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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.”

WASHINGTON — A federal judge ruled Friday that President Trump’s name was illegally added to the Kennedy Center and blocked the administration from closing the cultural and arts venue for major renovations.

U.S. District Judge Christopher Cooper in Washington, D.C., ruled that the Kennedy Center board’s March 16 vote to close the facility was “ill-informed and seemingly preordained” with no regard for its legal obligations.

“The trustees might have assessed the propriety of closure in a number of prudent ways. This was not one,” he wrote.

Cooper also concluded that the board “overstepped its statutory bounds” by unilaterally adding Trump’s name to the center. Congress gave the Kennedy Center its name, and only Congress can change it, he said.

Roma Daravi, the Kennedy Center’s vice president of public relations, said Friday the institution is “confident that on appeal the court will uphold the Board’s will to recognize President Trump’s historic contributions to our nation’s cultural center.” She said the decision would be reviewed “carefully.”

“Though the reality remains — the Center requires an urgent and significant restoration – a truth that even the plaintiff acknowledges,” Daravi said. “With $257 million secured by President Trump and approved by Congress, the resources are in place and we remain committed to pursuing every lawful avenue to ensure the Trump Kennedy Center is restored as a national cultural landmark for all Americans to enjoy.”

Cooper held hearings in late April for parallel lawsuits challenging the project. One was filed by a group of cultural and historic preservation organizations. The other was brought Rep. Joyce Beatty, an Ohio Democrat who serves as an ex-officio member of the Kennedy Center’s board. He ruled in favor of Beatty’s request but rejected the other challenge.

Justice Department attorneys said renovation plans for the building are limited in scope and well within the board’s authority to make without needing outside approvals.

The plaintiffs worry the president and his board allies will flout preservation rules designed to maintain the building’s historic fabric. In earlier statements in court hearings, attorneys for Beatty and the preservation groups raised doubts about the limited scope of the project, pointing to Trump’s statements that he would “fully expose” the building’s steel skeleton. Beatty has said she was “very fearful that we’ll see what happened with the East Wing and what happened with the Rose Garden” if the center is closed and the renovations allowed unsupervised, referring to major changes the president has made at the White House.

Trump, a Republican, has taken a keen interest in the Kennedy Center’s operations since he returned to White House last year. He installed a handpicked board that named him chairman. His name was added to the facade of a building that is considered a living monument to President John F. Kennedy.

The Kennedy Center has kept up performances ahead of the closure, though at a much slower pace than in previous years. Trump attended the premiere of the musical “Chicago” in March and other shows, including “Moulin Rouge” are slated for June.

Bill Maher, the comedian who has had an up and down relationship with Trump, is expected to be awarded the Mark Twain Prize for American Humor on June 28, an event that was anticipated to be one of the final big moments at the Kennedy Center before the closure.

Cooper was nominated to the bench by Democratic President Obama.

Kunzelman and Sloan write for the Associated Press.

ATLANTA — Treasury Secretary Scott Bessent said Thursday that his department has prepared the design for a $250 bill featuring President Trump, anticipating the passage of stalled legislation in Congress to put the president on a new denomination of legal tender.

Bessent said at the White House that authorizing the currency will be up to lawmakers on Capitol Hill, but that “we’ve created the bill” because “we have to be prepared.”

The secretary downplayed the idea that the administration is pushing the matter, despite Trump’s penchant for infusing his name and likeness across the nation’s capital and into the observances of the 250th anniversary of the Declaration of Independence. Bessent also insisted there is nothing inappropriate about Trump’s visage being part of the seminal national celebration.

“The president doesn’t do it; the House and the Senate have to do it,” Bessent said at the White House, referring to legislation, introduced by Rep. Joe Wilson (R-S.C.), that would direct the Treasury Department’s Bureau of Engraving and Printing to put Trump’s face on the new bill to mark the 250th anniversary of the nation’s founding.

A Treasury Department spokeswoman said the agency carried out “appropriate planning and due diligence” to implement a potential congressional mandate “to produce a $250 commemorative note which will appropriately recognize the 250th Anniversary of our great nation.” The spokeswoman did not mention Trump.

If passed and signed into law by Trump, Wilson’s bill would mark an extraordinary recognition for a sitting U.S. leader and comes as Trump has sought to place himself at the center of Independence Day commemorations. The Department’s preparation for the languishing legislation suggests some enthusiasm for the idea on the part of the Trump administration.

Report: Trump ally has pushed to expedite new currency

The agency’s explanation follows a Washington Post report stating that U.S. Treasurer Brandon Beach, a Trump appointee, has been pushing the Bureau of Engraving and Printing to expedite the process for a new currency note. The paper also reported that the former BEP chief, Patricia Solimene, was reassigned after pushing back.

The Treasury spokesperson declined to comment on Solimene’s status but confirmed that Michael Brown, a top Beach aide, became acting director of engraving and printing May 18.

Beach did not respond to an Associated Press request for comment.

Wilson’s legislation, which so far has languished in Congress, is intended to create an exception to existing law that bars any living person from appearing on U.S. currency; the bill would allow current and former presidents to be featured.

Bessent confirmed the measure is designed for one person.

“Donald J. Trump,” he said emphatically, repeating the full name that the president himself often uses in the third person.

According to the Post report, Beach last fall provided the Bureau of Engraving and Printing with the design for the new bill. It featured Trump’s portrait — the same one that adorns banners hanging on some federal buildings in Washington — and a 250th anniversary logo. Trump’s signature also was included, a design element that would differ from other paper money.

British artist Iain Alexander told the Post he designed the bill and said he’d discussed it with the president. Alexander did not respond to an AP request for comment.

The newspaper also reported that Solimene resisted pressure from Beach and Brown and stressed to them the lengthy legal and procedural process required to issue new currency. Solimene was reassigned against her will, the Post reported, paving the way for Brown to oversee the bureau.

Trump has aggressively spread his name and likeness

A new currency note would be the latest example of Trump expanding his personal brand in his official capacity since returning to the White House last year.

Beach and Bessent already streamlined approval of a commemorative 250th anniversary coin featuring Trump. The Treasury Department has asserted that those special coins fall outside the prohibition on living presidents appearing on money. In 1926, the nation’s 150th anniversary, then-President Calvin Coolidge appeared on a commemorative half-dollar coin that was official legal tender.

The Trump administration has had banners featuring his portrait hung on the Department of Justice and other federal buildings. And his slate of appointees to the Kennedy Center governing board added his name to the national performing arts facility that Congress originally designated as a memorial to assassinated President John F. Kennedy. That renaming is being challenged in court because of the federal law establishing the center as the official memorial to the 35th president.

Bessent noted that unless Wilson’s exception passes, current law sets just two conditions for him to consider on currency: that “In God We Trust” is printed somewhere on it, and that only deceased individuals be depicted, with their names described below their portraits.

“It’s all up to Capitol Hill,” Bessent said. “We will stick to the law.”

Barrow writes for the Associated Press.

Soo-Jin Berry is grateful her name has inspired fans from the Korean community to connect with her.

“For me, it’s just nice that I can represent something so much bigger than softball,” Berry said with a raspy voice after cheering on her UCLA teammates during the Bruins’ NCAA regional wins.

“My name is Korean, so I have a lot of Korean fans that will walk up to me, and they’re like, ‘Oh my gosh, are you Korean? I am too!’”

Berry thrived at Iowa as one of the Big Ten’s most potent hitters, but she chose to end her college career at UCLA even though it meant taking on a smaller role with drastically reduced playing time. Now she is a reliable option as UCLA faces Central Florida in the super regional round, a three-game series that begins at 6 p.m. Friday at the Bruins’ Easton Stadium. The game will air on ESPNU.

UCLAs’ Soo-Jin Berry celebrates hitting a home run against California Baptist on May 15.

(John McCoy / Ap Photo/john Mccoy)

Berry said she joked with her family that UCLA called her as she considered leaving Iowa for other schools before she ever met with the Bruins. Then associate head coach Lisa Fernandez emailed Berry. Bruins head coach Kelly Inouye-Perez then called Berry and they had a two-hour conversation.

“We talked about my life experience in Iowa, and then I kind of knew from the beginning what I wanted, so I made those desires clear to her,” Berry said. “I just want to grow. I just want to have some role on this team because it would mean so much to me. I feel like growing up, everyone’s dream is to go to UCLA, especially for softball.”

When she set foot on the UCLA campus during her recruiting visit, a quarter of the team greeted her, including her former high school teammate and Bruins hitting star Jordan Woolery.

“Jordan was the main person helping me on my visit,” Berry said. “We actually flew in together.”

Since transferring to UCLA, Berry said she learned that she could raise her standard of play while having the best time doing it.

While UCLA was a dream destination, Berry was the last Hawkeye to enter the transfer portal at the end of last season.

“Iowa is a very special place to me, so I don’t have any regrets going there. I loved my time there,” Berry said. “There were just differences between administration and coaching, which I didn’t agree with.”

Berry competed against the Bruins last season, helping Iowa beat UCLA by going 2-for-4 with 4 RBIs and two home runs — the second one in the fifth to help the Hawkeyes extend their lead to 7-4.

Inouye-Perez said after UCLA’s NCAA regional win over South Carolina on Saturday she hasn’t forgotten the game last season when Berry got the best of the Bruins.

“This girl straight beat us last year — she is a pure hitter,” Inouye-Perez said, with Berry sitting next to her.

In 52 games played at Iowa, Berry led the Hawkeyes in RBIs (33), slugging percentage (.589) and extra base hits (21) while recording a .335 batting average (53-158). Her nine home runs put her 10th in Hawkeyes single-season history.

Her on-plate numbers have dropped since joining UCLA’s roster, but her confidence is higher than ever thanks to the supportive techniques provided for Bruins.

“I feel in general I am more comfortable being myself and being more open with my teammates about certain things, so the journaling definitely does help because I can write ‘I belong here,’” Berry said.

She added that she has been able to simplify the situation by trusting the process the coaching staff has implemented for the team.

“Failure is part of the game, and it’s going to happen, and you can’t do anything to avoid it,” Berry said. “So just being OK with failing and knowing if I strike out at this at-bat, what can I change at the next one?”

Berry has accepted coming off the bench and playing any position needed.

“It comes down to the process we have during practice,” Berry said of getting playing time. “Coach Lisa [Fernandez], coach Mysha [Sataraka] and coach [Rob] Schweyer all have full confidence in me.”

When her time was called during the postseason, she contributed to the Bruins advancing as they push to win a national title.

In the regional round, she brought in runs. During the Bruins’ 12-11 walk-off win over California Baptist in the regional opener, Berry hit a three-run home run that helped UCLA take a 7-1 lead.

Berry said she wasn’t getting the outcomes she wanted earlier in the season, but being there for her team when her name was called is special.

ATLANTA — The Department of Justice is seeking the names of every person who worked in the 2020 election in Georgia’s Fulton County, a Democratic stronghold that Donald Trump has long accused of widespread voter fraud he falsely says cost him victory against Joe Biden in the state that year.

Lawyers for the county filed a motion on Monday night to quash a grand jury subpoena that asks for the names and personal contact information of county employees and volunteer poll workers. This latest action comes after the FBI in January went to a Fulton County elections warehouse and seized ballots and other documents from the 2020 election, which Georgia’s certified totals showed Trump lost in the state to Biden by 11,779 votes out of nearly 5 million cast. Trump, a Republican, still insists the election was stolen from him even though judges and his own attorney general concluded otherwise.

Monday’s court filing says the subpoena is meant to “target, harass and punish the President’s perceived political opponents.” The request is “grossly overbroad and untethered to any reasonable need,” the county’s lawyers argue. It “cannot yield any evidence that could result in a criminal prosecution,” they wrote, arguing that the statute of limitations on any federal crime related to the 2020 election has already expired.

The Justice Department did not immediately respond to an email seeking comment Tuesday.

County Board of Commissioners Chairman Robb Pitts, in an emailed statement, called the subpoena “yet another act of outrageous federal overreach designed to intimidate and chill participation in elections.”

“Let me be crystal clear. Fulton County will not be intimidated,” said Pitts, a Democrat who’s running for reelection.

Since the 2020 election, Trump “has obsessively propagated the debunked conspiracy theory that Fulton County ‘stole’ the 2020 election from him,” the county’s lawyers wrote. “And he has made it clear that he seeks retribution against those who refuse to indulge his baseless claims.”

Trump has already targeted individual poll workers like Ruby Freeman, who was attacked by him and his supporters after the election. Freeman, who’s Black, has said she was forced to flee her home after false claims of election fraud against her led to racist threats and strangers showing up at her home.

The grand jury subpoena, dated April 17, was served on the county’s director of elections on April 20, the county’s court filing says. It seeks the “name, position/function, residential and email addresses, and personal telephone number(s)” for thousands of election workers “ranging from county employees who assisted on election day, to bus drivers who operated a mobile voting location, to volunteers and temporary poll workers,” the filing says.

The subpoena “is a chilling escalation in the campaign to terrorize Fulton County election workers,” the county’s lawyers wrote, adding that threats arising from the current political environment have caused election workers to “fear for their physical safety.” That and other stresses “including the likelihood of being scapegoated by public officials” are causing election workers to leave their jobs “in unprecedented numbers,” they wrote.

The county’s lawyers note that the subpoena directs the county to provide the records not to the grand jury but to an out-of-state Justice Department lawyer or to the FBI agent who wrote the affidavit used for the seizure of the county’s 2020 ballots in January.

The January seizure of the ballots and other records from Fulton County was one in a string of moves by Trump’s administration to obtain past election records from critical swing states. The FBI in March used a subpoena to get records related to an audit of the 2020 presidential election in Maricopa County in Arizona. And the Justice Department in April demanded that Michigan’s Wayne County turn over its ballots from the 2024 election, which Trump won against Biden’s vice president, Kamala Harris.

The Justice Department is also fighting numerous states in court for access to voter data that includes sensitive personal information. Election officials, including some Republicans, have said handing over the information would violate state and federal privacy laws.

Brumback writes for the Associated Press.

Alijah Arenas will withdraw his name from the NBA draft and return to USC for his sophomore season, according to a person familiar with the decision not authorized to speak publicly on the matter.

The former five-star prospect, whose father is NBA star Gilbert Arenas, was expected to spend just a single season at USC before declaring for the draft. But nothing went as planned during Arenas’ freshman season.

Arenas was involved in a single-car accident in April 2025 and hospitalized for six days after a Tesla Cybertruck he was driving hit a tree and burst into flames. The week that he returned to practice after the accident, Arenas learned he needed knee surgery. He didn’t debut for the Trojans until late January. And when he finally made it into the lineup, Arenas was thrown into a starring role in the middle of a brutal Big Ten slate and struggled to adjust.

Still, there were glimpses of the player that Compton Magic AAU founder Etop Udo-Ema told The Times had the potential to one day “be the face of the NBA.” Over one stretch in early February, Arenas had 29 points in a win over Indiana, scored 24 and hit a winning shot at Penn State and put up 25 points at Ohio State.

“Just the things he can do, the IQ he has, what he can see, the way that he moves, the length, the size,” Udo-Ema said, “he’s the most talented guy I’ve ever seen.”

But Arenas told The Times in late February that he was unhappy with the results of his freshman campaign to that point.

“I know what I’m capable of. And I’m not there yet,” Arenas said. “Simple as that.”

Arenas had submitted his name as an early entrant in the NBA draft, the deadline for which was Monday. But ultimately, he opted to return to USC as a sophomore, in hopes of starting anew.

Arenas returns to a roster that should be even more talented in the 2026-27 season. Guard Rodney Rice and forward Jacob Cofie also announced earlier this month that they would return, while three top-25 prospects are set to join the roster this summer.

USC also already added a trio of players in the portal, including a 7-footer in Connecticut’s Eric Reibe and an experienced starter in Georgetown’s KJ Lewis.

Victoria Beckham is speaking out about her rift with son Brooklyn Peltz Beckham.

In an interview with WSJ Magazine, the former Spice Girl shared insight into her relationship with her son, although she did not refer to him by name.

“I think that we’ve always — we love our children so much,” Beckham said. “We’ve always tried to be the best parents that we can be. And you know, we’ve been in the public eye for more than 30 years right now, and all we’ve ever tried to do is protect our children and love our children. And you know, that’s all I really want to say about it.”

The response comes after Peltz Beckham took to his Instagram Story in January to accuse his parents of “endlessly trying to run” his relationship with his wife, Nicola Peltz Beckham. The 27-year-old claimed his parents “repeatedly pressured and attempted to bribe” him into signing away the rights to his name, that his mother “hijacked” the first dance during his wedding and that his family “values public promotion and endorsements above all else.”

“My wife has been consistently disrespected by my family, no matter how hard we’ve tried to come together as one,” Peltz Beckham wrote. “Family ‘love’ is decided by how much you post on social media, or how quickly you drop everything to show up and pose for a family photo opp, even if it’s at the expense of our professional obligations.”

Peltz Beckham ended the post writing, “I do not want to reconcile with my family. I’m not being controlled, I’m standing up for myself for the first time in my life.”

After the Instagram bombshell, fans believe David Beckham broke his silence while speaking about the power of social media during an interview in January on CNBC’s “Squawk Box.”

“They make mistakes, but children are allowed to make mistakes. That is how they learn. That is what I try to teach my kids,” David Beckham said. “You sometimes have to let them make those mistakes as well.”

During Peltz Beckham’s birthday in March, his parents wished him happy birthday and shared that they love him on their Instagram Stories.