roll

California and a coalition of other states sued the Trump administration Monday over its efforts to roll back fair housing rules that bar certain types of discrimination by landlords, including against LGBTQ+ people.

California Atty. Gen. Rob Bonta said a U.S. Department of Housing and Urban Development rule change threatening funding for states that offer housing protections for LGBTQ+ and other marginalized individuals who are not explicitly covered by federal law is illegal, undermines state efforts to combat discrimination and would push vulnerable people onto the streets.

“In effect, the Trump administration is attempting to roll back civil rights enforcement in housing at the federal level, and pressure states to weaken their own protections as well,” Bonta said during a news conference Monday. “That’s not just bad policy, it’s unlawful.”

Representatives from HUD and the White House did not immediately respond to a request for comment.

The federal Fair Housing Act explicitly bans discrimination based on seven traits: race, color, national origin, religion, sex, familial status and disability. Under rules set forth during the Obama administration, the U.S. Department of Housing and Urban Development has for years interpreted the law as banning discrimination based on sexual orientation and gender identity.

Many states, including California, also have adopted laws explicitly banning discrimination against LGBTQ+ people and other marginalized groups not mentioned in the federal law, with California also banning discrimination based on marital status, ancestry, source of income and veteran or military status.

In September, HUD issued new guidance threatening to decertify state housing agencies — stripping their federal funding and ability to investigate discrimination claims — if they provide anti-discrimination protections other than those spelled out in the Fair Housing Act. The guidance also barred state agencies from using federal funds to “promote gender ideology,” “fund or promote elective abortions” or promote illegal immigration, according to the lawsuit.

The guidance followed that of HUD Secretary Scott Turner, a former NFL player and Trump loyalist, who announced last year that HUD would no longer adhere to a 2016 Obama-era rule protecting transgender people from housing discrimination, which Turner said “tied housing programs, shelters and other facilities funded by HUD to far-left gender ideology.”

“We, at this agency, are carrying out the mission laid out by President Trump on January 20th [2025] when he signed an executive order to restore biological truth to the federal government,” Turner said in a statement, referring to Trump’s order calling on federal agencies across the government to rescind protections for transgender Americans.

“This means recognizing there are only two sexes: male and female,” Turner said. “It means getting government out of the way of what the Lord established from the beginning when he created man in His own image.”

Among other things, the administration said rules barring discrimination against transgender people allowed “biological men to enter shelters intended for women impacted by trauma, domestic abuse and violence.”

LGBTQ+ advocacy groups condemned the move, noting that transgender Americans face heightened discrimination in a slate of areas — including housing — and need protections. They also contended that HUD’s new policies violate a 2020 U.S. Supreme Court decision barring employment discrimination based on gender or gender identity.

Bonta said the Fair Housing Act “set a floor, not a ceiling, for protections against discrimination,” which means that states “have the authority to go further and protect more people,” as California has endeavored to do.

He said HUD has supported the state’s anti-discrimination work for decades through the Fair Housing Assistance Program, which provides funding to state and local agencies to investigate and enforce laws against housing discrimination. HUD’s new guidance “threatens to undermine that system” by demanding an end to state protections not just for LGBTQ+ people, but for military veterans, immigrants as well as women receiving abortions and other reproductive healthcare, he said.

“Families across California are already struggling to find homes they can afford, and the last thing they need is for the federal government to make it harder,” Bonta said. “At its core, this lawsuit is about protecting a fundamental civil right: the right to rent, buy, or live in housing without discrimination.”

Bonta said California interprets the Fair Housing Act’s ban on sex discrimination as protecting LGBTQ+ people, but the Trump administration doesn’t agree — making the state’s more explicit protections important.

He said about $3 million in federal funding is currently at stake for California, with millions more at stake in other states.

Illinois Atty. Gen. Kwame Raoul, who is helping lead the lawsuit and spoke alongside Bonta Monday, said states with robust antidiscrimination laws “will not go backwards and we will not give in to threats” from the Trump administration.

“These actions are part of a broader, ongoing pattern by this administration to subvert the legal protections our country has put in place to combat discrimination, and to tear down the hard fought progress we have made for civil rights,” Raoul said. “It is also just the latest page in the president’s illegal playbook to use funding and programs created by Congress to try to strong arm states into adopting Trump’s preferred policies.”

The states allege that HUD’s targeting of state antidiscrimination policies comes after it downsized its own workforce and significantly reduced its ability to investigate housing discrimination complaints and enforce fair housing laws. They say the new guidance violates multiple federal laws, including laws that govern federal spending and rule changes, and are asking the federal court to immediately invalidate the guidance as unlawful.

Bonta and Raoul are joined in the lawsuit by the attorneys general of Arizona, Colorado, Connecticut, Delaware, the District of Columbia, Hawaii, Maine, Maryland, Massachusetts, Michigan, New Jersey, Rhode Island, Vermont and Washington.

The Trump administration on Friday moved to roll back Biden-era limits on emissions of ethylene oxide, a cancer-causing chemical often used in the sterilization of medical devices.

The Environmental Protection Agency said repealing the rules, which fall under the National Emission Standards for Hazardous Air Pollutants, would “safeguard the supply of essential medical equipment” — saving approximately $630 million for companies over 20 years. California is home to about a dozen such facilities.

The government said the emissions are part and parcel of protecting people from “lethal or significantly debilitating infections that would result without properly sterilized medical equipment.”

“The Trump EPA is committed to ensuring life-saving medical devices remain available for the critical care of America’s children, elderly, and all patients without unnecessary exposure to communities,” EPA Administrator Lee Zeldin said in a statement.

An estimated 50% of sterile medical devices in the U.S. are treated with ethylene oxide, or EtO, particularly those that can’t be cleaned using steam or radiation. The colorless gas is also used to make chemicals found in products such as antifreeze, detergents, plastics and adhesives.

But EtO poses health risks. Short-term exposure by inhalation can cause headaches, dizziness, nausea, fatigue respiratory irritation and other adverse health effects, according to the federal Agency for Toxic Substances and Disease Registry.

Longer-term exposure increases the risk of cancers of the white blood cells, such as non-Hodgkin’s lymphoma, as well as breast cancer. A now-deleted page from the EPA’s website stated, “EtO is a human carcinogen. It causes cancer in humans.”

Friday’s proposal specifically targets updated rules for EtO emissions that were passed by the Biden administration in 2024 following pressure from environmental justice groups, particularly those in Louisiana’s heavily industrialized “Cancer Alley.” The change sought to reduce the amount of EtO released from commercial sterilizers by 90% and lessen the hazards for nearby communities.

The tighter rules were in part based on EPA’s own scientific study that found it to be 60 times more carcinogenic than previously thought, which the agency now says should be reassessed.

If finalized, the plan would give facilities the choice between installing continuous real-time monitoring systems for EtO emissions or complying with modified pollution control requirements at facilities that emit more than 10 tons a year, the EPA said.

The proposal follows other moves by the Trump administration to rescind regulations that it says are burdensome and costly for industries, such as those governing emissions from coal power plants. Last month, the EPA repealed the endangerment finding, which affirmed the dangers of greenhouse gas emissions and underpinned the agency’s ability to regulate those emissions from vehicles.

The action around ethylene oxide would affect about 90 commercial sterilization facilities owned and operated by approximately 50 companies. Three California companies applied for and received presidential exemptions for their EtO emissions in July.

The Sterigenics facility, center, in Vernon is pictured in 2022.

(Myung J. Chun / Los Angeles Times)

They are located in Ontario and Vernon and operated by the company Sterigenics, which provides industrial sterilization technology for medical devices and other commercial products.

In January, a coalition of environmental and community groups challenged the EtO exemptions in federal court. The lawsuit from the Southern Environmental Law Center and the Natural Resources Defense Council argues that technology exists for facilities to comply with the tighter Biden-era standards without raising costs, and many facilities are already using it.

“EPA’s 2024 rule was an important and overdue step to reduce toxic ethylene oxide pollution and protect communities,” said Irena Como, senior attorney at the Southern Environmental Law Center, in a statement Friday. “Repealing this rule that is proven to significantly lower pollution exposure and cancer risks will subject even more people who work, live, and send their children to schools located near these facilities to harm that is entirely preventable.”

Sterilization and chemical industry groups support the plan.

“The EPA rule concerning ethylene oxide use in commercial sterilizers threatens to severely restrict access to vital medical products nationwide,” the American Chemistry Council said in a statement. “We commend the EPA for their commitment to reevaluating these policies.”

The EPA will hold a 45-day comment period about the proposal after it is published in the federal register. A final decision is expected sometime this year.

“Well, I guess it’s a brother thing.”

The Black Crowes singer Chris Robinson is reflecting on his rollercoaster relationship with his younger sibling, guitarist Rich.

Their explosive chemistry once earned the outfit a fitting accolade — “The Most Rock ’n’ Roll Rock ’n’ Roll Band in the World”.

Chris is first to admit they’ve had their ups and downs since forming in 1984 under their original name, Mr Crowe’s Garden, as schoolkids in Atlanta, Georgia.

“Rich and I, for better or worse, were stubborn and arrogant but always strong believers in the art,” he admits.

“This has always been our path and, no matter what, we have to do it like this.

claws out

Real reason for Pussycat Dolls’ snub of Carmit Bachar & Jessica Sutta revealed

SENT HOME

British band leave fans fuming as they cancel gig minutes before its due to start

“In rock ’n’ roll, there are plenty of show dogs, pure bred and beautiful. We’re f***ing feral.”

Following in the footsteps of other warring brothers — Ray and Dave Davies or Noel and Liam Gallagher — the Robinsons weren’t on speaking terms for five years after their so-called “contractual obligations” tour ended in 2014.

“Sometimes, you have to take your lumps,” continues Chris, employing that very American phrase for suffering setbacks. “But, right now, we’re in the zone. The chemistry is 100 per cent there.

“The way we feel goes right back to when we started — it’s f*** it, just play it — even if we are more well-mannered.”

The Black Crowes’ big reunion began in late 2019 with warm-up shows for a planned 30th anniversary tour of their debut album, the seminal Shake Your Money Maker, the following year.

But the pandemic slammed on the brakes before the dates finally happened across the US in 2021, uncorking the band’s celebrated freewheeling energy.

Back to the live arena came Jealous Again, Hard To Handle, She Talks To Angels and Twice As Hard, songs that somehow bottled up the band’s influences — Led Zeppelin, the Rolling Stones and Little Feat among them — but still refreshingly their own.

In 2024, with their creative juices flowing, The Black Crowes released their first album of original material in 15 years, Happiness Bastards.

Now the Robinsons are back again — with a bang.

The follow-up, A Pound Of Feathers, comes tearing out of the blocks with the rocket-fuelled, riff-driven Profane Prophecy, setting the tone for another of The Black Crowes’ “love letters to rock and roll”.

The album arrives with some sound advice — “This isn’t a record you play on Sunday morning, this is a f***ing Saturday night burner!”

In a world where smoothly produced pop dominates the airwaves, The Black Crowes are unashamedly sticking two fingers up at it.

“None of what’s going on in that world is relevant to me,” decides Chris, “and rock ’n’ roll is still huge for millions and millions of people.”

He is talking to me via video call from Aspen, Colorado, the premier ski resort in the States, playground of the rich and famous.

“My wife is an avid skier. She’s the Franz Klammer of the family,” he reports with a reference to the Austrian downhill legend.

“I get to do the cooking, the reading and the hanging out.” (And talking to people like me about The Black Crowes). Brother Rich is at home in Nashville and begins his call by apologising for being under the weather.

“I’m going to be coughing randomly,” he says. “I’m in the middle of flu that’s going around.”

After clearing his throat, Rich, the less flamboyant one who lets his guitar wizardry do most of his talking, gamely picks up on Chris’s theme.

“When we got back together, we both agreed we needed to do it properly,” he affirms.

“We knew that bringing back a toxic dynamic wouldn’t be healthy for anyone.

“We couldn’t have the overarching idea that when Chris and Rich get together, it’s a bad thing.

“We’ve always written all the songs, we own the name so coming back with a more mature approach has been very helpful.”

Rich acknowledges that the music landscape for the older, wiser Black Crowes is vastly different from when they started out. “There’s a bunch of people in the industry who like to think rock ’n’ roll is dead,” he says.

“But then there’s a bunch of people trying to keep it alive. Guns N’ Roses, the Rolling Stones, Metallica and Def Leppard are still selling out stadiums.

“Tens of millions of people still want to see bands like them. Rock ’n’ roll is one thing that no one could tame.

“And it’s still like that for us. We can go into a studio with almost nothing and, in a week, make a record.

“There’s a human, organic quality to rock ’n’ roll. We don’t have auto-tune and we don’t have to set our s**t to a grid.”

Looking back at their unfettered past, Chris exclaims: “I have to say I’m so f***ing proud of The Black Crowes, man!

“Rich and I started this band when we were teenagers in Mom and Dad’s house, as a vehicle to write songs.

“And we found our way to being musicians and performers.”

Yet the creation of A Pound Of Feathers has still blown Chris away, most notably because of the stellar contributions from Rich.

The album was made in double-quick time, carried along by the brothers’ spontaneous fusion of riffs and lyrics.

Chris says: “I’ve been on stage and sat in studios my whole life with my brother playing amazing guitar.

“But, with this album, I sat there with my mouth hanging open.

“Granted I’m very close to the flame but everything he did, I was like, ‘Wow, this guy’s taking it to a new place.’”

During the sessions, The Black Crowes were visited by Chris’s friend, Todd Snider, the singer/songwriter who died last November from pneumonia aged just 59.

Chris cherished the chance to hang out with Todd — and to get some memorable feedback from him.

“He was a storyteller, a real poet, and he and I had a great friendship. He also really liked The Black Crowes.

“He asked if he could come and check out the recording. I went, ‘Dude, yeah fine, but you’re going to be the only one here’. So he sat there taking in me and Rich putting music together.

“At the end of the day, he said, ‘Are you f***ing warlocks? Is this some kind of ESP or is it a parlour trick? You don’t say anything yet, 30 minutes later, there’s this massive song blasting out of the speakers’.”

For Rich, the studio is his happy place. “I’ve always loved being in a studio,” he says.

“It’s where you bring to ­fruition all the things you have in your head.

“With this record, we came in without any concrete ideas. By allowing ourselves just to play in the sandbox, it became fun and exciting.”

Rich gives a shoutout to producer Jay Joyce, who also helmed Happiness Bastards.

He says: “Nine and a half times out of ten, he agrees with us when we’re excited about something.

“He’s there with us, not bogging us down by trying to insert himself when its unnecessary.”

So what of the songs? There’s the aforementioned opener Profane Prophecy which captures the unvarnished sound of The Black Crowes’ live mayhem, yet recorded in the calmer confines of a studio.

You hear Chris nodding to past rock ’n’ roll excesses by hollering, tongue firmly in cheek, “My pedigree in debauchery is my claim to fame.”

He smiles, “Of course I have to embrace that life. That’s why I sing, ‘I eat casino breakfast off the kitchen floor’.”

But he maintains that while giving “a vision of a debauched rock ’n’ roller”, he’s also “confusing fact with fiction”.

The four-minute shindig concludes with the ensemble chant of the phrase that yielded the album title, “a pound of feathers or a pound of lead”.

Chris got the line from In Here The World Begins, a song by long-defunct British electro-pop band Broadcast.

“I loved the phrase and what it could mean because a pound is a pound,” he says. “It doesn’t matter whether it’s lead or feathers. There’s some weird wisdom to it.”

We turn our attention to Cruel Streak, pounding rock underpinned by funky rhythm.

“I’m adjacent to funk at all times,” says Chris. “Growing up in Atlanta, there was this multi­racial band called Mother’s Finest who played heavy funk with ‘Baby Jean’ Kennedy as lead singer.

“There’s a lot of Mother’s Finest in The Black Crowes.”

On the R&B-flavoured It’s Like That, which comes with heavy basslines and a hint of reggae, the brothers employed an amphibian guest, which, as Chris explains, fits with their anything goes attitude.

“I was staying in Nashville, and the doors were open. I heard this frog, so I recorded him. That’s my Nashville rasta frog on the solo.”

Rich says: “There are tree frogs all over the South. They were blaring one night and Chris said, ‘Man, I want to use that sound’.

“So he took his phone and pressed record. We found the right space for it on the song.” On the loose, laidback country-tinged Pharmacy Chronicles, recalling the vibe of the Rolling Stones’ Exile On Main St., Chris sings “let the demons find you” because, he insists, we mustn’t think everything is “sugar-coated, glossy and gorgeous”.

“Especially something as messy as a 40-year career in rock ’n’ roll,” he adds. “I can’t believe some of the s**t I was doing. Get some surgical gloves and get to it!”

But Chris is not one to dwell on the past, with all its euphoric highs and crashing lows. “I am devoid of nostalgia,” he says.

“I like to think I interact with the world as a poet. I’m always writing — it could be because I overheard a conversation at an airport check-in.

“I’m no Bruce Springsteen,” he confesses. “But I connect with the world through whatever inspires me.”

And, as he puts it, “a lot of the darkness that is the United States right now” informs A Pound Of Feathers.

It explains why final track Doomsday Doggerel with its line “a front row seat to the end of times” is in stark contrast to the closing song on Happiness Bastards.

“On that last record, Kindred Friend was a beautiful pastoral thing with harmonica, about me and Rich, the band and our audience,” says Chris.

“Doomsday Doggerel is much darker. We haven’t remembered lessons from our past and the f***ing racism means we’re operating at a very low frequency.

“I just hope that someone can play this record on a Saturday night, keep out the low frequency and get a better hum going.”

As Pharmacy Chronicles ebbs to a close, you hear a defiant chorus of “the good times never end”.

As far as Chris and Rich and the rest of The Black Crowes family are concerned, rock ’n’ roll is the perfect antidote to personal and universal turmoil.

“We’re loud, we can be sloppy but we are like an old cartoon of two people fighting on a train,” says Chris.

“The train goes round a bend, leaning all the way over a cliff, but then it comes back up. That’s us.”

THE BLACK CROWES

A Pound Of Feathers

★★★★☆

Feb. 24 (UPI) — NASA has delayed the first crewed launch of its Artemis program after encountering a problem with its rocket system.

The space agency said it plans to roll the Artemis II Space Launch System and Orion spacecraft off the launch pad and back into the vehicle assembly building to address the problem Wednesday. The Artemis II SLS rocket has been on launch pad at NASA’s Kennedy Space Center in Florida for more than a month, undergoing testing and rehearsals.

On Tuesday, NASA determined there was an issue with the flow of helium to the upper stage of the rocket. They’ve scheduled the rollback for Wednesday due to high winds Tuesday.

The agency said workers observed the interrupted flow of helium to the interim cryogenic propulsion stage of the rocket on Saturday. The upper stage uses the helium to maintain environmental conditions in the engine and to pressurize liquid hydrogen and liquid oxygen propellant tanks.

NASA said the helium system worked during its wet dress rehearsal earlier this month.

“Teams are reviewing potential causes of the issue, including in the interface between ground and rocket lines used to route helium, in a valve in the upper stage, and with a filter between the ground and rocket,” a NASA blog post said. “They are also reviewing data from Artemis I in which teams had to troubleshoot helium-related pressurization of the upper stage before launch.”

NASA said the rollback means Artemis II will miss its previously planned March launch window. The agency is now eyeing a possible April launch window pending the results of troubleshooting.

Artemis II is NASA’s first crewed mission aboard the SLS rocket and Orion spacecraft. It’s the second flight of the SLS and the first crewed mission near the moon since 1972.

Over 10 days, Artemis II will travel around the moon and back to Earth as the crew tests whether the spacecraft operates as it should in deep space. The long-term goal of the Artemis program is reestablish a human presence on the moon in preparation for the ultimate aim of putting a human on Mars.

WHILE Greggs is a quintessential part of British culture, there is bizarrely a similar version of it more than 1,500 miles away.

The famous food chain recently revealed that it sells more sausage rolls at Newcastle Airport than at any of its other UK branches throughout the UK – suggesting that people really miss their pastries when going abroad.  

And having recently visited Athens, I stumbled across the coincidentally named Gregory’s, which has more than 300 branches throughout Greece (as well as a few in Cyprus, Romania and Germany).

Serving a suspiciously similar fare, albeit with a bit of a Greek twist, a cursory Google search assured me that no plagiarism took place and that it is merely a happy quirk of fate that Greggs and Gregorys share such similar titles. 

Both chains got their names from their respective founders, with John Gregg opening the first of the UK chain’s branches in Gosforth, near Newcastle, in 1951, while Grigoris Georgatos launched the first Gregory’s in Athens back in 1972. 

Nevertheless, the similarities are so obvious that I decided to put the Greek chain up against its UK namesake, to see if it satisfies in quite the same way. 

ON A ROLL

The UK’s most beautiful Greggs reveals new restoration after 18 months

BURY GOOD

I visited my birth town which is a ‘foodie capital’ & home to UK’s smallest pub

I ventured to one of the many Gregory’s branches found along the streets of Athens, easily recognisable by their twisty green neon signs.

The first thing I noticed is that, in comparison to Greggs, it has a much more extensive range of items.  

If you’re there for breakfast, you can get all the typical morning pastries, from croissants to pain-au-chocolat and cinnamon rolls.

However, they also have some less expected choices, like toasted sandwiches filled with peanut butter and banana, catering for those with not quite so conventional tastes.  

But I was there mainly to see if its pastry game was up to scratch and asked the woman behind the counter what the most popular items were.

She informed me that the plain cheese and the cheese and spinach pies were among their best sellers, so I followed her advice and ordered one of each, for the princely sums of £2 and £2.90. 

The cheese and spinach stuffed pastry is a typically Greek choice, commonly known as a spanakopita.

And actually, it was more or less on par with some of the other spanakopita I tried from more reputable and higher priced establishments during my visit to the Greek capital. 

However, I’m not sure it’s a filling that would be racing off the shelves in Greggs, were it to be given a chance back in the UK, and would arguably be more at home in the Marks and Spencer food hall.  

Sadly the sausage roll options in Greece leave plenty to be desired.

The Gregory’s version of the iconic British stalwart was a poor imitation, instead being a hot dog sausage ‘pie’ wrapped in a crust for £2.90 (more than double the UK’s £1.35, even after a recent price increase).

It looked so hard and crunchy that I didn’t think it would be worth risking my teeth ordering one.  

That was certainly the biggest disparity between the two, however, with the sweet options, the sandwiches and the hot drinks all very much on a level playing field with the Greggs I know and love.  

Afterwards, I still had room for one of their apricot tarts, which was tasty if unspectacular at £2.40, and pretty much what I was expecting from the outset. 

Nevertheless, I don’t really have too many bad words to say about Gregorys, even with their weak sausage roll options taken into consideration. 

In Greece, pastries are a big part of the local cuisine, and it provided me with an affordable and unpretentious way of introducing myself to this world I previously knew very little about.  

While I’m certain there are better places to try these foods, this certainly opened the door and showed me what the basic level should be, and for that, it serves a great purpose.  

It’s like a Greek person going to a Wetherspoons for a Sunday roast dinner or a Full English – it’s not going to be the best one they’ll ever try, but it does a job of demonstrating (in a round about way) something that is much less accessible back home. 

Although it didn’t stop me grabbing another Greggs for the road trip home from the airport…

In the mean time, we went down to Greggs’ first ever pub in the UK.

And here’s how to find the most beautiful Greggs in the UK.