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“Everywhere I go, the kids call me ‘the book lady.’”

Dolly Parton wore the moniker like a badge of honor, and she earned it too. Through her Imagination Library program, launched by the Dollywood Foundation in 1995, she put more than 330 million books into the hands of children across America, Canada, the U.K., Australia and the Republic of Ireland.

The program is rooted in a childhood of poverty and illiteracy — roots that those who knew Parton said she never denied or abandoned.

Parton, 80, died Tuesday after a brief battle with cancer. And although the country western superstar collected accolades — including 10 Grammy Awards, a National Medal of the Arts and two Academy Award nominations — across her storied career, Parton said her contributions to children’s literacy were most precious to her.

In 2023, the American Library Assn. awarded the singer-songwriter, book lady and philanthropist its highest honor — lifetime membership — to recognize her lasting impact on literacy and inspiring a love of reading in children.

“Dolly Parton represented the very best of America,” ALA President Maria McCauley told The Times on Tuesday, adding that, like people all over the world, she’s been playing Parton’s music since news of her death broke, particularly the song “I Can See the Light of a Clear Blue Morning.”

“That song has so much resonance right now,” she said, noting its lyrics capture a theme of resilience and faith in overcoming dark times.

“We want to make sure that Dolly’s vision, that reading is for everyone, becomes a reality. That’s something that we can all carry forward in memory of Dolly.”

Parton’s Imagination Library gifts a book a month to children signed up for the program from the time they are born until they are 5 years old. Parton described the program best when speaking with librarian Carla Hayden in 2018. “We send the book in the mail with their name on it. It’s not in the care of Mom and Dad — it’s got their little name on it, and they love to think, ‘This is mine.’ They wait at the mailbox. They get their little books, and to them, it’s personal.”

Parton understood the novelty of owning your very own book. Growing up in the Great Smoky Mountains town of Sevierville in east Tennessee, Parton was the fourth of 12 kids. Her father, a tobacco sharecropper, couldn’t read or write, and the family lived in a one-room cabin with no electricity. There were no books in the home, aside from the Bible.

The singer’s upbringing, particularly her father’s illiteracy and his shame around what he considered a shortcoming, was what inspired her to launch the Imagination Library. With the help of her dad, they set out to foster a love of reading in the kids of Sevier County. Reading, she believed, was the gateway to dreaming, and dreaming, the first step in the path toward success.

By 2000, the program had expanded beyond the Smoky Mountains and into a nationwide movement. By 2003, the Imagination Library had mailed 1 million books to budding readers. After the United States, the gifting initiative launched in Canada in 2006, then the U.K. in 2007, Australia in 2013 and the Republic of Ireland in 2019.

The program operates on a shared funding model split between the Dollywood Foundation — which manages the central overhead, administration, and global book-selection strategy of the Imagination Library — and local community partners including businesses, school districts, small or large organizations, or individuals who share in the mission.

Selina Brown, a U.K. author whose book “My Rice Is Best” was selected by the Imagination Library this year, said that 14,000 copies had been distributed across the U.K. to children in underprivileged areas. “To know that my book has gone into the hands of young children across the U.K. is absolutely incredible,” she told The Times.

Brown said that public figures often make shallow promises and vanity moves, but “with Dolly Parton, you can actually see her work manifest, and it really makes an impact. In the U.K. alone, there are children who do not have books in their house, and because of Dolly Parton, they now have their own library.”

Canadian author Melanie Florence, who penned “Sarabeth’s Garage” — another of Imagination Library’s picks — also grew up in a small town, with no bookstore, during a time with no online retailers. “If that had existed when I was a kid, being gifted a book that you get to keep, it’s a big thing, especially for a kid like I was, who just lived to read,” Florence told The Times.

“I think that’s such a beautiful legacy,” Florence said, “her music and this spirit of generosity.”

But it’s also a working legacy that Parton built to last, according to Dollywood Foundation’s president, Jeff Conyers.

“Dolly’s legacy was never meant to be something we simply preserve or look back upon,” Conyers said. “She built things that could keep doing good in the world.”

Conyers said the foundation was set to “make certain the love at the heart of her work continues reaching children, families and communities long into the future.”

Although the foundation is heartbroken after Parton’s death, he said, “the mission she gave us is as clear today as it has ever been, and we will carry it forward for generations to come.”

Dolly Parton marks the 100 millionth book donation by her Imagination Library to the Library of Congress collection in 2018.

(Andrew Harnik / Associated Press)

Washington, D.C., Councilmember Charles Allen said he was visiting family in east Tennessee more than decade ago when his 2-year-old niece went tottering off toward the mailbox. When her parents brought her back in, she was holding a book with her name on it. Allen said his brother had signed her up for Parton’s Imagination Library at the hospital just after she was born — “right then and there.”

Allen said he was inspired by “the joy on my own niece’s face when she opened up a book with her name on it” to write a D.C. law called “Books From Birth.”

“We basically borrowed that program and then partnered with them,” he said. “And now every child in D.C. from the time they’re born ’til they’re 5 years old gets a free book delivered.”

Allen said that the program is now 10 years old, and 4 million books have been distributed to about 100,000 kids: “It’s made a big impact.”

Allen met with Parton years ago and said she never forgot her roots.

“Watching her own parents struggle with literacy and kind of hiding it, she realized very quickly the power that she had as this just massive cultural and musical star,” he said, adding that she was going to use that power for something that would outlast her. “It’ll outlast me. It’ll outlast everybody.”

Children of D.C. “they know Dolly Parton,” he added. “They know she’s the lady that delivered the books. I have all the confidence in the world that she is smiling somewhere, knowing that so many people think of her as the book lady. That she was going to battle illiteracy, one kid, one family, one household at a time.”

In 2018, Parton donated her 100 millionth book to the Library of Congress.

During the ceremony Hayden, the librarian, asked the country star if she ever thought she’d be known so widely as “the book lady.”

Parton responded with her signature self-deprecating wit and wisdom: “I never thought about being the book lady — the painted lady, yes. The overexaggerated, overdressed lady — yes. But that just goes to show you that you can’t judge a book by looking at the cover, right? Or even a 100 millionth book by looking at the cover.”

In September, 336,004,951 books will have been distributed through Imagination Library. More than 3.6 million families have been registered globally.

The Justice Department’s latest salvo in the battle over the future of the Kennedy Center claims President Trump’s “efforts and prestige provide the sole hope for the Center’s financial survival, and structural renewal,” according to a Monday court filing, which also threatens a possible demolition of the historic building.

Without the president’s interventions, says the filing, “the Center will deteriorate further into an unsafe, decrepit structure that will be required to be taken down, with a determination to follow on what to build on the site.”

The filing by the administration’s lawyers came in response to the efforts of Rep. Joyce Beatty (D-Ohio) to block the Kennedy Center board from adding the president’s name to the building. The 21-page document argues that the “prestige” afforded by such an addition is both necessary and warranted.

“The Board also underscores, and the undisputed evidence demonstrates, that without the prominent recognition of The Trump Administration, and President Trump’s efforts, the donors will not contribute, and the Center will continue to be in a financial and structural death spiral,” the filing reads. “The Trump Administration, and President Donald J. Trump, should, therefore, be given the respect and dignity of acknowledgement.”

The filing also suggests what could replace the center if the building were to be torn down: “a large outdoor amphitheater overlooking the Potomac River … has been proposed, by some, for many years.”

“Such a replacement will fail to adequately honor President John F. Kennedy, but would be simpler and more economical to build, operate, and maintain,” the administration’s lawyers wrote in the filing.

Such a tear down would face enormous legal pushback, but preservation groups are already on high alert after Trump’s swift demolition of the White House’s East Wing, which was completed before a challenge could be fully mounted.

The Kennedy Center has been mired in controversy since Trump fired its board and had himself appointed chairman in the early months of his second term. Artist and staff defections became common after that, but the question of the center’s survival came into stark relief in early February when Trump declared his intention to shutter the center for two years of renovations.

That decision came after the Kennedy Center board voted in December to add Trump’s name to the building. Both the closure and the renaming were halted in a May ruling by Federal District Court Judge Christopher R. Cooper who is still overseeing the legal back-and-forth over the center’s fate.

Cooper originally gave the administration until mid-June to remove Trump’s name from the building. The administration complied by placing a tarp over the sign, which has remained ever since.

This month the board again voted to move forward with the renovation, and also to add Trump’s name to the building with the words, “Restored and Renovated by President Donald J. Trump.”

The most recent court filing claiming the center’s survival rests with Trump is in stark contrast to a recent Washington Post investigation that found the center’s revenue plunged after Trump’s name was added to the building.

The Kennedy Center Board of Trustees on Thursday voted to move forward with President Trump’s plan to close the building for renovations for two years, according to the Associated Press. During the same meeting, the board, which is filled with the president’s allies, also voted to inscribe Trump’s name on the building.

The votes came after a federal judge in May ordered a halt to Trump’s plan to close the center, and also that Trump’s name be removed from the building, where it had been added to the venue’s official name. The new inscription will read, “Restored and Renovated by President Donald J. Trump,” according to the New York Times. Rep. Joyce Beatty confirmed the news to the AP. The move appears to be an attempt to sidestep U.S. District Judge Christopher R. Cooper’s ruling that the law “makes crystal clear that the Center is to be named for President Kennedy.”

Cooper wrote in that same ruling that the board’s original vote in March to close the venue beginning July 5 was “ill-informed and seemingly preordained.” But he left open the possibility of a closure if — after a more thorough investigation by the board into the plan — the decision was again made. The board’s recent vote came after it reviewed information about the repercussions and costs of a closure. This included three scenarios: a full closure, a partial closure over a period of five years and a limited series of phased closures, sources close to the situation told the AP, asking to remain anonymous.

It is unclear if the recent vote will again face legal pushback.

The Kennedy Center has been in crisis for more than a year, beginning in February 2025 when Trump fired its board and appointed himself chairman. He swiftly selected Richard Grenell, a former ambassador to Germany and a staunch ally, as acting director of the center. Under Trump and Grenell, the venue ruptured audiences and lost a slew of high-profile shows and artists including “Hamilton,” Shonda Rhimes and Ben Folds. The Washington National Opera also left the venue, which it had occupied for decades.

The situation worsened late last year after the board voted to rename the venue the Donald J. Trump and the John F. Kennedy Memorial Center for the Performing Arts. Performers, including jazz musician Chuck Redd, canceled a variety of holiday shows. The Kennedy Center threatened to sue Redd, creating a legal drama that continued until this week when a superior court judge in Washington, D.C., ordered the center to pay more than $250,000 to Redd to cover attorneys’ fees and other legal costs.

Let’s hear it for author David Winder for putting together a list of the top 50 most interesting high school nicknames.

Of course, a school in California gets the No. 1 ranking. Life Academy of Health and Biosciences in Oakland has the Biohazards as their nickname.

Here’s his selections:

50. Poets (Dunbar HS – Baltimore)

49. Burrs (West Catholic Preparatory HS – Philadelphia)

48. Flying Flucos (Fluvanna County HS – Palmyra, Va.)

47. Shiretowners (Houlton HS – Houlton, Maine)

46. Amaguqs (Nunamiut School – Anaktuvuk Pass, Ark.)

45. Syrupmakers (Cairo HS – Cairo, Ga.)

44. Achaeans (Herron HS – Indianapolis, Ind.)

43. Vulcans (Vassar HS – Vassar, Miss.)

42. Spongers (Tarpon Springs HS – Tarpon Springs, Fla.)

41. Fourteeners (Lake City Community School – Lake City, Colo.)

40. Lava Bears (Bend HS – Bend, Ore.)

39. Ceramics (Crooksville HS – Crooksville, Ohio)

38. Mean Moose (Alamosa HS – Alamosa, Colo.)

37. Blizzards (Winters HS – Winters, Texas)

36. Dots (Poca HS – Poca, W.V.)

35. Earwigs (Dunn School – Los Olivos, Calif.)

34. Goblins (Harrison HS – Harrison, Ark.)

33. Cutthroats (Community HS – Sun Valley, Idaho)

32. Hoboes (Laurel Hill School – Laurel Hill, Fla.)

31. Cornjerkers (Hoopeston HS – Hoopeston, Ill.)

30. Lab Rats (Roanoke Valley Governor’s School – Roanoke, Va.)

29. Conchs (Key West HS – Key West, Fla.)

28. Pugs (Paoli HS – Paoli, Okla.)

27. Vineyarders (Martha’s Vineyard Regional HS – Oak Bluffs, Mass.)

26. Awesome Blossoms (Blooming Prairie HS – Blooming Prairie, Minn.)

25. Alices (Lincoln HS – Vincennes, Ind.): A popular theory for how the Lincoln Alices got their name is that it comes from the novel Alice of Old Vincennes, which features an orphan in the French outpost of Vincennes, Indiana (yes, the same town) during the Revolutionary War. Fun Fact: Alice of Old Vincennes was a bestseller in 1900 and 1901.

24. Sir Bills (Johnstown HS – Johnstown, N.Y.): They are named after the city’s founder, Sir William Johnson.

23. Barbs (DeKalb HS – DeKalb, Ill.):
Illinois farmer Joseph Glidden received a patent in 1874 for creating the first commercially successful barbed wire, which the local high school eventually adopted.

22. Amazons (Madeira HS – Cincinnati, Ohio): The Madeira Amazons materialized after a group of boys started calling the girls’ basketball team derogatory names and trashed their locker room. A coach liked what one of the words represented (powerful women warriors in Greek mythology) and had the sobriquet of the girls’ teams changed from the Mustangs.

21. Battling Bathers (Mount Clemens HS – Mount Clemens, Miss.): The Battling Bathers were named after the nearby mineral baths.

20: Boundaries, Curious, and Odd Animals (Borderites Blaine HS – Blaine, Wash.): The Borderites are located next to the Canadian border at the most westernmost point of the contiguous U.S.

19. Zizzers (West Plains HS – West Plains, Mo.): The West Plains Zizzers got their name in 1908 when a faculty member was so impressed with a class booklet that they exclaimed, “Oh, what a Zizzer!”

18. Winged Beavers (Avon Old Farms School – Avon, Conn.): The founder of Avon Old Farms adored beavers. But she wanted the school’s nickname to pop and something like Silver Beavers or Fighting Beavers apparently wasn’t good enough. In the end she gave her favorite rodents some feathers.

17. Spoofhounds (Maryville HS – Maryville, Mo.): The Maryville Spoofhounds are the result of a motivational insult. The Maryville coach chose “spoofhounds” after the ugly, plaster of Paris dog from a recent carnival. The players took a liking to the name, and the rest is history.

16. Ugly Eagles (Clayton Valley Charter – Concord, Calif.):
A football coach grew tired of his players’ long hair and unkempt look and gave the team a new nickname.

15. Kewpies (Hickman HS – Columbia, Mo.): The Hickman Kewpies are named after a naked, smiling baby who was a favorite in a comic strip and later dolls and figurines. The name caught on in 1969 when an announcer said that even though the Hickman football team was losing, they were “smiling like a bunch of Kewpies.”

14. Noises (Hale-Ray HS – Moodus, Conn.): The Hale-Ray Noises get their name from the nearby area, which the Algonquians called Machimoodus, meaning “the place of bad noises.” Geologists have determined the sounds are from shifting tectonic plates, creating underground rumblings that are amplified by the topography.

13. Obezags (Key School – Annapolis, Md.): Key School students in the late 1960s looked around their campus, saw three gazebos, and thought the reverse – Obezags – was a perfect nickname.

12. Peglegs (Stuyvesant HS – New York, N.Y.) The Peglegs are named after Peter Stuyvesant, the last Dutch Director-General of New Netherland before the English seized the colony and renamed it New York in 1664. Stuyvesant was known as “Peg Leg Pete,” after losing his leg below the knee during a battle on St. Martin in 1644.

11. Dateliners Diomede School – Diomede, Ark.): The Dateliners are located about a mile from the International Date Line in the middle of the Bering Strait.

10. Bubblers (Boiling Springs HS – Boiling Springs, Penn.): Boiling Springs, Pennsylvania, sits on a network of springs that due to a hydrogeological phenomenon, causes water to bubble to the surface, making it look like it is boiling. The Bubblers are named after The Bubble, the largest spring.

9. Buff ’n Blue (Punahou School – Honolulu, Hawaii): The colors of Waikiki Beach.

8. Cutters (Fair Lawn HS – Fair Lawn, N.J.): The Cutters are a result of a few star football players cutting class to see a double feature in 1943. The players were caught, resulting in the coach benching them for an upcoming game. But at halftime the opposition held a 12-0 lead, so the coach changed his mind. With the movie aficionados apparently learning their lesson after two quarters, Fair Lawn rallied for a 13-12 win – one of the cutters scored two touchdowns and the extra point. Afterward, students demanded the school adopt the Cutters nickname because those players had won the game. The administration agreed.

7. Hodags (Rhinelander HS – Rhinelander, Wisc.): In 1896, a local lumberjack near a small town in northeastern Wisconsin told of a bizarre green monster roaming the nearby woods. It was called a hodag, and he even had a picture of it. He would later admit it was all a hoax, but not before the area became Hodag Country.

6. Hippos (Hutto HS – Hutto, Texas): Local legends abound about how the Hippos got their name. The most popular involves a hippo escaping from a traveling circus and finding its way to a nearby creek. The hippo liked it there, so it took a while to extract the animal from the muddy waters to the delight of the locals.

5. Jug Rox (Shoals HS – Shoals, Ind.): The Jug Rox are named after Jug Rock, a 60-foot-high, free-standing rock formation that resembles a jug. Jug Rock is the largest free-standing table rock east of the Mississippi River.

4. Feet (The Webb School – Bell Buckle, Tenn.): The Feet became the official nickname in 1974. There is no consensus as to why it was chosen.

3. Caxys (Lake Forest Academy – Lake Forest, Ill.): Ancient Greek playwright Aristophanes’ comedy The Frogs inspired the Caxys nickname. The political satire was a big hit at the school, which led students to use the call of the Frog chorus, “Caxys, co-ax, co-ax, co-ax,” to cheer on their classmates. The school says that caxys is ancient Greek for ribbit, or the sound a frog makes.

2. Criminals (Yuma HS – Yuma, Ariz.): A fire forced Yuma High School to hold classes in an abandoned prison (1910-1912). This led to rival Phoenix Union players calling them criminals and making accusations of cheating during a 1913 football game. Eventually, Yuma students leaned into the Criminals moniker, and it became the school’s official nickname in 1917.

1. Biohazards (Life Academy of Health and Biosciences – Oakland, Calif.): The Biohazards are named after biological substances that threaten to human health – the only nickname that includes medical waste, viruses, and micro-organisms.

SAN DIEGO — High on the to-do list for the Chargers offense is juicing up the ground game, a pressing priority for a franchise whose last 1,000-yard rusher was Melvin Gordon in 2017.

Max McCaffrey is the team’s new running backs coach, and his last name should be familiar. His younger brother is Christian McCaffrey, All-Pro running back for the San Francisco 49ers and reigning comeback player of the year. Their father is longtime NFL receiver Ed McCaffrey, a favorite target of John Elway in Denver.

So Max knows his stuff about building a running attack, even though he was a receiver at Duke and had only fleeting stints with five NFL franchises, more often on the practice squads than the active rosters.

Chargers offensive coordinator Mike McDaniel noted with a half-smile that because Max is “definitely not the most athletic in his family,” his work ethic is “astronomically higher” than most.

Max , 32, chuckled Wednesday when informed of that wisecrack, conceding that he’s got some pretty stiff competition in his family. His dad has three Super Bowl rings — one with San Francisco, two with Denver — and mom, Lisa, was a standout soccer player at Stanford. In addition to Christian, 30, Max has brothers Dylan, 27, a former quarterback at Michigan and Northern Colorado; and Luke, a receiver and return specialist for the Washington Commanders.

They might not be quite as prominent as the Mannings or Kelces, but when it comes to football’s royal families, the McCaffreys are in the conversation.

Chargers running backs coach Max McCaffrey, left, works with running back Keaton Mitchell at training camp in El Segundo on Aug. 1.

(Los Angeles Chargers)

“I love my brothers,” Max said. “I’ll do anything for them, and I just want to see them succeed and chase what they’re passionate about.”

That certainly doesn’t quell his competitive nature, however, and he’ll have more than one chance in his current role to see brother Christian up close. The Chargers and 49ers will hold a joint practice at the Bolt on Aug. 18, and the teams will meet again in a Thursday night game on Dec. 17 at SoFi Stadium.

“My brother’s been my best friend and one of my biggest mentors my entire life,” Christian told The Times Wednesday. “We’re always bouncing ideas off each other. Obviously, he played receiver, but he has such a massive knowledge for football in general. He’s been a coordinator. He’s coached different position groups. Now that he’s got the running back job, it’s so fun just bouncing ideas off of each other.

“I never think I have it all figured out, so getting tips from him feels very familiar.”

Likewise, Max said that while Christian doesn’t share trade secrets with him, he does tap into the running back know-how of his younger brother, collecting tidbits on how best to train and prepare players for the rigorous job.

The eldest McCaffrey son called the 49ers star “the most intentional person I know.”

“He wakes up with a purpose,” Max said. “His day is planned from the second he wakes up to the minute he goes to sleep.”

That’s the kind of laser focus that can help a young running back such as Omarion Hampton, selected 22nd overall by the Chargers in the 2025 draft.

Ed McCaffrey was head coach at Northern Colorado from 2020-22 and had Max on his staff all three seasons, first as receivers coach, then as offensive coordinator for the final two seasons.

“I think it’s tremendous,” Ed said of his son’s play-calling experience. “It’s tremendous for the whole process because it allows you to set your vision as to how much you need to own at the NFL level running an offense.

“He got to really invest into the details across all positions, getting a firm, tangible example of what he needs from position coaches. So to be prepared to be a position coach, I think it directly helped him in that process.”

When McDaniel was head coach of the Miami Dolphins, he brought on Max as an offensive assistant from 2023-25. When McDaniel got the Chargers job, he brought Max with him, giving him a key position to oversee.

Chargers running backs coach Max McCaffrey, working with running back Kimani Vidal in offseason workouts in May, said, “I love my brothers. I’ll do anything for them, and I just want to see them succeed and chase what they’re passionate about.”

(Los Angeles Chargers)

Joked McDaniel: “For fantasy owners out there, if you’re not liking your output, you have Max to blame.”

Max got his name from a since-closed restaurant at the Stanford mall called Max’s Opera Cafe, where Ed and Lisa had their first date.

Since, he has worked hard to make a name for himself, and the spotlight is only growing.

DETROIT — Two people who attended a prestigious Michigan fine arts school reported conduct of a sexual nature by Jeffrey Epstein, a major donor, according to an investigation that also uncovered dozens of allegations spanning decades against nearly 50 other people.

Interlochen Center for the Arts operates a summer camp and performing arts school that draws students from around the world. It hired a law firm in 2024 to investigate reports of sexual abuse by faculty and staff. Subsequently, it expanded the work to include information about Epstein, the 66-year-old financier who killed himself in jail in 2019.

Interlochen removed Epstein’s name from a lodge after he was convicted of sex offenses in Florida in 2008. The building, renamed the Green Lake Lodge, recently was demolished after the U.S. Justice Department released millions of pages about Epstein that had been compiled over the years.

Sanghavi Law Office says it collected 70 accounts from alumni alleging “physical conduct of a sexual nature” by 47 faculty and staff members affiliated with Interlochen from the 1950s through the 2010s, most before 2000.

“The information gathered during this investigation is, simply, devastating,” the 97-page report says, noting that alumni reported grooming, flirting, sexual touching and sex.

Interlochen said it provided names of people accused of misconduct to Grand Traverse County authorities in northern Michigan to determine what steps, if any, might be taken. None are employed at the school and more than a third are dead.

“We are deeply sorry for the harm experienced by members of our community and extend our apologies to those impacted by abuse at Interlochen,” president Trey Davey and board chair Barrett Rollins said in a letter to the community posted online.

“While the vast majority of the incidents described in the investigation took place decades ago, and reports of abuse at Interlochen have significantly decreased over the past 25 years, the passage of time does not diminish the experiences of our alumni,” they said. “Sexual abuse committed by an adult in a position of power or trust against a student is wrong, then and now.”

Interlochen today “is fundamentally different from the institution described in this report,” Davey and Rollins wrote, with comprehensive safety policies and a changed culture.

Epstein, who played the bassoon, was an Interlochen camper in 1967. He donated more than $400,000 to the school between 1990 and 2003.

Two women told investigators that Epstein engaged in conduct of a sexual nature with them, one of them at the Interlochen lodge that bore his name. He brushed against her body “over her clothes, in a manner in which he indicated was accidental,” according to the report.

Epstein also paid for her to visit him in New York while she was a student. She said “every time he was ‘handsy’ with her, she would freeze until he would stop,” the report states.

The other woman said she gave Epstein a massage at his home, according to the report, and he may have asked her to remove her top. She said she had no further contact with Epstein or his girlfriend, Ghislaine Maxwell.

Outside of the school investigation, at least two Interlochen alumnae made allegations of grooming and abuse against Epstein and Maxwell, according to federal records and media reports. Their identities were not made public.

One testified against Maxwell in 2021 when she was convicted of sex trafficking. It’s unclear whether those women spoke to the law firm hired for the Interlochen investigation.

White writes for the Associated Press.

COOPERSTOWN, N.Y. — Dusty Baker could sense a portion of his life as he entered the National Baseball Hall of Fame’s Plaque Gallery on Saturday night. He couldn’t help but notice that some of his contemporaries from when he played with the Braves and Dodgers were walking slower, in some cases with the help of a cane or an assistant.

“I’m glad to see everybody,” said Baker, 77. “But you know, we’re getting old. I see guys in walkers who used to run fast, (and) their kids that are grown. You kind of see your life flash before your eyes.”

A record 60 Baseball Hall of Famers were in Cooperstown as Jeff Kent, Carlos Beltran and Andruw Jones were inducted Sunday. Baker traveled with the San Francisco Giants’ contingent to celebrate Kent, who credits Baker with helping transform him into the National League MVP, All-Star and eventually a Hall of Famer.

As much as Baker tried to keep his focus on Kent, however, many kept telling him that this visit was a prelude to his induction next summer. They reminded him that he’s expected to be on the Hall’s Era Committee ballot in December.

If Baker receives at least 12 votes from the 16-member committee, he’ll become the first Black manager elected into the Hall.

“I know the history,” Baker said. “I was fortunate enough to be around Hank (Aaron) in the beginning.”

Baker grew up idolizing Jackie Robinson, who broke baseball’s color barrier on April 15, 1947, 26 months before Johnnie B. “Dusty” Baker was born in Riverside.

Through 1953 National League Rookie of the Year Jim Gilliam, who spent three seasons with the Baltimore Elite Giants of the Negro Leagues before joining the Brooklyn Dodgers, Baker met several Negro League greats.

Gilliam once took Baker to eat lunch at Negro League legend Cool Papa Bell’s home in St. Louis. He also spent time with Satchel Paige and Ted “Double Duty” Radcliffe. Because of his friendship with Aaron, his Braves mentor, and his time with the Dodgers, he met Hall of Famer Roy Campanella and Don Newcombe, who spent time in the Negro Leagues before joining the Brooklyn Dodgers.

Bell, Paige and Campanella were all inducted into the Hall. Paige was the first Negro Leaguer inducted into the Hall of Fame in 1971, five years after Ted Williams used his induction speech to advocate for Negro Leaguers.

“Baseball gives every American boy a chance to excel, not just to be as good as someone else, but to be better than someone else,” Williams said on July 25, 1966. “This is the nature of man and the name of the game, and I’ve always been a very lucky guy to have worn a baseball uniform, to have struck out or hit a tape-measure home run.

“And I hope that someday the names of Satchell Page and Josh Gibson in some way can be added as a symbol of the great Negro players that are not here, only because they were not given a chance.”

Robinson became the first Black player elected into the Hall by the Baseball Writers’ Association of America in 1962. Negro Leaguers weren’t considered for the Hall until Paige was elected into the 1971 class. A year later, Gibson was inducted.

Baker first visited the Hall of Fame to play an exhibition in 1974. He made his third trip to Cooperstown this weekend, which marked his first visit for an induction weekend.

Exactly 60 years after Williams induction speech on the steps of the Hall of Fame, Baker walked into the Hall and was greeted by the loud roars of another Boston Red Sox legend, David Ortiz. Baker smiled widely, nodded his head, greeted Ortiz in Spanish, chuckled and walked over to Ortiz and Vladimir Guerrero, giving each of them hugs and pats on the back.

A few seconds later, Dave Winfield joined the trio for a picture before Baker and his wife began to mingle with other Hall of Famers and guests.

Later that night at a party the Giants held in Kent’s honor, Kent paid tribute to his family, Baker and a few teammates during a short speech.

Then Kent predicted that Baker will return next year to take his place among baseball’s immortals. Baker won a World Series title and three pennants as a manager while leading a record five teams to the playoffs over 26 seasons as a manager.

He’s eighth on baseball’s all-time managerial wins list with 2,183 as the only Black manager in baseball history with 2,000 victories.

While sipping on his coffee and munching on extra crispy bacon and blueberry pancakes Sunday morning, Baker sat at the Otesaga Resort where the Hall of Famers stay during induction weekend. He looked out at Otsego Lake while several Hall of Famer stopped to say hello.

Chipper Jones stopped by and said, “You dusting off that chair for next year, Dusty?”

Baker laughed and shook his head before calling Chipper by his first name, Larry.

“There ain’t no guarantees, so why am I going to look forward if there ain’t no guarantees?” Baker said. “I’m serious. People think I’m kidding when I’m saying that. When Bill Belichick did not get in the (Pro Football) Hall of Fame anybody has a chance to not get in the Hall of Fame.

“Am I right? That’s how I look at it. I was shocked. They can talk about Deflategate, they can talk about the media. What about the other six (Super Bowls) he won?”

Nonetheless, Baker appreciates what it would mean for a Black manager to finally be elected to the Hall.

“But most of my life had been full of ‘First Black Guy stories, Black man stories’ from the time I was in high school,” he said. “The two blacks at my high school were me and my brother in my last year of high school.

“That’s some of the reasons I went into the wine business. There’s not many Blacks in the wine business. One reason why I started but stopped in the energy business was because there’s not many Blacks in the energy business.”

There have been 354 inductees into the Baseball Hall of Fame, 23 of them as managers.

Baker will likely be the first Black manager next summer.

“I was taught pride from my mom and dad in culture about being Black,” he said. “My mom was really big (on Black history) because she was a Black Studies teacher, so we had books that I read. …

“I’m hoping I can motivate other young brothers and sisters to achieve some things that don’t seem achievable. It’s a little bit disheartening when I see regression of Black coaches, Black players, Blacks in baseball.”

“Furious,” which premieres Monday on Hulu, is technically a serial killer story, since there are multiple murders committed by a single character, but happily that is the least of it.

Broadly speaking, these kinds of stories — powered by a stop-them-before-they-kill-again clock, making their antagonists out to be finicky geniuses or horror movie monsters instead of opportunistic mediocrities — strike me as a low form of fiction. But “Furious” is as much relationship drama as procedural, animated by a quartet of excellent performances, with some things to say about abuse, exploitation and love along the way.

Although “Furious,” created by Elizabeth Meriwether (“New Girl,” “Dying for Sex”), acknowledges an inspirational debt to the 1987 Theresa Russell-Debra Winger film “Black Widow,” all it really preserves are a couple of names, the idea of a female serial killer and an emotional relationship with the woman hunting her. The killer is Catherine (Lola Petticrew), a petite young woman who goes about in a variety of wigs, under a variety of names, careful to mask in public. Her murdering is not a compulsion but a mission, like Jeanne Moreau in “The Bride Wore Black.”

Her nemesis is Alice Black (Emmy Rossum), a former police detective now answering phones for the FBI. She became persona non grata in the NYPD after identifying her detective boyfriend (Jake Lacy as Marshall) as the person who put her in the hospital, because, you know, cops. One day a request comes from former colleague Danny Kelly (Scoot McNairy) to assist him in investigating the homicide we see Catherine commit at the top of the series.

Various elements of the crime bring to mind an earlier killing; Alice believes they’re connected and might have something to do with sex trafficking or, eventually, a Jane Doe cold case. This brings her to the desk of Nora Washington (Quincy Tyler Bernstine), who also happens to be running the very FBI department Alice has been hoping to join. “You requested my squad,” says Nora. “Why do you want to work in the basement on sex crimes and crimes against children — do you hate yourself?” Maybe she does — she orchestrates internet dates where foreplay is a fistfight, and has some relevant trauma in her past.

Catherine (Lola Petticrew), a petite young woman whose murdering is not a compulsion but a mission.

(Sarah Shatz / Disney)

Sharing scenes with the other principal characters, intense or sensitive as the moment requires, Alice is the hub around whom the series revolves and hurtles forward. Danny, who found himself isolated in the department when he said he believed her, is her only friend. (“But here’s the crazy s—. You don’t … talk to me anymore, either.”) Nora, who has a hard edge and a drinking problem, has a few things to teach her, sometimes with a quote from Balzac (“Laws are spiderwebs through which the big flies pass and the little ones get caught”) and Beckett (the dead “make a noise like feathers”) or a tale from Greek mythology. (“I’m not a former cop. I went to a fancy school, and I’m very smart,” she says, very drunk.)

As to Catherine, she is a mix of a sly fox and a wounded bird. She may be manipulative and murderous, but as we’re given reasons to dislike her victims, a collection of rich white people — with one sad exception — and because Alice feels connected to her in some way, and because she’s had a terrible life, there is not a little of the protagonist in her antagonist. There are some sad ironies stitched into the plot, and an upsetting late twist, though the show doesn’t wallow in it. We understand that Catherine has her reasons, and in a strange way we want to see her carry out her mission. She may be a killer, but she isn’t the villain.

It’s not perfect. We are not surprised at least as much as we are. Some of the plot points strain credulity. There are some old-school jurisdictional clashes between the police and the FBI (as in every fourth episode of “The Closer”), and a heaping helping of professional jealousy within departments.

But the show stays fascinating less for the plot than for the performers. Rossum attacks her role as if playing a Greek tragedy. (The hair redoubles the impression.) McNairy, one of TV’s most likable actors, brings warmth. Petticrew evokes broken innocence. Bernstine finds new notes in a role that typically runs to cliche.

I also want to mention the great Hope Davis as the sister of a victim, the son of a well-connected mogul with something to hide, and especially Steve Way, as Alden (“Ramy”), a force for good in Catherine’s life, and for humor in the series; born with muscular dystrophy, he manages some excellent physical comedy in his motorized wheelchair. The direction (Brian Kirk helmed the first two episodes) is crisp and matter of fact, staying out of the way, which is all you can ask when the writing is good and the actors are too.

North Carolina has placed football general manager Michael Lombardi — a longtime confidant of coach Bill Belichick — on paid administrative leave, the university said Monday in a statement.

The school didn’t provided further details. Multiple media outlets are reporting that the move is connected to a complaint filed to UNC’s human resources department.

“As is standard procedure with personnel matters, leadership, staff, and student-athletes are prohibited from addressing this topic further, and has no reflection on the merits,” the university said in its statement.

In addition, multiple media outlets are reporting a possible investigation into the Tar Heels football program by the College Sports Commission, which regulates revenue sharing and name, image and likeness deals in collegiate sports. The Athletic reports that Lombardi’s actions are believed to be of interest to the CSC.

Lombardi, 67, is a former longtime NFL executive who was a member of the Cleveland Browns’ front office during Belichick’s stint as the team’s head coach in the early 1990s. Lombardi was assistant to Belichick’s New England Patriots coaching staff from 2014-2016.

When six-time Super Bowl winner Belichick was named UNC coach in December 2024, Lombardi was brought on board almost immediately to help the Tar Heels navigate the changing college athletic landscape.

“Everything we do here is predicated on building a pro team,” Lombardi told reporters in February 2025. “We consider ourselves the 33rd [NFL] team, because everybody involved with our program has had some form of aspect in pro football.”

The Tar Heels went 4-8 last year. They are set to open preseason camp this week before starting the season against Texas Christian in Dublin, Ireland, on Aug. 29.

The Associated Press contributed to this report.

On Saturday at Dodger Stadium, as the sun dipped below the horizon, Fuerza Regida took center stage for a career-defining show, delivering cinematic time-travel segments and hints of off-stage controversy.

The Mexican American band joined an illustrious list of legendary acts — Elton John, the Beatles, Michael Jackson and Beyoncé to name a few — to perform at the iconic venue built on Chavez Ravine, the shallow canyon that served as home to thousands of Mexican American families forcibly displaced in the 1950s for the sake of progress.

In June, the San Bernardino quintet kicked off its This Is Our Dream stadium tour across nine U.S. cities to close out its manifestation project “111xpantia.” The 2025 LP peaked at No. 2 on the Billboard 200 in May 2025, becoming the highest-charting Spanish language album by a duo of band ever. It also comes a year after the band sold out the Madison Square Garden and the Hollywood Bowl in consecutive nights.

But the stadium tour — which will end Aug. 7 in New York’s Citi Field — does more than showcase the band’s recent mainstream success. It honors the years of grit it took to get there.

“It’s proof that dreams are worth chasing, fighting for, even when it feels hard or impossible,” said Khrystian Ramos, the band’s rhythm guitarist.

As part of the set design, a massive prop car stereo was affixed atop the stage. Inspired by the 1985 film “Back to the Future,” it doubled as a time traveling machine. But instead of a DeLorean, the band opted for a Chevrolet 454 SS pickup truck, a car that symbolizes the American dream for lead singer Jesús Ortiz Paz, better known as JOP, and is largely associated with the group’s corrido forefather, the late Chalino Sanchez.

The first stop in Fuerza Regida‘s journey to the past was 2018, as the band performed its breakthrough hit, “Radicamos En South Central,” a song about gradually building a drug empire that went viral on YouTube. Shortly after its release, the band signed with independent label Rancho Humilde and followed up with “Sigo Chambeando,” a bouncy corrido that embodies the band’s “never stop hustling” ethos.

It’s a mindset that has served them well.

The more than a decade-long road to selling out Dodger Stadium certainly wasn’t easy for the corrido tumbado band, which formed in 2015 and first built a fan base by performing cover songs at local parties across the Inland Empire. .

Jose “Pelon” Garcia, left, Jesus Ortiz Paz and Khrystian Ramos of Fuerza Regida perform during their This Is Our Dream Stadium tour at Dodger Stadium on July 18 in Los Angeles.

(Carlin Stiehl/For De Los)

“We got kicked out of a gig one time. The guy literally told us that he didn’t like our music,” said Ramos. “That drive home was a key moment in our career.  It showed us that it’s not all stars and rainbows.”

Ramos started the band alongside the band’s 12-string guitarist, Samuel Jáimez. The two met at martial arts school as kids and kept in touch in the years that followed, jamming out together after their 9 to 5 .

The band’s name was originally Raimez — a portmanteau of Ramos and Jáimez— but was later changed to accomodate the arrival of lead singer JOP.

“I remember exactly [where we came up with the name]. We’re driving down the 10 passing Mount Vernon Avenue,” said Ramos. “Fuerza Regida, a  governing force. Wherever you step, the presence is felt.”

That certainly was the case on that warm July evening as the more than 56,000 fans in attendance chanted the band’s name in unison.

“Not in a thousand years, I didn’t see it until it crept up. It was like alcohol,” said Jáimez about the band’s global success.

Sousaphone player José García, also known as Pelon, never imagined that leaving behind a steady job to pursue his musical dreams would pan out like this.

“I worked in construction Monday through Friday and we had gigs with Fuerza Thursday, Friday, Saturday and Sunday. I practically had two jobs,” said García. “I had life insurance. I had benefits, 401(k), all that. So I left a really good job so I could join Fuerza Regida.”

In 2022, the band added its fifth member, Moisés López, who plays the tololoche — a small upright bass. López, who contributed to the 2020 track “Vamos Bien” as a bass player, said that JOP had asked him to learn the instrument if he wanted to stay with the group. “He bought me it. I picked it up real quick and from there it’s history.”

Jesus Ortiz Paz, left, and Moises Lopez of Fuerza Regida perform during their This Is Our Dream stadium tour at Dodger Stadium on July 18 in Los Angeles.

(Carlin Stiehl/For De Los)

At the concert, the time machine took attendees back to 2022, Fuerza Regida’s bélico era marked by the corridos “Billete Grande” and “Igualito A Mi Apá” as well as its gentler viral hit “Bebe Dame,” the first Fuerza Regida song to reach the Billboard 100, peaking at No. 25.

“We went from clubs to theaters to arenas. I’ve never thought we would get this far,” said López. “We’ve always said hard work beats talent.”

But it isn’t just drive that has shaped Fuerza Regida’s career — time and time again, the band has proved to be adaptable and experimental, always evolving its sound and drawing from a wide range of influences.

2023 saw the release of “Pa Las Baby’s y Belikeada,” a party record that fuses trap, pop and EDM, and features the player anthems “TQM” and “Sabor Fresa”; to complement the womanizer themes of the record, there was a baddie camera on stage, which panned to women in the audience.

As the band sang its 2023 ballad “Una Cerveza” — a song about getting drunk to forget a lost love— a girl across my way called her ex and lifted her phone up in the air so that he could hear its heartbreaking lyrics. Then she hung up.

The Dodger Stadium show felt like a massive celebration, not just for the band but for música mexicana as a whole. Special guest performances throughout the night included Los Gemelos de Sinaloa, Calle 24, Chino Pacas, Clave Especial and Chuyin — acts that have helped fuel the meteoric rise of the genre.

“I’m proud and grateful that la raza is finally doing it. We’re here to stay,” Jaimez said.

Though the show focused on Fuerza Regida’s past, there were also hints of what’s to come. The band’s relationship with its record label Rancho Humilde has become acrimonious and litigious. In recent months, JOP has repeatedly accused founder Jimmy Humilde of withholding royalties and sabotaging the band. In turn, the record mogul has claimed that the band is not fulfilling its contractual obligations. A bitter divorce feels imminent.

“The internet tells a lot of lies. False news. That supposedly someone won a lawsuit. But that lawsuit is still underway and we know who will win,” JOP told the audience before singing “Triston,” a track released at the start of 2026 that was immediately pulled from the streamers. “They took this song off the platform but they can’t stop us from singing the song here.”

A Democratic senator alleges that whistleblowers have detailed several problems stemming from rushed or improper reconstruction of the Kennedy Center, adding a new layer to the travails of the arts complex after President Trump tried to seize control of it and its name.

Sheldon Whitehouse of Rhode Island said in a release Saturday that he had received a whistleblower disclosure from the Government Accountability Project, a nonprofit whistleblower protection group, alleging that “the Center rushed a series of renovations driven by the President’s aesthetic whims and his desire to star in a series of televised events in December.”

“The Center’s subservience to the President’s desires and its corner-cutting contracting practices have resulted in steel columns that are rusting through fresh paint, a reflecting pool that may have to be torn out and rebuilt, and a brand-new bathroom floor torn out over an offending tile color,” Whitehouse said. “This is waste, and it treats a national memorial to President Kennedy as if it were a private renovation project.”

Whitehouse released a letter he wrote to the Kennedy Center’s executive director, Matt Floca, seeking answers by July 23. He said the whistleblower report included “firsthand accounts of multiple former Center project managers, supported by contemporaneous documents and photographs.” He also included an 83-page appendix full of internal center documents, emails and photos of apparently shoddy construction.

The allegations in the letter include that the center rushed work before it was authorized by Congress because it wanted it to be complete for Trump to accept the so-called FIFA Peace Prize that the soccer federation awarded him.

In doing so, the letter alleges, the center didn’t follow required contracting guidelines and wasted money replacing a bathroom because the president didn’t like the color and inking no-bid contracts. One $8-million contract to replace the concert hall’s floor went to a firm with no experience in concert halls, Whitehouse contended.

The Kennedy Center did not immediately respond to a request for comment.

Trump seized control of the arts and culture venue named for President Kennedy at the beginning of his second term. Trump ousted the center’s leadership and replaced it with a Board of Trustees that named him chairman and added his name to the building.

Democrats sued to remove it, and a federal judge ruled that Trump’s name must come off the venue, noting that only Congress has authority to rename it. Trump also tried to close the center for two years, only to be ordered by the court to keep it open.

Many artists have boycotted the venue in protest of the president’s actions.

Riccardi writes for the Associated Press.

A three-judge panel on Wednesday denied a request from the Kennedy Center’s board to keep President Trump’s name on the institution while the board appeals an earlier ruling that dubbed the name change illegal and had it rescinded.

It’s another setback for the board of trustees, of which Trump is chairman, in a saga that began earlier this year when the Kennedy Center became: “The Donald J. Trump and The John F. Kennedy Center for the Performing Arts.”

The conspicuous addition, and ensuing legal battle, became symbolic of Trump’s broader push to imprint his legacy — and, in this case, his actual name — on the nation’s capitol in his final term.

The panel of judges wrote Wednesday that the request “failed to show how they will be irreparably injured” if Trump’s name remains off the building through the appeal process.

The board had argued that the the removal “threatens to impede” fundraising efforts, but the judges found that claim came without the support of “specific facts or evidence.”

The Kennedy Center did not immediately respond to an emailed request for comment.

A federal judge earlier this year ruled that the name change was illegal, and Trump’s name was removed from the building’s white marble facade in June.

Bedayn writes for the Associated Press.

Everyone knew going in that Lionel Messi would be the narrative centerpiece of the 2026 World Cup. Easily the most recognized name in the competition, Messi is considered by many to be the greatest soccer player of all time and, as the captain of 2022 winner Argentina, he is the reigning World Cup champ. At 18, he scored his first World Cup goal in 2006 and has competed in every World Cup since. He celebrated his 39th birthday before this year’s knockout rounds began, so it’s not unreasonable to assume that this will be his last.

No matter what Messi did, or failed to do, it would be News. Everyone with even a passing interest in the event knew this. Including me.

But I didn’t expect to completely fall for the guy. He’s a professional male athlete, for heaven’s sake, and I don’t emotionally invest in professional male athletes. Admire some of them, sure; watch with bated breath and then scream in astonishment when they pull off some amazing feat or another, absolutely. But the only athletes that have ever touched my heart have been women — Nadia Comăneci; Billie Jean King and the Title IX-sparking stars of women’s tennis; Dorothy Hamill; Brandi Chastain and 1999 Women’s World Cup winners; Venus and Serena Williams; Simone Biles; Caitlin Clark.

But here I am, at age 62, truly, madly, deeply in love with Lionel Messi.

I know, I know, me and half the world. Which normally would serve as an effective prophylactic. I am habitually wary of super-intense fandoms and the men who inspire them; stadiums filled with people chanting a single name inevitably set off internal alarm bells. As I have asked several times in columns throughout the years, how many “heroes” must we watch falter under pressure or be exposed for decidedly unheroic acts before we wise up and get out of the pedestal-placement business?

Yet here I am, stalking him on Instagram, up all hours flicking through interviews and career highlight clips. (I even watched the Apple TV docuseries “Messi Meets America”!) Here I am, literally praying to God, who clearly has more important things to do, for Argentina to advance and screaming Messi’s name every time he scores, assists or pretty much does anything at all.

In a matter of weeks, I have become addicted not just to watching the man play but seeing how he reacts when a shot is made or a game won.

Every World Cup player is happy when they or their team scores, but Messi is delighted. Like a kid seeing a puppy under the tree on Christmas morning. Like he cannot believe this wonderful thing that has just happened even if he was the one who sweat and ran and defied physics to make it happen.

His smile is infectious and even when he is running toward the stands, arms spread wide, after making some impossible shot or other, it never seems self-congratulatory. He is simply filled with joy and wants to spread it around. The field, the stadium, the world.

And his hugs. Long, deep, radiating emotion, utterly unself-conscious. Everyone needs to find someone who hugs them like Messi hugs people — teammates, coaches, opposing players, young fans. I could watch videos of him hugging his mentor and former teammate Ronaldinho or Argentina coach Lionel Scaloni all day long. (I’m not saying I have, nor am I saying I haven’t.)

Sometimes the hype gets a bit nauseating — former teammates who claim he never makes a mistake, commentators who refer to him as superhuman (despite the fact that he has missed as many penalty kicks as he has made in this World Cup). Whether Messi himself agrees that he is the GOAT is none of my business, but he doesn’t act like many sports stars who have received similar adulation. He doesn’t peacock, he doesn’t preen; he is visibly angry with himself when he doesn’t produce. He isn’t perfect — in various past games, he has gotten into heated disputes and shoving matches and famously (and many believe deservedly) taunted Netherlands coach Louis van Gaal during World Cup 2022. But for a man who has been such a star for so long, he presents himself as simply a player among players. The captain, certainly, but not the most important person on the field.

That is the most lovable, and superhuman, thing about him.

It feels pretty basic, not to mention embarrassing, to have a sudden summer crush on Messi, but I don’t care. He’s married to his childhood sweetheart, has three adorable sons and a picture of his mother tattooed on his back. He lets his teammates hoist him in the air and allows sports commentators to regularly (and lovingly) refer to him as “Little Messi.” He gets angry sometimes, but in this tournament he has yet to noticeably hector the refs or rumble with his opponents. He wants to win, obviously, but his joy comes from playing the game well rather than defeating another team.

That’s why, despite my newfound addiction to Messi delight, the moment I loved him best was when he didn’t celebrate at all. In the round of 32, Argentina (No. 2 in FIFA rankings) seemed guaranteed a win over Cape Verde (67). But even with Messi’s early goal, the game was a nail-biter, with Cape Verde scoring two brilliant goals while their goalie Vozinha made eight saves, including four shots (one of them a free kick) from Messi. After Argentina won in additional playing time, there was none of the usual jubilation. Instead, a subdued Messi walked to the midfield to shake hands with his opponents, a sign of exhaustion, no doubt, but also of respect. He hugged Vozinha and told him that his country should be proud of him.

The exuberance was back Tuesday, however, when, after trailing Egypt for most of the round of 16 game, Argentina managed to pull off the comeback of the tournament, going from a 0-2 deficit to a 3-2 win after the 79th minute, with Messi scoring the tying goal.

This time, the smiles, the hugs, the radiant joy filling Atlanta Stadium could have powered the entire state of Georgia. This time, Messi was so happy, he wept.

So did I. The World Cup is over in less than two weeks, and France and Spain are currently the 1-2 favorites to win the thing. My love for Messi is, after all, just a summer romance.

And as with any summer romance, I want it to last forever.

ATLANTA — The U.S. Department of Justice cannot have the names of and contact information for every person who worked during the 2020 election in Georgia’s Fulton County, a federal judge ruled Tuesday.

The Justice Department in April obtained a grand jury subpoena seeking the names and personal contact information of county employees and volunteer poll workers. President Trump has long claimed without evidence that widespread voter fraud in Georgia’s most populous county, a Democratic stronghold, cost him victory in the state in 2020.

Fulton County asked a judge to quash the subpoena, arguing it was meant to “target, harass and punish the President’s perceived political opponents” and that it was “grossly over broad and untethered to any reasonable need.”

“Given the low need for the subpoenaed information and the highly burdensome nature of the disclosure of the same, the Subpoena is unreasonable and must be quashed,” U.S. District Judge William Ray wrote in his ruling, calling the scope of the request “staggering.”

Emails seeking comment were sent to both the Justice Department and Fulton County.

Although grand juries often work with federal prosecutors to investigate alleged crimes, “that does not give the DOJ the right to use the Grand Jury to do whatever the DOJ wants,” he wrote.

Even if the records sought by the Justice Department could help find people who worked for the county during the 2020 election who support the theory that the election was unfair, the information couldn’t be used to charge anyone, Ray wrote.

“That is because the statute of limitations for any possible crime arising from the 2020 Election has long expired,” he wrote.

The subpoena came after the FBI in January served a search warrant at the Fulton County election hub and seized hundreds of boxes of ballots and other documents from the 2020 election. A federal judge in May denied the county’s request to force the federal government to return the ballots.

The Justice Department argued in a court filing that the subpoena was the “next step in the normal investigative process” and that it seeks “records identifying persons with relevant knowledge.”

Kamal Ghali, a lawyer for the county, argued that the subpoena “will chill participation by election workers” and that the statute of limitations for any of the alleged misconduct had already lapsed.

Justice Department lawyer William McComb argued the statute of limitations issue is not relevant at the investigative stage. The point of the investigation is to figure out what charges can be brought, he said.

“My point is, as we sit here now, we are not sure what charges can be brought. That’s the whole point of the investigation,” he said.

The request for election workers’ contact information, McComb said, “would simply be a pathway to determine and speak with and interview certain individuals who worked at the polls who may have seen, heard or done something in and of themselves.”

The judge noted that the Justice Department had expressed concern about possible criminal actions in the years that followed the election, including an alleged failure by the county to preserve electronic ballot images. But he pointed out that the subpoena seeks information related to what happened during the 2020 election and its immediate aftermath.

“In these hyper-political times in which we currently live, there are sure to be some who disagree with this decision because they believe the allegations of fraud in the 2020 Election and believe that ‘light’ should be brought to those claims,” Ray wrote.

He added that nothing prevents continued investigation into those allegations by people who believe those claims — such as Congress or even the Justice Department — but the power of the grand jury, “which exists to investigate potential crimes and to bring viable indictments” cannot be used for that purpose. Otherwise, anyone in power could use the grand jury process to subpoena personal information of citizens “with no legitimate law enforcement purpose,” he wrote.

“Thus, everyone, whether you support the President or you do not, or whether you believe the 2020 Election was fair or believe that it was not, should be concerned about the DOJ’s ability to utilize the power of the Grand Jury to appropriate your private information without a legitimate purpose,” Ray wrote.

Brumback writes for the Associated Press.

Walk into the Grammy Museum in downtown L.A., and you’ll see Clive Davis’ legacy everywhere.

The museum’s intimate performance space is named for the late record executive, and his visage greets guests at the front door. (Davis was the first million-dollar donor to the nascent Recording Academy archive and exhibition space.) His sprawling roster of acts — Bruce Springsteen, Miles Davis, Whitney Houston, Alicia Keys, Earth, Wind & Fire — defined an entire art form and business model as preserved in the Grammy Museum. Davis’ pre-Grammy gala was the most coveted invitation in music every awards season.

Davis’ death at 94 is “devastating,” said Michael Sticka, chief executive and president of the Grammy Museum. “Clive was always a north star of music and talent and artistry. We’re all lucky to have his legacy to look up to.”

Davis’ death marks the end of perhaps the most important and enduring career in the record industry. Sticka spoke to The Times about Davis’ remarkable longevity, creative vision and how a career like his will likely never be possible again.

Clive was a giant of the record business. How did his career shape the modern record industry?

His career was iconic. He really had a unique ability to not just bring an artist to their fullest potential artistically, but commercially. From attending Monterey Pop and first seeing Janis Joplin to Whitney Houston and Alicia Keys, I don’t think anybody had that ear in them the way that he did.

With Clive, what you got was not just hearing commercial viability, but an understanding of what was going on in the zeitgeist. That’s what propelled his career and legacy beyond most record executives.

His name’s on the building at Grammy Museum’s theater. What did he mean to the institution — not just for fundraising but as a living connection to music history?

He didn’t just donate to the museum. He donated his time, his historical knowledge of music, his firsthand perspective. He always kept tabs on what was happening in music. I always say the Clive Davis Theater is the toughest ticket in town for its intimacy and the level of programming we do. But he did an annual program at the museum where people could come hear stories directly from him. Once he decided he was in, he was all in.

His gala was the place to be every Grammy season too.

I don’t think anybody could gather a roomful of luminaries like that from entertainment, tech and politics in the way that Clive did. We were lucky to be a part of that. Even with the stature he had, he was still a physical presence there, he was approachable. He was always looked at as this living legend, but his legacy was continuously being built.

That’s true over the arc of his career, which saw him lead Columbia, Arista, J Records and more. He had a lot of resurrections as well as successes.

He had this ability to resurrect. Look at Santana and “Supernatural,” he was a producer on that album that was inducted into the Grammy Hall of Fame just last year. So many of us would just give up, but he just had this resolve to continue, and thank God he did.

The record industry is so different now than when he began his career. Artists find audiences on social media rather than being discovered by label executives. Is a career like his — a famous executive driven by their own taste and individual savvy — even possible today?

That’s true, artists break on social media before they’re even on record executives’ radars now. I don’t know if we’ll see that kind of career arc again. Clive had a rare combination of gravitas and being recognized so publicly. The man and his legacy are not going to be replicated.

Beyond the name on the theater, how do you hope the Grammy Museum will honor him with its programming in time to come?

I don’t know yet. We weren’t really prepared for this. We’re gonna have to sit down and think how to pay tribute to such a legacy. I think that the impact the Clive Davis Theater has, bringing in 120 artists a year — I couldn’t think of a more apropos name on the door.

Unlike the movies, where directors get the glory, TV directors sit lower in the hierarchy, below creators, producers and actors. In most series, which might employ several over a season, they are interchangeable — which isn’t to say they aren’t valuable, transforming words on a page into a four-dimensional living thing. But a director hired to helm a pilot, as James Burrows, who died Friday at 85, was again and again — almost as a lucky charm — helps set the tone for the series. Jake Kasdan’s input was crucial to the feel (and philosophy) of “Freaks and Geeks,” as Hiro Murai’s was to “Atlanta” (and most recently “Widow’s Bay”). In some cases a director is a co-creator in all but title and union affiliation. A show might subsequently pass to later hands, but they’ll be honoring its established look and feel.

But Burrows was more than a little well known. If you sat through the opening credits of “Taxi,” whose pilot he directed along with 74 other episodes — and why wouldn’t you, with its pleasing Bob James theme and Checker Cab crossing the Queensboro Bridge — you would have seen his name for weeks on end. You might have noticed it on “Cheers,” which he co-created and for which he directed 236 episodes, or on “Will & Grace” (246 episodes), or “Frasier,” “The Big Bang Theory,” “3rd Rock From the Sun,” “Caroline in the City,” “Two and a Half Men,” “2 Broke Girls,” “The Neighborhood” or, just last year, “Mid-Century Modern” — all series whose pilots he directed. You might have caught it on episodes of “The Mary Tyler Moore Show,” “Phyllis,” “Rhoda” or “Laverne & Shirley,” until you began to think that maybe there was nobody else directing network multi-camera situation comedies, the most human of television formats and a specialty from which he rarely strayed.

And you might have seen him as himself this year in the third season of Lisa Kudrow’s “The Comeback,” as the man she enlists to save a television pilot from hacky AI jokes. “Surprising only comes from a group of writers huddled in a corner, beating themselves up to beat out a better joke,” he says.

“As director, I am there to help create the ensemble, to do everything I can to foster a community among the company, and to train a new set of actors to behave as a group and respect one another,” he wrote in his 2022 memoir, “Directed by James Burrows.” He famously took the cast of “Friends” to Las Vegas before the show premiered in order to foster bonds in a soon-to-be-impossible state of anonymity. “I guess I have a gift for creating families,” he told the New York Times in 2023.

But if “Friends” refers to the characters and the people who play them, it includes the audience too. Burrows’ talent was to midwife a real relationship between the viewer and the viewed, “You want to go where everybody knows your name,” runs the “Cheers” theme, and where you know everyone’s name. The families he excelled at creating were yours as well, and one watched knowing that these things happened in real time in real space, and that you could be in the room, if you made the effort. Tickets were available.

The son of Abe Burrows, who wrote or co-wrote the books for “Guys and Dolls,” “Can-Can” and “How to Succeed in Business Without Really Trying,” and co-created the radio comedy “Duffy’s Tavern” — set, like “Cheers,” in a bar, though the younger Burrows denied any influence — he’d been directing dinner theater when he had the idea to write to Mary Tyler Moore, whom he’d met on the set of a never-opened “Breakfast at Tiffany’s” musical. His stage experience (and his Yale School of Drama degree, presumably) proved eminently transferable to the proscenium reality of multi-camera situation comedy.

What Burrows shows share — the ones we remember, at least, out of many we don’t — is that they’re fundamentally joyful. They lack cynicism. They’re expressive of their times without being showily edgy. They walk a line between freshness and familiarity, which makes one want to return week after week. They may push an envelope — “Friends” was something new, after all — but subtly. We can assume, given his reputation and the fact that he could have retired on “Cheers” alone, that he liked what he did and did what he liked, and regard his choice of projects as a form of personal expression in itself, the basis of a body of work that has and will live on.

WASHINGTON — The curtain started to come down for President Trump at the Kennedy Center on Saturday.

After a day of legal maneuvers and thunderstorms, workers began the process in the early morning hours of removing the letters spelling out Trump’s name from the facade of the performing arts venue. They were a few hours past a court-ordered deadline and did their work shrouded by a tarp, much to the frustration of onlookers who had gathered for hours hoping to witness a dramatic moment symbolizing the limits of Trump’s power.

As the sun rose over Washington, the tarp remained in place, leaving it impossible to determine whether all the letters had been removed. Shortly after midnight, the Kennedy Center asked a judge to extend the deadline until noon Eastern time, citing the storms for delaying the work. The court agreed to that request Saturday morning.

The removal of Trump’s name closes one of the more unusual chapters in the history of the Kennedy Center, which began construction in 1964 and was dedicated to the memory of the slain president, John F. Kennedy. At what is typically one of the few relatively nonpartisan spaces in Washington, Trump has exerted unprecedented executive influence over the congressionally created venue during his second term.

Though he rarely discussed the Kennedy Center during his 2024 campaign, Trump moved quickly to oust the institution’s leadership when he returned to office in January 2025 and replaced it with a board of trustees that named him chairman. It rebranded the venue the “Donald J. Trump and John F. Kennedy Center for the Performing Arts” and his name was quickly added to the building’s exterior, though an official name change would require an act of Congress.

While the removal of his name marks a setback for Trump, he is moving forward with other plans to reshape the physical landscape of the nation’s capital in ways that have few modern parallels.

He demolished the East Wing of the White House and is building a controversial ballroom in its place. He remodeled the Lincoln Memorial Reflecting Pool and plans extensive renovations of a golf course in East Potomac Park, moves that could significantly reduce the public’s access to running and biking paths. He is also moving forward with a triumphal arch that would sit near Arlington National Cemetery across the Potomac River in Virginia.

Indeed, as Trump’s name is being removed from the Kennedy Center, the South Lawn of the White House has been transformed into a venue for a UFC match intended to celebrate the 250th anniversary of American independence but also coinciding with Trump’s birthday on Sunday.

Back at the Kennedy Center, there are many questions about the institution’s future. The same May court decision that ordered Trump’s name to be removed from the building also blocked a planned two-year closure for renovations that was set to begin next month.

The Kennedy Center’s calendar for the weeks ahead include performances of “Moulin Rouge! The Musical” and “Bluey’s Big Play.” Comedian Bill Maher is to be awarded the Mark Twain Award for American Humor during a ceremony on June 28.

But little is scheduled for the stages beyond that and, after the Kennedy Center substantially reduced staff, it is unclear how quickly it could build out a robust performance list. Trump, angered by the court’s order to remove his name, has said he would turn the Kennedy Center over to Congress and has suggested it might simply shutter because of public safety concerns.

In its unsuccessful appeal Friday seeking a pause on the order removing Trump’s name, the Kennedy Center’s leadership argued, in terms similar to the president’s use of language and framing of the argument, that the lower court was interfering with needed renovations.

“The District Court is not allowing us to close in order to properly fix up and repair the Building, including potentially life threatening structural damage like beams and parking garage ceilings that are rusted, and in serious danger of falling onto people below,” according to the appeal. “Indeed, total collapse!”

The institution also suggested that the president’s name could return to the building if the Kennedy Center later wins its appeal.

If the court denied the venue’s request for a pause, the Kennedy Center argued that it would “be forced to squander time and money — by both removing the signage and then potentially returning it after appeal.”

Sloan writes for the Associated Press.

The Washington National Opera filed a lawsuit on Thursday that demands more than $17 million from the John F. Kennedy Center for the Performing Arts. The opera company claims it is owed millions in donations that have been withheld.

The lawsuit claims that after the opera company and the Kennedy Center parted ways in January, center officials have not returned more than $17 million in gifts and donations that belong to the opera company. The lawsuit lists the federal government as a defendant because the Kennedy Center was established by Congress.

According to the suit, the opera company and the Kennedy Center had a longstanding contract in which WNO produced its operas at the Kennedy Center, which in return, provided a number of services and other support for the opera company including managing its donations.

In late 2025, after approximately 15 years of affiliation, the suit claims that the Kennedy Center stopped performing the obligations of their agreement, which included marketing, fundraising and administrative support, as well as timely reporting on the growth of the opera company’s funds. When the opera company requested the Kennedy Center remedy the issue, center officials asked to sever ties.

“Five months have now passed since the termination of the affiliation, and the Kennedy Center still has not returned the funds to WNO,” reads the suit. “To the contrary, according to the Kennedy Center’s Chief Financial Officer, the Kennedy Center has put a significant portion of WNO’s money at risk by using it to collateralize the Kennedy Center’s line of credit.”

In an emailed statement responding to the lawsuit, Roma Daravi, a spokeswoman for the Kennedy Center, told The Times that the contract between the opera house and the center financially burdened the center for more than a decade. The statement claimed that taking into account the company’s endowment, an external accounting firm calculated that the opera company had “accumulated a $72 million deficit to the center” between 2011 and 2026.

“The Center has acted transparently and in the best interests of the public throughout this process,” the statement reads. “This lawsuit is meritless, and we plan to pursue a countersuit to defend the institution.”

The legal action comes during a tumultuous time for the Kennedy Center. Last year, President Trump fired the board and appointed himself chairman of the Kennedy Center.

In December, President Trump’s name was installed on the exterior of the center the day after his handpicked board of trustees voted to change the institution’s name to the “Trump-Kennedy Center.” Last month, a federal judge ordered President Trump’s name to be removed from the exterior of the building within two weeks and a halt to the Trump administration’s planned two-year closure of the venue.

On Friday, the court-ordered deadline for removing his name sparked widespread interest and crowds gathered outside the center. A live cam was also placed near the structure.

The Times arts editor Jessica Gelt contributed to this report.

What to do after writing some of this century’s most devastating songs about the torment of breaking up? Write some of this century’s most devastating songs about the ecstasy of getting together.

With her first two albums — 2021’s Grammy-winning “Sour” and 2023’s triple-platinum “Guts” — Olivia Rodrigo proved herself to be perhaps the most gifted of the many chroniclers of Gen Z romance to emerge in Taylor Swift’s wake. She could convey the hot sting of betrayal, as in her smash debut single, “Drivers License”; she could channel the injustice of watching an ex somehow carry on, as in “Good 4 U”; she could deliver a sick burn like somebody handing out Halloween candy, as in “Get Him Back!” (Because it deserves remembering: “He had an ego and a temper and a wandering eye / He said he’s six-foot-two, and I’m like, ‘Dude, nice try.’”)

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Yet on her thrilling third LP, “You Seem Pretty Sad for a Girl So in Love,” Rodrigo, 23, turns to the pleasure that comes before the pain — and, in a feat very few in pop music are ever able to pull off, ends up with a number of first-flush-of-love songs as potent as any breakup tune.

She opens the album with “Drop Dead,” in which she compares a guy in line for the bathroom at a bar to an “angel on the walls of Versailles” — an early sign of how high the emotional ceiling is here. In “Stupid Song” she cycles through a series of metaphors to describe her lovesickness — she’s a car without a brake, she’s a heart made of melting wax — before finding a simpler but infinitely more vivid way of getting her point across: “You should feel how I feel when somebody says your name.” (Chills.)

“Maggots for Brains” is a song about how useless she becomes “when my baby goes away,” and let’s just take a second to savor the fact that Rodrigo is putting that title into the world less than four years after she was still a working Disney kid. The album’s next tune, “U + Me = <3,” is its high point: a euphoric promise of devotion that sounds like Sixpence None the Richer reborn as a Midwestern emo band. It’s got two young lovers carving their names into car seat leather, and it’s got a girl trying to impress her boyfriend’s older sister with her cynical humor and her taste in yacht rock.

More important, it’s got these lines of pure poetry: “They say modern love’s a cruel endeavor / And to that I say, F— it, whatever.” Kurt Cobain would be proud.

Working with her longtime producer, Dan Nigro, Rodrigo has expanded her stylistic palette to accommodate these new emotions; “You Seem Pretty Sad” pulls in chiming folk-rock and synthed-up new wave and even has a gorgeous wine-bar piano ballad, “Less,” that might put the scare in Rodrigo’s pal Laufey.

The cover of Olivia Rodrigo’s new album.

(Geffen Records)

The album is structured to trace the arc of a relationship, which means that the second half dips into the heartbreak we’re used to getting from Rodrigo. But she’s writing about familiar scenarios with new wisdom, drawing sophisticated conclusions about why people in love do the things they do (and don’t do the things they don’t).

In “The Cure,” which rides a strummed acoustic-guitar pattern that strongly recalls Smashing Pumpkins’ “Disarm,” she realizes a boyfriend can’t fix what’s broken inside her; “Begged” examines the limits of one partner’s willingness to look past the failings of the other. After hearing these songs, the happier ones at the beginning of the album reveal bits of shadow that Rodrigo has built into them to presage what’s to come — to presage what always comes.

It’s fitting, then, that Robert Smith of the Cure — perhaps pop’s most jubilant gloommeister — hovers over this LP like a patron saint: nodded to in “The Cure,” of course, but also “Drop Dead,” where Rodrigo name-checks the Cure’s classic “Just Like Heaven.” Smith himself turns up in “What’s Wrong With Me” for a duet with Rodrigo in which the two learn to accept that love, in the end, might be what kills them.

“My head is spinning and my stomach is sick,” they sing, and neither sounds like they’d have it any other way.

Attorneys for musician Chuck Redd say a D.C. Superior Court judge dismissed a breach of contract lawsuit filed against the artist after he canceled a Christmas Eve performance at the Kennedy Center in protest of President Trump’s influence over the venue.

The dismissal was granted Friday under Washington’s Anti-SLAPP laws, which are designed to prevent meritless lawsuits intended to silence opposing points of view on matters of public interest.

Redd, a drummer and vibraphone player who has toured with Dizzy Gillespie, Ray Brown and others, had presided over holiday “Jazz Jams” at the Kennedy Center since 2006. He called off last year’s performance shortly after Trump’s handpicked board for the Kennedy Center voted to add the president’s name to the venue, which Congress named for President Kennedy after his assassination.

“The Center sued Mr. Redd because he publicly and rightly objected to adding Donald Trump’s name to the Kennedy Center, a living memorial to former President John F. Kennedy,” Lisa J. Banks, one of Redd’s lawyers, said in a statement. “The lawsuit against Mr. Redd was political retribution, pure and simple, by the Trump Kennedy Center, and the Court correctly saw it as such in dismissing the case with prejudice.”

Redd told the Associated Press in an email Saturday that he is “very pleased with the judge’s ruling.”

The motion to dismiss, filed in March, argued that Redd wasn’t contractually obligated to perform. It included the contract provided by the Kennedy Center, which the artist never signed.

Representatives for the Kennedy Center did not immediately respond to a request for comment on the suit’s dismissal.

Goldin writes for the Associated Press.

The leading candidates for mayor fanned out across Los Angeles this weekend to make their final cases to voters ahead of Tuesday’s hotly contested primary election.

An energized Mayor Karen Bass galvanized crowds of labor union workers sporting union merch Saturday. “Four more years!” crowds chanted as a slew of local and state Democratic heavyweights joined the incumbent.

City Councilmember Nithya Raman spent the day dashing between local restaurants and bars in an old-school yellow Scout convertible to meet with business owners and her supporters.

Meanwhile, former reality TV personality Spencer Pratt hosted a block party in Baldwin Village with barbecue food, free merch and American-flag lawn chairs — although he spent much of the event off to the side, listening to the concerns of Black residents.

Recent polls have placed Pratt and Raman within striking distance of Bass, who had enjoyed a comfortable lead for much of the campaign. A recent survey, co-sponsored by The Times, had Bass at 26%, Raman at 25% and Pratt at 22% — with a roughly 3% margin of error in either direction and 10% of voters undecided.

The top two candidates in Tuesday’s jungle primary will advance to a November runoff, unless one candidate manages to garner over 50% of the vote.

Mayoral candidate Spencer Pratt speaks with Diane Waterhouse, a caregiver and Westchester native, about homelessness and drug addiction at a campaign event Saturday in Baldwin Village. “We just talk about it like, ‘oh it’s Skid Row, that’s just where the drug addicts are.’ No, there’s communities, there’s kids, there’s people that work there, businesses,” Pratt said.

(Noah Haggerty / Los Angeles Times)

“I believe God moves mountains; I believe that you can get that 51% on that Tuesday,” Diane Waterhouse, a 60-year-old caregiver, told Pratt at his Baldwin Village event.

On the lawn of Jim Gilliam Park on Saturday, supporters from across the city chanted Pratt’s name, took selfies in front of black campaign vans with his hummingbird logo and ate cookies decorated with his face as kids raced around on scooters and played with the handful of dogs attending.

But Pratt — who had spent the morning at the West Los Angeles Animal Shelter speaking with animal welfare advocates — headed toward the nearby recreation center to talk with residents away from the cameras.

“Most people that come here and want our vote — we give y’all our vote; we’re still living like this. Nothing changes,” Erica Helon, a 40-year-old bus driver, told Pratt in one of the most tense moments of the event.

Pratt, wearing a beige suit and a hat with his name stylized like the L.A. Lakers logo, emphasized he was in South Los Angeles to listen and wasn’t even asking residents for their votes. He pulled Helon aside and gave her his personal phone number so they could talk more.

“I’m here because I want to be a voice for the community,” he said at one point. “I’m here because I don’t know what I don’t know.”

Helon, who is still undecided, left the event open-minded on Pratt.

“I would love to see what he’s going to do for this city,” she said.

Los Angeles mayoral candidate Nithya Raman joins a group photograph during a campaign stop Sunday with SevaSphere volunteers after preparing meals for people experiencing homelessness at Oaks Kitchens.

(Kayla Bartkowski / Los Angeles Times)

Raman, who has made publishing detailed policy plans a staple of her campaign, spent Saturday meeting with local restaurant owners after recently dropping a policy plan for small businesses.

Around sunset, the yellow convertible pulled up to Lowboy Bar, an Echo Park staple. Raman, sporting a Japanese Dodgers hat and a rainbow City Council fanny pack, joined campaign staff for drinks at tables covered in “Nithya Raman for Mayor” pins.

A few young Angelenos, starting out their nights in trendy getups, recognized Raman and stopped by to chat and take pictures.

“I’ve lived in L.A. for 12 years. It’s a very, very important city to me,” said Ryan Bergeron, a 35-year-old who works in marketing and does art on the side.

Bergeron, who is on the Echo Park neighborhood council, hopes Los Angeles can serve as a “beacon in an otherwise scary time in the country” as it tackles affordability, the housing crisis and sustainability issues.

As for Raman, “I’ve seen her as a councilmember and been really proud of that,” Bergeron said. When she announced her candidacy for mayor, “It felt like everything really clicked.”

Mayor Karen Bass and Councilmember Monica Rodriguez attend the Los Angeles Democratic Party and Avance Democratic Club Carne Asada Tour, a community event held Saturday at the Yosemite Recreation Center. Avanceis one of the country’s largest Latino Democratic clubs.

(Karla Gachet / For The Times)

Bass, conversely, wound down after a day of union rallies by eating tacos at the Yosemite Recreation Center’s picnic tables in Eagle Rock with several local politicians, including Councilmember Monica Rodriguez and county Democratic Party Chair Mark Ramos.

California Atty. Gen. Rob Bonta and L.A. County Sheriff Robert Luna had joined Bass earlier in the day. Although Luna missed out on the picnic, he still enjoyed several tacos in his car.

Come Sunday, Raman, wearing jeans and a chartreuse cardigan, was greeting bike riders at a Sawtelle coffee shop and speaking to a phone bank group at UCLA.

“It is absolutely essential to making sure that our little campaign, without all the political machine behind us, without MAGA millions behind us, that our vision of Los Angeles still manages to get out to the people, and your work today is an essential part of that,” Raman told a group of United Auto Workers-represented graduate students from multiple nearby universities.

She had several other appearances scheduled for the rest of the day, including lunch with a group of Korean American Democrats in Koreatown, Encinofest, a block party in Silver Lake and a visit to Boyle Heights.

“There seems to be increasing awareness about the race and excitement about the issues,” Raman told The Times. “It’s been really exciting to see people engaging and feeling positive about the city’s future.”

About two dozen students spoke to potential voters associated with UAW and urged them to mark Raman’s name on their ballots by Tuesday.

Stephanie Wert, a 30-year-old psychology graduate student at UCLA and head steward for UAW, said the phone bank could determine whether Raman’s campaign would survive the week.

“This vote is going to be decided on the margins, and so I think we could really make the difference that pushes her to the runoff,” Wert said.

Bass peeked around the back doors of a supporter’s Venice home Sunday afternoon to cheers from several dozen supporters at an intimate event. Speaking over small snack plates and beverages, many said they saw real improvements in the homeless populations around their neighborhood during Bass’ tenure as mayor.

Tatiana Barhar, a Venice resident for over 30 years, said she saw in real-time an “extreme” homelessness problem get better during Bass’ term, thanks to her Inside Safe program. “I want to support her,” she said. “I think there’s a lot more she can do.”

Bass spoke of 1960s-level crime rates, thousands of unhoused people pulled off the street into housing and efforts to build up Hollywood during her time as mayor. “We got a lot to do,” Bass said. “We have such a bright future in the nation’s second-largest city, and I hope that you will continue to be there with me as we win.”

Pratt’s moves on Sunday remained more elusive. His campaign emphasized he was hoping to have intimate moments with L.A. communities, instead of a media and influencer frenzy like some of his previous, more widely publicized events.

One of those more intimate moments was a community event in a Latino neighborhood near downtown L.A. on Sunday morning. Pratt had spent Thursday in New York for some national media interviews to “get the message to as many people as possible.”