stops

The Pyramids of Giza loomed over a purpose-built open-air arena for one of boxing’s most unusual world title fights in recent memory.

A kickboxing heavyweight legend who ruled his sport for more than 4,000 days, Verhoeven sprinted to the ring at around 01:10 local time, flanked by performers dressed as Egyptian pharaohs, before Usyk emerged in a gladiator-style outfit complete with a golden helmet.

Verhoeven, who insisted his unpredictability could trouble Usyk, made a lively start with constant movement and energy, landing a solid right hand to the body.

Usyk responded with a sharp double uppercut in the second, but Verhoeven absorbed it well and fired back with two right hands of his own.

Boxing royalty including Saul ‘Canelo’ Alvarez, Terence Crawford, Gennady Golovkin and Anthony Joshua watched on from ringside, alongside Hollywood star Jason Statham – the man credited with helping to bring the fight together.

Another right hand from Verhoeven landed flush on Usyk in the third round.

Usyk – so often the sport’s master of patience – was forced to dig deep. He briefly responded in the fourth, hurting Verhoeven with a straight right and stinging left.

“Get back to your boxing, you’re getting too greedy, trying to land and getting caught,” Verhoeven’s trainer Peter Fury warned his man.

Verhoeven entered the sixth round for the first time in his fighting career – kickboxing bouts are capped at five rounds, and his only previous professional boxing fight ended inside two.

He stuck to the trainer’s instruction and a lethargic Usyk was rocked again in the eighth by a right hand, but the champion came alive in the 10th and 11th, unleashing a flurry of punches and repeatedly finding the uppercut – the shot that had given him his most success all night.

Verhoeven spat out his gumshield while Usyk immediately protested at the added time his opponent was given to recover.

Usyk surged again and sensed the finish. Verhoeven was visibly hurt and a stoppage may have come in the 12th round had the fight continued.

Arguably, Verhoeven should have been allowed the chance to see it through.

Instead, the referee stepped in and waved off what will go down as a contentious stoppage.

Also known as Sky City, Acoma is a Native community of earthen homes perched atop a 357-foot-high mesa. It has been occupied for roughly 1,000 years by the Acoma Pueblo tribe, which is independent of the nearby Navajo, Zuni and Laguna, with its own language and about 5,000 enrolled members.

Thanks to revenues from their Sky City Casino and hotel along Interstate 40, the Acoma also have a large, handsome Haa’ku Museum and Sky City Cultural Center next to the historic mesa. There, outsiders can gather for escorted tours of 60 to 90 minutes, mostly walking. It’s $30 per adult. Photography, binoculars and note-taking are closely restricted, and outsiders are generally forbidden from the mesa except on tours.

My group of 18 travelers was led by guide Gail Toribio, 27. After a quick bus ride up a steep road built in the 1950s, we found ourselves on top of the mesa, facing one massive church, about 500 homes and several pottery stalls that materialize during tours. The views were spectacular, the pottery was full of painstaking detail, and it was fascinating to see the ancient and modern elements together in the hilltop homes. But the biggest thing and most astonishing story on the mesa is the San Estévan del Rey Mission.

When Spanish troops and missionaries showed up in the 16th century, they forced labor and Christianity upon Native groups, often slaughtering and maiming those who resisted, including many Acoma. By the 1640s, forced labor had produced the church on the mesa, its 40-foot-long ponderosa pine beams dragged from Mt. Taylor, more than 30 miles away. Somehow, when the area’s tribes rose up in the Pueblo Indian revolt of 1680 and killed most of the Catholic priests in New Mexico, the church endured. And over time, Toribio told us, most Acoma families settled into a sort of dual faith, combining their traditional beliefs with Catholic rituals, including Christmas.

After the church, we walked among two-story homes that were here long before the first Europeans showed up. (Only a handful of the homes are still occupied full time.)

“I was actually raised up there,” potter Gwen Patricio, 52, told me back at the visitor center. “No electricity, no running water. They asked the elders if they wanted electricity, but they said no.”

Daniel Dubois recovered from two knockdowns to win a second world heavyweight title with a stoppage of Fabio Wardley.

Daniel Dubois ⁠came back from two ⁠knockdowns to deal Fabio Wardley a brutal and bloody first defeat as a professional and take the WBO heavyweight title in a thunderous all-British clash in Manchester, United Kingdom.

Referee ⁠Howard Foster finally stepped in at the start of the 11th round to signal the end of the fight at the Co-Op Live Arena on Saturday. Wardley was bleeding heavily from the bridge of the nose, with his right ⁠eye almost closed .

Dubois rose twice from the canvas, including being dropped by a right hook in the first 10 seconds of the fight, to pulverise Wardley and become a world heavyweight champion for the second time in his career.

“It was a war. We came through the sticky moments. Thank you Fabio for that,” ‌said Dubois, who was previously IBF champion after the belt was vacated by Oleksandr Usyk in 2024, with the Ukrainian winning it back in July 2025.

“What a great fight. What a great battle, man”.

The win was Dubois’s 23rd as a professional in 26 fights while Wardley now has a 20-1-1 record.

Veteran promoter Frank Warren, who manages both men, said it was the best heavyweight fight he had ever put on and confirmed there was a rematch clause in the contract.

For ⁠some viewers, however, it was also an uncomfortable watch that could have ⁠been stopped earlier.

The 31-year-old Wardley, who was promoted to WBO champion last November after Usyk vacated the title, was making his first defence and showed immense heart as he took a tremendous beating yet refused to capitulate.

He had his opponent ⁠on the floor, a blow Dubois, 28, later dismissed as a ‘flash knockdown’, almost with the opening bell still sounding.

Dubois was back on one knee in ⁠round three but came close to a stoppage in the ⁠sixth with the reigning champion bleeding heavily and on the ropes.

The Londoner continued to land blow after blow on Wardley, who wobbled but refused to give up.

His corner inspected the facial wounds after the eighth and doctors and the referee took a ‌look in rounds nine and 10 but still the fight continued, with Wardley increasingly struggling to stay on his feet and fighting on instinct.

“You witnessed something special tonight,” Warren told the BBC. “Two men baring ‌their ‌hearts and souls in the ring, gave everything, didn’t leave one bit outside the ring.

“They were getting hit with bombs that would take people out and they stood it.”

The Los Angeles City Council on Wednesday voted in favor of new restrictions on so-called “pretextual” traffic stops, signaling a growing impatience with the Police Commission’s failure to rein in a controversial LAPD tactic that critics say enables racial discrimination.

The vote requests that the department’s all-civilian watchdog adopt new guidelines similar to San Francisco, which bars police officers from pulling people over for broken taillights and other minor equipment violations unless there is a safety threat.

“Board of Police Commissioners: Get this done; we’re watching, no excuses,” said Councilmember Imelda Padilla, who shared stories of her late father being stopped by police with no explanation. “This is what this generation wants.”

If the new policy were adopted, LAPD officers would be prohibited from stopping motorists, bicyclists or pedestrians for minor violations “except in cases where the violation poses a significant and imminent safety risk.”

The unanimous vote followed sometimes emotional testimony at a City Council meeting from Angelenos about how their lives had been shaken by discriminatory traffic stops and searches.

Several speakers pointed to a growing body of research showing that minor stops disproportionately affect Black and brown motorists and do little to combat violent crime while eroding public trust. In recent years, there have been several high-profile traffic stops that resulted in officers or drivers being killed.

The current LAPD policy, in place since 2022, requires officers to record themselves on their body-worn cameras stating the reasons for suspecting a more serious crime had occurred when making a stop for a minor infraction.

The measure passed Wednesday stops short of a categorical ban that some have sought, but was still met with cautious optimism by traffic safety reformers.

“It helps place the city of Los Angeles on a path of ending racial profiling by LAPD,” said Chauncee Smith, of Catalyst California, a group that advocates for racial justice.

Smith’s group recently released a report that said such stops have continued to disproportionately affect Black and Latino drivers.

Smith said the new policy advanced by the City Council represents “a more formal, explicit prohibition,” adding that he hopes the Police Commission will ultimately give officers even less discretion in deciding when to make stops.

In a brief statement after the vote, Mayor Karen Bass thanked Harris-Dawson for his “leadership and dedication in moving this updated policy forward.”

“I will work closely with the Police Commission and Chief [Jim] McDonnell to implement it and to provide officers with appropriate training,” Bass said.

Any changes to the policy will probably draw strong challenges from within the LAPD and the Los Angeles Police Protective League, the powerful union that represents the city’s rank-and-file officers.

McDonnell has publicly defended the stops as an essential law enforcement tool in the department’s fight against guns, gangs and drugs. He and some transportation safety advocates have argued that persistent traffic deaths — road fatalities have in recent years outpaced the number of homicides — indicate the city needs to crack down harder on reckless driving.

The proposed change comes against the backdrop of a broader effort by city leaders to wrest greater oversight of the LAPD from the Police Commission. A spokesperson for the civilian body said it would evaluate how to proceed.

“The Board intends to place this item on a forthcoming agenda to enable a full and transparent discussion of the Department’s pretextual stop policy, which will include the recommendations from the City Council,” the statement said.

McDonnell did not respond to a request for comment.

The vote was the latest move in a broader push to remove police officers from traffic enforcement. Some advocates have argued that more punitive approaches that prioritize arrests and traffic citations do little to keep city streets safe; instead, they argue the city should invest in unarmed civilian workers and speed bumps, roundabouts and other street modifications that could help curb unsafe driving.

Adrienna Wong, a senior attorney with the American Civil Liberties Union, said Wednesday’s vote showed city leaders taking action on an issue that was personal to them.

“I think what you saw today in council was the council members have lived experiences and are hearing from their constituents and are voting to represent their constituents in a way that the Police Commission has not,” she said.

Brothers Leo and Oliver Kremer visited karaoke spots around the globe and almost always had the same impression.

“The drinks weren’t always great, the aesthetics weren’t always so glamorous, the sound wasn’t always awesome and the lights were often generic,” says Leo, a former bassist of the band Third Eye Blind.

As devout karaoke fans, they wanted to level up the experience. So they dreamed up Mic Drop, an upscale karaoke lounge in West Hollywood that opens Thursday. It’s located inside the original Larrabee Studios, a historic 1920s building formerly owned by Carole King and her ex-husband, Gerry Goffin — and the spot where King recorded some of her biggest hits. Third Eye Blind band members Stephan Jenkins and Brad Hargreaves are investors of the new venue.

Inside the two-story, 6,300-square-foot venue with 13 private karaoke rooms and an electrifying main stage, you can feel like a rock star in front of a cheering audience. Want to check it out? Here are six things to know.

The Kremer brothers hired sculptor Shawn HibmaCronan to create an 8-foot-tall disco-themed microphone for their karaoke lounge.

1. Take your pick between a private karaoke experience or the main stage

A unique element of Mic Drop is that it offers both private karaoke rooms and a main stage experience for those who wish to sing in front of a crowd. The 13 private rooms range from six- to 45-person capacity. Each of the karaoke rooms are named after a famous recording studio such as Electric Lady, Abbey Road, Shangri La and of course, Larrabee Studios. There is a two-hour minimum on all rentals and hourly rates depend on the room size and day of the week.

But if you’re ready to take the center stage, it’s free to sing — at least technically. All you have to do is pay a $10 fee at the door, which is essentially a token that goes toward your first drink. Then you can put your name on the list with the KJ (karaoke jockey) who keeps the crowd energized throughout the night and even hits the stage at times.

Harrison Baum, left, of Santa Monica, and Amanda Stagner, 27, of Los Angeles, sing in one of the 13 private karaoke rooms.

2. Thumping, high sound quality was a top priority

As someone who toured the world playing bass for Third Eye Blind, top-tier sound was a nonnegotiable for Leo. “Typically with karaoke, the sound is kind of teeny, there’s not a lot of bass and the vocal is super hot and sitting on top too much,” he says. To combat this, he and his brother teamed up with Pineapple Audio, an audio visual company based in Chicago, to design their crisp sound system. They also installed concert-grade speakers and custom subwoofers from a European audio equipment manufacturer called Celto, and bought gold-plated Sennheiser wireless microphones, which they loved so much that they had an 8-foot-tall replica made for their main room. Designed by artist Shawn HibmaCronan, the “macrophone,” as they call it, has roughly 30,000 mirror tiles. “It spins and throws incredible disco light everywhere,” says Leo.

Karaoke jockeys Sophie St. John, 27, second from left, and Cameron Armstrong, 30, right, get the crowd involved with their song picks at Mic Drop.

3. A concert-level performance isn’t complete without good stage lighting and a haze machine

Each karaoke room features a disco ball and dynamic lighting that syncs up with whatever song you’re singing, which makes you feel like you are a professional performer. There’s also a haze machine hidden under the leather seats. Meanwhile, the main stage is concert-ready with additional dancing lasers and spotlights.

Brett Adams, left, of Sherman Oaks, and Patrick Riley of Studio City sing karaoke together inside a private lounge at Mic Drop.

4. The song selection is vast, offering classics and new hits

One of the worst things that can happen when you go to karaoke is not being able to find the song you want to sing. At Mic Drop, the odds of this happening are slim to none. The venue uses a popular karaoke service called KaraFun, which has a catalog of more than 600,000 songs (and adds 400 new tracks every month), according to its website. Take your pick from country, R&B, jazz, rap, pop, love duets and more. (Two newish selections I spotted were Raye’s “Where Is my Husband” and Olivia Dean’s “Man I Need,” which both released late last year.) In the private karaoke rooms, there’s also a fun feature on Karafun called “battle mode,” which allows you and your crew of up to 20 people to compete in real time. KaraFun also has an entertaining music trivia game, which I tested out with the founders and came in second place.

The design inspiration for Mic Drop was 1920s music lounges and 1970s disco culture, says designer Amy Morris.

5. The interiors are inspired by 1920s music lounges mixed with ‘70s disco vibes

A disco ball hangs from the ceiling.

If you took the sophisticated aesthetic of 1920s music lounges and mixed it with the vibrant and playful era of 1970s disco culture, you’d find Mic Drop.

When you walk into the lounge, the first thing you’ll see is a bright red check-in desk that resembles a performer’s dressing room with vanity lights, several mirrors and a range of wigs. “So much of karaoke is about getting into character and letting go of the day, so we had the idea to sell the wigs,” says Oliver. As you continue into the lounge, the focal point is the stage, which is adorned with zebra-printed carpet and dramatic, red velvet curtains. For seating, slide into the red velvet banquettes or plop onto a gold tiger velvet stool. Upstairs, you’ll find the intimate karaoke studios, which are decorated with red velvet walls and brass, curved doorways that echo the building’s deco arches, says Mic Drop’s interior designer, Amy Morris of the Morris Project.

Sarah Rothman, center, of Oakland, and friend Rachel Bernstein, left, of Los Angeles, wait at the bar.

6. You can order nontraditional karaoke bites as you wait for your turn to sing

While Mic Drop offers some of the food you’d typically find at a karaoke lounge such as tater tots, truffle popcorn and pizza, the venue has some surprising options as well. For example, a 57 gram caviar service (served with chips, crème fraîche and chives) and shrimp cocktail from Santa Monica Seafood. For their pizza program, the Kremer brothers teamed up with Avalou’s Italian Pizza Company, which is run by Louis Lombardi who starred in “The Sopranos.” He’s the brainchild behind my favorite dish, the Fuhgeddaboudit pizza, which is made with pastrami, pickles and mustard. It might sound repulsive, but trust me.

As for the cheeky cocktails, they are all named after famous musicians and songs such as the Pink Pony Club (a tart cherry pomegranate drink with vodka named after Chappell Roan), Green Eyes (a sake sour with kiwi and melon named after Green Day) and Megroni Thee Stallion (an elevated negroni named after Megan Thee Stallion).