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Perhaps no one genre of music screams “Mexican” more than mariachi music.

Yet a close second is probably the melodic sound of British rock band the Smiths.

Many have pondered why Mexicans and Mexican Americans have such an affinity for those blokes from across the pond. Maybe it’s that lead singer Morrissey’s outsider mentality and melancholic words resonate with the demographic — or there’s something acutely relatable about the melodramatic musings of a romantic yearner.

Decades ago, The Times’ own Gustavo Arellano explored the Smiths and Morrissey’s appeal to Latinos and Mexicans, specifically.

He noted that Morrissey’s malaise mirrors the sentiment of many ranchera songs, also citing that his effeminate onstage persona is a perfect subversion of Mexican machismo. These elements make the singer an anglophone mash-up of Pedro Infante and Juan Gabriel, Arellano added.

Both the Smiths and mariachi music can drive even the most macho Mexican man to tears with their poetic lyrics and layered instrumentals.

To celebrate the special choke hold these musical stylings have on Mexican Americans in Southern California, the L.A.-based group Mariachi Tierra Mia is putting on a “Mariachi Meets the Smiths” show at the Ford amphitheater on Sunday. The show will merge not only the cultural resonance of the two in Mexican American culture, but also unite the sounds.

The idea to incorporate elements of mariachi music into a cover of a Smiths tune happened by happenstance in December 2024.

Members of Mariachi Tierra Mia were performing at a Christmas party when an attendee requested that the group perform the 1984 Smiths track “Heaven Knows I’m Miserable Now.”

Members of rock band The Last Line of Defense who will perform at The Ford as part of “Mariachi Meets The Smiths.”

(Mariachi Tierra Mia)

The ensemble’s leader, Maira Solis, didn’t know the song — but her husband and fellow bandmate Ivan Peña signaled that he did. Later on in the night, he performed the song alongside two dancing, masked luchadors.

The video of Peña belting out the song while outfitted in his mariachi regalia struck a chord with audiences online after the group posted it on social media.

“The relationship between Mexicanos and the Smiths needs to be studied,” Peña told The Times. “[The video] seemed like a very innocuous thing, but days later, it had 3 million views. That was the first time that ever happened to us, and to me, personally.”

The overwhelmingly positive response to Peña’s rendition of the Morrissey-penned tune let him know that people had an appetite to see the Smiths and mariachi blended together.

Born in 1991, Peña was born years after the Smiths broke up, but was introduced to the group’s catalog at age 5, while his uncle drove him around in a lowrider. The first tracks he heard from the band were “Heaven Knows I’m Miserable Now” and “Ask.”

“I don’t think the music has aged a wink. It’s just gotten better with time,” he said. “It’s clearly resonated across generations. Now you even see Gen Z getting in on it too and realizing music of the past is so substantial.”

But the fandom surrounding the Smiths, and more specifically Morrissey, has entered more complex territory in light of the Smiths frontman’s past political commentary.

In recent decades, the crooner has grown increasingly sympathetic toward far-right political stances, voicing anti-immigration and anti-Muslim sentiments, as well as his allegiance to white nationalist party For Britain in the U.K.

Despite this, many fans, like Peña, don’t see a problem with continuing to listen to the Smiths and Morrissey’s solo work.

“I get that he’s a polarizing guy. I know he’s notorious,” Peña said. “I [say], separate the art from the people behind it … because the piece itself is not at fault for the shortcomings or views of the people who made it.”

Sunday night’s concert will be split in two acts, with the first being a bilingual mariachi set by Mariachi Tierra Mia composed of genre standards and more modern covers. For the second act, Peña’s rock group the Last Line of Defense will perform songs by the Smiths and be joined by the mariachi group to merge the sounds.

Incorporating the mariachi to create straightforward covers of the Smiths’ material proved challenging as Peña did not want to put a spin on the songs’ composition — no added notes and no new harmonies were allowed.

“You could task a mariachi band with doing a one-for-one adaptation of the Smiths’ songs, [but] most of the tracks do not work on the mariachi setting,” he said. “Whereas the guitar is leading the charge in a rock band. The guitar and the vihuela are essentially the rhythm section, so you have to translate guitar riffs to the melody section of the mariachi, [which is the] trumpets and violins.”

According to the 34-year-old musician, very few of the English band’s song fit into that mold.

He knows that fans love the original material and he wants to respect the essence of the time-tested songs. Out of that reverence for the group’s music, Peña noted that all the Smiths covers will be performed only in English.

Peña’s final take on why Mexicans are so infatuated with the Smiths?

“Mexicans love catchy music,” he said. “It’s all of the feels. It’s the good, the bad, and a bit of longing. The lyrics aren’t lying to you. [We can all relate to] Morrissey’s angst, his rebellion, his malaise, and, on the other side of that, his optimism.”

Colombian President Abelardo De La Espriella has emerged as close ally the of Trump administration in South America.

The Colombian government has extradited an alleged drug trafficking leader to the United States, part of a shift in the country’s security policy into greater alignment with Washington.

President Abelardo de la Espriella announced on Friday the extradition of Geovany Andres Rojas, who is accused of leading an organisation formed by previous members of the FARC rebel group.

“You don’t build peace by protecting narco-terrorists like this bandit,” de la Espriella said after he personally oversaw Rojas’s transfer to the US. “I ask US authorities … that he cannot negotiate deals that will leave his crimes unpunished.”

De la Espriella’s left-wing predecessor, Gustavo Petro, shielded Rojas from extradition in order to use him as a mediator in talks between the government and armed and criminal groups, which Petro sought to rein in through negotiations rather than military confrontation.

The far-right president has tossed out that approach, promising to crack down on groups that split off from the former FARC rebel group following a peace deal with the government in 2016. Many of those groups have jostled for control over lucrative drug routes and illicit industries.

Rojas, also known as “the Spider”, was flown to California and placed in the custody of federal agents. He allegedly served as the commander and spokesperson of Comandos de la Frontera, a group associated with cocaine trafficking in the Colombian province of Putumayo that borders Ecuador and Peru.

He will face drug trafficking and terrorism charges in the US, which has sought to expand military operations across Latin America under the pretext of combating crime and drug trafficking during President Donald Trump’s second term in office.

Colombia’s new president has aligned himself closely with those efforts, scrapping peace talks and launching military operations against armed groups since taking office in August.

The New York Times reported that de la Espriella, a former defence lawyer, was previously investigated by US authorities over his ties to powerful drug traffickers, but never charged, and defended politicians linked to right-wing paramilitaries.

Rights groups have warned that a return to militarised confrontation could lead to rights abuses by government forces and an escalation in violence, but many Colombians have expressed support for a harder hand against criminal groups whose operations have often led to violence and mass displacement of civilians.

Sept. 24, 2026 3:39 PM PT

Naked Eyes lead singer Peter Byrne died in Los Angeles on Sept. 14, according to the group’s website.

Byrne, who co-founded the synth-pop band with Rob Fisher in 1982, died “peacefully … after a brief illness,” the statement reads.

Naked Eyes’ Pete Byrne performs onstage in Los Angeles in 2019.

(Scott Dudelson / Getty Images)

Naked Eyes, a high note for the MTV generation, scored ’80s hits with their synth-pop version of Burt Bacharach and Hal David’s “Always Something There to Remind Me” and their original song “Promises, Promises,” with the former hitting No. 8 on the Billboard Hot 100 in 1983 and the latter reaching No. 11 that same year. “When the Lights Go Out” and “(What) in the Name of Love” also reached the Hot 100’s Top 40, hitting No. 37 in 1983 and No. 39 in 1984, respectively.

Byrne was born in Islington, North London, and began his music career in the mid-’70s. From 1979 to 1982, he was a member of the band Neon, which included Fisher and future Tears for Fears founders Curt Smith and Roland Orzabal. Byrne and Fisher released their debut album as Naked Eyes in 1983, according to the group’s website.

After Fisher died in 1999, Byrne released his 2001 solo album “The Real Illusion” and Naked Eyes albums “Fumbling With the Covers” in 2007 and “Disguise the Limit” in 2021. A remastered version of their self-titled debut album was released in 2025.

Byrne is survived by his siblings Eileen, Sandy, Carol and Steve; his three children, Merlin, Dylan and Chloe; and his ex-wife, Elena.

A stunning new poll showing Los Angeles City Councilmember Nithya Raman gaining a double-digit lead over incumbent Karen Bass in the mayor’s race is increasing pressure on Bass and her allies to go sharply negative against her opponent and to seek support from conservative and undecided voters to narrow the gap.

The poll, conducted by the UC Berkeley Institute of Governmental Studies and co-sponsored by The Times, showed Bass trailing Raman by 11 percentage points — with 28% of likely voters saying they supported the mayor while 39% said they would vote for Raman. The remaining 33% were undecided, an unusually high number this close to the Nov. 3 election.

“The bottom line is this is a huge shot in the arm politically for Raman — and it’s not a good day for the mayor,” said Zev Yaroslavsky, a former L.A. City Council member who now runs the Los Angeles Initiative at the UCLA Luskin School of Public Affairs.

Dan Schnur, a former Republican political consultant, said the poll could have instant negative effects for the mayor’s fundraising ability as potential supporters might now view Raman as the favorite in the race.

“The most immediate tangible result of a poll like this is that Bass’ greatest advantage was her fundraising and it now becomes much more challenging to raise money,” he said.

Bass, appearing Wednesday at a news conference in Hollywood, said she’s seen multiple polls that show a tight race. She said that Raman is “absolutely not” the front-runner in the race.

Mayor Karen Bass speaks at Vermont/Santa Monica Metro Center on Wednesday, touting progress on construction of affordable housing.

(Kayla Bartkowski / Los Angeles Times)

The mayor said she is working to highlight the city’s progress in making rent more affordable, pointing to newly released numbers that show that more than 10,000 units of housing with restricted rents have been built since she took office in December 2022.

“The No. 1 issue to Angelenos continues to be lack of affordability, and our primary way of addressing that from the city is housing,” she said. “So we are absolutely addressing affordability.”

Others in the Bass camp seemed more anxious about the poll results.

“It put a pit in stomachs,” said one supporter close to the Bass campaign who requested anonymity to speak candidly about the poll. “But there is still an outside chance for Bass. It’s not total doomsday.”

The supporter said that the Bass campaign truly doesn’t believe Raman’s lead is that big, but that the poll was still “not good news,” especially for fundraising.

Mike Bonin, a progressive former L.A. City Council member who now runs the Pat Brown Institute at Cal State Los Angeles, said Bass needs to focus on winning over voters who chose former reality television personality Spencer Pratt in the primary election in June. Many of those voters are now on the fence.

Pratt received 26% of the vote in the primary, and most of the voters who cast ballots for him — 63% — say they still haven’t decided whom to vote for in the runoff, the poll found. Among the Pratt voters who have decided, 22% favored Bass compared with 16% for Raman.

Bonin said he expects Bass and her allies to attack Raman’s progressive views in order to reach Pratt voters. Raman is a member of the Democratic Socialists of America and opposed raises for Los Angeles Police Department officers that had been championed by Bass.

“The nature of the attacks will try to reach the Pratt voters particularly since they are the largest bloc of undecideds and they skew conservative,” Bonin said.

The Los Angeles Police Protective League, the union representing LAPD officers, is already airing campaign ads critical of Raman over her opposition to a law barring homeless encampments next to schools. In the coming days, the group will also roll out commercials highlighting Raman’s ties to the DSA, which has endorsed her mayoral bid, said union spokesman Tom Saggau.

“Our own poll told us that the Pratt folks were very much undecided, and that when they heard more about Nithya’s record, and her co-governing with DSA, they moved off of her,” he said, adding that his group still views the race as a dead heat.

Raman, not surprisingly, cheered the poll results.

“This poll reflects the momentum we’re seeing on the ground. Angelenos are ready for change and want to see a City That Works,” Raman said in a post on Instagram.

Raman campaign officials said the poll probably will help their fundraising efforts, which they said had already been gaining momentum over the last few weeks. And Schnur, the former GOP political consultant, said the wide lead allows Raman to spend more time touting her own credentials instead of disparaging Bass.

“For the most part Raman has the front-runner’s luxury of putting out a positive message and reinforcing her own credentials,” Schnur said.

Estevan Montemayor, who is running the pro-Raman Estamos con Nithya independent expenditure group, said his group’s role will be to inform voters about Raman’s positives while the Bass campaign attacks.

“They’re gonna come after Nithya and we’re gonna be here to tell her success story,” he said.

Bass supporter Stuart Waldman, chief executive of the Los Angeles County Business Federation, said the large number of undecided voters this close to the Nov. 3 election is worrying but also leaves an opening for Bass to gain ground.

“Any swing in any direction could make a big change,” Waldman said. “We have no idea who’s going to vote. … Usually by this point in time, everything has tightened up.”

Councilmember Nithya Raman, lower right, campaigns at a Latinos Con Raman rally at La Cita Bar in downtown Los Angeles.

(Genaro Molina / Los Angeles Times)

In courting those undecided voters, however, Bass is burdened by high unfavorability numbers, according to the Berkeley IGS/L.A. Times poll.

The mayor had 63% unfavorable ratings, the poll found, with 28% favorable and 9% having no opinion. By comparison, 40% had a favorable view of Raman, according to the poll, while 39% said they had an unfavorable view of her and 21% had no opinion.

Mike Murphy, a Republican political consultant, said that Bass needs to accept responsibility on core issues upsetting Angelenos about her tenure, such as homelessness and the 2025 Palisades fire, which killed 12 people and destroyed thousands of homes. In a recent interview with The Times, Bass said her biggest mistake as mayor was being in Ghana when the fire began amid high wind warnings.

“You have to say, ‘I hear you,’” he said. “Voters don’t think Karen gets that they are mad about things that happened during her term.”

Then, Murphy said, he believes Bass needs to attack Raman as being more establishment than Bass.

Murphy noted that Bass has frequently attacked Raman for being “at City Hall longer than I have,” which he called a powerful message to voters who are considering Raman because they want change. Raman was elected in 2020 and Bass in 2022.

Other polls taken in the campaign have shown a closer race than the Berkeley IGS/L.A. Times poll.

In an internal Raman campaign poll from early September, the council member was ahead, 44% to 39%, with 17% undecided. She was also leading, 38% to 32%, in a poll commissioned by the group Streets for All, which is backing Raman.

In an early August poll commissioned by an independent expenditure group supporting Bass, the mayor had the edge, 41% to 35%, with 24% undecided.

Mayor Karen Bass greets community members after speaking at Vermont/Santa Monica Metro Center.

(Kayla Bartkowski / Los Angeles Times)

The Bass campaign cited some of those polls when responding to the Berkeley IGS/L.A. Times poll Wednesday, calling it an “outlier poll” and accusing the pollsters of getting it wrong.

“In the primary … they got it wrong and undercounted Karen Bass’ support,” campaign spokesperson Alex Stack said in a news release.

Stack added that polls conducted online, like the Berkeley IGS/L.A. Times poll, “systematically [undercount] working-class families, seniors, and non-English speaking communities who regularly turn out on Election Day.”

Mark DiCamillo, the director of the Berkeley IGS Poll, defended the methodology, saying he has spent 45 years polling in California and eight years running the Berkeley IGS Poll.

“What would you expect from a campaign down by double digits? They attack the poll,” he said.

Aaron Donald is still earning his spot.

In his mind, anyway.

During defensive line drills, the Future Hall of Famer continues to go third — even when groups are split — rather than lead.

“Earning my keep right now,” Donald said after Rams practice Thursday. “I’m a guy that likes to work and earn everything I get.”

Donald, 35, has one game under his belt after returning from a two-year retirement to rejoin the team that selected the three-time NFL defensive player of the year in the first round of the 2014 NFL draft.

Donald played 33 snaps in the Rams’ 28-6 victory over the New York Giants on Monday. He made three tackles, including one for a loss.

Donald said he watched tape of his performance six times — two times by himself, once with his brother and three more times on his own.

“Not as bad as I thought,” he said. “A lot of things to clean up but on the right track.”

Donald looked “excellent,” defensive coordinator Chris Shula said.

“He was awesome,” Shula said. “He put a lot of pressure on the quarterback, and then you see like some of the run plays … that group as a whole played really tough, played stout, played physical at the line of scrimmage and Aaron was a huge part of that.”

Now, one of the top interior pass rushers in NFL history is preparing for Sunday night’s game against the Denver Broncos in Denver.

Will Donald’s playing time increase?

“Every game is going to kind of tell its own story,” Shula said. “I think we have a general range of where he would be, but I think depending on how the game plays out, you never know how many snaps and the situations that you’re going to be in.

“You never want to put a full hard cap on it.”

Donald is happy with the way his return to game action is playing out.

“We’ve got a good rotation … keeping guys fresh and right now I’m liking it,” he said. “I think it’s at a great pace right now.

“I’m getting my feet wet, get going, get a feel for the game again and other guys are out there working and getting work too.”

Etc.

Rams receiver Puka Nacua (hip), who sat out against the Giants, did not practice for the second day in a row. On Wednesday, coach Sean McVay told reporters he was “not sure” if Nacua would play against the Broncos. Later in the day, he told ESPN radio that Nacua was “not making great progress.” … Tight end Colby Parkinson (knee) and safety Kam Kinchens (hamstring) also did not practice.

WASHINGTON — Eight sailors attempted suicide while deployed with the USS Abraham Lincoln aircraft carrier strike group, which spent a record-setting uninterrupted time at sea supporting the Iran war, the Navy’s top civilian leader said this week.

Acting Navy Secretary Hung Cao provided the information to Sen. Kirsten Gillibrand in a letter dated Tuesday after the New York Democrat inquired last month about the strike group’s crew of thousands. The Lincoln’s extended deployment drew the nation’s attention following reports of crew stress and poor mental health, as well as supply shortages, including food and hygiene products.

Gillibrand asked Cao specifically if there were any suicides.

“There have been no suicides on board during this deployment,” Cao wrote in the letter, which was obtained by the Associated Press and reported earlier by CNN. “Since the beginning of LINCOLN’S deployment, there have been a total of eight suicide attempts across the strike group — this number includes the LINCOLN crew and Sailors from the carrier wing, strike group and destroyer squadron staff, escorting destroyers, and all embarked aviation squadrons.”

President Trump had downplayed reports about conditions on the Lincoln, which left its homeport in San Diego in November, arrived in the Middle East in January in support of Iran operations, and spent a record-setting uninterrupted time at sea of more than 260 days.

The carrier and some of its supporting ships stopped in Thailand in early September on their way back home to California. The Lincoln’s commanding officer, Capt. Dan Keeler, said then that the ship will be heading home soon but may make further supply stops. He declined to comment on the exact date the strike group is expected back in the U.S.

Last month, Trump called the nearly nine months at sea that the sailors endured a “good period of time” but added that “over the years, we’ve had them out there much longer.”

Trump told reporters in August that he spoke with a retired admiral who recounted being on ships for “much longer.” Trump said the admiral assured him that the Lincoln is “beautifully maintained and beautifully taken care of.” Trump did not name the admiral.

Defense Secretary Pete Hegseth also had said that conditions about the Lincoln were “completely misrepresented.”

Gillibrand took aim at both in a statement released this week in response to Cao’s letter.

“What Trump and Secretary Hegseth dismissed as ‘fake news’ turned out to be serious and deteriorating conditions for our service members,” she stated.

“Our troops and their families make immense sacrifices every single day, yet the president dismissed them with open disrespect,” Gillibrand said. “That this administration can find endless taxpayer dollars for bombs, ballrooms, and billionaires, but cannot take care of our service members, is completely unacceptable.”

Extended deployments of carriers wear on service members who are away from home for long periods and increase strain on the ship and its equipment. The Navy is continuing to enforce a blockade on Iranian ports in the Strait of Hormuz, and the Trump administration has offered no clarity on how it intends to wind down the war.

Finley writes for the Associated Press.

Growing up, Alejandra Villarreal was accustomed to the dry Mexican heat, trapped inside the small historic venues where she and her sisters would perform as kids. But as temperatures hit 103 degrees outside the Fonda Theatre in Hollywood, she couldn’t help but shout.

“¡Ay, qué calor!” she said, swinging her bass guitar.

Inside the nearly 100-year-old theater, Alejandra was onstage for a sound check. She ran through distorted, metal-influenced riffs as her sisters — drummer Paulina Villarreal and lead vocalist-guitarist Daniela Villarreal — prepared for the second of three sold-out shows at the Fonda, as the rapidly rising rock band the Warning.

The Warning has been shaking the walls of L.A. theaters since the group first landed in the city eight years ago — but this year feels especially monumental for the sisters.

Released in August, the band’s most recent album, “Everything’s Falling,” is a snarling, noisy and melodic rock joyride that rarely, if ever, slows down.

Written between L.A. and their hometown of Monterrey, the straight-to-the point lyricism documents the Villarreal sisters’ frustrations, anger and failures — most fiercely on “Kerosene,” which lambasts a jealous critic who “falls asleep with me on your screen,” so sings Daniela.

“Kerosene” recently shot up to the No.1 spot on the Billboard Mainstream Rock Airplay chart, which made the Warning the first Mexican and first all-female band to make the spot. Another single, their Spanish-language anthem “Ego,” was nominated for rock song at the 2026 Latin Grammys.

Members of the Warning hold up Billboard No. 1 awards after performing at the Fonda Theatre.

(Kayla Bartkowski / Los Angeles Times)

The legend of the Warning began in 2014, when Alejandra was just 9 years old and Paulina and Daniela were 12 and 14, respectively. The sisters came home from a Sunday carne asada with their family — and recorded a righteous cover of Metallica’s “Enter Sandman.”

Dressed in floral blouses and white capris, the girls thundered through the song with a focus and technical ability that sparked the interest of audiences worldwide — earning them a current total of 27 million views, not to mention praise from Metallica guitarist Kirk Hammett.

“We were wearing our sandalias, our church clothes,” Paulina said. “It’s just pretty crazy to think that one random Sunday afternoon we recorded that and it jump-started our whole career.”

The idea for the group came from playing the video game “Rock Band,” which led the sisters to performing at local “Battle of the Bands” competitions and posting cover songs to YouTube.

But the success of the “Enter Sandman” cover changed the course of their lives, taking them from local venues like Cafe Iguana — or, as Paulina calls it, “Monterrey’s Whisky a Go Go” — to appearing on the Ellen DeGeneres Show and various international music festivals.

“We started having adult responsibilities way early in our lives,” Paulina said. “We didn’t have that [average] teenage experience at all.”

“We didn’t go to normal school, we didn’t go and hang out with other teenagers,” she continued. “We were mostly hanging out with adults like our parents, [or] on tour and working. So there was this huge disparity between what our friends were living through and what we were going through.”

Over the course of its 13-year career, the Warning has opened for acts ranging from the Foo Fighters to Yungblud, writing and recording tirelessly in between. Now that the bandmates are all in their 20s, they say they “wouldn’t change it for anything.”

“When I was 10, I was like, ‘This is what I’m going to do for the rest of my life,’” Alejandra said. “I guess I did miss out on high school and ‘the norm.’ But honestly, I’m very grateful that we did this.”

In “Everything’s Falling,” the Warning contends with self-imposed songwriting limits that boxed them in as children — and tear down old personas to reveal their continuous, however imperfect, process of growth.

“All of our lives, we felt like we needed to sound a certain way,” said Alejandra. “English is not our first language, so we always found ourselves using really complex words — so that people would say, ‘They know the language.’ The lyrics of this album are very straightforward. We don’t have anything to prove anymore. It was a very liberating album to make.”

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(Kayla Bartkowski / Los Angeles Times)

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(Kayla Bartkowski / Los Angeles Times)

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(Kayla Bartkowski / Los Angeles Times)

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(Kayla Bartkowski / Los Angeles Times)

The group’s highly technical progressive rock style, influenced early on by bands like Muse, Metallica and Paramore, brought it a legion of Gen X fans who admired the sisters’ dedication to shredding, mathematical guitar solos and classical training base.

On their latest album, the sisters introduce new levels of fuzz and overdrive that blur their usually crisp instrumentals, plus verses that “lean into femininity” and take inspiration from a source that may surprise some: K-pop.

The rising global genre, known for its catchy harmonies and bouncing performance style, inspired the sisters to bring pop elements to their recording sessions.

“We love getting inspired outside of our genre,” Paulina said. “I think what happens a lot in rock is that, it’s very purista [purist]. Especially as women, whatever you do is very scrutinized. So if you ever step out of those confines it’s like, ‘Well [if] you’re not rock, you shouldn’t even be participating.’”

The sisters’ desire to defy expectations is most apparent in their jam-packed touring schedule.

(Kayla Bartkowski / Los Angeles Times)

“I fainted onstage [in July], and it was very dramatic,” recalled Paulina. “More than it being scary, I think people for the first time realized how hard we work. People were like, ‘Oh, your team is pushing you too hard.’”

“Nobody’s forcing us to be here,” she added, resolutely. “We’re grown women. We know what we’re doing and we know how much we can take.”

Daniela, the lead vocalist, had come down with a cold during the group’s L.A. shows, which required her to step back from interviews to rest her voice. The first night, she sang through the entire setlist, screaming and all — but by the third, she could only perform a few songs. Rather than cancel the concert, the Warning insisted that the show go on.

A la Karen Carpenter, Paulina sang lead vocals from behind the drum kit, calling on the crowd to clap and sing along to the music. They also brought out fans and collaborators to help them perform, including songwriter Annie Schindel, as well as rock acts Holy Wars and Dead Poet Society.

“We push forward through a lot of bad experiences,” Alejandra said. “One time I felt like I was dying — and that was the one of the few times we canceled a show. We only do it in extreme measures, because we know how much planning a show takes.”

One could blame it on the “Mexican work ethic,” they said.

Before taking on Hollywood, the sisters joined regional Mexican artist Carín León on the first night of his sold-out weekend at the Sphere in Las Vegas: the first time a Latin artist had ever headlined the venue. The band released the bluesy rock single “Love to be Loved” earlier this year with the Sonora native, recalling the first time they played it together “a highlight of our lives.”

“[Even if] we do our own thing in a different genre, we still shared that pride because of where we come from,” Paulina said. “Everything about that show was so Mexican … The unity, the community that we have outside of our country. Hopefully the people that went there felt how special it was.”

“I cried,” Alejandra added. “[Watching Carín perform], it was emotional.”

(Kayla Bartkowski / Los Angeles Times)

A week later, at the Fonda, they smiled as fans launched into chants like “Olé, Olé, Olé” and “Viva Mexico.” The line had been forming since 3 p.m., and once the show had begun, the Warning transformed from jovial 20-somethings to well-seasoned professionals.

“I feel like there will be a very clear change in what we do, ‘Everything’s Falling’-forward,” Paulina said. “I feel like we really allowed ourselves to be more emotional in the music and these shows, and that feels really powerful.”

Said Alejandra: “We opened Pandora’s box.”

Acting Navy Secretary Hung Cao has said that eight crew members who were assigned to the USS Abraham Lincoln carrier strike group attempted suicide during their lengthy deployment.

The disclosure was made in a letter to Senator Kirsten Gillibrand of New York on Tuesday in response to questions from the Democrat on the well-being of sailors onboard following mounting concerns.

Family members of sailors had raised alarm about deteriorating mental health and grim conditions during a prolonged mission in the Middle East as part of the US war in Iran.

The carrier, which had been deployed since last November, is now returning to the US. The BBC has contacted the US Navy for comment.

In his letter, Cao said that there were five chaplains and multiple mental health professionals available on board to meet the “spiritual and emotional needs of the crew”.

He said the eight sailors included “the Lincoln crew and sailors from the carrier airwing, strike group and destroyer squadron staff, escorting destroyers and all embarked aviation squadrons”.

While the US Navy has previously acknowledged supply challenges on the carrier, it denied that a mental health crisis was taking place on the Lincoln, which had some 5,000 crew aboard.

Cao’s letter also denied widespread concerns about broken plumbing and shortages of fresh food, but acknowledged temporary “localized piping failures” and problems with the reverse osmosis desalination units, and some meal options were reduced for a “short time”.

Senator Gillibrand, a member of the Senate’s armed services committee, criticised the Trump administration’s previous responses to reports of grim conditions, calling the treatment of service members “completely unacceptable”.

“What Trump and Secretary Hegseth dismissed as ‘fake news’ turned out to be serious and deteriorating conditions for our service members,” she said in a statement to the BBC on Wednesday.

“Our troops and their families make immense sacrifices every single day, yet the president dismissed them with open disrespect,” she added.

The carrier left California in November for the South China Sea and was sent to the Middle East ahead of attacks on Iran in February. The deployment, which was originally set to end in May, was repeatedly extended.

In August, the USS George Washington, an aircraft carrier, was sent to replace the USS Abraham Lincoln following a nine-month deployment.

US sailors stopped in Thailand on their way home, hitting bars, malls and beach areas in their first time on land before continuing on to the US.

Suicide remains a leading cause of death in the US Navy and Marines, according to an analysis of military data by USNI News, while veterans have higher rates of suicide than Americans who have not served in the military, according to the Veterans Administration.

A study, external of 956 sailors released in January 2025 found that troops aboard US Navy ships suffer the highest rates of “serious psychological distress” compared to other branches of the US military.

The study cited “unique stressors, such as poor habitability, noise and demanding schedules that leave inadequate time for sleep and rest”.

If you or anyone you know has been affected by the issues raised in this article, details of organisations offering information are available at BBC Action Line or you can call the US Suicide and Crisis Lifeline on 988.

ITV’s new drama The Blame starring Michelle Keegan and Douglas Booth tackles misogyny that can be found in the UK police force

Deeply offensive messages sent by serving police officers in a group chat are the basis of a storyline featured in ITV‘s gripping new drama starring Michelle Keegan.

Six-part series The Blame, based on the 2023 book of the same name by Charlotte Langley, starts off when the body of a young woman is found in a small town where DI Crane (Michelle Keegan) and DI Radley (Douglas Booth) work.

The duo team up to uncover what happened to a teenage figure skater, Sophie Madsen, and discover “a tangled web of lies, institutional cover-ups and a moral compromise”.

The show tackles misogyny that can be found in the UK police force, and the official synopsis confirms that Keegan’s DI Crane “must navigate both a murder investigation and the treacherous politics inside her own team”.

It also depicts actual text messages from the real-life Metropolitan Police group chat scandals, in which multiple investigations exposed deep-rooted and systemic racism, homophobia, and sexism, dismissed as “banter”, poisoning the country’s top police force.

Speaking about The Blame at ITV Showcase 2026 earlier this year, actor Douglas Booth explained: “There was a Panorama about the Charing Cross WhatsApp messages and texts that are completely sickening, and that was a bit of a basis and model for this group chat to let this toxic behavior spread and rot the department.”

He added: “Every single character in this show is trying to be a good person and nearly all of them are touched by some sort of institutional failure and hold some form of moral injury.”

An official investigation was launched by the Independent Office for Police Conduct, which exposed the highly damaging revelations involving officers based at London’s Charing Cross Police Station who shared deeply offensive, racist, misogynistic, and homophobic messages on WhatsApp and Facebook.

First exposed globally in a landmark February 2022 report by the Independent Office for Police Conduct (IOPC), the scandal triggered widespread public outrage and directly contributed to the resignation of Metropolitan Police Commissioner Dame Cressida Dick.

The IOPC’s Operation Hotton uncovered a toxic culture within the station’s impact team between 2016 and 2018, which officers routinely dismissed as “banter”.

The watchdog noted a pervasive culture of bullying where good officers were too intimidated to challenge or report their peers. The initial 2022 report led to multiple fast-track misconduct hearings, resulting in several officers being sacked, forced to resign, or barred from policing.

Secret filming aired during BBC’s Panorama Undercover in the Police revealed evidence of racism, misogyny and officers revelling in the use of force at Charing Cross.

Assistant Commissioner Matt Twist said at the time: “Enquiries were immediately launched by our Directorate of Professional Standards into allegations of criminality and misconduct by officers and staff based at Charing Cross Police Station.The behaviour as reported is disgraceful and rapid steps to secure evidence and protect the public have also been taken.

“In addition, we are scrutinising more widely the leadership and culture within these teams, led by Professional Standards and senior leaders, to root out any further failings. The leadership of these teams failed to create the right culture that identified warning signs or generated confidence in junior colleagues to report. This is one of the reasons we are taking such assertive exceptional action.

“The Met’s leadership has been very clear that it will not tolerate behaviour that fails to meet the organisation’s standards of professionalism and integrity.”

The Blame airs Sunday, September 20 on ITV1 at 9pm

Days before the Lucas Museum of Narrative Art officially opens, protesters from the Fair Games Coalition — wearing Jedi robes and Jar Jar Binks masks and carrying lightsabers — rallied together outside the new museum.

Dozens of people from the group fighting for better worker protections during major sporting events were loudly blowing horns, banging drums and chanting, “Sí se puede,” directly across from Exposition Park’s newest museum. The group was at the museum’s private opening party Saturday night to take a stance against museum co-founder Mellody Hobson‘s recent resignation from the Los Angeles Olympics organizing committee, LA28.

“We launched the campaign with some real, reasonable demands,” said Jessica Durrum, the director of the Fair Games Coalition, for the Los Angeles Alliance for a New Economy. “If the Olympics are coming to town, we want to make sure there are lasting benefits for our communities.”

The Fair Games Coalition, which is made up of over 80 organizations, formed to fight for better labor deals during major events like the Super Bowl and the Olympic and Paralympic Games. Some of the unions in the coalition include United Teachers Los Angeles, National Union of Healthcare Workers, United Food and Commercial Workers Local 770, United Farm Workers and various community groups.

Ahead of these events, the group is asking that employers provide union and living wage jobs, funding for 50,000 units of housing for working families, a moratorium on short-term rentals and protections for immigrant workers.

Gladys Avyla marches in a Fair Games Coalition protest outside the Lucas Museum of Narrative Art.

(Jonathan Alcorn / For The Times)

Gladys Avyla, a member of Unite Here Local 11, has worked as a cleaner at the W Hotel in Hollywood for the last 14 years. Several years ago she had to move to Victorville when her rent in L.A. got too high. Avyla said that with these major sporting events coming through town she’s worried the cost of living will continue to rise as her work gets busier and busier.

“Rent is very high, and everything is expensive. It’s hard living here. We need a wage increase for the Olympics because everything costs so much,” Avyla said in Spanish. “We need help for all workers. We’re human beings, but, honestly, we aren’t treated like human beings.”

Hobson, who co-founded the billion-dollar museum alongside her husband, George Lucas, resigned from LA28 earlier this week. She reportedly stepped down from the position due to the demands of running the Lucas Museum.

But the Fair Games Coalition claims she responded to their requests to meet and discuss their concerns by resigning. The 35-person board led by Casey Wasserman, who was recently under heat for his ties to Jeffrey Epstein and Ghislaine Maxwell, is meant to help plan and execute the upcoming Olympic Games.

“That’s how you hide your head in the sand. But we’re not giving up. She still has clout and still has a lot of power in the city of Los Angeles with the Olympic Committee,” said the Rev. Gary Bernard Williams from St. Mark United Methodist Church, a member of the coalition. “There’s going to be a lot of money flowing at the top. Very little money will be trickling down to the workers who need it the most.”

Demonstrators at a Fair Games Coalition protest at the Lucas Museum of Narrative Art.

(Jonathan Alcorn / For The Times)

LA28 and the Lucas Museum did not immediately respond to a request for comment.

During this year’s World Cup, where several games were hosted in L.A., Unite Here Local 11, the union which represents workers including dishwashers, concession workers, bartenders and servers and SoFi Stadium’s food-service operator Legends Global, came to a tentative agreement days before the first match. Pastor Bridie Roberts, who works as the community organizing director at Unite Here Local 11, said having the Fair Games Coalition’s support was helpful during the negotiations.

“Our members face serious, critical decisions every single day about how to make ends meet and they work with some of the biggest tourism companies in the world that will profit in the billions of these games,” said Roberts. “We feel that the games have potential to bring real outcomes for working people, but only if we fight for them.”

WASHINGTON — Several of the nation’s largest voter engagement and racial justice organizations are facing steep funding shortfalls and staffing cutbacks just as voting is getting underway in an election that will determine control of Congress for the final two years of President Trump’s term.

The shortfalls are setting off alarms among Democratic strategists, who are betting on high turnout and robust voter protection efforts to boost the party’s chances this fall. They are worried that many grassroots groups will not be able to mount effective registration and get-out-the-vote efforts, much less protect against the possibility of election interference from the administration given Trump’s efforts to restrict voting access and assert federal control over the election.

America Votes, a coordinating hub for more than 400 progressive groups, has fallen “well below” the level of funding it had during the 2022 midterms, the group’s executive director, Daria Dawson, said in a statement to the Associated Press. America Votes has acted as a nerve center for the voter mobilization efforts of groups such as the NAACP, Planned Parenthood, the League of Conservation Voters, the AFL-CIO and SEIU labor unions, as well as local groups focused on racial justice, climate and civil liberties.

“There is still time to reach voters and bring them into this election, but we are no longer talking about a future opportunity,” Dawson said. “The window to engage them is open now, and it is narrowing every day.”

Racial justice activists feel betrayed

Wealthy donors and philanthropic groups have reduced their support of many liberal causes since the 2024 presidential election. That pullback has been especially stark for voting groups geared toward engaging communities of color.

While multiple organizers said some funders had expressed an interest in adopting different strategies, racial justice organizers have felt that as a betrayal.

A retreat in donor support is “handcuffing our ability to persuade our communities to vote in a year where there is no Voting Rights Act,” said Esosa Osa, a veteran Democratic strategist and founder of Onyx Impact, a research group focused on combating misinformation in Black communities.

A Supreme Court ruling this year knocked out one of the last remaining pillars of that landmark 1965 law, essentially gutting it.

“We are watching surrender, not strategy,” Osa said.

A July memo that circulated among major Democratic fundraisers warned that “the organizations that registered and persuaded millions of voters to participate in the 2018 and 2022 midterms are drastically underfunded. They have raised nearly 40% less than they had at this point in those cycles.”

It further warned that funding voter mobilization groups was especially critical “given that the Democratic brand is underperforming on generic ballot tests relative to historical comparisons and the president’s approval ratings.”

The shortfalls have led organizations focused on engaging and mobilizing key voting groups to scale back operations and staffing over the last year. That has included programs aimed at registering and mobilizing lower-propensity voters, voters of color, and rural and younger voters.

The Democratic National Committee, which has faced its own funding challenges, has consolidated voter engagement efforts this year partly in response to the ecosystem’s past shortcomings. The DNC in a statement said it was making “historic investments” in its organizing but did not address the weaknesses among allied groups.

“We are expanding our voter protection infrastructure to defend Americans’ sacred right to vote, hold Trump and Republicans accountable in court, and register and mobilize voters across the country,” said Angelo Fernández Hernández, a DNC spokesperson.

‘Being Black … again has become a bad word’

The reasons for the troubled funding landscape are varied and at times unclear, according to nearly two dozen fundraisers and organizers who spoke with the AP. Some donors, still disappointed with the Democratic Party and some of its allies following the 2024 presidential election, have closed their pocketbooks to liberal causes entirely.

While a small group of liberal megadonors has continued to bankroll progressive causes, most focus their support on liberal legal organizations that have taken the Trump administration to court, rather than political or voter engagement groups.

Others, including major philanthropic institutions, have pulled back out of fear of retribution that giving to political or racial justice causes could draw the administration’s ire. Organizers who have engaged with potential donors said the administration’s targeting of political opponents and diversity initiatives seems to have put a chill on fundraising for their causes.

Tameka Ramsey-Brown, founding director of the Michigan Coalition on Black Civic Participation, said multiple donors since the 2024 election had asked whether her group could remove the word “Black” from its name or find financial conduits to mask the source of donations for fear of retribution from the administration.

“Just being Black in this country again has become a bad word, and it has made it that much more difficult just to raise money because funders don’t want the added pressure and stress or attacks on them by funding us,” she said.

Smaller budgets, shifting strategies

Many of the nonprofit groups that traditionally have conducted the registration, voter education and organizing say they are trying to adapt to their new, leaner reality.

Vamos a Votar, an initiative of the largest civil rights and advocacy groups focused on Latino communities, has had to readjust its ambitions this year due to a lack of investment from funders.

“This is shaping up to be a cycle where investments haven’t gone to the Black and brown communities that will ultimately decide this election,” said Juan Proaño, chief executive of the League of United Latin American Citizens, a member of the initiative.

In a September pitch circulated among donors, the coalition said it aimed to invest $27.5 million in voter engagement and persuasion efforts this year, but still required $5.4 million from donors to fund voter turnout efforts across 10 states and 17 House districts. Even that investment reflected reduced ambitions from previous pitches to donors early this year.

“It has been extremely disappointing to see that progressive donors are not meeting the moment,” said Héctor Sánchez Barba, head of Mi Familia Vota, one of the affiliated organizations. “We are not waiting. We are always on the front lines for our democracy and our communities.”

To counter the funding cutbacks, some groups have begun relying more heavily on artificial intelligence to provide voter registration guides, share information in multiple languages and track potential election issues. Some groups have increased their partnerships with ride-sharing companies to provide free rides to polling places instead of bus shuttles.

With fewer in-person organizers, some groups are also focusing on social media and partnering with liberal content creators to boost their messages.

“In my more than 30 years of organizing, it has never been this bad to raise money to support Black causes of any kind,” said Melanie Campbell, president and chief executive of the National Coalition on Black Civic Participation, a nonpartisan civil rights group.

“We’re going to do the work, our state affiliates are doing all that is possible. … But the bottom line is that those who believe that democracy matters should make sure they fund the work.”

Brown writes for the Associated Press.

The Manchester United Muslim Supporters group says club co-owner Sir Jim Ratcliffe “must go” after he spoke out against immigration levels and said the country was “on the slide”.

Billionaire Ratcliffe, who is one of Britain’s richest people and founder of petrochemical giant Ineos, made the comments in an interview with the BBC on Saturday.

Ratcliffe said the UK was in decline because of a combination of high taxes and high immigration.

He has previously apologised for “offending some people” with his language after saying the UK had been “colonised by immigrants”.

At the time, in February, United responded by saying the club “prides itself” on being “inclusive”, while BBC Sport cited a source familiar with the Glazer family as understanding the club’s majority shareholders were “horrified” by his initial remarks and saw them as showing “disregard for their ownership”.

“We condemned those comments then,” said a statement of no confidence from Manchester United Muslim Supporters Club (MUMSC) in the club’s ownership, issued on Saturday.

“He [Ratcliffe] subsequently apologised for his choice of language. We hoped a lesson had been learned. Clearly, it has not.

“This week, Sir Jim has again placed immigration and people receiving benefits at the centre of his explanation for Britain’s problems, arguing that nobody is ‘tough enough’ to deal with either.

“We find these latest comments deeply disappointing and completely unacceptable.”

Ratcliffe campaigned for a Leave vote in the 2016 European Union referendum and has been a tax resident in Monaco since 2020.

He acquired a 27.7% stake in Man Utd in 2024, and has since restructured the organisation, overseeing 450 redundancies, overhauling senior management and sacking two managers.

MUMSC highlighted that United’s “players, staff, stewards, security teams and supporters come from different countries, cultures, ethnicities, religions and backgrounds”.

The group added: “Manchester United would not be Manchester United without them. That diversity isn’t a weakness of Manchester United. It is part of Manchester United.”

In the statement, the MUMSC also called on the Glazer family to go.

MUMSC said its members were among the club’s fans who hoped Ratcliffe’s arrival “would finally signal meaningful change” after the Glazer family had “presided over Manchester United’s decline”.

However, the group pointed to “higher ticket prices” and “a stadium allowed to deteriorate”, along with “a football team that continues to fall further behind where Manchester United should be”, among their concerns which “now extend beyond the pitch”.

Manchester United entered the weekend sitting 13th in the Premier League after gaining four points from their first four Premier League games, and they were knocked out of the Carabao Cup on Wednesday with a 3-2 home defeat by Brighton.

“After years of decline, broken promises and repeated failure, Manchester United Muslim Supporters’ Club has lost confidence in the current ownership structure of Manchester United Football Club,” MUMSC concluded.

“Enough is enough. It is time for change. The Glazers and Sir Jim Ratcliffe must go.”

Somewhere in the overlap between William Friedkin’s 1977 action thriller “Sorcerer” and Kelly Reichardt’s 2020 Pacific Northwest pioneer indie “First Cow” lies Padraic McKinley’s directorial debut “The Weight.”

“Sorcerer” is about a group of fugitives driving a load of dynamite across the jungle; “The Weight” follows a group of Depression-era convicts transferring gold through the forest. “First Cow” is about the sweetness of friendship and French pastries in the wilds of Oregon during westward expansion; “The Weight” is about the corrupting forces of capitalism. McKinley’s movie marries the instincts of modern indie filmmaking with a New Hollywood ethos, while bringing an authenticity to the details of the period.

We follow the story of Murphy (Ethan Hawke), a World War I vet and single father in Eugene, Ore., struggling to provide for his daughter, Penny (Avy Berry), three years into the Great Depression. After an unfortunate run-in with the law, Murphy finds himself in a prison labor camp, building a road and trying to shorten his sentence so he can get out before his daughter is adopted by a new family.

Opportunity presents itself in Murphy’s foreman, Clancy (Russell Crowe), who takes a shine to him after he fixes his car and devises an ingenious way to remove boulders without dynamite. Cuddly but dangerous, Clancy makes a seemingly simple offer to Murphy: He and three friends can earn their freedom if they hike a load of gold out of a mining camp on the eve of President Franklin D. Roosevelt confiscation of all gold stockpiles.

The how and why details aren’t that important; the story is merely that the prisoners have to get from point A to point B through a rugged forested terrain, under the watch of two intimidating chaperones, Amis (Sam Hazeldine) and Letender (George Burgess). A mining camp servant, Anna (Julia Jones), joins their group as a runaway and while it seems a straightforward task, the arduous and brutal journey is one that is liable to turn these convicts into runaways.

Murphy’s gang weren’t really outlaws to begin with — he was imprisoned for defending his daughter from some undercover cops, while Singh (Avi Nash) was arrested for his associations with socialism. Olson (Lucas Lynggaard Tønnesen) was part of a group going after a judge for seizing Scandinavian farms, while the most hardened criminal among them is Rankin (Austin Amelio), who grew up in juvie. But in order to survive the woods, Murphy will have to dig deep into his wartime past and rely on his own skills and smarts to make out it out intact.

McKinley pours his craft into authentically representing the era, from the perfectly worn denim of the costumes to the refreshingly real and craggy faces of the cast (and thank goodness Hawke and Crowe are respectably aging into their character-actor looks). The Bavarian forest beautifully stands in for 1930s Oregon and cinematographer Matteo Cocco balances ’70s-inspired slow zooms with composed, high-contrast images that hark to early 20th century styles of photography. A score by Latham and Shelby Gaines balances discordant, atonal tones with suspense-driven sound design that captures the creaking noises of the forest and the concealed dangers it holds.

McKinley stages a few bullet-sweating sequences of peril, including a particularly brutal transport of gold bars across a crumbling rope bridge and an underwater accident exacerbated by floating logs. Both are nail-biters but you can’t help but think he could have pushed it even further. Tonally, the film is torn between wanting to be brutally bleak and offering some kind of hope for Murphy and his precocious, adorable daughter.

When “The Weight” leans into its nasty, mean and grim moments, it gets at something that seems closer to truth than the saccharine resolution we fear is coming. It seems like McKinley wants to deliver a crushing blow, but then feints at the last minute, opting for a more optimistic kind of fantasy.

Politically and culturally, what “The Weight” speaks to is as ugly as the violence that occurs in the mud and fog of the forest. But it ends on an oddly cheery note that doesn’t square with what we’ve seen. It’s a cutesy ’70s nod that feels more “Smokey and the Bandit” than “Sorcerer.” The bolder choice would have been to commit to expressing the despairing lessons of this world. We want to see these characters changed by what they’ve experienced, even if it’s dark. We want to see them actually carry the weight.

Katie Walsh is a Tribune News Service film critic.

Rosalind Ashford, the soprano behind hits from Martha and the Vandellas including “Dancing in the Street” and “Heat Wave,” has died. She was 83.

The singer died of natural causes on Tuesday in the Michigan suburb of Redford Township, per the Detroit Free Press.

Ashford was an original member of the Motown girl group Martha and the Vandellas, best known for their timeless soul pop songs. She sang on more than 20 of the group’s top 40 singles on Billboard’s R&B chart, including “Heat Wave,” which hit No. 1, and “Dancing in the Street,” which peaked at No. 2 on the U.S. Billboard Hot 100 chart.

“I am deeply saddened to hear about the passing of Rosalind Ashford,” Martha Reeves said in a statement. “Rosalind played an important part in the early days of Martha and the Vandellas. Her voice will forever be with us through our great recordings together, and she will be missed, but never forgotten. Our Motown Family has just gotten a little smaller. My heart is heavy.”

In 1995, Martha and the Vandellas were inducted into the Rock & Roll Hall of Fame, becoming the second all-female group to land the acclaim.

Born on Sept. 2, 1943, to John and Mary Ashford, the budding soprano developed her chops singing in the church choir and then in the glee club at Wilbur Wright High School in Detroit. In 1957, the musically inclined teen landed an audition at the Detroit YMCA, and it was there that she, Annette Beard and Gloria Williams linked up with local music manager Edward “Pops” Larkins, and formed the girl group the Del-Phis.

According to the Motown Museum, the Del-Phis invited Reeves — then a secretary to William “Mickey” Stevenson, Motown’s Artists and Repertoire director — to join their girl group. Together, they took on gigs as backup singers, including on Marvin Gaye’s early songs “Hitch Hike” and “Pride and Joy.”

The Del-Phis became Martha and the Vandellas when “My Guy” singer Mary Wells missed a fortuitous recording session. Reeves, with the Del-Phis singing backup, filled in for Wells, and Motown was so impressed, the label signed the group to the Gordy label in 1962, sans Williams, who left the group around this time.

The trio’s breakout hit, “Come and Get These Memories,” was released in 1963 and performed well on the Billboard charts, reaching No. 6 on the R&B singles chart. “(Love Is Like a) “Heat Wave” dropped the same year and topped the charts, followed by “Quicksand,” which also became a top-10 hit. The 1967 song “Jimmy Mack” went to No. 1 on the Billboard R&B singles chart and was the final top-10 hit in the U.S. for the group.

“Heat Wave” scored the group a Grammy nomination for best R&B recording for 1964 and made the trio the first Grammy-nominated Motown group.

Ashford left the group and the music business behind in 1969, and worked at the Michigan Bell Telephone Co., though she would occasionally reunite with former Vandellas members for reunion performances.

Classic Motown posted a tribute to the singer on Thursday, writing that her harmonies served as the soundtrack to a generation. “The Motown family mourns the passing of a true icon, Rosalind Ashford,” read the statement. “As an original founding member of Martha and the Vandellas, Rosalind’s vocal talent helped define the golden era of the Motown sound.

“Rosalind’s contribution to American music and Motown history will never be forgotten. Rest in power, Rosalind. Thank you for the music.”

A Bay Area Republican Party leader who earlier this year claimed dead people cast votes in Marin County in the Proposition 50 special election has backtracked on that comment.

But don’t expect him to stop digging. In an interview with The Times, John Turnacliff, chairman of the Marin County Republicans, said he still thinks more should to be done to ensure voter rolls are accurate, and indicated that he and his group would continue their probe.

At a Marin County Board of Supervisors meeting last week, Turnacliff apologized for his dead-voter claims. SFGATE was first to report on his apology.

“I’m here today to retract that statement I made a few months ago as far as those voters being on the roll,” he said at the meeting. “I did not find them. I apologize to the Board of Supervisors and to the registrar’s office and to the registrar for any angst and consternation that could have put on you since then.”

When the county supervisors met on Feb. 10, he claimed that Marin Republicans found that 73 dead people voted in the Nov. 4 Proposition 50 special election following a ballot analysis. The proposition, which passed by a wide margin, takes effect in January and redraws California’s congressional districts to favor Democrats.

Turnacliff then called on Natalie Adona, the county’s registrar of voters, to investigate.

“In summary, dead people are voting in Marin County, and we would like to know why,” he said at the meeting.

The county voluntarily reviewed the list of names provided to them by the Marin Republicans, according to reporting by SFGATE; the registrar found that there were up to five deceased people in the list, but there was no record of votes in their names following their deaths.

Following the county’s investigation, Turnacliff checked his work. He bought subscriptions to Ancestry.com and another personal information database. As he looked up the names on his group’s list, he realized that many were in fact alive.

“I jumped the gun,” he told The Times on Wednesday, referring to his “dead people” list. “I just thought, if I was wrong, I should admit it.”

He publicly apologized because he wanted to take the “aggressive high road,” and because he does not want to have an adversarial relationship with the registrar and her office, since he intends to work with them in the future and plans to observe future vote counts, he said.

He’s been praised for his admitting he was wrong, but some people have incorrectly interpreted the apology as an admission that voter fraud doesn’t exist, he said.

Turnacliff, who works in equipment leasing, began digging into Marin County voter rolls after the 2020 election, which he described as “not right,” echoing claims touted by Trump and beliefs held by many Republicans. “It comes from the heart. … There’s no political agenda,” Turnacliff said of his intentions.

He later added, in an email, that his group planned to keep investigating “other irregularities.”

“The next time I speak about election irregularities, I will have bulletproof evidence,” he said in the email.

The Trump administration has cut or frozen up to $177 billion in federal grants since the president took office for his second term, according to a tracking tool released Wednesday by a pro-democracy nonprofit and a group of researchers and scientists.

The cuts affected all 50 states and the District of Columbia, with health, nutrition, the environment and disaster relief making up the largest share of cuts, the States United Democracy Center and Grant Witness organization found.

Among the grants that were eliminated, frozen or delayed were ones related to maternal health in Michigan, education research in Mississippi and assistance to minority farmers in Iowa, the researchers found. California, Texas, New York, Illinois and North Carolina saw the highest amounts of interrupted grant money. The tracking tool is called Lost Funds.

“By bringing thousands of funding disruptions from the Trump administration together in a publicly accessible, verified database, Lost Funds puts the magnitude of their impact on full display,” Scott Delaney, co-founder of Grant Witness, said in a statement.

The $177 billion finding represents nearly 10% of federal discretionary spending, the groups said.

The tracker’s organizers said the disrupted grants were beyond the kind of cuts that typically happen when administrations change.

“Lost Funds shows the extraordinary scale and real human impact of these disruptions, and how states are once again on the front lines protecting their residents,” said Kelly Rader, States United Democracy Center’s research director.

In some cases, courts have ruled against the administration’s grant funding cuts.

The new tool, which is being made available for public use, relies on data from USASpending.gov, an open data source of federal spending information, according to the groups’ methodology. They said the tracker would be updated regularly as the administration takes new action and lawsuits move through the courts.

States United bills itself as a nonpartisan group dedicated to the rule of law and free, fair, secure elections. It was co-founded by Norm Eisen, an attorney who has been involved in prominent lawsuits against the Trump administration, including over the Kennedy Center. Eisen left States United in 2021.

Grant Witness is a group of scientists, researchers and attorneys who document how funding is changing under President Trump’s administration.

A message seeking comment on the analysis was sent to the White House.

Catalini writes for the Associated Press.

Turn on a radio between 1978 and 1987 and you were sure to hear Journey — any of the more than two dozen sumptuous yet muscular rock hits that shaped young America’s ideas about love, inspiration and wanting it the way you need it. Four decades later, the band’s music is still everywhere, including television, social media and streaming platforms like Spotify, where Journey has more monthly listeners than Bruce Springsteen, U2 or Bob Dylan. Yet Saturday night the group will bring what it’s calling its farewell tour to Crypto.com Arena — a capstone (at least if the band is to be believed) to a long career full of twists and turns.

Indeed, domination was hardly a given when guitarist Neal Schon and keyboardist Gregg Rolie — both of whom had played with Carlos Santana — formed Journey as a kind of jazzy proto-jam band in San Francisco in 1973. But with the addition a few years later of singer Steve Perry, the group found its gloriously dramatic sound and began racking up hits one after the next (though critics were rarely kind). Perry eventually quit, which took the wind out of Journey’s sails until Schon discovered an uncanny soundalike from the Philippines, Arnel Pineda, on YouTube; he’s helped the band get back into arenas and the occasional stadium even as Schon and keyboardist Jonathan Cain, who replaced Rolie in 1980, have battled each other in court over financial matters.

Got all that? To try to make sense of Journey’s path, I’ve ranked all 25 of the band’s hits that have charted on Billboard’s Hot 100, starting with the worst and ending with the best. Hold onto that feeling — it goes on and on and on and on.

25. ‘Walks Like a Lady’ (peaked at No. 32 in July 1980)

Some are born to sing the blues, as Perry once observed — just not Perry himself, who chews his way through this corny come-on like an overserved uncle at the Hard Rock Cafe. Nice showcase for Rolie’s organ work, though, on one of the last Journey singles he played on before leaving the band.

24. ‘Just the Same Way’ (peaked at No. 58 in May 1979)

Rolie and Perry tag-teaming lead vocals is not a form of democracy I’d vote for.

23. ‘After the Fall’ (peaked at No. 23 in August 1983)

Safe? Sterile? Soulless? Look, the haters can’t always be wrong.

22. ‘Too Late’ (peaked at No. 70 in January 1980)

“Before your time has run astray / You’ve got to try to get away.”

21. ‘Anytime’ (peaked at No. 83 in July 1978)

After overseeing Queen’s first few albums, producer Roy Thomas Baker turned his attention to Journey (and to the Cars); this midtempo number from the “Infinity” LP offers a credible approximation of Queen’s trademark stacked vocal harmonies.

20. ‘The Party’s Over (Hopelessly in Love)’ (peaked at No. 34 in April 1981)

Three platinum plaques in less than two years — for “Infinity,” “Evolution” and “Departure” — meant that Journey had no choice but to drop a live record, “Captured,” at the top of 1981. (It went platinum by Christmas.) As extra consumer bait, the double album closed with this new studio cut built around a killer Schon lick (and not much else).

19. ‘Good Morning Girl’/‘Stay Awhile’ (peaked at No. 55 in September 1980)

Phantom of the roller rink.

18. ‘Why Can’t This Night Go On Forever’ (peaked at No. 60 in May 1987)

Propelled by the success of his debut solo album — not to mention his appearance on the smash all-star “We Are the World” — Perry assumed greater control of Journey’s sound for 1986’s synthed-up “Raised on Radio,” which spawned no fewer than five singles, ending with this slightly lugubrious ballad. Yet the takeover came with a cost: By the end of 1987, the band had entered a hiatus that would last nearly a decade.

17. ‘Still They Ride’ (peaked at No. 19 in July 1982)

Listen to how nimbly Perry maneuvers some very tricky intervals.

16. ‘When You Love a Woman’ (peaked at No. 12 in December 1996)

Journey reunited for 1996’s “Trial by Fire,” which brought the band its only Grammy nomination (and which might feature the ghastliest album cover in music history). If the members knew that rock had changed dramatically while they were away, they didn’t show it in the LP’s romantic lead single: “When You Love a Woman” — a chart-topper for three weeks on Billboard’s adult contemporary tally — clearly sought to pick up where “Open Arms” and “Faithfully” had left off.

15. ‘Girl Can’t Help It’ (peaked at No. 17 in November 1986)

Wonder what Perry and Huey Lewis talked about between takes on “We Are the World.”

14. ‘Be Good to Yourself’ (peaked at No. 9 in May 1986)

“Karate Kid”-core.

13. ‘Only the Young’ (peaked at No. 9 in March 1985)

More “Karate Kid”-core, in this case released first as a song by Patty Smyth’s band Scandal; Journey’s version later wound up alongside Madonna’s “Crazy for You” on the soundtrack to “Vision Quest.”

12. ‘Wheel in the Sky’ (peaked at No. 57 in May 1978)

Before Perry came aboard in 1977, Journey spent a few months with Robert Fleischman as lead singer — long enough for Fleischman to co-write the group’s first Hot 100 entry, not so long that he got to sing it on the record.

11. ‘Any Way You Want It’ (peaked at No. 23 in April 1980)

Ooh, baby, hold tight.

10. ‘Suzanne’ (peaked at No. 17 in August 1986)

Easily Perry’s most unhinged vocal performance.

9. ‘Send Her My Love’ (peaked at No. 23 in November 1983)

A luscious and melancholy white-soul song that I’d bet Phil Collins admired back in the day — and that Justin Bieber would probably flip for now.

8. ‘Lovin’, Touchin’, Squeezin’’ (peaked at No. 16 in October 1979)

Inducting Journey into the Rock & Roll Hall of Fame in 2017, Train’s Pat Monahan belted the na-na-na outro of the band’s first Top 40 hit as he made his case for the group’s excellence. “They didn’t even need lyrics — that’s how badass this band is,” he pointed out. Still, let’s not gloss over the appealing perversity of starting a song this horny the way Perry does: “You make me weep and want to die.”

7. ‘Lights’ (peaked at No. 68 in September 1978)

Dodgers fans can delight in the fact that Perry originally wrote this paean to San Francisco — an anthem taken up at one time or another by every Bay Area pro sports team, including the Giants — about the lights going down and the sun shining on … Los Angeles. (Swap out “the bay” for “L.A.”) Maybe that’s why “Lights” has always felt to me like a precursor to the Red Hot Chili Peppers’ “Under the Bridge.”

6. ‘Separate Ways (Worlds Apart)’ (peaked at No. 8 in March 1983)

[Listens to “Eye of the Tiger” once.]

5. ‘I’ll Be Alright Without You’ (peaked at No. 14 in February 1987)

Shout out to future “American Idol” judge Randy Jackson, who joined Journey for “Raised on Radio” and proceeded to lay down the slinkiest, sultriest, funkiest bass line the band had ever known.

4. ‘Don’t Stop Believin’’ (peaked at No. 9 in December 1981)

Believin’ in what, exactly? The genius of Journey’s most-streamed track on Spotify (with more than 2.9 billion plays) is its use of concrete images to advance a pretty mysterious narrative. We’ve all stood under a streetlight; we all know the smell of wine and cheap perfume. Yet everybody’s midnight train is going to a different anywhere.

3. ‘Open Arms’ (peaked at No. 2 in February 1982)

Famously — and fortuitously — rejected by a former bandmate of Cain’s as “sentimental rubbish,” “Open Arms” was perhaps just waiting to be embraced by Perry, who sings it with the wounded gusto of a man well acquainted with regret. In a poetic twist, Journey’s highest-charting hit was blocked from No. 1 by the J. Geils Band’s “Centerfold,” in which the heartbroken narrator goes laughing all the way to his bed.

2. ‘Who’s Crying Now’ (peaked at No. 4 in October 1981)

The first of three Top 10 singles from 1981’s 10-times-platinum “Escape,” this immaculate R&B jam imagines an alternate dimension where Perry and Cain hear Earth, Wind & Fire’s “After the Love Has Gone” and decide to form a new group with David Foster. Except Perry remembers the song as a high point for Schon: “You know the guitar outro from ‘Who’s Crying Now’?” he asked a New York Times reporter in 2003. “I fought for that because I knew no DJ would cut that song off with Neal’s guitar wailing at the end of it. It was too brilliant.”

1. ‘Faithfully’ (peaked at No. 12 in June 1983)

It wasn’t the first rock ballad about life on the road — and it definitely wasn’t the last — but “Faithfully” might be the most emotionally generous: “Loving a music man ain’t always what it’s supposed to be,” Perry tells his lady, grounding the song in the experience of those who leave and those left behind; later, he envisions their reunion with such tenderness — “I’ll get the joy of rediscovering you” — that you know he’s already decided to take off again.

When her home burned down in the Eaton fire, artist Susannah Mills felt lost and adrift — but never alone. Her home was part of an Altadena artists collective called JJU, or John Joyce University, named after a beloved carpenter who lived there for 26 years. And although the residents were forced to scatter in the wake of the January 2025 devastation, they remained in contact, looking for ways to support one another through what is still an ongoing process of recovery.

A few months after her loss, Mills was accepted into an artist residency at BKN, a retreat in the northern Stockholm Archipelago, where she expanded her watercolor practice from relatively small works to large scale, and explored installation. Like JJU, BKN prides itself on building community, and while there Mills began talking with BKN curator Anna Viola Hallberg about bringing other L.A. fire survivors to Sweden to experience the same sense of connection and relief Mills was feeling.

Hallberg had already been thinking along those lines and suggested they create another residency to do just that. In the fall of 2025, Mills and Hallberg, with the help of another L.A. artist, Rick Gradone, started an organization named Los Angeles Wildfire Survivors, or L.A.W.S., and raised the funds to send 13 Eaton and Malibu-based artists to BKN for two months.

The result was life-altering for the artists, most of whom were still working to rebuild from the devastating loss — and some of whom had been so occupied with the logistics of recovery that they had not been able to make time to work.

“It creates a network, and people who work together in the residency continue to help each other,” said Hallberg in a recent interview. “So there’s a really true new arts community that lingers beyond the residency.”

It soon became clear to the team behind L.A.W.S. that more needed to be done, and they solicited another round of applications for a residency, set to begin later this month at Pilchuck Glass School in Washington state. Eight Eaton fire survivors have been selected in a competitive process, and plans are in the works to bring another cohort of artists to Sweden next Spring.

“We want to expand this outside of Los Angeles ultimately, because there are fires everywhere and there is climate disaster everywhere,” Mills said, explaining that the group’s mission is growing as changing weather patterns result in escalating cataclysm and displacement of artists globally.

“The media focuses on the disaster really fast, and they don’t understand just how long the recovery takes,” Gradone said in a recent interview. “So this puts some kind of resource in place where people can continue to to get help, especially artists who lose everything that they’ve made, lose their studio spaces and homes. That can’t be recovered in six months.”

L.A.W.S. operates as a not-for-profit and has applied for official nonprofit status, a process that can take some time in California. It is also actively looking for fiscal sponsorship. Up until now the group has relied on its personal connections to raise money to support its artist residencies. Mills’ partner, Brian Huskey, is a comedian and actor who has rallied celebrity friends to auction off small pieces of art on cards in support of L.A.W.S. But there is a need for more help as the group grows.

“Word has really caught on with people who want to have this experience, which I’m really happy about,” said Mills.

I’m arts editor Jessica Gelt, wishing I could turn back time, Cher-like, to an era before the world fast-tracked climate change with its laissez faire approach to global warming. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Bruce Willis, left, talks with director M. Night Shyamalan on the set of the 2000 film “Unbreakable.”

(Frank Masi / Touchstone Pictures)

Unbreakable
M. Night Shyamalan’s 2000 superhero thriller with a twist stars Bruce Willis, Charlayne Woodard, Robin Wright, Samuel L. Jackson and Spencer Treat Clark.
7 p.m. Vidiots, The Eagle, 4884 Eagle Rock Blvd. vidiotsfoundation.org

SATURDAY

“the wheat leaping constantly from the shute,” Marley Freeman (2026). Oil, acrylic on linen, 58 by 54 inches.

(Marley Freeman / Parker Gallery)

Marley Freeman
The artist’s new exhibition of paintings, “worthless serpentine,” takes its title from the writings of Joan Didion.
Opening, 6-8 p.m. Saturday; 11 a.m.-6 p.m., Tuesday–Saturday, through Oct. 31. Parker Gallery, 6700 Melrose Ave. parkergallery.com

SUNDAY

Doyle Lane: Master Of Clay
The first major museum retrospective of the Los Angeles ceramic artist features more than 100 works from the 1950s through the 1980s, from functional pottery to monumental murals, as well as archival documents.
Through Feb 22. The Huntington, 1151 Oxford Road, San Marino. huntington.org

Marie Atoinette
A 20th anniversary screening of the semibiographical period film with a postpunk- and new wave-fueled soundtrack with writer-director Sofia Coppola and star Kirsten Dunst in person. Coppola and photographer Andrew Durham will sign copies of their new book, “Making Marie Antoinette,” at the Academy Museum Store in a separately ticketed event prior the screening.
6:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

TUESDAY

Andrea Bocelli performs live in Vienna on Aug. 22.

(Thomas Kronsteiner / Getty Images)

Andrea Bocelli
The Italian tenor arrives at the Hollywood Bowl for two nights on his Romanza 30th Anniversary World Tour. 8 p.m. Tuesday-Wednesday. Hollywood Bowl, 2301 N. Highland Ave. hollywoodbowl.com

WEDNESDAY

Elliott Hundley
“Book of Sand” is an exhibition of new paintings, sculptures and tapestries focusing on the artist’s “own exuberant internal universe” created through compiling paint, paper cutouts, string, encaustic and other found materials.
Artist led walk–through, 11 a.m.; opening reception, 6-8 p.m.; 10 a.m.-6 p.m. Tuesday-Saturday, through Oct. 24. Regen Projects, 6750 Santa Monica Blvd., Los Angeles. regenprojects.com

The Peterson Show
The world premiere of Janine Nabers’ play about a group of former child stars from a beloved TV show about a Black family come together after a scandal entangles their famous TV father. Directed by Michelle Bossy.
Previews, 8 p.m. Wednesday-Friday, opens, 8 p.m. Saturday (sold out), runs through Oct. 26. Atwater Village Theatre, 3269 Casitas Ave. echotheatercompany.com

THURSDAY

The Case-Book of C. Auguste Dupin
The world premiere of a new play adapted and directed by John Strysik, based on the stories of Edgar Allan Poe.
7:30 p.m. Thursdays-Saturdays, 2 p.m. Sundays, through Oct. 18. Mary Levin Cutler Theatre, 241 S. Moreno Drive, Beverly Hills. theatre40.org

The Ford/Hill Project
A Waterwell Production created by Lee Sunday Evans and Elizabeth Marvel, this documentary theater piece is based on the verbatim Senate testimony of Anita Hill and Christine Blasey Ford during Supreme Court confirmation hearings, 30 years apart. The cast includes Rosemarie DeWitt, Betty Gabriel, Dulé Hill and Jerry O’Connell.
8 p.m. Thursday-Saturday. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org

The SoCal scene

A view of the Lucas Museum of Narrative Art in Los Angeles from a garden.

(Ariana Drehsler / For The Times)

Hey, have you heard? The Lucas Museum of Narrative Arts will open Sept. 22 and began member previews late last week. Just kidding. Of course you have heard, because hot takes currently abound on the new $1-billion museum. Love it or hate it, it’s here to stay, and Team Arts spent the week rolling out a spate of stories explaining how we got here, as well as what you can find in the shiny new 300,000-square-foot Ma Yansong-designed building.

Times film critic Amy Nicholson wrote about what “Star Wars” fans can expect from the new museum and contributed to a piece about 11 must-see things while you’re there. We also commissioned a handy artist-drawn map of the place that should help you navigate the 100,000 square feet of gallery space with its more than 30 discrete galleries arranged by theme. Finally, Times contributor Jane Horowitz wrote two stories: one about whether or not the museum’s disregard for established art hierarchies will upend the art world; and another on how the museum’s epic search for a forever home ended in L.A.’s Exposition Park.

I also wrote about a lawsuit that a contractor filed against the museum claiming unpaid work that shines fresh light on the Museum’s Exposition Park land deal.

Randolph Thompson, Desiree Mee Jung, Adam J. Smith, Nicole Javier and Julanne Chidi Hill in “Pericles” at Boston Court Pasadena.

(Brian Hashimoto)

Times theater critic Charles McNulty spent an evening at Boston Court Pasadena watching Ellen McLaughlin’s modern verse translation of Shakespeare’s “Pericles,” which takes place at a disaster relief center, where anxious evacuees improvise a play to escape their fear of the storm they are fleeing. “It’s hard to allow yourself to fully believe in the incredible turn of events when the prevailing attitude is so emphatically tongue-in-cheek,” McNulty wrote of the West Coast premiere.

McNulty also had lunch in Manhattan with playwright Samuel D. Hunter, who has two plays running in L.A.: “Grangeville,” which McNulty calls “Los Angeles’ most acclaimed theatrical offering of the summer” and has been extended at Ruskin Group Theatre through Sept. 21; and “A Case for the Existence of God,” in a recently opened Rogue Machine production at the Matrix Theater’s Henry Murray Stage. “Drama in Hunter’s hands is built around an encounter. He doesn’t force his characters to jump through hoops,” writes McNulty in a profile. “He listens to them, as they navigate their complicated feelings, closely tracking the way their intersecting paths lead them toward incremental revelation.”

Paintings from the private collection of the late music executive Clive Davis, estimated to fetch more than $35 million, are heading for auction at Christie’s in November.

Culture news

Lucien Smith attends the Hugo Boss Prize 2014 ceremony at Guggenheim Museum in New York City.

(Dimitrios Kambouris)

Lucien Smith, a Los Angeles–born multidisciplinary artist who garnered loads of attention in 2010s art scene, has died at 37.

IAMA Theatre Company is set to launch its ninth annual New Works Festival, which will take place Sept. 14-28 at Atwater Village Theatre, and will feature staged readings of six new plays. Tickets are $18 for each reading and can be found at iamatheatre.com. This year’s festival includes “The Half-Sibling Play” by Agyeiwaa Asante; “All Remaining Assets” by Serena Berman; “The Starters” by Laura Winters; “Betta Mus Come” by Alicia Carroll; “Werewolves” by Liba Vaynberg; and “The Great Florida Python Challenge” by John Lavelle.

Additional tumult is coming for the Smithsonian Institution as secretary Lonnie Bunch announced he will step down from his leadership position. The news comes in the midst of President Trump’s pressure campaign on the organization and his administration’s attempts to alter what Smithsonian museums include in their exhibitions.

— Jessica Gelt

And last but not least

Oh, no! In-N-Out is making tweaks to staples like buns and ketchup!

U2 will be honored as the 2027 MusiCares Persons of the Year, the Recording Academy announced Thursday, half a century after the four members of the Irish rock band met as high school students in Dublin in 1976.

The award, which recognizes an act’s philanthropy and cultural impact and comes with an all-star tribute concert typically held two nights before the annual Grammy Awards, will be presented to the group’s Bono, the Edge, Adam Clayton and Larry Mullen Jr. at the Peacock Theater in downtown Los Angeles on Feb. 5.

In a statement, MusiCares Executive Director Theresa Wolters hailed the band’s work on issues “spanning global health, disaster response, addiction recovery, mental health and access to music education” and said that what “resonates so strongly” with the Recording Academy’s charitable arm is the members’ “belief that success in music comes with an opportunity to care for the people around you.”

Added Harvey Mason Jr., the academy’s CEO: “Not only has their music defined generations, but they’ve been equally exemplary in their dedication to humanitarian work and using their platform for good.”

The statement quoted the members of U2 as saying they’re “huge fans of MusiCares and the lifelines they provide across the incredible pool of talent that is the music industry. We’ve been recording and touring for 50 years because of that pool, from producers and engineers to carpenters and riggers.” The band said they are “very excited to be in the front row of our first ever U2 gig,” adding, “We know we’re gonna be outplayed.”

In late January, Mariah Carey received the MusiCares award at a gala that featured performances by Foo Fighters, Jennifer Hudson, Teddy Swims, Busta Rhymes, Laufey, Jon Batiste and Charlie Puth. Previous honorees include Joni Mitchell, Dolly Parton, Lionel Richie, Bob Dylan and Barbra Streisand; Bono was previously named Person of the Year on his own in 2003.

U2’s recognition comes in the wake of a much-discussed residency at Sphere in Las Vegas, where the band looked back at its 1991 album “Achtung Baby” in a high-tech multimedia presentation. In July, the group released “Street of Dreams,” the lead single from a studio album due out later this year.

Caracas, September 10, 2026 (venezuelanalysis.com) – Venezuelan Acting President Delcy Rodríguez presided over the signing of a memorandum of understanding between the Ministry of Ecosocialism and India’s Greens Zoological Rescue and Rehabilitation Centre (GZRRC) to “modernize and strengthen” Venezuela’s network of zoos, bioparks, and wildlife conservation centers.

GZRRC is the operating entity of the global conservation initiative Vantara, based in the Indian state of Gujarat.

According to the Venezuelan leader, Greens will provide “technical assistance, training, and technology to raise the standards for the management and protection of Venezuela’s biodiversity.” 

“Our professionals will be able to attend courses in India,” she added during the televised event on Saturday, September 5.

Rodríguez noted that Venezuela has 16 zoos and aquariums, 12 breeding centers, and four rescue centers. She also announced that the agreement involves “incorporating an aquarium, a wildlife conservation center, a veterinary center, and a wildlife hospital into the master plan for the recovery of La Guaira State” in the wake of the June 24 double earthquake.

The initiative with Vantara, which has a five-year time frame, also includes exchange programs for veterinarians, biologists, and other professionals involved in wildlife management and conservation.

Days earlier, Venezuela enacted the Law Approving the Framework Agreement for the Establishment of the International Big Cat Alliance (IBCA), which will focus on protecting seven feline species considered among the planet’s most representative. Venezuela is home to six of the world’s most important feline species, accounting for 14 percent of global feline biodiversity.

The legislation stems from a proposal put forward by India in 2023, which currently has the backing of 13 member states and applications for membership from more than 25 others.

During the recent ceremony, Rodríguez thanked Indian Prime Minister Narendra Modi, Ambassador P.K. Ashok Babu, Vantara, and the wealthy Ambani family for “all their support.”

Venezuela’s Acting President held a four-day visit to India in June to offer investment and trade opportunities to major Indian companies, including the Tata Group, Amul, and Reliance. The latter has been a major importer of Venezuelan crude in recent months.

Vantara is backed by Reliance Industries, a major conglomerate owned by the Ambani family, with a major presence in multiple economic sectors, including energy, telecommunications, financial services, and retail. Its wildlife rescue center is located within the Jamnagar refining complex in Gujarat, the largest in the world. The facility, which covers approximately 3,500 acres, is managed by businessman Anant Ambani, the youngest son of India’s richest man, Mukesh Ambani.

Despite Vantara’s declared wildlife conservation mission and philanthropic endeavors, the company has faced controversy in recent years.

Various environmental groups and international organizations have accused it of operating as “a large-scale private zoo,” managing wildlife as commodities around the world, and taking advantage of loopholes in international regulations that seek to ensure that the trade in wild animals and plants does not threaten their survival.

In 2024, India’s Supreme Court appointed a panel of retired judges to investigate the alleged illegal acquisition of animals by Vantara, particularly elephants, as well as possible violations of wildlife regulations and money laundering allegations. The court ultimately dismissed the complaint filed by the Karanartham Viramah Foundation.

However, criticism that Vantara is breeding exotic animals for trade, as well as environmental concerns over setting up a wildlife sanctuary in the vicinity of an oil refinery, have persisted.

Venezuela had dealings with the Indian group before the latest memorandum of understanding. A joint investigation by Süddeutsche Zeitung and Venezuelan outlet Armando.info claimed that at least 39,000 wild animals from all over the world had been transferred to Vantara’s facilities by the end of 2024. 

The identified transfers included over 5,000 animals from Venezuela, among them members of protected species such as the Orinoco crocodile, harpy eagle, lowland tapir, giant anteater, jaguars, and spider monkeys.

Edited by Ricardo Vaz in Caracas.