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WASHINGTON — President Trump ushered in the 250th anniversary of American independence on Friday with soaring rhetoric about American exceptionalism before veering into a darkly political speech with warnings about a sinister threat of communism that evoked one of the country’s ugliest chapters.

“Communism is a mortal threat to American liberty,” he said from Mt. Rushmore. “It is the greatest threat to our country, including World War I, World War II, Pearl Harbor or even 9/11.”

While the language was similar to several other speeches Trump has given in recent days, it was notable for being delivered in a national park that commemorates some of America’s most prominent presidents. And it swerved from the typically apolitical, unifying speeches past presidents like Gerald Ford or Ronald Reagan have delivered during earlier high-profile Independence Day celebrations.

Indeed, Trump’s language evoked the Red Scare of the 1950s, when purported communists were persecuted and blacklisted from jobs across America, from Washington to Hollywood.

In New York City, Mayor Zohran Mamdani, a democratic socialist, delivered his own address that cast America as a nation of contradictions “working each day towards the perfection in which it was conceived.”

The president’s speech capped an Independence Day eve that was otherwise most notable for a brutal heat wave that gripped much of the eastern portion of the country. Officials have warned those celebrating the holiday to stay hydrated and take air-conditioned breaks as needed.

Philadelphia canceled its Salute to Independence parade Friday. The Great American State Fair in Washington shut down in the early afternoon before reopening at 5 p.m. The Capitol Fourth concert, a mainstay of the holiday in Washington, opened its gates a little later than normal but ultimately moved forward with appearances from Patti LaBelle, Trace Adkins, members of the Artemis II space mission and fireworks over George Washington’s Mount Vernon. An Independence Day parade scheduled for Saturday in Washington was canceled.

Looking for a place to cool off

By early afternoon Friday in Washington, hundreds of people were roaming the grounds of the National Mall, home to the Great American State Fair. They snapped photos of the flyovers and tried to cool off inside tents that offered $9 lemonades and $23 turkey legs. Many were dressed in patriotic colors, their faces glistening with sweat.

Glenn Brooks, who was pardoned by Trump for his participation in the Jan. 6, 2021, attack on the Capitol, said he was “thankful to be participating in this grand event.”

The activity culminates in the main event Saturday, when fireworks will erupt in communities across the U.S., along with backyard cookouts and block parties. Trump will deliver another speech at the National Mall in Washington before what is being billed as a historically massive fireworks show.

As the rest of the country struggled under stifling heat, the Pacific Northwest enjoyed temperatures in the 60s with even a few light showers.

World Cup soccer fans in Seattle were staying cool Friday as they got psyched up for Monday’s big game between the U.S. and Belgium. In the nearby suburb of Issaquah, Megan Kurowski, 31, brought her two dogs to the dog park so they could get some exercise before she went to work.

Kurowski said she was feeling positive about America’s 250th anniversary and was planning a possible paddleboard to watch the fireworks.

“Everyone’s just, from what it seems, been pretty excited about celebrating 250 years,” she said.

The holiday is unfolding at a unique time in the U.S. The anniversary has served as an opportunity for the country to reflect on its history while also reminding it of the political polarization of the moment.

On a holiday of unity, there is an undercurrent of division

In New York, Mamdani, a Democrat, did not mention Trump by name, but parts of his speech appeared aimed at the president’s divisive rhetoric.

“For generation after generation, we have been told that when the world has sent its people to our shores, it has not sent its best,” Mamdani said in an apparent reference to a common criticism from Trump. “Those ideals upon which our nation was built — they are strong enough to endure any authoritarian regime, but only if we reach for them.”

Freedom 250, an organization aligned with the White House, has come to rival America250, a bipartisan group founded by Congress a decade ago. Freedom 250 has organized much of the activity in Washington, including the Great American State Fair. America250 is behind the ball drops unfolding in many cities, including New York, and will host a concert in Los Angeles on Saturday.

About 4 in 10 U.S. adults feel “proud” about the country’s 250th anniversary, according to an April survey from the Associated Press-NORC Center for Public Affairs Research. Roughly 3 in 10 said “excited” describes their emotions.

Ahead of the holiday, auto technician Joe Fuqua-Bejarano in Topeka, Kansas, sized up “what makes us awesome” as a people. It is clearly not the politics, in his view, but rather resilience.

“We’ve just all got to find unity somewhere, whether that’s in laughter or perseverance, and keep everybody cool,” he said from the fireworks stand where he is doing a booming business as a side hustle.

Christina Zhou, a 25-year-old research assistant from Cambridge, Mass., said she would aim to “think about just things that are happening locally.”

“It feels a little bit more like within our own personal control,” she said.

Jerry Chin of Newcastle, Wash., said he wasn’t aware that the U.S. was celebrating its 250th anniversary and planned to stay low-key around the holiday. He and his wife generally skip the fireworks and instead stay home with their fearful dogs to keep them calm.

“America’s a great place, but there are some concerns,” he said. Chin, 55, and his wife worry about healthcare and issues around staying healthy, but they also stress about politics.

“We’re Democrats, so kind of given up hope,” he said. “Just feel that it is the way it is. I don’t know if there could be change.”

At the National Archives in Washington, visitors made their way through the Rotunda to look at the Declaration of Independence, the Constitution and the Bill of Rights — and to escape the heat outside.

Michael Dresdner, 60, traveled from West Orange, N.J., with his wife, Cindi, 57, and about two dozen other people to be part of the America 250 celebrations. He said their group of travelers included people on both sides of the political aisle — and that is what gave him hope for the future of American democracy.

“We are all here, and we all love America,” he said.

Sloan, Peoples and Price write for the Associated Press. Peoples reported from New York. Associated Press writers Martha Bellisle in Seattle, Anthony Izaguirre in New York, John Hanna in Topeka, Kan., Michael Casey in Cambridge, Mass., and Calvin Woodward, Didi Tang, Gary Fields and Nathan Ellgren in Washington contributed to this report.

The bass legend and superproducer Don Was didn’t expect to be covering Curtis Mayfield’s Civil Rights-era anthem “This Is My Country” on the road in 2026. But lately, the chaos in the United States made the song seem regrettably apropos.

“It wasn’t supposed to still feel potent. It was supposed to be something that served a moment,” said Was, who included the defiant single on his 2025 album “Groove In the Face of Adversity.”

“It’s shocking to be here in 2026 and, whatever distance we traveled from 1966 until now, to see it all get reset,” Was said. “That song’s a more powerful statement now than it was then. It was inconceivable that it would still be relevant — this is supposed to be the utopian age of Aquarius. This is not the way it was supposed to turn out.”

Was remembers the tumult, violence and hope that came out of that era in his hometown of Detroit. The city’s music, famed for rough-hewn virtuosity from blues to soul to techno, is the spring that waters “Adversity.” It is, remarkably, the 73-year-old’s first solo album after a career spanning the pioneering electro-pop band Was (Not Was) and deep producer relationships with the Rolling Stones, Bob Dylan and Bonnie Raitt.

He also spent years in Bob Weir & Wolf Bros with the late Grateful Dead founder, and will play from the Dead’s landmark “Blues for Allah” on his tour that stops at Lodge Room on July 7.

With a backing band of studio killers dubbed the Pan-Detroit Ensemble, “Adversity” has an expansive modern atmosphere, yet a lived-in, filament-bulb quality in the playing that carries through funk, jazz, rock and R&B. It’s largely a covers record, but you wouldn’t know it from the depth of the revisions — veering from the Yusef Lateef standard “Nubian Lady” to Hank Williams’ “I Ain’t Got Nothin’ But Time,” closing with funk group Cameo’s “Insane.”

“I’ve been carrying it around in my head for 30 years,” Was said. “This first album to me is really a handshake, a ‘nice to meet you,’ this jambalaya of Detroit sounds.” While much of the source material comes from elsewhere, the cumulative mood is extremely personal to an artist who has spent his life helping the greats find true expression.

“I’ve come to admire artists who are willing to go in deep inside their most personal thoughts for the sake of helping the listener understand their own lives,” he said. “To help them deal with the trauma of being human — especially in these times, man.”

Tops on that list is the late Grateful Dead founder Bob Weir — who died in January at 78 — as a model for a band staying fearless and uncompromising. Was, still heartbroken about the loss of his friend and bandmate, recalled their first time on tour.

“When Bobby called asking me to play bass with the Wolf Bros, I thought at the very least, this is going to be a master class in losing self-consciousness and forgetting about fear,” Was said. “If the band stumbled, the audience wouldn’t walk out. They appreciated the fact that you were trying to do something new for them. Then there’d be a couple moments every night with an incredible exchange between the musicians and you can feel the audience becoming a member of the band.”

Playing the Dead’s “Blues for Allah” on this tour — an LP rooted in Middle Eastern scales, pirouetting time signatures and improvisational telepathy — put him in communion with his old friend.

“I used to think that songs like ‘King Solomon’s Marbles’ were just jams and conversations on the spot. But when we really got into it, there’s a form underneath and you can take tremendous liberty with that form,” Was said.

Was’ production career was built on a similar principle.

His early band Was (Not Was) remains a visionary electro-pop act with subtle, salient politics. “Out Come the Freaks” is a favorite on Pride month dance floors — “If you just wanted to do poppers and dance all night, it worked, and if you wanted to think about the government careening out of control, it worked too,” Was said of the band’s club material.

The late Ozzy Osbourne sang on the band’s international hit “Shake Your Head,” alongside a winking, very game Kim Basinger. The actor was a replacement after Madonna backed out, leaving the proto-rave tune one of the era’s most unlikely collaborations.

He recalled Ozzy fondly. “In 1975, this folk group I was in booked us to open for Black Sabbath at the Toledo Sports Arena, playing for a bunch of 14-year-old white boys on amphetamines,” Was said. “They weren’t having it. I’ve heard the tape of that show, and the drummer was bleeding from being hit by so many bottles that we had to stop playing. That was my first exposure to Ozzy, so I was a little afraid to do the session, but he was up for an adventure.”

Don Was and the Pan-Detroit Ensemble

(Gemma Corfield)

A Stones confidant and producer from 1994’s “Voodoo Lounge” up until 2023’s “Hackney Diamonds” (where Andrew Watt took the helm), Was had nothing but praise for the band, and still admits to a twinge of fandom in their presence.

“There’s never been a day in the studio with the Rolling Stones where I didn’t look around the room and go, ‘Oh my God,’” he said. “I’ve known Mick for over 30 years, but the last time they played L.A. at SoFi Stadium, Mick came walking down that stage and I was like, ‘Wow, there he is, it’s 1965 again.’”

With Dylan, he recalled the mercurial genius’ impish side. “I was producing Dylan, and George Harrison came in to play guitar. Bob was messing with him, Bob pushed the engineer aside and he ran the tape machine. George had never heard the song before, didn’t know what key it was in, and Bob just starts the tape. George played a respectable solo, but clearly it was rough. Bob, just to be funny, stopped the machine and said ‘That’s it, perfect.’ George turns to me and said, ‘What do you think, Don?’ And Bob goes, “Yeah, what do you think, Don?’ I’m looking at these two guys and time slowed down. I remembered trying to sell my car to get a ticket to go to New York to see the Concert for Bangladesh. Now they’re asking me what I think. I was paralyzed.”

“A voice appeared in my head,” he said, “Telling me, ‘He’s not paying you to be a fan.‘ So I said to George, ‘It was good, man. Let’s see if we can beat it.’ You can’t allow the iconography to dictate the outcome in the studio. You have to put that aside.”

As president of Blue Note Records, the estimable jazz label he’s led for more than a decade, Was relentlessly looks forward. He’s released restless modern records by Domi & JD Beck, Fathers, Makaya McCraven and Julian Lage (the hotshot jazz guitarist now playing with Dylan). He’s refreshingly optimistic about challenging music in streaming’s ruthless economy.

“Don’t make music for the delivery system,” Was said. “I don’t think about streaming, I think about touching people. If you do that, nothing has changed fundamentally in the music business. If your purpose is to get under people’s skin and make them feel something, that’s the same job it was for Mozart. How people listen can keep changing, but I don’t think the palette of human emotion changes, and that’s who you’re addressing.”

Was came from a working-class industrial city, making music reflective of Detroit’s technological upheaval and economic neglect. “Adversity” is a beacon to keep playing in spite of everything.

“I think that the salvation of musicians is that no matter what happens, what technological advancements come along, there’s still nothing like the experience of being in the same room as people who are playing together,” Was said. “It’s always been tough, man. It’s harder these days to buy a Ferrari as a musician, but I don’t know that that’s necessary. I have total confidence that the opportunity is there for anybody who is willing to give the audience a meaningful experience.”

NEW ORLEANS — Louisiana’s attorney general has been indicted over accusations she threatened the jobs of New Orleans leaders who fought a Republican-led overhaul of local courts in the heavily Democratic city.

The 16-count indictment against Republican Liz Murrill, handed up Thursday by a New Orleans grand jury, charges Louisiana’s first female attorney general with intimidation and malfeasance.

At the center of the case are deepening rifts between state leaders in Louisiana, which is heavily Republican, and Democrats who control the state’s most prominent city.

Republican Gov. Jeff Landry promised a swift pardon, saying Murrill would not have her reputation tarnished by an “Orleans kangaroo court.” Mayor Helena Moreno, a Democrat, was among those who had accused the state’s top law enforcement official in May of making threats against public officials.

Murrill called the case against her “retaliatory, meritless, and unconstitutional.” Late Thursday, Murrill said she had filed for an emergency stay with the Louisiana Supreme Court.

“I will not back down. I will continue enforcing the law, fighting corruption, and doing the job the people of Louisiana elected me to do,” she wrote on X.

For months, political tensions intensified between Louisiana Republicans and New Orleans officials over a new law that abolished a court clerk office won by an exoneree, Calvin Duncan, who spent nearly three decades in prison. The change consolidated that job with another clerk’s office, which Republican supporters said would make the local judicial system more efficient.

The change was staunchly opposed by New Orleans leaders, and in May, the City Council set a special election that would have given Duncan a chance to win the newly combined job. Murrill responded by warning local officials in letters that they could lose their offices for violating state “usurper” laws, which forbid support for an unauthorized officeholder.

“We’re very interested in elected officials in New Orleans not being intimidated or threatened by letter or any other way,” special prosecutor Laurie White told reporters.

Bond for Murrill was set at $400,000 on Thursday, according to court records.

Landry said he was ordering state police to investigate what he called “alleged improprieties” of the grand jury and those who ran it.

“The criminal justice system is a circus at its finest in Orleans and we will not have any of that!” he wrote on X.

The Republican Attorneys General Assn. said that making statements to local officials — in writing — was simply “issuing a legal opinion and warning public officials about the law” as part of her official duties. It called the indictment “as outrageous as it is dangerous.”

Moreno, who was elected in January and was defiant after Murrill sent the letters, on Thursday called it a “matter for the courts” and did not directly address the allegations.

“My focus, as always, remains on fulfilling the responsibilities the people of New Orleans elected me to carry out,” Moreno said.

Duncan has said he believes state officials were retaliating against him in eliminating the job he won with 68% of the vote. Murrill and Landry have long refused to acknowledge his innocence, though he’s listed on the National Registry of Exonerations.

Republicans have said the change was not personal and supporters have noted that the offices of criminal and civil clerks of courts are combined in other parishes.

Duncan was a jailhouse lawyer who later graduated from law school. He founded a nonprofit dedicated to expanding incarcerated people’s access to the court system and was the driving force behind a 2020 U.S. Supreme Court decision that ended nonunanimous jury convictions.

Duncan spent more than 28 years in prison over a fatal shooting during a robbery in 1981.

The night before a 2011 hearing to consider new evidence, prosecutors offered to reduce Duncan’s sentence to the time he’d already served in prison if he pleaded guilty to manslaughter and armed robbery. Duncan took the deal and was freed but didn’t give up on clearing his name.

In 2021, a judge agreed that Duncan had been unjustly convicted and vacated his sentence altogether. Landry and Murrill have pointed to the 2011 plea deal in objecting to Duncan calling himself exonerated.

Riddle and Hanna write for the Associated Press. Associated Press reporter Jack Brook in New Orleans contributed.

Comedy saved Teruko Nakajima’s life.

In 2016, Nakajima received psychiatric care at Cedars-Sinai Medical Center, diagnosed with depression, PTSD and suicidal ideation. Her doctors searched for ways to manage her stress by exposing her to various activities, including video games, serene Icelandic landscapes and an aerial silks performance. The last brought her anxiety down, revealing that the arts were the answer. Her doctor prescribed the arts, comedy specifically, so she went to the Upright Citizens Brigade for class.

She found a calling and a safe space in comedy.

“I didn’t know I was born a comedian,” Nakajima said. “Finally, I really felt I was accepted as a comedian, validated for who I am.”

Nakajima shares her healing journey to the stage in “Made in America,” which just had an encore performance at UCB on Tuesday after its award-winning run in 2022 (it is also available for streaming on UCB’s website through Tuesday). The one-woman show arrives in time for the United States’ 250th anniversary on Saturday, documenting Nakajima’s search for the American dream as a first-generation Japanese American woman. “Made in America” premiered in 2022 at the Hollywood Fringe Festival during Joe Biden’s presidency and following the Jan. 6 United States Capitol attack. In 2026, its musings on identity and belonging pierce through today’s political landscape shaped by Donald Trump’s second presidency.

“I wanted to let people know this is an American story,” she said.

“Made in America” is about Nakajima’s life. It begins in her mother’s womb. She felt so safe there, she yearned to return. Growing up, she experienced an emotionally and physically abusive life at home, recalling her father breaking furniture and her mother’s alcohol-induced belittling comments. But her name, Teruko, translates to a “shining child.” Thus, she proclaims in the show, “I’m a superstar!”

The beauty in “Made in America” is Nakajima’s ability to find the humor in her trauma. When the show transitions to her life in America, she talks about her life as a dominatrix in New York City and her struggles with romance in Los Angeles. Her comedic jabs at the American economy and humorous reflections juxtapose somber moments of stillness in the midst of her struggles. This balance puts her life into perspective, revealing a positive personality beneath a dark saga.

Nakajima performs “Made in America” at Upright Citizens Brigade Theater.

(Nick Rasmussen)

“I look very happy-go-lucky and cheerful, but actually, I am a very dark person because I have a dark history,” she said. “I always wanted to leave my story behind. I wanted to leave my mark in this world before I died, so I needed to make something.”

The first class Nakajima took at UCB was John Flynn’s storytelling course. There, she started building pieces of the show without realizing it. As they added up, the idea for a show surfaced. After class one day, she asked Flynn to direct it. Flynn, who has been teaching at UCB in New York and L.A. for about 20 years, agreed.

“She disarms people,” Flynn said. “There’s something about her that is just so unique and so delightful that you won’t forget her.”

Flynn first met her at his storytelling open mic. She walked in with her emotional support dog Titi (also known as Tiny Teruko), wearing her signature red heart-framed glasses, without lenses. Soon, these glasses would make him double over in laughter when she performed and cried, dabbing her eyes with tissue through the frame.

“When you start to learn her story and the experiences she’s had, it is amazing that she is so positive,” he said. “She’s such a sort of undeniable positive energy that she just radiates all the time, which is so compelling and why people are so drawn to her.”

Revived at UCB amid Trump’s second term and the nation’s 250th birthday, Nakajima’s show doubles as a defiant immigrant love letter to America — and a refuge for audiences feeling alone.

(Nick Rasmussen)

Nakajima puts all of herself into the show. Aside from comedy, she has been a cheerleader in Japan, a salsa dancer in New York and a sculptor on the side — she loves sculpting MLB players’ butts; Derek Jeter is her favorite. In the show, she folds these aspects of her life into a single story, dancing from section to section. Comedy is more than just laughs; it’s storytelling.

“I am so good at cheering people up, since I was very little,” she said. “I had no competition with others because I’m the one and only. Nobody looks like me.”

Together, Flynn and Teruko parsed through her life stories to give the show an arc. For Flynn, it’s like carving away at what is already there to create something fun and cohesive, like a sculpture. “What’s fun about directing one-person shows like this is that it’s usually just two people in a room putting something together,” Flynn said.

Bringing the show back this year, the work gets sharper and tighter, but the biggest shift is in its conclusion. Once optimistic about the future of life in America, the show now has a stronger desire to make change. There was a sense of hope in 2022 for women like Nakajima, an immigrant who sought safety in a new country and struggled with abuse from her family and strange men. Today, as Trump’s immigration policies lean on deportation and discrimination, she simply wants to be seen.

“America, thank you for not giving up on me,” Nakajima said toward the end of the show. She is proud to be American, not just because she gets to have the same nationality as her dog Titi, but primarily because of the new life it offered her. America promised happiness. Whether it actually comes is another story, but in this one, the promise itself gave her a sense of purpose.

“After the show, people come to me in person and through messages,” she said. “A lot of people said, ‘I felt like I am not alone.’ That gives me so much hope and unity. I feel safe and like I have something to look forward to because I’m not the only one.”

Flynn realized how much he took for granted while working on the show with Nakajima. “I think, even though these are scary times and things seem to be going in directions that aren’t the best, there are still great people, and there’s something that is still there and is not dying and is still fighting,” Flynn said.

When she began her acting journey, Nakajima thought she’d turn to drama, but there’s something more unguarded in comedy.

Nakajima holding up her dog Titi during a performance of “Made in America.”

(Nick Rasmussen)

“I’m very authentic and invincible through comedy,” she said.

By the end of “Made in America,” Nakajima is no longer trying to find her way back to her mother’s womb. She is confident in her place in the world. She remembers that she is a star. She brings out her dog Titi, who was hidden on stage throughout the entire performance, and shares that UCB gave her a new outlook on life. Comedy breaks away her stresses and allows viewers to be vulnerable with her.

“I always wanted to feel safe,” she said. “I never had that. Finally, I found a safe space, and then I realized that I’m actually important. I’m actually worthy. I’m so happy right now to be able to express myself through comedy because it’s the truth.”

New Jersey is launching a new fee on companies whose workers have Medicaid health coverage instead of being covered by their employers. Other states are considering it, too.

Democratic lawmakers and governors see it as a way to help pay for the joint federal and state insurance program that covers low-income residents as federal policy changes are expected to make the program more expensive for states and may lead to a reduction in the number of people with coverage.

Proponents also say it’s about fairness because employers benefit from having some lower-income workers with taxpayer-funded health coverage.

Business groups object. So do some liberal policy organizations.

New Jersey is putting the fee in place

New Jersey Gov. Mikie Sherrill signed a measure Tuesday night to charge employers that have at least 50 workers covered by Medicaid, and the state budget she approved earlier in the week counts on raising $145 million this year from the program.

Under the plan, companies will be billed for each employee and employees’ dependent receiving Medicaid, the joint state-federal insurance program.

The fees per person would start at $325 a year for companies with 50 to 249 Medicaid beneficiaries and top out at $725 annually for employers with at least 500 recipients.

A bill passed this week in California doesn’t impose a charge now, but it does direct the state administration to present lawmakers options for doing so next year.

Finishing the job would fall to the successor of Gov. Gavin Newsom, a Democrat who is leaving office in January. Democratic gubernatorial candidate Xavier Becerra has made an employer charge part of his election platform.

State Sen. John Laird, a Democrat who sponsored the California proposal, said the big tax and policy law President Trump signed a year ago was a major factor in the need for action because it could prompt the state to spend more on Medicaid to plug holes left by federal changes.

The nonpartisan Congressional Budget Office expects more than 10 million people will be uninsured because of the law by 2034. It requires some beneficiaries to work, be in school or volunteer — and requires even more to document whether they meet the requirements.

Most employees at the bigger companies would not be at risk of losing Medicaid coverage as long as they’re working at least 20 hours a week.

Laird also said there’s an equity issue involved.

“If you’re a small business person in California, you are quite likely paying for health insurance for your employees. And through your taxes, you’re paying for health insurance for some of the biggest employers in California,” he said. “And that’s not fair.”

Legislation with similar intents passed one legislative chamber in both Colorado and Oregon this year, but neither made it to law. A measure was also introduced in Washington.

Connecticut Gov. Ned Lamont, a Democrat who is seeking a third term in November’s election, has called for the same move there with the idea of making it a part of the state budget that would kick in two years from now.

Opposition comes from business and some liberal groups

It’s no surprise that business organizations have criticized the approach, which would add to their expenses.

“The fact remains that many job-creators are still going to be penalized for something they have no control over,” Christopher Emigholz, the chief government affairs officer at the New Jersey Business and Industry Assn., said in a statement. “If an employee declines an employer-provided health plan because they’d rather be on Medicaid, it is unfair to penalize the employer for that employee’s decision.”

Some left-leaning policy organizations also oppose the charges.

Gideon Lukens, who analyzes health policy at the left-leaning Center on Budget and Policy Priorities, said that while the idea may be well-intentioned, it could lead companies to employ fewer people from low-income household or single parents. He said companies could also consider the policy in decisions about whom to hire or lay off — and also on where to locate or how many workers to employ.

And, he said, it could make employees — or potential employees — less likely to enroll in Medicaid knowing it would make them less attractive to employers.

“Usually, when I see a tax on something it’s going to discourage whatever being taxed,” he said in an interview.

New Jersey’s legislation tries to address some of the concerns. It would exempt temporary, seasonal and part-time employees. It would also bar employment decisions based on a workers’ Medicaid status.

Charging companies whose workers are covered by Medicaid isn’t a new idea. At least two states have previously enacted it, and it’s been proposed in Congress.

Massachusetts lawmakers in 2017 adopted a charge on employers up to $750 per nondisabled worker who was covered through Medicaid or a state-subsidized health exchange plan. The program began in 2018 was not renewed when it expired the next year.

An even earlier policy in Maryland, in 2006, immediately affected only Walmart. An industry group challenged it in court and won, stopping the fees.

The latest generation of proposals may avoid that legal pitfall by not referencing those health plans in the legislation.

Mulvihill writes for the Associated Press.

July 3 (UPI) — Authorities in Pennsylvania’s Berks County declared a mass casualty incident when more than 100 people waiting to see a train were treated for heat-related symptoms.

A crowd of thousands gathered Thursday afternoon at the Reading & Blue Mountain Railroad Outer Station in Muhlenberg Township to glimpse Big Boy, the world’s largest steam-powered locomotive, which is currently on tour for America’s 250th anniversary celebrations.

The train’s arrival was delayed for more than an hour as local temperatures climbed to 106 degrees.

Berks County 911 started to receive 911 calls about 1:30 p.m., and ambulances and firefighters from surrounding counties were summoned to assist.

More than 100 people were treated for heat-related maladies, and 45 of those were transported to local hospitals. One patient went into cardiac arrest, but was resuscitated before being transported to hospital.

Officials said children and the elderly made up the majority of those affected.

Big Boy rolled through the station around 2:30 p.m., before continuing on toward Philadelphia.

Ken Marino loves living in L.A.

Living here has certainly been good for his acting career. Though he broke into the business as a member of NYC-turned-MTV sketch comedy group the State in 1994, he moved to L.A. in the fall of 1997 when he landed a role in the second season of “Men Behaving Badly,” an NBC sitcom. Marino shot just 13 episodes before the show was canceled. Still, he stayed in L.A., landing roles in much-loved shows like “Veronica Mars,” “Party Down,” “The Residence” and “Running Point.” He’s also co-written a few things, including “Role Models” and “Gail Daughtry and the Celebrity Sex Pass,” out July 10, which was filmed in and around Los Angeles.

In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.

“Working around L.A. and running around to jobs is how I got to understand L.A.,” Marino says. “It’s just a very comfortable city to live in. I just think it’s fun to be able to bounce around and do anything you feel like doing.”

Here’s how Marino would spend his perfect, carefree Sunday in Los Angeles.

This interview has been edited for length and clarity.

6 a.m.: Dog walking, coffee and flowers

We have two dogs. They need to go outside in the morning and eat, and they are very vocal about it. For a while, every morning at 5:58 my one dog, Dot, would start whining and moving around until I’d go “yeah, OK, let’s feed you.”

In our family, I’m the one who feeds the dogs and takes them out, because I’m a morning person. I enjoy it when it’s not fully light out, maybe making myself a coffee or taking a walk to this place called Project Bloom Coffee. It’s a little mom and pop kind of place and they have terrific coffee and breakfast sandwiches. They’re also a florist. Sometimes they even use this cool paper holder with a handle where, on one side you put the coffee and then on the other side you put your beautiful flower display. So then you get to walk home with your coffee and your flowers together and it’s something I’ve never seen anywhere else.

7:30 a.m.: Online chess

After I go get my coffee and walk the dogs, I’ll still be the only person up so I’ll get on my computer and get a couple of games of chess in. I play people from around the world online on Chess.com, and I usually either get frustrated or feel like I’m the best chess player in the world. Anyway, I’m getting my rating up on the app and I’m very excited about it. I’ve gone down the rabbit hole of chess tutorials on TikTok and YouTube that teach me how to play better.

9 a.m.: More coffee and “911”

If I go to Project Bloom, I’ll bring my wife a coffee and some flowers but if not, we have a little espresso and cappuccino maker so I’ll use that to make her a cappuccino, which I’ll bring to her in bed. She’s always very happy about that and then I’ll go try to wake my [16-year-old] daughter up, which usually takes about two or three tries until I take her phone, set the timer for five minutes, and then put it on the other side of her room so she has to get out of her bed to turn it off when it sounds.

She and I have been religiously watching “911” recently. We started with Season 1 and now we’re about six or seven seasons in so I’ll make her breakfast — maybe a Nutella crepe with some little cherry tomatoes on the side, which is weird but she likes it or maybe some oatmeal — and then we’ll watch “911” and talk about our favorite characters, like Buck, Chimney and Bobby.

Noon: Lunch on the Westside

We have a little apartment in Marina Del Rey that’s right by the beach so sometimes I’ll go out there with the dogs, just to sit for a while and enjoy. I usually walk between the Venice pier and Washington Street, but sometimes I’ll go further north and walk along Venice Beach if I want to hang out with some freaky deakies.

When I’m over on that side of town, there’s a couple of places that I might go for food, like this Italian restaurant called Ospi that’s in Venice. They’re incredible. They make their own homemade pasta and it’s delicious. There’s also this chain called Guisados, and I love their tacos so sometimes I’ll do that too. Venice Ramen is good too, and they do these things called jumbo gyoza that are absolutely delicious. They’re like 2.5 times bigger than a normal gyoza, like palm-sized, and I really like them.

2 p.m.: Play practice and a pint

My daughter is in two plays right now at this place called the Morgan-Wixson Theatre in Santa Monica, so it’s my responsibility to take her over there and drop her off for practice. When I do that, if it’s a Sunday, I might want to grab a Guinness somewhere and watch basketball. There’s a bar called Weary Livers down the street that has a lot of board games and it feels like you’re in somebody’s basement, which is good. It’s also right next to the Brixton, which is another nice bar that I’ll go to from time to time if I’m waiting for my daughter to finish rehearsal because it’s a lot of driving otherwise.

4 p.m.: Garage band practice

Typically on Sunday, we’ll also have a rehearsal for the Middle Aged Dad Jam Band. [Editor’s note: Marino co-founded the group with David Wain, whom he’s known since “The State” and who co-wrote “Wet Hot American Summer.”) We’ll play for a couple of hours in David’s garage, trying out new songs and working out what we’re going to do at our next live show.

6 p.m.: Guerilla promotion

Right now, David [Wain] and I are trying to figure out different promotional things we can do for our movie, “Gail Daughtry and the Celebrity Sex Pass,” so maybe we’d do some more of that. It’s a really funny movie and we sold it at Sundance.

Anyway, two Sundays ago we walked around with our friend Frank Barrera, who is also one of the camera operators on “Gail Daughtry.” We went to the Hollywood Walk of Fame and we shot promos for the movie where we were talking to different people and pretending that the Gail Daughtry cinematic universe is vast and has been around for decades, like we were asking people what their favorite Gail Daughtry movie is. It confused a lot of them, but every once in a while somebody would say something so we’re using those for promo spots.

I also spent some time just running up and down the street being very overly enthusiastic and screaming “the new Gail Daughtry movie is coming out!” and then we shot people’s reactions, which were typically “confusion” and “not caring.” Like, “Stop yelling at me, weirdo.”

7:30 p.m.: Thai takeout

On weekends, my wife and I like to order from a specific Thai place that’s won many awards. It’s called Luv 2 Eat Thai Bistro and it’s absolutely fantastic. The crab curry is so delicious and they do these street food sausages that we crave. They come with ginger and peanuts and garlic, plus a big slab of raw cabbage and some hot peppers and we’ll eat them like popcorn, just throwing them in our mouths while we catch up on “Survivor.” The flavor is just insane, and we think about how good they are all the time.

9:30 p.m.: Checkmate

After we watch “Survivor,” usually what happens next is that we’ll end up going, “Should we watch a movie?” Then we’ll look around for a movie for a while and then my daughter will be like, “Hey, Mom! Come in here and watch this YouTube show with me” so my wife will get pulled away, and I’ll immediately pick up my computer and start playing chess again. I like to bookend my day with a quiet chess game in the morning and another quiet game at night. It’s a nice way to wind down.

I’ll typically play a minimum of about three games before my eyes start to close because they’re trying to fall asleep. That’s when I’ll quit because I’ll be making stupid moves and it affects my rating, like “Oh, I just lost that game because I fell asleep while my computer was on,” so that’s how I know when I’m done.

Herb Alpert walks up a long driveway at his rambling Malibu estate, wincing slightly after having woken up around 3 a.m. with a cramp in his left calf.

“It’s still kind of seizing,” the trumpeter says as he leads me past a garden lush with moist-looking tropical plants.

This, Alpert accepts, is the reality of life at 91. Yet the only reason he’s out here racking up steps by the hundreds on a recent morning is because he was tooling around in his sculpture studio before I arrived. And the only reason the sculpture studio is so far from his music studio — there’s also a studio devoted to his painting — is because of his huge success over the last 60 or so years.

“So I can’t really complain,” he says.

A Los Angeles native who got his start writing songs like Sam Cooke’s “Wonderful World,” Alpert has lived here in Malibu since 1972, a decade after he released “The Lonely Bull,” his debut album with the Tijuana Brass. The LP’s title track, inspired by a bullfight Alpert caught in Mexico, went to No. 6 on Billboard’s Hot 100; more than a dozen finger-snapping Top 40 hits followed, including “A Taste of Honey,” “Spanish Flea” (also heard as a theme song on TV’s “The Dating Game”) and “This Guy’s in Love With You,” which took a rare Alpert vocal turn all the way to No. 1.

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What’s more, these inescapable tunes came out on Alpert’s own label, A&M Records, which he “formed on a handshake,” as he puts it, in 1962 with his business partner Jerry Moss. The label quickly became one of the biggest independent record companies in music, with acts such as Carole King, the Carpenters, the Police, Peter Frampton and Janet Jackson, as well as a beloved recording studio complex on La Brea Avenue. (Moss, who with Alpert sold A&M in 1989 for a reported $500 million, died in 2023.)

After years working on his own and with his wife, the singer Lani Hall, Alpert revived the Tijuana Brass name in 2024 and launched a tour that will stop Sunday night at the Hollywood Bowl. We sat down in his gear-stuffed music studio to talk about it and much more.

I’m sure you heard that John Mayer and McG bought the former A&M Studios last year. I wondered what your emotional investment is in the place at this point.
I don’t have an emotional investment. Once I left the lot, I was out of there — I didn’t look back. I wanted to paint, I wanted to sculpt, I wanted to make music. I wasn’t thinking about the business.

What’s an A&M success story you took particular pride in?
Cat Stevens. I heard this kid — he was a kid at the time — at the Troubadour, just him and a guitar, and I got goosebumps. It was so beautiful and so honest.

What was Karen Carpenter like?
She was a doll. She didn’t know how great she was — didn’t think she was a great singer. One hell of a drummer too. Go onto YouTube and search Karen Carpenter’s solo on drums — it’ll knock your socks off. But she was innocent. She was lucky to have [her brother] Richard because Richard knew what to do with her in a very gentle way.

Even at the Carpenters’ smoothest, I hear deep sadness in Karen’s singing.
I think that’s a standard ingredient to great artists. Listen closely to Miles Davis and you’ll hear the same thing.

Karen struggled with her mental health, which her fame didn’t help. Did you ever feel responsible for what she went through?
I’ve gone over that question so many times in my head: If I hadn’t picked them out and signed them, would the same result have happened?

Where have you landed?
I don’t have an answer.

In a recent documentary about you, you’re talking about “Wonderful World” and you say that nobody knows what a hit record sounds like. That’s your feeling now based on years of experience. But did you think you knew when you were young?
I didn’t know then either. “Wonderful World” was a demo that Keen Records put on a shelf. When Sam started selling records on RCA Victor, they pulled it out as a lark, and it ended up one of the biggest-selling singles Sam ever had. I’ve told this story before, but at A&M a guy played a record for me — I said, “Man, this record stinks.” Well, I was turning down “Louie Louie.”

Why didn’t you understand “Louie Louie”?
It was out of tune. It was too long. I didn’t know what the hell they were saying.

That’s why it’s great.
Probably so. But did they have another hit record? Sam used to say, “Close your eyes when you listen to a new artist — don’t get swayed by whether they’re beautiful or they’re handsome or they can dance their ass off.”

OK, but you were like a heartthrob in the ’60s.
What am I now — chopped liver?

I don’t think you can say your success had nothing to do with your looks.
I don’t think it did. You know that sadness you were talking about? It’s in my horn.

I agree. But it didn’t hurt that you looked great.
It didn’t hurt once I had a hit record. It wouldn’t have given me a hit record.

Jerry Moss, left, and Herb Alpert in 1974.

(Michael Putland / Getty Images)

Let’s talk about your song “Rise.”
Got lucky with that.

In what way?
My nephew Randy, who’s one of my managers, he wanted me to take some of the Tijuana Brass records and do a little disco number with them. So we go into the studio with a bunch of great musicians, start playing “Taste of Honey” at 120 beats per minute. I got nauseous — I said, “Man, I ain’t doing this.”

Nauseous?
The record was big, and I didn’t want to tamper with it. But Randy had written this song called “Rise” with a friend of his. He wanted me to play that at 120 beats per minute too. I said, “Lookit, man — let’s slow this thing down and let people dance closer together.” We recorded it live in the studio. Julius Wechter was playing marimba — dear friend of mine. I said, “What do you think of this thing? Pretty cool, isn’t it?” He turns around and says, “I hate it. That beat — the four-on-the-floor is killing me.” I expected a different answer from him. But it didn’t matter.

What’d you make of the Notorious B.I.G.’s sampling “Rise” for his “Hypnotize”?
How could you not like that record? These guys that take your bass line and make a record by pressing a button — I think that’s cheating a bit. But there’s 70 zillion streams on that song. Can’t deny it.

“Rise” was also sampled by the rapper Nas for his song “Power, Paper & P—.”
I don’t know how to comment on that one.

A lot of musicians from your generation have been selling their catalogs lately. Have you considered it?
There’s no reason to — I don’t need the money.

I wrote about Frankie Valli a few years ago, and he and Bob Gaudio seemed eager to have this company Primary Wave out there finding ways to —
Monetize the catalog. I get it. But they don’t have to do that with us. I don’t know if you know what’s happening, but I’m in the heyday of my career right now.

Right now?
It wasn’t my idea to get the Tijuana Brass back together again. My nephew, he’s a social media guy, and he went around the world to see what songs of mine were selling the most. Turned out there were about 18 songs. I started listening to the 18, and at the end, I felt happy, I felt joyous, I felt a smile was on my face. I thought, Man, let’s try this — this might be interesting. We started doing it, and we’ve been sold out 50 concerts in a row.

It strikes me that without the Tijuana Brass, you weren’t playing the Hollywood Bowl.
Hell no, I wasn’t.

What’s that say to you?
That the music is touching people. The times we’re living in, there’s a lot of doubt with what’s going on, and I think people are getting some positive energy from it.

You’re a lifelong Angeleno. Lots of well-to-do folks say that L.A. has gone to hell in a handbasket. What’s your take?
I think it’s pretty much the same all over the country.

Which is?
Gone to hell in a handbasket. People are confused about where they’re going, whether they’re gonna be able to have enough food on the table, whether they can afford gasoline. I’m not saying it’s all bad — it’s just hard to make sense of a lot of it for a lot of people, including the guy you’re talking to.

Your music has pulled from any number of cultures. Do you think it speaks of your Jewish identity?
Most definitely. My father was born in a shtetl outside Kyiv — didn’t speak Russian, spoke Yiddish. He brought his mandolin with him when he was 16 years old on a boat by himself and landed at Ellis Island. He used to play songs for me on the mandolin. When his nostrils flared, I knew he was into it. That kind of got me.

Jewish meets Mexican feels very L.A. to me.
I think we’re all a product of our surroundings. In high school I used to go see Gerry Mulligan and Chet Baker, and I was touched by them. Of course, they were loaded.

What kind of guy was Chet Baker?
A troubled guy who was a brilliant musician. I gave him one of my horns, and he pawned it the next day. He was sweet but he didn’t have a hold on his emotions.

Not great for living, obviously. But good for music?
Well, you’re opening up a whole can of worms. I mean, why did so many great jazz musicians get hooked on drugs? Maybe guys that were hung up on being a human being, they found that getting stoned helped them through the struggle. I recorded Stan Getz the first time he ever recorded without drugs. It was at A&M — he was wearing this red silk shirt that had sweat stains under both arms. He had like 75 reeds on the ground because he couldn’t pick out the right one. He finally found the right reed, got over the anxiety and started playing — same Stan Getz you heard throughout his career. These guys were under the assumption that being stoned would change what they played. I don’t think that holds any water.

Was there a time you thought it might be true?
I did experiment with grass once. Turned on a recorder, took a puff, started playing some jazz. Took another puff, started playing some more jazz. I listened to that recording the next morning — it was terrible.

(Robert Gauthier / Los Angeles Times)

Can we do a little Herb Alpert trivia to finish?
Do I have a choice?

“A Taste of Honey” won record of the year at the Grammys in 1966.
You’re gonna ask why.

You beat the Beatles’ “Yesterday.”
No kidding?

The year after “Taste of Honey,” you were nominated for record of the year again with “What Now My Love.” That one you lost. Remember what you lost to?
Not “Louie, Louie.”

“Strangers in the Night.”
That’s a real pop song. Love the guy, but not my favorite by him.

What’s your favorite Sinatra song?
“Only the Lonely.”

“This Guy’s in Love With You” — great vocal performance. Why didn’t you do more?
I’m not a singer.

Sure you are.
I know it’s a great performance. But it was one take, man — I did that in one take.

This is what I’m saying.
Look, I had an interesting guy in the sound booth who did the arrangements named Burt Bacharach.

I read that you talked with Burt a few times a week until he died.
I did, and not about music. We talked about football, basketball, politics, you name it.

What’s your basketball team?
Lakers.

Hard to be a Lakers fan these days.
Easy to be a critic.

In an era hallmarked by what experts call a “sex recession,” Six Sex is a symbol of liberation.

The Argentine baddie fashions herself as a baby-voiced, bikini-clad fembot, beamed in from the clubs of Buenos Aires — and has become known for cheeky, instructive celebrations of desire. Her songs are designed to galvanize like-minded club rats into Dionysian revelry, or, in the case of the song “How to Make Your Ass Bigger,” squats.

To a certain subset of the Latine underground, she represents a pure-hearted hypersexuality. Yet, for the artist behind the persona, Francisca Agustina Cuello, this wasn’t always the intention.

“I don’t know if it was because I still had to keep my innocence or what, but I didn’t envision the project that way,” she said, calling from a hotel room in Barcelona. “That response sort of came about from the people, towards me. So, I said OK, I’m making it my own.”

In doing so, Cuello has churned out six thumping EPs as Six Sex, a campy character that she describes as a “fable” — a mix of “fantasía y hedonismo.”

That dynamic is taken to extremes on her debut album, “Ultra”, released June 6. It’s a dark and propulsive journey through decades of electronic dance music, best described by its own opening words portending “ultra terrorific fantasy.” (The phrase conjures up images of grandeur, but really, it evokes that “Blades of Glory” quote: “no one knows what it means, but it’s provocative.”)

“I feel like nothing I say is all that serious,” she said about her lyrics. “It’s a thing about my personality to be silly and goof around.”

“Ultra” centers Cuello’s winking, suggestive sense of humor. “Not Your Mom” features a conversation with a garbled, omnipotent voice akin to the parents in Charlie Brown; “FUchi!” features schoolyard taunts about “low dickie energy;” the album ends with “No More Porn,” a playful yet powerful subversion of sexual expectations.

“At the same time, for me, that acts as a filter,” she added with a laugh. “Weeding out the people who get scandalized by it, and identifying the people who get it and say: ‘Yas, yo también quiero tener cuatro novios.’”

Earlier this year, Cuello took the stage at Don Quixote, performing in front of a sold-out crowd for her Los Angeles debut. The smell of sweat permeated the air as she ripped through several of her hits — including collaborations with Reysha Rami and German producer MCR-T. Every single one of her signature ponytail flips sent the room into hysterics. The audience screamed every word at the top of their lungs; it was the loudest, most raucous show I’d been to in years.

Cuello took a breather in the middle of her world tour to chat with De Los over Zoom about all things Six Sex: her new record, her writing style and how it feels to connect with fans spun into febrile intensity.

This interview has been condensed for clarity and was translated from Spanish to English.

“[I’m] weeding out the people who get scandalized,” says Six Sex of her provocative music.

(Catalina Jacobo)

I was really taken by the “Ultra” album cover. You’re wearing a white bikini and in this “come to Jesus” pose. What was the goal?
[laughs] It was hard, because I wanted the cover to represent what the entire journey of the album meant to me. I was looking for something strong and heavy in visual terms, because with “Ultra”, this is the first time I’ve finished a long, heavy project and I see the start of something. It’s like something new was unlocked. I found a new way to convey feelings, and a new way to create as well. It’s not like I just finished, and it is what it is. Rather, it is the beginning of something bigger.

Is there an element of separation at all between the artistry and you as a person?
I think they’re pretty close. It’s as if Six Sex was sort of a fable, or like a hentai or comic [version of] my life. It’s also happened that things I wrote as a joke later became reality. But generally, I draw inspiration from things that actually happened to me.

Is it weird to put those intimate experiences on an album?
No, not for me. Because I’m not speaking so seriously, I don’t feel exposed. Even though my persona and my character are very close to one another, I don’t have to prove anything to anyone. I’m not trying to make you believe in something. The songs stop being about me as soon as someone else listens to them. There are certain things we can all see ourselves represented in, and I think my music aims for that, too.

I want to ask about your performance style. I saw you live in Los Angeles and was really taken by the energy exchange between yourself and the crowd. How do you approach live performance?
Nowadays, I’m in a balance between performance and being a human being that connects with people and can pause to look in the eyes of the audience to register how they feel. I like being in a showgirl role, and at the same time, knowing when to step out of it.

Sometimes I go up there after having a crappy day, thinking that I’m gonna screw it up. And when I get up there and connect with the people, everything flows in a perfect way.

Does the music transform when it’s performed live, versus on a record? A lot of your music seems designed to be played in the club.
I think it’s very personal. For me, I’m a bit autistic; sometimes when I’m at a show, I get different sensations. It really depends on the person. I like seeing people’s reactions live when I start playing these songs for the first time. People were super hyped. They were enjoying them and jumping around a lot. It feels really fresh.

You reference ‘90s club classics all over “Ultra,” including by U.K. band the Prodigy on “Bitch Up.” How did these sounds come into your life?
These sounds evoke a special kind of nostalgia for me. Even though I hadn’t been listening to them lately, they sounded like something I wanted to bring back to the table — songs my uncle used to listen to when I was really young. Like a CD [of] pirated songs that somehow ended up at my house, and at the time I was like, “Wow, what is this music?”

There’s an element of Six Sex that gives “fembot,” like a female, sexy robot. I’m curious if you feel that playing out in your work.
[laughs] I didn’t know about the fembot thing. I don’t use Twitter. I [keep] a bubble… against some things that I don’t know. But I’ve always liked the idea that people have that perception of me, to some extent.

How do you feel about the rise of AI as a musician, especially considering your persona adopts that perception?
I mean… I don’t have a formed opinion on the matter. I do think that, I don’t know, it’s all very relative. For one thing, I obviously feel like it strips away the human value, but at the same time, it’s also a tool for humans. So it’s kind of contradictory. I feel weird about it…. I don’t know.

Zooming out, I’ve noticed Argentina has been having a musical moment over the last few years between yourself, Ca7riel y Paco Amoroso, Juana Rozas… How do you feel Argentina being represented or even challenged in your music?
I feel that culturally, Argentina is a very rich country. However, I do feel like, over generations, a paradigm was broken, and new sounds have been created that don’t necessarily abandon the roots of our music, but were created out of counterculture.

That same kind of counterculture is what makes Argentina be in such turmoil. It’s also the context of our country. Economic, political, social. The key Argentinian figures we refer to nowadays are constantly changing. And that allows you to listen to a variety of genres from Argentina, from people doing different things, and at the same time raising the flag and saying: “Yo soy argentino.” And we love that.

WASHINGTON — Immigration and Customs Enforcement arrested 10,000 people over a five-day period at the end of June, marking a major push by the agency tasked with carrying out the Trump administration’s mass deportations agenda.

The arrest numbers, obtained from a person familiar with the information who spoke anonymously to discuss data that has not been publicly released, comes after the agency shifted its approach from high-profile arrest sweeps in major American cities to quieter ways to reach President Trump’s deportation goals.

The figures indicate that while the administration is no longer cracking down on individual cities, the arrests continue and are surging.

The total number of arrests during the five-day period starting Friday and ending Tuesday translates to roughly 2,000 arrests per day. It was not clear where the arrests had taken place.

The spike in arrests was first reported by The New York Times.

“Since Day One, DHS law enforcement has been delivering on President Trump’s promise to the American people to arrest and deport criminal illegal aliens including murderers, rapists, pedophiles, gang members, and terrorists,” said the Department of Homeland Security in a statement. “Our message is clear: if you come to our country illegally, we will find you, we will arrest you, and we will deport you.”

The arrests news also comes as the number of people entered into ICE detention facilities climbed in June to roughly 39,000 after hovering near 30,000 per month since February, according to information obtained by the Associated Press.

ICE doesn’t publicly release arrest data, making exact comparisons with previous periods difficult. But according to data provided to UC Berkeley’s Deportation Data Project and analyzed by The Associated Press, 2,000 arrests per day would mark a sharp increase over previous periods.

December had the most ICE arrests since the beginning of the Trump administration, and that month only averaged 1,283 arrests per day nationwide.

In January, at a time when the administration flooded the streets of Minneapolis and surrounding regions with hundreds of immigration enforcement officers, arrests averaged about 1,212 per day across the country.

But that proved to be a turning point in the Trump administration’s mass deportations agenda after two American citizens were killed by immigration officers while protesting the crackdown in Minneapolis.

Border advisor Tom Homan started drawing down the number of officers in Minnesota as the agency stepped back from the flashy surge operations that had been common during the tenure of then-Homeland Security Secretary Kristi Noem.

Operations under Noem, headed by former Border Patrol Chief Gregory Bovino, were marked by frequent clashes between immigration enforcement officers and protesters in footage that was often splashed across the Department’s social media channels.

In February, immigration arrests fell to 1,057 a day, according to information from the Deportation Data Project. The Project sued through the Freedom of Information Act to obtain the ICE arrests data, and it is only current through February.

After Noem was fired, her successor at Homeland Security, Markwayne Mullin, suggested he’d be taking a more low-profile approach to immigration enforcement and he aimed to get the department out of the headlines. But Mullin was expected to adopt Trump’s priorities on immigration.

Santana writes for the Associated Press.

Former NFL running back Chris Johnson has issued a challenge to his family, friends and fans — one that could quite literally send a chill down the spine of those who remember a certain viral trend from more than a decade ago.

A quick refresher: A social media sensation went viral in 2014, involving people posting videos of themselves having a bucket of ice water poured over their heads and challenging others, by name, to do the same.

The trend was often referred to as the ALS Ice Bucket Challenge because many folks used the videos to raise awareness for and funding to help fight the degenerative neurological disorder amyotrophic lateral sclerosis, commonly known as ALS or Lou Gehrig’s disease.

Johnson, a three-time Pro Bowl selection who holds the NFL record for most yards from scrimmage in a single season, on Tuesday revealed on “Good Morning America” that he has been diagnosed with ALS. Soon after, former Utah basketball player and sports content creator Hunter Mecum posted a video on Instagram in which he dumped a large bowl of ice water on himself in Johnson’s honor.

That video inspired Johnson to bring the movement back.

“Man… the love y’all have shown me these last few days really [means] more than you know. Me and my family appreciate every prayer, message and every bit of support,” Johnson wrote on Wednesday on Instagram.

“After seeing @huntermecum video, I’m asking y’all to help me with something. Let’s bring back the ALS Ice Bucket Challenge. Grab a bucket, challenge 3 people and if you can, donate to help fund ALS research.”

Johnson included a link in his bio to a fundraiser for ALS research set up in his honor. As of Thursday morning, it had raised more than $32,000.

The retired player known as CJ2K also called on three people to accept the ice bucket challenge — ex-Tennessee Titans teammate LenDale White and fellow former NFL greats Marshawn Lynch and Adam “Pacman” Jones.

So far, White and Lynch have accepted Johnson’s challenge. Lynch, the former star running back for the Seattle Seahawks and Oakland Raiders, obliged by getting hailed on by a bucket of ice.

White, who was Johnson’s “Smash and Dash” counterpart in the Titans backfield, took the traditional ice water route and nominated former NFL players Deion Sanders, Vince Young and Michael Sims-Walker, who was on hand at the time and accepted the challenge in a separate video.

Johnson also posted a video of his daughter Honey Love taking the challenge, with White handling the ice-bucket duty. She nominated her brothers and former Lakers superstar LeBron James.

James hasn’t yet responded, but he was one of the many celebrities who took part in the original challenge 12 years ago. Others included Kobe Bryant (who submerged himself in an ice tub), Shaquille O’Neal (who humorously poured one drop of water on his head) and Donald Trump (who joked he was nominated because “they want to see whether or not it’s my real hair, which it is”).

WASHINGTON — As America’s 250th birthday arrives this weekend, President Trump’s mark is clearly visible on Washington.

Visitors to the nation’s capital are being met with cranes hanging over the White House and construction at the site of the demolished East Wing. Fences crisscrossing the National Mall to hem in the Great American State Fair have blocked the famed sightline from the U.S. Capitol to the Washington Monument to the Lincoln Memorial.

Some fountains newly sparkle as a result of Trump’s renovations. National Guardsmen patrol the sidewalks. The partisan flavor of the Trump-aligned Freedom 250 organization’s events is on display, and the fireworks show Saturday will feature a rally-style speech from Trump, with fireworks reportedly pushed back to 11 p.m.

President Trump examines the maintenance work Wednesday on the exterior of the White House.

(Alex Wong / Getty Images)

The memorial’s Reflecting Pool, where fireworks will be set off Saturday, was barricaded from the public earlier than usual after onlookers flocked last week to see the algae and peeling paint that followed Trump’s renovation, and Trump accused vandals of tampering with it.

“You don’t have a sense of ‘land of the free’ here,” said Melissa McFarlane, 61, standing along the fencing on the Mall. She said she was born in Silver Spring, Md., and she grew up watching July 4 fireworks on the Mall with her parents.

She recalled the nation’s 200th anniversary celebrations as “open and inviting” but said this year’s “heavy-duty fencing” and the presence of National Guardsmen made it feel different.

“It’s majorly disorganized, which is weird for our country,” McFarlane added.

A sign outside Lafayette Park near the White House.

(Julia Demaree Nikhinson / Associated Press)

Trump has fixated on making changes to the nation’s capital in his second term, declaring in an early executive order that his administration would make the district “safe and beautiful.” Some of the renovations have been successful; fountains are running anew, including the long-dormant cascading water feature at the city’s popular Meridian Hill Park.

Interior Secretary Doug Burgum said Sunday on “Fox & Friends” that more than 50 parks and circles have been restored and 22 fountains, along with repairs to lights on the National Mall.

“President Trump should be thanked for all he is doing to leave things better than he found them for the good of our great nation,” an Interior Department spokesperson said in a statement. “D.C. residents and visitors are experiencing working fountains, clean parks and safe streets across the district for the first time in decades, all thanks to President Donald J. Trump.”

But Trump’s growing slate of projects has drawn legal challenges from preservationist groups and raised questions about the cost to taxpayers. The $14.7-million repainting of the Reflecting Pool became particularly controversial last month after algae overtook the renovated pool and the new paint appeared to peel off.

On Sunday, the president took a tour of some of his construction sites, walking through Lafayette Park with Burgum before traveling to the East Potomac golf club he plans to renovate, which sits on federal land. Trump walked part of the property and inspected blueprints in view of reporters; he was then driven by the site where he wants to erect a marble arch.

Over the weekend, he posted on Truth Social about his improvements to the city in a post about D.C. mayoral candidate Janeese Lewis George, casting it as a “Safe and Prestigious Community” that is now at risk of being “destroyed” by Lewis George.

“I have worked too hard to make Washington, D.C., the Envy of the World, with almost No Crime, and a Beautification process that has been second to none,” Trump wrote.

Construction crews build scaffolding outside the Kennedy Center on June 13 before removing President Trump’s name from the venue’s exterior.

(Tasos Katopodis / Getty Images)

Involvement by presidents in the city’s plan goes back to George Washington, said Matthew J. Bell, an architecture professor at the University of Maryland. That is not unusual, nor is it strange for cities, including Washington, to change over time, he said.

“It’s probably more a matter of timing in terms of inconvenience for people coming for the Fourth,” Bell said of the ongoing construction. “If there had been a more coordinated plan for some of these things … it probably could’ve been managed better.”

At the National Mall, the fencing design for the state fair drew head shakes and confusion from some tourists. Visitors are corralled into a walkway by the Freedom 250-branded fencing on one side and low metal barriers on the other.

It’s normal for fencing to be used to control foot traffic for events on the mall, said Charles A. Birnbaum, chief executive of the Cultural Landscape Foundation, but he perceived the problem as slapdash placement, including of the Ferris wheel, which was put on the mall’s axis.

“Things are being plopped down,” said Birnbaum, whose organization sued the administration over the repainting of the Reflecting Pool. “It speaks to what Trump is doing at the ballroom, what he’s proposed [with] the arch — he’s just plopping these things down in major view sheds that have major historical and cultural significance.”

People walk past the Ferris wheel at the Great American State Fair on the National Mall.

(Jen Golbeck / Associated Press)

The fountains in Lafayette Park are running again near the White House on June 23.

(Andrew Harnik / Getty Images)

The state fair itself has drawn relatively few crowds, though some attendees have been enthusiastic.

On Monday, McFarlane and two friends were outside the fencing, leaning against the metal barriers in front of the Department of Agriculture, which faces the National Mall.

“It’s a little too secure,” said one of them, John, 60, who was visiting from Burbank and declined to give his last name.

He gestured over the barrier to a manicured plot with shady benches. “Here’s the People’s Garden,” he said, reading its sign, “and we can’t go in.”

A construction crane works on the White House ballroom on Monday.

(Julia Demaree Nikhinson / Associated Press)

Visitors take photos Tuesday of a model of President Trump’s proposed marble arch at the Great American State Fair on the National Mall.

(Mark Schiefelbein / Associated Press)

Early-morning joggers observer the refilling of the Lincoln Memorial Reflecting Pool on June 5.

(John McDonnell / Associated Press)

The anniversary celebrations also come on the heels of the reflecting pool controversy. Last week, after chunks of paint were spotted in the water, Trump blamed vandals for tampering with the pool and said people had been arrested at the site. Two dead ducks were found in a pond about 250 feet away from the pool.

The area last week was surrounded by surveillance cameras and patrolled by National Guardsmen as lifelong resident John Cates strolled the area.

“It’s kind of creepy,” Cates said about the security cameras mounted around the pool. “It is unnecessary that we have to have this pond deemed a high security risk. That is weird.”

The area was fenced off at the end of last week. Fencing normally occurs in preparation for the July 4 fireworks show, but it went up “a couple days early to protect the pool,” Burgum said in the Fox News interview. He said seven people had been arrested in connection with the pool.

Tom Ayers, 34, was disappointed to find the fences already up on Monday. He traveled with his father from Wisconsin for the 250th, but they were finding it difficult to get around the Mall and they were upset to see the East Wing gone.

When they reached Lafayette Park, where the fencing had yet to be removed, they were again disappointed by the obscured view of the White House. Ayers’ father recalled a different scene in 1976, when he visited as a child for the nation’s bicentennial.

“I was kind of hoping for a summer similar to that,” Ayers said, “but overall, it seems nowhere close.”

Times staff writer Ana Ceballos in Washington contributed to this report.

“Lethal Weapon” star Danny Glover has revealed he has been living with Alzheimer’s disease for years.

In an interview with NBC’s Lester Holt that aired on the “Today” show on Wednesday, the 79-year-old actor and activist opened up about living with the disease. According to People, he received his diagnosis in 2023, which was not long after he was awarded an honorary Oscar in 2022.

“I could live with it, in a sense,” Glover says of his condition, which has been affecting his movement, speech and memory. “I’m sure as it advances, things are going to be different and changing.”

A neurodegenerative disease, Alzheimer’s is a type of dementia that affects memory, thinking and behavior and worsens over time, according to the Alzheimer’s Assn. Holt reports that more than 7 million Americans over 65 are living with Alzheimer’s, with Black men suffering at a rate double the national average.

Glover and his family say the Hollywood icon is sharing his story now to “have ownership of his life” and to help remove the stigma around the disease.

“They’ve got my back,” Glover says of his family’s support.

Besides his portrayal of L.A. police Det. Roger Murtaugh in the “Lethal Weapon” film series, Glover is known for roles in movies including “Places in the Heart” (1984), “The Color Purple” (1985), “To Sleep With Anger” (1990), “Angels in the Outfield” (1994), “Dreamgirls” (2006) and “The Last Black Man in San Francisco” (2019). He’s also been a vocal advocate for social justice and humanitarian causes both in the U.S. and abroad.

He was the recipient of the Academy of Motion Picture Arts and Sciences’ Jean Hersholt Humanitarian Award in 2022.

“I don’t feel like it’s the end of my life,” he said in his interview with People about living with Alzheimer’s. “There’s work to do.”

Immigrants detained at two federal facilities in California have launched a boycott in protest of increasing and, in their view, burdensome prices at the facilities’ commissaries for items including tampons, coffee and soup.

The Times reviewed a grievance letter and spoke with three detainees who are involved in the boycott at the California City Detention Facility, about 80 miles east of Bakersfield, and at the Golden State Annex in McFarland.

More than 300 detainees are estimated to have signed grievance letters sent recently to facility administrators, according to advocates with the California Collaborative for Immigrant Justice.

Both facilities are operated by private prison corporations — the California City facility by Tennessee-based CoreCivic and the Golden State Annex by Florida-based GEO Group.

The Times has reached out to the Department of Homeland Security, GEO Group and CoreCivic for comment.

Detainees are provided certain essentials, such as food and soap, free of charge, but many also purchase items at commissary stores that are of better quality or otherwise unavailable. Detainees said shampoo and other hygiene items sometimes run out for days and that meals are small or exacerbate diabetes and other health issues.

“The three daily meals that CoreCivic provides at California City Detention Facility are the bare minimum to keep a person alive,” they wrote. “Because of this, charging inflated prices on necessities is considered price gouging and profiteering against vulnerable incarcerated population who have no ability to refuse or shop elsewhere.”

The detainees said an 8 oz. jar of Folgers instant coffee costs $18 at the California City facility, a single instant ramen soup is 75 cents and a box of 40 tampons costs nearly $21.

At Walmart, the same Folgers coffee costs $8.97, Maruchan chicken ramen soup is 50 cents and 40 Tampax tampons are $12.19.

U.S. Immigration and Customs Enforcement detains immigrants for civil purposes. Detention is meant to facilitate removal proceedings but is not meant to be punitive.

Detainees are paid $1 per day under a voluntary work program for cleaning or cooking. Many detainees rely on money from family and friends.

In their grievance letter, the detainees called the markups an unacceptable business practice with no apparent limit. They said they view the situation as an example of captive market exploitation and economic coercion.

The detainees requested a review of commissary pricing by facility leaders, a comparison of prices with prison industry standards, an immediate reduction in prices of essential items and the implementation of reasonable price caps. They also requested an increase in the portions of daily meals, including for meals meeting religious requirements, which they said are particularly small.

In May, the California State Senate passed a bill that would prohibit the excessive markup of products sold at private detention centers, limiting prices to 35% above the vendor cost. Existing California law already limits such markups in state prisons. The bill is now in the Assembly.

Priya Patel, an attorney at the California Collaborative for Immigrant Justice, represents people who have been detained at both facilities. She said that during legal service consultations, commissary pricing frequently comes up.

“The higher the prices get, the higher of an impact the conditions have on people and the more difficult it becomes to fight their cases,” Patel said.

The collaborative is one of the organizations that brought a lawsuit last year alleging inadequate medical care, as well as insufficient clothing, food, water and outdoor recreation time at the California City facility, which can hold more than 2,500 people. The lawsuit remains ongoing; in March, a U.S. district judge in San Francisco appointed an external monitor to ensure the facility provides “constitutionally adequate health care.”

The lawsuit describes multiple commissary-related issues. For example, it says the facility doesn’t provide headphones for tablets, making private phone calls — including privileged calls with attorneys — impossible unless the detainee can afford to purchase headphones from the commissary.

“One detained person has difficulty walking and standing for extended periods of time without shoes that provide arch support,” the complaint says. “He arrived at California City with appropriate shoes to accommodate his mobility disability, which were approved as an accommodation at a prior ICE facility. California City staff confiscated those shoes and instead provided him with plastic, orange sandals.”

“Several weeks after staff confiscated his shoes, he had an appointment with a doctor at California City,” it continues. “The doctor told the him … to buy different shoes from commissary to accommodate his foot condition.”

A contract between CoreCivic and ICE for the California City facility, dated April 1, 2025, says the contractor must provide notice of any price increases and that “any revenues earned in excess of what is required for commissary operations shall be used solely to benefit aliens at the facility.”

Alfredo Parada Calderon, 52, has been detained at the California City facility since September. He said commissary prices were already high before they increased around mid-June.

Parada Calderon said he asked an ICE officer why the prices had increased so much. The officer said he wasn’t aware of the change but that the vendor is Keefe Group, which supplies commissaries at prisons and immigrant detention centers across the country.

Detainees in his dormitory submitted a grievance about commissary prices, Parada Calderon said. The answer was vague.

“They’re blaming it on inflation,” he said.

Parada Calderon said his family sends him about $100 per month to spend on commissary items, which he spends on packets of crackers, coffee, soups, soap, shampoo, deodorant and chips.

“Enough is enough,” he said. “It’s a horrible enough place to be in and you guys are making it even more horrible, not just for me but for my family. The detainees want to be heard and this is the only option we actually have — a peaceful protest.”

Tommaso Bardelli, a researcher at New York University who studies mass incarceration, said the families of most people in prison are working class and may sacrifice their electricity bill or credit card payment to send money to their incarcerated relatives. The money they send no longer pays for small luxuries, he said, because prisons have over the years reduced how much they spend per person on necessities such as food.

Bardelli published a research article in 2022 about inequality within prison commissary stores. Commissary is often now the difference between starving and a semi-normal diet, he said.

Eddie Huang has never felt lighter. Last month, after his debut novel, “Come Undone,” finally released, something shifted.

“I have a family. I feel healed,” he said over coffee and short ribs in Santa Monica hours ahead of a live talk with Ottessa Moshfegh, the bestselling, critically acclaimed author of Huang’s favorite book, “My Year of Rest and Relaxation.”

“People always write me off as a personality or a multi-hyphenate,” he said. “It’s a nice way of saying I’m not really good at anything. But I didn’t have any of that this time.” He leaned forward, serious. “I have to be honest. I do think the Knicks are a big, big part of it.”

His beloved Knicks winning the championship, he said, kept him from spiraling over the book. In person, Huang subdues his ironic braggadocio with polite eye contact and rolling belly laughs at his own jokes. For years, audiences have watched Huang resist whatever box you put him in. His particular brand of cultural fluency — a rapid-fire mix of food, fashion, basketball, politics and pop culture — is what made the “Gua Bao Bad Boy” impossible to categorize.

For most of his career, Huang has seemed constitutionally incapable of standing still. Chef. Memoirist. TV host. Filmmaker. Lawyer. Comic. Podcaster. His first book, “Fresh Off the Boat,” became the longest-running network sitcom centered on an Asian American family, even as Huang publicly distanced himself from the show. Since leaving post-fires L.A. for New York, he’s reopened Baohaus — returning to the kitchen that built his career. Waiting for him at home after the book tour is his wife, Natashia Perrotti, and their 2-year-old son.

Now there’s “Come Undone,” fiction that Huang called his most honest — and vulnerable — work to date.

“It’s sort of this next-gen auto fiction type thing that is creating its own rules,” Moshfegh said ahead of their Q-and-A. “It made me think about my own appreciation for the experience of male heterosexuality and how much it’s been commodified.”

The book follows Hubie, a globe-trotting food-show host drifting through Chateau Marmont, Madeo, Nobu and other “dirtbag L.A” (as Huang coins) spots. He meets Janine, his equal in appetite and id, sending him into a tailspin of yearning and loops of Sky Ferreira’s “Everything Is Embarrassing” on sadboi walks. The “two walking red flags” decide to try to make it work.

Huang called the novel an “autofictional riddle.” The puzzle isn’t especially difficult if you’ve followed his relationship with Perrotti, who co-hosts their podcast, “Canal Street Dreams.” Marrying a writer, she’s learned, often means finding out what he feels by reading it. “We’ll get into a fight,” she said, “and I’ll wake up to a Substack article about it.”

It’s also part of the private life she’s since conceded. “It’s annoying,” she added. “But now I can read it, and maybe understand him a little bit better. He’s trying to communicate through the writing, like sending somebody a song and saying, ‘I want you to listen to these lyrics.’”

The novel goes further, drawing from experiences the couple has never discussed publicly. In the novel, Hubie and Janine’s relationship pivots after an ectopic pregnancy ends in loss. Perrotti said the scene is fictionalized but mirrors a similar experience they had early in their own relationship.

“It brought us closer together,” she said. “It was the catalyst for us realizing we were serious.”

Before Huang could finish the book, the life he was writing about had to fall apart. “This book was very much about breaking up with your family to start your own,” he said. “There was a lot of anger in the book that had not been resolved.”

By the end of 2024, Huang had stopped speaking to his mother. The break followed what he described as a blowup at a Cheesecake Factory. It also unlocked the ending he’d been chasing.

Eddie Huang.

(Jason Armond / Los Angeles Times)

Looking back, Huang thinks the earlier versions failed because he was still arguing with her. He’s still trying, in some way, to communicate with her through his writing. “If there’s one person I wish would read the book,” he said, “it would be my mom.”

There were other chapters he had to close the book on, mainly Hollywood. His foray into fiction coincided with the writers’ strike, drying up all his income and future projects. That same year, he became a father. “I had to accept and realize that my value was not in making money,” he said. “Because for three years, I couldn’t.”

He recalled a particular low point researching life insurance policies. “I had to rebuild my whole self. Really love myself despite not being able to offer anybody anything.”

That new certainty didn’t make Huang any less willing to pick fights. Last year, as his documentary “Vice Is Broke” — an autopsy of the media company behind “Huang’s World” and its eventual bankruptcy — awaited release, Huang said distributor Mubi shelved the film after he boycotted the company over Sequoia Capital’s investment in an Israeli defense technology startup. (Mubi denied this and said it still planned to distribute the film.)

The ghost of Vice still lingers in today’s media ecosystem in what he called our “era of cartel journalism:” creators navigating a world of blurred incentives and corporate interests. He traced this instinct to challenge those systems back to Socrates’ “gadfly” — the person whose job was to annoy power. “As a writer, you should be challenging people,” he said. “If your memoir can be turned into a sitcom, it probably wasn’t challenging.”

Eddie Huang.

(Jason Armond / Los Angeles Times)

After the 2025 L.A. fires drove his new family back to New York, Huang went back to cooking. He worked pop-ups, reopened Baohaus and found himself alongside line cooks half his age. In March 2025, he rewrote the novel in five days. That same month “was the first month I didn’t overdraft my credit card,” he said, with the majority of his income today coming from the restaurant. It’s allowed him to make films, write books and walk away from deals he doesn’t believe in. “Being a chef is the anchor that allows me to maintain my artistic integrity.”

For years, comparisons to Anthony Bourdain followed Huang everywhere. The two eventually became friends.

“He was one of the few people who was as advertised,” Huang said. “Nicer and more generous in person. And wounded.”

Bourdain is the only real person who appears in “Come Undone” under his own name.

When Huang mentions him, he stops talking. He covers his face. Tears come.

“I don’t believe in God,” he said, “but I asked the universe why for many, many years.”

Bourdain’s suicide, he said, was one of the reasons he walked away from “Huang’s World” in 2018. At the time, few people understood why. “It was Tony. It was family. It was everything.”

Eddie Huang.

(Jason Armond / Los Angeles Times)

Now, looking back, Huang thinks he was writing “Come Undone” toward a different ending than the one he’d imagined.

“This book is a guy saying, ‘I don’t want to be like my biological father,’” he said. “And, in the most respectful, loving way, I don’t want to go out like Tony.”

He paused. “I needed to name the sadness in me. I needed to allow myself to be loved.”

Huang is already writing another memoir about getting back into the kitchen. Still, he said, these days, he’d rather write fiction.

Rudi, an L.A. native, is a freelance art and culture writer. She’s at work on her debut novel about a stuttering student journalist.

Seoul Mayor Oh Se-hoon promised Wednesday to provide more opportunities for the younger generation, who are facing severe economic threats, including drastic changes in the job market, as he began his fifth term at the helm of the city government.

Oh was reelected for a fifth term in the June 3 local elections — the first such case in South Korea’s political history. During his inauguration ceremony held at Seoul City Hall, he delivered five pledges, including providing Seoul’s youth with education and housing.

“Today’s youths are facing great pressure to survive more than ever before amid rapid job transformations, technological shifts and high housing prices,” the newly inaugurated mayor said.

Oh said he would ensure that every young citizen can learn and utilize artificial intelligence (AI) so that no one gets isolated from ongoing technological developments.

“I will make a Seoul where people can grow as much as they work and be recognized solely for their skills,” he emphasized.

Oh also promised to supply 310,000 newly built housing units by 2031 and complete urban railway projects to open an era where “a subway station is within a 10-minute walk of every home.”

He further pledged to create a city where residents can find a place to exercise within a 10-minute walk from their homes and vowed to revitalize local commercial districts by providing comprehensive support for small business owners.

“Making Seoul a global top three city is not just about raising its international ranking,” Oh said. “It means transforming it into a city where global citizens want to visit and where our residents want to live for a lifetime.”

Oh previously served his first two terms as the capital’s mayor from 2006 to 2011, when he voluntarily stepped down after losing a municipal referendum on a citywide free lunch program.

Following a decadelong hiatus from public office, Oh made a dramatic comeback by winning the 2021 mayoral by-election, stepping into his third term. After finishing his third term and winning reelection in 2022, he served his full fourth term until this year.

“I will work with the mindset that true achievements are only those felt by the citizens,” Oh said.

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CHARLOTTESVILLE, Va. — He’s a prize-winning presidential historian who wrote an entire biography of Thomas Jefferson. But even Jon Meacham needs to think for a moment before defining what it means to be a “Jeffersonian.”

“Well for a long time, before the civil rights movement, it meant to be more inclined toward states’ rights and limited government,” says Meacham, the National Constitution Center’s Semiquincentennial Scholar. He then pauses, and asks to start over, recalling how President Franklin Delano Roosevelt evoked Jefferson as an “apostle of liberty” who would have supported the U.S. fighting the Nazis in World War II.

You could define it in so many ways. Historians may argue over the “greatness” of individual founders, but as the country’s 250th anniversary approaches many agree that no one’s life and work resonates like Jefferson’s. He embodied the “very best and the very worst” of the United States, Meacham says.

And a great deal in between.

America’s birth is rooted in his most profound contradiction — the man who proclaimed that “all men are created equal” while being a slaveholder to the end of his life. But Jefferson advanced and explored both sides of so many issues and world views that have defined the country’s path: agrarian self-sufficiency and worldly innovation, pluralism and separatism, limited government and dreams of an “empire of liberty.”

“There is no more malleable figure in early America than Jefferson,” says Andrew Burstein, a professor of history at Louisiana State University who has summed up Jefferson’s legacy in a book he published a decade ago: “Democracy’s Muse: How Thomas Jefferson became an FDR Liberal, a Reagan Republican, and a Tea Party Fanatic, All the While Being Dead.”

“There have been times in American history when just about everyone would have considered themselves ‘Jeffersonian,’” says historian Peter S. Onuf, author of numerous works on Jefferson. “Yet even at those moments, he was a controversial figure.”

It’s an argument without end

Jefferson’s legacy is debated even in settings that owe their existence to him.

On the campus of the University of Virginia, the college he founded and regarded as a signature achievement, stands a memorial to thousands of enslaved people who lived and worked there.

At Monticello, the mountaintop estate and plantation outside of Charlottesville where Jefferson lived when not in public office, a banner near the entrance features the Declaration and the caption, “After all, our guy wrote it.” But once on the grounds, reminders of his enslavement of hundreds are found throughout, from its “Burial Ground for Enslaved People” that includes dozens of graves to an exhibit dedicated to Sally Hemings, the enslaved woman with whom Jefferson is widely believed to have had six children.

Monticello’s director of historic interpretation and audience engagement, Brandon Dillard, cites the staff’s mission “to tell unflinching stories of America’s complex origins and fitful progress toward the ideals Jefferson articulated in the Declaration of Independence.”

Jefferson regarded Monticello as a refuge from the times, but the times inevitably find their way here. A guide on the gardens and grounds tour points out that a foldable plant Jefferson tried and failed to grow — the “Mimosa Pudica,” or “sensitive plant” — now thrives because of climate change. The visitors’ center is LEED Gold-certified for green energy, Dillard says, and geothermal systems have been installed in other buildings for temperature control.

Monticello raises questions old and new about race. Virtually all of the guides are white, an issue Dillard notes is prevalent nationwide. A recent survey released by the American Association for State and Local History found that around just 10% of workers at museums, historic sites and historical societies were nonwhite and that many “Latino/a/x, and multiracial respondents reported higher rates of discrimination and harassment.” (Dillard declined to answer in detail the experience of guides of color at Monticello.)

There is a Jefferson for every occasion

Jefferson’s contradictions date back through much of American history; he was claimed by both sides of the Civil War and both sides of the civil rights movement.

Nineteenth-century Confederates and 20th-century segregationists cited his defense of states’ rights, while Abraham Lincoln and civil rights leaders emphasized Jefferson as the author of the Declaration of Independence. In the space of a few months in 1963, he would be invoked in the inaugural speech of Alabama Gov. George Wallace as he vowed defiance of federal efforts to integrate the state’s schools and by the Rev. Martin Luther King as he delivered his “I Have a Dream” speech during the March on Washington.

Roosevelt enlisted Jefferson as an ideological ally for the New Deal (the Thomas Jefferson Memorial in Washington, D.C., began as a New Deal project) and a former New Dealer-turned conservative, President Reagan, held up Jefferson decades later as a foe of wasteful spending. Jefferson has been cited often by free-speech advocates for his crucial support for the Bill of Rights, while President Trump has quoted Jefferson’s 1807 lament that “Nothing can now be believed which is seen in a newspaper” as an implicit endorsement of his modern war against “fake news.”

Jefferson has also been placed on either side of today’s divide over immigration. Ibram X. Kendi, author of “How to Be an Anti-Racist,” cites his well-documented belief in colonization for Black people as inspiration for contemporary scapegoating and xenophobia. Meanwhile, at a time when the Trump administration is aggressively trying to restrict immigration and even denaturalize some citizens, Monticello continues its decades-old July 4 naturalization ceremonies, with Virginia Gov. Abigail Spanberger scheduled as this year’s keynote speaker.

“As new citizens share their personal stories every Fourth of July,” Dillard says, “we are reminded that the values uplifted in that Declaration are values toward which people from all backgrounds aspire.”

Many Monticello visitors, many reasons to visit

Monticello attracts hundreds of thousands of visitors each year. They come for many reasons.

Erin Porter is a Virginia native in her 40s who until recently had never been to Monticello and wanted to cross it off her bucket list, while Nathan Jaycox of Connecticut is a former nuclear engineer now seeking to absorb history for a class he hopes to teach. Duane Cromwell, a longtime resident of Vancouver, was here on a very personal mission.

Cromwell, 70, grew up in Greenville, S.C., where she was taught that slavery was “an economic necessity” and learned nothing about Jefferson’s history of enslavement. In town last month for a family reunion, she arrived at Monticello anxious to get past the “whitewashed Southern version” and the myths of evil “yankees” and the victimized rebels who defied them.

“Did you (ever) notice kudzu growing up over trees and buildings while in the South? It is an invasive plant brought to the region to control erosion. Well, it is like racism. It is pervasive, part of the horizon, always there but soon you don’t notice it,” she says.

“Having said that, I do think that people do go along better, there is more interactions, relationships than when I was growing up. Everyone needs each other and in the South, there is a great sense of humor and friendliness that help people navigate the awkward moments.”

For Cromwell, Monticello was a chance to educate herself, to become a better person — and, like countless others before her, using Thomas Jefferson as a prism.

“Isn’t that what it’s all about?”

Italie writes for the Associated Press.

Kara Swisher is everywhere.

She’s filling in for Joy Behar on ABC’s “The View.” Appearing alongside Meryl Streep in “The Devil Wears Prada 2.” Starring in a CNN documentary. Preparing a national tour. And churning out four podcasts most weeks featuring long-form interviews and commentary.

It’s a ubiquity born of more than three decades chronicling the technology industry with a professed indifference to power that vaulted her into a rare echelon of journalism celebrity.

She harnessed that reputation to persuade rivals Steve Jobs and Bill Gates to appear onstage together and make Mark Zuckerberg so uncomfortable under questioning that he broke out into a sweat. She had Elon Musk’s cellphone number — the two aren’t currently speaking — and often texts tech and business leaders.

She’s betting the influence that made her a Silicon Valley force will translate into politics as podcasts supplant traditional media as a destination for candidates seeking attention.

During President Donald Trump’s second Republican term, potential Democratic presidential candidates ranging from California Gov. Gavin Newsom and former Vice President Kamala Harris to onetime Transportation Secretary Pete Buttigieg and former White House chief of staff Rahm Emanuel have appeared on Swisher’s shows. She expects that roster to grow.

“We get called by all the presidential candidates,” the 63-year-old Swisher said in an interview at her home in a leafy corner of Washington, where her trademark high self-regard was on display. “We’re going to get to all of them.”

Swisher is hardly the only podcaster talking politics. Conservatives like Megyn Kelly and Tucker Carlson and some liberals like the former Barack Obama aides who host “Pod Save America” have larger audiences. They’re all dwarfed by Joe Rogan.

But Swisher, who has evolved from a traditional print journalist to business owner and podcast host, has few rivals who can match her technology expertise and connect those observations to the broader political debate.

“When I first went on her podcast when I just got into Congress in 2017, she was very well respected in tech circles,” said Rep. Ro Khanna, the California Democrat whose district includes Silicon Valley. “But now she’s emerged as a larger cultural force, especially at a time where there’s such anger at the tech billionaires and tech arrogance.”

Interviews that produce revealing moments

When she’s not on the road, Swisher typically records from a basement studio in the Washington home she shares with her wife and children and a cat named Lovely. The conversations on her interview podcast “On with Kara Swisher” are often referenced later on “Pivot,” which she co-hosts with entrepreneur Scott Galloway.

They frequently produce revealing moments, as when Newsom filled in for Galloway on “Pivot.” Swisher derided him for being too easy on Steve Bannon when the longtime Trump aide appeared on Newsom’s own podcast.

“You had an opportunity to engage,” Swisher pressed. “Why not engage?”

Swisher pushed Buttigieg on why he took so long to say President Joe Biden, a fellow Democrat, shouldn’t have sought reelection. Buttigieg said he wasn’t consulted.

“Sure, but you have eyes,” Swisher responded.

In an interview, Newsom said Swisher calls him out.

“She’ll send me missives unsolicited,” he said. “She’s usually right, and it drives me crazy.”

Even Sen. Thom Tillis of North Carolina, a rare Republican to go on her show, said it was a worthwhile experience despite being pressed on whether his willingness to speak out against the Trump White House emerged only after he opted against reelection.

“If you’re a politician, you should be able to walk up anywhere and hold your own,” Tillis said, adding, “You may end up having an opportunity, like in my experience, to give a completely different perspective.”

‘Pivot’ was initially focused on tech and business

Shaping the political conversation wasn’t the objective when “Pivot” launched in 2018. Galloway, who hosts his own “Prof G” and “Raging Moderates” podcasts, recalled the idea for “Pivot” was to focus on the intersection of technology and business.

“Show me a big business or tech story, and I’m going to show you a political overlay,” Galloway said.

The expansion converges with a sense of urgency among Democrats to be more aggressive on digital platforms, where audiences are increasingly concentrated.

“The single most important quality that every candidate needs to have is the ability to talk and the ability to talk anywhere,” said Teddy Goff, the co-founder of Precision Strategies and the digital director for Obama’s 2012 presidential campaign.

Democrats are still stung by Rogan’s nearly three-hour Trump interview in the final weeks of the 2024 campaign. Rogan who doesn’t consider himself a journalist, has said Harris’ campaign didn’t agree to his terms. Harris has described being spurned by Rogan.

The podcasts add up to influence and financial success.

Galloway said “Pivot,” which is effectively a joint venture between himself, Swisher and Vox Media, will be a $15 million to $20 million business this year, with a staff of just five.

“Podcasts are the NBA,” Galloway said. “There’s a small amount of people making a lot of money.”

A goal to be popular ‘among the entire populace’

While Swisher largely hosts Democrats, she hopes to soon bring on additional Republicans and said she texted Steve Hilton’s wife, a former Google executive, in hopes of booking him shortly after he advanced in California’s governor’s race.

“What we’re going for is to be popular among the entire populace,” she said. “So that people who don’t feel they want to be in a constant state of anger, whether it’s on the left or the right, can have a place to go.”

But her barbed comments about Trump and other Republicans could complicate that goal. Swisher describes her work as “reported analysis.”

“We don’t shy away from our faults,” Swisher said. “We don’t shy away from our biases. You know, we don’t shy away from things that most people try to.”

Sloan writes for the Associated Press.

DETROIT — Jerry Esters proudly displays the American flag each day on his Detroit home. A few miles away, Yvonne Pistochini says there is no scenario under which she would allow the Stars and Stripes to cast its shadow where she lives.

Both are Black.

For Esters, the flag represents the opportunities that allowed the great-great-grandson of slaves to find success and flourish. Pistochini, 79, simply says the America identified by the flag is not the same country she saw growing up.

Americans’ views of “Old Glory” are divided by politics, age and race, according to a new survey conducted by the Associated Press-NORC Center for Public Affairs Research ahead of the nation’s 250th birthday celebration.

Republicans and older, white adults are especially likely to say they fly the American flag, while younger Democrats and Black adults are more likely to say they don’t fly it. Views of the flag — and whether it’s a unifying or divisive symbol — track with other deep divisions among Americans, who see their country’s history and accomplishments very differently.

“A lot of Black Americans see the flag as a symbol of both inclusion and exclusion,” said Matthew Delmont, professor of American history at Dartmouth College. “Black Americans, more so than white Americans, also understand the flag can be used to justify a version of patriotism that is rooted in exclusion, with the flag being used to say ‘you don’t belong here.’”

The survey of 2,596 adults was conducted April 16-20. It suggests that older white Americans, especially Republicans, are more likely to see the flag as unifying.

About half of U.S. adults said they display the flag at home throughout most of the year, or during holidays. About 7 in 10 Republicans and about 6 in 10 Americans ages 60 and older fly the flag at least during holidays.

About 6 in 10 Democrats and independents, on the other hand, say they “never” fly the U.S. flag. That includes the vast majority, 75%, of Democrats under 45.

Opportunities worth fighting for

Esters, a 64-year-old retired clay sculptor for a Detroit automaker, flies three American flags at his Sherwood Forest home on the city’s west side.

“When these homes were built, Black men like me, my mother and my family … we couldn’t even buy these homes,” he said. “To me, that’s one reason I fly the flag. We went through a lot to be able to own nice homes, and this is what we fought for.”

The other reason is Moriah Martin, Esters’ great-great-grandmother, who was born into slavery.

“I’m kind of living out her dreams — what I did for a living, having a business, having a nice home,” he said. “I think that’s the American way, but we got to fight for it and we, as Blacks, fought for it.”

He’s in the minority among Black adults, according to the survey, which found that only about 3 in 10 Black adults say they ever display the American flag, compared with about half of white and Hispanic adults.

Pistochini says current divisions over political leanings and perspectives, and inequality of opportunities for the poor and people of color are not what she believes the flag should stand for. People confuse flying it with being patriotic, she added.

“Just because you fly a flag doesn’t make you a patriot,” Pistochini said. “If there was patriotism, we would not have all this. We can’t look at (what’s going on) and say this is America.”

For country and freedom

Ben Gaskins, chair of political science at Lewis & Clark College in Portland, Oregon, says the flag is an important symbol of patriotism for many Americans.

“It is those who are older people, who are white and people who are more conservative,” Gaskins said. “They take it as more central to their identity.”

Nancy Hansen, a 73-year-old retired Customs and Border Protection clerk in Culvertson, Montana, believes “you have to be for the country, no matter what” and that the flag means “freedom.”

“Freedom to live where we want to live, travel where we want to travel, raise our kids where we want to raise our kids,” said Hansen, who is white and identifies as Republican.

Each year around July 4, the American Legion posts flags outside businesses and homes in Culvertson, including Hansen’s home.

Linda and Greg Cunningham also equate the flag with freedom.

The white, conservative Pontiac, Michigan, couple are going all out this summer. The exterior of their home northwest of Detroit is awash in red, white and blue. The flag sits atop a flagpole just feet from their door.

“It’s no political thing, at all,” said Linda Cunningham, 63. “It’s our freedom. I love the American flag. I love the whole concept of it. I love America. I know there’s so much going on in the world, right now, and I know everyone has their own views, and I’m just sad that politics have to be brought into the flag.”

Flag as a ‘painful reminder’

Of those who took the survey, 47% see the flag as a “more unifying” symbol. About 16% call it a “more divisive” icon, while 36% say it’s neither divisive nor unifying.

Only 22% of Black adults see the flag as a unifying symbol, compared with 55% of white adults and 42% of Hispanic adults.

“It’s a painful symbol. It’s a reminder of what we could be and how it’s failed to live up to that for Black people, for Indigenous people and people of color,” said Allison Wiltz, a Black author and founder of Writers and Editors of Color.

Paul Walthour, 71, occasionally flies the flag outside his Minneapolis-area home on special occasions and some holidays. Walthour says that when he’s away from home and at his cabin, the flag goes up each morning and is taken down at the end of the day.

“This is antiquated, perhaps,” said Walthour, who is white and a retired advertising agency creative director. “I feel it’s a symbol that you’re proud to be an American.”

“Unfortunately, I kind of think it’s kind of a symbol of dividing more than uniting,” added Walthour, who identifies as a Democrat. “The people who fly it on the far right have one kind of feeling about it, and the people who fly it on the left have a different kind of feeling about it.”

The AP-NORC poll of 2,596 adults was conducted April 16-20 using a sample drawn from NORC’s probability-based AmeriSpeak Panel, which is designed to be representative of the U.S. population. The margin of sampling error for adults overall is plus or minus 2.6 percentage points.

Williams, Sanders and Parwani write for the Associated Press. Sanders and Parwani reported from Washington.

Here we go again: Twenty-five years after “Mamma Mia!” premiered on Broadway, the national tour returns to Los Angeles at the Ahmanson Theatre with show-stopping set pieces and a crew that knows the show inside and out.

The beloved jukebox musical, which chronicles a Greek wedding with three potential fathers of the bride, has taken over the Ahmanson through July 19 as part of its 25th anniversary tour, and audience members should expect a full-on ABBA sing-along dance party.

“People come dressed up,” said associate choreographer Janet Rothermel. “There’s a lot of boas, and there’s a lot of spandex, and platform shoes.”

Rothermel is one of many people on the creative team who have worked on the show since its original Broadway run in 2001. Associate director Martha Banta and associate music supervisor David Holcenberg have also seen the musical through its nearly 14-year original Broadway run, national tours and numerous international iterations (Holcenberg was its original music director).

“When we were all back together again in rehearsal, it was an extraordinary feeling,” Banta said. “Not with the same cast, but Janet, David and I and others that have done it for years. With everything that’s been going on in the world in the last three years, it was just a soothing thing to do.”

“We’ve just been embraced beyond what we were used to, which was pretty great,” she added.

Everyone involved in the production echoed a similar sentiment: that the “ultimate feel-good musical” is exactly what audiences want to see during painful or overwhelming times. The show’s traveling costume supervisor and associate designer Eva Maciek put it most bluntly: “I love working on it because nobody dies.”

Rehearsals for the original Broadway run coincided with the Sept. 11 terrorist attacks, Holcenberg explained, and he was struck by audience members’ emotional responses to the first shows.

“I’d have people coming down to the pit after the show with tears streaming down their faces saying, ‘Thank you for letting us forget the world for a couple hours and just have joy,’” he said. “Because this show is joy. It’s full of joy.”

Beyond the absurdly catchy music and the rom-com story, part of the show’s joyfulness comes from its colorful costumes and beachy aesthetic. The onstage set is relatively sparse, consisting only of a pair of rotating “taverna” walls, but backstage, hundreds of moving parts, including stage mechanics, hand props and costume changes, propel the story forward and keep the production looking effortlessly glamorous.

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Blingy microphones backstage for the “Mamma Mia!” production at the Ahmanson Theatre in downtown Los Angeles.  (Christina House / Los Angeles Times)

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Eva Maciek, the travel costume supervisor of the show, shares some wardrobe pieces backstage.  (Christina House / Los Angeles Times)

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Ryan Sander, assistant choreographer, left, and Eva Maciek, travel costume supervisor of the show, show off Sander’s “Voulez-Vous” costume.  (Christina House / Los Angeles Times)

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Life jackets backstage for a musical number.  (Christina House / Los Angeles Times)

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Shelves full of hats are seen during a backstage tour.  (Christina House / Los Angeles Times)

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The show‘s stage is seen during a backstage tour of the “Mamma Mia!” theater production at the Ahmanson Theatre.  (Christina House / Los Angeles Times)

The obvious choice for coolest costumes, according to Maciek, are the bejeweled jumpsuits worn by titular mamma Donna Sheridan (played by Jessica Crouch) and her Dynamos, Tanya (Jalynn Steele) and Rosie (Carly Sakolove). Each one has hundreds of glittering silver stars attached.

“I’m glad I’m not the one who had to sew them on originally!” Maciek joked. The costumes all originated in London or New York, but they’ve been traveling from city to city in storage “gondolas” since the current tour started in 2023, requiring constant repairs and touch-ups from local stitchers.

Thematically, Maciek said, the costumes’ evolving colors tell their own story throughout the show.

“When everybody arrives at the island, they’re all in beige with a little hint of blue,” she explained. More blue gets added by “Voulez Vous,” and then they transition into jewel tones. “When you get into the wedding scene, everybody is in pinks, soft reds, oranges and yellows,” Maciek said. “So there’s a real color story that goes throughout.”

Ryan Sander, the show’s assistant choreographer, dance captain and current “swing” (an actor covering multiple ensemble roles), has a special relationship to his “Voulez-Vous” costume. He originally wore it as a performer on the national tour more than 20 years ago, and when he was called to come back onstage, he found that it still fit like a glove. The costume, a denim vest and pants set with extremely Y2K lace-up details, is representative of the show’s approach to fashion trends.

“There is something timeless about these pieces that’s just so interesting,” he said. “It is a period piece and we stick to that, but there is something timeless about the costumes.”

Besides the costume racks, another crucial backstage element are the vocal booths, where the ensemble contributes to the musical soundscape from behind the curtain.

“One of the main things about the ‘ABBA sound’ is how they layered the vocals, and we do that all live in our show,” Holcenberg said. “The ensemble works really, really hard, because when they’re not on stage, they don’t get any time off. They’re just singing their little faces off.”

Even though the show has been running for decades, the creative team said each cast brings a new energy and tone.

“Our new Donna, Jess, brings a real rock chick energy to it,” Holcenberg said. “Even though the notes on the page stay the same, the casting and the way they perform it still changes from person to person and night to night.”

According to stage manager Andrew Volzer, the most “unique” aspects of the show are its long history with a tight crew and its multigenerational appeal — “Not only from the audience perspective, but also for the people working on the show. People are always coming and going,” he said.

“We always say, you never leave the island.”

The embattled Los Angeles Homeless Services Authority sued the Trump administration on Monday to stop it from depriving the region of hundreds of millions of dollars in funding, saying the effort is unwarranted and violates federal laws.

The authority, better known as LAHSA, said in its Monday filing that cutting off the funds would put more than 11,000 people — 1,900 of them children — at risk of losing housing or other services.

LAHSA, a joint city-county agency overseen by political appointees, is seeking a temporary restraining order to bar the federal Housing and Urban Development Department from suspending the funds.

“The people who will be harmed by this decision are not bureaucrats,” said Gita O’Neill, LAHSA’s interim chief executive officer, in a statement Monday. “They are families, veterans, seniors, and formerly homeless Angelenos who rely on these resources to remain housed.”

The filing in federal court comes nearly three weeks after HUD officials said they were suspending LAHSA from applying for or receiving federal funds, citing financial mismanagement, fraud and a lack of safeguards to prevent conflicts of interest.

In its 46-page lawsuit, LAHSA pushed back on HUD’s allegations, saying they were not supported by the evidence. Lawyers for LAHSA portrayed HUD’s actions as part of a larger political agenda — elimination of the federally approved “Continuum of Care” system, which makes LAHSA the overarching applicant for most federal homelessness funding across Los Angeles County.

The Trump administration “has made clear it wants to scrap the program entirely in favor of a homelessness policy favoring criminal enforcement, drug treatment, institutionalization and civil commitment of the mentally ill,” the lawsuit states.

HUD officials have said they are barring LAHSA from applying for funds on behalf of the Continuum of Care, which covers 85 cities, including Los Angeles. LAHSA secured $220 million in federal funds for various agencies in 2024 and $944 million since 2021, according to the June 11 letter from HUD Deputy Secretary Andrew D. Hughes.

HUD did not immediately respond to a request for comment. In the letter, Hughes said his agency had received information that LAHSA “may have committed violations of federal law” while carrying out its obligations as part of its HUD grant agreements.

“HUD has evidence that LAHSA’s repeated false statements and its irresponsible actions and failures, including its lack of financial management, internal controls, and safeguards against conflicts of interest, pose a threat to HUD, the public, and those living on the streets of Los Angeles,” he wrote.

In the letter, Hughes said that HUD’s inspector general had opened an investigation. Depending on the outcome, the money could be restored or LAHSA could be permanently barred from receiving funds.

LAHSA, in its lawsuit, said HUD has not provided any investigative findings to show violations of the funding agreements. Instead, agency lawyers said, federal officials relied on “a mash-up of old news articles, comments from public officials taken out of context, and findings from routine public audits that included recommendations that were all appropriately actioned.”

Lawyers for LAHSA contend that HUD’s actions violate the U.S. Constitution and override the dictates of Congress, which established many of the processes for distributing federal homeless funds.

The vast majority of the federal funds secured by LAHSA as a grant applicant goes toward permanent housing, agency officials said.

LAHSA, created in 1993, is overseen by a 10-member commission, half from the city and half from the county. Among those commissioners is L.A. Mayor Karen Bass, who has made homelessness a central part of her agenda. Each of the five county supervisors has an appointee.

At stake in the battle between HUD and LAHSA is an array of services affecting some of the region’s most vulnerable residents.

LAHSA oversees the Homeless Management Information System, the federally-mandated software that tracks homeless people across the county. It has 8,000 individual users and is used by more than 300 agencies, according to the lawsuit.

HUD’s plan to suspend the funding would prevent LAHSA from using the system to match Angelenos — those on the street and in shelters — with housing and services, the lawsuit said.

LAHSA also oversees the annual “point in time” homelessness count across the county. Agency officials have pointed to the results from those counts as evidence that they have been making steady headway, with homelessness decreasing 4.3% countywide and 5.5% within Los Angeles between 2023 and 2025.

Unsheltered homelessness, which tallies the people living outside or in their vehicles, fell by a larger margin, declining 14% across the county and 17.5% within L.A. during that period.

Despite those numbers, LAHSA’s reputation has been battered by some highly critical assessments.

Last year, a global consulting firm retained as part of a federal lawsuit over the city of L.A.’s response to homelessness found that homeless services provided by LAHSA and the city lacked adequate financial controls, leaving the system vulnerable to waste and fraud.

Several months earlier, county auditors identified lax accounting procedures that resulted in LAHSA’s failure to pay its contractors on time. Even after that report was issued, nonprofit groups with LAHSA contracts continued to report that payments were behind schedule.

Last year, the county Board of Supervisors reached a breaking point, pulling more than $300 million — the vast majority of its funds — out of LAHSA and creating its own homelessness department. City officials have been weighing a similar move in recent months.

Chris Johnson, the former NFL running back who holds the record for most yards from scrimmage in a single season, has the degenerative neurological disorder amyotrophic lateral sclerosis, commonly known as ALS or Lou Gehrig’s disease.

Johnson shared the diagnosis during an interview with Michael Strahan that aired Monday on ABC’s “Good Morning America.” The 40-year-old father of four spoke in his own voice but didn’t use his mouth — instead, he used his eyes to trigger a device that generated sentences based on recordings Johnson made soon after he was diagnosed last year.

“It’s continued to progress much faster than I ever imagined,” Johnson said of the disease. “I want people to understand just how quickly ALS can attack your body. Just over a year ago, I was picking up my 7-year-old daughter so she’d make a wish with her birthday cake. Today, I couldn’t do that.”

There is currently no known treatment that stops or reverses ALS, according to the National Institute of Neurological Disorders and Stroke, and most people with disease die of respiratory failure within three to five years of noticing symptoms (although one in 10 survive a decade or more).

In addition to receiving the standard medication to help slow the disease’s progression, Johnson has been working with neurologist and leading ALS researcher Dr. Merit Cudkowicz. She told “Good Morning America” that Johnson has taken part in a clinical trial for a therapy “that decreases inflammation, and I think that helped him a lot.”

“At first, you’re in shock, then you realize you have two choices: You can give up, or you can fight,” Johnson said. “I chose to fight.”

Johnson’s wife Brittany told Strahan: “We’re still hopeful. We’re hopeful that a breakthrough will happen or … a miracle will happen.”

Selected by the Tennessee Titans at No. 24 in the 2008 draft, Johnson was an instant NFL star. He made the Pro Bowl in each of his first three seasons and was named the league’s offensive player of the year in 2009. Also that season, Johnson led the NFL with 2,006 rushing yards — earning the nickname CJ2K as one of only nine players to have rushed for 2,000 or more yards in a season — and set a record with 2,509 yards from scrimmage that still stands.

Johnson rushed for more than 1,000 yards in each of his six seasons with the Titans, then spent a year with the New York Jets and three more with the Arizona Cardinals before retiring after the 2017 season. He finished with 9,651 yards and 55 touchdowns rushing and 2,255 yards and nine touchdowns receiving.

Titans owner Amy Adams Strunk released a statement Monday morning after Johnson’s diagnosis was revealed.

“Learning this news is extremely difficult, and we will support Chris every step of the way throughout his journey,” she wrote. “We are holding him and his family close, and join our fans around the world in expressing our love for Chris.”

The Jets and Cardinals also released statements expressing their support for Johnson.

While Johnson’s body will no longer allow him to perform a task like gripping a cup, he said he wants people to know that with ALS, “your mind stays sharp.”

“People sometimes look at the physical disability and assume you’re not still the same person inside,” Johnson said. “I still think the same. I still dream. I still love my family. My body just doesn’t cooperate.”