NEW YORK — When Varun Venkatesh cast his ballot in New York’s primary this week, he thought about “a good litmus test for me as a voter.” He wanted to know what the candidates are doing for the Palestinian cause.
The 27-year-old Brooklyn resident decided to support Claire Valdez, who was backed by Mayor Zohran Mamdani, over Antonio Reynoso, another progressive who was the choice of the Democratic establishment, because she had “a clear and more consistent stance.”
Valdez triumphed in her congressional primary, as did two other insurgent candidates endorsed by Mamdani, and Israel was a key issue in each of the races. Now the question for Democrats is how many more voters like Venkatesh are out there as the party charts its path toward the November midterms and the next presidential election.
The war in Gaza, which began during Joe Biden’s presidency and undermined Kamala Harris’ bid to replace him, remains an open wound, and how Democrats attempt to stitch it closed will help define their future. A step in any direction risks alienating pieces of the party’s unwieldy coalition at a time when it’s trying to unify around the mission of retaking control of Congress.
“The Israel question has become defining,” said Matt Bennett, who leads the centrist Democratic group Third Way and frequently criticizes progressives as jeopardizing outreach to independent voters. He said some in Mamdani’s camp have embraced “a new level of extremism,” warning that “Republicans are very good at weaponizing crazy ideas on the fringe against mainstream candidates.”
Mamdani has no such concerns as he tries to reshape the Democratic Party from the mayor’s office of the country’s largest city. He sharply criticized the American Israel Public Affairs Committee for defending what he calls “a status quo of immorality” in Gaza, and voters who celebrated his slate’s victories on Tuesday night chanted “Free Palestine.”
The mayor, meanwhile, argues that New York should shape Democrats’ search for their national identity in the coming years.
“When does the race for 2028 begin?” Mamdani asked last week on a stage with his slate of candidates. “It starts now.”
Israel-Palestine conflict animates Democrats’ left flank
Even for a party accustomed to searing debates between progressives and moderates, the schism over Israel has been blistering. Although the U.S. alliance with Israel once had bipartisan support, the ascendancy of Israel’s right wing led by Prime Minister Benjamin Netanyahu strained those ties over the years. Then the war in Gaza shredded them.
Biden was denounced as “Genocide Joe” by pro-Palestinian supporters, who shifted their attention to Harris once she replaced him as the Democratic nominee for president two years ago.
“She was trying to the right thing,” said Jamie Harrison, who led the Democratic National Committee at the time. “It was a hard and awkward place to be in.”
Harrison said the war in Gaza helped cost Harris the state of Michigan, which has a sizable Arab American population. However, he doubts that it was a defining national issue then or now.
“It’s one thing to be in New York. But I can tell you that most places, including where I am in South Carolina, it’s not what people are talking about,” he said. “They are concerned about affording gas and groceries and housing.”
Harrison expects Democrats to look for middle ground in the future, which includes “still supporting Israel’s sovereignty” while calling for “reducing U.S. aid to Israel and changing the nature of the relationship.”
One primary victor blasted the ‘hug Bibi’ strategy
Finding middle ground has been difficult so far, as demonstrated by the primary in New York’s 10th congressional district.
Brad Lander, the former city comptroller backed by Mamdani, successfully challenged U.S. Rep. Dan Goldman in the race.
Both candidates are Jewish, and both have criticized the Israeli government. But Lander says the war in Gaza is a genocide, and Goldman does not.
“Our party needs to admit that Joe Biden’s ‘hug Bibi’ strategy was a catastrophic mistake,” Lander said in his primary victory speech. He added, “We cannot keep paying for Netanyahu’s wars with our tax dollars. Democratic voters are saying this, loud and clear.”
Ari Rassouli, a voter in the district, said the incumbent’s views on Israel were “one of the many reasons that I didn’t like Dan Goldman.”
Describing the war as a genocide, she said “a candidate that is in support of that has no place in our democracy at all.”
While talking to reporters on Tuesday, Lander acknowledged that Israel was among the top issues along with affordability and immigration.
“I like talking to Jewish voters who feel anxiety about the times we live in and say, ‘I have these values, I want to treat everyone like they’re equal and with dignity and created in God’s image. How do we navigate the times we’re in?’” he said.
He added with a smile, “Those are probably the longest conversations at the polls.” ___
Barrow, Peoples and Offenhartz write for the Associated Press. AP writers Anthony Izaguirre and Larry Neumeister contributed to this report.
The Westside subway extension has long been L.A’s most stubborn urban fantasy: an infrastructural mirage chugging toward the sea, and then, with less sex appeal, Westwood. Stalled since the ‘80s, the first western leap of the elusive project is now real. And in the month or so since the Metro D Line pushed beyond Wilshire/Western to three new stations — Wilshire/La Brea, Wilshire/Fairfax, and Wilshire/La Cienega — multiple rides have made the benefits, and shortcomings, clear.
Suddenly the city feels different. Not transformed, exactly. But more connected. The fracturing grip of the city’s incomprehensible expanses, clogged arteries, and stagnant governance — all intimidating barriers to healthy civic life — feels a little looser. The dense belt tying the city together more complete, a critical mass of movement, still expanding, where there used to be a vestigial nub.
The stations, too, feel more connected, with art, architecture and infrastructure blending seamlessly into a cohesive experience, a tribute to Metro’s sharpened design approach and its ever-evolving commitment to public art. But above ground, it’s a tale of two (transit) cities. Outdoor plazas lack the kind of textured civic presence that’s been created below. Metro, which has become the most dominant regional force for urban transformation, is still less ambitious once it leaves the station box.
Passengers wait to board the first train to arrive at the Metro D Line at the Wilshire/Fairfax station in Los Angeles in early May.
(Genaro Molina / Los Angeles Times)
Before descending into the new stations, you might want to take a moment to appreciate that they exist at all, surviving, among other trials, a massive methane explosion, federal and local bans, major delays, and a battalion of lawsuits. Then notice how their myriad components work together. Art, for instance, is not simply attached to walls, but forms them, its patterns tracing your descent through space. Lighting doesn’t just illuminate surfaces, but becomes an artful complement to what’s around it. Escalators are not just conveyances, but reflective surfaces forming a utilitarian palette for art and light. The line between each piece becomes blurred, creating a sense that all is working together — a layered place that is intuitively easy to use.
This fluent incorporation of art builds on the long-running L.A. Metro Art program (formerly Metro Art in Transit), which since the early ‘80s has commissioned and installed over 200 artworks across the sprawling system, from mosaics and photography to multi-story murals. In fact, it’s quietly hummed along as one of the most successful public art programs in the country.
Artist Fran Siegel’s artwork at the Wilshire/La Brea Metro station is part of one of the most successful public art programs in the country.
(Carlin Stiehl / For The Times)
In many of its earlier iterations, art and architecture were conceived together to create strange, jaw-dropping, one-of-a kind spaces, like Peter Millar and Ellerbe Becket’s Santa Monica/Vermont station. Opened in 1999, this Red line stop featured among other things, a goliath stainless steel wing canopy topping a 42-foot-tall, raw concrete-clad escalator cavern, lit by massive skylights, etched with row after row of enigmatic questions.
Another personal favorite is Stephen Antonakos’ “Neons for Pershing Square,” a postmodern wonderland of suspended neon sculptures in the depths of downtown’s Pershing Square station that creates a kind of 3-D sculpture playing off the ‘80s gridded ceilings and Miami Vice white columns.
Wild creativity aside, these 20th century stations are marked by inconsistency in quality, comfort, and maintenance — and the lack of predictability can be confusing. (Wait, where do I go now?) This includes Metro’s inaugural A line, in which art-driven architecture, though fun, often feels like a quixotic gesture, unable to compete with loud, uncomfortable, concrete-dominated settings.
A man waits for a train on a platform at the Wilshire/Vermont station, which is along Metro’s B Line, formerly the Red Line.
(Brian van der Brug / Los Angeles Times)
Lines opened in the 2010s had their own issues. The Expo line (now the E line), barely 14 years old, features rather tentative wavy canopies and surface wraps and comparatively small spaces for artworks. With the new extension, Metro has found a balance between completely foregrounding art and relegating it to background. The new designs are guided by a “kit of parts,” a shared language of materials, lighting, signage, and wall systems that was developed first by local architects Johnson Fain and later by the global architectural firm Gensler, which served as the D Line’s systemwide station designer.
Yes, I miss the epic scale and immersive feeling of those older stations. But the tradeoff is a cleaner, brighter, more legible and human-scaled version, lending long-needed coherence to both the stations themselves and the system at large. And by the way, the art is still fantastic.
At the descending entryway of Wilshire/La Brea, for instance, the cosmic, angled lines of Eamon Ore-Giron’s “Infinite Landscape: Los Angeles Para Siempre,” which are embedded into porcelain enamel, channel not only the geometric forms of Wilshire’s Art Deco Buildings, but the visceral one-point perspective of a train speeding into a tunnel, and even the angled geometries of adjacent escalators.
Artist Eamon Ore-Giron’s “Infinite Landscape: Los Angeles Para Siempre,” at the Wilshire/La Brea Metro station.
(Carlin Stiehl / For The Times)
Heading down allows you to ponder its shifting mysteries. Circular abstractions might suggest headlights zooming along Wilshire, or perhaps a train’s fast-approaching lights? Its artfulness expands outward. Frosted glass panels wrapping the entry portal are clad with a similarly mystical language, accentuated by neon strips of light, with the lightweight canopy above reflecting the colorful lines. Art and architecture are working together, each feeding off the other.
A particularly fertile locale for drama at each station are the wide bands of art topping the tunnels themselves: beacon-like destinations for your eyes, not to mention invitations to occupy more of the platform. In the same station, Mark Dean Veca’s “Miracle of La Brea” takes its cues from the curvy ornament and stepped motifs of the nearby Wilshire Tower’s Art Deco façade. Look closer, and those crisp patterns dissolve into swirling, viscous forms that evoke the La Brea Tar Pits, flowing oil, and even barley-shaped references to the area’s agricultural past. The mural’s repeating forms also mirror the station’s rigorous order, its clean, syncopated forms and linear perspectives.
Another hallmark of the new stations is how they subtly make infrastructure itself into art. Celebrating — whether intentionally or not — the improbable engineering feat of carving a subway under one of the most dense, congested, and geologically and politically complicated parts of Los Angeles. Jogging white lines along concourse floors, meant as tactical guides for the vision impaired, rhythmically and playfully lead you forward. Glinting stainless steel railings, gridded perforated metal ceilings, and thin bands of suspended light bouncing off polished terrazzo floors, pull you forward on stairs and platforms, tracing the speed and linear movement of trains. Corduroy concrete walls, etched with endless vertical grooves, give tunnels a tightly rhythmic texture while still exposing their hefty bones.
The Wilshire/La Brea Metro station is part of the D Line extension and features evenly lit spaces, with porous surfaces and long sight lines to improve navigation and safety. Glass fare gate doors organize entry without turning the stations into fortresses.
(Carlin Stiehl / For The Times)
The quality of surfaces and experiences has been upgraded too. Unlike most older Metro stations, where low light and heavy surfaces can feel tired and oppressive, spaces are more evenly lit, with porous surfaces and long sight lines to improve navigation and safety. Glass fare gate doors organize entry without turning the stations into fortresses. Glass elevators and large cuts between levels create a sense of connected, kinetic openness.
Sometimes this palette feels too uniform and predictable. The heroic scale and quirkiness of older stations can be more exciting; more unique to their place. A surprise or two never hurt anyone. But overall it’s a good balance of unity, utility and identity, allowing the art to sing, but as part of a chorus, not a soloist.
The tune, however, shifts dramatically above ground. Station plazas wrap handsome modern architecture—clean, controlled, well-detailed portals of beveled stainless steel, frosted glass, and art peeking above entryways and on peripheral panels. But the hard plazas themselves are barren; lacking enough shade, art, greenery and invitation. Benches, where they exist, are tiny and defensive.
Pedestrians walk past the Metro D Line at Wilshire and LaBrea, which features a barren plaza lacking the beauty and design of the art-filled stations below.
(Kayla Bartkowski / Los Angeles Times)
These places seem scared to let people linger — clearly trying to avoid some of the city’s intransigent challenges, like homeless encampments, disorder, maintenance burdens, and controversy. This is understandable, but in avoiding those risks, the areas also avoid the purpose of public space: to create a place for everyone, not just a zone for people passing through.
Yet life appears anyway. At Wilshire/Fairfax, a dance class from a nearby studio recently gathered in a thin sliver of shade around the station. It was beautiful, and improvised, but also indicative of the underlying problem. Civic life was there, but the space had failed to make enough room for it. Imagine if that plaza had real shade, generous seating, creative sculpture, plantings, water, and edges that encouraged people to stay.
Another unresolved question is service. On multiple visits trains were not crowded. They also didn’t come often enough. Ten or 12 minutes of stagnant wait time does not feel like freedom if you are trying to lure Angelenos out of cars.
The last-mile problem doesn’t help. There is no easy parking near stations for those who don’t live close, no seamless transfer or final step. The bikes that Metro provides still have share docks, meaning you’ll need to find another dock on the far end (good luck). This remains, as it should, a system for people who already need transit. But for an institution struggling to add ridership, you wonder if it can become a system for people who have choices.
The Wilshire/La Cienega Metro station is part of L.A.’s new D Line extension. The outdoor plazas are not conducive to community or gatherings.
(Carlin Stiehl / For The Times)
Still, we should not understate what has happened. Los Angeles finally has subway stops that serve some of its densest, most public destinations, and Metro is still growing. The D Line makes the Miracle Mile feel less like a traffic corridor and more like a metropolitan spine. It suggests a Los Angeles in which neighborhoods, jobs, cultural destinations, and sidewalks begin to connect physically and with surprising immediacy. (Twenty minutes from LACMA to downtown feels like light speed!) It makes the city feel more like a city.
It also reveals the imbalance of power and imagination in Los Angeles. Metro, for all its flaws, has the ability to marshal money, planning, engineering and art at a scale the city itself generally cannot. All the more reason to branch more boldly beyond its tracks and stations.
The question remains: Can the agency coordinate with government, developers, cultural institutions, and neighborhoods to make these stations into places rather than portals?
The new stops prove that Los Angeles can design infrastructure artfully below ground. Above ground, however, it too often retreats into caution. The subway has arrived. The city around it still has to catch up.
A graphic shows where United Airlines Flight 169 clipped a 15-foot-high light post along the New Jersey Turnpike as it was approaching Newark Liberty International Airport on May 3. Image courtesy National Transportation Safety Board
June 4 (UPI) — The pilots of a United Airlines flight that flew low enough to shear off a light pole on the New Jersey Turnpike as it landed in May knew they were flying too low but were unable to compensate in time, a preliminary report stated Thursday.
The first officer of United Airlines Flight 169 from Venice, Italy, to Newark Liberty International Airport called out, “Hey you are slow,” just before the Boeing B767-424ER clipped a light pole along the turnpike while approaching Newark’s runway 29, according to the National Transportation Safety Board’s initial report of the May 3 accident.
The incident resulted in debris from the light pole impacting a tractor-trailer traveling southbound on the turnpike.
The aircraft was just 19 feet above the busy highway when it connected with the 15-foot-high light post.
Following the impact, the airplane landed and taxied to the gate without further incident, after which the three flight crew members, eight cabin crew members and 220 passengers deplaned at the gate without any injury.
The driver of the tractor-trailer sustained minor injuries, the NTSB said, while the damage to the aircraft was called “substantial.”
The safety agency’s report found that moments after the first officer voiced an initial alarm about the plane being too low, he followed it by saying, “You are still slow and a little low.”
The pilot said at that point he looked outside and recalled, “I thought we were low,” but since they were about to touch down, it was too late to order a “go-around” and abort the landing.
The captain stated that just before touchdown “he heard a thump,” the report said, while the first officer recalled feeling a “mild jolt” as they neared the runway.
After the flight landed, the purser reported that the aft flight attendants heard “a loud bang” just prior to landing.
A swarm of drones lit up the evening sky near Taiwan’s Taipei 101 skyscraper in a dazzling display depicting a giant robot, a sports car, and Earth. The light show was part of Computex Taipei, one of Asia’s largest technology exhibitions.
AN English busway, hailed as the longest in the world, is on track to get a £150million upgrade.
Building work on the busway is set to begin in January 2027, with construction hoping to improve travel times and reliability for commuters.
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A connection between Cambourne and Cambridge is set to join the buswayCredit: AlamyThe busway currently spans 25km, making it the longest in the worldCredit: Alamy
Cambourne and Cambridge are set to become connected by the busway, as Cambridgeshire County Council announces they are searching for contractors.
Named the Cambourne to Cambridge busway, or the C2C, the service will span the 13.6km distance between the locations.
The journey becomes part of the Cambridgeshire Guided Busway, a rapid transit service that connects Cambridge, Huntingdon and St Ives.
It is currently the longest busway in the world at 25km long, beating the O-Bahn Busway in Adelaide, South Australia.
Commuters will also get access to a new park and ride schemeCredit: AlamyThose interested have until the beginning of July to submit participation requestsCredit: Alamy
Plans will see a segregated guided busway with adjoining emergency and maintenance access tracks, including public transport stops between Cambourne and Cambridge.
A brand new Travel Hub, with a park and ride service, will also be constructed, providing spaces 2,000 spaces for cars, bikes, and coaches as part of the “turn up and go” scheme.
Constructing this busway aims to improve journey times and reliability of public transport, also creating jobs and more housing in the area.
The council estimates work to complete this upgrade will cost around £180million including VAT, and £150million without.
Now, interested contractors have until noon on July 2, 2026, to submit requests to participate in the construction, with the award decision date set for December.
It is hoped that construction will begin as early as January 4, 2027, and be completed in December 2030.
One more day and it’ll all be over. I’m referring to the primary election, of course, and the unremitting campaign ads that have infiltrated every aspect of our being as Californians.
Authentic or paid influencers promoting candidates on TikTok and Instagram. Facebook ads vilifying or praising various measures. Incessant, repetitive TV campaigns that get nastier with every election, yet still manage to feel like an analogue remnant from 1982. The worst? Those sponsored leaflets and postcard mailers that end up as makeshift coasters, mosquito swatters or unread refuse that goes straight from the mailbox into the blue recycle bin.
The king of ad spending is Democratic gubernatorial candidate Tom Steyer. He’s behind the most expensive political advertising campaign in the country this year. A former hedge fund manager, Steyer has reportedly spent more than $200 million on his campaign, with a major chunk of that for broadcast TV, cable and radio — 20 times the amount spent by fellow Democrat, former U.S. Secretary of Health and Human Services and California Atty. Gen. Xavier Becerra. And Steyer is still polling behind Becerra.
I never thought I’d write this but it’s not always about the money.
Xavier Becerra, front-runner in the race for California governor, speaks before a crowd at UFCW Local 1167 Union Hall.
(Genaro Molina/Los Angeles Times)
Voters have more resources than ever should they choose to actually research and learn about who and what is poised to shape the future of their city, county and state.
There’s no shortage of broadcast, cable, digital and print reporting about former reality TV personality turned mayoral candidate Spencer Pratt. He uses AI!
The battle between incumbent Karen Bass and her closest Democratic competition, Los Angeles city council member Nithya Raman, dominates local newscasts. And there’s pundits from both sides arguing for and against these choices on every available platform.
Given the amount of information now at voter’s fingertips, we should be the most informed voting populace in the history of ballot casting. But are we?
A new poll by UC Berkeley’s Institute of Governmental Studies that was co-sponsored by the Los Angeles Times asked 8,578 registered voters across California what sources they rely on to get news and information about election-related issues. The poll, which was conducted online May 19-24 in English and Spanish, found that nearly half of the state’s electorate (47%) said they refer to the official voter information guide that is mailed to voters in advance of each election.
Discovering that a nonpartisan, non-sponsored source of data topped the list is a welcome surprise. Today’s media-verse is so fractured and bifurcated along political lines, I just assumed that confirmation bias would drive most folks toward friendly sources, i.e. what they want to hear.
Not as surprising is that 44% of those polled said they use Google or other search engines to seek out election-related information, and greater than 3 in 10 obtain election-related information from social media (39%). Traditional means of information weren’t far behind search engines. Those polled said they still rely on national or cable TV news (39%), newspapers, online or in print (37%), and local TV news (35%). One in three (33%) get information word-of-mouth from family, friends, neighbors or co-workers.
Gubernatorial candidate and billionaire Tom Steyer, right, meets with supporters at a campaign stop.
(Sara Nevis/For The Times)
“The substantial differences in news sources across generation, education and partisanship suggest that we are a considerable distance from the information environment that dominated most of the 20th century, where local newspapers, network news and local television stations dominated,” said Professor Eric Schickler, co-director of the Institute of Governmental Studies. “This fragmentation means that voters may no longer share a common frame of reference when evaluating candidates and election issues.”
The increasingly splintered ways in which voters seek information, fueled by the rapid changes in technology and media, has kept political campaign strategists on their toes.
“Getting attention is the first barrier, and then once you have that attention, how do you convert that into support?” says Democratic campaign consultant and strategist Brian Brokaw. “You have to create a surround-sound effect in order to persuade the voter to go for your candidate or your issue, and they have to hear from multiple avenues. Voters are innately skeptical of advertising, especially when it’s a very direct sale from a candidate. That’s why you’re seeing the use of more influencers in campaigns, particularly paid influencers, who may or may not be disclosing that they are being paid. That’s been a prominent issue in the governor’s race.”
Age, or generational differences, are another deciding factor in where voters look for more intelligence on issues and candidates. The poll found that two-thirds of voters under the age of 30 (67%) and a majority of those ages 30-39 (52%) use social media such as Facebook, X, Instagram, or TikTok to get their information.
Getting to know a candidate, particularly via social media, isn’t necessarily part of a rigorous, fact finding mission. Laughing at Pratt’s Batman-themed video or Gov. Gavin Newsom’s satirical X posts are more about bonding with the person than unpacking their policies. Real or perceived, discovering a candidate via one’s Instagram feels more organic than seeing them on billboard or TV ad.
“One way that politics has changed is that people are craving authenticity. Someone like [Zohran] Mamdani, was very successful and promoted himself from the back of the pack to mayor of New York City. But what people are seeing doesn’t mean that’s the truth,” warns Republican consultant and campaign strategist Kevin Spillane. “I’ve been involved in politics for 40 years. A lot of people are not how they present themselves. But we still crave authenticity, we want to believe [in someone], we want that connection.”
We’ll soon see who Californians choose to represent them and their concerns — or which candidate waged the best campaign warfare, substantive political arguments be damned. But it may take a minute to count all the votes. California reached a record number of registered voters ahead of Tuesday’s primary election, according to the Secretary of State’s office. Officials say more than 23.1 million Californians are now registered to vote statewide.
West Coasters who want to understand what they’re voting for have infinite resources to turn to, some more useful than others. Sponsored mailers (the aforementioned mosquito swatters) only appealed to 9% of those polled as a useful source of information. But did you really need a poll to tell you that?
Jones’ performance wrote another chapter in his Wembley story, which started when he helped Coventry win the EFL Trophy in 2017 and being on their books when they won the League Two play-offs in 2018.
His previous visit for Notts involved him scoring a penalty in the National League promotion final shootout against Chesterfield in 2023.
“I’d like to think there’s another chapter at Wembley coming for me,” said Jones. “I haven’t lost with a club. I’d like to think Wembley is a good place for me.”
County’s promotion was their 14th in EFL history, one short of the all-time record held by Grimsby Town, and Jones says there is no reason why they cannot be optimistic about the future.
“My godfather said to me when I went to Notts, ‘I really believe you can do something similar to what you did at Coventry and go up the leagues. Notts seem like the sort of club who would do something like that, they are a massive club’,” said Jones.
“It wasn’t that long ago that I was a Coventry City player and we got promoted against Notts in the play-offs. I hope they have forgiven me for that.
“Who knows where we can go. We are a fantastic club and I’m sure we’ll attract a lot of talent who will want to come and join us.”
As for it being a third major success among his significant clubs, Jones said he spoke about Arsenal, Coventry and Notts County having fruitful campaigns in a family group chat at the start of the season, saying it “would be amazing”.
The BBC star finds it ‘heart-breaking’ that her great x3 grandfather had such a difficult start in life – and was later declared ‘destitute’.
Zoe Ball was stunned by the ‘devastating’ discoveries she made during Who Do You Are?(Image: CREDIT LINE:BBC / Wall to Wall Media Ltd / Stephen Perry)
Zoe Ball was famously the top-earning presenter at the BBC, earning a high of £1.4million a year as host of the Radio 2 Breakfast show back in 2021. But in the new series of Who Do You Think You Are?, the radio star discovers that her great x3 grandfather James Temby, a Cornish miner, was deported from Guernsey as a young father for being “destitute”.
He and other members of the family, who had travelled there to start a new life with the promise of work in the granite quarries, were ordered out after two years. And this came after he’d already had a particularly tough start in life – spending six weeks in Bodmin jail as an illegitimate two-year-old after his single mother Julia was locked up for six weeks in 1851 for an “assault” an another woman.
On hearing how the pair of them would have spent time in the pitch black at the Cornish reform prison, which restricted access to light in order to encourage better behaviour from inmates, Zoe is horrified. “It’s heart-breaking isn’t it?” she says.
Standing in the tiny, draughty cell – which could have been the very one where her ancestors were incarcerated – she also learns that the prison was silent, and so all speaking was banned, and that the inmates also had their heads shaved to prevent lice.
Zoe gasps: “That’s tough living isn’t it? It’s pretty devastating to think of a two-year old living in these conditions. Must have been terrifying for both of them.”
Jess Marlton, general manager of The Bodmin Jail which is now a hotel and museum, agrees: “Trying to keep a two-year-old quiet I should think was quite a challenge.” But she explained: “There was nowhere else for him to go and no other means to support him.”
Zoe stays the night in one of the converted cells and admits she had to “sleep with the light on”. Afterwards there is happier news when she discovers that James went on to marry her great x3 grandmother Mary Ann at the age of 19 and, despite the setback in Guernsey, he and his family fared better once they returned to England. They were initially sent to Plymouth in 1869 but by 1875 had moved 400 miles north to County Durham, which is where Zoe’s late mother Julia grew up.
James successfully secured work in the coal mines and they also ran a greengrocers shop. By the time he died 40 years later, at the age of 73, he was said to be held in the “highest esteem” by the local community. Shown a picture of the shop, based in Hunwick, Zoe says of Mary Ann: “There she is, she’s got her pinny on ready to work. It’s so wonderful to see their faces.” The couple had five children who all went on to marry.
Zoe – who’d speculated at the start of the film that she was descended from “a long line of wrong ’uns” – is thrilled to see that James was “respected in the end”. She admires the “strength and resilience” he showed in moving around to find work and support his family and feels she was actually “quite wrong” about the family history journey she’d expected to go on.
Zoe, 55, also tells the programme that she was brought up by her dad, former TV presenter Johnny Ball, from the age of two when her parents divorced, and didn’t have any contact with Julia for 14 years – which was “pretty tough”. Having fully reconciled with her mother in her later teenage years, she says that Julia’s death, in 2024, made her take a long hard look at her own life. “It really made me step back and reevaluate what’s important,” she explained. Speaking of her 15-year-old daughter, Nelly, she said “I really just want to be mum and be around for her, before she’s grown up and off into the big wide world like her brother.”
In the programme the former Radio 2 breakfast star also learns that her impoverished maternal grandmother was a serial fantasist who had “delusions of grandeur”and was sent to a mental hospital.
Margaret ‘Peggy’ Minto was committed for acute mania after being put on trial for shoplifting. Poor Peggy’s fantasies continued even while she was undergoing treatment, which included electroconvulsive therapy – an electric current passed through the brain.
Zoe’s only regret is that Julia did not live long enough to find out the fascinating details of their shared ancestry. “It’s been hard to do this without Mum,” she sighed. “I want to ring her up – I know she’d be really chuffed.”
– Zoe Ball’s episode of Who Do You Think You Are? airs on BBC1, May 26 at 9pm.
The lawyers for Mahmoud Khalil, a former Columbia University student targeted for deportation by the United States government over his pro-Palestine advocacy, have called on an immigration appeals court to reopen and terminate his case.
The latest legal appeal points to new evidence, some of which was documented in media reports, that Khalil’s lawyers said it “suggests that the Trump Administration secretly engineered the outcome of his immigration case to make an example of him”.
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It comes just over a month after the Board of Immigration Appeals issued a final order of removal for Khalil, who was first detained by immigration enforcement agents in March 2025, one of several students targeted for their participation in pro-Palestine campus protests that swept the US the previous year.
Khalil, a US permanent resident who is married to a US citizen, has long maintained that he has been unjustly targeted for his political views.
His legal team said on Friday that “apparent procedural abnormalities” support that view.
“It’s clear that the revelations of DOJ misconduct corroborate what we have known since Mahmoud was arrested–that the administration has reverse-engineered its desired outcome by weaponising a farcical proceeding littered with abnormalities,” Johnny Sinodis, a lawyer representing Khalil, said in a statement.
The new evidence includes a report by The New York Times that found that Khalil’s case had been flagged as high priority before it had arrived at the Board of Immigration Appeals, in what his lawyers say indicated the case was being “fast-tracked”.
The report, citing case documents, also found that the court had been instructed to treat Khalil’s case as if he were still in detention custody, which typically results in an expedited processing timeline.
Khalil was released from immigration detention in June 2025 following a federal judge’s order. An appeals court later ruled the judge did not have jurisdiction over the matter. He is also appealing that decision, during which time authorities are barred from re-detaining or deporting him.
The New York Times report also found that three judges at the Board of Immigration Appeals recused themselves from the case. While the reasons for the recusals were not made public, experts familiar with the board’s procedures have said the rate of recusals was extremely rare.
The Board of Immigration Appeals is meant to be independent. Like other immigration courts, it falls under the Department of Justice in the executive branch, which critics say makes it more vulnerable to interference.
Other federal courts fall under the independence of the judicial branch.
The Trump administration has framed Khalil’s deportation as part of a crackdown on anti-Semitism. They have presented no evidence to back the claims against him, and Khalil has never been charged with a crime.
This week, The Intercept news site reported that shortly after he was detained by immigration agents, the FBI had closed an investigation into a tip that Khalil had called for “violence on behalf of Hamas”, saying it did not warrant further investigation.
In targeting Khalil, US Secretary of State Marco had invoked a rarely used provision of the Immigration and National Act that allows the deportation of individuals deemed to be a national security threat based on “past, current or expected beliefs, statements, or associations that are otherwise lawful”.
The manoeuvre raised questions over freedom of speech and whether those protections extended to permanent residents like Khalil. The government later added the claim that Khalil had intentionally failed to disclose his past work for the UN agency for Palestinian refugees (UNRWA) on his immigration application.
Administration officials have repeatedly stood by the claims and maintained that Khalil received proper due process.
In a statement on Friday, Khalil said the administration “wants to arrest, detain, and deport me to intimidate everyone speaking out for Palestine across this country, and they are willing to violate longstanding US rules and procedures to do it”.
He added, “No lies, corruption, or ideological persecution will stop me from advocating for Palestine and for everyone’s right to free speech.”
May 4 (UPI) — A United Airlines flight hit a delivery truck and a light pole on the New Jersey Turnpike on approach to Newark International Airport in New Jersey, where it landed safely and nobody was hurt.
The National Transportation Safety Board is investigating the Sunday afternoon incident, which “has been classified as an accident due to the extent of the damage to the airplane.”
“An NTSB investigator arrived in Newark this morning to conduct interviews of the flight crew,” the agency said in a statement posted to X.
“The investigation will examine multiple factors, including flight operations, meteorological conditions, human performance, crew resource management, aircraft performance and air traffic traffic control,” it said.
The flight was on approach from Venice, Italy, into Newark but flew too close to traffic, clipping a delivery truck and then hitting a light pole that reportedly struck a Jeep on the highway, CBS Baltimore and WABC reported.
The flight, which was carrying 221 passengers and 10 crew, landed safely at the airport around 2 p.m., with officials from Transportation Secretary Sean Duffy to the bakery that owns the truck noting that they have no idea how the incident happened.
“Upon its final approach into Newark International Airport, United flight 169 came into contact with a light pole,” United said in a statement.
“The aircraft landed safely, taxied to the gate normally and no passengers or crew were injured,” the airline said. “Our maintenance team is evaluating damage to the aircraft and we will investigate how this occurred.”
President Donald Trump signs a series of executive orders in the Oval Office of the White House on Thursday. Trump signed an order to expand workers’ access to retirement accounts. Trump also signed legislation ending a 75-day partial shutdown of the Department of Homeland Security after the House voted in favor of funding. Photo by Aaron Schwartz/UPI | License Photo
Travelers walk with a view of a United Airlines airplane at Newark Liberty International Airport on May 22, 2025. On Sunday, the airline said one of its flights struck a light pole on the New Jersey turnpike as it was landing at the airport. File Photo by John Angelillo/UPI | License Photo
May 3 (UPI) — A United Airlines jet struck a light pole while approaching Newark Liberty International Airport on Sunday afternoon, damaging a vehicle traveling on the New Jersey Turnpike, officials said.
United Airlines Flight 169 from Venice, Italy, was on final approach to Newark’s Runway 29 at about 2 p.m. EDT when “the aircraft struck an object over the southbound New Jersey Turnpike, causing damage to a light post and tractor-trailer traveling south on the NJ Turnpike,” the Port Authority Police Department told UPI in an emailed statement.
The driver of the tractor-trailer was taken to the hospital with minor injuries and has been released, the police department said, adding that “minor damage to the aircraft was observed.”
United told UPI that the aircraft, a Boeing 767-400 with 221 passengers and 10 crew onboard, “landed safely, taxied to the gate normally and no passengers or crew were injured.”
“Our maintenance team is evaluating damage to the aircraft,” the carrier said, adding that it will conduct a “rigorous flight safety investigation” into the incident.
“Our crew has been removed from service as part of the process.”
The runway was back to normal operations following an inspection for debris, according to authorities.
The National Transportation Safety Board will lead the federal investigation into the incident, with one of its investigators expected to arrive in Newark on Monday, the agency said in a statement.
United Airlines has been directed to secure and provide both the cockpit voice recorder and flight data recorder to the NTSB as part of its investigation, with a preliminary report expected within 30 days.
New Jersey Gov. Mikie Sherrill said she has been briefed on the incident.
“I’m grateful the aircraft landed safely, and all passengers and crew are unharmed,” she said in a social media statement.
Weekly insights and analysis on the latest developments in military technology, strategy, and foreign policy.
The U.S. Marine Corps is set to test at least two new autonomous cargo helicopters, as it seeks to field platforms that can rapidly resupply Marines in contested environments. The service recently awarded contracts for two such platforms, one being the R66 Turbinetruck that inserts Sikorsky’s MATRIX autonomy system in the proven Robinson R66 airframe. The second is the Uncrewed 505, a development of the Bell 505 in a program led by Near Earth Autonomy, in collaboration with Bell Textron, Moog Inc., and XP Services.
The R66 Turbinetruck that combines the Robinson R66 airframe with Sikorsky’s MATRIX autonomy system. Robinson Unmanned
Lockheed Martin announced yesterday that its Sikorsky subsidiary and Robinson Unmanned had received a contract for the Turbinetruck from the Marine Corps. This comes under the Marines’ new-look Autonomous Aerial Logistics Program Medium Aerial Resupply Vehicle — Expeditionary Logistics (MARV-EL). The contract is worth $15.5 million and covers Increment 2 of MARV-EL.
“As we expand the MATRIX family, we also extend the reach of uncrewed solutions for both civil and military customers,” said Rich Benton, vice president and general manager of Sikorsky. “The commercially developed R66 Turbinetruck is simple, economical, and re-configurable; ideal for high-risk, hard-to-reach environments, where keeping personnel out of harm’s way is essential.”
“Our partnership with Sikorsky brings the trusted performance and reliability of the R66 platform into the unmanned logistics arena,” added David Smith, president and CEO of Robinson Helicopter Company. “The R66 Turbinetruck represents a significant step forward in expanding proven rotorcraft into scalable, autonomous cargo solutions for demanding operational environments. Together, we are delivering a game‑changing capability that will enhance warfighter readiness and open new opportunities for safe, reliable, and affordable autonomous transport.”
Robinson Unmanned | The Future of Autonomous Rotorcraft is Here
The R66 Turbinetruck puts together the R66 airframe from the Robinson Helicopter Company, a single-turbine engine design that is best known as a five-seat light rotorcraft on the commercial market. The R66 was selected for the Turbinetruck application primarily on account of its reliability, low maintenance demands, and high level of versatility. The aircraft is currently in widespread civilian service as a trainer, passenger, and utility helicopter.
Combining the R66 airframe with Sikorsky’s MATRIX system provides the ability to perform autonomous uncrewed operations. MATRIX has previously been proven in a U.S. Army UH-60M helicopter, giving it a ‘robotic brain,’ and the culmination of a series of tests stretching back years now that have been steadily working on ever-greater pilot-optional capabilities for the Black Hawk family. As we have noted in the past, the same technology could easily find its way onto other aircraft, as evidenced by the Turbinetruck.
Sikorsky and DARPA Autonomous Black Hawk Flies Logistics and Rescue Missions Without Pilots on Board
Lockheed Martin says the Turbinetruck is intended to give the Marines “flexible, affordable and rapid combat sustainment,” with its primary roles including the delivery of ammunition, medical supplies, and other essential equipment directly to the troops that need it. These critical loads need to be supplied “regardless of terrain, weather, or enemy threat,” the company adds.
According to Robinson Helicopter, the Turbinetruck can carry a load of 1,300 pounds internally, or external loads supported via a cargo hook. The internal cargo compartment is accessed via front clamshell doors and a right-hand baggage door. A total useful load of 1,500 pounds can be transported, and the aircraft has a range of more than 325 nautical miles.
The Turbinetruck features two clamshell doors in its nose, allowing a forklift truck to place loads directly in it. Robinson Unmanned
When it comes to MARV-EL, this now stipulates an uncrewed aircraft that can carry a logistic payload of between 1,300 and 2,500 pounds to a combat radius of 100 nautical miles, operating through a common digital handheld device.
In an operational scenario, the mission objectives would be entered into the Turbinetruck using a digital tablet. The system would then automatically create a flight plan, using sensors and algorithms to guide the helicopter safely to the target location.
The Turbinetruck would allow the Marines to conduct critical logistics missions without having to put any additional personnel at risk, as would be the case if crewed rotorcraft were employed at the tactical edge of the battlefield. Crewed rotorcraft also come with increased demands on maintenance and availability. Meanwhile, crew-rest cycles might mean that the aircraft have to stay on the ground during high-tempo operations, while these assets will inevitably be in heavy demand for all kinds of other missions in any kind of high-end fight.
A video outlining the Robinson R66 Army Trainer, a crewed version of the helicopter offered to the U.S. Army schoolhouse:
Robinson R66 Army Trainer Helicopter | Press Conference & Official Reveal | AAAA in Nashville
At the same time, the MARV-EL concept is especially tailored for the Indo-Pacific theater, in which Marines and other U.S. military forces would be expected to fight from and around austere forward operating bases — a concept known as Expeditionary Advanced Base Operations — as well as unimproved landing zones, and from the decks of ships.
In this context, the Turbinetruck, and the MARV-EL program, more generally, hope to fill a notable capability gap between small tactical drones and larger crewed airlifters. This is something that Lockheed Martin describes as a “middleweight” uncrewed logistics platform capable.
Another view of the Turbinetruck with the nose cargo doors open. Robinson Unmanned
Robinson Unmanned will deliver the first R66 Turbinetruck to Sikorsky for integration, test and evaluation, and demonstration. At that point, the aircraft will undertake capability demonstrations to prove out the MATRIX system in the R66 airframe.
Since MATRIX is platform-agnostic and has an open architecture design, it is intended to be easily integrated into various airframes.
As for the rival Uncrewed 505, this takes the Bell 505 Jet Ranger X helicopter and combines it with Near Earth’s Captain autonomous system, and Moog’s Genesys avionics. The 505 is also a single-turbine helicopter that is in use in similar training, passenger, and utility roles as the R66.
A rendering of the Uncrewed 505. Near Earth Autonomy
The MARV-EL Increment 2 program will also see the Uncrewed 505 prototype developed for the Marine Corps. Near Earth says it will spend the next 36 months integrating and flight-testing the autonomous flight system in the Uncrewed 505, before progressing from early demonstrations to full mission capability.
“The program is to develop an uncrewed aerial logistics aircraft for where the risk and need are highest,” said Lyle Chamberlain, CTO of Near Earth. “We are combining our Captain autonomy architecture with a proven Bell 505 platform to move cargo without putting Marines in harm’s way. To be as intuitive as possible, we are designing the aircraft around existing Marine Corps workflows. Operators will be able to request, dispatch, and manage missions through familiar command-and-control pathways, including MAGTAB and MANGL integration. At the same time, cargo can be loaded with standard pallet jacks and forklifts. This approach reduces infrastructure burden and helps make autonomous resupply practical for expeditionary operations.”
A diagram shows the basic operating concept for the Uncrewed 505. Near Earth Autonomy
Near Earth says the Uncrewed 505 is optimized for efficient transportability, with two aircraft fitting inside a C-130 cargo aircraft with minimal disassembly.
Other aircraft have previously emerged out of the MARV-EL program.
These included the Kargo UAV, a rotary-wing drone from the Kaman Corporation, which previously developed an optionally crewed version of its K-Max helicopter.
KARGO UAV | Transforming Expeditionary Logistics
Notably, Kaman partnered with Near Earth Autonomy for the autonomy system for both the Kargo UAV and the optionally crewed K-Max.
Another competitor for MARV-EL was the SeaOnyx from Leidos. In 2023, it was announced that Leidos had won a Marine Corps contract to develop a prototype of this autonomous resupply vehicle under the Medium Unmanned Logistics Systems — Air (MULS-A) program, which later became MARV-EL.
The SeaOnyx from Leidos. Leidos
However, neither of these platforms met Marine Corps requirements, leading to MARV-EL being recompeted. At the same time, the previous requirements (including delivering a logistics payload of 300-600 pounds within a radius of 25 to 100 nautical miles to a combat area) were made more ambitious, increasing cargo payload and range.
A video outlining the Bell 505, as offered for the U.S. Army Flight School Next requirement:
Bell 505: Ideal Trainer
At the same time, the R66 already has a foothold with the U.S. military, with TH-66 Sage used to train U.S. Army and Navy helicopter operators, under contract. The Army is also now looking at both the R66 and the Bell 505 for its Flight School Next training helicopter program.
Whichever design or designs are ultimately selected for the MARV-EL requirement, the Marines can expect a new medium-weight logistics platform that bridges the gap between smaller drones and larger crewed aircraft currently in use. At the same time, it will help reduce risk by keeping more fixed-wing and helicopter crews out of harm’s way.
Finding a revolutionary artist during cocktail hour at the opening gala of Los Angeles County Museum of Art’s new David Geffen Galleries was like shooting fish in a barrel.
Gaze over the rim of your glass to notice Jeff Koons and Ed Ruscha talking closely beside the DJ booth. Mark Bradford strides by with a beneficent smile — towering over everyone, including AI art maker Refik Anadol. Todd Gray, whose 27-foot-long photo sculpture “Octavia’s Gaze” graces the hallway near the building’s south entrance, chats with Wim Wenders, who is making a documentary about architect Peter Zumthor’s controversial new $724 million concrete behemoth. Zumthor is there too — in bright red sneakers — talking to LACMA director and chief executive Michael Govan before Govan turns to take a selfie with immersive installation artist Do Ho Suh.
Jeff Koons, left, talks with Ed Ruscha at the opening gala for LACMA’s new David Geffen Galleries on Thursday.
(Jessica Gelt / Los Angeles Times)
Lauren Halsey walks by in her distinctive white shirt, long shorts and ball cap, beset on all sides by friends and admirers.
“It’s beautiful, it’s fantastic,” she said of Zumthor’s creation.
It’s an artist’s world on this breezy evening, as the sun sets golden over the looming gray concrete of the building, and the lights that gird the structure’s underbelly flicker on and twinkle like stars overhead. In this milieu, Hollywood A-listers like Will Ferrell and Sharon Stone, who occupy separate cliques nearby, pale in comparison to the mingling artistic luminaries.
Architect Peter Zumthor, left, and Michael Govan attend LACMA’s opening gala for the David Geffen Galleries. Govan said he hopes the building lasts 500 years.
(Gina Ferazzi / Los Angeles Times)
“It’s ready for us,” Bradford said of the building. “It’s ready for artists. I walked in and I was overwhelmed with a space that was made for us, and I can’t wait for everything I can do.”
“Snazzy. Does the job,” said Ruscha, looking bemused and speaking in short bursts of headline-style phrases like one of his famous paintings.
Gray said he was glad to see his art during “magic hour,” noting how the setting sun shone warm through the building’s glass windows — diffused by textile designer Reiko Sudo’s chromium spattered curtains — to imbue his photo installation with a distinctive warmth.
“I’ve never seen it at dusk,” Gray said with a smile. “It was a totally different experience to see it at that time of day. And [the light was] actually yellow, so the piece changed … and the concrete warmed up because of that warmer light. It was a lovely chromatic experience, which is wonderful because then you’re aware that you’re experiencing something in a very particular space and time.”
James Goldstein, the owner of architect John Lautner’s famed Sheats-Goldstein Residence, which he promised as a gift to LACMA in 2016, agreed with Gray that the gloaming light was lovely.
“If it were up to me the curtains wouldn’t be closed,” Goldstein said, noting that the curtains in his home — which is also made of concrete and glass — are never closed, and that the views from the Geffen Galleries are extraordinary and worth leaning into.
Koons said the building, and the moment in time that defines its unveiling, has the potential to bring the world together.
“It’s an amazing evening for all these people that love and believe in the value of art and humanity to be together and to celebrate architecture,” said Koons, noting that he looks forward to showing his art inside the new galleries. “LACMA is a place that’s here for future generations and Peter’s building is amazing.”
Will Ferrell and Viveca Paulin were among the major Hollywood stars at the gala.
(Gina Ferazzi / Los Angeles Times)
Chatter about the building could be heard in every cluster of guests. One group talked about how striking it was to see ancient Greek sculptures juxtaposed against the rush of traffic along Wilshire Boulevard; another discussed their hope for more landscaping, noting that the concrete ground and concrete building begged for some lush greenery.
Govan basked in the limelight nearby, shaking hands and doling out hugs and back pats. His vision for the building has been 20 years in the making, and he’s faced an enormous amount of pushback, but the structure is here and his enthusiasm for it has not waned.
“I’ve just always imagined people in the building — it’s for people,” Govan said. “And I want it to last 500 years, I want those little drill marks to accumulate, I want change. I want this to be something that generations will care for.”
Zumthor also seemed deeply pleased with the moment, saying, “I’ve always been happy,” and emphasized that working in L.A. taught him to embrace a certain frontier-like lack of refinement.
LACMA’s staff was elated, especially those who have been watching the project develop for decades and absorbing the large amounts of criticism that have accompanied its manifestation.
Stephanie Barron, LACMA’s senior curator and modern art department head, said, “This is the first night with our art world colleagues and donors, and it’s thrilling to see how they are responding, and how they are a little confused, at first, about where to go. Then they realize, that’s the point of this — and they are just going with the flow and they are smiling and happy and looking at the art. It’s a game changer.”
“I’ve been here nearly 20 years and seeing this going from concept to reality has been the greatest thing,” said Tiffany August, associate vice president of LACMA’s people and culture department, which oversees human resources. “So much soul and heart and effort went into this.”
Arun Mathai, budget officer and head of finance, has also been with the museum for 20 years and said it’s exciting to finally be on the other side of the project. “To see it happen in such a beautiful way is very gratifying. The notion of no hierarchy, of wandering around and seeing art from all over the world, from all time periods beautifully juxtaposed, it’s just so enlightening,” Mathai said.
Michael Govan, left, Peter Zumthor, Holly J. Mitchell and Mayor Karen Bass attend the opening gala.
(Gina Ferazzi / Los Angeles Times)
Later, during a four-course meal of broiled oysters, tuna tostadas, braised Wagyu short ribs and berry meringue, various LACMA supporters, including board co-chair Tony Ressler; life trustee and major donor Lynda Resnick; and L.A. County Supervisor Holly J. Mitchell, whose district houses LACMA, took to the stage in a tent set up west of the new building to sing the praises of the Geffen Galleries — and to note that the evening’s dinner raised a record-setting $11.5 million. (The Geffen Galleries’ ongoing fundraising campaign now stands at $869 million.)
“This is a great, great example of what can be achieved when government and philanthropy work hand in hand for the public good,” Ressler said before thanking Govan for “taking bold risks.” “Your legacy is now permanently etched in the stunning galleries that will open to the public very soon.”
Mitchell was full of praise for Govan and Zumthor.
“The Geffen Galleries didn’t come to fruition overnight. And frankly, nothing that changes the status quo ever does,” Mitchell said. “To Michael, Peter, David [Geffen] and our dear Elaine [Wynn], thank you for your patience, because visionaries like yourselves often have to wait for the rest of the world to catch up with you.”
Resnick got a big laugh when she described her first meeting with Govan and his wife 21 years ago.
“An exquisite couple walked into [vice chair of the board] Bobby Kotick’s house. There was Michael Govan, a true intellectual, Zen thinker, movie star handsome, and under consideration to run LACMA. By the end of the evening, I was sitting on his lap feeding him peeled grapes.”
She concluded on a more serious note, calling the Geffen Galleries a “masterpiece of public art.” “Only one person in the world could have done all this with the signature elegance and his provocative style,” she said of Govan. “Generations will cross that bridge and watch the cars stream below, and feel the power of being embraced by art above all the gorgeous chaos of our city.”
After a standing ovation, Govan introduced musicians Sean Watkins, Gabe Witcher and T Bone Burnett, who sang — quite fittingly — “The Times They Are A-Changin.’”
