rocky

Dodger pitcher Roki Sasaki’s walkout music, “Báilalo Rocky,” is the Latin hit of the fall

So far this postseason, whenever Dodgers fans heard “Báilalo Rocky” ring through the loudspeakers, that meant two things were coming — pitcher Roki Sasaki was about to throw some vicious splitters in relief, and a Dodgers win was likely just a few outs away.

Sasaki’s walkout music has taken on a life of its own, in part because of the only-in-L.A. culture clash that has a sensational Japanese pitcher embracing a Latin club hit as he dominates the postseason. It’s helped cement Sasaki’s appeal among the Latino Dodgers faithful, and given the song a huge global boost as the Dodgers prepare for the start of World Series today.

Here’s a primer on how Sasaki found his hype track, and how it’s become the breakout hit of L.A. this fall.

So who wrote “Báilalo Rocky?”

The version of the song Sasaki walks out to is by Dj Roderick and Dj Jose Gonzalez and vocalist Ariadne Arana (there’s another popular version by Arana, the Dominican MC Yoan Retro and GMBeats Degranalo).

The song is a super-infectious and chantable dembow-house track, and its Spanish hook — “¡Báilalo, Rocky! / Ta, ta, ta, ta / Suéltale, suéltale” — is an invitation for a guy to dance and cut loose. But here, it’s directed at the young phenom Sasaki to bedevil hitters when he comes out in relief. The way Arana pronounces the hook makes it sound like she’s singing right at the Dodgers’ Roki.

That’s a left-field choice for a 23-year-old pitcher from Japan in his first year in L.A.. How did Sasaki discover it?

Dodgers veteran second baseman Miguel Rojas turned him onto the song during spring training this year, where it became a dugout favorite. (The whole dugout is known to pound on the railing when the track comes on.) Sasaki started using it in April, before a four-month recovery from a right shoulder impingement.

The theme song “was actually MiggyRo’s idea,” Sasaki said to press in Japanese last week. “I’m really happy the fans are enjoying it.”

There’s a delightful incongruity to the modest, laser-focused young Japanese pitcher walking out to a lascivious Latin club banger. But as Sasaki has rebounded from an injury-plagued midseason to become the Dodgers’ lights-out reliever in the postseason, ”It’s been special,” Rojas told press last week. “I feel like it just fits him really well.”

For her part, Arana loves the song’s new life as a hit Dodger theme. “The Dodgers are my team,” she’s said.

Has Sasaki’s blessing boosted the track?

Definitely. The song was already popular in Latin music circles, and it’s become a go-to cover and source material for Latin artists like corridos tumbados singer Tito Doble P and Lomiiel. Even other athletes, like Spanish soccer superstar Lamine Yamal, have gotten in on the track as a meme. It’s racked up tens of millions in Spotify and YouTube plays, where nearly every comment is now Sasaki-related.

But naturally, the only place to really hear it is under a cotton candy sky in Elysian Park.

Has it helped Sasaki’s pitching?

In September, Sasaki was pitching for triple-A Oklahoma City and seemed unlikely to win a roster spot back in L.A. anytime soon. Two months later, however, after clutch saves and eye-popping velocity against the Reds, Phillies and Brewers en route to the World Series, he’s having “One of the great all-time appearances out of the ‘pen that I can remember,” as Dodgers manager Dave Roberts called it.

Sasaki’s not the only Dodger with an unexpected Latin walkout track — last year’s World Series hero Freddie Freeman takes the plate to Dayvi and Victor Cardenas’ “Baila Conmigo (ft. Kelly Ruiz).”

But if the Dodgers take home the title thanks to clutch Sasaki saves, Rojas hopes for a full “Báilalo Roki” edit. “I think he deserves a video and the lights go down and all that stuff,” Rojas told MLB.com. “I think that’s the next step for him.”



Source link

Showdown at Rocky Flats : When Federal Agents Take On a Government Nuclear-Bomb Plant, Lines of Law and Politics Blur, and Moral Responsibility Is Tested

Barry Seigel, a Times national correspondent, is the author of “Death in White Bear Lake” and “Shades of Gray,” both published by Bantam Books. His last story for this magazine was about the University of Wisconsin’s effort to outlaw hate speech

WHEN FBI AGENT JON LIPSKY PROPOSED IN JUNE, 1988, THAT they “do Rocky Flats,” Assistant U.S. Atty. Ken Fimberg gave him the type of look you’d direct at someone who’d just said something intriguing but utterly wacky. Lipsky was neither surprised nor offended, for he more or less shared this response. They were sitting in Fimberg’s office in the federal courthouse building in downtown Denver. With them was William Smith, an Environmental Protection Agency investigator. As Lipsky’s suggestion hung in the air, the three men couldn’t suppress their grins. Yeah, sure, Fimberg thought, we’re going to prosecute Rocky Flats for environmental crimes. For the moment, they all pretended it was a crazy joke.

The Rocky Flats Nuclear Weapons Plant, after all, was a top-secret, high-security, 100-building fortress spread over some 400 acres on a mesa 16 miles northwest of Denver. You couldn’t just stroll in there. They had guards who were allowed to shoot. They also had missiles–real anti-aircraft rockets. The potential political controversies looked even nastier than the firepower. Although operated under contract by Rockwell International since 1975, Rocky Flats in fact belonged to the United States Department of Energy. There’d never been a criminal environmental case brought against a federal facility. If the U.S. attorney’s office in Colorado were to go after Rocky Flats, one federal agency in effect would be raiding another. The tangled mass of murky environmental law was hard enough to navigate without that complication. “Doing Rocky Flats” would be a huge, unimaginable undertaking.

The idea was tantalizing to Fimberg, though. Then 34, he was not unfamiliar with the weapons plant. A dozen years before, studying at the University of Colorado in Boulder, just up the road from Rocky Flats, he’d sometimes driven by the place at night. In the dark, surrounded by a perimeter of lights, sitting up on that plateau giving off a yellow-tinted glow, Rocky Flats made quite an impact. Its troubled, 35-year-long history made an even bigger one. From government studies and press reports, Fimberg knew of the two explosive fires, one in 1957 that had spewed unfiltered plutonium into the air and another in 1969. He knew of the 5,000 gallons of plutonium-contaminated oil that had leached into the soil between 1964 and 1967. He knew of the toxic materials such as beryllium and tritium that had leaked for years into the ground water. He knew of the lawsuits by neighbors that had forced the government in 1984 to buy a 6,550-acre buffer zone around Rocky Flats. He knew that about 1.8 million people lived within 50 miles of the plant.

He now also knew what Lipsky and Smith had turned up during a discreet, yearlong preliminary investigation. Their reports were spread out on the desk between them. They looked interesting.

The prosecutor and two agents eyed each other. Working together the year before on another case, they’d convicted Protex Industries Inc. for exposing three employees to toxic substances–the first such “knowing endangerment” conviction in the nation. The Protex verdict was six months behind them, though. They’d had plenty of time to catch their breath and pat themselves on the back.

Their jokes about the Rocky Flats idea trailed off. Well, why not do Rocky Flats?

Looking back now at this moment in Ken Fimberg’s office, it is tempting to ask whether there ever would have been a Rocky Flats prosecution if the three men sitting there that day had fully grasped what they were getting into. Fimberg, after all, would eventually find himself taking on not just a giant DOE nuclear weapons plant but also 40 years of deeply institutionalized public policy. For pushing his case too hard, he’d eventually face restraints and a change of heart from his politicized Department of Justice supervisors. For pushing too softly, he’d end up being investigated and denounced by an outraged congressional subcommittee. For being beset by ambivalence, he’d get flattened by a runaway grand jury that disagreed with him not so much over the facts as over what to make of them.

Only much later would Fimberg realize that he’d created these problems by inadvertently tackling several complex and ambiguous questions. When broad elements of the federal government disregard the law, who is to blame? Are people to be called criminals if they act in accordance with a pervasive institutional culture? Should Rocky Flats managers be indicted for carrying out the will of their supervisors and employers? For that matter, should grand jurors obey court officers, and prosecutors bow to their bosses, even when they think doing so is wrong? In the end, these were the issues at the heart of the Rocky Flats investigation. Ken Fimberg’s inquiry eventually would become a disturbing exploration into the personal moral responsibility not just of bomb-plant managers but also of their judges–the 23 grand jurors and Fimberg himself.

Perhaps Fimberg would have pursued Rocky Flats even if he’d known he’d have to confront all this. After all, he left a big commercial law firm for the U.S. attorney’s white-collar-crimes unit because he’d tired of “moving big amounts of money from one pocket to another” and thought there were “more important things to do.” He’d clerked for the Environmental Defense Fund and served on the board of the Colorado Wildlife Federation because of a passion for the wilderness. He’d studied moral philosophy and political science at Boulder, and the law at Harvard, because he’d always been interested in “how the legal system forms social values.”

In the end, though, it was not just ethics or idealism or the environment tugging at Fimberg on this June morning. Unvarnished ambition lured as well. Here was a new goal, a larger challenge, a chance once more for a big win.

“Do you know,” Fimberg asked his colleagues, “just how hard Rocky Flats is going to be?”

THERE WAS A TIME WHEN ROCKY FLATS AROUSED PRIDE AND PATRIOTISM, not prosecutors. Against the context of the Manhattan Project and the Cold War, the discovery of plutonium and the spread of fallout shelters, the Denver Post in a March 23, 1951, headline felt inspired to announce “There’s Good News Today–U.S. to Build $45 Million A-Plant Near Denver.” The plant’s chief task, to manufacture plutonium triggers for nuclear bombs, was carried out under a cloak of secrecy and an autonomy that few disputed. The country wanted to make bombs, not worry about the environment.

Even in later years, after environmental concerns mounted and Congress adopted statutes such as the Clean Water Act and the Resource Conservation and Recovery Act (RCRA), the politicians either exempted DOE bomb plants from the new laws or fudged the issue with vague language. Then, when efforts to regulate weapons plants did begin in the early 1980s, DOE managers fiercely resisted, insisting environmental laws like RCRA didn’t apply to the particular type of waste they generated. Rocky Flats managers often blindfolded EPA investigators before leading them through the plant. The regulatory agencies may not have liked that, but they played along, negotiating “compliance agreements” and “memos of understanding” whose deadlines were rarely met.

It was against this backdrop that EPA investigator Bill Smith brought a curious document to FBI Agent Jon Lipsky in May, 1987. The two of them sat hunched together in Lipsky’s cubicle in the FBI’s Denver office, staring at Smith’s prize. It was an internal DOE memo directed to Mary L. Walker, then the department’s assistant secretary for environment, safety and health. The memo had been written 10 months before, by Walker’s assistant, John Barker, to brief her about yet another compliance agreement DOE was supposed to sign with the EPA and the Colorado Department of Health. This one would finally clarify that RCRA did indeed apply to some of Rocky Flats’ hazardous waste. As usual, DOE was resisting.

“The language seeks to ‘finesse’ the issue of EPA’s authority. . . .” Barker informed Walker. “The only question is one of whether there is a sufficient degree of vagueness and ambiguity; the proposed language provides this.” DOE should not fight this deal, Barker advised. “The compliance posture of Rocky Flats makes it a poor candidate for testing fine points of law. . . . Much of the good press we have gotten from the Agreement in Principle has taken attention away from just how really bad the site is. . . . We have basically no RCRA groundwater monitoring wells. Our permit applications are grossly deficient. Some of the waste facilities there are patently ‘illegal.’ We have serious contamination.” Failure to sign the deal would “suggest that direct, harsh enforcement action . . . will be more expeditious and productive.”

Lipsky understandably found this memo interesting. Then in his early 30s, he was a onetime Las Vegas street cop who had worked his way into the FBI through bulldog persistence. Lipsky had a casual manner, an unimposing build and a taste for the type of lackluster sport coats and checked socks favored by cautious back-room clerks. Lipsky also had a taste for the public corruption beat, particularly environmental crimes. He’d attended training sessions, he’d lectured other FBI agents, he’d been lead investigator in 13 environmental cases. In the Mary Walker memo he smelled his 14th.

Ken Fimberg was intrigued but hesitant when Lipsky and Smith first came to him. Born and raised in Oklahoma City, Fimberg’s commitment to the environment was undeniable, his reputation for integrity squeaky clean. He hiked, he climbed mountains, he rafted rivers, he led a boys’ camping and sports program at his local church, he volunteered as a Big Brother. Full-faced, almost burly, with a mustache and an earnest manner, he liked to thrash out issues with others. He also, though, liked to temper his instincts with a certain rational calculation. He tended to frame and qualify his remarks with the logic of a lawyer.

This bent toward caution prevailed at first. Fimberg knew the movement of prosecuting environmental crimes was still in its infancy. Those few who ventured into the new field usually ended up wrestling with obtuse regulations and mountains of complicated documents. White-collar crime was not sexy. You needed to master a computer database rather than a witness in an interrogation room. You also needed to hold your own with meddlesome Department of Justice supervisors in Washington who didn’t always share their line prosecutors’ enthusiasm for environmental-crime enforcement.

“It’s too early to tell,” Fimberg told the agents that first summer. “Keep poking around. Be discreet. I won’t stop you.”

When they returned to Fimberg a year later, in June, 1988, Lipsky and Smith brought not just suspicious memos, but particulars. The numbers didn’t add up. The numbers didn’t match the permits. The numbers didn’t match the available storage space. Where was all that waste going? The incinerator in Rocky Flats Building 771 seemed to provide the answer. The DOE and Rockwell had always insisted this incinerator was exempt from RCRA regulation because it was a “plutonium recovery” facility, one of those exclusions Congress had given bomb plants. But Lipsky believed the 771 incinerator was in fact burning hazardous wastes, not recovering plutonium. The waste had to be going somewhere. Lipsky was sure it was going up in smoke.

Fimberg considered the reports before him. “I think we have enough to go forward,” he finally told the agents.

Together, the three made an initial presentation that August to acting U.S. Atty. Michael Norton. For a while, Norton held off making a decision. Then an event at Rocky Flats changed the equation.

On Sept. 29, a DOE inspector named Joseph Krupar, while inspecting Building 771, walked unprotected into a radioactive zone that had no warning signs. Understandably disturbed, Krupar railed at assorted DOE and Rockwell supervisors. Building 771 is out of control, he later told FBI agents; in fact, he charged, Rockwell places production over safety all over Rocky Flats. On Oct. 7, DOE responded by ordering the temporary shutdown of Building 771.

Two weeks later, Fimberg, Lipsky and Smith met in the U.S. attorney’s conference room with Norton and other top managers from the FBI and the prosecutor’s office. Fimberg did the talking. “Here’s what we see so far,” he said. “I think it’s enough to go forward on. We’ve done as much as we can in this low-key way. Now we’ve got to be overt.”

A row of skeptical faces stared back at him.

“Are you sure you want to go after this?” Norton asked.

Mike Norton did not bring to this meeting much experience in the field of criminal law. In fact, he had never tried a criminal case in his life. A former regional head of the General Services Administration and twice an unsuccessful Republican candidate for Congress, Norton had been named U.S. attorney by President Ronald Reagan the previous spring and had not yet been confirmed. Partly because of Norton’s brusque manner and partly because nothing in his career suggested much preparation for the role of prosecutor, all sorts of critics had objected to his appointment, calling it a “political cookie” for a Republican loyalist. Whether or not that was fair, Norton undeniably was obliged to rely on the experienced trial lawyers in his department. By then he had come to rely on Fimberg particularly.

Yes, Fimberg said. Let’s do Rocky Flats.

Thus did Operation Desert Glow begin. All decisions would be made by Fimberg in agreement with him, Norton said. Potential targets would include Rockwell International, Rockwell’s employees and DOE employees; sovereign immunity protected the Department of Energy itself. They would need a special grand jury. They would need a search warrant.

Everyone looked at each other. They were going to raid Rocky Flats. The Department of Justice was going to raid the Department of Energy.

TO FIMBERG, FROM THE SKY, THE ROCKY FLATS WEAPONS PLANT–bounded by state highways, a series of holding ponds and a high chain-link fence–resembled nothing so much as an aging industrial foundry. It was early morning on Dec. 9, six weeks after Norton flashed the green light. Fimberg was sitting next to Lipsky in the FBI’s eight-seat prop plane, surrounded by a mess of infrared surveillance equipment, looking down at his target.

This is sort of strange, he thought. They were on a spy mission, not unlike Cold War U-2 pilots flying high over the Soviet Union. Except they were in Colorado, flying over a U.S. government facility.

Studying a monitor connected to the infrared cameras, Fimberg could see white plumes rising from a smokestack and white streams leading toward a body of water. On an infrared image, white signifies a hot spot–thermal activity. An EPA agent on board nudged Fimberg and Lipsky, pointing to the monitor. “Take a look at that,” he said.

Late that night, and again on two more evenings in mid-December, the FBI plane overflew Rocky Flats. Then, in early January, EPA experts in Las Vegas delivered their analyses.

The smokestack plume came from the Building 771 incinerator, one infrared expert said. Even though it was supposedly shut down, it was “thermally active” late on the nights of Dec. 9, 10 and 15. So was a holding pond that on paper had been closed two years before because of leaks. A hot stream of wastes was also flowing from the sewage-treatment plant to Woman Creek, an illegal direct discharge. Samples from one such direct discharge strongly suggested that “medical waste” was coming from some sort of “research laboratory” dabbling in “experimental” chemicals.

Fimberg was excited. Amid the tangle of mind-numbing RCRA regulations, here, he thought, might be some pretty sexy smoking guns: a clandestine midnight incinerator burn, direct toxic discharges into public water supplies, an exotic lab, concealment. White-collar environmental crimes didn’t usually provide anything nearly as dramatic as the AK-47s and sacks of cocaine shown off by criminal prosecutors before crowded press conferences. But this one might.

Fimberg began regularly flying to Washington to brief various Justice Department supervisors. Up the department’s ladder he climbed, repeating his dog-and-pony show. Each time he’d first draw skepticism, if not disbelief. Oh, come on, you’re not serious, we’re not going to do Rocky Flats, they’d say. Each time Fimberg would bring them around.

On Jan. 10, Don Carr, the acting head of the Environment and Natural Resources Division, finally gave conceptual approval for a raid of Rocky Flats. In March, Atty. Gen. Dick Thornburgh signed off. In early June, Thornburgh, Norton, FBI Director William S. Sessions, EPA administrator William K. Reilly and Adm. James D. Watkins, secretary of the Department of Energy, signed a memo of understanding about what was to happen. At 9 a.m. on June 6, the raid began.

Jon Lipsky and Bill Smith led a small team through the main entrance on State Highway 93. Ostensibly, they were on their way to a prearranged meeting with Rocky Flats officials to talk about recent threats from the environmental group Earth First! But once in the meeting room, they revealed the true reason for their visit and slapped copies of the search warrant into the startled hands of DOE and Rockwell officials.

“You can’t be serious,” stuttered Dominic Sanchini, Rockwell’s manager at Rocky Flats.

“We are serious,” replied FBI Special Agent Thomas J. Coyle.

Then 62, Sanchini was a balding, jowly Rockwell veteran with a bachelor’s degree in mechanical engineering, a law degree and a background in the development of rocket engines. As the search unfolded, Sanchini told the agents he’d seen notices of noncompliance from various regulatory agencies, but they were always minor and immediately corrected. Problems got solved if DOE wanted to pay for them.

On the fourth day of the search, according to FBI reports, Agent Edward Sutcliff, looking into a cabinet along the west wall of the manager’s office, came upon a large box of steno pads. Sanchini said those were diaries he had kept while working for NASA. He was planning to write a book.

Sutcliff began searching an adjoining middle cabinet. That cabinet has stuff from my old job, Sanchini said. Just as the Rocky Flats manager mouthed those words, Sutcliff discovered in the cabinet, under a foot-high stack of documents, another pile of steno pads. The FBI agent began leafing through the pages. They appeared to be Sanchini’s diary of events at Rocky Flats.

“Environment becoming a big deal. The EPA can destroy us,” read one entry from July 1, 1986. “Don’t tell press. . . . Tie mind, mouth and asshole together,” read another, referring to a discovery of ground-water contamination. “DOE doesn’t follow the law,” read an entry from May 6, 1987.

All told, the search took 18 days, involved 75 FBI and EPA agents and yielded 184 boxes of documents. When it was over, prosecutors and agents hauled their booty to the special office space they’d secured in downtown Denver.

Now, Fimberg thought, we’ll see if we have a story to tell.

WHEN WES MCKINLEY FOUND A POSTCARD IN HIS MAILBOX ONE afternoon in July, 1989, summoning him to federal grand jury duty in Denver, he didn’t know what to make of it. In truth, he didn’t know what a grand jury was. The term conjured in his mind the vague image of a ponderous group cloaked in judicial robes.

McKinley’s confusion was understandable. Then 45, married and the father of four, he lived where he’d always lived, on a ragged cattle ranch 300 miles from Denver in the barren southeast corner of Colorado. His father had worked this same land before him, and his grandfather had homesteaded it in 1909. There was no way to travel between McKinley’s home and Denver other than charter a plane or make the five-hour drive on two-lane state roads, so he’d always managed to stay fairly isolated from the outside world.

That is not to say McKinley was a rube. Far from it. He had a degree in math and physics from a four-year state college in Oklahoma, and he mixed fairly well with urban types when they showed up for the twice-a-year “city slicker” cattle drives he ran, at $1,000 per guest. He had a jaunty humor and the look of a real cowboy, what with the mustache, the week-old beard just turning to gray, the jeans, the boots, the spurs, the red bandanna, the dirty white cowboy hat and the ragged strands of dark brown hair hanging over his ears and neck. It is true that when he took his hat off, revealing a crown as bald as an egg, the passing effect was somewhat droll. But McKinley was, indeed, a cowboy. The manure on his spurs was the real thing, not the sort slung about in corridors of power in downtown Denver or Washington.

The grand jury postcard in hand, McKinley drove 18 miles north up the unpaved road that leads from his home to the tiny settlement of Walsh, where he continued on to the town of Springfield. There he showed the postcard to an old lawyer friend of his, who explained about grand juries and how Wes had a duty as a citizen if called to serve on one. That sounded fine to McKinley. In the one-room schoolhouse he had attended as a kid, they used to teach citizenship. They used to say the Pledge of Allegiance and mean it. He’d willingly serve if picked.

When McKinley finally managed to locate the federal courthouse in downtown Denver on Aug. 1, 1989, and the meeting room where he was to report, he found himself amid a group of 50 people. Up front, someone was explaining that 23 of them would be picked to serve on a special federal grand jury. They’d be investigating Rocky Flats.

This puzzled McKinley. He recollected that there used to be a hippie camp out near Rocky Flats back in the ‘60s. McKinley raised his hand. “What’s Rocky Flats?” he asked.

Numbers pulled from a bowl determined which 23 of the 50 in the room would serve on the grand jury. One by one, the group took shape. Although chosen by random draw, they looked to be the result of nothing so much as a Hollywood casting director’s call.

There was Jerry Joyner, an overweight, outgoing former police detective in Shreveport, La., with a drawn-out Southern manner full of deference to women and backslapping good ol’ boy charm to men. There was Jerry Sandoval, an earnest and soft-spoken Denver bus driver who worried about losing overtime pay and being away from his family for so long. There was Paul Herzfeldt, a withdrawn, slump-shouldered equipment repairman who chain-smoked and had big rings around deep-set eyes. There was Shirley Kyle, a hairdresser and wheat farmer’s wife from the tiny east Colorado town of Flagler, who welcomed the grand jury summons as a chance to get out and see the world. There was Connie Modecker, an outspoken and devout believer in the Marian sect of the Catholic Church, who feared any disruption of her ordered life but was certain God had a reason for her being called to jury duty. There was Rebecca Walker, a plump woman from a remote northwestern reach of Colorado, whose journey, a one-hour drive through the Colorado National Monument followed by an eight-hour bus ride into Denver, was 10 miles longer even than Wes McKinley’s.

“You’ve met them before” is how grand juror Ken Peck likes to describe his colleagues. “You’ve seen them at Disneyland, you’ve seen them in their pickups.”

Ken Peck, as it happened, was himself a bit more complicated. The 23rd and last grand juror selected, Peck was a Denver lawyer with links to both Colorado Republican politics and Rocky Flats. In 1987, Peck had circulated petitions and written letters for Businesses Against Burning Radioactive and Hazardous Wastes, a group that fought plans to incinerate hazardous mixed wastes at Rocky Flats.

It is hard to see just how Peck ended up being allowed on the grand jury. U.S. Atty. Mike Norton admits he was “acquainted” with Peck from Republican political circles and was “aware of some involvement he’d had with Rocky Flats,” but he “wasn’t clear just what it was.” Pre-selection questioning of the potential grand jurors didn’t provide any further clarification.

“Anyone else have any activity with the EPA or Colorado Department of Health?” U.S. District Judge Sherman G. Finesilver asked at one point.

“Just to clarify your question, you are saying in an employment capacity?” Peck responded.

“Employment or contract capacity also,” the judge replied.

Hearing that, Peck held his tongue. “It was never asked. They almost got to it, but they didn’t,” he explained much later.

After the 23 Colorado citizens were selected, Judge Finesilver spent an hour reading Special Grand Jury 89-2 its instructions. Listening, the grand jurors hung on every word.

“It is every person’s duty to conform his acts to the laws enacted by Congress,” the judge began. “All are equal under the law, and no one is above the law. . . . If 12 or more members of the grand jury after deliberation believe that an indictment is warranted, then you will request the United States attorney to prepare a formal written indictment. . . . The federal grand jury . . . is independent of the United States attorney. . . . It is not an arm of the United States attorney’s office. Please keep in mind, you would perform a disservice if you did not indict where the evidence warranted an indictment. . . . The government attorneys cannot dominate or command your actions. . . . You must be strong and faithful in the discharge of your office.”

In the following months, the grand jurors would reread the transcript of Judge Finesilver’s remarks time and time again. They would invoke the judge’s words as gospel. In fact, Wes McKinley’s wife, Jan, grew so tired of his reading her passages from the instructions that he finally took a green marker and highlighted the sections he wanted her to remember.

“We did exactly as we were told to do,” McKinley says now, looking back at all that has happened. “We didn’t have any choice. It’s a real simple thing. People blow it up, make it complicated. But it’s simple. All we had to do is refer to the judge’s instructions. We did exactly that.”

THE RAID OF ROCKY FLATS AND THE IMPANELING OF SPECIAL Grand Jury 89-2 had an immediate impact on several fronts.

On Sept. 22, 1989, Energy Secretary Watkins terminated Rockwell’s contract as the Rocky Flats manager, one day after the company argued in court that it couldn’t fulfill its DOE contract without violating environmental laws. On Sept. 28, the EPA put Rocky Flats on its Superfund cleanup list as a dangerous site. On Nov. 13, Watkins shut down Rocky Flats’ plutonium operations in response to a warning about plutonium in the plant’s ventilation ducts. On Dec. 1, standing inside the Rocky Flats plant, speaking over a public-address system to all 6,000 employees, Watkins denounced his own department’s past handling of the weapons facility and unveiled sweeping plans for reform.

Ken Fimberg’s case appeared to be on a roll. But appearances can be deceiving. In truth, the prosecutor’s case just then had started to unravel.

The sequence began with the sort of startling revelation prosecutors most fear. One morning that October, Fimberg for the first time met in person the EPA expert who’d provided their infrared analysis. At a meeting to prepare for a grand jury appearance, they sat down to once more walk through what they had.

“The high temps you got mean they were running the incinerator, right?” Fimberg asked again. “It couldn’t be from the building’s heating system?”

The expert told Fimberg he couldn’t really say that.

Fimberg stared at him.

“What about the hot streams into the creeks?” the prosecutor asked. “Aren’t they coming straight from the sewage plant?”

Maybe not, the expert said. It looks more like runoff from the hillside.

“Wait a minute,” Fimberg said. “You’ve already told us that it was. Important decisions were made based on this.”

The EPA expert squirmed and shrugged but offered little more. The guy is backing off, a dismayed Fimberg realized. The guy is flip-flopping.

Without the infrared evidence, they didn’t have their smoking guns. It didn’t mean the midnight incinerator burn didn’t happen, but how to prove it? They had Building 771 oxygen sheets showing a big drop on Dec. 6, and only the incinerator used oxygen. That was enough for Lipsky. But Fimberg didn’t think that was enough to convince a jury.

In time, a good number of other allegations contained in the prosecutors’ search-warrant affidavit began to fall apart.

The exotic lab stuff went first. They’d been able to detect only trace amounts of those mysterious medical chemicals and couldn’t track them back to a particular source. That didn’t mean it didn’t happen, Fimberg knew. But to make a charge, he needed a source.

The 771 incinerator stuff didn’t so much collapse as wither. Yes, they’d been storing and burning hazardous waste in the 771 incinerator for years without a permit. But it turned out you could argue forever over whether it was a type of waste subject to RCRA and EPA jurisdiction. If it was radioactive waste, it was exempt. But what if it was a mixture of radioactive and other hazardous wastes? Not until 1987 had DOE conceded that mixed wastes were subject to RCRA.

Even then, the DOE and Rockwell general counsels stuck to their claim that the 771 incinerator was an exempt plutonium-recovery operation, although no plutonium had actually been recovered there for 10 years. Only when a DOE lawyer heard this fact directly from Rocky Flats laborers–potential witnesses–did Rockwell and DOE abandon this claim. Until then, Fimberg discovered to his considerable chagrin, his own Justice Department had filed legal briefs supporting the DOE’s position.

How could he prove criminal intent? For that matter, how could he keep the jurors awake long enough to explain the whole mess?

He’d started with a hypothesis, he’d tested the hypothesis, the hypothesis had changed. Whatever he dug out now would be much harder to get. Whatever he got now would come from slogging through millions of documents, tracking down hundreds of people, running dozens of witnesses before the grand jury.

To be precise, it would come from 3.5 million documents, 800 interviews and 110 grand jury witnesses. That was the well from which the Colorado investigators eventually pulled their case.

It was, when they finally shaped it, a much more subtle prosecution than they’d first imagined. No longer did it involve clandestine midnight incinerator burns. Now their case focused on a litany of spills, leaks and contamination by a weapons plant that for many years had been ceaselessly generating tons of hazardous wastes it couldn’t legally treat, store or dispose of.

According to FBI reports and court records, FBI agents and prosecutors in time discovered that Rockwell workers had been mixing hazardous and other wastes with concrete to form giant one-ton solid blocks called “pondcrete,” which they’d then stored under tarps on uncovered asphalt pads. Other types of waste they’d piped into a series of holding ponds, even after regulators had closed the ponds because of ground-water contamination. Liquid effluents from the sewage plant, meanwhile, had been “spray irrigated” over open fields through a network of sprinklers, mainly to avoid the cost–and the regulatory and public scrutiny–that would come from directly discharging waste water into creeks.

Most of this had been done without permits, sometimes without telling the EPA or DOE. The pondcrete was supposed to get shipped elsewhere eventually, while the liquids were to be absorbed into the ground or evaporated by the sun. But that is not what had happened.

What were supposed to be rock-solid blocks of pondcrete turned out to be more like putty. Some were part liquid. To test the consistency, workers often stuck their thumbs into the blocks. Piled atop each other, unprotected from the elements, the blocks began to sag and leak. Liquids containing nitrates, cadmium and low-level radioactive waste began to leach into the ground and run downhill toward Walnut and Woman Creek. There they would sometimes meet the liquids spray-irrigated through a system of sprinklers, for they had also run off into the creeks. Far more effluent had been sprayed than the fields could possibly absorb, particularly since the spraying continued even when the fields were saturated or frozen solid by ice and snow.

By the spring of 1987, FBI agents and prosecutors found, a number of Rockwell employees and outside inspectors had started regularly reporting these conditions to Rocky Flats supervisors. For the most part, there was no response. Except, that is, from the supervisor who threatened workers with big fines if pondcrete production goals weren’t met. And from the foreman who told his workers to “cap” the soft pondcrete blocks by throwing fresh concrete over the spots where inspectors usually stuck their instruments.

Certain memos from DOE regional managers might also be construed as a form of response. One urged DOE headquarters to “send a message to EPA that DOE and its contractors are willing to ‘go to the mat’ in opposing enforcement actions at DOE facilities.” According to an FBI report, when DOE inspector Joseph Krupar did warn Rocky Flats manager Dominic Sanchini about split and leaking pondcrete blocks, Sanchini responded by telling Krupar he was going to “define his access” at the plant. Then Sanchini put a barbed-wire fence and “unauthorized personnel keep out” signs around the pondcrete blocks.

In a way, it seemed to Fimberg, all this was just as shocking as the smoking guns. The investigators had found a pervasive, long-term pattern of disregard for environmental laws, by both the government and its contractors. The DOE had allowed Rockwell to “capture” Rocky Flats. Rockwell even wrote DOE’s letters and permit applications; DOE staffers just retyped them on their letterhead and signed them.

In truth, Fimberg’s team had not exactly discovered this situation. It was known–if not to every citizen, certainly to regulators, politicians and a portion of the informed public–that mountains of hazardous wastes were seeping into the air and the ground at most DOE weapons plants. The situation just had never been regarded as a proper target for criminal prosecution, until the Colorado team fixed on this notion. By November, 1990, Fimberg had come to realize he’d unwittingly taken on not just a weapons plant and its managers but also 40 years of public policy.

He wrestled with the implications. No longer could he pin all the blame on a handful of individuals, particularly since the man most responsible at Rocky Flats–manager Dominic Sanchini–had that month died of cancer. Still, environmental laws hadn’t arrived at Rocky Flats overnight. It seemed to him that Rockwell’s crimes were serious and pervasive. There was still surely a case here to prosecute. There was still surely an important story to tell.

Or so Fimberg thought. Others, it turned out, thought differently. Fimberg, it soon became clear, had lost more than evidence over the months. He’d lost the enthusiasm of his boss.

U.S. Atty. Mike Norton had no desire to prosecute 40 years of public policy. The Republican appointee particularly had no desire to prosecute a dozen years of Reagan-Bush Administration public policy. He’d gotten pulled into this with promises of midnight incinerator burns and exotic labs. He felt betrayed by the FBI and EPA agents’ initial reports.

“We frankly bought into the idea that this place was operating clandestinely, illegally and in a fashion in total disregard for environmental laws,” Norton later explained. “I’m not going to prosecute conduct well known to regulators, for which there was no known scientific solution.”

Perhaps Fimberg in time could have rekindled Norton’s interest, given the U.S. attorney’s trust in the veteran prosecutor. Perhaps Fimberg in time could have convinced Norton he still had a case. By late 1990, however, the Rocky Flats prosecution was no longer a matter of conversation only in the Colorado U.S. attorney’s office. By then, the Justice Department in Washington was sitting at the table with Norton and Fimberg. By then, the Justice Department was making clear that it was in charge.

THE LEGACIES OF THE Ronald Reagan and George Bush administrations are many, but surely one that ranks among the most ignominious is the degradation of the Justice Department. Even Republicans in Washington concede that over the past decade, Justice gained a reputation as the most thoroughly politicized and ethically compromised department in the government.

First under Edwin Meese III, appointed attorney general in 1985, then under Dick Thornburgh and William P. Barr, many of the department’s activities were directed to achieving political goals. According to critics, hiring was based on political loyalty, legal decisions on political ideology. Driven by political appointees who burrowed their way into the bureaucracy, the core agenda involved attacking civil rights gains, criminal defendants’ rights, pornographers and abortion rights. No goal was more favored, though, than reining in the enforcement of newly emerging environmental criminal laws.

The notion of imprisoning 50-year-old white-collar industrial managers just didn’t appeal to everyone who occupied desks at the White House and Justice Department during the Reagan-Bush years. That, at least, has been the conclusion of three recent congressional subcommittee investigations into federal environmental prosecutions. In all sorts of cases, the Democrat-controlled subcommittees kept finding the same story: intervention, restrictions, delays, reduced charges and micro-management of line prosecutors by “Main Justice.” There was, the investigators found, a particular unwillingness at Justice to prosecute individuals or establish personal accountability, especially when the case involved large companies.

In a number of these cases–including Rocky Flats–the principal point man for the Justice Department was Barry Hartman. Hartman is brashly outspoken. Originally from Pennsylvania, he served there in the mid-1980s as deputy general counsel to Gov. Dick Thornburgh, then went into the garment manufacturing business in New Jersey, where he also worked for the 1988 Bush campaign. When Thornburgh became attorney general, he brought Hartman along and eventually placed him in the Environment and Natural Resources Division, first as the No. 2 man, later as its acting head. By then, congressional investigators concluded, Hartman had developed his own independent ties to the White House.

He denies such connections and defends his record, noting that his critics have singled out a handful of the more than 1,000 environmental cases he oversaw. But Hartman’s name almost always came up when congressional investigators asked line prosecutors about political compromise in the Justice Department. Among these prosecutors, one congressional report concluded, “Hartman was viewed as highly antagonistic to environmental criminal prosecutions generally. . . . Hartman once described himself as a ‘political hack’ . . . and many assistant U.S. attorneys feel that this self-depiction is, if anything, understated. Thought to have close ties to industry groups and lobbying organizations, Hartman is generally blamed for the hostile reception given many environmental cases at the divisional level.”

As 1990 drew to an end, Hartman’s impact on the Rocky Flats case became increasingly obvious. “Mr. Norton was in consultation with Barry Hartman throughout Mr. Hartman’s time as the acting assistant attorney general,” recalls Peter Murtha, a Justice Department lawyer who worked with the Colorado team on the Rocky Flats prosecution. “I think it is fair to say that Mr. Norton wanted to make sure that Mr. Hartman felt comfortable with the decisions that he, Mr. Norton, was making throughout the case.”

Making Hartman feel comfortable, it soon became clear, meant never talking with gusto about Rocky Flats. Hartman had soured on the case even more than had U.S. Atty. Norton. “It was a very expensive investigation,” Hartman says now. “Time was ticking. It was costing money. The midnight burning was not panning out. Instead, they’d found stuff was being flushed down toilets into the ground. Now it’s a major investigation into illegal toilets. So the pondcrete didn’t set and leaked. So they f—-d up. Can it be done legally? Can it be done physically at all? It was looking like it was going to be a dirty case.”

Given Hartman’s attitude, it isn’t hard to see why some members of the prosecution team responded positively when Rockwell’s attorneys first broached the subject of a plea bargain at a meeting in Norton’s office on Dec. 17, 1990. Here, after all, was a way out of their ever-widening and increasingly unpopular morass.

Fimberg was still arguing for an aggressive posture. If they were going to settle, he wanted at least misdemeanor indictments against individuals and a punishing fine of $50 million to $80 million against Rockwell. But Peter Murtha, the liaison with Washington, saw it differently. He was so cautious and skeptical, his colleagues sometimes joked that he’d never seen a case he liked. Murtha thought the Rocky Flats case was worth somewhere between $4 and $10 million.

Worried about Fimberg’s ambitions for the case, Murtha wrote a memo to Hartman on Dec. 28, 1990: “We thought it would be appropriate to bring to your attention what may potentially be a substantial disagreement between the United States attorney’s office and the Environmental Crimes Section about what an appropriate plea agree would include. . . . The crux of the potential issue is what this case is worth.” Notes taken a month later, during a Jan. 23, 1991, conference call between Denver prosecutors and Justice Department managers, suggest Norton had already swung from Fimberg to Hartman. “Bottom line, no individual felony charges,” the notes read. “Norton: no misdemeanor charges either . . . no fraud; no false statements. . . . Probably be a deal breaker.”

Fimberg kept fighting all that winter and spring with ever-diminishing effectiveness. Setback followed setback. First, the prosecutors learned that the DOE’s longtime policy of indemnifying its contractors meant the Energy Department–and thus taxpayers–would have to pay any fine levied against Rockwell at trial. That meant only if they settled could they make Rockwell pay its own fine.

Then the prosecutors realized they couldn’t prove a public health impact beyond Rocky Flat’s boundaries. They had plenty of evidence of ground-water contamination and toxic runoff into holding ponds and creeks. But they couldn’t track it from there into the public drinking water supply, at least not on a regular or measurable basis. The downstream city of Broomfield had never seen a blip during its constant monitoring of the Great Western Reservoir.

Nor had scientists ever measured unusual health problems in the area. Maybe there’d been contamination sometime, maybe there were undetected long-term effects. A special Colorado Department of Health panel was talking about signs of radioactive tritium in certain surface waters and plutonium concentrations in sediment at the bottom of the Great Western and Standley Lake reservoirs. But as usual in environmental studies, the scientists were saying all conclusions were premature.

Rockwell, meanwhile, had managed to make an end run around the Colorado prosecutors, as often happened in criminal environmental prosecutions against big corporations. For months, Rockwell attorneys had been campaigning for a review of the case by the Justice Department. On April 9, they finally got their opportunity.

The meeting took place in the Environment and Natural Resources Division’s cavernous conference room in Washington. Richard Stewart, then the division’s head, sat at one end of the conference table, with Fimberg on his left and Hartman on his right. Vincent Fuller, a partner at the powerful and politically connected Washington law firm of Williams & Connolly, sat at the other end. Fuller’s animated presentation lasted 20 minutes. At its core was the notion that Rockwell had done no wrong and that the Department of Energy was at fault.

The DOE’s priority was the production of nuclear warheads, so for many years the department quite consciously failed to bring an aging complex into compliance with a rapidly expanding body of environmental law, Fuller argued. Rockwell acted in good faith, following the DOE’s direction, restrained by DOE budgets. There were no rogue actors. Since Rockwell was following the federal government’s own priorities, it’s wrong to now punish Rockwell if you decide those priorities were misguided.

Besides, Fuller continued, the search was based on sensational allegations that were never proven. Justice probably wouldn’t even have authorized the search without them. And Rockwell’s role has to be considered against the extraordinary regulatory confusion surrounding the application of environmental laws to DOE facilities. The laws themselves are full of ambiguity.

What’s more, Fuller reminded them, Rocky Flats is far from unique–every other DOE facility suffers from the same type of environmental problems. Look at the Fernald plant in Ohio. Look at Hanford, Oak Ridge, West Valley, Savannah River. All have waste storage, treatment and disposal problems. No DOE contractor is able to conform to the letter of environmental laws while running these facilities. No other contractor has faced criminal sanctions, though. Is this fair?

After the Rockwell lawyers filed out of the conference room, all eyes swung to Fimberg for his response. He hesitated, and for good reason.

Underlying the defense attorney’s arguments, Fimberg knew, were the critical and complicated questions at the heart of the Rocky Flats controversy. Ever since the Manhattan Project, the Energy Department and its predecessor agencies indeed had established a widespread institutional culture that had gone on for 40 years, unchallenged by Congress or regulatory agencies. It was a terrible culture–but how do you indict a culture?

On the other hand, Fimberg wondered, what is a culture but a set of individuals acting on the basis of certain values? Couldn’t Rockwell have gone to the DOE and flatly said, we can’t execute our contract without violating the law? Once you put that in a memo, isn’t the Energy secretary going to have to approve violations of the law–or change things? Were violations at other DOE plants really a fair defense? If everyone in the room is nodding his head, does that make it right?

Fimberg had been wrestling with these questions for months. To him, the matter was complex. To him, there were no easy answers. On the one hand, he had to admit that Fuller was making some legitimate points. On the other hand, there still was no denying that Rockwell had violated the law.

“Same old song,” he finally told his waiting colleagues, glancing at Fuller’s now empty seat. From his superiors’ looks, Fimberg understood that the prospect of indicting DOE people was fading. But Fimberg flew back to Denver that afternoon still clinging to the notion of indicting Rockwell’s supervisors at Rocky Flats. All we need, he told himself, is one more revelation, one more discovery.

What looked to be the breakthrough finally came just days later. Until then, the prosecutors had failed to get any insiders to turn informant. One evening, Fimberg had even met with the steelworkers’ union, inviting their cooperation, but he’d gotten nowhere. Rockwell is paying for their employees’ lawyers and keeping track of the workers’ contacts with the FBI, Fimberg had reasoned, while the union is protecting all those $48,000-a-year blue-collar jobs. Now, on April 19, Fimberg turned up the pressure–he mailed official warning letters to eight targets of the grand jury investigation. The maneuver worked. Thus pressured, two lower-level targets soon responded with offers of information about their supervisors.

Armed with these offers, an encouraged Fimberg told FBI Agent Jon Lipsky he thought they could indict three top-level Rockwell managers. Lipsky heartily agreed. Draft indictments were drawn up against several Rockwell officials for the illegal and improper storage of pondcrete, for the runoff of pondcrete into Woman and Walnut creeks, for the knowing failure to stop spray-irrigated sewage effluent from flowing into Woman and Walnut creeks, and for false statements to DOE about the use of closed solar ponds. A prosecutor’s memo called these “only the strongest charges.”

Hartman and Norton weren’t buying it, though. They didn’t care about Fimberg’s new informants or any other breakthrough. In fact, Hartman had decided there should never have been a criminal prosecution brought against Rocky Flats of any sort. He wanted to settle; he wanted to move Rocky Flats off the table.

This was not an entirely indefensible position. With all its complications and vagaries, Rocky Flats surely was a prime candidate for a deal. The critical question, though, was what kind of deal. How tough a settlement to insist upon?

At Fimberg’s urging, Norton had started negotiations that spring by proposing a fine of $52 million. Rockwell responded with a figure closer to $1 million, and a list of core demands that included no individual indictments and no charges of fraud, false statements or conspiracy. Rockwell also wanted a public denial from the prosecutor of the more sensational charges, such as midnight burning. By early July, Norton had pretty much come around to Rockwell’s way of thinking.

On July 8, the U.S. attorney in a memo informed Fimberg he planned to settle for $15 million and announce the settlement in a joint news conference with Rockwell, where he’d “advise that some of the more sensational allegations did not bear out.” Fimberg expressed dismay. A mutually agreed upon statement would be hard to achieve, he wrote back. “They will want bare bones–when do we get to tell our story? This will lend itself to characterizations of collusion, of a sweetheart deal. . . . I have real concern that $15 million is low, in terms of political, public and judicial acceptability.”

Despite Fimberg’s objections, Norton the next day formally offered to settle for $15 million, to be paid by Rockwell without the DOE indemnity. There would be no false statement, conspiracy or fraud charges and no individual indictments if the company pleaded guilty to seven less punishing felonies.

They were still months away from finalizing the deal, but for all intents, the investigation was over. In late July, Peter Murtha, the liaison from the Justice Department, told FBI Agent Lipsky to stop trying to develop evidence for individual indictments. They won’t be part of the plea agreement, Murtha advised, so don’t spin your wheels.

Appalled, Lipsky called supervisory Special Agent Robert J. Chiaradio at FBI headquarters in Washington. Chiaradio confirmed Murtha’s instructions and suggested that Lipsky get in line. Stop whining, stop causing problems, Chiaradio said. The directive, he explained, had come from Neil Cartusciello, head of the Justice Department’s Environmental Crimes section. Cartusciello thought there was “insufficient evidence” to pursue individuals.

Perhaps Cartusciello did indeed reach this conclusion on his own. Since he was new to his job, however, it is likely that he was briefed by the man who’d hired him, and who had just that month taken over as head of the Environmental and Natural Resources Division: Barry Hartman.

Lipsky next turned to Fimberg. He found the prosecutor in his office one morning that July. What’s going on? Lipsky asked, shutting the door and throwing himself into a chair. What’s the status on individuals?

Fimberg and Lipsky eyed each other. It was almost three years to the day since the two men, sitting just where they were now, had excitedly started plotting to “do Rocky Flats.” They were still friends, but relations had started to wear thin. Lipsky thought Fimberg was pulling back, losing his nerve. Fimberg thought Lipsky was letting his judgment get colored by what he wanted to see.

We had the evidence, Lipsky said. You said so yourself, just two months ago.

Fimberg looked away.

Perhaps someone less beset by a sense of complexity, someone less torn by ambivalence, someone more stubborn or more gripped by a single-minded sureness would have held his position. Fimberg, however, wavered now in the face of the isolation from his fellow prosecutors. Wavered just as a DOE manager might have while trying to honor environmental laws from within a hostile institutional culture. Playing the hero, asserting personal moral responsibility, was not such a simple matter after all. “I was only one of four on the team, and the only one pushing for individual indictments,” Fimberg would later say. “No one else had the slightest interest.”

By now, at any rate, his own vision of the case was shaded. Fimberg couldn’t agree with Lipsky on the midnight incinerator burn. He did believe Rocky Flats managers had used the plutonium recovery claim as a way to avoid regulation of the 771 incinerator. DOE on a broad institutional level had endorsed and directed this practice, though, so whom to charge? He also saw some basis for nailing individuals on false statement charges–Rockwell managers had not disclosed some pondcrete leaks and spills or the use of the closed solar ponds. But a plea bargain was now on the table. It would be hard to win at trial, and if they did, the taxpayer would end up paying Rockwell’s fine. If a good deal is likely, what’s the trade-off in the real world?

“I know it’s hard,” he told Lipsky. “There were tough decisions to make. It turned into an increasingly difficult case. This is the best we can do. Other people feel even more strongly on that point than me. It’s a disappointment, I know. But it’s just not going to happen.”

Lipsky leaned forward, his hands on Fimberg’s desk. We could have indicted people, he said.

Fimberg studied Lipsky. He wished he could have a single perspective, like Jon had. Life would be much simpler, he imagined, if he saw only black and white.

“Jon,” he said, “I was outvoted.”

Fimberg didn’t completely surrender. On Aug. 5, days after his confrontation with Lipsky, Fimberg wrote Norton: “It’s my overall sense, Mike, that Rockwell’s achieved its big ticket items. The dollars, while not insignificant, will hardly break the company, and no individuals will be charged. . . . I will continue in my designated role as pushing for the most aggressive settlement possible.”

On Aug. 29, Fimberg wrote Norton again: “I just don’t think Main Justice has the same ‘fire in the belly’ that we do, and I get concerned that they will give up too much just to ‘get it done.’ ”

Since the meeting with Rockwell’s lawyers in Washington that spring, however, Fimberg’s thoughts increasingly had been shifting from the details of the prosecution to the prospect of a grand jury report. Two years before, they’d given the Justice Department’s criminal division two reasons why they wanted to impanel the Colorado district’s first special grand jury: The possibility of a lengthy investigation that would require the “complete energies” of a grand jury, and the possibility of a grand jury report on “issues that did not lead to indictment.” Only a special grand jury can focus on a single case, and only a special grand jury can write such a report.

“One of the important reasons that I requested that a special grand jury be convened . . . was its statutory ability to issue a report,” Norton would later recall. “I believed this ability was critically appropriate. . . . There was recognition, at an early time, that the investigation might disclose important matters which would not be appropriate for indictment, but nonetheless would be appropriate for public disclosure.”

Provided with these reasons, the Justice Department’s Criminal Division had approved the special grand jury. So had Chief U.S. District Judge Sherman Finesilver, who’d specified in his instructions that “the special grand jury may submit a report to the Court concerning non-criminal misconduct. . . . Thus, through the vehicle of this special grand jury, the public may be assisted in learning of the facts as they relate to Rocky Flats.”

If they had to settle without individual indictments, Fimberg decided in the summer of 1991, they could at least tell the public what has been going on at Rocky Flats and other DOE plants over the past 40 years. If they couldn’t indict an institutional culture in court, they could at least denounce it in public.

Fimberg knew the Rocky Flats grand jurors would jump at the chance to write a scathing report. After meeting monthly for almost two years with Wes McKinley, Ken Peck and the 21 others, he knew just how angry they were at what they’d been hearing. He needed only to harness their anger.

The grand jury report now was paramount for Fimberg. The grand jury report now represented the last, best chance he had to save his case–and himself.

Source link

Inside Jack Fincham & Aaron Chalmers’ rocky love lives as they go head-to-head in bare knuckle fight

REALITY TV stars Jack Fincham and Aaron Chalmers fought each other in a dramatic bare knuckle fight last night.

The pair – who both have a colourful roster of exes – went head to head in a huge reality super fight and it was was Aaron who came out on top, stopping Jack in round two.

Love Island's Jack Fincham and Aaron Chalmers face off.

12

The former Geordie Shore star took on ex-Love Islander Jack FinchamCredit: Instagram / @finchamboxing
Jack Fincham with Aaron Chalmers against a black and yellow "BKFC Bareknuckle Fighting Championship" backdrop.

12

Aaron stopped Jack in round twoCredit: Instagram / @finchamboxing

Jack, 34 – who hasn’t fought since a 2022 exhibition bout against Anthony Taylor – found fame in 2019 on ITV2 dating show Love Island.

Chalmers, 38, made his name in MTV‘s Geordie Shore house before turning to MMA in 2017 – winning five of his seven bouts – including a 2023 exhibition against Floyd Mayweather.

The Bare Knuckle Fighting Championship event was promoted by Conor McGregor.

So who else have the reality-TV-stars-turned-boxers been up-close-and-personal with?

Here’s a rundown of their eclectic reality TV exes…

TALIA OATWAY

Aaron Chalmers and Talia Oatway posing for a photo.

12

Aaron shares three children with Talia OatwayCredit: Instagram

Aaron and the influencer were together for five years.

They started dating in 2017 and share three children; Romeo, Maddox and Oakley.

The pair split briefly after the birth of their first child, Romeo – but got back together soon after.

They went through a difficult time with son Oakley – who was born with serious health issues. 

Love Island’s Jack Fincham began boxing as he was so bad at football before finding fame to now fighting Aaron Chalmers

MARNIE SIMPSON

Marnie Simpson and Aaron Chalmers at Igloo bar and club Ice in Ayia Napa, Cyprus.

12

Geordie Shore stars Marnie and Aaron were on-and-off since 2014Credit: Splash News

As his fellow co-star on Geordie Shore, Aaron was in a long-running on/off relationship with Marnie since 2014.

However, it appeared to end for good in 2016 when Marnie appeared on Celebrity Big Brother and got cosy with ex Towie star Lewis Bloor.

The duo were last seen snogging In 2017, after Aaron’s first official MMA fight.

LAUREN POPE

Lauren Pope sitting on Aaron Chalmers' lap.

12

Aaron ‘spat food at Lauren’ on a night out – which he firmly deniesCredit: Instagram

Aaron and former Towie star Lauren revealed they were dating in December 2016.

The pair even jetted off on a romantic holiday together to Dubai during their short time together.

The former glamour model and the Geordie hunk didn’t last however, and broke up at the end of January after it was alleged he spat food at her on a night out.

However, Aaron dismissed the claims, and told The Sun’s Bizarre column: “Apparently I spat food at Lauren. 1. I am not a tramp 2. If I spat food at her she would knock us out and 3. I wouldn’t waste food.”

NICOLE BASS

Aaron Chalmers and Nicole Bass posing together.

12

Geordie Shore’s Aaron found brief love with Lewis Bloor’s ex Nicole BassCredit: Instagram

Aaron had a short-lived relationship with Nicole Bass, Lewis Bloor’s ex-girlfriend, during the time Lewis was dating his CBB co-star Marnie.

The pair met while filming a series of Ex on the Beach, and went on to date for nearly two months before calling time on the fling.

It was said to be an amicable split and the pair have remained friends.

JENNY THOMPSON

Aaron Chalmers and Jenny Thompson posing together.

12

Jenny and Aaron hooked up on Ex on the Beach

Aaron romped with Wayne Rooney’s sex worker Jenny Thompson while filming Ex on the Beach in 2016.

The man magnet has allegedly had sex with at least thirteen Premier League footballers thought to include Mario Balotelli.

Frisky pair Jenny and Aaron shot to the bedroom quickly after meeting – mainly to wind up their exes.

He told the camera: “I’ve got the keys to the penthouse. I wanna sh*g Jenny and I couldn’t give a f**k if that hurts Becca. Let’s get some f**king action going.”

Despite Jenny and Aaron’s on-air bonk on EOTB, they are just pals.

CHANTELLE CONNELLY

Aaron Chalmers and Chantelle Connelly from Geordie Shore.

12

Geordie Shore stars Chantelle and Aaron got matching tattoos after one dateCredit: Flynet Pictures

Geordie Shore star Chantelle and Aaron immediately struck up a connection when she joined the cast in 2016.

The loved-up pair got their names tattooed onto each other on the first date – but the writing/ ink was on the wall – and they parted ways quickly after.

While their romance wasn’t meant to be, it did make for hilariously awkward scenes as he had to explain his new ink to a newly returning Marnie…

DANI DYER

Dani Dyer and Jack Fincham on Love Island.

12

Jack and Dani Dyer won Love Island in 2018 – but split soon afterCredit: Rex

Jack and Strictly star Dani won Love Island in 2018 after falling for each other on the ITV2 dating show.

The daughter of EastEnders star Danny Dyer shot to fame on the programme and found love with the former pen pusher.

The couple went onto split less than a year after leaving the Majorca villa, with their break-up playing out in the public eye.

Jack and actor Danny’s feud has exploded once again six years after Jack’s split from the brief Strictly star.

Brave Jack told The Sun in an emotional interview earlier in the year: “I feel like a failure, utterly mortified by the things I have done. 

“I had the world at my feet and I screwed it up. Embarrassed just doesn’t touch it. It is hideous. I cry when I think about how I’ve let people down.

“I have blown more than a million pounds thanks to drugs, booze and gambling.

“Drugs helped my relationship with Dani fail. I was absent, my priorities were wrong, I wasn’t a great boyfriend. I am determined to change my future.”

CHLOE BROCKETT

Jack Fincham and Chloe Brockett posing together at a Mother's Day event.

12

Towie star Chloe and Jack have been on-and-off since 2019Credit: Instagram/@chloebrockett

Jack and Towie star Chloe Brockett have been on-again-off-again over SEVEN times. 

They first got together in 2019 and moved into their first home together back in May 2024.

The pair have repeatedly split and got back together during the course of their two-year relationship, but this time they were said to be at loggerheads.

The pair were locked in an ongoing feud over Chloe’s decision to continue making money from OnlyFans.

Last November, Chloe told us about her decision to use the adult platform.

In April, The Sun revealed Jack had packed his bags and moved out of the home he shared with Chloe.

CHELSEA BARBER

Chelsea Barber and Aaron Chalmers kissing.

12

Chelsea Barber and Aaron were seen snogging in 2017 on TVCredit: MTV

Aaron was seen making a move on new cast member Chelsea Barber in series 14 of MTV’s Geordie Shore in early 2017.

The romance drew unwanted attention from Aaron’s ex Marnie Simpson who flew into a rage.

Marnie even went as far as packing her bags and leaving the Geordie Shore house in protest at his apparent fling with Chelsea – but they made up once Aaron revealed he had ‘not slept’ with the fellow Geordie Shore star.

DANIELLE SCOTT

Danielle Scott posing in a black swimsuit on a beach with her arms raised, making peace signs with her hands.

12

Aaron was linked to stunning brunette Danielle ScottCredit: INSTAGRAM

In March 2017, Aaron was reportedly loved up with brunette beauty Danielle Scott.

The Essex-based beauty caught Aaron’s eye with her sexy Instagram pics and the pair’s relationship blossomed online and they were thought to be Maldives-bound.

However, by May, he was seen getting frisky with old flame Marnie, suggesting their romance was dead in the water/Indian Ocean.

Source link

‘Rocky Horror’ gets some respect at 50, plus the week’s best movies

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

The 13th edition of Beyond Fest at American Cinematheque has already begun but lasts until Oct. 8, so there is still plenty of excitement on the way.

Japanese icon Meiko Kaji will make a series of appearances during her first time visiting the U.S. A double-bill of 1973’s “Lady Snowblood” and 1974’s “Lady Snowblood: Love Song of Vengeance” will feature a Q&A with the actor moderated by Jen Yamato, while another Q&A will be moderated by “Anora” Oscar winner Sean Baker.

Other upcoming screenings include “The Testament of Ann Lee” in 70mm, “The Secret Agent” with filmmaker Kleber Mendonça Filho, “It Was Just an Accident” with filmmaker Jafar Panahi, a Guillermo del Toro retrospective, Mike Nichols’ 1973 sci-fi thriller “The Day of the Dolphin” in 4K and a 10th anniversary screening of “The Invitation” with filmmaker Karyn Kusama, screenwriters Phil Hay and Matt Manfredi and actor Logan Marshall-Green.

A woman in a black hat looks mysterious.

Meiko Kaji in the movie “Female Prisoner 701: Scorpion.”

(Arrow Films / Beyond Fest at American Cinematheque)

Saturday will see screenings of “Manhunter” and “To Live and Die in L.A.” with star William Petersen in attendance. I spoke to Petersen this week about going from being a Chicago theater actor to starring in two now-classic ’80s crime thrillers in the span of one year.

“It was never my intention to make any movies, it wasn’t like I was seeking them out,” Petersen said. “They kind of just came and found me.”

I also spoke to some of the team behind the festival about how they manage to harness the energy of L.A’s rep-house scene and point it toward an eclectic mix of new and old titles that increasingly includes legitimate prestige titles, including awards winners from the international festival circuit.

“It’s not just all about the films — it’s about the theatrical experience, seeing it all together,” said Grant Moninger, co-founder of Beyond Fest and artistic director of the American Cinematheque. “This does not happen online. You’re not watching a screener with a watermark at your house. You’re all together, you’re just celebrating cinema and going through all the emotions together. We put on a show every year at all these theaters because we’re thankful that everyone’s coming together and we’re going to try to give them as much as we can give them.”

‘The Rocky Horror Picture Show’ at 50

A man in fishnet stockings sings surrounded by the players in a musical.

Tim Curry, center, as Frank-N-Furter in the movie “The Rocky Horror Picture Show.”

(20th Century Fox)

Tonight the 50th anniversary of “The Rocky Horror Picture Show” will be celebrated at the Academy Museum with a screening of new 4K restoration and an appearance by star Tim Curry. The screening will include “a full-blown audience participation and shadow cast experience,” capturing some the feeling of the riotous fan-fueled midnight shows that made the film a sensation over decades. There will be additional screenings of the film Oct. 4 at Hollywood Forever Cemetery and Oct. 15 at the Grammy Museum.

Directed by Jim Sharman, who also mounted the original stage show, from a story and songs by Richard O’Brien (who also plays Riff-Raff), the film is said to have the longest theatrical release in cinema history, thanks to its ongoing life as a cult object.

Steve Appleford interviewed the film’s star, Tim Curry at the Roxy, where the original stage show was first performed in L.A. In the film, Curry’s character, Dr. Frank-N-Furter, is a singing scientist in fishnets and high heels who introduces a young couple (Susan Sarandon and Barry Bostwick) to a world of new experiences.

“It was part of the sexual revolution, really,” said Curry. “Experiment was in the air and it was palpable. I gave them permission to be who they discovered they wanted to be. I’m proud of that.”

A woman faints in a man's arms.

Susan Sarandon and Barry Bostwick do “The Time Warp” (again) in “The Rocky Horror Picture Show.”

(John Jay / Disney)

The Times identified the “Rocky Horror” phenomenon from the very start. Gregg Kilday interviewed Curry for an article published in March 1974 as the stage show transferred from London to L.A. The feature follows Curry, then only 27, from the Roxy to Musso & Frank and on to the Chateau Marmont, a pretty enviable tour of the city.

Curry described the character at the time by saying, “He says he’s a transvestite transexual, whatever that means. I don’t play him as a transexual. But he’s a fairly complex guy. He just takes anything he can get. He’s not fussy, really. Though I think he’s something of a wham-bam-thank-you-ma’am.”

In his original review of the film from Sept. 26, 1975, critic Kevin Thomas (of course, it was reviewed by Kevin Thomas) said, “All of this plays less depraved than it sounds. … This Richard O’Brien musical is simply too exuberant and too funny to be seriously decadent. Indeed, there’s an underlying quality of tenderness and even innocence in this loving send-up of horror and sci-fi flicks and celebration of post-graduate sexuality.”

The format wars of ‘One Battle After Another’

A woman flees from an explosion.

Teyana Taylor in the movie “One Battle After Another.”

(Warner Bros. Pictures)

The new film from Paul Thomas Anderson, “One Battle After Another,” features another of the filmmaker’s impressive ensembles, one that includes Leonardo DiCaprio, Teyana Taylor, Regina Hall, Alana Haim, Sean Penn, newcomer Chase Infiniti and Benicio del Toro.

The film is playing in a variety of film formats, and Los Angeles is lucky to be one of only four cities in the world to be screening the movie in VistaVision. (Appropriately enough, it will be at the Vista.) The film is also in Imax 70mm at the Universal Citywalk and in Imax at multiple locations including the TCL Chinese and in 70mm at the CGV by Regency in Buena Park. (Plus, it’ll be in more conventional digital formats at many other theaters.)

A politically minded action-comedy based loosely on Thomas Pynchon’s novel “Vineland,” the film stars DiCaprio as a former bomb-making revolutionary who has gone underground to protect his daughter (Infiniti). When a power-mad military man (Penn) comes after them, Bob must spring into action in ways he is not ready for.

An alarmed, bearded man sits behind the wheel of a car.

Leonardo DiCaprio in the movie “One Battle After Another.”

(Warner Bros. Pictures)

In her review, Amy Nicholson wrote, “Paul Thomas Anderson’s fun and fizzy adaptation views its Molotov cocktail as half-full. Yes, it says, the struggle for liberation continues: ideologues versus toadies, radicals versus conservatives, loyalists versus rats. But isn’t it inspiring that there are still people willing to fight?”

Glenn Whipp spoke to Anderson in his first solo interview for the film. Despite the fact that the movie opens with a raid on a government immigration detention center, Anderson was reluctant to directly connect it to the current political moment.

“The biggest mistake I could make in a story like this is to put politics up in the front,” Anderson said. “That has a short shelf life. To sustain a story over two hours and 40 minutes, you have to care about the characters and take those big swings in terms of the emotional arcs of people and their pursuits and why you love that person and why you hate this person. That’s not a thing that ever goes out of fashion. But neither does fascism and neither does people doing bad s— to other people. Unfortunately, that doesn’t go out of style, either. That’s just how we humans are.”

Points of interest

‘A Scanner Darkly’ in 35mm

Two people have a conversation in a car.

Keanu Reeves and Winona Ryder in director Richard Linklater’s “A Scanner Darkly,” based on the Philip K. Dick novel.

(Warner Independent Pictures)

On Friday night, Brain Dead Studios will host a 35mm screening of Richard Linklater’s 2006 animated adaptation of Philip K. Dick’s “A Scanner Darkly.” A comic, deeply paranoid tale of identity, the rotoscoped film features a cast that includes Keanu Reeves, Winona Ryder, Woody Harrelson and Robert Downey Jr.

Reviewing the film, Carino Chocano wrote, “As the saying goes, just because you’re paranoid doesn’t mean that everybody isn’t out to get you. In the dismal near-future of the film, when large-scale government spying has taken the next logical step into thought-surveillance, questioning the effect of shadowy forces no longer requires an overactive imagination. It doesn’t even require a drug habit (though, of course, it helps to have one). The dropouts and burnouts of ‘Scanner’ don’t have to wonder if they’re being watched; they are in every sense part of the program. … The brilliance of ‘A Scanner Darkly’ is how it suggests, without bombast or fanfare, the ways in which the real world has come to resemble the dark world of comic books.”

Much as Linklater has recently made “Blue Moon” and “Nouvelle Vague” in short order, in 2006 he had both “A Scanner Darkly” and “Fast Food Nation,” a fictional adaptation of Eric Schlosser’s nonfiction book.

“I make the joke that I’m like that British bus,” Linklater said at the time. “You wait forever and then two show up at the same time.”

Terence Stamp x2

A man embraces a women with his eyes wide open.

Terence Stamp in Pier Paolo Pasolini’s “Teorema.”

(Criterion Collection)

The Eastwood Performing Arts Center will feature a program of two films starring Terence Stamp on Friday and Saturday, with “Teorema” and “Toby Dammit.”

Directed by Pier Paolo Pasolini, “Teorema” captures Stamp’s otherworldly beauty as a mysterious stranger who seduces all the members of a wealthy family in Milan (played by Massimo Girotti, Silvana Mangano, Laura Betti and Anne Wiazemsky) and then disappears from their lives as suddenly as he appeared, leaving them all in spiritual crisis.

“Toby Dammit,” directed by Federico Fellini, was one section of the anthology film “Spirits of the Dead,” with the other sections directed by Roger Vadim and Louis Malle. Stamp plays a fading alcoholic actor who makes a deal to shoot a film in Rome in exchange for a new Ferrari. He begins to suffer from terrifying visions.

Writing about the anthology in 1969, Kevin Thomas noted the film’s “swirling, shimmering worlds of fantasy populated by decadent Roman society,” adding that they only paled in comparison to Fellini’s previous triumphs “La Docle Vita,” “8½” and “Juliet of the Spirits.”

In other news

Henry Jaglom dead at 87

A man in a black hat waves to a photographer.

Henry Jaglom, arriving at a premiere in Los Angeles in 2009.

(Chris Pizzello / Associated Press)

An insistently independent filmmaker, Henry Jaglom died this week at age 87. His deep love of actors led him to a loose, improvisatory style that gave freedom to his performers. Often drawing story ideas from his own life (and casts from his wide circle of friends), his films included 1976’s “Tracks,” 1985’s “Always,” 1994’s “Babyfever” and 2007’s “Hollywood Dreams.” A new restoration of Jaglom’s 1983 film “Can She Bake a Cherry Pie?” is premiering this weekend as part of the New York Film Festival.

I visited with Jaglom once at the offices he long kept on Sunset Boulevard, a warren of rooms stuffed with the accumulated memorabilia of a life dedicated to movies. In a corner was an editing machine he said belonged to John Cassavetes.

Jaglom well understood his own privilege in life and equally understood that there were those who would not respond to his work.

“I enjoy, even if I’m being attacked, knowing I’ve had an impact,” Jaglom told me. “People are looking at it, talking about it, thinking about it. And that some people are moved, feel better. It’s reaching out and trying to touch people. It’s what film can do. I wouldn’t have it any other way.”

Source link

‘Rocky Horror’ lives: L.A. arts and culture this weekend

When I was in high school in the 1990s, I worked the box office at Tucson’s sole art house, the Loft Cinema. My favorite shift was Saturday night when a parade of true characters began lining up for the weekly midnight screening of “The Rocky Horror Picture Show.”

The shadow cast arrived before the audience, a ragtag group of aspiring and established actors and fans, costumes in hand. They’d decamp in the bathrooms on either side of the lobby without regard for who was in the women’s or men’s, and proceed to cake on makeup and rib each other in delightfully uncouth terms.

The actors would wait by the theater doors to make their appointed entrances beneath the screen after the film began, and soon the theater was a sweaty mess of wild hair, dripping foundation, torn fishnet stockings, smeared lipstick, thrown popcorn, spilled soda and ribald song and dance.

There was no doubt in my 16-year-old mind that this was underground musical theater at its finest. At that time — when one of my best friends was struggling with how to come out as gay, fearing fierce social backlash — the topsy-turvy sexuality of the show, with its outlandish, cross-dressing lead, felt deliciously subversive. This was not “Grease” or “Godspell,” it had more in common with the stage shows in “Cabaret.”

Week after week, the same shadow cast arrived, treating the show as its professional run. If someone was out sick, an eager understudy would step in. This was one small art theater in Tucson. The “Rocky Horror” phenomenon, with its live shadow casts, has been ongoing around the world for decades now. That means thousands of shadow casts in thousands of cities beneath thousands of screens — each engaging in their own form of participatory community theater.

As the film honors its 50th anniversary this year with special engagements and talks across the country (see below for an Academy Museum screening), star Tim Curry is being celebrated for breaking boundaries with his onscreen portrayal of the eccentric, cross-dressing scientist Frank-N-Furter. But it’s important to remember that the show began as a stage musical in London in 1973 — with Curry originating his role upstairs at the Royal Court Theatre. The musical then moved to L.A.’s Roxy Theatre for an electric yearlong run.

“Rocky Horror” is now known as as the longest continuous theatrical release in cinema history. But thanks to the talent and dedication of its legions of shadow casts — it just might be the longest continuous piece of live musical theater too.

I’m arts and culture writer Jessica Gelt, inviting you to do the Time Warp. Here’s this week’s round-up of arts and culture news.

On our radar

You’re reading Essential Arts

A dancer in monster makeup kneels beside another dancer on a stage with fiery backdrop.

Wei Wang and Max Cauthorn in Liam’s Scarlett’s ballet “Frankenstein.”

(Erik Tomasson)

Frankenstein
San Francisco Ballet brings Mary Shelley’s 1818 gothic horror story to life in a three-act production of British choreographer Liam Scarlett’s “Frankenstein.” The ballet originally premiered at the Royal Ballet in 2016 and has gone on to become a modern classic with a score by Lowell Liebermann and stage design by critically acclaimed ballet and opera artist John MacFarlane.
– Mark Swed
7:30 p.m. Thursday and Oct. 3; 2 and 7:30 p.m. Oct. 4;and 1 p.m. Oct. 5. Segerstrom Hall, Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. scfta.org

Brittany Adebumola, left, and Dominique Thorne in a New York production of "Jaja's African Hair Braiding" in 2023.

Brittany Adebumola, left, and Dominique Thorne in a New York production of “Jaja’s African Hair Braiding” in 2023.

(Matthew Murphy)

Jaja’s African Hair Braiding
Playwright Jocelyn Bioh (“School Girls; or, the African Mean Girls Play”) captures the camaraderie and competitiveness, solidarity and rivalry of workplace relations in this entertaining comedy about the African immigrant employees of a Harlem hair salon earning their daily bread as they work their fingers — and mouths! — to exhaustion. The play is wildly amusing, but Bioh isn’t just kidding around. By familiarizing us with the workday rhythms of these flamboyant women, she makes us feel all the more acutely the threats that accompany their marginal status in a not-always-welcoming America. Whitney White, who directed the impeccably acted Broadway premiere, helms this much-praised co-production.
— Charles McNulty
Wednesday through Nov. 9. Mark Taper Forum, 135 N. Grand Ave., downtown L.A. centertheatregroup.org

A woman with long brown hair smiling, holding her face in her hands

Laufey performs Driday and Saturday at Crypto.com Arena.

(Christina House/Los Angeles Times)

Laufey
This young pop-jazz singer from Iceland shot a concert movie last year at the Hollywood Bowl; now she’s doubling down with two adopted-hometown shows at Crypto.com Arena just as her album “A Matter of Time” is garnering substantial Grammy buzz.
— Mikael Wood
7:30 p.m. Friday and Saturday. Crypto.com Arena, 1111 S. Figueroa St., downtown L.A. cryptoarena.com

The week ahead: A curated calendar

FRIDAY

An abstract painting of a solid black rectangle with light white and blue horizontal brush strokes on a gray background.

“Something Else No. 61,” 2020, by Edith Baumann. Acrylic on canvas, 60 x 60 inches.

(Alan Shaffer)

🎨 Acts of Surface
A three-artist show featuring works by Edith Baumann, Chip Barrett and Vincent Enrique Hernandez that explore the literal and emotional facets of surface as a repository for memory, transformation and abstraction.
Noon-5 p.m. Sunday and Tuesday through Friday or by appointment, through Oct. 23. 7811 Gallery, 7811 Melrose Ave. 7811gallery.com

📷 Corita Kent: The Sorcery of Images
A trove of more than 15,000 35mm slides from the archive of the activist nun offers a peek into her artistic practice, her life as a teacher at Immaculate Heart College and the world she lived in between 1955 and 1968.
11 a.m.-6 p.m. Tuesday through Saturday, through Jan. 24. Marciano Art Foundation, 4357 Wilshire Blvd. marcianoartfoundation.org

🎤 Tate McRae
The main pop girls have been expanding their portfolios of late. After showing off a limber pop sound on 2023’s “Think Later” that made full use of her dance gifts, McRae proved her staying power with this year’s “So Close to What,” which topped the Billboard 200 by pulling from a rich seam of Y2K R&B and club jams. Yet she scored her first No. 1 single with the Morgan Wallen collab “What I Want.” Whatever you think of Wallen — and McRae’s young, queer fan base had thoughts — the song showed that McRae’s Alberta roots could drop right into a pop-country setting. (August Brown)
7:30 p.m. Friday, Saturday and Nov. 8. Kia Forum, 3900 W. Manchester Blvd., Inglewood. thekiaforum.com

🎭 Parallel Process
Writer-director David Kohner Zuckerman’s drama stars Alan McRae and Tom Jenkins as brothers facing down a 50-year divide over the Vietnam War.
8 p.m. Friday and Saturday; 2 p.m. Sunday, through Nov. 2 (except Oct. 26). Odyssey Theatre, 2055 S. Sepulveda Blvd. parallelprocesstheplay.com

🎞️ The Rocky Horror Picture Show
Shiver with anticipation as star Tim Curry, producer Lou Adler and a shadow cast performance alongside a 4k screening of the movie mark 50 years of delectable decadence.
7:30 p.m. Friday. Academy Museum, David Geffen Theater, 6067 Wilshire Blvd. academymuseum.org

🎼 🎹 Daniil Trifonov
One of the most impressive pianists of his generation, the 34-year-old Daniil Trifonov, who starred in a Rachmaninoff week with the Los Angeles Philharmonic at the Hollywood Bowl in August, opens the Soka Performing Arts fall series at Soka University in Aliso Viejo with a recital program that features seldom heard solo piano works by three early 20th century Russian composers — Taneyev, Prokofiev and Myaskovsky — along with a Schumann sonata. In the meantime, Deutsche Grammophon recently released a stunning new Trifonov recording of overlooked, intimate solo piano works by Tchaikovsky. (Mark Swed)
8 p.m. Friday. Soka University Concert Hall, 1 University Drive, Aliso Viejo. soka.edu 7 p.m. Wednesday. UC Santa Barbara, Campbell Hall, campuscalendar.ucsb.edu

SATURDAY
🎭 Anthropology
Prolific and popular playwright Lauren Gunderson gravitates toward brainy subjects. Here, she delves into a fraught philosophical question: Can AI substitute for the human comfort we need, or are we only hastening the demise of our species by depending on digital simulations of people who actually care about us? John Perrin Flynn directs the North American premiere of a play by a dramatist whose work (“I and You,” “The Book of Will”) is as thought-provoking as it is emotionally resonant. (Charles McNulty)
Through Nov. 9, check specific dates. Rogue Machine at the Matrix Theatre, 7657 Melrose Ave. roguemachinetheatre.org

🎞️ Dazed and Confused
Vidiots’ third annual celebration of Richard Linklater’s 1993 coming-of-age classic includes screenings, a takeover of the Microcinema with games on freeplay, a unique commemorative T-shirt, giveaways, food and drinks, all-vinyl DJ sets from KCRW’s Dan Wilcox and Wyldeflower and more. Close out the festivities with the period-appropriate 1976 Led Zeppelin concert film “The Song Remains the Same” at 9:30 p.m.
3 and 6:45 p.m. Saturday. Vidiots, Eagle Theatre, 4884 Eagle Rock Blvd. vidiotsfoundation.org

🎭 Lagartijas Tiradas al Sol
The artistic collective’s “Centroamérica” tells the story of a Nicaraguan woman on the run from Daniel Ortega’s dictatorship, exploring history and the present to discover the region’s diversity, conflict and resilience.
8 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu

Installation view, "Echoes," at 839.

Installation view, “Echoes,” at 839.

(Vanessa Wallace Gonzales/839)

🎨 Vanessa Wallace-Gonzales
“Echoes,” a solo exhibition by the multiracial Black and Mexican artist originally from Southern California, now based in New York, features cyanotypes, sculptural vessels and a multimedia installation in a hybrid home/gallery.
Noon-6 p.m. Saturday or by appointment, through Oct. 18. 839 Gallery, 839 N. Cherokee Ave. 839gallery.com

🎼 Quintessential Classical
The Colburn Orchestra opens its season with conductor Nicholas McGegan, clarinetist Minkyung Chu and masterworks from Bach, Haydn and Mozart.
7 p.m. Colburn School, Zipper Hall, 200 S. Grand Ave., downtown L.A. colburnschool.edu

TUESDAY

"The Buddhist Deities Chakrasamvara and Vajravarahi," Tibet, circa 15th century; pigments on cotton.

“The Buddhist Deities Chakrasamvara and Vajravarahi,” Tibet, circa 15th century; pigments on cotton.

(©Museum Associates / LACMA)

🎨 Realms of the Dharma Gallery Tour
LACMA conservator Soko Furuhata and curator Stephen Little discuss preservation and highlights from the exhibition of pan-Asian Buddhist art created across centuries.
7-8:30 p.m. LACMA, Resnick Pavilion, 5905 Wilshire Blvd. lacma.org

Writer Roxane Gay is the guest Tuesday at Oxy Live!

Writer Roxane Gay is the guest Tuesday at Oxy Live!

(David Butow / For the Times)

📘 Oxy Live!
Occidental College’s speaker series kicks off a new season with a new host, artist Alexandra Grant, and bestselling author and feminist icon Roxane Gay. Future guests include Taylor Mac and Robin Coste Lewis.
7 p.m. Occidental college Thorne Hall, 1600 Campus Road. oxy.edu

WEDNESDAY

A black-and-white photo of two actors in tank tops rehearsing a play.

Alex Hernandez, left, and Marlon Alexander Vargas rehearse for “Littleboy/Littleman” at the Geffen Playhouse.

(Jeff Lorch)

🎭 Littleboy/Littleman
Nicaraguan brothers have different ideas about the American dream in the world premiere of playwright Rudi Goblen’s drama, which mixes poetry, live music and ritual. Alex Hernandez and Marlon Alexander Vargas star for director Nancy Medina.
Through Nov. 2. Geffen Playhouse, 10886 Le Conte Avenue, Westwood. geffenplayhouse.org

THURSDAY
🎼 The Rite of Spring with Dudamel
In an online note, the conductor writes, “if the LA Phil has a signature piece, it’s The Rite of Spring. Stravinsky shocked the world when it was first performed more than a century ago, and even today, it still feels bold, modern, and full of energy — just like this orchestra.” The evening also includes John Adams’ “Frenzy” and Stravinsky’s “Firebird.”
8 p.m. Thursday and Oct. 4; 2 p.m. Oct. 5. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Culture news and the SoCal scene

Ken Gonzales-Day, "The Wonder Gaze, St. James Park (Lynching of Thomas Thurmond and John Holmes, San Jose, 1933)."

Ken Gonzales-Day, “The Wonder Gaze, St. James Park (Lynching of Thomas Thurmond and John Holmes, San Jose, 1933),” 2006, digital print on vinyl

(USC Fisher Museum of Art)

Times art critic Christopher Knight reviewed “Ken Gonzales-Day: History’s ‘Nevermade’,” a poignant retrospective at USC’s Fisher Museum of Art. The show features a mural-sized photograph titled, “The Wonder Gaze, St. James Park (Lynching of Thomas Thurmond and John Holmes, San Jose, 1933),” which shows the scene beneath a tree used to lynch two men accused (but not convicted) of kidnapping and murder. To create the image, Gonzales-Day photographed the original photo of the brutal scene and digitally removed the ropes and the victims, leaving only a bare tree and the many humans milling about beneath it. “What’s left is a spectral scene, ghosted by the limitations of old black-and-white photographic technology and further heightened by the uneven glow generated by the camera’s flashbulb. The mob has become the subject,” Knight writes.

A trio of vibrant 99-seat theaters are in the spotlight of Times theater critic Charles McNulty’s newest column, which features reviews of Tennessee Williams’ “The Night of the Iguana” at Boston Court; the West Coast premiere of Brian Quijada’s play, “Fly Me to the Sun,” at the Fountain Theatre; and Rogue Machine Theatre’s world premiere production of “Adolescent Salvation” by Tim Venable. McNulty was particularly taken by the fine production of the not-often-revived “Night of the Iguana,” writing, “Williams is the humane, humorously defiant playwright we need when authoritarianism is on the march.”

Earlier this week, I got to spend the morning in the company of artist Jeff Koons as he arrived at the Los Angeles County Museum of Art to install the celebratory first planting of a diminutive succulent in his monumental topiary sculpture, “Split-Rocker,” which is set to anchor the east side of LACMA’s new David Geffen Galleries when it opens in April of next year. LACMA CEO and Director Michael Govan was also on hand, and the two men walked into the not-yet-finished building to regard the sculpture from the floor-to-ceiling windows above. “It’s an outdoor sculpture and indoor sculpture,” Govan said.

Museums across the country are feeling the chill from the Trump administration’s push against DEI, as well as its pressure campaign against the Smithsonian Institute for what it calls “divisive, race-centered ideology.” This hasn’t stopped the Getty from continuing to ramp up a growing slate of programs and grants aimed at preserving and strengthening Black arts and cultural heritage in Los Angeles and across the country. I spoke with a variety of curators, researchers and administrators at Getty about the institution’s efforts.

Enjoying this newsletter? Consider subscribing to the Los Angeles Times

Your support helps us deliver the news that matters most. Become a subscriber.

A statue depicting President Trump and Jeffrey Epstein holding hands is seen near the U.S. Capitol

A statue depicting President Trump and Jeffrey Epstein holding hands is seen near the U.S. Capitol on Sept. 23 in Washington, DC. A plaque below the figures states “In Honor of Friendship Month.”

(Anna Moneymaker / Getty Images)

A 12-foot-tall statue showing President Trump and Jeffrey Epstein holding hands while engaged in a gleeful dance was removed from the National Mall earlier this week — a day after it was first erected there. The statue, created by an anonymous group that received a permit to place it on the mall, was titled “Best Friends Forever” and featured a plaque that read, “We celebrate the long-lasting bond between President Donald J. Trump and his ‘closest friend,’ Jeffrey Epstein.” The National Park Service removed the sculpture before it was scheduled to be taken down, saying it was “not compliant with the permit issued.”

LA Opera is staging its annual free simulcast on Saturday — this time for “West Side Story.” Per usual, one simulcast will take place on the Santa Monica Pier (bring a blanket, it will get chilly), but for the first time, a second simulcast will take place at Loma Alta Park in Altadena. The community event comes as fire recovery efforts continue, and excitement is building with a variety of local performers and vendors expected to take part in pre-show events, including “the Jets” from JPL.

George Soros’ Open Society Foundations, which awards fellowships to artists and curators worldwide, is being targeted by President Trump’s Justice Department as part of Trump’s efforts to crack down on what he calls the “radical left.”

— Jessica Gelt

And last but not least

Take a break from doomscrolling to read this delightful story by Deborah Netburn about how a shoemaker in East L.A. ended up with shoe forms for some of Hollywood’s biggest stars.

Source link

Tim Curry revisits the Roxy Theatre and ‘Rocky Horror,’ turning 50

p]:text-cms-story-body-color-text clearfix”>

The old stage at West Hollywood’s Roxy Theatre looks as small as ever to Tim Curry. Back in 1974, the actor spent nearly a year strutting across its boards in fishnets and a snug corset as Dr. Frank-N-Furter, the flamboyant, sexually ravenous mad scientist of the musical comedy “The Rocky Horror Show.”

Witnesses to that run of performances still marvel at the spectacle of Curry’s nightly entrance, as he marched from the lobby on a long catwalk, his high heels at eye level with the audience. He would then cast aside his Dracula cape to sing a personal theme song, “Sweet Transvestite.”

“It’s actually really nice to be here because it was another home for me,” says Curry, 79, looking up at the empty stage inside the Sunset Strip nightclub. “It became my stomping ground. I had to appear as though I owned it — and I kind of did.”

At the end of that same year, Curry was back home in England to shoot the feature film version, “The Rocky Horror Picture Show,” a rock ’n’ roll send-up of old sci-fi and horror B-movies that became both a cult classic and a vibrant symbol for sexual freedom. It is the original midnight movie and is now being feted around the world for its 50th anniversary with a second life as the longest continuous theatrical release in cinema history.

A man in drag sings a song surrounded by performers in a musical.

Tim Curry, center, as Frank-N-Furter in 1975’s “The Rocky Horror Picture Show.”

(John Jay Photo / Disney)

The role changed Curry’s career forever, and he will be part of some of those celebrations, beginning with a screening of a newly restored 4K version of the film, along with a panel Q&A, at the Academy Museum on Friday.

At the time of the film’s original release in 1975, it tapped into a cultural zeitgeist that mixed glamour and androgyny, akin to the era’s glam-rock movement led by David Bowie. “The Rocky Horror Picture Show” ultimately found a cult of fans who gathered for weekly midnight screenings in costume as the movie’s outlandish characters, performing as a “shadow cast” in harmony with the film onscreen.

“It was part of the sexual revolution, really,” says Curry. “Experiment was in the air and it was palpable. I gave them permission to be who they discovered they wanted to be. I’m proud of that.”

Since a stroke in 2012, the actor has been in a wheelchair and most of his work has been in voiceover. He did appear on camera in a 2016 remake of “Rocky Horror” for television, this time as the criminologist. But it was as the lascivious, self-confident Frank-N-Furter that Curry made history.

On this afternoon, he is dressed in black, auburn hair slicked back. In the Roxy’s lobby is a portrait of Curry in character as the mad doctor in pearls. It was a role he originated in London, on the tiny stage upstairs at the Royal Court Theatre, where it first became an underground sensation.

“Even for the time, there was a lot of courage that went into that performance,” remembers Jim Sharman, who directed Curry in the original stage productions in London and Los Angeles and then onscreen. “Tim himself was actually a kind of quiet intellectual offstage, but onstage he really knew how to let it rip.”

A crazed doctor is flanked by nurses in masks.

Curry, center, in “The Rocky Horror Picture Show.”

(Disney)

With a story and songs written by actor Richard O’Brien, who also played the skeletal, sarcastic Riff-Raff, “Rocky Horror” begins with a young couple caught in a rainstorm who approach a mysterious castle in search of shelter and a phone.

Played by then-unknowns Susan Sarandon and Barry Bostwick, the couple find Frank-N-Furter is hosting a convention of partying aliens in formalwear from the planet Transsexual in the galaxy Transylvania.

The mad doctor is also anxious to show off his latest experiment, the creation of a perfectly formed male, a personal plaything of chiseled muscles and blond hair, as he sings “I Can Make You A Man.” The scene leaves an impression.

“He takes no prisoners — it’s his world and you just happen to live in it,” Curry says with a smile of his Frank-N-Furter. “He doesn’t leave much air in the room. And I enjoyed that because it was so not like me, really.”

Notably, the film shares a 50-year anniversary with “Jaws,” and Curry remembers someone at 20th Century Fox placing newspaper ads that year for “Rocky Horror” with the film’s glossy red lips image and words promising, “A different set of jaws.”

“Jaws,” of course, was a record-breaking summer blockbuster, but as the longest-running theatrical release of all time, “Rocky Horror” really has no competition in terms of impact. It helped establish a culture for midnight movies in open-ended rotation, from David Lynch’s “Eraserhead” to Paul Verhoeven’s “Showgirls.”

At the customary hour of midnight, the restored 4K film will be premiering across the country this weekend, with special screenings and Q&As on Oct. 4 at Hollywood Forever Cemetery and Oct. 15 at the Grammy Museum. The film will then be rereleased on Blu-ray on Oct. 7, with a reissue of the official soundtrack album on Oct. 10.

Also landing in time for the celebration is a new documentary, “Strange Journey: The Story of Rocky Horror,” directed by Linus O’Brien, son of “Rocky Horror” author and composer Richard O’Brien. The 90-minute film explores the making of the movie, the original stage musical and the decades of fan culture that followed.

“When a work of art survives this long, it’s working on many different levels,” says the younger O’Brien, who was a toddler on the set. “You want to live in that house and have those naughty experiences. [People] will be talking about it long after we’re all dead.”

The “Rocky Horror” journey from underground theater to feature film began after Los Angeles music impresario Lou Adler saw the show during a trip to London. Known as a manager and record producer (Carole King’s “Tapestry”), Adler was shaken from his jet lag, instantly recognizing “Rocky Horror” as a potential attraction for his recently opened L.A. club, the Roxy. Within two days, Adler signed a deal to host its U.S. premiere.

At the Roxy, the show was an immediate sensation, fueled by Curry’s wildly charismatic performance. Opening night brought out a crowd that included Jack Nicholson, John Lennon and Mick Jagger. L.A. Times theater critic Dan Sullivan compared Curry to various Hollywood grande dames (Joan Crawford and Bette Davis, among them).

“It was one of the great parties of all time,” Adler recalls during a video call from his home in Malibu. “The acceptance was unbelievable.”

Talk of turning the stage musical into a movie soon followed and a deal was made with 20th Century Fox, with producers Adler and Michael White guaranteeing delivery on a modest budget of about $1 million.

“I don’t know if 20th Century Fox ever understood the film,” Sharman says with a laugh, in a video call from Australia. “They might’ve been relieved that it was going on a low budget and being made on somebody’s lunch money.”

It was the first feature film for many of them. But Adler and White insisted on keeping the stage musical’s creative team together, including Sharman, costume designer Sue Blane and production designer Brian Thomson. With Curry firmly in the lead role, most of the cast members were drawn from the London production. Joining them were American actors Sarandon, Bostwick and singer Meat Loaf.

“I adored her,” Curry says of Sarandon. “She was a witty girl and so beautiful, and a real actress, I thought. You could tell that she had something.”

He also became friends with Meat Loaf, who appeared in the small but impactful role of Eddie, bursting out of a freezer on a motorcycle long enough to sing the manic “Hot Patootie, Bless My Soul.” In 1981, Curry hosted “Saturday Night Live” and appeared with Meat Loaf in a skit that had the actors selling “Rocky Horror” memorabilia. (Curry is still irritated by that one: “Dreadful.”)

A man in shades sits below purple lights.

Lou Adler, photographed at the Roxy in West Hollywood in 2023.

(Jason Armond / Los Angeles Times)

“When the movie was a definite thing, there were several big stars who wanted to play the part,” Curry remembers. “Mick Jagger wanted to play it and he would’ve done a great job if you saw ‘Performance.’ But [director Sharman] said he wanted me to do it. I don’t think the studio was happy that he turned down Mick.”

Though Sharman was a very experienced stage director, he had made only one previous film, a 16mm feature called “Shirley Thompson vs. the Aliens.” For “Rocky Horror,” he says he was aiming for “a dark version of ‘The Wizard of Oz.’” He was also inspired by old B-movies and German Expressionism along with lessons learned from the stage. Interior scenes were shot at the old Hammer horror films’ Bray Studios just outside London.

“The reason we don’t have great anecdotes from the shoot is we didn’t have time for anecdotes,” adds Sharman. “It was shot in five weeks.”

Bostwick, appearing in one of his first film roles, remembers, “It felt like a very low-budget but colorful, bright and inspiring musical. You knew from the moment you were around the sets and costumes and lighting and makeup and camera people that they were at the top of their game.”

“The Rocky Horror Picture Show” evolved in some subtle but meaningful ways in its transition from the stage. For the live performances, Curry did his own makeup. “In the theater, I made it look a lot more amateur, deliberately, like he wasn’t good at it but was making a brave attempt and didn’t care much,” Curry says with a laugh. “In the play, it was just a lot trashier.”

For the film, French makeup artist Pierre La Roche was recruited to refine Frank-N-Furter’s exterior. La Roche had previously worked with Bowie during the Ziggy Stardust era.

“He was indeed very French,” says Curry, campily. “He was brilliant.”

An early sign of the challenges the movie would face arrived at an early screening of the completed film for Fox executives. Curry was there with Adler. “You could touch the silence at the end,” recalls Curry. “It wasn’t a very alive audience. There was really no reaction at all.”

Fox also hosted a test screening in Santa Barbara. The audience was a local mix of retirees and university students, and many of the older filmgoers began heading for the exit, until the theater was nearly empty.

But as Adler and a young Fox executive named Tim Deegan sat on the curb outside, they also met young people who were excited about the film. Adler credits Deegan for finding the “Rocky Horror” audience in an unexpected place: indie theaters at midnight.

Its second life began at the Waverly Theater in New York, where it began evolving into a happening that was both a movie and a theatrical experience. At the time, Curry happened to live within walking distance of the Waverly.

“It was a sort of guaranteed party,” he says of any potential moviegoer. “And if he didn’t bring a date, he could perhaps find one.”

On a recent weekend at the Nuart Theater in West L.A., barely five miles away from the Roxy, it’s approaching midnight and the lobby is filled with fans and volunteer shadow performers in “Rocky Horror” drag. Appearing as Frank-N-Furter is Kohlton Rippee, 32, already in his heels and makeup.

Like many here, he sees the film as both an outlet and a connection to a found family — a way “to see aspects of themselves represented in ways that they don’t see from traditional media. It’s like, ‘Oh, I can see myself in this and find this weird community to be around.’”

Bostwick first heard of the film’s second life from others and word trickled in that his every appearance onscreen was met with an affectionate callback from the crowd: “Ass—!” He didn’t see the phenomenon himself until later at the Tiffany Theater on Sunset.

“What do they say, that Disneyland is the happiest place on Earth? I’ve always thought that a Friday and Saturday night at a theater at midnight was the happiest place on Earth,” the actor says of the many raucous screenings he’s witnessed. “Everybody was just having a ball.”

After Walt Disney Co.‘s 2019 acquisition of 20th Century Fox, it turned the House of Mouse into the unlikely steward of “Rocky Horror.” Back in 1975, nothing could have been further from the Disney brand than a rock ’n’ roll musical about a cross-dressing scientist. That year, Disney released “The Apple Dumpling Gang.”

“I guess Walt is kind of revolving in his grave,” Curry jokes.

Even so, Adler says Disney has been a good partner on “Rocky Horror” and is supporting the multiple official anniversary events. “Walt was a breakthrough guy,” the producer notes. “He broke through and made a mouse a hero. So, in a way, he had his own Frank-N-Furter.”

Source link

Rihanna, ASAP Rocky welcome their third baby, daughter Rocki

Rihanna and ASAP Rocky have welcomed the latest addition to their growing family: their first baby girl.

The “Love on the Brain” singer announced the arrival of her daughter with the “Highest 2 Lowest” star on Wednesday, sharing a photo of her newest bundle of joy to Instagram. In the picture, Rihanna cradles her newborn, who is wearing a baby-pink jumpsuit.

“Rocki Irish Mayers,” she says in the Instagram caption, which also reveals the date of birth, Sept. 13.

Baby Rocki is the third child for the celebrity pair, who began dating in 2019. They also share sons RZA, born in May 2022, and Riot, who was born in August 2023. Rocki’s name is a twist on her father’s stage name, but it also continues the stars’ tradition of choosing names that begin with the letter “R.” Notably, Rihanna’s and ASAP Rocky’s birth names also begin with that letter: Robyn and Rakim.

The Fenty Beauty mogul shared the first public photos of her daughter months after her splashy pregnancy reveal at the 2025 Met Gala in May. At the event, the singer cradled her baby bump as she posed for photographers in a custom-made Marc Jacobs suit. She walked solo down the red carpet. ASAP Rocky, who was one of the co-chairs of the annual event, had arrived earlier in the evening. Even before hitting the carpet, the “Umbrella” and “Don’t Stop the Music” hitmaker publicized her pregnancy on social media.

“It feels amazing, you know,” ASAP Rocky told CBS News in May, confirming the pregnancy on the red carpet. “It’s time that we show the people what we was cooking up.”

For Rihanna, 37, and ASAP Rocky, 36, the arrival of their baby girl is the latest event in a busy year that also included a legal victory for the “Sundress” rapper and Hollywood projects for both.

In a 2024 cover story for Interview magazine, the singer expressed her desire for a large family, saying that having children with ASAP Rocky “was the best thing that ever happened to us.”

Rihanna also said at the time that she wanted as many kids as “God wants me to have.”



Source link

EU Commission’s US trade deal set for rocky reception in Parliament


ADVERTISEMENT

The EU Commission made its opening move in implementing the trade agreement reached on August 21 with the United States, but the legislative proposal for tariff reductions on a wide range of US industrial and agricultural products will face a tricky path through the European Parliament which will start considering the measure next week.

This legislative move should offer immediate relief to the EU automotive sector, as the US committed to retroactively lower its 27.5% tariffs on EU cars to 15% from 1 August, once the Commission proposed the legislation. 

Among the concessions granted to the US, the Commission’s proposal provides for reducing tariffs to 0% on the vast majority of US industrial products – ranging from machinery to pharmaceutical products, some chemicals, plastics and fertilizers – for which the EU aims to break its dependence on Russia. The proposal also targets some agri-products, such as fruits, juices and certain seeds.

“This is not costly for us,” a senior EU official said, pointing out that existing tariffs levied by the bloc on these products are very low.

The Commission has also declared privileged access to its market for certain agricultural products, whose tariffs will be reduced — such as certain vegetables, fruits and grape juices.

Tariff-rate quotas are also planned for 20 product groups, including pork (25,000 tonnes), dairy products (10,000 tonnes), cheese (10,000 tonnes), and soybeans (400,000 tonnes), which will benefit from 0% tariffs below the set thresholds.

Despite a trade agreement widely seen as heavily tilted in favour of the US — with the EU facing 15% tariffs under the deal — Brussels foresees the possibility of suspending these tariff advantages on US products if the US fails to implement the 21 August agreement, or if a sudden surge in US imports on the European market poses serious risks to EU industry.

The legislative proposal needs the buy-in of the European co-legislator, the European Parliament and the EU Council, which represents the member states.

MEPs responsible for monitoring trade issues will meet for what promises to be a heated session on 3 September, with some having criticised the deal as unbalanced. Sabine Weyand, Director-General of DG Trade and one of the chief negotiators, will attend to answer their questions.

“Politically, some MEPs saw the conclusion of the agreement as a humiliation and a surrender,” French liberal MEP Marie-Pierre Vedrenne told Euronews, adding: “Especially since we were promised predictability — yet Trump is already threatening tariffs on countries implementing digital legislation. The Commission is clearly uncomfortable.”

On top of the proposal on tariffs reduction, the MEPs are waiting for a second legislative proposal on the whole deal.

“We need to understand the agreement much better before we can be decisive and say yes or no,” Swedish MEP Jörgen Warborn (EPP) told Euronews, “I’m myself concerned because I have not yet understood whether the deal was compatible with WTO rules.”

According to WTO rules, any country that grants a preferential tariff to one country must extend those terms to others.

“There is a lot of turbulence when it comes to trade at these times. We need a rule-based space and not that the EU is part of breaking WTO rules,” Warborn added.

Within the S&D group, some are betting on the continuation of the negotiations to improve the deal.

“The deal is quite unbalanced and we need to see real effort from the EU Commission to obtain more exemptions and a clear path for an agreement on steel and aluminium,” a lawmaker from S&D said, adding: “Otherwise we should go back to the possible countermeasures.”

The deal published on August 21 does not address the aluminium and steel sectors, which remain subject to tariffs of up to 50%.

Source link