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Tens of thousands have been killed since April 2023 in the war between RSF commander Mohamed Hamdan Dagalo and his former ally, army chief Abdel Fattah al-Burhan.

At least 35 people were killed, and several others wounded, when Sudanese army drones struck a traditional court in western Darfur, a rights group has said.

The Emergency Lawyers group, which has documented abuses by both sides of the three-year civil war in Sudan, said the strike on Sunday hit a court in the village of Garra al-Zawaya in North Darfur state at about 1pm local time (11:00 GMT).

It said civilians had “gathered to attend hearings on local cases and disputes” when the attack took place.

The village is under the control of the paramilitary Rapid Support Forces (RSF).

Tens of thousands of people have been killed since the war began in April 2023 between supporters of RSF commander Mohamed Hamdan Dagalo and his former ally, Sudanese army chief Abdel Fattah al-Burhan.

The court building, which serves as a traditional institution for resolving local and tribal feuds, was also damaged in the strike, Emergency Lawyers said.

“The court session was being held under a tree with the participation of local community leaders,” a witness from the area told the AFP news agency on condition of anonymity for safety reasons.

Among those killed were “four tribal leaders and two RSF commanders”, the witness added.

Garra al-Zawaya lies near the town of Kabkabiya, about 150km (93 miles) west of el-Fasher, the army’s last stronghold in Darfur, which the RSF captured after a bloody offensive in October last year.

United Nations investigators have said violence linked to the RSF siege and capture of el-Fasher bore “the hallmarks of genocide”.

Following its takeover of the city, the RSF – which emerged from the government-backed militia known as the Janjaweed, accused of atrocities in Darfur in the early 2000s – consolidated control over much of the region.

Since that campaign, both sides have increasingly relied on drone warfare. According to the UN, more than 1,000 civilians were killed in drone strikes during the first five months of this year.

The conflict has also displaced millions and created what the UN describes as the world’s largest humanitarian crisis.

Hip Hop International, which turns 25 this year, brought some of the world’s best dance crews and choreographers to mainstream attention. Groups including Jabbawockeez and Quest Crew, and choreographers such as Parris Goebel (Lady Gaga, Rihanna, Justin Bieber) and Sienna Lalau (BTS, Blackpink, Ciara) all got their start through the group’s annual dance competition, which connected dance cultures in a pre-YouTube era through global shared artistry when breaking was a mostly underground activity.

This year’s weeklong contest concludes Saturday in Phoenix, when a new world champion will be crowned. Involving 3,000 dancers from 55 countries, the competition has grown to be among the largest in the world due to the efforts of founders Howard and Karen Schwartz, whose globetrotting history led to HHI’s current prominence in the dance world.

In the late 1980s, the Schwartzes were known as “the mother and father of aerobics.” The duo were pioneers of the aerobics craze that gripped the nation and helped create the National Aerobic Championship. ESPN followed the Schwartzes’ competitions, as did the Soviet Union, which was in the midst of the massive social, economic and cultural upheaval that culminated with the fall of the Berlin Wall in 1989.

B-Boy Vico from France was the winner of Hip Hop International’s World Battles in 2023.

(Steven Lam)

Soon after, the Soviet Union asked the Schwartzes to bring their aerobic champions to teach fitness and aerobics there, Karen said. So they did.

“We grew that,” Howard said, adding that the aerobics championship became “almost as big as what HHI is now. We were all over the world with it.”

The pair later transitioned out of aerobics but still had the desire to create communal experiences. While traveling, the Schwartzes went to Paris and saw kids breaking on the street. The seed of an idea was planted. It blossomed later on a trip to Tokyo, as they emerged from a subway.

“We were walking and we saw a group of dancers that were practicing in the streets, but utilizing a storefront window reflection where it became a mirror,” said Karen, who was struck by the creativity of the art form.

When the Schwartzes first began to establish HHI, they reached out to people who would lend credibility, including Don Campbell, creator of the street dance style Locking; Ken Swift, a longtime b-boy and member of the Rock Steady Crew; and Toni Basil, a member of the 1970s dance crew the Lockers (with Campbell) and singer of the ’80s hit “Mickey.”

Basil has since received HHI’s Icon Award and is often a judge during championship weeks and worldwide competitions. She is a stalwart ambassador of dance worldwide. The Lockers were the first group of dancers to travel outside of the “Soul Train” sphere to be seen on television as a singular act. They appeared on “The Tonight Show” and “The Carol Burnett Show,” and were among the first crews to legitimize the art form by making a living from it.

“I don’t know how Karen and Howard organize it,” Basil said of the HHI competitions, noting that so many “kids get to come to America. It’s a big deal. It’s their life. It’s incredible. And to be dancing morning, noon and night, that’s a serotonin-raising life. I mean, everybody’s high on dance.”

Basil touts the international expansion of hip-hop dance and says that “there’s no more important crew battles in the world than HHI. Period.” She also said that HHI’s penchant for group choreography in the U.S. has translated worldwide. Dancers like Goebel and Lalau have graduated from the HHI community to stand on global stages as choreographers and artistic directors with music’s biggest artists.

Goebel operates out of Auckland, New Zealand, in a dance studio she created called the Palace. Her large dance crew, the Royal Family, helped establish the mold of choreographer-dancer-musician after unprecedented success at the HHI competition.

“Definitely the Royal Family competing at HHI and winning three gold medals in a row gave us international recognition for the dance crew and in turn made the Palace well known as I had many crews coming of out my studio,” Goebel wrote in an email.

Lalau‘s classes during the competition week at the HHI championships are coveted events, and she has led numerous classes and groups for the Lab, a Los Angeles-based hip-hop dance crew and studio.

“As my career evolved, I realized HHI is about so much more than competition,” Lalau wrote in an email. “It’s a place where culture, community, and creativity come together. That mindset has stayed with me throughout my career. Whether I’m creating for an artist, building a cast, or teaching a class, I always come back to the idea that the strongest work comes from collaboration.”

In 2008 the Schwartzes’ success led to them serve as producers for the Emmy Award-winning “America’s Best Dance Crew,” an MTV dance competition series that ran for eight seasons. Success stories from the show include crews such as the Jabbawockeez, which has been a fixture in Las Vegas since its first-season win, Quest Crew, Snoop Dogg and Far East Movement.

“ABDC” shone a spotlight on background performers and treated its participants with respect. JC Chasez, a member of N*Sync who also served as a judge on the show and was a talent competition participant himself, wrote in an email that he was excited to be in the mix.

“I know a lot of shows are about the judges, but I thought ‘ABDC’ did a really good job at making sure the audience at home knew that the stars of the show were the dancers,” Chasez wrote.

Chasez, now a producer on the Broadway musical “Titanique,” also noted that “ABDC” alumni are everywhere.

“I’ve really been enjoying seeing crew members succeed … on different projects,” he said. “I was in New York for the Tonys, and some of the people in ‘Jellicle Ball,’ … had competed on ‘Dance Crew.’”

Now that it’s hit the 25-year mark, supporters believe HHI will continue to evolve along with hip-hop dance itself. Always looking forward while reaching back to keep the past alive.

Reinvention is necessary, Chasez said, because hip-hop music today no longer sounds like it did in the ’80s.

“And so as the sonics change and as the rhythms evolve, I think that’s where interpretations will continue to evolve as well because they are visualizing the rhythms that you’re hearing and telling a story in a unique way.”

Lalau said she expects the next 25 years will bring even more authentic creativity, but that she hopes “that we still prioritize the human side of dance [over tech advancements]. Hip-hop has always been rooted in community, connection and self-expression.”

“We really are so proud of a number of the things that we have been able to accomplish, because it’s made a difference,” Karen Schwartz said of herself and her husband, adding that it’s hard to stop and think about those things because they’re so busy thinking about the future.

“That’s the problem, actually,” Howard said. “We’re constantly, ‘What can we do next? What can make the experience better for everyone?’

“Our ultimate goal is of course to bring ‘ABDC’ back,” he said, “and we haven’t stopped trying.”

Until then, a new world champion will be crowned Saturday night, continuing a tradition that has become much more than a trend.

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.

A former security guard for Drakeo the Ruler testified under oath that he saw rapper YG produce a knife and slash it toward him during the 2021 backstage fight in which Drakeo was fatally stabbed, according to recently obtained deposition excerpts.

Alrick Cooper III, who was part of Drakeo’s security detail at the Once Upon a Time in L.A. festival, said YG was “front and center” during the Dec. 18, 2021, brawl and was one of three men he saw carrying what appeared to be short, improvised knives. He said YG, whose real name is Keenon Jackson, was wearing a ski mask, but he recognized the rapper’s hazel eyes as he tried to protect Drakeo, whose legal name was Darrell Caldwell Jr. Representatives for YG did not immediately respond to requests for comment.

The excerpts come from Cooper’s March 19, 2025, deposition, which surfaced last month in a court filing by attorneys representing Drakeo’s family in a civil lawsuit against festival organizers and security contractors. It adds more context to the fight after law enforcement investigating the killing searched a Burbank property and detained YG in the process on Thursday.

The California Highway Patrol, with help from the Burbank Police Department’s SWAT team, briefly detained YG while officers searched the property. He was released after the search and was not arrested.

YG has repeatedly denied involvement in Drakeo’s death. On his June 2026 song “We Know the Truth,” he rejected allegations connecting him to the killing and said he learned after arriving to perform at the festival that someone had been stabbed.

A CHP spokesperson said the agency “cannot comment as this is an ongoing and open investigation” when asked if YG was a suspect or person of interest in the case. No one has been arrested in the ongoing murder case. NBC Los Angeles reported that the warrant was served as part of the continuing homicide investigation. CHP told NBC that YG was present when officers arrived and was released when the search was completed.

Drakeo’s son and other relatives, along with Cooper, sued Live Nation, C3 Presents, Bobby Dee Presents and several security contractors in February 2022, alleging the companies involved in staging and securing the festival failed to protect Drakeo from a foreseeable attack. YG is not a defendant in the lawsuit.

‘Front and center’

Cooper testified that Drakeo’s group was confronted by at least 20 to 25 people backstage. When asked whether he recognized anyone in the opposing group, Cooper named only YG.

“He was directly involved in the fight?” an attorney for Drakeo’s family asked.

“Yeah,” Cooper answered. “Front and center.”

Cooper said the attackers divided into groups and surrounded Drakeo’s party near the artist entrance. Some wore red clothing, ski masks or hoodies and Cooper said festival security personnel failed to intervene and instead closed two gates that could have provided an escape route.

“They actually closed the gates and trapped us in to where we couldn’t leave,” Cooper testified. According to his account, one exit was blocked by security personnel while attackers swarmed the other side of the backstage area.

Cooper said he initially struck one of the approaching men and momentarily lost his footing. He then found himself fighting YG and a man he described as YG’s bodyguard, with Drakeo positioned a foot or two behind him and to his right.

“And then YG produced a knife from his left hand,” Cooper testified, describing the weapon as appearing to emerge from Jackson’s sleeve. “And when I saw that I just backed up.”

As the confrontation continued, Cooper said, the attackers moved toward Drakeo and “swarmed over” him. Police arrived almost simultaneously, according to Cooper, and began breaking up the fight.

Three men with knives

Cooper described the weapon he attributed to YG as a silver blade approximately three or four inches long. He said he did not see a handle and compared its appearance to an improvised prison shank.

“He was slashing at me with it, like getting me to back up,” Cooper testified. He said he was not stabbed.

Cooper said he saw two other men standing near YG with similar weapons. He described one man as being immediately beside YG and another as positioned behind and between them. Cooper said he concluded the men were armed after observing movements that differed from ordinary punching.

“Once I saw the stabbing, jabbing motion,” Cooper testified, he tried to move away from those individuals.

Cooper described one of the other men as a bald Black man, approximately 5 feet 9 inches or 5 feet 10 inches tall, with light-brown or hazel eyes and a blue patterned crew-neck shirt. He described the third as a similarly sized Black man with dreadlocks but said he could not remember the man’s clothing. Cooper estimated YG was approximately 6 feet 1 inch or 6 feet 2 inches tall.

Identifying YG behind a mask

Cooper acknowledged that the person he identified as YG was wearing a black balaclava that exposed only the area around his eyes. He said the man also wore a black bomber-style jacket, black pants with red stripes and shiny black shoes.

Asked how he could make the identification with much of the man’s face covered, Cooper said he had met YG “a lot” and recognized his eyes, body type, height, walk and demeanor.

Cooper also testified that members of the attacking group taunted Drakeo during the confrontation.

He recalled hearing statements including “Is this Drakeo?,” “Is that who I think it is?,” “What you want to do?” and “Now we finally got him.” Cooper also reported hearing Blood gang expressions, including “soo whoop” and “Sup, Blood,” and seeing individuals beating their chests.

Earlier in the deposition, Cooper said he had previously intervened when the two rappers encountered each other outside a recording studio.

According to Cooper, YG approached Drakeo and asked, “What’s up [with] all that internet stuff?” Cooper said he had to defuse that encounter.

Cooper also cited Drakeo’s 2021 song “IngleWeird,” interviews and music released by artists associated with the two camps as evidence of an escalating dispute. He recalled a summer 2021 interview featuring YG and two other artists in which, according to Cooper, someone said, “We don’t do that internet stuff, the homies going to get you.”

Cooper testified that the history led him to warn Drakeo before the festival that more security was needed. He believed there was a substantial chance the two artists or their entourages would encounter each other as Drakeo left the stage or festival grounds.

All parties will be back in court for the first of two hearings beginning Aug. 13 covering motions to dismiss the case brought by Bobby Dee Presents and Live Nation.

Television favourite Claudia Winkleman is still amazed that she is asked to present Channel 4 talent show The Piano when she has zero musical knowledge. Speaking ahead of the launch of the fourth series on Sunday, she says: “I still know absolutely nothing, but nobody seems to mind. They haven’t shouted at me, so I’m like the idiot of the group.

“I know what moves me, but I’m just there as a conduit. I’m there to chat to people and make them as comfortable as possible and try and hear as much of their story as possible, so that the mentors can then get to know them a bit before they play.”

The show sees amateur pianists showing off their skills on instruments placed in bustling railway stations, unaware that professional musicians are secretly watching and judging them. Claudia, who will be working alongside Lebanese-born pop star Mika, known for hits including Grace Kelly and Lollipop, would love to see more Elton John numbers on the show. She says: “I am longing for someone to play some Elton John. I just want somebody to play his amazing music.”

Claudia and Mika will be joined by new mentors, including Jamie Cullum and Jools Holland, who will help to weed out stars of the future. Claudia, 54, says of The Piano: “I love it so much. We’re so lucky because when we did it for the first time, we thought we’d only get one go.

“It is an absolute privilege to wait in stations for these amazing pianists who surprise us. We learn about their lives, meet their friends and family and we learn about why playing the piano is important to them. For all of us involved it’s an honour. I can’t wait to see who we’re going to meet. What’s so thrilling about this amazing show, is you have no idea who’s just around the corner and is just walking towards you through the station.”

Welcoming her new army of mentors, she says: “They all bring very different perspectives. In every location, they will choose somebody to play at the final concert, so it’s going to be fascinating.

“What I loved about having different mentors is that they love the idea and they love the show. So, what was brilliant was to have people who were so enthusiastic. I love the fact they wanted to be part of it. It’s not glamorous and we adored them for wanting to be there. It was ‘hello, welcome to Birmingham New Street station, can I get you a Greggs?’ They were all absolutely up for it.”

Now a household name after 30 years in showbusiness, which has seen her present hit shows like Strictly and Traitors, Claudia would advise wannabe media stars to go for hands-on experience over a degree. She says: “Don’t study at university. Go, but don’t study subjects like media studies. I would study something else. It is just about experience. I don’t think you need to study media. Just work around it.”

Claudia comes from a media background. Her mum, Eve Pollard, is a former newspaper editor, who was once at the helm of The Sunday Mirror and Sunday Express and her dad, Barry Winkleman, was a book publisher.

When she felt the urge to try TV, after working in a gallery, she says: “At the age of 24, I applied to the former TV company Planet 24 and got a call from Janet Street-Porter’s office and I just continued. I worry about people who know what direction they want to go in. That is nerve wracking. It is OK not to know. “

But Claudia admits that her career has involved some weird assignments. She says: “Once I dressed up as a fruit for Fruit Awareness Week on This Morning. I was a kiwi! I remember going ‘we are going to go live as a fruit.’”

Claudia graduated with an honours degree in fine art from Cambridge University, although her cheeky charm was nurtured during her days as a pupil at the City of London School for Girls. She says: “I had the most amazing history of art teacher, but my friend and I thought it would be easy. We wore fishnets, smoked fags and flirted with boys. It was like ‘paintings? Yada-yada.’ We were not bad but naughty.

“I remember one day our teacher, Mrs Dale, in the first lesson, clicked her fingers and made us all walk to St Paul’s Cathedral. She said ‘I have had enough. You look up and this is what we are going to teach you’. She was unbelievable and the way she introduced art to us was great. She took us to Venice and made us appreciate Titian. She was brilliant.”

Her father, Barry, who was divorced from her mum Eve in 1975, when she was just three, also loved taking her to galleries. She says: “My parents impacted me massively. My dad used to take me to The National Gallery and the only rule was we were only allowed to look at one painting.

“He did not want to bore me to death. Now, when I take my kids, we are in for the duration. But there was no rush when my dad took me and it made me want to go back. My dad taught me so much. My mum and dad both taught me things like, ‘make the tea and be early. Be the last one to leave. Don’t worry what you look like. It is just a shell and that is going to go’.

“I was brought up by a brilliant feminist. Once I asked my mum for a Barbie doll and she was like ‘don’t be ridiculous. That is not what you are supposed to look like’. I was told to ‘be interested, don’t worry about being interesting and ask questions.’ I was told ‘don’t be one of those tools who sits there and waits.’ I was never daunted by what they did. Only grateful. I always felt grateful that they worked so hard.”

Claudia, in turn, passes on her experience to her three children, Jake, 23, Matilda, 20, and Arthur,15, who she shares with her film and television producer husband, Kris Thykier. And she says they teach her too. Claudia continues: “I have learned everything from my kids. Life before was just waiting for them.”

Like many parents, she has steered her children away from social media. She says: “Social media is awful. It is an absolute nonsense. I would never put my kids on it. I have tried to explain to them how awful it is. I don’t post a lot of stuff on social media. I have posted six times this year.”

Instead, Claudia – who likes the ethos of her favourite filmstar, ET, whose catchphrase is ‘be good’ – gets her thrills from doing live TV. The Traitors presenter, whose BBC1 chat show – which launched in March – was recently axed after lukewarm reviews, says: “Live is exciting. It is like doing exams at school, I know it is weird but I like being tested. I like a test.

“Not a driving test as I failed many of those. Turns out head on chin is not helpful. I do get incredibly nervous though but it wakes you up. I like the nerves. When I used to do Strictly with Tess I just used to grip her upper arm all the time.” Let’s hope there’s no arm-grabbing on The Piano – to avoid any bum notes.

*The new series of The Piano continues on Channel 4, Sunday at 9pm.

Bamako, Mali – The ambush that killed at least 50 Malian soldiers and struck a joint convoy of the Malian Armed Forces (FAMa) and Russia’s Africa Corps near the northern town of Anefis on July 18 was more than another battlefield setback.

It underscored how Mali’s armed groups are becoming increasingly coordinated, exposing the limits of the military government’s security strategy, despite growing Russian military support.

The Malian military confirmed the assault and said it had launched counter-operations, while Africa Corps later released footage it said showed drone strikes targeting fighters involved in the ambush.

The attack is the latest in a series of coordinated operations across northern Mali since April, raising questions about why armed groups are increasingly cooperating, whether Bamako’s security strategy is working, whether Russia’s military role has – and has not – changed, and what the conflict could mean for the wider Sahel.

Why are separatist and Islamic armed groups fighting together?

The July 18 ambush was jointly claimed by the Azawad Liberation Front (FLA), a coalition of predominantly Tuareg separatist groups, and Jama’at Nusrat al-Islam wal-Muslimin (JNIM), an al-Qaeda affiliate in the Sahel.

Until recently, such cooperation would have seemed unlikely as they have different longterm political aims. The FLA seeks greater autonomy or independence for northern Mali, while JNIM aims to establish governance based on its interpretation of Islamic law across the region.

For Héni Nsaibia, a senior West Africa analyst at the Armed Conflict Location & Event Data (ACLED) monitor, the answer lies in a shared battlefield enemy rather than a shared ideology.

“The Tuareg-led separatists and JNIM are currently fighting together because they share a common enemy in the Malian armed forces and their Russian partners from the Africa Corps,” Nsaibia told Al Jazeera.

“In doing so, they act as force multipliers for one another, allowing them to pool resources and mutualise their efforts to confront their adversaries more effectively. These groups also share kinship ties despite their ideological differences and regard one another as sons of the land, defending their ancestral territory against invading forces.”

For Mali’s military, that cooperation makes attacks harder to anticipate and more difficult to repel, allowing armed groups to combine local knowledge, manpower and operational experience while pursuing separate objectives.

The military government’s decision to abandon the 2015 Algiers Peace Agreement, request the withdrawal of the United Nations Multidimensional Integrated Stabilization Mission in Mali (MINUSMA), and deepen military cooperation with Russia reshaped the conflict. The collapse of the peace framework removed one of the few mechanisms managing relations between Bamako and northern armed groups, while the military’s increasingly confrontational approach encouraged former rivals to coordinate against a common adversary.

The shift became increasingly visible during coordinated attacks launched across several parts of the country in April, stretching Malian and Russian forces across multiple fronts. More recently, fighting around Anefis has shown that the alliance is capable not only of launching simultaneous operations but also of sustaining pressure on strategically important military positions.

With negotiations abandoned and military confrontation becoming the dominant strategy, armed groups that once competed with one another have found greater incentives to cooperate on the battlefield.

Has Russia changed the course of Mali’s war?

Since replacing the Wagner Group as Moscow’s principal military presence in Mali, Africa Corps has become an increasingly important partner for the Malian army.

Its personnel have provided combat support alongside Malian forces, while Russian drones and aircraft have expanded the military’s surveillance and strike capabilities. Those capabilities have strengthened the army’s ability to respond to attacks and defend key positions.

“Russia has helped strengthen Mali’s military, which was at risk of being overrun, and has given it more support on the battlefield,” Nimi Princewill, a regional analyst specialising in West Africa and the Sahel, told Al Jazeera.

“But this attack, as well as the earlier seizure of Kidal, suggests the Kremlin’s military support has not changed the overall picture. The conflict remains deeply rooted, with geographical and ideological dimensions that are proving difficult for the junta to tackle.” The army seized Kidal, a key town in the country’s north that the Tuareg rebels held for nearly a decade, in November 2023, but Tuareg and allied fighters retook the town in April this year.

Rather than transforming the conflict, Moscow’s military backing appears to have strengthened the army’s battlefield capabilities without addressing the political, governance and security conditions that continue to fuel the violence.

Recent operations reinforce that assessment. Convoys travelling through northern Mali continue to face frequent ambushes, particularly along routes linking Gao, Anefis and other military positions, exposing the continued vulnerability of military supply lines despite increased Russian support.

The shift away from Western security partners also changed the type of assistance available. While Africa Corps has strengthened Mali’s combat capabilities, the withdrawal of the United Nations Multidimensional Integrated Stabilization Mission in Mali (MINUSMA) ended an international presence that provided logistics, monitoring and intelligence support across much of northern Mali.

The result is a military that has become more effective in direct combat but continues to struggle to secure vast, remote territory against increasingly adaptable armed groups.

Has Bamako’s strategy paid off?

The limitations of Bamako’s security strategy raise broader questions about whether it is translating battlefield gains into lasting security.

Since seizing power in 2020, Mali’s military government has centred its strategy on military force, ending longstanding cooperation with Western partners while strengthening defence ties with Russia.

But the repeated ambushes around Anefis and along northern supply routes suggest the measurable gains of this approach on the battlefield have yet to translate into lasting strategic control.

More fundamentally, the growing cooperation between armed groups with different objectives suggests that Bamako’s strategy has not prevented them from adapting and reshaping the conflict.

What could this mean for the wider Sahel?

The implications of the Anefis ambush extend well beyond Mali.

JNIM, the al-Qaeda affiliate, already operates across Mali, Burkina Faso and Niger, while fighting continues to spread across the central Sahel.

The evolving battlefield also presents a challenge for the Alliance of Sahel States (AES), whose members all face persistent armed violence despite expanding military cooperation. The alliance was created to strengthen collective security, but increasingly coordinated attacks suggest that cooperation among governments is being matched by equally adaptable cooperation among armed groups.

At the same time, Mali’s withdrawal from the Economic Community of West African States (ECOWAS) has reduced opportunities for regional coordination with neighbouring countries confronting many of the same security threats.

If the FLA-JNIM partnership proves durable, it could encourage similar tactical cooperation elsewhere in the Sahel, further complicating efforts to contain armed groups whose operations already span national borders.

“The AES was supposed to mean that our security was finally our own business. But when Mali bleeds, Niger bleeds with it, because the armed groups attacking those convoys do not recognise the Alliance of Sahel States any more than they recognised ECOWAS. We traded one set of partners we did not trust for another, and the war is still coming south,” a Niger-based security expert, who requested anonymity because he feared potential repercussions, told Al Jazeera.

Whether the tactical partnership between the FLA and JNIM proves durable remains uncertain. But the Anefis ambush suggests that as Mali’s security strategy shifts, armed groups are adapting in response, with consequences that could extend far beyond Mali’s borders.

A group claiming to represent California fire survivors began sending mailers and paying for social media ads this spring, calling on lawmakers to take action to reduce the rising cost of wildfires.

“Contact your legislator and tell them we need to fix our wildfire problem to make California more affordable,” said a mailer sent this month by the group called Wildfire Victims First.

“Stand with wildfire victims,” the group’s website states, urging people to join its cause.

The group was created with money from California’s three biggest for-profit electric utilities — Southern California Edison, Pacific Gas & Electric and San Diego Gas & Electric — which government investigators found ignited at least six of the state’s 20 most destructive wildfires.

The corporate campaign has angered wildfire survivors, including some of the thousands of families in Altadena who lost their homes in last year’s Eaton fire. The blaze, which killed 19 people, remains under investigation. Edison has said its century-old transmission line is the likely cause.

The utility-funded group is lobbying in Sacramento for proposals in a study that Gov. Gavin Newsom ordered to guide lawmakers in writing wildfire-related bills. The study largely ignored utilities’ responsibility for igniting fires.

Among its dozens of proposals is limiting amounts victims can get for pain and suffering, capping fees for attorneys representing survivors and requiring property insurers to bear more of the cost of utility-sparked fires.

”Each proposal would shift more of the cost of catastrophic fires away from the corporations responsible and onto survivors, policyholders, taxpayers, and the public,” wrote Joy Chen of Every Fire Survivor’s Network in a letter to Newsom this week.

Chen wrote that the industry-funded Wildfire Victims First campaign “created the appearance that wildfire survivors supported” the findings of the study. “We do not.”

The 15-page letter was signed by other organizations including Public Citizen, Consumer Watchdog and the National Day Laborer Organizing Network.

The coalition is urging Newsom and lawmakers to do more to hold utilities accountable for the fires they ignite, so they don’t happen again.

“The Eaton fire devastated Altadena, home to one of California’s most historic Black communities,” said Brandon Lamar, president of NAACP Pasadena, who signed the letter. “Now as survivors fight to rebuild, they should not be asked to bear the cost of protecting the corporations whose failures devastated their community.”

Edison told its shareholders in its annual report that it believes it acted as a “reasonable” utility operator before the fire. If state regulators agree it acted reasonably, Edison will be reimbursed for payments it makes to victims by a $21-billion wildfire fund, which Newsom created through legislation in 2019.

And if Eaton fire damages exceed the $21-billion fund, Edison’s customers will pay the rest through their electric rates under fine print embedded in last year’s Senate Bill 254 — amendments that Newsom and lawmakers added so late that the legislative session had to be extended.

State Sen. Sasha Renee Perez, a Democrat who represents Altadena, said she opposed any bill that would limit payments to victims for pain and suffering.

“I can’t think of a more offensive thing to propose when I have friends who lost family members in the fire,” she said.

Anthony Martinez, a spokesperson for Newsom, said the governor and lawmakers were talking about new legislation because the study “concluded that the current system is unsustainable and not working for fire survivors, utility customers or insurance policyholders.”

“It’s essential that we work to address the complex and interconnected challenges Californians face from the increasing risk of catastrophic wildfire,” Martinez said.

He didn’t disclose what specific measures the governor supports.

Nathan Click, who directs the corporate Wildfire Victims First campaign, said that the group launched after the study found that “payouts to financial middlemen — like trial attorneys, hedge funds and insurance companies — are often paid out before wildfire victims receive a single dollar.”

“Shockingly, trial attorneys can take up to 40% of wildfire victims’ settlement awards,” he said.

Click said the group was advocating for legislation that reduces wildfire risk, expands access to affordable property insurance and ensures quick compensation to victims.

The utility-paid campaign has been joined by electrical worker unions, a powerful force in Sacramento, as well as the California Building Industry Assn. and dozens of other groups.

The Eaton fire was the second most destructive wildfire in state history.

Pedro Pizarro, Edison International’s chief executive, said last year that a leading theory of the fire’s cause was that an idle transmission line in Eaton Canyon was briefly reenergized through a process called induction, sparking the fire. Induction happens when the magnetic field of a nearby live wire causes power to jump to inactive equipment.

Edison kept the idle transmission line in place despite not using it for 50 years. The state’s utilities had known about the risks of leaving unused equipment in place. In 2019, the Kincade fire in Sonoma County, which destroyed hundreds of homes, was ignited by an idle transmission line owned by PG&E.

Despite the billions of dollars in damages caused by the Eaton fire, Edison’s profits soared last year by more than 200% — from $1.3 billion in 2024 to $4.5 billion.

The company also paid its top executives more. Pizarro received $16.6 million in cash, stock and other compensation, up 20% from 2024.

“If the financial rewards for repeated catastrophic failure are record profits, record executive compensation, and record shareholder dividends,” Chen wrote in the letter to Newsom, “then catastrophic failure is exactly what this system will keep producing.”

ROSARIO, Argentina — Lionel Messi arrived back in Argentina on Tuesday for a few days of rest following the World Cup final loss to Spain.

Messi’s private jet landed near his hometown of Rosario from Fort Lauderdale, Fla., at 6:27 a.m. Although many fans were waiting with signs and flags, he did not make a public appearance.

“The pain is immense, and this wound will take time to heal,” he posted on his Instagram account. “I cherish all the good moments, memories that will last forever — and the support of an entire nation which, combined with this group’s hard work and effort, propelled us once again into the ranks of the world’s best.”

Supporters only caught a brief glimpse of the SUV that met Messi on the tarmac to transport him and his family to the private neighborhood of Funes, roughly 185 miles north of Buenos Aires.

The Argentina captain reportedly traveled with his wife, Antonela Roccuzzo, and their three children, all of whom had accompanied him throughout the tournament in North America. Waiting for him in Rosario was his 68-year-old father, Jorge, whose ongoing medical treatment for an undisclosed illness had been revealed by the family during the World Cup.

Fans had gathered at the airport as early as 3:30 a.m. hoping to catch a sight of the star. Among them were two young girls in La Albiceleste jerseys holding welcome signs, one of which read: “Messi: You’re a legend. Thank you for bringing joy to our hearts. A whole country loves you!”

Messi is expected to rejoin Inter Miami in late July or early August for the ongoing MLS season.

Fifteen members of Argentina’s 26-player World Cup roster, led by head coach Lionel Scaloni, landed at Buenos Aires’ Ezeiza Airport on Monday on a chartered flight.

The squad’s arrival followed Sunday’s 1–0 extra-time loss to Spain in the World Cup final in East Rutherford, N.J., decided by a Ferran Torres goal.

“It is hard to fully appreciate our achievement right now, but this group reached two consecutive World Cup finals. Thank you all from the bottom of my heart for every greeting and message,” Messi added. “I also want to congratulate Spain on winning the championship.”

The match marked Messi’s third World Cup final appearance, following 2014 and 2022. He ended the tournament as the runner-up for the Golden Boot with eight goals, two behind France’s Kylian Mbappé.

Mbappé tops the all-time World Cup goal-scoring chart with 22, one more than Messi.

Álvarez writes for the Associated Press.

When asked if Spain would win the World Cup, Lamine Yamal simply smiled and said “yes”.

His words to American broadcaster CBS in the build-up would have come as a surprise to no-one who has seen the confident teenager become one of the best players on the planet.

For many though, for his prediction to come true, Lamine Yamal was going to have to set the tournament alight in his first ever World Cup.

So far, that has just not happened.

The 19-year-old has scored one goal and has not made an assist, but his country have cruised into the final anyway and will face Argentina on Sunday.

While the likes of fellow superstars Lionel Messi, Kylian Mbappe, Harry Kane, Jude Bellingham and Erling Haaland have had starring roles, Lamine Yamal’s World Cup has been surprisingly understated.

But could this be his moment?

Lamine Yamal’s stats for Spain are incredible. He has yet to lose for his country in the 27 competitive matches he has played. He has started 12 games at major tournaments for Spain and won all of them, the longest 100%-win rate of any European player across major tournaments when starting.

If he scores in New York on Sunday he will become just the third teenager to find the net in a World Cup final, after Pele in 1950 and Mbappe in 2018.

Win the tournament and he becomes just the fourth teenager to ever start a World Cup final and win the trophy, after Pele, Mbappe and Italy’s Giuseppe Bergomi in 1982. Nineteen-year-old team-mate Pau Cubarsi could become the fifth.

“No-one will care whether Lamine has scored lots of goals and created lots of goals,” said one Spain fan. “If he wins the World Cup with Spain, he will be a legend forever.

“If we lose to Argentina, no-one will remember his first World Cup. We know he will have lots of other World Cups and we believe he will become the greatest.

“But not many teenagers get the chance to win a World Cup. This is his chance. He will have regrets if we lose and he hasn’t been able to play his best.”

Jennifer Finch, bassist for the influential Los Angeles rock band L7, has died. She was 59.

Finch died of “an aggressive form of brain cancer,” according to a statement from the band.

“We are shattered by the loss of our beloved bandmate, sister and friend Jennifer Finch, whose fierce spirit, humor and boundless creativity helped shape L7 and changed all of our lives forever,” the group said in its statement. “Jennifer was a true original who lived entirely on her own terms, and the impact she made on music, art and everyone lucky enough to know her cannot be measured. We love her beyond words and will carry her with us always. Rest in power our dear friend.”

Finch was receiving ongoing treatment for brain cancer, and just last week backed out of the band’s planned final tour. The group said those dates were “planned along with Jennifer when all four of us were in good health and spirits,” and Finch had asked the band to continue the shows while she sought treatment.

Finch, raised in Los Angeles, was an outspoken and ambitious fixture of ‘90s rock. She briefly performed in a band with Courtney Love pre-Hole and Babes In Toyland’s Kat Bjelland, and once dated Dave Grohl. But she came to prominence in L7, a foundational act in the alt-rock scene of the ‘90s.

Formed in 1985 by guitarists and singers Suzi Gardner and Donita Sparks, drummer Dee Plakas and Finch, they made a fast impact on L.A.’s punk scene, which was growing out of the hyper-masculine hardcore era of the ‘80s. Alongside Hole and Sleater-Kinney, L7 helped usher in the riot grrl wave of confrontational, female-led rock acts onto charts and festival bills.

“Rock ‘n’ roll was invented and became popular because of its rebellious nature,” Finch told the Times in 1993. “But the world has seen every form of rebellion–from throwing TVs out the windows to heroin abuse to just the guy in the leather jacket with greased-back hair–and the rebel image is becoming tired and burnt out. So (the press) is finding new interest in women who (rebel), creating a whole new aspect.”

“The unfortunate thing is that journalists are trying to create a genre out of gender, which trivializes it,” she added. “That’s extremely ignorant, because it bypasses the uniqueness between the groups.”

Bolstered by Finch’s ferocious basslines, hit single “Pretend We’re Dead” received significant airplay on alternative rock stations and became the group’s signature song, along with the biting anti-war anthem “Wargasm.” Finch wrote several songs across the group’s catalog, including the scabrous single “Everglade.” L7 went on hiatus in 2001, but reunited in 2014.

Finch was a talented photographer, whose intimate shots of SoCal bands lent an air of tragic grit to an ascendant punk and rock scene. “The irony is not lost on me when I’m driving from my house just blocks from where I grew up, and I’m heading to the L.A. Weekly to publish pictures of us as kids hanging out and shooting up, 20 years ago,” she told L.A. Weekly in 2006.” It feels weird but strangely hopeful. That was a totally unique time and it defined who we are, so then maybe it’s not a bad thing to be nostalgic about.”

Beyond L7, her song with OtherStarpeople, “Then There’s None,” appeared on the beloved “Office Space” soundtrack, and founded the punk band The Shocker in 2002. She acted in John Waters’ dark comedy “Serial Mom” as a member of the fictional band Camel Lips.

L7’s last album, “Scatter the Rats,” was released in 2019, and its final tour, “The Last Hurrah,” is booked to kick off in San Diego on Oct. 6.

L7 and Finch’s family opened a GoFundMe to support her medical care, saying “We love her, and we want her to feel the full strength of the community that has loved and supported her for so many years.” Information on surviving family was not immediately available.

When you walk into a room with Los Primos del Este, the happy-go-lucky guys immediately make you feel like part of the family. What they first cultivate with silly banter and lighthearted ad-libs eases into a more vulnerable, introspective atmosphere, comparable to a cathartic therapy session.

When I met the norteño-sax band in at Interscope Records — the major label that signed them in early 2023 — it was just a couple of hours before the official release of Los Primos’ new album, “Dulce Amargo,” on Thursday.

For a young band of players in their early 20s, they play it cool; “Dulce Amargo” is their eighth LP to date. The project feels thoroughly chiseled to their refined sonic tastes (influenced by Julión Álvarez, Legado 7 and Remmy Valenzuela) inflected with raw, sentimental lyricism and a wailing saxophone that commands each track with the spirit of an electric guitar.

“Play it back to back and actually start understanding the sound more and realize there’s new sounds being created,” said lead vocalist Geovanni Flores. “Because a lot of people get stuck in their old ways.”

Made up of five members — Flores, bassist and supporting vocalist Ariel Jesus Lopez, accordionist Juan Luis Hernandez, drummer Alejandro Tellez and saxophonist David Tellez — the group has built a steady momentum in the música mexicana genre. They’ve championed the resurgence of norteño-sax, a subgenre that fuses the accordion sounds of norteño music with an invigorating alto saxophone, made popular by legendary groups like Conjunto Primavera.

Since forming in 2017, the North Carolina-based band has gained over 2 million listeners on Spotify through catchy norteño-sax songs like “No Es Mentira (Version Norteña),” “Poema” and “Mami” — drawn together by a polka-like beat that has made them a staple of Mexican dance venues.

In 2024 alone, the subgenre grew by 39% in both the U.S. and Mexico, per Spotify.

Los Primos del Este formed in 2017 out of North Carolina.

(Arwen Clemans / Los Angeles Times)

The band took a few years to find its groove. Its 2020 debut album, “PDE,” experimented more with the prickly, sad sierreño sound popularized by acts like Eslabon Armado and DannyLux — as well as trap-infused corridos tumbados with a thumping tololoche. Still, this was music one could bop their head to, even if dance parties were limited during the global pandemic. With norteño-sax, the group could incorporate contemporary dating themes into songs that bring people physically closer to one another on the dance floor.

“There’s been a sense of maturity that’s happened within the group. In the past, we would just make music to make music and release it,” said Flores. “ We thought about every single detail now, even down to the album cover.”

Before getting into the thick of their recent music catalog, Los Primos del Este quickly unfurled details of the album cover, which shows the group sprawled across the flatbed of a white truck. The image was inspired by Alejandro Cartagena, a Dominican Republic-born Mexican creative who photographed carpooling laborers on the flatbeds along a highway in Monterrey, Mexico, in 2012. The project was a visual representation of how everyday people — often marginalized individuals — navigate transit in a sprawling suburban area.

Such an open stance on community issues appears to be a norteño-sax speciality. In 2000, their forefathers Conjunto Primavera previously told The Times that they make music for working-class audiences: “Wealthy people don’t like what we do.”

“Personally, I found myself in the bed of a truck at one point, low-income, trying to make something out of nothing,” said Lopez. “That’s the world I grew up in, and that’s the world I wanna show everybody. It’s not all sweet, you know?”

The band also nods to injustices faced by immigrant communities — including the recent fatal shootings of 52-year-old Lorenzo Salgado Araujo and 26-year-old Johan Sebastian Duran Guerrero by Immigration and Customs Enforcement agents in Texas and Maine, respectively.

“We’re willing to take the heat,” said Lopez, referring to the band’s pro-immigrant stance. “The community looks at us as a negative presence, but in reality, we’re hard-working, dedicated family people.”

It is both that honesty and vulnerability that are etched into the 14-track LP “Dulce Amargo,” which translates to “bittersweet” in English. The band shared that each member contributed details of his own personal experience to the brainstorming sessions — a process they likened to therapy.

“We were comfortable enough with each other to let [our] stories be heard,” said Lopez. “In the Latino community, there is kinda like that stereotype [that] you have to be strong.  I think this message goes out to everybody — if you’re feeling something, specifically the men, it’s OK to just let it out.”

(Arwen Clemans/Los Angeles Times)

The hazy love melody “Tremenda,” for example, underscores an intense yearning for connection. Written after Lopez was starstruck by a woman, its first lyrics begin in wondrous marvel: “Tal vez fue tu mirada,” or, “Perhaps it was your gaze.”

“What’s the first thing you do when you look at somebody? I look at the eyes,” said Lopez. “They say the eyes are the doors to the soul.”

Alejandro Tellez’s contribution came with the punchy “Linda Sonrisa,” that pleads for someone to realize the realities of the mistreatment they’re facing with another lover.

“How many times are you gonna let him do you wrong until you realize that you have the right guy in front of you?” said Alejandro Tellez in a sing-song twang. “That’s a story that I went through in high school.”

For Flores, the EDM-fused, echoing melody “Mejor Sin Ti,” struck a personal chord; could a relationship be the only thing standing in your way to personal success? “Some people do hold you back, some people tie you down — that’s what I felt,” said Flores.

Hernandez gets a bit teary-eyed when talking about his favorite song, “Sentimientos,” a whirling polka-driven ballad about an avoidant situationship, he said. “To me, it’s like we both kinda love each other already, but we’re kind of afraid to say it,” he explained. “A lot of people are afraid of falling in love again, so that song hits close to home.”

The concept behind “Mereces Mejor,” a trance-inducing ode with floating melodies that implores a loved one to recognize their self-worth, was inspired by David Tellez’s own experience with unrequited love: “She’s trying to go to the bad guy, and I’m over here giving everything I got.”

As the five artists prepare to take their new album on the road — including an upcoming performance at the Lone Star State’s Truck Show Texas Fest on July 25 — they want to make clear that norteño-sax is not a stagnant subgenre. Like most of música mexicana, it, too, is evolving, both in sound and lyricism, encapsulating today’s complex dating culture. Their emotional vulnerability is welcome in a field flooded with artists that may otherwise shrink away from such honesty — perhaps due to the stigma of mental health issues in the Latino community, especially among men.

“We understand that changing the sound may not be for everybody, but we’re making music for the next generation,” said Lopez. “Who knows? Maybe their parents might end up liking this too.”

COLUMBUS, Ohio — Two of the eight men indicted in an alleged drone and sniper plot to attack President Trump’s UFC cage-fighting show on the White House lawn pleaded not guilty Thursday to federal conspiracy charges.

Clothed in jail garb and shackled, Tycen Proper, 19, of Danville, Ohio, and Chandler Scaggs, 21, of Chapmanville, W. Va., entered the pleas before U.S. District Court Judge Edmund Sargus Jr. in Ohio, where the case has been consolidated. They and the other six defendants are each charged with conspiracy to provide material support to terrorists and conspiracy to commit murder on federal government territory and to murder a federal government official.

Sargus scheduled their trial to begin Sept. 14.

“What would have happened or could have happened, that’s never going to be clear, because, thank God, there was an intervention here and this thing was disrupted,” U.S. Attorney Dominick Gerace II told reporters last week as he detailed the group’s July 9 indictments. “But, in my view, when I look at what’s been alleged there, it seems pretty likely that someone or multiple people were driving to Washington, D.C., to do something.”

Attorneys for Proper and Scaggs declined to comment after the hearing.

According to the indictment, the plot began in May. Members of the group — citing grievances about government corruption, water-guzzling data centers and the Trump administration’s handling of the Epstein files — began amassing money, firearms, ammunition, body armor, explosives, drones, medical equipment, communications equipment and other items.

The attack was planned to take place at the cage-fighting show dubbed UFC Freedom 250, which was held on the South Lawn of the White House to celebrate the nation’s 250th anniversary. Law enforcement officials said they learned of the possible threat four days before the event was scheduled to take place.

One of the defendants told investigators that they planned to fly explosive-laden drones into the event and then shoot panicked crowd members as they fled, according to a federal affidavit.

The Justice Department announced charges against seven people from across the country last month, including from Ohio, Missouri, Washington, Nebraska and California. Officials said the suspects harbored fringe conspiracy theories and hoped the attack would destabilize the government.

Four alleged conspirators charged in Missouri, Nebraska and California the weekend of the event and two more charged about a week later in Washington and Missouri are still in the process of being moved to Ohio to face charges. They are likely to be tried as a group.

Scaggs was arrested separately later, but was brought to Ohio ahead of the other out-of-state defendants.

Smyth writes for the Associated Press.

ATLANTA — The jury is still out on whether Lionel Messi is the greatest soccer player ever. But there should be no doubt he’s the greatest to ever play in a World Cup.

And you don’t need the records, the wins or the goals to prove that — although he certainly has enough of those. You just need to see Messi at his most magical, as he was Wednesday, setting up a pair of game-changing goals in a seven-minute span to lift Argentina to a 2-1 win over England and into Sunday’s World Cup final with Spain.

“It’s really hard to speak right now, but I’m going to try not to cry,” Lautaro Martínez, who scored the winning goal two minutes into stoppage time, said in Spanish. “I’m already overwhelmed inside. It’s incredible. Everything we’ve achieved is just incredible.”

Like their 13-game World Cup unbeaten streak, dating to the opening game of the 2022 tournament in Qatar. Or back-to-back trips to the final, which gives them a chance to become the first repeat champion in the men’s tournament since Brazil in 1962.

Argentina’s Lautaro Martinez scores his team’s second goal in front of England goalkeeper Jordan Pickford (1) and fellow England players Ezri Konsa (2) and John Stones (5) during a World Cup semifinal in Atlanta on Wednesday.

(Erik S. Lesser / Associated Press)

But it hasn’t been easy. Eleven of Argentina’s 19 goals — including both scores in Wednesday’s semifinal — have come after the 75th minute. They trailed in the 80th minute or later in two of their last three knockout games, only to rally both times.

And Messi has either scored or assisted on three of the four goals that rescued Argentina.

“This group, in the face of adversity, keeps going, keeps going, and never gets tired,” Martínez said. “And we have the best in the world as our example.”

On Wednesday that meant heartache for England, which was as close to a World Cup final as it has been in six decades, leading 1-0 on Anthony Gordon’s second-half goal with just five minutes left in normal time.

But after taking the lead, England turned strangely conservative, dropping all 11 players behind the ball at times, daring Argentina to score. Eventually it did, with Enzo Fernández curling a right-footed shot from about 20 yards past England keeper Jordan Pickford and in at the left post to tie the game.

It was a pass from Messi that found Fernández in space at the top of the box, earning the Argentine captain his record 11th World Cup assist.

“The opponent doubted themselves,” Argentine coach Lionel Scaloni said. “We smelt blood and went for it. We all felt it. “

The tie didn’t last for long though, with Messi threading a perfect cross from the right wing to Martínez, who found space between English defenders John Stones and Ezri Konsa at the far post. Messi’s pass just cleared the leaping Stones, then dipped to Martínez, who nodded it home.

England’s Harry Kane and England’s Jude Bellingham are dejected after losing to Argentina during a World Cup semifinal on Wednesday in Atlanta.

(Jeff Roberson / Associated Press)

When the ball hit the net, the sellout crowd at Atlanta’s massive Mercedes-Benz Stadium erupted.

“Once again, despite falling behind, we managed to turn the game around in stoppage time. That speaks volumes about this group, about this team that never settles, always wants more, always strives for more,” Martínez said.

It also gives Messi a chance to strive for more in Sunday’s final. He has already played in more World Cup games, scored more World Cup goals and had more World Cup assists than any man in history. With a win over Spain, he can join another elite group of men: those who have won back-to-back World Cup titles.

History will eventually decide if it was Messi’s brillance or the tactical surrender of England coach Thomas Tuchel that truly turned the game around. Tuchel, however, said he had no regrets.

“We played the matches how they were,” he said. “We overcame every obstacle. We were very, very close today. It’s not a moment now to analyze the full tournament because we lost a crucial match.”

His captain, Harry Kane, who lost in the semifinal of a World Cup for the second time in three tournament, was also not interested in second-guessing.

Argentina’s Lionel Messi sits on the shoulders of a teammate and celebrates after beating England in a World Cup semifinal on Wednesday in Atlanta.

(Rebecca Blackwell / Associated Press)

“We had a lot of good moments in this tournament, a lot of good games,” he said. “We talked about knocking on the door. We’re close, we just have to find that missing piece in the final stage of the tournament.”

They may be closer than they think: England is the only team this century to score the first goal in a World Cup semifinal but not reach the final, according to the OptaJoe statistical service.

Argentina’s team, meanwhile, is missing nothing — except maybe a second title,

“The people of Argentina should celebrate being in a final,” Scaloni said. “This group of players is difficult to describe in words. They are so special. I’m getting emotional. They fight for everything.

“We’re going to try to win the final. But what else does this team need to do? There isn’t much else to say. I’m eternally grateful to this group of players.”

Sports editor Iliana Limón Romero contributed to this report.

NEARLY half of Brits identify as the “Chief Vacation Officer” in their friend group – the one who gets holiday plans out of the group chat.

A poll of 2,000 adults found there are six different personalities that make up a group trip, also including the “Busy Bee” who is never free (15 per cent) and the “Ghost” who completely disappears until turning up at the departure gates (10 per cent).

A fifth (20 per cent) identify as the “Snap Happy One” who cannot let a meal or moment pass without snapping a photo and 14 per cent as the “Fluent-ish Friend”, diving into the local language with confidence.

While 11 per cent are self-confessed “Window Shoppers”, who scour social media for recommendations and share them with the group, but never actually book anything.

But the research commissioned by Samsung, which highlights the Galaxy Z Fold7 as the ultimate travel command centre thanks to Multi Window functionality for the modern CVO, found 64 per cent think no getaway would get off the ground without this key role.

From starting the chat to choosing destinations and deciphering endless messages, 53 per cent said the CVO plays an undervalued role in making trips happen.

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To shine a spotlight on their heroic work, Samsung has enlisted the support of Vicky Pattison, a self-confessed Chief Vacation Officer, to explore how travel planning has evolved from a simple booking task into a juggling act across apps and the pride she feels when the plans finally exit the group chat.

Vicky Pattison said: “It’s safe to say I love a holiday, and in my friendship group I am absolutely the lead booker and honestly, I thrive from the challenge.

“What starts as a simple ‘we should all go away’ somehow turns into you sorting dates, comparing hotels, collecting passport details and reminding people to pay you back and I secretly get a kick out of it.

“Everyone loves the holiday once it’s booked, but very few people see what goes into making it happen.”

The research found phones are an increasingly important tool for today’s CVOs, with 67 per cent relying on them to help organise trips, from social media to discover new destinations (40 per cent) and AI platforms to help build the perfect itinerary (42 per cent).

Despite this, 46 per cent still struggle to keep track of the group chat, bookings, and everyone’s preferences in one place.

This planning juggle is no longer confined to laptops or kitchen tables either, with Gen Z turning everyday downtime into personal-admin windows, as 24 per cent admit to planning a holiday during their lunch break or on the commute.

The biggest holiday planning challenges for those who go on group trips included choosing where to stay (27 per cent), collecting everyone’s passport details (11 per cent) and finding dates that work for everyone (42 per cent).

When asked what could make this task easier, 37 per cent would value being able to view flights, hotels, and messages side by side.

While others cited being able to see multiple apps at once (38 per cent), easy multitasking between chats, bookings and itineraries (34 per cent), and a large screen for comparing options more easily (32 per cent) as the device features they would find most useful when planning a group trip.

More than a third (37 per cent) agreed having better tools to support holiday planning would encourage them to organise more trips abroad.

Research shows there are six different personalities which make up a group trip, including the ‘Chief Vacation Officer’ (CVO) – but which one are you?

Almost half of Brits consider themselves the ‘Chief Vacation Officer’ (CVO) in their circle of friends – the person who actually gets holiday plans moving beyond the group chat.

A survey of 2,000 adults revealed there are six distinct personalities that makeup a group holiday, including the ‘Busy Bee’ who’s never available, the ‘Ghost’ who vanishes until appearing at the departure gates, and the ‘Snap Happy One’ who can’t let a single moment pass without taking a photo.

Then there’s the ‘Fluent-ish Friend’, who confidently dives into the local language, and the ‘Window Shoppers’, who trawl social media for recommendations and share them with the group, but never actually get round to booking anything.

The study, commissioned by Samsung to spotlight the Galaxy Z Fold7 as the ultimate travel command centre thanks to its Multi Window functionality, discovered that 64% believe no trip would ever get off the ground without a CVO at the helm.

From kicking off the conversation to selecting destinations, 53% said the CVO plays an underappreciated role in making holidays actually happen.

To celebrate their unsung efforts, Samsung has teamed up with Vicky Pattison, a self-confessed Chief Vacation Officer, to examine how travel planning has transformed from a straightforward booking task into a complex juggling act across multiple apps.

Vicky Pattison said: “It’s safe to say I love a holiday, and in my friendship group I am absolutely the lead booker and honestly, I thrive from the challenge.

“What starts as a simple ‘we should all go away’ somehow turns into you sorting dates, comparing hotels, collecting passport details and reminding people to pay you back and I secretly get a kick out of it.

“Everyone loves the holiday once it’s booked, but very few people see what goes into making it happen.”

The study revealed that mobile phones have become an increasingly vital tool for today’s CVOs, with 67% depending on them to help coordinate trips, from using social media to scout out new destinations (40%) to AI platforms for crafting the ideal itinerary (42%).

Despite this, 46% still find it difficult to keep on top of group chats, bookings, and everyone’s individual preferences in one place.

This organisational balancing act is no longer limited to laptops or kitchen tables either, with Gen Z transforming everyday idle moments into personal admin sessions, as 24% admit to planning a holiday during their lunch break or daily commute.

The greatest holiday planning headaches for those embarking on group trips included deciding where to stay (27%), gathering everyone’s passport details (11%) and pinning down dates that suit the whole group (42%).

When asked what would make the process simpler, 37% said they’d value being able to view flights, hotels, and messages alongside one another.

Others highlighted being able to see multiple apps simultaneously (38%), effortless multitasking between chats, bookings and itineraries (34%), and a larger screen for comparing options more conveniently (32%) as the device features they’d find most beneficial when organising a group getaway.

Over a third (37%) of those surveyed agreed that having improved tools to assist with holiday planning would motivate them to arrange more trips overseas.

TOP 10 HOLIDAY PLANNING CHALLENGES:

1. Finding dates that work for everyone
2. Agreeing on a budget everyone is happy with
3. Choosing where to stay
4. Making decisions when no one else will commit
5. Dealing with people changing their mind repeatedly
6. Getting everyone to reply in the group chat
7. Chasing people for payments or deposits
8. Comparing too many destination options
9. Aligning on activities so everyone feels the trip is worth it
10. Deciding on flights or travel times

“I’m not going to wake her up,” I hiss at my 12-year-old son who’s standing half naked in a dark corridor of a Victorian house. “Please, Mum. She said we could come at any time! I don’t want to get Lyme disease,” he begs.

This is not the kind of drama I was expecting when I signed up to a family walking holiday in Exmoor. A few meltdowns about an extra mile or a blister perhaps, but not a night mission to one of the guides to request a tick removal.

The door opens and Jill comes out brandishing her tweezers. “Have you found another one?” she says cheerily as she whips out the bug that’s buried its head in my son’s torso.

As we trot back to our room, I feel as though I’ve walked into one of the Enid Blyton boarding school books I devoured as a child, returning from a visit to matron with the warm fuzzy feeling of being safe and looked after. Everything about this HF Holidays trip, based at Holnicote House, near Selworthy, feels as though I’ve stepped into a little piece of British history. From the morning briefings in the boot room to pre-dinner hula-hooping on the lawn, we could easily have time travelled to 1956.

The company – a cooperative – has been around since 1913, when Lancashire pastor Thomas Arthur Leonard founded the Holiday Fellowship to give working people access to countryside walking holidays. More than a century later, much of that original spirit survives: communal dining tables, organised walks, evening entertainment and the feeling that everyone has collectively agreed to leave behind modern life for a few days.

I’ve come with my two daughters, 10 and 14, and my son in the hope that one of them might turn into a new walking buddy. Since marrying my husband 18 years ago, holidays have tended towards the accessible – he has partial paralysis – and long hikes, ridge walks and muddy scrambles are things I associate with a previous version of myself. This time I’ve left him at home and have four days (and four walks) to turn the kids on to the pleasures of the great outdoors. We share two rooms with Victorian sash windows and built-in cupboards, simple but spacious. The house has been an HF Holidays property since 1952 and has 32 rooms (14 are singles), sleeping up to 50. This week, there are about 40 of us.

Over scones and cream at the arrival briefing, the kids scour the room for children their age, while I clock other solo parents and grandparents along with a couple of multigenerational family groups. Each day, we can choose from four walks graded in difficulty from level one (about 3 miles), to level four (about 10 miles and with the steepest ascent).

We quickly find our stride: ticking boxes to order packed lunches; attending evening briefings to choose the next day’s walk; joining in organised nightly activities. It’s an introduction for my children to a particular brand of Britishness – one of tea in the drawing room and snacks in brown paper bags, of camaraderie and can-do. And although they are the only mixed-race children here, they easily fold into the tribe of HF Holidays repeaters. Their presence speaks to the history of this country mansion, which during the second world war became Britain’s first mixed-race orphanage, established for children born to Black American GIs and white British mothers at a time when many faced open hostility and rejection.

My children’s initial resistance to the idea of a walking holiday turns to enthusiasm when they realise we’re all in it together and friends made out on the lawn are also on the walks with them. Each day, we’re out for five or six hours. The walks are so brilliantly paced with snack stops, paddle stops, tree climbing stops and the promise of ice-cream at the end, that even my youngest, the most reluctant, happily keeps pace and asks questions about trees and flowers. Mary, our guide, was a geography teacher and imparts her encyclopaedic knowledge engagingly, getting us to count rings on felled trees to determine their age or to guess which leaves come from which tree. We’ve borrowed some binoculars and enjoy identifying the white feathers of a buzzard’s belly and working out the name of a cargo ship far away in the Bristol Channel.

The walks, which are largely circular, cover varied landscapes: fields of buttercups and noisy sheep, pine forests and cliff paths. A particular favourite is a walk that starts by travelling two stops on the steam train of the West Somerset Railway and ends with a visit to Dunster Castle, which emerges fairytale-like from a deer-filled field.

As a solo parent I’m never lonely. Long conversations on walks lead to shared meals and drinks. The children bag “kids tables” at dinner, forcing us adults to mingle. I share one meal with a father who’s with his youngest while the older children are home revising, another with a woman who’s brought her grandchildren (up to three under-11s stay for free with a paying adult). Nearly everyone has been on an HF Holiday before; many came themselves as children. The food is surprisingly good with nightly three-course dinners; my son loves the soups, my eldest the salads and the youngest feels too grown up for the kids menu of burgers and nuggets and opts instead for fish and couscous, or chicken and potato gratin.

The holiday ends with dancing to a live ceilidh band. The final song has Sally walking down an alley and meeting a man from Tennessee. I think of those young English girls and their GI lovers, and for all the old-fashioned fun of the past few days I feel grateful I’ve had my children in a different era. Watching my daughters line dance with pensioners, I vow that this is where I, too, will bring my grandchildren, if I’m lucky enough to have them. But until then, I will bring my son, who tells me on the drive home that he preferred this holiday to any beach holiday we’ve had – despite the ticks. I think I may just have found myself a new walking buddy.

The trip was provided by HF Holidays. The next four-night Exmoor Family Walking Adventures are on 17 and 24 August, £909pp (under-11s free), including full board and daily guided walks. Book now for discounts of up to £172pp for Easter, August and October 2027

When the cast members and creators of the 1990s “X-Men: The Animated Series” reunited at the 2019 Hill Country Comicon in New Braunfels, Texas, they went out for dinner and collectively yearned to one day work together again.

“We said, ‘Let’s put it to the universe: Universe, why don’t you manifest that somebody buys the rights to the show and decides to reboot it and bring us all back.’ We toasted the universe and here we are,” recalls Canadian actor Lenore Zann, the voice of the irresistibly tough Rogue, during a recent video call while visiting Los Angeles.

The result of that metaphysical request is Marvel’s “X-Men ’97,” which debuted in 2024 on Disney+, not as a reboot but as a continuation of the original 1992 classic animated show.

The first season of this new era for the X-Men received an Emmy nomination for animated program. Now, the long-awaited second season has arrived, with the fourth episode streaming this week. Even after the controversial firing of showrunner Beau DeMayo, “X-Men ’97” has already been renewed through Season 4 and the voice cast has started recording their lines for Season 3, Zann says.

The show’s success with both fans and critics is in large part due to its commitment to honor the original ‘90s show, about a group of mutants fighting for themselves and for humanity, not only by preserving its hand-drawn animation style and mature themes but also the voices and personalities of the characters.

“When I pitched the show to Kevin [Feige], he got it immediately and his first question was, ‘Are you going to get the original cast back?’ And I was like, ‘Yes, we are,’” says Brad Winderbaum, head of Marvel Television, Animation, Comics and Franchise at Marvel Studios.

Several voice actors from the original “X-Men” animated series returned for “X-Men ‘97,” which has returned for Season 2. From left, Beast (George Buza), Bishop (Isaac Robinson-Smith), Rogue (Lenore Zann), Professor X (Ross Marquand), Magneto (Matthew Waterson) and Nightcrawler (Adrian Hough).

(Marvel)

Not everyone was still around to return — Norm Spencer, voice of Cyclops, died in 2020 — but in addition to Zann, actors George Buza (Beast), Alison Sealy-Smith (Storm), and Cal Dodd, the voice of the lovable clawed grouch Wolverine, have reprised their roles in “X-Men ’97.” Their emblematic voice performances, Winderbaum says, are baked into his psyche.

“Any time Lenore says the word ‘sugah,’ it just makes me melt into a puddle on the floor,” Winderbaum says, laughing. “She is Rogue and, when she turns it on, she becomes an icon.”

Busy with her political career as part of Canada’s parliament, Zann stepped away from the entertainment business for over a decade. Zann was back home in Truro, Nova Scotia, figuring out her next chapter when she received an email from a friend who said producers at Disney were looking to have her audition for a show. She was skeptical.

Zann eventually got a call from casting director Meredith Layne and a screenplay with lines that were instantly familiar from her time voicing Rogue, the spunky heroine whose touch can be deadly, in the ‘90s.

”I thought, ‘I guess they’re looking for Rogue, so I’ll just give them Rogue,’” she recalls, laughing. “And I did my Rogue voice, which is basically just my own, but with a bit of a Southern accent thrown on,” she adds with a slight twang.

The producers then asked her if she would reprise her superhero for a new generation of kids.

Doing her Rogue voice, Zann recalls: “I said, ‘You had me at hello, sugah.’”

She revels in the similarities between her and Rogue. “We’re both social justice warriors. We really fight for people to be accepted as who they are.”

In 2024, Zann published “A Rogue’s Tale: A Memoir,” a tome recounting her storied life, titled after a memorable episode in the ‘90s series that revealed her beloved mutant’s backstory.

Wolverine in a scene from Season 2 of “X-Men ’97.”

(Marvel)

For Dodd, leaving behind Wolverine after five seasons of the original show felt like losing a part of himself. “X-Men ’97” offered him a chance to feel complete once again.

“I was so happy because when I first created the voice of Wolverine in ‘92, he became very quickly like my brother or my right arm,” Dodd says during a recent video call. “I got my arm back, and my brother.”

After all these years, Dodd was also pleased to see how the most important character of his career looked in the new series. “Out walks Wolverine and I just went, ‘Holy crap, you look great, bub,’” he recalls, laughing about his first time recording lines for “X-Men ‘97.”

When he first auditioned for the role in the ‘90s, Dodd had no idea who Wolverine or the X-Men were. At the time, he was making a living as a singer for commercials and jingles in Toronto.

Dodd remembers the lines he was asked to deliver were directed at the villainous mutant Sabretooth. He had never seen an image of Wolverine or any of the characters. “At one point, I said to them, ‘Is this an animal cartoon?’ They just thought I was a complete imbecile,” he recalls with a chuckle.

In that initial scene, where Sabretooth attacked Jubilee, a member of the X-Men who Wolverine sees as a daughter, his line was: “All right, you egg-sucking piece of gutter trash. You always like pushing around people shorter than you. Well, I’m shorter. Try pushing me.” Dodd recites it from memory in Wolverine’s voice with a growl.

“The lines I was reading, I’d heard them before in the small town that I grew up in Canada; it’s a fisherman’s town, a tough little town,” says Dodd about his reference for Wolverine’s voice. “I knew guys that were exactly like him, and I knew the way they sounded.”

Even without any notion of the X-Men, he nailed it.

“The next morning, they called me and said, ‘We would love to have you as our Wolverine for the very first X-Men animated series,’” Dodd recalls. “And I said, ‘I would love to be your Wolverine, whoever, and whatever he is.’”

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1. Cal Dodd, voice actor for Wolverine in “X-Men ’97.” 2. Lenore Zann, who voices Rogue. (Pauline Aguirre)

When Rogue came into Zann’s life, she already had a notable career as a screen and stage actor. Zann had starred as Marilyn Monroe in a rock opera about the actor’s life, for which she received much praise. “My agent called me and she said, ‘Lenore, they’re doing this animated series, and they’re looking for “a woman with a deep husky, sexy voice who can do a Southern accent,”’” Zann recalls, laughing. “And she said, ‘That’s you!’”

Back then, Zann wasn’t interested in doing voice work, so she missed the first auditions. But about a month later, she says, her agent called again. They still hadn’t found the right voice, so she pushed Zann to audition. She walked in and looked at a drawing of Rogue that Larry Houston, the storyboard artist and director of the show, had drawn.

“She had a very sassy attitude, and she had her hand on her hip and her head back with the hair flowing. I was like, ‘Yeah, I can do that.’ And then I went into the studio, put the headphones on, and opened up my mouth, did the first line: ‘I remember I had a boyfriend, when I kissed him, poor boy went into a coma for three days,’” she says in Rogue’s voice. That was enough for her to land the life-changing part.

At the end of the first season of “X-Men ’97,” both Rogue and Wolverine find themselves in difficult times. Wolverine’s clash with Magneto, the perennial antihero, left him severely injured, physically and mentally.

“He’s as tough as nails and he is more pissed off than anything that he was the only one that stood up to Magneto. He’s disappointed,” says Dodd. “And it’s a struggle for him in Season 2 for a lot of it. And then you see what happens. He’s in a funky place, but he’ll handle it.”

Part of that healing process will involve leaning into the humor tat Dodd imbues in his delivery. “What I think is surprising when you go back and watch that original animated series is how funny Cal is,” says Winderbaum. “Wolverine has amazing one-liners throughout that original series.”

As for Rogue, she is grieving the loss of Gambit, a.k.a. Remy LeBeau, who died in the first season. To voice Rogue’s sorrow, Zann leaned into her own grief over the passing of her 17-year-old niece from cancer. In Season 2, Rogue is trying to move forward.

“She’s still basically on a hero’s journey wanting to get justice for what happened to Remy and for the genocide that she witnessed and that she is a survivor of,” Zann says. “She still got survivor’s guilt, and she’s still trying to find her place within the X-Men now that the one that she loves is gone.”

At comic conventions, Zann and Dodd often meet fans of the original show, who are now adults, and their children, who have also come to love the characters. The emotions that people share with them are at times overwhelming.

“Many times, they tell us that this show saved their lives. They were either LGBTQ+ or they were bullied, or they just felt othered,” Zann explains. “A lot of folks who are Latino tell me that when they were little kids, their parents were agricultural workers, and they learned how to speak English from watching our show. We made them feel it’s OK to be different.”

“I see grown men in tears. They’re in their 40s and they’re crying,” Dodd says about meeting lifelong fans. “I can tell you that Wolverine can cry as well.”

Zann believes the X-Men are like modern-day mythological heroes. Through their fantastical ordeals, the X-Men illustrate qualities that inspire viewers, young and old.

“They are a group of misfits who band together to learn how to control the things that make them different and learn to accept and love themselves,” she says. “It’s an honor to be part of this incredible group of people and these characters that can really touch lives and help change them for the better.”

In 1975, 31-year-old Mick Jagger told People magazine that “I’d rather be dead than sing ‘Satisfaction’ at 45.” The Rolling Stones’ frontman is still very much alive, despite having performed that song in concert hundreds of times since then, most recently in 2024 during the band’s “Hackney Diamonds” tour. Jagger was 80 at the time.

“Time waits for no one,” as the Stones once sang, but apparently that doesn’t apply to the “World’s Greatest Rock and Roll Band.” To paraphrase the group’s first Top 10 U.S. hit in 1964, time is on their side. Yes, it is.

Consider the fates of the British Invasion superstars who emerged from England alongside the Stones in the 1960s. The Beatles broke up in 1970. The Kinks dissolved in 1996. The original Animals imploded in 1966. The Who called it quits in 1982 but has reunited repeatedly, including for its recent North American farewell tour.

And then there’s the indestructible, indefatigable Rolling Stones. With the partnership of Jagger and guitarist Keith Richards still front and center, the Stones will release their 27th studio album, “Foreign Tongues,” on Friday. Over the decades, they have produced classics such as “Exile on Main St.” and “Some Girls,” mediocrity like “Steel Wheels,” and abominations such as “Dirty Work.” We rank the group’s six-decade studio output from worst to first. All albums are the U.S. editions.

27. ‘Dirty Work’ (1986)

Never has an album cover so captured a band’s mood. “Dirty Work” features a photo of sullen, unsmiling Rolling Stones looking like they’d rather be anywhere else. The music reflects that disinterest. Apart from the cover of “Harlem Shuffle,” nothing here is memorable. It’s no surprise that the Stones nearly broke up during this period.

26. ‘Undercover’ (1983)

The follow-up to the brilliant “Tattoo You” landed with a thud. Although the song “Undercover of the Night” nicely melds a solid guitar riff with trenchant lyrics about political corruption and violence in South America, the rest of the album wilts.

25. ‘Bridges to Babylon’ (1997)

Another in a series of disappointing releases, “Bridges to Babylon” has one great song, “Saint of Me,” and lots of filler.

24. ‘Steel Wheels’ (1989)

Touted as a return to form, this album certainly outshines “Undercover” and “Dirty Work.” But that’s not saying much. With dated production and too many songs that make a good first impression but fail to stick, “Steel Wheels” has gathered moss over the years.

23. ‘Voodoo Lounge’ (1994)

Like its predecessor “Steel Wheels,” this is another attempt to recapture their classic sound. To an extent, the record succeeds. “You Got Me Rocking” sounds like a throwback to something on “Exile on Main St.,” while the ballad “Out of Tears” echoes “Angie.” With the exception of “Love Is Strong,” however, most of the songs here are little more than pleasant exercises in nostalgia.

22. ‘The Rolling Stones: England’s Newest Hitmakers’ (1964)

A solid debut, “England’s Newest Hitmakers” features covers of songs by Willie Dixon, Chuck Berry and Jimmy Reed, firmly grounding the group in its American blues and R&B influences. The sole Jagger/Richards original here, “Tell Me,” only hints at the duo’s future songwriting prowess.

21. ‘Black and Blue’ (1976)

After guitar virtuoso Mick Taylor’s departure from the Stones in late 1974, the band used “Black and Blue” to audition potential replacements. They settled on Ronnie Wood, a former member of the Faces who, ever since then, has engaged in the ancient art of guitar weaving with Keith Richards. Heavy on grooves and jams, this album sometimes feels unfocused and indulgent. The excellent ballads “Memory Motel” and “Fool to Cry” are essential.

20. ‘12X5’ (1964)

A step forward from their debut, “12X5” has the magnificent covers “Time Is on My Side” and “It’s All Over Now.” For those who like their Stones bluesy, early albums like this offer a cornucopia of treasures.

19. ‘Blue & Lonesome’ (2016)

Recorded in just three days, this album of blues covers sizzles. The Stones sound absolutely committed, with Jagger’s harmonica and vocals particularly strong.

18. ‘The Rolling Stones, Now!’ (1965)

On the band’s third U.S. album, the Stones rock harder and softer. Their version of Willie Dixon’s “Little Red Rooster” is a slow burn. The ballad “Heart of Stone,” one of their best early originals, made the Billboard Top 20.

17. ‘Foreign Tongues’ (2026)

The Stones have rarely sounded looser or more alive. Produced again by the classic-rocker whisperer Andrew Watt (Paul McCartney, Elton John, Pearl Jam), the band delivers a clutch of strong songs. In a just world, the single “In the Stars” would be a hit. “Back in Your Life,” fueled by some of Wood’s most sensitive and impassioned playing, is a stunner. At 14 songs and 62 minutes, the album would have benefited from trimming three or four of the more generic tunes. Still, it’s amazing that Jagger and Richards, both 82, and Wood, 79, have made such a fresh and vital record. Sometimes you can get what you want.

16. ‘A Bigger Bang’ (2005)

For the band’s first album of originals in eight years, the Stones remind you what makes them great. The first of their three late-career triumphs, “A Bigger Bang” brings attitude, funk, dirty rockers and dreamy ballads. The blazing “Rough Justice” and the slinky, sexy “Rain Fall Down” are topflight.

15. ‘Hackney Diamonds’ (2023)

Eighteen years passed between the release of “A Bigger Bang” and this album. It was worth the wait. “Hackney Diamonds” is another strong effort, with the banger “Angry” sounding urgent and, well, genuinely angry. The gospel-tinged “Sweet Sounds of Heaven,” featuring Lady Gaga, finds her and Jagger trading vocals and pushing each other to the stratosphere. It’s the best song the group has made since “Tattoo You’s” “Waiting on A Friend” and “Start Me Up” in 1981. The absence of late drummer Charlie Watts is felt, but Jagger and Richards prove that old geezers can still rock.

14. ‘Out of Our Heads’ (1965)

A very strong outing that includes originals “The Last Time,” “Play With Fire” and “Satisfaction,” one of the best rock songs ever written.

13. ‘It’s Only Rock ‘n Roll’ (1974)

Keith Richards’ deepening heroin problem meant Jagger had to carry more of the load himself. On this album, he acquits himself admirably. The anthemic title track positively swaggers. The poignant “Time Waits for No One” features one of Taylor’s most beautiful solos, a fitting coda to the end of his five-year career with the Stones. A fine album with several good songs and a couple great ones.

12. ‘December’s Children (And Everybody’s)’ (1965)

A hodgepodge of live cuts, outtakes, British LP tracks and singles, this album shows the Stones rapidly gaining confidence and playing with equal parts finesse and fire. Any album with “Get Off of My Cloud” and “As Tears Go By” is worth the price of admission.

11. ‘Their Satanic Majesties Request’ (1967)

Released months after “Sgt. Pepper’s Lonely Hearts Club Band,” this occasionally ill-advised foray into psychedelia pales in comparison to the Beatles’ masterpiece. That doesn’t mean it’s bad. In fact, the Stones never sounded as adventurous or experimental. When it works, as it does on “She’s a Rainbow” and “2000 Light Years From Home,” candy-colored bliss follows.

10. ‘Emotional Rescue’ (1980)

An underrated gem often overshadowed by its predecessor, “Some Girls,” and its successor, “Tattoo You,” “Emotional Rescue” finds the Stones in fine form at the dawn of a new decade. The rhythm section of bassist Bill Wyman and drummer Watts locks in, while Richards and Wood converse with their guitars as only they can. Jagger sounds energized on the rockers “Let Me Go” and “She’s So Cold” and sexy on the incredibly funky “Dance (Pt. 1).”

9. ‘Goats Head Soup’ (1973)

Considered a big letdown after the magisterial “Exile on Main St.,” this album has received a well-deserved critical reappraisal and aged like a fine wine. It’s not the Stones at their peak, but close enough. “Angie” is absolutely gorgeous, while “Star Star” captures the Stones at their most profane.

8. ‘Tattoo You’ (1981)

Needing new material for their 1981 tour, the Stones cobbled together “Tattoo You” from leftovers and half-finished songs dating back to “Goats Head Soup.” Jagger penned new lyrics, recorded new vocals, and presto — the band made its last classic. “Start Me Up,” the band’s best rocker since “Brown Sugar,” propelled the album to multiplatinum sales and shook stadiums around the world. It still does.

7. ‘Aftermath’ (1966)

The first Stones album composed entirely by Jagger and Richards, “Aftermath” represents a quantum leap forward or two. Brian Jones, before drugs and paranoia dimmed his creative spark, made some of his greatest contributions, elevating “Paint It Black” with his sitar and adding the indelible marimba riff to “Under My Thumb.” The Stones had finally lived up to all the hype.

6. ‘Between the Buttons’ (1967)

The American version kicks off with the one-two-three punch of “Let’s Spend the Night Together,” “Yesterday’s Papers” and “Ruby Tuesday” and doesn’t let up. Arguably the band’s poppiest album, it sounds like groovy Swinging London set to music.

5. ‘Some Girls’ (1978)

After the lackluster “Black and Blue” and the mixed critical reception of “It’s Only Rock ‘n Roll” and “Goats Head Soup,” some wondered if the Stones had lost their musical magic. They needn’t have worried. The band, hungry to prove the doubters wrong, made one of its strongest albums. With Wood now fully integrated into the group , punky, guitar-centric rockers like “Respectable,” “When the Whip Comes Down” and “Shattered” snarl. Jagger, entranced by the sounds coming out of New York’s discos at the time, contributed the No. 1 “Miss You.” Add “Beast of Burden” and the countryish “Far Away Eyes” to the mix and you have the ingredients for a stunning comeback.

4. ‘Beggars Banquet’ (1968)

The start of one of the strongest four-album runs in rock history, “Beggars Banquet” is a near-perfect listen from beginning to end. New producer Jimmy Miller helps strip the band down to its rawest, raunchiest essence on songs like “Sympathy for the Devil,” “Stray Cat Blues,” and “Street Fighting Man.” For the first time, the Stones had released an album on par with some of the Beatles’ best work. Indispensable.

3. ‘Sticky Fingers’ (1971)

Unbreakable love (“Wild Horses”); heartbreak (“I’ve Got the Blues”); slavery, interracial sex and heroin (“Brown Sugar”); addiction (“Sister Morphine”) — “Sticky Fingers” has it all, along with some of the most powerful music in the Stones’ catalog. If a Martian came to Earth and wanted to know what made the Stones special, a listen to “Sticky Fingers” would make it abundantly clear.

2. ‘Let It Bleed’ (1969)

By the end of the ’60s, the dream had faded. Vietnam, inner-city riots, and the assassinations of Robert F. Kennedy and Martin Luther King Jr. had cast a pall over the Day-Glo optimism of the Love Generation. The Rolling Stones were there to chronicle the impending hangover. “Gimme Shelter” reflected the growing dread of the times. It’s among the darkest, grittiest and most transcendent songs ever recorded, with Jagger singing about rape and murder over Richards’ shimmering guitar. In the powerhouse “Midnight Rambler,” Jagger takes on the persona of a killer, even name-checking the Boston Strangler. Dark stuff. Yet the superb “You Can’t Always Get What You Want,” replete with a gospel choir, the country stylings of “Let It Bleed” and “Love in Vain,” sung by Jagger with utter conviction, give the album incredible diversity and depth.

1. ‘Exile on Main St.’ (1972)

And then there was one. Recorded largely in the steamy, sweltering basement of Richards’ rented French villa, Nellecôte, “Exile” reeks of filth, decadence and decay. With Jagger’s vocals often buried deep in the muddy and murky mix, the album initially sounds like a druggy demo. But listen again. And again. Slowly, it reveals itself as quintessential Stones, a potent admixture of styles, sounds and soul. Richards tosses off one indelible riff after another, making “Rocks Off,” “Happy,” “Tumbling Dice” and “All Down the Line” rock and roll perfection. You like your Stones with a dash of Americana? “Sweet Virginia” might be the band’s best country rocker. Blues? Try “Ventilator Blues.” Gospel? “Shine a Light,” accented with Billy Preston’s piano and organ, transports listeners to a higher place. Other Stones records contain more classics and better production, but none holds together as well as a whole or comes as close to the sublime as this one.

Marc Ballon, a former Times, Forbes and Inc. Magazine reporter, teaches an advanced writing class at USC. He lives in Fullerton.

The L.A. Zoo’s elephants are now in Tulsa, and the zoo’s longtime nonprofit partner is now in bankruptcy court.

The litany of woes at the L.A. Zoo grew longer last month as the city’s nonprofit partner, the Greater Los Angeles Zoological Association, filed for Chapter 11 bankruptcy, citing “incessant litigation” from the city of Los Angeles as the cause.

The city sued GLAZA — its partner for more than half a century — in 2024 over a $50 million endowment that each side argued was theirs to steward.

The city won a preliminary injunction in Los Angeles Superior Court that barred GLAZA from keeping the money when its contract with the zoo ended last year. Following the split and lawsuit, GLAZA dwindled in size from 42 full-time employees to just four part-time employees.

Now GLAZA says it owes its creditors, including more than $300,000 that it needs to pay a law firm that has represented the nonprofit in its legal battle with the city.

“The City has designated an army of eight attorneys to overwhelm GLAZA with endless discovery, depositions, and court filings all to run up GLAZA’s legal fees,” the nonprofit said in a statement shared with The Times. “As a result, GLAZA has been left with no options other than to seek protection from the bankruptcy court to ensure the survival of GLAZA and the protection of its donors.”

Following its separation from the city, GLAZA executives hope the nonprofit can work in the animal conservation efforts in Southern California.

On July 1, the City Council approved $250,000 in outside lawyers related to the bankruptcy case.

The zoo is facing headwinds as membership has declined precipitously and facilities have deteriorated, according to an Los Angeles County civil grand jury report.

The city attorney’s office didn’t respond to a request for comment on GLAZA’s bankruptcy.

Pratt’s new frontier

Former mayoral candidate Spencer Pratt was far from Los Angeles as he took a meeting with President Trump in Washington, D.C., a few days ago.

Pratt, who came up short of the Nov. 2 runoff by a few percentage points, met with the president in the Oval Office, posting a photo of the rendezvous to social media Tuesday.

“I will never stop fighting for my community,” he wrote.

Pratt paired the visit with an announcement of a new media endeavor he plans to launch called “WAR.” He said the foundation will fight against political corruption, advocate for transparency in government and “restore common sense.”

The website for the foundation doesn’t have additional details, just a link to contribute and a link to a website selling Pratt merch.

The White House didn’t respond to a request for comment.

Pratt also posted a 9-minute video Wednesday calling out California’s election system, claiming that the results of the June 2 primary were skewed by fraud.

Representatives for Pratt’s campaign didn’t respond to a request for comment.

Phoning it in

After the flag salute and brief comments, L.A. City Council meetings kick off with a public comment period, during which crusading citizens often let loose on city officials as the council members quietly listen, leave the room or chat among themselves.

It’s not always L.A.’s finest hour, as certain commenters often resort to slurs and ad hominem attacks about the council members’ race, ethnicity and even physical appearance.

On July 1, public comment expanded as new state law, SB 707, went into effect, requiring the council to take telephonic public comment.

The council also had to verbally state the amendments they make to motions due to the new law, Council President Marqueece Harris-Dawson noted. Historically, the council has affixed amendments to a bulletin board in council chambers.

After frequent speaker Armando Herman used the N-word at the July 1 meeting, Harris-Dawson noted that the state legislature had done nothing about offensive comments at public meetings.

“Our friends in the state legislature made the decision to require us to have telephonic public comment. They did nothing, zero, about what we just heard. Since they want to intervene in our meetings, I’d call on them to do something about what they just heard,” he said.

The council did ban commenters from using the N-word and C-word last year. Speakers who use those words receive a warning and are booted from the meeting if they do it again.

Harris-Dawson said the new state law was “problematic” and noted another issue.

“We can’t verify if calls are bots or foreign agents, which poses a security risk,” he said in a statement to The Times.

State of play

— BOYLE-ING OVER: Mayor Karen Bass, Councilmember Ysabel Jurado and County Supervisor Hilda Solis were roundly booed and heckled by Boyle Heights residents during a town hall Thursday about the Boyle Heights fire. The three officials struggled to speak over the irate audience.

— SOLAR FLARE: Before the Boyle Heights warehouse fire, Lineage representatives lobbied City Hall over the rooftop solar array. The company says it was seeking a safer alternative to rapid shutdown devices.

— FISCAL EDUCATION: The Los Angeles Unified School District is facing “severe” indications it could be insolvent as soon as next year and has 45 days to fix its budget or risk an outside takeover. The Los Angeles County Office of Education has projected a $231 million cash shortfall by 2027.

— HIT THE STREETS: The LAPD is considering shutting down its police academy for part of 2028 to allow hundreds of officers to hit the streets for the Olympics, according to department sources. The move could lead to a drop in police hiring.

— LEGEND GONE: Billy G. Mills, one of the first Black men elected to L.A.’s City Council, died June 27. Mills was a civil rights leader before being elected to the legislative body in 1963, the same year Tom Bradley was elected to be a council member.

— IT TAKES A VILLAGE: Billionaire developer Rick Caruso’s Palisades Village will reopen in August after more than $100 million in renovations following the January 2025 wildfire.

— EVICTION BENEDICTION: Thousands of formerly homeless people whose housing subsidies will expire in December are no longer at risk of eviction, local housing officials announced Thursday. An infusion of new funds approved by Congress this year and a waiver of eligibility procedures have staved off a potential crisis that would have left 4,200 back on the street.

QUICK HITS

• Where is Inside Safe? The mayor’s signature program had no operations this week.
• On the docket next week: The City Council remains on recess until Aug. 4.

Stay in touch

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