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Bob Dylan was honored by MusiCares, the charity organization that aids musicians in need, at the Los Angeles Convention Center on Friday night. After performances by artists including Tom Jones, Sheryl Crow, Neil Young, Beck, Jackson Browne and others, Dylan himself took a rare opportunity in the spotlight to deliver a 30-plus-minute acceptance speech.

Expansive, funny and insightful, Dylan didn’t pull any punches, calling out songwriters who had criticized his work while indicting Nashville and commercial country music.

He was introduced by former President Jimmy Carter, and walked out to a standing ovation. After thanking the organizers, Dylan referred to his notes and began by saying, “I’m going to read some of this.”

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Because of moments of applause, and some echoey acoustics, a few of Dylan’s words were inaudible on the recording I’ve consulted, and I’ve noted as such. Though it upsets him to hear it (see below), Dylan does sometimes mumble and slur his words.

Bob Dylan’s MusiCares person of the year acceptance speech:

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I’m glad for my songs to be honored like this. But you know, they didn’t get here by themselves. It’s been a long road and it’s taken a lot of doing. These songs of mine, they’re like mystery stories, the kind that Shakespeare saw when he was growing up. I think you could trace what I do back that far. They were on the fringes then, and I think they’re on the fringes now. And they sound like they’ve been on the hard ground.

I should mention a few people along the way who brought this about. I know I should mention John Hammond, great talent scout for Columbia Records. He signed me to that label when I was nobody. It took a lot of faith to do that, and he took a lot of ridicule, but he was his own man and he was courageous. And for that, I’m eternally grateful. The last person he discovered before me was Aretha Franklin, and before that Count Basie, Billie Holiday and a whole lot of other artists. All noncommercial artists.

Trends did not interest John, and I was very noncommercial but he stayed with me. He believed in my talent and that’s all that mattered. I can’t thank him enough for that.

Lou Levy runs Leeds Music, and they published my earliest songs, but I didn’t stay there too long. Levy himself, he went back a long ways. He signed me to that company and recorded my songs and I sang them into a tape recorder. He told me outright, there was no precedent for what I was doing, that I was either before my time or behind it. And if I brought him a song like “Stardust,” he’d turn it down because it would be too late.

He told me that if I was before my time — and he didn’t really know that for sure — but if it was happening and if it was true, the public would usually take three to five years to catch up — so be prepared. And that did happen. The trouble was, when the public did catch up I was already three to five years beyond that, so it kind of complicated it. But he was encouraging, and he didn’t judge me, and I’ll always remember him for that.

Artie Mogull at Witmark Music signed me next to his company, and he told me to just keep writing songs no matter what, that I might be on to something. Well, he too stood behind me, and he could never wait to see what I’d give him next. I didn’t even think of myself as a songwriter before then. I’ll always be grateful for him also for that attitude.

I also have to mention some of the early artists who recorded my songs very, very early, without having to be asked. Just something they felt about them that was right for them. I’ve got to say thank you to Peter, Paul and Mary, who I knew all separately before they ever became a group. I didn’t even think of myself as writing songs for others to sing but it was starting to happen and it couldn’t have happened to, or with, a better group.

They took a song of mine that had been recorded before that was buried on one of my records and turned it into a hit song. Not the way I would have done it — they straightened it out. But since then hundreds of people have recorded it and I don’t think that would have happened if it wasn’t for them. They definitely started something for me.

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The Byrds, the Turtles, Sonny & Cher — they made some of my songs Top 10 hits but I wasn’t a pop songwriter and I really didn’t want to be that, but it was good that it happened. Their versions of songs were like commercials, but I didn’t really mind that because 50 years later my songs were being used in the commercials. So that was good too. I was glad it happened, and I was glad they’d done it.

Pervis Staples and the Staple Singers — long before they were on Stax they were on Epic and they were one of my favorite groups of all time. I met them all in ’62 or ’63. They heard my songs live and Pervis wanted to record three or four of them and he did with the Staples Singers. They were the type of artists that I wanted recording my songs.

Nina Simone. I used to cross paths with her in New York City in the Village Gate nightclub. These were the artists I looked up to. She recorded some of my songs that she [inaudible] to me. She was an overwhelming artist, piano player and singer. Very strong woman, very outspoken. That she was recording my songs validated everything that I was about.

Oh, and can’t forget Jimi Hendrix. I actually saw Jimi Hendrix perform when he was in a band called Jimmy James and the Blue Flames — something like that. And Jimi didn’t even sing. He was just the guitar player. He took some small songs of mine that nobody paid any attention to and pumped them up into the outer limits of the stratosphere and turned them all into classics. I have to thank Jimi, too. I wish he was here.

Johnny Cash recorded some of my songs early on, too, up in about ‘63, when he was all skin and bones. He traveled long, he traveled hard, but he was a hero of mine. I heard many of his songs growing up. I knew them better than I knew my own. “Big River,” “I Walk the Line.”

“How high’s the water, Mama?” I wrote “It’s Alright Ma (I’m Only Bleeding)” with that song reverberating inside my head. I still ask, “How high is the water, mama?” Johnny was an intense character. And he saw that people were putting me down playing electric music, and he posted letters to magazines scolding people, telling them to shut up and let him sing.

In Johnny Cash’s world — hardcore Southern drama — that kind of thing didn’t exist. Nobody told anybody what to sing or what not to sing. They just didn’t do that kind of thing. I’m always going to thank him for that. Johnny Cash was a giant of a man, the man in black. And I’ll always cherish the friendship we had until the day there is no more days.

Oh, and I’d be remiss if I didn’t mention Joan Baez. She was the queen of folk music then and now. She took a liking to my songs and brought me with her to play concerts, where she had crowds of thousands of people enthralled with her beauty and voice.

People would say, “What are you doing with that ragtag scrubby little waif?” And she’d tell everybody in no uncertain terms, “Now you better be quiet and listen to the songs.” We even played a few of them together. Joan Baez is as tough-minded as they come. Love. And she’s a free, independent spirit. Nobody can tell her what to do if she doesn’t want to do it. I learned a lot of things from her. A woman with devastating honesty. And for her kind of love and devotion, I could never pay that back.

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These songs didn’t come out of thin air. I didn’t just make them up out of whole cloth. Contrary to what Lou Levy said, there was a precedent. It all came out of traditional music: traditional folk music, traditional rock ‘n’ roll and traditional big-band swing orchestra music.

I learned lyrics and how to write them from listening to folk songs. And I played them, and I met other people that played them back when nobody was doing it. Sang nothing but these folk songs, and they gave me the code for everything that’s fair game, that everything belongs to everyone.

For three or four years all I listened to were folk standards. I went to sleep singing folk songs. I sang them everywhere, clubs, parties, bars, coffeehouses, fields, festivals. And I met other singers along the way who did the same thing and we just learned songs from each other. I could learn one song and sing it next in an hour if I’d heard it just once.

If you sang “John Henry” as many times as me — “John Henry was a steel-driving man / Died with a hammer in his hand / John Henry said a man ain’t nothin’ but a man / Before I let that steam drill drive me down / I’ll die with that hammer in my hand.”

If you had sung that song as many times as I did, you’d have written “How many roads must a man walk down?” too.

Big Bill Broonzy had a song called “Key to the Highway.” “I’ve got a key to the highway / I’m booked and I’m bound to go / Gonna leave here runnin’ because walking is most too slow.” I sang that a lot. If you sing that a lot, you just might write,

Georgia Sam he had a bloody nose

Welfare Department they wouldn’t give him no clothes

He asked poor Howard where can I go

Howard said there’s only one place I know

Sam said tell me quick man I got to run

Howard just pointed with his gun

And said that way down on Highway 61

You’d have written that too if you’d sang “Key to the Highway” as much as me.

“Ain’t no use sit ‘n cry / You’ll be an angel by and by / Sail away, ladies, sail away.” “I’m sailing away my own true love.” “Boots of Spanish Leather” — Sheryl Crow just sung that.

“Roll the cotton down, aw, yeah, roll the cotton down / Ten dollars a day is a white man’s pay / A dollar a day is the black man’s pay / Roll the cotton down.” If you sang that song as many times as me, you’d be writing “I ain’t gonna work on Maggie’s farm no more,” too.

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I sang a lot of “come all you” songs. There’s plenty of them. There’s way too many to be counted. “Come along boys and listen to my tale / Tell you of my trouble on the old Chisholm Trail.” Or, “Come all ye good people, listen while I tell / the fate of Floyd Collins a lad we all know well / The fate of Floyd Collins, a lad we all know well.”

“Come all ye fair and tender ladies / Take warning how you court your men / They’re like a star on a summer morning / They first appear and then they’re gone again.” “If you’ll gather ‘round, people / A story I will tell / ‘Bout Pretty Boy Floyd, an outlaw / Oklahoma knew him well.”

If you sung all these “come all ye” songs all the time, you’d be writing, “Come gather ‘round people where ever you roam, admit that the waters around you have grown / Accept that soon you’ll be drenched to the bone / If your time to you is worth saving / And you better start swimming or you’ll sink like a stone / The times they are a-changing.”

You’d have written them too. There’s nothing secret about it. You just do it subliminally and unconsciously, because that’s all enough, and that’s all I sang. That was all that was dear to me. They were the only kinds of songs that made sense.

“When you go down to Deep Ellum keep your money in your socks / Women in Deep Ellum put you on the rocks.” Sing that song for a while and you just might come up with, “When you’re lost in the rain in Juarez and it’s Easter time too / And your gravity fails and negativity don’t pull you through / Don’t put on any airs / When you’re down on Rue Morgue Avenue / They got some hungry women there / And they really make a mess outta you.”

All these songs are connected. Don’t be fooled. I just opened up a different door in a different kind of way. It’s just different, saying the same thing. I didn’t think it was anything out of the ordinary.

Well you know, I just thought I was doing something natural, but right from the start, my songs were divisive for some reason. They divided people. I never knew why. Some got angered, others loved them. Didn’t know why my songs had detractors and supporters. A strange environment to have to throw your songs into, but I did it anyway.

Last thing I thought of was who cared about what song I was writing. I was just writing them. I didn’t think I was doing anything different. I thought I was just extending the line. Maybe a little bit unruly, but I was just elaborating on situations. Maybe hard to pin down, but so what? A lot of people are hard to pin down. You’ve just got to bear it. I didn’t really care what Lieber and Stoller thought of my songs.

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They didn’t like ‘em, but Doc Pomus did. That was all right that they didn’t like ‘em, because I never liked their songs either. “Yakety yak, don’t talk back.” “Charlie Brown is a clown,” “Baby I’m a hog for you.” Novelty songs. They weren’t saying anything serious. Doc’s songs, they were better. “This Magic Moment.” “Lonely Avenue.” Save the Last Dance for Me.

Those songs broke my heart. I figured I’d rather have his blessings any day than theirs.

Ahmet Ertegun didn’t think much of my songs, but Sam Phillips did. Ahmet founded Atlantic Records. He produced some great records: Ray Charles, Ray Brown, just to name a few.

There were some great records in there, no question about it. But Sam Phillips, he recorded Elvis and Jerry Lee, Carl Perkins and Johnny Cash. Radical eyes that shook the very essence of humanity. Revolution in style and scope. Heavy shape and color. Radical to the bone. Songs that cut you to the bone. Renegades in all degrees, doing songs that would never decay, and still resound to this day. Oh, yeah, I’d rather have Sam Phillips’ blessing any day.

Merle Haggard didn’t even think much of my songs. I know he didn’t. He didn’t say that to me, but I know [inaudible]. Buck Owens did, and he recorded some of my early songs. Merle Haggard — “Mama Tried,” “The Bottle Let Me Down,” “I’m a Lonesome Fugitive.” I can’t imagine Waylon Jennings singing “The Bottle Let Me Down.”

“Together Again”? That’s Buck Owens, and that trumps anything coming out of Bakersfield. Buck Owens and Merle Haggard? If you have to have somebody’s blessing — you figure it out.

Oh, yeah. Critics have been giving me a hard time since Day One. Critics say I can’t sing. I croak. Sound like a frog. Why don’t critics say that same thing about Tom Waits? Critics say my voice is shot. That I have no voice. What don’t they say those things about Leonard Cohen? Why do I get special treatment? Critics say I can’t carry a tune and I talk my way through a song. Really? I’ve never heard that said about Lou Reed. Why does he get to go scot-free?

What have I done to deserve this special attention? No vocal range? When’s the last time you heard Dr. John? Why don’t you say that about him? Slur my words, got no diction. Have you people ever listened to Charley Patton or Robert Johnson, Muddy Waters. Talk about slurred words and no diction. [Inaudible] doesn’t even matter.

“Why me, Lord?” I would say that to myself.

Critics say I mangle my melodies, render my songs unrecognizable. Oh, really? Let me tell you something. I was at a boxing match a few years ago seeing Floyd Mayweather fight a Puerto Rican guy. And the Puerto Rican national anthem, somebody sang it and it was beautiful. It was heartfelt and it was moving.

After that it was time for our national anthem. And a very popular soul-singing sister was chosen to sing. She sang every note — that exists, and some that don’t exist. Talk about mangling a melody. You take a one-syllable word and make it last for 15 minutes? She was doing vocal gymnastics like she was on a trapeze act. But to me it was not funny.

Where were the critics? Mangling lyrics? Mangling a melody? Mangling a treasured song? No, I get the blame. But I don’t really think I do that. I just think critics say I do.

Sam Cooke said this when told he had a beautiful voice: He said, “Well that’s very kind of you, but voices ought not to be measured by how pretty they are. Instead they matter only if they convince you that they are telling the truth.” Think about that the next time you [inaudible].

Times always change. They really do. And you have to always be ready for something that’s coming along and you never expected it. Way back when, I was in Nashville making some records and I read this article, a Tom T. Hall interview. Tom T. Hall, he was bitching about some kind of new song, and he couldn’t understand what these new kinds of songs that were coming in were about.

Now Tom, he was one of the most preeminent songwriters of the time in Nashville. A lot of people were recording his songs and he himself even did it. But he was all in a fuss about James Taylor, a song James had called “Country Road.” Tom was going off in this interview — “But James don’t say nothing about a country road. He’s just says how you can feel it on the country road. I don’t understand that.”

Now some might say Tom is a great songwriter. I’m not going to doubt that. At the time he was doing this interview I was actually listening to a song of his on the radio.

It was called “I Love.” I was listening to it in a recording studio, and he was talking about all the things he loves, an everyman kind of song, trying to connect with people. Trying to make you think that he’s just like you and you’re just like him. We all love the same things, and we’re all in this together. Tom loves little baby ducks, slow-moving trains and rain. He loves old pickup trucks and little country streams. Sleeping without dreams. Bourbon in a glass. Coffee in a cup. Tomatoes on the vine, and onions.

Now listen, I’m not ever going to disparage another songwriter. I’m not going to do that. I’m not saying it’s a bad song. I’m just saying it might be a little overcooked. But, you know, it was in the top 10 anyway. Tom and a few other writers had the whole Nashville scene sewed up in a box. If you wanted to record a song and get it in the top 10 you had to go to them, and Tom was one of the top guys. They were all very comfortable, doing their thing.

This was about the time that Willie Nelson picked up and moved to Texas. About the same time. He’s still in Texas. Everything was very copacetic. Everything was all right until — until — Kristofferson came to town. Oh, they ain’t seen anybody like him. He came into town like a wildcat, flew his helicopter into Johnny Cash’s backyard like a typical songwriter. And he went for the throat. “Sunday Morning Coming Down.”

Well, I woke up Sunday morning

With no way to hold my head that didn’t hurt.

And the beer I had for breakfast wasn’t bad

So I had one more for dessert

Then I fumbled through my closet

Found my cleanest dirty shirt

Then I washed my face and combed my hair

And stumbled down the stairs to meet the day.

You can look at Nashville pre-Kris and post-Kris, because he changed everything. That one song ruined Tom T. Hall’s poker parties. It might have sent him to the crazy house. God forbid he ever heard any of my songs.

You walk into the room

With your pencil in your hand

You see somebody naked

You say, “Who is that man?”

You try so hard

But you don’t understand

Just what you’re gonna say

When you get home

You know something is happening here

But you don’t know what it is

Do you, Mister Jones?

If “Sunday Morning Coming Down” rattled Tom’s cage, sent him into the looney bin, my song surely would have made him blow his brains out, right there in the minivan. Hopefully he didn’t hear it.

I just released an album of standards, all the songs usually done by Michael Buble, Harry Connick Jr., maybe Brian Wilson’s done a couple, Linda Ronstadt done ‘em. But the reviews of their records are different than the reviews of my record.

In their reviews no one says anything. In my reviews, [inaudible] they’ve got to look under every stone when it comes to me. They’ve got to mention all the songwriters’ names. Well that’s OK with me. After all, they’re great songwriters and these are standards. I’ve seen the reviews come in, and they’ll mention all the songwriters in half the review, as if everybody knows them. Nobody’s heard of them, not in this time, anyway. Buddy Kaye, Cy Coleman, Carolyn Leigh, to name a few.

But, you know, I’m glad they mention their names, and you know what? I’m glad they got their names in the press. It might have taken some time to do it, but they’re finally there. I can only wonder why it took so long. My only regret is that they’re not here to see it.

Traditional rock ‘n’ roll, we’re talking about that. It’s all about rhythm. Johnny Cash said it best: “Get rhythm. Get rhythm when you get the blues.” Very few rock ‘n’ roll bands today play with rhythm. They don’t know what it is. Rock ‘n’ roll is a combination of blues, and it’s a strange thing made up of two parts. A lot of people don’t know this, but the blues, which is an American music, is not what you think it is. It’s a combination of Arabic violins and Strauss waltzes working it out. But it’s true.

The other half of rock ‘n’ roll has got to be hillbilly. And that’s a derogatory term, but it ought not to be. That’s a term that includes the Delmore Bros., Stanley Bros., Roscoe Holcomb, Clarence Ashley … groups like that. Moonshiners gone berserk. Fast cars on dirt roads. That’s the kind of combination that makes up rock ‘n’ roll, and it can’t be cooked up in a science laboratory or a studio.

You have to have the right kind of rhythm to play this kind of music. If you can’t hardly play the blues, how do you [inaudible] those other two kinds of music in there? You can fake it, but you can’t really do it.

Critics have made a career out of accusing me of having a career of confounding expectations. Really? Because that’s all I do. That’s how I think about it. Confounding expectations.

“What do you do for a living, man?”

“Oh, I confound expectations.”

You’re going to get a job, the man says, “What do you do?” “Oh, confound expectations.: And the man says, “Well, we already have that spot filled. Call us back. Or don’t call us, we’ll call you.” Confounding expectations. What does that mean? ‘Why me, Lord? I’d confound them, but I don’t know how to do it.’

The Blackwood Bros. have been talking to me about making a record together. That might confound expectations, but it shouldn’t. Of course it would be a gospel album. I don’t think it would be anything out of the ordinary for me. Not a bit. One of the songs I’m thinking about singing is “Stand By Me” by the Blackwood Brothers. Not “Stand By Me” the pop song. No. The real “Stand By Me.”

The real one goes like this:

When the storm of life is raging / Stand by me / When the storm of life is raging / Stand by me / When the world is tossing me / Like a ship upon the sea / Thou who rulest wind and water / Stand by me

In the midst of tribulation / Stand by me / In the midst of tribulation / Stand by me / When the hosts of hell assail / And my strength begins to fail / Thou who never lost a battle / Stand by me

In the midst of faults and failures / Stand by me / In the midst of faults and failures / Stand by me / When I do the best I can / And my friends don’t understand / Thou who knowest all about me / Stand by me

That’s the song. I like it better than the pop song. If I record one by that name, that’s going to be the one. I’m also thinking of recording a song, not on that album, though: “Oh Lord, Please Don’t Let Me Be Misunderstood.”

Anyway, why me, Lord. What did I do?

Anyway, I’m proud to be here tonight for MusiCares. I’m honored to have all these artists singing my songs. There’s nothing like that. Great artists. [applause, inaudible]. They’re all singing the truth, and you can hear it in their voices.

I’m proud to be here tonight for MusiCares. I think a lot of this organization. They’ve helped many people. Many musicians who have contributed a lot to our culture. I’d like to personally thank them for what they did for a friend of mine, Billy Lee Riley. A friend of mine who they helped for six years when he was down and couldn’t work. Billy was a son of rock ‘n’ roll, obviously.

He was a true original. He did it all: He played, he sang, he wrote. He would have been a bigger star but Jerry Lee came along. And you know what happens when someone like that comes along. You just don’t stand a chance.

So Billy became what is known in the industry — a condescending term, by the way — as a one-hit wonder. But sometimes, just sometimes, once in a while, a one-hit wonder can make a more powerful impact than a recording star who’s got 20 or 30 hits behind him. And Billy’s hit song was called “Red Hot,” and it was red hot. It could blast you out of your skull and make you feel happy about it. Change your life.

He did it with style and grace. You won’t find him in the Rock and Roll Hall of Fame. He’s not there. Metallica is. Abba is. Mamas and the Papas — I know they’re in there. Jefferson Airplane, Alice Cooper, Steely Dan — I’ve got nothing against them. Soft rock, hard rock, psychedelic pop. I got nothing against any of that stuff, but after all, it is called the Rock and Roll Hall of Fame. Billy Lee Riley is not there. Yet.

I’d see him a couple times a year and we’d always spent time together and he was on a rockabilly festival nostalgia circuit, and we’d cross paths now and again. We’d always spend time together. He was a hero of mine. I’d heard “Red Hot.” I must have been only 15 or 16 when I did and it’s impressed me to this day.

I never grow tired of listening to it. Never got tired of watching Billy Lee perform, either. We spent time together just talking and playing into the night. He was a deep, truthful man. He wasn’t bitter or nostalgic. He just accepted it. He knew where he had come from and he was content with who he was.

And then one day he got sick. And like my friend John Mellencamp would sing — because John sang some truth today — one day you get sick and you don’t get better. That’s from a song of his called “Life is Short Even on Its Longest Days.” It’s one of the better songs of the last few years, actually. I ain’t lying.

And I ain’t lying when I tell you that MusiCares paid for my friend’s doctor bills, and helped him to get spending money. They were able to at least make his life comfortable, tolerable to the end. That is something that can’t be repaid. Any organization that would do that would have to have my blessing.

I’m going to get out of here now. I’m going to put an egg in my shoe and beat it. I probably left out a lot of people and said too much about some. But that’s OK. Like the spiritual song, ‘I’m still just crossing over Jordan too.’ Let’s hope we meet again. Sometime. And we will, if, like Hank Williams said, “the good Lord willing and the creek don’t rise.”

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Follow Randall Roberts on Twitter: @liledit

Sean McVay and the Rams schemed against Kliff Kingsbury when he coached the Arizona Cardinals.

Now, after parting ways with the Washington Commanders, Kingsbury will join McVay’s staff, a person with knowledge of the situation said Friday. The person requested anonymity because Kingsbury’s role has not been announced.

Kingsbury, 46, coached the Cardinals from 2019 to 2022 and was the Commanders’ offensive coordinator for the last three seasons. The Commanders advanced to the NFC championship game in 2024 but finished 5-12 last season.

With Mike LaFleur now the Cardinals’ head coach, the offensive coordinator position on McVay’s staff is open. Pass-game coordinator Nate Scheelhaase interviewed with several teams for head coaching positions and is regarded as the favorite to become the offensive coordinator. Quarterbacks coach Dave Ragone has experience as offensive coordinator for the Atlanta Falcons.

“We’ve got some really good coaches in-house that we’re going to continue to develop,” McVay told reporters on Monday. “I think it is thorough and it’s the right and the reasonable approach to be able to really have a wide-ranging search while full-well knowing that I’ve got more than capable guys that could step up and do a phenomenal job.”

WASHINGTON — A government lawyer who told a judge that her job “sucks” during a court hearing stemming from the Trump administration’s immigration enforcement surge in Minnesota has been removed from her Justice Department post, according to a person familiar with the matter.

Julie Le had been working for the Justice Department on a detail, but the U.S. attorney in Minnesota ended her assignment after her comments in court on Tuesday, the person said. The person spoke on the condition of anonymity to discuss a personnel matter. She had been working for U.S. Immigration and Customs Enforcement before the temporary assignment.

At a hearing Tuesday in St. Paul, Minn., for several immigration cases, Le told U.S. District Judge Jerry Blackwell that she wishes he could hold her in contempt of court “so that I can have a full 24 hours of sleep.”

“What do you want me to do? The system sucks. This job sucks. And I am trying every breath that I have so that I can get you what you need,” Le said, according to a transcript.

Le’s extraordinary remarks reflect the intense strain that has been placed on the federal court system since President Trump returned to the White House a year ago with a promise to carry out mass deportations. ICE officials have said the surge in Minnesota has become its largest-ever immigration operation since ramping up in early January.

Several prosecutors have left the U.S. attorney’s office in Minnesota amid frustration with the immigration enforcement surge and the Justice Department’s response to fatal shootings of two civilians by federal agents. Le was assigned at least 88 cases in less than a month, according to online court records.

Blackwell told Le that the volume of cases isn’t an excuse for disregarding court orders. He expressed concern that people arrested in immigration enforcement operations are routinely jailed for days after judges have ordered their release from custody.

“And I hear the concerns about all the energy that this is causing the DOJ to expend, but, with respect, some of it is of your own making by not complying with orders,” the judge told Le.

Le said she was working for the Department of Homeland Security as an ICE attorney in immigration court before she “stupidly” volunteered to work the detail in Minnesota. Le told the judge that she wasn’t properly trained for the assignment. She said she wanted to resign from the job but couldn’t get a replacement.

“Fixing a system, a broken system, I don’t have a magic button to do it. I don’t have the power or the voice to do it,” she said.

Le and spokespeople for DHS, ICE and the U.S. attorney’s office in Minnesota didn’t immediately respond to emails seeking comment.

Kira Kelley, an attorney who represented two petitioners at the hearing, said the flood of immigration petitions is necessary because of “so many people being detained without any semblance of a lawful basis.”

“And there’s no indication here that any new systems or bolded e-mails or any instructions to ICE are going to fix any of this,” she added.

Kunzelman and Richer write for the Associated Press.

FANCY a mini-break but don’t want to spend too much money? Well, how about a short cruise to Europe for the same price as a meal at Pizza Express for a family of four.

Travellers can head off on a two-night cruise between Hull and the Netherlands.

The P&O Ferries mini cruise allows you to travel overnight, usually leaving Hull at around 8:30pm and arriving in the Netherlands around 8:45am.

You can opt between heading to Rotterdam or Amsterdam on a return sailing from Hull to Europoort, with two nights in an en suite cabin, return coach transfers into the city centres and the live entertainment on board.

In between you will also get to explore either Rotterdam or Amsterdam – all for just £65 per person.

For example, one £65pp sailing heads off on March 3 and returns on March 5.

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I found the best value all inclusive London hotel… just £55pp with free food & booze

HOL YEAH!

I’ve been to Disney 50 times but one £30-a-night UK seaside town is just as good

Included in the price you pay is a two-bunk cabin with an en suite shower room with a WC.

Towels and bed linen are included too.

There are of course add-ons, if you wish to include them – such as the kitchen dinner for £25 per person, which is a buffet of international dishes.

If you fancy breakfast on board, that will set you back £13.50 each too.

Or you could get a package for both dinner and breakfast for £35.95 per person.

Though it is worth baring in mind, these prices are all per way.

Coach transfers from the port to either Rotterdam or Amsterdam are listed as £12 per person, per way – though they are included in the £65 per person price.

The cities of Amsterdam and Rotterdam in the Netherlands are both great to explore for a day.

In Rotterdam, you can head to one of the maritime museums to learn about its history as a port city.

Then, you could swing by the Cube Houses, known for their unusual architecture.

Opposite the Cube Houses you will find Markthal, which is a large market hall home to around 96 food stalls.

Alternatively, if you choose to head to Amsterdam you can explore the intricate network of canals that sprawl across the city.

One of the most popular tourist spots in the city is the Anne Frank House, which is a museum inside the actual house where Anne Frank hid during World War II.

To explore the canals further, you can also hop on a canal tour via boat.

If you fancy an even more memorable sailing you can head on a Mini Cruise Live.

These cruises have different entertainment onboard, often including celebrities.

For example, you could head on a Noughties Takeover cruise from February 27 to March 1.

On board, the entertainment includes JLS star Marvin Humes and Blazin’ Squad star and former Love Islander, Marcel Somerville.

This sailing costs from £139 per person.

With the family? Then head on the Family Cruise from April 8 to 10, with K-Pop Live and Cirque: The Greatest Show – a circus-musical experience with songs from The Greatest Showman, La La Land, Rocketman and Moulin Rouge.

There will also be face painters on board, and tickets to this sailing also cost from £139 per person.

Fancy something a little different? Head on the Murder Mystery Mini Cruise from March 4 to 6.

On board, passengers will get to enjoy two murder mystery experiences with Cheeky Blinders on night one and 1925-based mystery The Maiden Voyage on night two.

This sailing costs from £99 per person.

In other cruise news, the ‘affordable luxury’ Nordic cruise where temperatures hit 28C.

Plus, our pick of the eight best cruises for both hot and cold weather – from Caribbean sailings to Icelandic glacier tours.

James Harden is headed to the Cleveland Cavaliers, with the Clippers agreeing to send the 11-time All-Star back to the Eastern Conference during his highest-scoring season in six years, a person with knowledge of the agreement said Tuesday night.

The Cavaliers are giving up point guard Darius Garland and a second-round pick, said the person, who spoke to the Associated Press on condition of anonymity because the trade has not yet been approved by the NBA.

That approval could come by Wednesday, when the Cavaliers and Clippers face off at Intuit Dome.

Harden is averaging 25.4 points this season, his most since averaging 34.3 points in 2019-20. He’s been a huge part of the Clippers’ resurgence back into playoff — or, at least, play-in — contention after a dismal 6-21 start.

“He means a lot to our team and we’ve seen it the last three years,” Clippers coach Tyronn Lue said Monday night when stories began breaking indicating such a move was close. “Who wouldn’t want to have James Harden?”

Cleveland will become Harden’s sixth team. He played for Oklahoma City, then Houston, then Brooklyn, then Philadelphia and, since 2023, the Clippers.

For the Cavaliers, it seems to be a move for right now — pairing the 36-year-old Harden with another star guard in Donovan Mitchell. For the Clippers, it seems to be a move with an eye on the future — the 26-year-old Garland is a two-time All-Star, averaging 18 points and 6.9 assists this season for Cleveland.

Harden opted out of the final year of his contract last summer with the Clippers to sign a new deal that would have been worth $81.5 million for this season and the 2026-27 campaign. Next year is at his option, which basically meant he was on a one-year contract.

He got that deal after averaging 22.8 points, 5.8 rebounds and 8.7 assists while returning to the All-NBA team for the first time since 2019-20.

If anyone told Mariah Carey ahead of time that Friday night’s MusiCares Person of the Year tribute would feature a live auction — an auction in which a meet-and-greet with the singer in Abu Dhabi was offered to the highest bidder — you sure couldn’t tell by observing her reaction.

Seated near the stage at the Los Angeles Convention Center, a camera feeding close-up images of her face to several screens, Carey appeared genuinely surprised by an auctioneer’s description of the backstage hangout in which she’d be expected to participate next month.

But such is the life of a queen.

Watching Carey respond in real time was actually the best thing about this annual Grammy-weekend gala meant to honor an artist’s work and philanthropy. Though the 56-year-old herself sang for only a minute or so at the end of the show, Carey was a delight to behold as a series of admirers took turns performing some of her many hits (and a handful of deep cuts).

Jennifer Hudson performs.

(Emma McIntyre / Getty Images)

The look of game recognizing game as Jennifer Hudson crushed “Vision of Love.” The tenderness with which she regarded her old friend Busta Rhymes doing their “I Know What You Want.” The slowly dawning realization that this heavily tattooed white man named Teddy Swims was really going to pull off “Without You.”

“That was terrifying,” Swims said when he finished the song — an all-timer of a power ballad with a lengthy chain of custody going back through Carey, Harry Nilsson and the doomed Welsh band Badfinger.

Best of all was the sight of Carey proudly singing along to Foo Fighters and Taylor Momsen as they blazed through a pair of tunes from the cult-fave grunge album she secretly recorded in the mid-1990s under the name Chick.

Dave Grohl of Foo Fighters, left, and Taylor Momsen perform.

(Matt Winkelmeyer / Getty Images)

Other acts on the bill included Adam Lambert, who went slow and moody for “Can’t Let Go”; the British girl group Flo, which gave an airy performance of “Dreamlover”; and Laufey, who kept a watchful eye on a giant prompter scrolling lyrics at the back of the room as she did “It’s Like That.”

Then there was Billy Porter, who took “Always Be My Baby” way over the top with wild vocal runs that made up for what they lacked in precision with — well, mostly with volume.

Carey took the stage late in the evening to give her thanks to “so many friendly and familiar faces — people I’ve worked with, people I’ve long admired, even people I thought I’d never see again.” After her speech, Jon Batiste popped out to lead a random assortment of stars through an all-hands finale of “All I Want for Christmas Is You,” which recently set a new record for the most weeks at No. 1 on Billboard’s Hot 100.

Charlie Puth? Gayle King? Rita Wilson? Carey looked pleased(-ish) to see each one.

The WNBA and the players union will meet Monday in New York for the first time in weeks to try to move the stalled collective bargaining negotiations forward.

Kelsey Plum, who is vice president of the players union, mentioned the meeting to reporters Friday while preparing for a game in Philadelphia with the Unrivaled three-on-three league.

“We’ll learn a lot from this meeting. I’m not trying to put it on the meeting, but this is a meeting that I think everyone understands what’s at stake,” Plum said. “The league has their timelines; we as players understand what’s at stake. I always come into anything that I do with a great attitude, and I’m going to see the best in this.”

Plum, the former Sparks guard who is an unrestricted free agent, will be joined by other members of the executive council, including Nneka Ogwumike and Napheesa Collier, as well as union leadership.

The league will have its regular negotiating team, including commissioner Cathy Engelbert, the labor relations committee and a few other owners, according to a person familiar with the situation. The person spoke on condition of anonymity because of the sensitive nature of the negotiations.

The person said the league had been asking for the meeting for weeks and it was agreed upon by the union Thursday.

Players said union leadership had been chatting with them frequently.

“Both sides want to get something done, we just got to make moves to get there,” Chicago guard Rachel Banham said. ”It’s got to be an actual negotiation with compromise.”

New York guard Natasha Cloud took a more hardened stance.

“It would be the worst business decision of any business to not literally pay the players that make your business go. Without us, there is no W season,” she said.

Talks to reach a new CBA haven’t had much traction over the last few weeks, as the union says it is waiting for a response to a proposal it sent around Christmas that included a 30% gross revenue share for the players. According to another person familiar with the negotiations, the league didn’t feel that proposal was much different than the previous one the union sent.

That person spoke on condition of anonymity also because of the sensitive nature of the negotiations.

The league’s most recent offer last month would guarantee a maximum base salary of $1 million that could reach $1.3 million through revenue sharing. That’s up from the current $249,000 and could grow to nearly $2 million over the life of the agreement, the person told the Associated Press.

The two sides have been in a “status quo” period after the latest extension of the CBA ran out Jan. 9. They agreed to a moratorium a few days later that halted the initial stages of free agency in which teams would seek to deliver qualifying offers and franchise tag designations to players.

If a new CBA isn’t agreed upon soon, it could delay the start of the season. It’s already delayed the expansion draft for Toronto and Portland. The league did release its schedule last week with the regular season set to begin May 8.

The last CBA was announced in the middle of January 2020, a month after it was agreed to. It easily could take two months from when a new CBA is reached to get to the start of free agency, which was supposed to begin Sunday.

Feinberg writes for the Associated Press.

In “Vanished,” premiering Friday on MGM+, Kaley Cuoco plays Alice, an archaeologist, a fact she repeats whenever she’s asked about herself, without particularly seeming like one, apart from passing mentions of Byzantine caves and “one of the earliest examples of Christian worship” to make her sound professional. Sam Claflin plays Tom, who works for a charity organization dealing with Syrian refugees in Jordan; in a flashback we get to see them meet cute on a dusty Jordanian road, where he has a flat tire and no spare. Alice gives him a lift to camp; they banter and flirt after a fashion. He does something heroic within her sight.

They have been long-distance dating for four years, meeting up, as Alice describes it, “in hotels all over the world” where they “actually want to have sex with each other all the time.” Currently they are in Paris (in a $500-a-night joint — I looked it up). But Alice, now working in Albania, has been offered a job as an assistant professor of archaeology at Princeton, which would allow her to settle down with Tom in a school-provided apartment and “build a life that’s mine, not just uncovering other people’s.” After an uncomfortable moment, he signs on, saying, “I love you, Alice Monroe.”

Would you trust him? Despite the script’s insistence otherwise, Cuoco and Claflin have no more chemistry than figures on facing pages in a clothing catalog. Fortunately for the viewer, Tom disappears early from the action — ergo “Vanished.” The couple are traveling by train down to Arles, where another hotel awaits them, when Tom leaves the car to take a call and never returns; nor can he be found anywhere on the train.

This happily makes room for the more interesting Helene (multiple César Award winner Karin Viard), a helpful Frenchwoman who steps in as a translator when Alice attempts to get an officious conductor to open a door to a room he insists is for employees only, and rules are rules. (Is he just being, you know, French, or is something up?)

They meet again when Alice gets off the train not in Arles but Marseilles; after she has no more luck with police inspector Drax (Simon Abkarian), who insists a person isn’t missing until 48 hours have elapsed, than with the conductor, she’ll turn to Helene again, who has the advantage of being an investigative reporter. (She’s also been made diabetic, which has no effect on the action other than halting it now and again so she can give herself, rather dramatically, a quick shot of insulin. Like Drax begging off because he’s late meeting his wife for an Alain Delon double feature, it’s a tacked on bit of business meant to suggest character.) Together they’ll ferret out and follow clues, as Alice comes to realize that it takes more than the occasional gauzy romantic getaway to really know a person, and Helene gets closer to nailing a big story.

Directed by Barnaby Thompson, whose credits are mostly in producing (“Wayne’s World,” “Spice World”), and written by his son, Preston — together they made the 2020 film “Pixie” — the series begins with a flash forward in which Alice flees for her life out an upper-story window, signifying action ahead. And indeed, there will be, leading to a climactic scene I don’t suppose was meant to make me laugh, but did, magnifying as it does one of the confrontational cliches of modern cinema. Many of the series’ notions and plot points (though not that particular one) may be found in the works of Alfred Hitchcock — who, you may remember, made a film called “The Lady Vanishes,” from a train yet — though they have been given new clothes to wear. But where Hitchcock never waited long to show you when a character wasn’t what they seemed, that information is held on here nearly to the end, with some added twists along the way to keep you confused.

Cuoco (unusually brunet here), has been good in many things, most notably her funny, winning turn as Penny across 12 seasons of “The Big Bang Theory” and more recently as the hallucinating alcoholic heroine of the “The Flight Attendant,” but she feels out of joint here. She’s not well served by the pedestrian direction and dialogue, but comes across as a person playing a person, rather than as the person she’s playing. Perhaps by virtue of their accents, the French actors feel more real; France, as usual, looks great.

Sean McVay did not waste any time attempting to address the Rams’ problematic special teams going into next season.

The Rams hired Raymond “Bubba” Ventrone as their special teams coordinator, a person with knowledge of the situation said Thursday. The person requested anonymity because the hiring has not been announced.

Ventrone, a former NFL player, was the Cleveland Browns special teams coordinator the last three seasons. He also has been a coordinator for the Indianapolis Colts, and coached for the New England Patriots.

Special teams were a weakness for a Rams team that finished 12-5 and advanced to the NFC championship game before losing to the Seattle Seahawks.

Kicking game miscues cost the Rams in several early-season losses, leading them to sign kicker Harrison Mevis to replace Joshua Karty and veteran snapper Jake McQuaide to replace Alex Ward. McVay fired coordinator Chase Blackburn in December, the day after Seattle’s Rashid Shaheed returned a punt for a touchdown in a Week 16 overtime defeat at Seattle.

Ben Kotwica served as interim special teams coordinator the rest of the season.

The Rams had a punt blocked in a wild-card victory at Carolina.

In the NFC championship game, returner Xavier Smith muffed a punt that was recovered by the Seahawks, who scored on the next play.