Smiths

“Bread of Angels,” Patti Smith’s mesmerizing new memoir, only deepens the mystery of who this iconic artist is and where her singular vision originated. I’ve long been struck by her magnetism on stage, her fearless approach to her craft, and the stark beauty of her words on the page, including the National Book Award-winning “Just Kids.” She has a preternatural belief in her own instincts and a boundless curiosity that, taken together, help explain the extraordinarily rich life and oeuvre she’s constructed. This transcendent — and at times terrifying — account of that evolution enriches that understanding. And yet, Smith’s persona remains veiled — sphinx-like — an ethereal presence whose journey to fame was fueled by her questing spirit and later detoured by tragedy.

Like Jeanette Walls’ classic, “The Glass Castle,” Smith’s saga begins with a hard-scrabble childhood she relates as if narrating a Dickensian fairy tale. In the first four years of her life, her family relocated 11 times, moving in with relatives after evictions, or into rat-infested Philadelphia tenements. Smith’s mother was a waitress who also took in ironing. Her father was a factory worker, a World War II veteran scarred by his experience abroad. They shared their love of poetry, books and classical music with their daughter, who was reading Yeats by kindergarten.

Smith, who was born in 1946, was often bed-ridden as a young girl, afflicted with tuberculosis and scarlet fever, along with all the usual childhood ailments. She writes: “Mine was a Proustian childhood, one of intermittent quarantine and convalescence.” When she contracted Asian flu, the virus paralyzed her with “a vise cluster of migraines.” She credits a boxed set of Puccini’s “Madame Butterfly” recordings her mother bought with tip money for her return to health.

As a 3-year-old, Smith recalls grilling her mother during evening prayers, posing metaphysical questions about Jesus and the soul, immersing herself in Bible study and later joining her mother as a Jehovah’s Witness. She didn’t confine herself to a single religious discipline, though. For example, while still a young child, she saw the movie “Lost Horizons” and became entranced by Tibet and the teachings of Buddhism — “an awareness of the interconnectedness of all things.” While “this seemed beautiful,” she writes, “it nonetheless troubled me.”

There is a romantic quality even to the deprivations Smith chronicles, an effect heightened by what she chooses to highlight or withhold. With little money for toys, she and her siblings entertained themselves using the knobs on a dresser as instruments on a ship, sailing on faraway seas. She and her younger siblings regularly set out with their mother to the nearby railroad tracks, where they harvested leftover lumps of coal to fuel their pot-bellied stove — the apartment’s sole source of heat. Under the floorboards of her closet, Smith conceals “glittering refuse I had scavenged from trash bins, fragments of costume jewelry, rosary beads,” along with a blue toothbrush she’s invested with magical powers.

Their apartment building overlooks a trash-strewn area dubbed “the Patch,” which is bordered by “the Rat House.” There, Smith proclaims herself general of the neighborhood’s Buddy Gang, fearlessly fending off bullies twice her size, while at school, she was viewed as odd by her teachers, “like something out of Hans Christian Andersen.”

Within this urban setting, Smith often paused to marvel at nature. Taking a short cut on the long walk to school, she stumbles on a pond in a wooded area. A snapping turtle emerges and settles a few feet away. “He was massive,” she recalls, “with ancient eyes, surely a king.”

It’s impossible to know if Smith was really this self-possessed and ruminative as a child or if nostalgia has altered her perspective. What’s undeniable, though, is that her extraordinary artist’s eye and soulful nature emerged at an age when the rest of us were still content to simply play in our sandboxes. She recollects fishing Vogue magazines out of trash cans around age 6 and feeling “a deep affinity” with the images on their pages. She’s immersed in Yeats and Irish folk tales while being bored at school reading “Fun With Dick and Jane.” On her first visit to an art museum, viewing Picasso’s work produces an epiphany: She was born to be an artist. A decade later, she boards a bus bound for New York City.

At this point, about a third of the way into the book, we enter the vortex that is Patti Smith’s talent and ambition on fire. The pace of the memoir accelerates. An alchemy infuses each chance encounter. Opportunities abound. Everywhere she turns there are talented photographers, poets, playwrights and musicians encouraging and supporting her. She writes poetry and finds a soulmate in Robert Mapplethorpe. She meets Sam Shepard, who features her poem in a play he’s writing. She meets William Burroughs, performs a reading with Allen Ginsberg. She forms a musical partnership with Lenny Kaye, and begins performing her poetry, with the 19th century French poet Arthur Rimbaud as her spiritual inspiration.

Smith’s story unfolds as a bohemian fairy tale. Luck is with her, bolstered by a fierce conviction in her own bespoke vision. “There was no plan, no design,” she writes of that time, “just an organic upheaval that took me from the written to the spoken word.” Bob Dylan becomes a mentor. Her fame grows enormous with the 1975 release of “Horses” and the international touring that followed, yet she retains the bearing of an ascetic. She writes: “We hadn’t made our record to garner fame and fortune. We made it for the art rats known and unknown, the marginalized, the shunned, the disowned.”

Smith’s rock star trajectory is diverted by her love affair with Fred Sonic Smith, for whom she ditches her career at its height, against the advice of many of those closest to her. But as with every decision she’s ever made, she can’t be dissuaded. In this intimate portion of the book, we receive glimpses of two passionate artists hibernating, in love. They marry, have two children, and cultivate an eccentric version of domestic bliss. But harsh reality intervenes and the losses begin to accumulate. One after the other, Smith loses the men she loves most — Robert, then Fred, then her beloved brother, Todd. These losses haunt the memoir; she grapples with them by returning to the stage with a fierce new hunger.

The book’s final pages reveal Smith continuing to grieve, mourning the loss of other loved ones — her parents, Susan Sontag, Sam Shepard. I wish I could simply reprint those pages here — they moved me deeply. At 78, she reflects on the process of “shedding” — which she describes as one of life’s most difficult tasks. “We plunge back into the abyss we labored to exit and find ourselves within another turn of the wheel,” she writes. “And then having found the fortitude to do so, we begin the excruciating yet exquisite process of letting go.”

“All must fall away,” she concludes. “The precious bits of cloth folded away in a small trunk like an abandoned trousseau, the books of my life, the medals in their cases.” What will she retain? “But I will keep my wedding ring,” she writes, “and my children’s love.”

Haber is a writer, editor and publishing strategist. She was director of Oprah’s Book Club and books editor for O, the Oprah Magazine.

Sunday was gut-check time for the Dodgers.

A day where, as a clearly frustrated Dave Roberts put it before the game, the team needed to “not get embarrassed” in the face of a potential three-game sweep by the Arizona Diamondbacks, and play with a level of “pride” that had been missing the previous two nights.

“Whatever it is, we’ve got to do it right now,” the manager said. “We’ve got to win today. We’ve got to play better baseball. … There’s more in there. There just is.”

Whatever Roberts was looking for, the Dodgers provided just enough Sunday.

Despite blowing a three-run lead that tied the game going into the ninth, the Dodgers prevailed on Will Smith’s pinch-hit, walk-off home run, beating the Diamondbacks 5-4 to move two games up in the National League West standings after the San Diego Padres’ rubber-match loss to the Minnesota Twins earlier in the day.

The win should have been simpler.

Yoshinobu Yamamoto delivered a seven-inning, one-run gem, tying his career-high with 10 strikeouts while also not allowing a walk. The Dodgers lineup, meanwhile, wore down Arizona starter Brandon Pfaadt, scoring twice in the first and again in the fourth and fifth to chase him from the game early.

Tanner Scott almost wasted those efforts. In the eighth, he gave up a pair of two-out singles before Corbin Carroll took him deep for a tying three-run blast. Scott was booed off the mound, his earned-run average rising to 4.44 in a disastrous debut season in Los Angeles.

Dodgers pitcher Yoshinobu Yamamoto delivers during the fourth inning Sunday against the Diamondbacks.

(Carlin Stiehl / Los Angeles Times)

Smith, however, saved the day, coming off the bench and hitting the second pitch he saw into the left-field pavilion to ensure the Dodgers didn’t come out of this weekend empty-handed.

Of course, any feeling of progress from the Dodgers will remain tempered for now.

Friday and Saturday, after all, produced the kind of maddening performances from the club that have dogged them throughout the second half of the season.

The team looked lifeless at the plate both nights, scoring one run off Arizona’s beleaguered pitching staff in 18 total innings. They committed fundamental miscues on the bases and on defense, lapses Roberts boiled down to a simple lack of focus. And, as has become a recurring theme during their 22-27 rut since the Fourth of July, they once again played down to a level their $400-million roster simply shouldn’t.

“There has to be a point where that has to be sharpened,” Roberts said. “And that’s where, I feel, the time is now.”

Given the roller-coaster nature of the season, it’s impossible to know if — and when — the next drop is coming.

The Dodgers (78-59) have shown flashes of improvement at times in the last two months — like when they swept the Reds to start this homestand, or swept the Padres at the end of the previous one — only to quickly revert to a lesser version of themselves again.

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1. Dodgers catcher Will Smith celebrates after hitting a walk-off home run in the ninth inning Sunday. 2. Freddie Freeman, left, and Alex Call, center, and other Dodgers players celebrate with Will Smith, right, as he crosses home plate. 3. Will Smith, left, celebrates with Alex Call, right, and his Dodgers teammates. (Carlin Stiehl / Los Angeles Times)

Asked why that has been the case pregame, Roberts struggled to find an answer.

He alluded to a potential World Series hangover, noting that “when you’re playing a long season, you’re defending champions, people are coming after you — which we know and understand — it’s just hard to keep that dialed-in focus every single night. That’s just reality.”

He highlighted the lack of consistent production from veteran players — coinciding with his decision Sunday to leave Teoscar Hernández on the bench, in favor of Alex Call in right field, amid a recent three-for-27 slump that has been compounded by persistently shaky defense.

“He’s an everyday guy,” Roberts said of Hernández, whom the team hopes will benefit from a “two-day reset” between Sunday’s day off and Monday’s travel day. “But I do think that where we’re at, you’ve got to perform too, to warrant being out there every single day.”

Dodgers reliever Tanner Scott pitches in the eighth inning Sunday.

(Carlin Stiehl / Los Angeles Times)

Roberts said that mindset applies to the rest of the roster as a whole, from left field (where Michael Conforto has been better of late, but is still batting under .200) to other superstars at the top of the lineup.

“No one is going to be exempt,” Roberts said. “We’ve got to ramp it up and we’ve got to be better. If some other guys deserve more opportunities, then they’re going to get them. That’s just the way it should be.”

It all reflected what Roberts hopes will be a switch-flipping moment from his club; that disaster-averting wins like Sunday outnumber the kind of clunkers they had on Friday and Saturday.

“I do think that a flip can be switched,” Roberts said. “Each day should be equally important. Every little play, pitch, should be equally important. ‘How you do anything is how you do everything,’ that kind of adage, I believe in that. When you’re playing a long season, it’s hard to be that locked in every single pitch. But I’m not going to not try to ask our guys to do that, though.”

Jack James Ryan has opened up about his role in the upcoming ITV drama I Fought The Law, which sees him starring alongside Sheridan Smith in the four-part series

Coronation Street and Passenger star Jack James Ryan was left starstruck after working alongside Sheridan Smith on the ITV series, I Fought The Law. The 29-year-old actor, who has become a familiar face in British households, landed a role in the drama, which tells the real-life story of Ann Ming’s fight to change the Double Jeopardy Law and bring her daughter Julie Hogg’s murderer to justice.

Despite spending four months on set, Manchester-born Jack still found himself “geeking out” over his co-star Sheridan, 44. Speaking exclusively to the Mirror, he said: “People say ‘Oh I’ve always loved this actor’ but when I knew that I was going to be playing alongside Sheridan, I couldn’t believe it.”

He continued: “It was just amazing, I have followed her career as a young actor and been totally inspired by the work that she’s done, so getting to spend the last four months watching her work and stealing everything was the best, so much better than drama school.”

Jack also revealed that Sheridan has an incredible ability to instantly “switch on” and get into character at a moment’s notice following a break in filming.

“She is absolutely breathtaking,” he enthused. “To be surrounded by these actors, it has an absolutely great supporting cast throughout the series, so to be surrounded by them felt like I’d won the lottery – this is the type of work that I’ve always dreamed of doing.”

Discussing the show, Jack revealed: “I’ve never been in anything that was based on a true case, or any of the characters have been real, it’s always been fictional stuff. Straight away you feel the pressure to do it justice. Sheridan plays the trailblazer, Ann Ming, who has done so much for raising awareness in the work that she’s done.

“I know that we all felt the pressure, Sheridan and everyone, to do this story justice and deliver it in a sensitive way that was going to be impactful and honouring the people that we’ve lost. And also the people that are still fighting for justice, it wasn’t easy but it was also incredibly exciting to be a part of something which felt like it has the opportunity to really help and change people and have a real impact for the better.

“I’m really, really excited for this to come out, and I think it’s going to be, it’s going to be a really different side to me that people haven’t seen before,” he stated, adding there was a “quite a visual transformation.”

I Fought The Law will explore how Ann and Julie’s relatives coped with her baffling vanishing in Cleveland back in November 1989 after completing her shift at a neighbourhood pizza restaurant. Julie had maintained an extremely strong bond with her parents, Ann and Charlie. She was just 22 when she was killed.

Julie’s remains were found by her mother 80 days after they were concealed behind the panel of her bath by her killer. Nevertheless, her terraced property had been meticulously examined by forensics teams in the days following her disappearance.

The series, adapted from Ann’s memoir, For The Love of Julie, also features Daniel York Lou as Charlie Ming and Enzo Cilenti as DS Mark Brathwaite.

Additionally, Marlowe Chan-Reeves, Olivia Ng, Jake Davies, Victoria Wyant, Kent Riley and Rufus Jones all feature in the programme. Previously, Jack joined forces as a Movember ambassador – championing awareness of men’s mental health and urging blokes to open up.

Looking back on his involvement with the Movember campaign, he explained: “I was already well aware of the amazing work that Movember has done and does for raising awareness and funds for male mental health, just to be a small part of history moving forward is very exciting. It’s such an exciting project and a really meaningful project to get behind, male mental health is so under-reported and so unspoken about.”

I Fought The Law airs tonoght at 9pm on ITV1 and ITVX.

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Aug. 28 (UPI) — A pair of Microsoft employees were terminated for allegedly breaking into President Brad Smith‘s office.

An online group called No Azure for Apartheid announced Thursday on X that Microsoft employees Riki Fameli and Anna Hattle had been fired for “participating in a sit-in at the office of Brad Smith” at the Microsoft location in Redmond, Wash., to demand the company cut its ties to Israel.

Redmond Police announced on Tuesday that seven people were arrested that day for allegedly breaking into “an executive office” at Microsoft and refusing to leave.

All seven were taken into custody on charges of trespassing, resisting arrest and obstruction. The case remains under police investigation.

Smith held an online press conference Tuesday and confirmed that two Microsoft employees and a former Google employee were arrested in the incident.

“We need to keep our workplace safe and secure,” Smith said. “We need to keep our employees secure.”

“But obviously, as seven folks do as they did today, storm a building, occupy an office, lock other people out of the office, plant listening devices in crude form using phones, cell phones hidden under couches, behind books, that’s not OK,” Smith continued.

“When they’re asked to leave and they refuse, that’s not OK. That’s why, for those seven folks, the Redmond police literally had to take them out of the building,” Smith then said.

No Azure for Apartheid further announced that a “full campaign and press conference details” are “coming soon.”

The firings at Microsoft come after Google fired 28 employees last year in response to a series of protests that were partly focused on the company’s contract with the Israeli government, during which the office of CEO of Google’s cloud unit Thomas Kurian was breached.

July 12 (UPI) — Attorney General Pam Bondi on Friday fired nine former members of former special counsel Jack Smith’s team that was tasked with prosecuting President Donald Trump.

Friday’s firings include two federal prosecutors and seven others who assisted Smith’s failed efforts to charge and convict Trump for the Jan. 6, 2021, Capitol riot, his handling of classified documents and other alleged offenses, The New York Times reported.

Friday’s firings raised to at least 20 the number of Justice Department employees who lost their jobs for participating in the effort to prosecute Trump.

In addition to the two prosecutors, the others who were fired fired on Friday helped to manage Smith’s office, provided paralegal services, oversaw financial records and conducted information security.

Earlier firings included some support staff, U.S. marshals, litigation assistants and others who were not directly related to Smith’s efforts to prosecute Trump, ABC News reported.

The firings have occurred in batches, similar to those on Friday, and often cite Article II of the Constitution, which defines presidential powers.

Smith on Jan. 11 resigned from the DOJ after completing his work and submitted a final confidential report on the two cases arising from the Jan. 6 Capitol riot and the FBI’s raid of Trump’s Mar-A-Lago resort in search of classified documents.

A subsequent Senate Judiciary Committee found Smith had withheld relevant impeachment documents related to one of his cases against Trump that involved electors.

Smith knowingly used information generated by an “anti-Trump FBI agent acting in violation of FBI protocol,” the Judiciary Committee reported on Feb. 12.

“Jack Smith and his merry band of DOJ partisans weaponized the justice system to put President Trump and his defense team at an unfair disadvantage,” Senate Judiciary Committee Chairman Chuck Grassley, R-Iowa, said of the committee report.

“Smith’s cases against Trump were never about fairness,” Grassley said. “They were always about vengeance and aimed at destroying a political opponent.”

Twenty-nine hours before his official return to the Dodger Stadium mound, Emmet Sheehan took a moment to get himself reacquainted with his home ballpark.

In an empty Dodger Stadium on Tuesday afternoon, Sheehan walked onto the field at Chavez Ravine, climbed up a slope he hadn’t toed since the 2023 season, and practiced his pitching motion a few times before returning to the clubhouse.

For Sheehan, such dry tosses are part of his normal pre-start routine. In any ballpark where he pitches, he likes to get a feel for the mound and its surroundings before the game.

The only difference this time: how long it had been since he’d taken the bump in a big-league stadium.

After an auspicious rookie season in 2023, in which his 4.92 earned-run average belied the potential he flashed with his low-arm-slot, high-velocity delivery, Sheehan missed all of last season and the first three months of this campaign after undergoing Tommy John surgery.

A former sixth-round draft pick who blossomed into one of the organization’s top pitching prospects during an impressive minor-league career, Sheehan became one of the many homegrown Dodgers pitchers to endure a major surgery after injuring his elbow in spring training last year.

In recent months, however, his relatively seamless recovery process had fueled excitement throughout the organization leading up to his return on Wednesday.

And over four sharp innings in the Dodgers’ 4-3 win against the San Diego Padres — one that ended on a walk-off home run by Will Smith in the ninth — the 25-year-old right-hander showed exactly why.

With his fastball sitting around 95 mph, and a tantalizing combination of sliders and changeups keeping Padres hitters off balance, Sheehan gave up just one run while striking out six batters in his big-league return.

He threw 65 pitches, 43 for strikes. He didn’t issue a walk, while yielding only three hits. And the lone score against him came when second baseman Tommy Edman failed to corral a hard-hit one-hopper with two outs in the top of the second.

Other than that, he posted nothing but zeroes.

Sheehan wasn’t the winning pitcher. That honor went to another former prospect, left-hander Justin Wrobleski, who followed Sheehan with five stellar innings of long relief, flashing his own promising signs (including a fastball that touched 99 mph at one point) after an up-and-down start to his big-league career.

For most of his outing, Wrobleski was protecting a 3-1 lead the Dodgers took in the bottom of the fifth, when Max Muncy hit a leadoff triple, Hyeseong Kim followed an Andy Pages sacrifice fly with a double, and slumping rookie catcher Dalton Rushing plated the game’s go-ahead runs on a two-run single.

But with the Dodgers’ bullpen worn thin from back-to-back bullpen games the previous two nights, Wrobleski went back to the mound in the ninth to try to finish things off. He couldn’t, giving up two runs after a Max Muncy throwing error put him in a jam.

However, Smith made sure it didn’t matter, coming off the bench in the bottom of the ninth to whack a walk-off home run just over the right-field wall.

Will Smith runs to first after hitting a walk-off home run in the ninth inning for the Dodgers against the Padres on Wednesday night.

(Gina Ferazzi / Los Angeles Times)

Despite the late dramatics, it was Sheehan’s return that had the biggest future implications on the Dodgers’ season, giving their shorthanded rotation a badly needed, and highly intriguing, new option for the second half of the season.

While discussing Sheehan before the game, manager Dave Roberts said the Dodgers always “liked his makeup, his toughness, his ability to repeat his delivery, the swing-and-miss stuff, the preparation.”

But the way he navigated his Tommy John recovery — returning to action 13 months after undergoing the procedure last May — had added another element of optimism among team officials.

Roberts noted how Sheehan had seemingly increased his physical strength during his rehab, with the once lanky 6-foot-5 pitcher now possessing noticeably more mass. He also explained how Sheehan has “had a chance to watch a lot of baseball, learn and then now apply it.”

“I think that’s going to make him a better major league pitcher,” Roberts said.

One start back, signs of such growth were already becoming clear.