breaking Ticketmaster records for its 1999 Into the Millennium tour.

In 2008, Katsis co-founded a new management firm, Prospect Park, with Kwatinetz and Rich Frank, building a roster that included Smashing Pumpkins, Jane’s Addiction and Morrissey. Katsis also repped Liz Phair, 311, Bush, Fever 333, and pop groups Pentatonix, One Republic and 5 Seconds of Summer.

Smashing Pumpkins’ Billy Corgan wrote on Instagram that he was “Heartbroken that Pete is gone. He meant a lot to Chloe and I as a dear friend and extended member of our family. He will be missed and I’ll always cherish his intense candor and deep love of great music; which was infectious. And he deserves immense credit for helping to usher in the alternative revolution of the ’80s and ’90s and beyond. He was truly one of a kind. One of a us. And Chicago royalty through and through.”

Katsis is survived by his sister Anastasia and his son Ian.

Authorities suspect narcotics dealers and gang rivalries are behind prison violence at several facilities in Sri Lanka.

Police and riot squads have been deployed after three inmates were killed and nearly two dozen others were injured in separate prison riots across Sri Lanka.

Public Security Minister Ananda Wijepala told parliament on Friday that one prisoner was killed when 40 inmates broke out of their cells at the New Magazine Prison in the capital, Colombo, late on Thursday.

Two more prisoners were killed on Friday morning during a second riot at Kuruwita prison, about 80km (50 miles) from the capital, he said.

Between the two incidents, 23 inmates were injured and admitted to hospitals, Wijepala said, adding that police and special forces ‌brought both riots under control.

Additionally, police told the Reuters news agency that officers fired tear gas at protesting inmates at an open prison in the coastal town of Negombo, about 40km (25 miles) from Colombo, to bring the situation there under control on Friday.

Riot police at all three prisons worked to return prisoners who had climbed onto rooftops or moved into open areas back to their wards, the minister said.

Wijepala told parliament the violence was related to narcotics dealers and rival criminal gangs.

He said the government is trying to find out if the riots were coordinated.

“When you take all ⁠these incidents together, it appears that there is planning behind these and an attempt at sabotage. But we can only say ⁠anything further after a comprehensive investigation,” Wijepala said.

The prison disturbances happened a month after 10 ⁠prison officials and 20 prisoners died in two days of fighting at a prison in Negombo.

One inmate also died and several others ‌were injured in a riot last weekend at a prison in Mahara, about 14km (8.6 miles) from Colombo.

Overcrowding in Sri Lanka’s prisons is at crisis levels.

Facilities are highly congested, with more than 39,000 inmates crowded into a system with a total capacity of just 10,000, according to a recent speech in parliament by Justice Minister Harshana Nanayakkara.

“The number of prisoners in Sri Lanka today is four times the capacity,” said Senaka Perera, president of the Committee for Rights of Prisoners. “In fact, they have been patient for so long.”

A large number of inmates are suspects awaiting trial for alleged narcotics-related offences. Recent laws tightening bail conditions have resulted in prison overcrowding, Perera said.

Sri Lanka is planning to amend its constitution ‌to extend superior court judges’ tenure by two years, as part of efforts to clear a backlog of more than one million court cases and reduce prisoner numbers.

24-year-old TikToker Cesar Gastelum, was shot dead while livestreaming with friends outside a fast-food restaurant in Culiacan, Mexico. The city is at the centre of a gang turf war between two factions of the Sinaloa Cartel.

Dory Funk Jr., a pro wrestling icon and one of three members of the Funk family to be inducted into the WWE Hall of Fame, has died at age 85.

Marti Funk, Funk’s wife of 40 years, told Florida’s Ocala Gazette that her husband died Tuesday while in hospice care. No further details were given.

Born on Feb. 3, 1941, in Hammond, Ind., Funk was the oldest of Dory and Dorothy Funk’s two sons. Spending most of his childhood in Amarillo, Texas, Funk grew up admiring his father, a professional wrestler and promoter who once wrestled in Canada as a heel named the Outlaw who hailed from the fictitious location Double Cross Ranch. As wrestlers, Funk and his brother, Terry, often were billed as being from there as well.

“As a kid, I used to dream I could do all the things my father could do,” Funk said during a 2007 interview for World Wrestling Entertainment. “I wanted to be just like him.”

Funk played offensive and defensive line on the West Texas State University football team (now West Texas A&M) from 1959 to 1962 — he was inducted into the university’s athletics Hall of Fame in 1990 — and went straight into professional wrestling. His 50-plus years in the business included stints in a number of associations across the U.S. and Japan.

He was the National Wrestling Alliance heavyweight champion for more than four years uninterrupted (February 1969 to May 24, 1973). In 1986, Funk and his brother joined WWE (then known as WWF) as a team and defeated Tito Santana and Junkyard Dog at WrestleMania 2.

Funk’s involvement in wrestling also expanded into promotion. In addition, he and Marti owned and operated the Funking Conservatory, a wrestling school where he trained a number of future WWE superstars including Kurt Angle, Christian, Edge, the Hardy Boyz, Mark Henry and Mickie James.

“He was such a good guy,” Marti told the Ocala Gazette, “such a good guy!”

The Funk brothers were inducted into the WWE Hall of Fame in 2009. Dory Funk Sr., who died in 1973 at age 54, was inducted posthumously to the hall’s Legacy Wing in 2025. Terry Funk died in 2023 at age 79.

WWE chief content officer Triple H announced Funk’s death Tuesday afternoon on social media.

“From the Double Cross Ranch to the @WWE Hall of Fame, Dory’s style inspired countless performers in our industry” Triple H wrote. “Whether it was at WrestleMania 2, WCW, ECW, or the dozens of NWA-affiliated promotions, his travels across North America and Asia were a part of the early blueprint that helped build this business into a global phenomena.

“A hard-nosed and fierce competitor, his rugged in-ring style was only eclipsed by the decades he spent training athletes to perform in the squared circle he loved so much. My thoughts and those of the entire @WWE Universe are with his loved ones during this difficult time.”

Cassie Plummer left Coronation Street on Monday night but her exit has left behind a trail of mystery and now spoilers have revealed what happens next on the ITV soap

Coronation Street spoilers have revealed what happens next following the sudden exit of Cassie Plummer. The former drug addict, played by Claire Sweeney, was introduced when the bosses of the long-running soap decided to completely rewrite history and install her as Tyrone Dobbs’s long-lost biological mum in 2023.

But in scenes that aired on Monday night, Cassie left Weatherfield – seemingly for good – as she chose to get in the car with Ross Wilkes when he offered her a lift to the train station. Introduced last month as the long-lost biological dad of Tyrone, Cassie knew he was trouble as soon as he turned up, but it was only when put under pressure that she revealed that he had paid her for sex when she was underage.

Ross has already made his mark as the latest villain to turn up in the Manchester backstreet, and viewers know that after striking up a relationship with Tracy Barlow (Kate Ford), he spiked her drink and put her in hospital but has let everyone think that Cassie was the one who did it. Cassie announced on Monday that she had got a job cleaning a cruise ship, and was heading to the train station.

Ross offered her a lift, and she accepted. But whilst in the car, Cassie threatened to go to the police about what Ross had done to her all those years ago. She then began to feel unsafe and tried to get out, but he locked the door and told her they were going “on a little drive.” That was the last time Cassie was seen, and Tyrone later announced to Ross that Cassie had left Weatherfield.

Earlier in the day, Fiz had presented Cassie with a photograph of Tyrone and the kids and an envelope full of cash, but at the very end of the episode, Ross took the photo from his pocket and created a mystery about just where Cassie had ended up.

Now, in scenes set to air this coming week, Ross tells Fiz and Tyrone he wants to move nearby, but Fiz quickly closes down the conversation.

Steve asks Ross where he dropped Cassie off, but Ross feigns ignorance until Steve reveals how he saw Cassie get into his car, forcing him to change his story claiming he took her to Piccadilly Station. Also, in scenes yet to air, Ross tells Hope to help herself to a tenner from his wallet but Hope finds something else which leaves Fiz suspicious.

Viewers have instantly become worried that Cassie did not make it to her new job at all, and are concerned that she might even be dead.

One fan wrote on X, formerly known as Twitter: “Oh s*** is Cassie dead???” and another said: “Cassie getting in the car with Ross, they’re gonna leave us hanging for months over what he’s done to her, I bet!”

A third wrote: “I well like Cassie I’ll be sad if she never comes back,” and, on Reddit, another fan said: ” Feel like he’s deffo killed her. But think they’ve done it this way so that they can bring her back again if they wanted to. “

In real life, actress Claire Sweeney, who found fame when she starred on Brookside, chose to leave so she could take on the role of Miss Hannigan in the current UK tour of the musical Annie, and replaced former Strictly Come Dancing star La Voix in the show in early July.

Claire has previously starred in other musicals like 9 to 5, Tell Me On A Sunday and Chicago. But she recently recently explained that she loved her time at Corrie but always wanted to take on the part of the villainous orphanage proprietress, who has previously been played on stage by the likes of her soap co-star Jodie Prenger, as well as Hi-de-Hi icon Su Pollard, the late Paul O’Grady and British acting legend Sheila Hancock.

She told The Mirror: “You’re part of a family at Coronation Street, you feel safe and protected and leaving is like stepping out into the big, wide world again. It feels like I’ve broken up with a boyfriend I’m still in love with. I’ve loved Corrie and leaving bears no reflection on the job, the people and the work.

“It was just that my phone pinged and it was the producer of Annie saying ‘right, do you want to do Miss Hannigan.’ I’d been hounding him for years for this part and I just thought – ‘if I don’t do it now, it might never come again.’ But I think it’s the hardest job I’ve ever had to leave and my exit is very sad; I had a little weep over my leaving scenes. I got quite emotional.”

Coronation Street airs weeknights at 8:30pm on ITV1 and ITV X. *

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BRITISH filmmaker Justin Hardy, who directed the sequel to his dad’s horror classic The Wicker Man, has died aged 61.

The director’s family said Hardy died on Friday – just weeks before his latest film premiered – after suffering a heart attack.

In a statement the grieving family said: “Our family is devastated to share that Justin Hardy passed away last night.

“He was so full of life right to the end, and incredibly energised to be working towards premiering his latest film this month.

“We are all so proud of him and heartbroken he won’t be with us at his premiere.

“He was a man of family, of boundless creativity, and of devotion for everyone he held dear.”

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Hardy studied history at Oxford University before going on to study film in Bournemouth and scriptwriting in California.

During his career Hardy directed series and films including The Bill, Princes In The Tower, Trafalgar Battle Surgeon, The Relief Of Belsen, Spanish Flu: The Forgotten Fallen and London’s Burning.

He was also nominated for an Emmy and a Bafta, and in recent years had been teaching screenwriting at University College London.

His brother, Dominic Hardy, said Justin would be remembered as someone “with an incredible appetite for life.”

In 2024 the brothers released the documentary Children Of The Wicker Man.

It covered their complicated relationship with their dad’s hit film, which initially bombed at the box office before becoming a cult classic.

Filming of The Wicker Man saw dad Robin sacrifice his family life for a film that performed poorly initially.

Before his death aged 86 in 2016 the legendary director of The Wicker Man – Robin Hardy – spoke publicly about his desire to complete trilogy after he released The Wicker Tree in 2011.

After he died, the brothers were contacted and asked about plans for the third film, which Dominic said they then saw as the “impetus to close the chapter on the films.”

The brothers then decided to wrap up their father’s film trilogy.

Released this month, Wrath Of The Gods was inspired by a concept discovered in a recently unearthed script written by Robin and stars Game of Thrones’ Francis Magee and Norwegian actress Christiane Schaldemose.

Dominic: “I really love writing projects like this and if I could write things like this for the rest of my career, that would be great.’”

Justin Hardy is survived by his wife Larissa, and children Sam, Ludo, Nico and Summer.

Wrath Of The Gods will premiere at FrightFest in Leicester Square on August 28.

Police said at least three people were killed several others were wounded in a shooting at an In-N-Out Burger in Twin Falls, Idaho on Saturday afternoon. Footage captured the suspected gunman firing several shots into a vehicle before he was killed.

At least three people are dead and more than 20 injured after a bomb exploded outside a restaurant in central Moscow. Russian authorities say a woman carrying an explosive device was stopped by a security guard before it exploded. It’s not clear who the target was.

Footage shows firefighters dousing the wreckage of a crashed tourist aircraft in southern Peru. Police said the plane was carrying 13 people when it went down while flying over the ancient archeological site of Nazca Lines.

Vincent Pastore, best known for playing gangster informant Salvatore “Big Pussy” Bonpensiero on HBO’s “The Sopranos,” has died. He was 80.

Pastore was found dead in his Bronx residence Saturday by a friend who did a wellness check after he had not been heard from for three days, his manager Steve Atterman confirmed to The Times. No cause of death was revealed.

While Pastore was best known for his time on the HBO drama starring the late James Gandolfini, he was often cast as an Italian American bad guy in other film and TV projects. His early credits include “Goodfellas,“ “Carlito’s Way” and “The Jerky Boys: The Movie.” He also appeared in the 1996 HBO TV movie “Gotti,” alongside future “Sopranos” co-stars Tony Sirico, Dominic Chianese and Frank Vincent.

A New York native, Pastore was born on July 14, 1946, in the Bronx. He fought in the Vietnam War and went on to graduate from Pace University with a degree in drama. He spent most of his young adulthood running bars and nightclubs in New Rochelle.

He didn’t get into acting until he was in his 40s in the late ‘80s at the encouragement of acting siblings Matt and Kevin Dillon. In a 1999 interview with The Times, Pastore offered his thoughts on why the brothers saw potential in him: “I guess because I looked like a gangster!”

“They used to live in a nearby town, and they used to come to my club a lot, and I became good friends with these guys,” Pastore said. “Kevin brought me down to meet his manager, and I had an interview. I took acting classes and some classes in college, but I didn’t have a clue how to break into film and the New York business. The agent gave me a guidepost, and I started doing some independents and a lot of theater. I started to study acting at 42!”

Pastore appeared in nearly 200 movies and TV projects, and twice in singing roles on Broadway (2007’s “Chicago” and 2014’s “Bullets Over Broadway” productions). But it was his role in David Chase’s 1999 drama “The Sopranos” that became his signature role.

Big Pussy was seminal to the show’s lore as Tony’s longtime best friend and trusted mob enforcer; his betrayal in becoming an FBI informant led to his murder and became one of the show’s most memorable scenes early in the show’s run.

Given his propensity to be cast as a mobster, Pastore was once asked whether he ever considered turning down a job because he thought it portrayed Italian Americans in a bad light.

“No, I haven’t turned any work down,” he told The Times. “The only time I turned work down is when I can’t do it because of ‘The Sopranos.’ I don’t think I am in a position [to turn down work] … when you got a daughter in grad school and you are paying her expenses, it’s pretty hard to turn a job down…You just hope the films are going to be good.”

Pastore is survived by his daughter, Renee.

Aug. 1 (UPI) — At least three people were killed and two injured in a shooting at an In-N-Out restaurant in Idaho on Saturday, police said.

Authorities in Twin Falls responded to reports of shots fired about 2:30 p.m. in an area that included multiple major retailers and a movie theater, NBC News reported.

Videos posted on social media showed a man wearing a black shirt and carrying a large rifle in the area, Boise State Public Radio reported.

The man reportedly shot the front windshield of a parked car and later walked into the In-N-Out drive-through.

Police Chief Matthew Hicks said it was a “very chaotic scene” and confirmed the shooter was dead.

“We have literally hundreds of people that were in some way, shape or form in the area of this restaurant at the time that are being interviewed right now,” he told reporters, BSPR reported.

In a statement, Twin Falls police said roads and a nearby bridge were closed to all residents and visitors while officers responded to the incident.

“We are working to try to ascertain his identity and the motivations behind [the shooting] and we’ll be able to figure that out in the next coming days,” Hicks told reporters.

The police chief added, “Today has been a very hard day here in Twin Falls,” NBC News reported.

Aug. 1 (UPI) — President Donald Trump on Saturday said he would push to codify into law his controversial $1.776 billion anti-weaponization fund if two senators continue to block the confirmation of his nominee for attorney general.

Sens. John Cornyn, R-Texas, and Thom Tillis, R-N.C., have opposed the confirmation of Acting Attorney General Todd Blanche for a permanent role in opposition to the fund.

Speaking to reporters at Camp David on Friday, Trump had admitted the fund was “dead” — but flip flopped in a statement the following day.

“If Senators Cornyn and Tillis, both upset because I wouldn’t Endorse them (they lost, and quit, respectively!), aren’t going to approve Todd Blanche, one of the most respected professionals, according to everybody, in the Country, to be the United States Attorney General, then I will keep Todd as Acting A.G., and push hard to get the Anti-Weaponization Bill, which takes care of those who have been so badly treated by the Crooked Joe Biden (and Obuma!) Administration (I get nothing, although I was treated horribly!), PASSED,” Trump said in a statement on Truth Social.

“Todd Blanche was a voice of reason!” he added. “It will immediately be back on the table, and I will get it done.”

The fund comes from a settlement, negotiated between Trump’s private attorneys and his Department of Justice, that would compensate people who feel they were unfairly targeted by the government, including Jan. 6 rioters.

The settlement would also include a provision that would shield Trump and businesses from IRS audits.

Blanche has said, at times, the anti-weaponization fund would not be moving forward.

But Cornyn and Tillis have asked Blanche for written assurances from the DOJ that the fund was gone for good, which he has failed to produce.

“Despite comments as late as yesterday that the fund is dead, President Trump clearly intends to resurrect the payout pot for punks either by inappropriately establishing another bogus fund or pushing Congress to vote for a bill that the majority of Republicans in the Senate would be against,” Tillis said in a statement on X.

“It’s unfortunate that Todd Blanche, who I consider qualified for the job, will not be confirmed because of this reversal,” the senator added. “Hopefully, we can resolve this by Tuesday.”

THE Sopranos star Vincent Pastore has been found dead at the age of 80.

Cops have launched an investigation into his death, as tributes flood in for the well-loved actor.

Vincent played a number of mobster characters in film and TV in a long and illustrious career.

He was found dead on August 1 in his Bronx home by a neighbour, according to sources.

Vincent had not been heard from in three days before being discovered on Saturday, reports say.

The circumstances surrounding his death are being investigated.

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Pastore’s manager Robert Attermann said in a statement: “I had the privilege of representing Vinny for more than 30 years, long before The Sopranos made him a household name.

“To the world, he will always be remembered as the unforgettable ‘Big Pussy,’ but to those of us who knew him, he was so much more.”

He added: “Vinny was one of the kindest, most generous people I have ever known. “He treated everyone with warmth and respect, never turning down a fan who wanted a photograph or an autograph.”

Vincent’s manager continued saying that Pastore “genuinely appreciated the people who supported him and always made them feel valued.

“He loved being an actor. He was passionate about his craft and was always encouraging, respectful, and generous with young actors, taking the time to offer guidance and support whenever he could.”

Atterman wrote that losing Pastore was “deeply personal.”

“Over more than three decades, I had the honour of watching not only his remarkable career but also the incredible person he was,” he went on. “I will miss his friendship, his loyalty, his humour, and his heart.”

He ended his personal statement by saying: “My deepest condolences go out to his family, friends, colleagues, and the countless fans whose lives he touched.

“He leaves behind a legacy that extends far beyond his memorable performances. He will be greatly missed and never forgotten.”

Vincent was born in the Bronx, New York City, on July 14, 1946.

He fought in the Vietnam war before going to graduate with a degree in drama from Pace University.

Vincent had a number of small parts in films such as Goodfellas, Carlito’s Way and Men of Respect in the 1990s.

He came to wider attention though in The Jerky Boys: The Movie in 1995 and the HBO TV movie Gotti, the following year, where he appeared alongside future Sopranos co-stars Tony Sirico, Frank Vincent, and Dominic Chianese.

Vincent though became a household name in David Chase’s 1999 drama The Sopranos, where he played Big Pussy, Tony Soprano’s, played by James Gandolfini, longtime best friend and mob enforcer turned FBI Informant

His extensive credits also include Mickey Blue Eyes, Shark Tale, Once Upon a Time in Brooklyn and Guy Ritchie’s Revolver.

Vincent also made a number of appearances on reality TV shows, including Celebrity Apprentice, Celebrity Family Feud, Dancing With the Stars, Shark Tank and Celebrity Fit Club.

Pastore is survived by his daughter, Renee.

WASHINGTON — President Trump said Friday that his $1.8 billion anti-weaponization fund is “dead” while also continuing to defend it, further complicating his administration’s negotiations with two Republican senators who are blocking his attorney general nominee in protest.

Trump told reporters at Camp David on Friday morning that administration officials had “agreed not to have a fund” that compensates his political allies, yet made clear that he disagrees with that decision.

The comments came hours after an early morning social media post in which Trump said people who had been prosecuted by the Justice Department — many of them for their involvement in the violent Jan. 6, 2001, attack on the Capitol — “are suffering still, many ruined, and I felt that they should be given compensation for what has been done to them.”

Trump’s reluctant declaration that the fund won’t be created came as Republican Sens. John Cornyn of Texas and Thom Tillis of North Carolina, both members of the Senate Judiciary Committee, say they won’t support Todd Blanche’s nomination for attorney general until they see that promise in writing. They have been working for weeks with the White House and Blanche, who is now the acting attorney general, to produce a document to that effect, but both senators have said they aren’t satisfied so far.

“The President made it clear today that the so-called Anti Weaponization Fund is still alive, which is exactly why we are attempting to formally end it,” Tillis said after Trump’s initial social media post.

Trump said in his post that Blanche should be immediately confirmed and is a “pawn in this whole thing.”

Cornyn, Tillis want promises in writing

Blanche said at a hearing two months ago that the anti-weaponization fund would not move forward after Republican senators revolted and held up an immigration funding bill.

But Tillis, who is retiring when his term ends in January, and Cornyn, who lost reelection this year after Trump endorsed his primary opponent, said they want to ensure that the White House doesn’t reverse course, especially as Trump continues to argue that a fund is needed.

The Justice Department has provided the senators with language that says Blanche’s May 18 order establishing the “Anti-Weaponization Fund” is “rescinded and shall have no force or effect,” according to a document reviewed by The Associated Press.

Cornyn and Tillis have said they also want some clarifications on a separate piece of the settlement that would grant Trump and members of his family immunity from tax audits. Cornyn said this week that it was his understanding that the audits could extend to more than 100 different Trump organization subsidiaries into the future.

“Todd Blanche said it was limited to the parties to the litigation — and it was retrospective, not prospective,” Cornyn said. “And all we’re doing is asking them to put that in writing.”

Blanche nomination is delayed in the Senate

The Judiciary Committee postponed a vote on Blanche’s nomination that had been scheduled for Thursday morning after Tillis and Cornyn said they needed more from the administration before they could provide the necessary votes.

After the meeting was delayed, Trump said in a social media post that he might pull Blanche’s nomination and resubmit it after Cornyn and Tillis leave office next year. But the two sides continued to negotiate through Thursday afternoon, when Blanche, Cornyn and Tillis met on Capitol Hill.

On Friday, a person familiar with the negotiations said talks had been positive, but the senators were still awaiting a new offer from the Justice Department. The person requested anonymity to discuss the private negotiations.

The two senators have repeatedly said the Justice Department seemed interested in reaching an agreement, but the White House wouldn’t budge even to aid the confirmation of Trump’s loyal former personal attorney, who has aggressively pursued the administration’s priorities as acting attorney general.

“I think as far as Blanche and the Department of Justice, we were pretty much on the same page,” Cornyn said Thursday. “But then when the president got wind of it, he wasn’t willing to go along with it.”

Tillis said Blanche “has been forthright, thoughtful and patient” but attributed the holdup to an “incompetent personal advisor” to the president, even as Trump himself continued to advocate for the fund.

Behind the scenes, Trump legal adviser Boris Epshteyn is being blamed as an obstacle to an agreement that would let Blanche move forward, according to three people who have direct knowledge of the discussions and requested anonymity to discuss them.

Saying the AP’s “sources are wrong,” White House communications director Steven Cheung said “anyone trying to assign blame to the President or his team has no earthly idea of what is going on and clearly is trying to deflect from the issue at hand — Todd Blanche will be an exceptional Attorney General and he should be confirmed immediately.”

Also on Friday, Trump’s attorneys notified a court it would appeal a judge’s scathing ruling that characterized the settlement of the president’s lawsuit against the IRS as an improper exercise in self-dealing. The judge in her order earlier this month referred one of Trump’s attorneys for potential disciplinary action and criticized Blanche’s involvement in the settlement, given his prior representation of Trump.

Blanche has said he disagrees “with the judge’s insinuations” about him.

Settlement fund could have benefited Jan. 6 rioters

Even as they are usually deferential to Trump, a number of Republican senators have expressed strong objections to the settlement.

“The criminals who assaulted police officers and defiled our nation’s Capitol are not ‘great American patriots’ who are ‘victims of government abuse,’” Tillis said, echoing Trump’s comments about the rioters who could potentially have received payouts. On his first day back in office, Trump pardoned more than 1,500 people who had been charged in the attack.

Republican Sen. John Kennedy of Louisiana said Thursday that the majority of Senate Republicans aren’t comfortable with the settlement fund.

“Blanche said it’s dead, and he testified that it’s not coming back,” Kennedy said. “But for whatever reason, somebody didn’t want to put it in writing.”

Jalonick, Kim and Richer write for the Associated Press. AP writers Eric Tucker and Lisa Mascaro contributed to this report.

Under a new licensing agreement, Netflix will be streaming “The Walking Dead” franchise globally.

Netflix and AMC Global Media, the network that originally aired the zombie series, inked a new five-year co-streaming deal, according to a press release on Thursday. Both companies will be able to show the original “The Walking Dead” series and its six spinoffs on Netflix and AMC+. The deal is valued at $500 million, AMC Global Media said in its second-quarter earnings report.

“This deal creates a global destination for this universe — all shows, all episodes — making the franchise more accessible than ever to fans around the world. In addition, the co-exclusive agreement allows us to bring the original series to AMC+ for the first time early next year,” Kristin Dolan, the company’s chief executive, said in a statement. “This agreement is a fantastic result for our companies, for the fans and for this timeless IP.”

AMC Global Media is renting the franchise, not selling it. The five-year licenses run separately for each show, with start dates that vary based on territory and the expiration of existing streaming deals. The rights to “The Walking Dead” revert to AMC Global Media when the term ends.

The company also keeps global rights to run the “Walking Dead” universe on its own services throughout. Dolan told investors the agreement would supply what she called “a meaningful source of cash flow for years to come,” framing it as evidence that the company’s library still commands premium prices even as its cable business shrinks.

The agreement will extend the franchise’s reach on Netflix in places like the U.K., Italy, Australia and New Zealand — making episodes available beginning in 2027.

“The Walking Dead” premiered on the AMC network in 2010, introducing audiences to the high-stakes world of a zombie apocalypse. In 2011, the series began streaming exclusively on Netflix in the U.S. The show aired for 11 seasons and became one of AMC’s most influential shows. Other popular programs from the network include “Mad Men” and “Breaking Bad.”

“Audiences have discovered and loved ‘The Walking Dead’ on Netflix for nearly 15 years and the show continues to attract new fans,” Lori Conkling, Netflix’s vice president of licensing, said in a statement.

The deal landed alongside a rough quarter. AMC Global Media reported second-quarter revenue of $547 million, down 9% from a year earlier, and a loss of 51 cents a share, compared with 91 cents in profit in the same period last year. Operating income fell to about $16 million from $64 million.

Netflix’s second-quarter earnings showed mixed results. The company‘s revenue rose 13% to $12.6 billion; its net income was $3.4 billion, up 9% from a year ago; and its advertising business is on track to reach $3 billion in revenue this year, double the amount in 2025.

The same filing offered some details on Netflix’s acquisition of InterPositive, the AI post-production startup founded by Ben Affleck, for $587 million in cash in March.

But Netflix’s stock price has continued to waver due in part to investor concerns about the streamer’s future growth.

Deadly clashes reported in Pakistan-administered Kashmir amid first round of voting for regional elections on July 27.

Watchdogs have raised concerns over mounting reports of deadly clashes during regional elections in Pakistan-administered Kashmir, where a banned activist group has boycotted the vote and staged protests.

The clashes between police and protesters earlier this week killed more than 30 people in the region, according to the leaders of the Joint Awami Action Committee (JAAC).

In a video statement on Wednesday shared by Arab News Pakistan, JAAC committee member Sardar Umar Nazir claimed 20 of the group’s supporters had been killed during a march on Monday, when the first round of voting took place.

He listed reports of at least 10 other protesters being killed the following day in the towns of Rawalakot, Mirpur and elsewhere, including during sit-ins.

“Our demand was peaceful, it was peaceful, we tried to keep it non-violent and bullets were fired at it,” said Nazir in the video statement.

Pakistani authorities said a member of the security personnel was killed and five more were injured in clashes on Monday.

Rights group Amnesty International called the reports of lethal force against protesters in the area “disturbing” and urged an investigation.

Pear Pandya, a senior analyst at conflict monitor ACLED, said the violence in Pakistan-administered Kashmir “is bound to overshadow the legitimacy of the entire electoral exercise”.

Monday’s first-round vote – covering the districts of Mirpur, Kotli and Bhimber – will be followed by two more rounds on August 2 and August 10.

Pakistan’s primary governing party, ⁠the PML-N, won nine out of the 13 seats that were up for election on Monday.

No justification to ‘mete out violence’

JAAC was banned by the local government under “anti-terrorism laws” in June, causing deadly protests to erupt in Pakistan-administered Kashmir.

Banking, roads and internet services have largely been disrupted since then, hindering the flow of information.

Pakistani officials have justified the crackdown by alleging that armed and India-backed fighters joined the Kashmiri protesters. India has rejected similar accusations in the past.

Amnesty has called the ban on JAAC unlawful and said it does not provide justification for authorities to “mete out deadly violence against protesters”.

The rights group has also urged Pakistani authorities to ”restore all communications access and allow media and independent observers into the area”, its acting regional director for South Asia, Isabelle Lassee, said.

‘Controversial’ seats

One of JAAC’s central demands regarding the regional elections is the abolition of 12 assembly seats reserved for Kashmiri refugees.

JAAC supporters say the seats are used by major Pakistani political parties to tip the composition of the local parliament in their favour with those who mostly live outside the region.

To form a regional government, the PML-N would likely need the support of some of the 12 representatives, said Hasan Askari, ‌a political analyst.

“But when their government is dependent on those 12 controversial seats, how would it be able to find a solution for this issue?” Askari told the Reuters news agency.

Even among the candidates that did not boycott the vote on Monday, the results were contested. Parties accused each other of ballot ‌box ‌stealing and vote rigging.

Kavinsky, the French electronic musician and DJ whose moody single “Nightcall” scored the hit film “Drive,” has died. He was 50.

French newspaper Le Figaro and TV station BFM reported that Kavinsky, born Vincent ‌Belorgey, died from a suspected stroke. Paris prosecutors investigated and found “no suspicious elements,” they said.

Kavinsky was a defining act of the Paris electronic scene of the 2000s and 2010s, whose neon-smeared synths and noirish atmospheres lent themselves to L.A. freeways and Montmartre nightclubs alike.

Adopting a droll persona — a red-eyed electronic producer who returned from the dead after a Ferrari crash — Kavinsky was a major figure in the second wave of the “French touch” dance scene.

His popular breakthrough came with “Nightcall,” a collaboration with CSS’ Lovefoxxx and Daft Punk’s Guy-Manuel de Homem-Christo. The song was a propulsive theme of Nicolas Winding Refn’s 2011 film “Drive,” a brutal and romantic revenge thriller beloved for its slinky, retro-futuristic soundtrack. Kavinsky performed the song to close out the 2024 Paris Olympics, performing with the French band Phoenix and the Belgian singer Angèle.

While he only released two studio LPs, including the 2013 singles collection “OutRun” and “Reborn” in 2022, he was influential to major acts that came after him. The Weeknd, who sang on an edit of Kavinsky’s “Odd Look,” wrote on X: “So heartbreaking to hear the news. An inspiration to so many, including myself. I will continue to honor your name and your music. Rest easy Kavinsky.”

French President Emmanuel Macron also wrote a tribute on Instagram, calling Kavinsky an artist France could be proud of forever.

Seven people, including two children, have died during a Russian missile and drone attack on Ukraine, according to local officials.

President Volodymyr Zelensky warned on Wednesday that Russia had been preparing for a “massive attack”, urging people to heed air raid alerts.

In the early hours of Thursday, the Ukrainian military reported multiple missile and drone strikes around the country.

The attacks come after Zelensky met US President Donald Trump in Washington DC this week to urge the US to grant Ukraine a licence to produce Patriot interceptor missiles.

Two girls, aged 5 and 12, were among the six killed in a village near the central Ukrainian city of Kryvyi Rih when a ballistic missile hit a private house, a local official said.

Eight more people were injured, including two children, the official added, noting that the number of casualties could rise.

In Kyiv, one person died and fires broke out in three non-residential buildings overnight, the capital’s mayor Vitali Klitschko wrote on Telegram.

Explosions were also heard in Lviv, its mayor Andriy Sadovyi said, reporting that residential buildings had been damaged.

Betye Saar, a Los Angeles artist who transformed collections of bigoted bric-à-brac — Sambo dolls, ceramic mammies and crude renderings of pickaninnies — into potent works of assemblage that mined the searing history of race in the United States, and whose works influenced generations of artists, has died. She was 99.

Saar died in her sleep — just a few days short of her 100th birthday — in Los Angeles, her longtime gallerist Julie Roberts at Robert Projects said. Saar’s death was confirmed by her publicist Hannah Gottlieb-Graham.

“Betye Saar was one of the greatest artists of our time, and it has been an immense honor to work with her for nearly 20 years,” Roberts said. “Her singular vision transformed the course of contemporary art, and her legacy will continue to inspire generations of artists, scholars, and audiences around the world.”

A diminutive woman with a low-key manner that belied a steely resolve, Saar was known for combing garage sales, flea markets and junk piles for objects that she employed in collages and assemblages large and small. These explored difficult aspects of American history — including slavery and Jim Crow — but also touched on more personal themes of family, memory, magic and spirituality.

“My work has to do with recycling,” she told a documentary crew in the 1970s. “Each item I collect has a certain energy from its previous function that carries over into its new use.”

Artist Betye Saar in her Laurel Canyon home in 2016.

(Gina Ferazzi / Los Angeles Times)

In a 1984 profile, Times art writer Suzanne Muchnic described Saar as an artist who used found objects in a way that “draws on the power of mystery, the hurt of discrimination and the authenticity of individual vision.”

As Saar’s 100th birthday approached, her work and its groundbreaking importance were celebrated afresh in a slew of articles, including two recent profiles in The Times. As she approached the momentous milestone, Saar appeared more interested in creating new art than in dissecting her legacy. “That’s what art is,” she told The Times in an interview in late June. “Making something where there was nothing.”

Saar first rose to prominence in the 1970s, after crafting a small assemblage — roughly the size of a shoebox — that featured at its center a stereotypical Black mammy figurine bearing a rifle in one hand and a grenade in the other. The piece was first shown at the Rainbow Sign, a community center in Berkeley that was located near the headquarters of the Black Panthers.

The artist had begun her professional life as a designer of greeting cards and home accessories. But 1972’s “The Liberation of Aunt Jemima,” as the assemblage was called, catapulted her into the center of the Black Arts Movement and connected her with a broader tradition of assemblage in California and the art world at large. Three years after its creation, she had a solo exhibition at the Whitney Museum of American Art in New York. Decades later, activist Angela Davis credited “The Liberation of Aunt Jemima” with spurring the Black women’s movement.

“It’s like they abolished slavery, but they kept Black people in the kitchen as mammy jars,” Saar said in a 2015 interview. “I had this Aunt Jemima, and I wanted to put a rifle and a grenade under her skirts. I wanted to empower her. I wanted to make her a warrior. I wanted people to know that Black people wouldn’t be enslaved by that.”

In June 2020, in the wake of the uprisings following the murder of George Floyd, Quaker Oats announced that it would retire the Aunt Jemima brand. Saar took to Instagram with an image of her famous work and a message: “She’s liberated! Finally at long last! And it’s about time!”

“Liberation” now resides in the collection of the Berkeley Art Museum and Pacific Film Archive, not far from where it was first shown.

Betye Saar was born Betye Irene Brown in L.A. on July 30, 1926, the eldest of Jefferson Maze Brown and Beatrice Lillian Parson‘s three children. Her father, with whom she was close, died when Saar was about 5. And shortly thereafter, Parson relocated the family to Pasadena to live with her maternal aunt, Hattie Parson Keys. (Years later, Saar created a series of works in honor of Keys, employing objects that her aunt had left behind — something she would do for other family members as well.)

Saar’s parents weren’t artists, but art was in the air. When she was a child, her mother encouraged her to sew and make crafts. And, in the summers, she spent time at the home of her paternal grandparents in Watts, where she saw Simon Rodia building the Watts Towers and was struck by his use of materials.

“The one I find the most amusing is the corn cob,” she told the podcast “The Modern Art Notes” in 2016. “He had a piece of space with wet cement so he just put the corn cob in there. And I just love the kind of freedom to make the piece. Anything can go in there.”

After graduating from high school, Saar spent two years at Pasadena City College before transferring to UCLA in 1947. She majored in design, figuring that she would become an interior decorator — and, for a time, she did indeed work in that field, teaming up with Curtis Tann to form a cleverly named studio called Brown and Tann. Operating out of Tann’s home, the company produced an array of decorative and functional objects, including bowls, ashtrays and jewelry.

To market their goods, they turned to an informal network of African American artists, staging pop-up exhibitions in people’s homes and in other impromptu locations. In 1951, the pair was featured in Ebony magazine.

It was through that circle that she met a ceramicist of German American descent by the name of Richard Saar. In 1952, they married. The following year, their daughter Lezley was born. Two other daughters followed: Alison in 1956 and Tracye in 1961. (Lezley and Alison are now respected artists in their own right. And, in fact, on more than one occasion, all three women have shown their work together, most recently at the Museum of Art & History in Lancaster in 2018.) In 2024, the Equal Justice Initiative Legacy Gallery installed Saar’s “Seeking Secrets of Destiny” alongside her daughter Alison’s sculpture “The Beckoning.”

Betye Saar, flanked by her daughters, stands before a painted brick wall.

(Carolina A. Miranda / Los Angeles Times)

In 1962, the Saar family moved to a rambling hillside home in Laurel Canyon, then a very rustic part of L.A. It put them in a hotbed of hippiedom right as the 1960s got rolling.

“Down the road was Frank Zappa,” Saar recalled in one interview. “There weren’t that many houses. We had the long skirts and long hair, and it was very casual. You’d go to a love-in or a concert.”

“We were as hippie-ish as hippie could be, while still being responsible.”

By the late ‘60s, she and Saar had divorced. But she remained in Laurel Canyon, where she would live and work until the end of her life.

Saar came to art almost by accident. In the late 1950s, she enrolled at Cal State Long Beach to pursue a master’s degree so that she could teach. But a stroll through campus led her past the university’s printing department.

“I walked past the print workshop and I was like, ‘Heyyy!’ ” she later recalled.

The master’s degree never happened. Instead, she poured herself into printing.

“I loved making prints,” she recalled. “The move into fine art, it was liberating. It gave me freedom to experiment.”

A pair of other, longer journeys, also proved formative.

There was a trip to Chicago’s Field Museum, where she immersed herself in the institution’s extensive collection of African art, followed by a trip to Haiti in the early 1970s. Saar was drawn to the Caribbean nation because of her interest in voodoo and magic — and the power that these could confer on inanimate objects.

“In the early 1960s I began going to coffee houses and they’d have books on the occult,” she told the New York Times in 1978. “I was attracted to signs and diagrams of alchemy and palmistry, and I began to use them in my prints. I also haunted second-hand and junk stores, and I started to frame my prints in old window frames.”

But it was a visit to an exhibition of the work of Joseph Cornell at the Pasadena Art Museum (now the Norton Simon Musuem) that inspired her to take a three-dimensional turn in her work. Saar was moved by the surreal qualities of the New York artist’s intimately scaled assemblages, which were often presented in small boxes.

“I immediately started collecting stuff after I saw that show,” she told the L.A. Times in 2016. “I started going to yard sales and estate sales.”

During the ‘60s and ‘70s, she took on a series of part-time jobs to provide for her children, designing costumes at a cultural center and teaching at area art schools. These provided her with necessary income, but also allowed her enough time to make work — which she often did at the kitchen table.

Saar’s creations from that era are on display through Aug. 22 at Roberts Projects. Titled, “Let’s Get It On: The Wearable Art of Betye Saar,” the show covers the years Saar spent in the costume department for the Inner City Cultural Center’s theatrical productions.

“Art comes from the heart and the head,” she once said. “You don’t need to have a separate space in which to make it.”

Plus, art gave Saar a crucial political voice at a time of the civil rights and Black power movements. “If you are a mom with three kids, you can’t go to a march,” she once stated, “but you can make work that deals with your anger.”

“The Weight of Betrayal,” 2015, by Betye Saar.

(Brian Forrest / Roberts Projects)

In her assemblages, she incorporated symbols that channeled dark episodes of U.S. history and African American struggle: the schematics of slave ships, the hackneyed images of vintage kitsch and the cruel sobriquets used by white supremacists to describe Black children.

At first she was apprehensive about using this type of imagery in her work. “Blacks were ashamed of those derogatory images,” she told the New York Times. “I like to think I recycled those images from negative to positive.”

But there was power in those images — and Saar knew just how to harness it.

“Saar’s assemblage doesn’t just describe history,” wrote former Times art critic Christopher Knight of her work in 2019, “it embodies a visceral connection to it.”

She would go on to deploy these tropes in myriad ways throughout her career — in particular the stereotypical figure of the Black mammy.

This included one particularly potent work: a glass bottle featuring the visage of a smiling mammy, which she transformed into a Molotov cocktail. The piece, which for decades had been in a private collection, reappeared in the traveling exhibition “We Wanted a Revolution: Black Radical Women, 1965-85,” which went on view at the California African American Museum (CAAM) in 2017.

“Historically, the mammy was the ultimate image of Black female servitude in the American psyche,” wrote historian Steven Nelson in the catalog that accompanied a 2017 exhibition of Saar’s work at the Craft Contemporary (then known as the Craft & Folk Art Museum). “She was kind and giving. She cooked and cleaned and did the laundry. She took care of the children. She was harmless.”

By arming her mammies with revolvers, rifles and bullets, Saar turned a symbol of servility into one of militancy and power.

“Liberation of Aunt Jemima: Cocktail,” 1973, shown at the exhibition “We Wanted a Revolution” at CAAM in 2017.

(Jonathan Dorado, Brooklyn Museum / Betye Saar, Roberts Projects)

Her work also frequently touched on the personal: family, dreams, magic and the body (particularly the Black female body). In the process, she influenced a younger generation of artists, key figures such as Houston Conwill, Senga Nengudi and David Hammons.

“You can really see the impact she had on them,” said Kellie Jones, a scholar and independent curator who organized “Now Dig This!: Art and Black Los Angeles 1960-1980” at the Hammer Museum in 2011. “She had this multimedia practice. It was about Africa, but it was about the world. She has works with Mexican milagros, she has titles in Spanish, she at certain points has Asian influence and Haitian influence. She was really looking at the globe. She was a person in the world, and she really modeled that for people like Hammons and Conwill and Nengudi.”

Saar’s work resides in the permanent collections of more than 80 international museums, and in recent years, she was the subject of solo shows at the Museum of Modern Art in New York, the Prada Foundation in Milan and the Scottsdale Museum of Contemporary Art in Arizona (which hosted a retrospective).

In L.A., she had regular exhibitions at her Culver City gallery Roberts Projects, as well as one-woman shows at CAAM and the Craft Contemporary. In 2019, a small but potent show at the Los Angeles County Museum of Art explored the ways in which her drawing process factored into her assemblage work. But a full retrospective at one of her hometown’s major museums eluded her.

Saar told The Times that she didn’t let it bother her: “I’ve always done what I did and never felt I was competing with what was going on.”

An installation view of “Mojotech,” 1987, by Betye Saar at the Scottsdale Museum of Contemporary Art.

(Tim Lanterman / Scottsdale Museum of Contemporary Art and Roberts Projects)

If anything, she competed only with herself.

Well into her 90s, she continued to get up every day to craft assemblages out of the objects she had amassed in her studio. At 96, she scoured the Huntington Library gardens for a commissioned installation she called a “full-circle” project.

“I used to come to the Huntington with my mother when I was a child. She loved to garden, especially African violets, and she passed that love of plants and nature on to me,” Saar told the New York Times Style Magazine in 2024.

That love is palpable in “Drifting Toward Twilight” and its accompanying documentary, which sees Saar fawning over the orange tint of sloughed bark and the mystical qualities of garden scraps.

“Even in death those things can be really beautiful,” Saar said in the short documentary.

After working with a 17-foot canoe as a centerpiece for the Huntington exhibition, Saar told Curate LA that she felt compelled to return to small-scale pieces. The result was her 2024 Roberts Projects exhibit, “Betye Saar: New Work,” an objet trouvé medley in bronze and gold hues.

“At first, the new works were more nostalgic, with vintage photos and female ephemera, like gloves and such,” Saar said. “Then I brought in the tall ship bookends and African masks, and the works moved in a more ancestral and political direction.”

Even her grandson’s discarded computer parts made a cameo, a testament to Saar’s uncanny ability to mine inspiration from the most mundane objects.

“The worst problem for an artist is having nothing to say,” she once said in an interview. “I just have so many ideas. … Look at things that are important to you, what’s happening in your life. If you have that, you never run out of ideas.”

With her centennial on the horizon, Saar in 2025 formed the Betye Saar Legacy Group, a committee of her trusted curators and collaborators charged with preserving her vast archive and keeping her name fresh in the minds of new generations of artists.

A Saar biography penned by Zoé Whitley, who co-curated “Soul of a Nation: Art in the Age of Black Power,” is expected in 2027.

Saar is survived by her daughters Lezley, Alison (both artists) and Tracye (a writer), and her grandchildren Kyle Leeser, Maddy Inez, Sola Saar, Gen Saar Agustsson, Spencer Saar Cavanaugh, Megan Cavanaugh

Times staff writers Malia Mendez and Jessica Gelt contributed to this report.