SUPERSTAR DJ David Guetta has been announced as the first headliner for the 2026 Formula 1 British Grand Prix at Silverstone.
The Titanium hitmaker, 57, will join star-studded music line-up at the event, that features a variety of artists across multiple stages.
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David Guetta has been announced as the first headliner for 2026 Formula 1 British Grand PrixCredit: Getty – ContributorThe Titanium hitmaker will join star-studded music line-upCredit: AFPThe announcement sees Guetta join a stellar list of past British Grand PrixCredit: PA
The performance will mark Guetta’s only UK appearance of his global MONOLITH tour nextsummer.
Having attracted record crowds of 500,000 last summer, the home of British motorsport is set to go bigger and better, with a line-up of international musicians.
The announcement sees Guetta join a stellar list of past British Grand Prix headliners that includes Stormzy, RAYE, Sam Fender, Fatboy Slim and Becky Hill.
Ahead of the big performance, David Guetta said: “I’ve played some incredible shows around the world, but performing at Silverstone during the British Grand Prix is going to be something truly special.
“I’ve always been drawn to Formula 1 – the atmosphere, the adrenaline, the passion – it’s everything I love.
“I even made a music video inspired by F1 years ago.
“I can’t wait to bring my energy to the main stage and make it an unforgettable night.”
The BRIT and Grammy-winning icon will open the four-day celebration on Thursday 2 July, delivering his world-famous high-energy set packed with global hits.
Guetta’s Silverstone debut promises to kickstart the Grand Prix weekend with an unforgettable party and marks a fitting full-circle moment for the French DJ, whose 2014 Dangerous music video paid tribute to Formula 1, featuring F1 legend Romain Grosjean.
More headliners and entertainment acts will be announced in the coming months, alongside on-track programming and fan experiences.
Tickets for the 2026 British Grand Prix are now available online.
The BRIT and Grammy-winning icon will open the four-day celebrationCredit: Getty
MICHELLE Keegan gushed over Hollywood superstar, Reese Witherspoon, at a glitzy event in London.
The Brassic actress posed with the Academy Award winning star and they were seen getting on very well as they chatted excitedly.
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Michelle Keegan (R) gushed over Hollywood star, Reese WitherspoonCredit: Instagram/michkeeganShe met Reese at an event for the book she co-authored with Harlen Coben (L)Credit: Instagram/michkeegan
She met Reese at an event for her new book, Gone Before Goodbye, which she co-authored with best selling crime author, Harlen Coben.
Michelle recently starred in Fool Me Once, one of Harlen’s many adapted series on Netflix.
She shared a series of photos of her posing closely with Reese and another video of her chatting with Reese as Harlen watched on happily.
“When two genuises collide.. ‘Gone Before Goodbye’ is made! 📖 (I can confirm Reese Witherspoon is everything you’d imagined her to be, what a woman),” Michelle captioned the post on Instagram.
Reese later responded to her post writing, “So wonderful to meet you .. finally!”
Gone Before Goodbye is Reese’s debut novel and tells the story of surgeon Maggie who after a series of personal tragedies is offered an intriguing opportunity by a former colleague.
Michelle also shared a series of her posing at the Southbank Centre in London where the event was held.
Her brush with Hollywood royalty comes after The Sun was first to reveal how Michelle’s BBC series Ten Pound Poms had been scrapped after two series.
The show’s axe comes as the ex-Coronation Street star waves goodbye to hitcomedyBrassiconSky, just as she’s returning to work after becoming a first time mum, to daughter Palma Elizabeth.
Period drama Ten Pound Poms followed a group of British citizens who emigrated from post-war Britain to Australia in the 1950s, with Michelle playing nurse Kate Thorne.
A BBC spokesperson said: “It’s been a joy to bring the story of the Ten Pound Poms to life for BBC viewers and we are really grateful to Danny Brocklehurst, Eleven and all the cast and crew who have worked on the series.”
The gentle drama made a splash when it first aired in May 2023, with 6.37million viewers but that had halved to 3.15million by the end of series two in April this year.
She is busy on a new thriller called The Blame for ITV, though, after time off to have baby Palma with husband Mark Wright.
Michelle stunned as she posed after the star-studded eventCredit: Instagram/michkeeganMichelle starred in another of Harlen’s Netflix series, Fool Me OnceCredit: Vishal Sharma/Netflix
It was one of those performances that will be spoken about for years.
Los Angeles Dodgers superstar Shohei Ohtani delivered a night for the ages in the Dodgers’ 5-1 win over the Milwaukee Brewers in the clinching fourth game of the National League Championship Series on Friday night.
After slumping throughout the postseason, the Japanese sensation hit three home runs and pitched six shutout innings with 10 strikeouts at Chavez Ravine to advance the Dodgers to the World Series.
Yes, the Dodgers are advancing to their second-straight World Series, where they’ll face either the Seattle Mariners or Toronto Blue Jays, beginning Friday.
They will attempt to become the first Major League Baseball team to win consecutive crowns since the New York Yankees’ threepeat from 1998 to 2000.
However, the night became a celebration of Ohtani, as documented by my sports colleagues.
Let’s take a look at some of what made Friday such a magical evening.
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Los Angeles, can you understand the singular greatness that plays here? Fall Classic, are you ready for another dose of Sho-time?
Ohtani and the Dodgers are back on baseball’s grandest stage, arguably the best player in baseball history concocting arguably the best single-game performance in postseason history.
The final score was 5-1, but, really, it was over at 1-0, Ohtani’s thunderous leadoff homer after his thundering three strikeouts igniting a dancing Dodger Stadium crowd and squelching the Brewers before the first inning was even 10 minutes old.
How far did that first home-run actually travel? Back, back, back into forever, it was the first leadoff homer by a pitcher in baseball history, regular season or postseason, a feat unmatched by even the legendary Babe Ruth.
The unicorn Ohtani basically created the same wizardry again in the fourth inning and added a third longball in the seventh in carrying the Dodgers to their second consecutive World Series and fifth in nine years while further cementing their status as one of baseball’s historic dynasties.
Ohtani took one of the best rounds of batting practice anyone in attendance had seen, getting into the real work of trying to fix a swing that had abandoned him for much of this postseason.
In 32 swings, Ohtani hit 14 home runs. Many of them were moonshots. One even clanged off the roof of the right-field pavilion.
Over his previous seven games, going back to the start of the NL Division Series, he had two hits in 25 at-bats.
He had recorded 12 strikeouts and plenty more puzzling swing decisions. And he seemed, at least in the estimation of some around the team, unusually perturbed as public criticisms of his play started to mount.
Then, two days later, a tour de force performance that will be talked about forever.
“He woke up this morning with people questioning him,” said Andrew Friedman, Dodgers president of baseball operations, during an alcohol-soaked celebration in the clubhouse afterward. “And 12 hours later, he’s standing on the podium as the NLCS MVP.”
Up next for the Dodgers is the World Series and perhaps some more Ohtani magic.
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Elton, 78, offers fans two pairs of glasses for £130 at Specsavers.
Buyers are told: “Introducing the Elton John Eyewear glasses collection. “Designed by the man himself, the Elton John Eyewear range is bursting with his love of individualism and flamboyant style. Inspired by Elton’s journey, you’ll find pops of colour, smatterings of glitter and twists on classic designs.”
He recently admitted that his eyesight was failing and he can now only sign autographs with his initials.
The pop legend lost vision in his right eye in July last year after contracting an infection on holiday in the South of France, and said his left eye is “not the greatest”.
In December, he explained he was unable to watch his new musical version of The Devil Wears Prada.
He added: “I haven’t been able to come to many of the previews because, as you know, I have lost my eyesight.
“But I love to hear it.”
And interviewed on Good Morning America, he said. “It kind of floored me, and I can’t see anything.
A SUPERSTAR Cheltenham Festival-winning horse has been blocked from a £175,000 race – amid a row over his handicap mark.
A Dream To Share won the Champion Bumper in 2023 and looked like being the sport’s next big name for legendary owner JP McManus.
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A Dream To Share is favourite for the Cesarewitch handicap at Newmarket – but is currently blocked from runningCredit: Getty
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Billionaire owner McManus is appealing the refusal to give his Cheltenham Festival winner a rating so he can run in the £175,000 raceCredit: Getty
But he failed to win a race in his next season over hurdles and only recently returned to the winner’s enclosure with a 1m7f victory on the Flat at Leopardstown in June.
Iconic owner McManus entered the horse, who is trained in Ireland by John Kiely, for the Cesarewitch handicap at Newmarket on October 11.
He was made 7-1 favourite for the 2m2f marathon on the Flat with BetVictor while other firms made him joint-favourite.
But, as things stand, the seven-year-old gelding with almost £200,000 in winnings is not allowed to run because the Irish handicapper has twice refused to give him a mark, according to the Nick Luck Daily podcast.
McManus has apparently appealed the decision with the Irish and British boards.
But the BHA have declined the appeal on the grounds of reciprocity with the Irish Horseracing Regulatory Board.
The most recent appeal to be turned away came last week.
It is believed those acting for McManus claimed enough time had passed between A Dream To Share’s most recent run on June 19 and now for a mark to be awarded.
Especially as several of the horses he beat, including runner-up Royal Hollow, had subsequently raced enough for the handicapper to be able to judge A Dream To Share accurately.
Interestingly, respected journalist Dave Yates said on the podcast that a mark of 104 had been ‘offered’ to A Dream To Share.
But still, nothing official has been granted meaning, as it stands, the favourite for the big race cannot run.
A Dream To Share won the hearts of punters at the 2023 Cheltenham Festival when schoolboy John Gleeson rode him to victory.
McManus bought the horse just a month before from Claire Gleeson, wife of ITV Racing pundit Brian, dad of John.
John said after the win: “Mr McManus was very generous. He said I would definitely keep the ride here today.
“There was no pressure from him. It’s brilliant. I’m very grateful.
“I’ve been going to John Kiely for as long as I can remember.
“I ride out this horse every day before I go to school so it is very special.”
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By day, he helps audience members find their seats. By night, he’s onstage, commanding them. For actor Tyrone Huntley, the hustle is part of the role in Los Angeles.
Less than 48 hours after raising his voice to the heavens as Simon in the Hollywood Bowl’s electric, weekend-only production of “Jesus Christ Superstar,” Huntley was back at the iconic amphitheater — not under the lights, but beneath them — wearing a white polo and usher’s badge, guiding concertgoers to their seats.
“It was surreal getting back to work and being on the other side of the stage,” Huntley said, overhearing people talk about the early August show days later. “They didn’t know who I was, so I was just listening and smiling and knowing that we certainly made an impression.” Even marketing staff at the Bowl noticed, posting him on TikTok in a clip seen by some 30,000 viewers so far.
Tyrone Huntley, center, performs as Simon in “Jesus Christ Superstar” at the Hollywood Bowl, alongside Cynthia Erivo as Jesus, left.
(Farah Sosa)
Huntley is one of many working actors caught between ambition and survival. As film and TV production in the region drops to historic lows, many industry workers have turned to service jobs or side gigs to stay in the entertainment capital. The region’s slowdown has been brutal: the twin strikes of 2023, studio belt-tightening, productions lured out of state and wildfires that shuttered work this year. The result is fewer auditions, shorter runs and a scramble for survival jobs — even for performers who’ve just taken center stage.
The U.K.-born actor knows both sides. Trained at Mountview Academy of Theatre Arts, Huntley leaped immediately into a U.K. tour of “Sister Act” — alongside his future co-star Erivo — spending more than a decade in London original casts such as “Memphis,” “Dreamgirls” and “The Book of Mormon.”
Coincidentally, his breakout role came in 2016 when he landed the co-lead as Judas in “Jesus Christ Superstar” at Regent’s Park Open Air Theatre. The performance earned him an Evening Standard Theatre Award and a Laurence Olivier Award nomination. “It gave me the confidence to think big,” Huntley said. He later reprised Judas on the North American tour in 2021 after the previous lead was arrested for his role in the Jan. 6 insurrection at the Capitol.
Huntley moved to Los Angeles in 2022 with an eye on the silver screen but found himself arriving in a city still wobbling. “Artistically, it just feels like everyone is struggling,” he said. For the last three years, Huntley’s flown back and forth to London — most recently for an acclaimed “Hello, Dolly!” revival with Imelda Staunton — using steady West End paychecks to bankroll life in L.A. And being a member of Actors’ Equity Assn., the stage actors’ union in the U.S., helps cover health insurance costs here, not a consideration he may have in the U.K. where coverage is free.
Tyrone Huntley stands in his usher uniform in front of the stage where just a few weeks earlier he played Simon alongside Cynthia Erivo’s Jesus in “Jesus Christ Superstar.”
(Jason Armond / Los Angeles Times)
For actors like Huntley, the financial backdrop is hard to ignore. California nearly scrapped its new Performing Arts Equitable Payroll Fund, which subsidizes nonprofit programs, this year before lawmakers restored it. L.A. County trimmed back its arts grants, forcing small theaters to do more with less. And in Washington, the Trump administration has moved to roll back federal arts funding, leaving some local companies without crucial National Endowment for the Arts support.
Determined to stay in L.A., Huntley auditioned for the Bowl’s “Jesus Christ Superstar” 2025 production, this time as Simon Zealotes, the fiery apostle with one of the show’s most rousing anthems. The casting was headline-making: Erivo, fresh off “Wicked,” as Jesus, and Adam Lambert as Judas. The production was hailed as “the musical theater version of the Avengers,” with theater critic Charles McNulty praising the supernova of talent that lit up the Bowl like a rock concert.
A few months before opening night, Huntley picked up usher shifts at the same venue. The Bowl granted him three weeks off for rehearsals in July, where he also understudied as Erivo’s Jesus. He also got time off to fly back across the pond for a series regular spot on Channel 4’s upcoming “A Woman of Substance.” He described working at the Bowl as fair, easygoing work that keeps him close to live performance, with the added perk of watching Bob Dylan, Earth, Wind & Fire, and the L.A. Phil. “They know a lot of us are working actors, musicians, writers, so they’re very flexible in giving us time to pursue our careers,” he said.
One highlight of working as an usher is that Tyrone Huntley gets to see acts like Herbie Hancock perform at the Hollywood Bowl.
(Jason Armond / Los Angeles Times)
At the Bowl, ushers perform the invisible choreography that keeps the night in motion — steering picnic baskets and seat cushions toward the right rows and soothing the occasional ticket snafus or crises. It’s common for the ushering job to be summer gigs — or even first jobs. There are anywhere from 300 to 400 ushers for the season, with more than 100 working per night.
Huntley sees his dual roles as emblematic of the life of an artist here. “I have to support myself, that’s the case for most of us, especially in L.A.,” he said. “Sometimes you can have a proper job and do the acting as well. It’s not all showbiz parties and award shows. Sometimes incredible opportunities come along, you do them, and then you get back to normal. You can do both — and the pressure isn’t always to be on the stage.”
Cynthia Erivo, a noted theatrical divinity, redeemed the title of “Jesus Christ Superstar” at the Hollywood Bowl last weekend in a magnetic, heaven-sent performance that established God the Savior as a queer Black woman, as many of us suspected might be the case all along.
Divine dispensation allowed me to catch the final performance of this revival of Andrew Lloyd Webber and Tim Rice’s 1971 breakout musical. I returned from vacation just in time to join the pilgrimaging hordes carting cumbersome picnic baskets and enough wine for a few dozen Sicilian weddings. The vast number of attendees caused bottlenecks at entry points, prompting one wag to crack, “What is this, the Second Coming?”
The headliners, Erivo as Jesus and Adam Lambert as Judas, certainly have sizable fan bases. But so too does the subject of this Greatest Story Ever Told, a messiah whose following has few equals in the history of the world. Suffice it to say, it was a supercharged evening, comparable more to a rock concert than one of the Bowl’s forays into the musical theater past.
The hard-charging exuberance was appropriate for a production that went back to the concept album roots of a rock opera that, like other countercultural musicals of the period — such as “Hair” and “Godspell” — preached peace and love while rebelling against oppression and conformity. “Jesus Christ Superstar” reminds us that Lloyd Webber wasn’t always a symbol of the bourgeois establishment.
Yes, the composer behind “Cats,” “The Phantom of the Opera” and “Sunset Boulevard” had an early revolutionary streak, challenging authority and testing social taboos. What made “Jesus Christ Superstar” controversial wasn’t simply the depiction of Jesus of Nazareth as a man with vulnerabilities and doubts. It was the blast of guitars and vocal shrieks that accompanied the telling of his last days and crucifixion in a manner more akin to the Who’s “Tommy” than the church organ interludes of a traditional Sunday service.
Cynthia Erivo delivered a heaven-sent performance in “Jesus Christ Superstar” at the Hollywood Bowl last weekend.
(Farah Sosa)
Director and choreographer Sergio Trujillo leaned into the concert nature of “Jesus Christ Superstar.” The metallic scaffolding staging, the mythic scale of projections and the rhythmic flow of cast members, moving from one musical number to the next, freed the production from literal illustration.
The religious meaning of the story was communicated through the intensity of the performances. Erivo and Lambert are incapable of ever giving less than 100% when translating emotion into song. But the human drama was most evident in the handling of duets, the musical give and take that showcases the richness of all that lies between lyrics.
The conflict between Erivo’s all-seeing, all-feeling Jesus and Lambert’s competitive yet remorseful Judas was thrillingly brought to life in their different yet wholly compatible musical styles. In “Strange Thing Mystifying” and “The Last Supper,” Lambert, a Freddie Mercury style-rocker, and Erivo, a musical theater phenomenon who can pierce the heavens with her mighty voice, revealed a Judas who can’t account for all his actions and a Jesus who understands the larger destiny that is both sorrowfully and triumphantly unfolding.
Phillipa Soo provided sublime support in a cast that had considerable Broadway depth.
(Farah Sosa)
Phillipa Soo’s Mary Magdalene brought a probing, tentative and profound intimacy in her adoration of Erivo’s Jesus. In her exquisite rendition of “I Don’t Know How to Love Him,” the tenderness between Mary Magdalene and Jesus, at once earthy and ethereal, deepened the expressive range of the love between them.
Soo, best known for her graceful lead performance in “Hamilton,” provided sublime support in a cast that had considerable Broadway depth. Raúl Esparza, whom I can still hear singing “Being Alive” from the 2006 Broadway revival of “Company,” played Pontius Pilate with lip-smacking political villainy. Josh Gad, who missed Friday’s performance because of illness but was in sharp comic form Sunday, turned King Herod into a Miami-style mobster, dressed in a gold lamé getup that would be just perfect for New Year’s Day brunch at Mar-a-Lago.
Raul Esparza as Pontius and Cynthia Erivo as Jesus in “Jesus Christ Superstar.”
(Farah Sosa)
The acting company distinguished itself primarily through its galvanic singing. Music director and conductor Stephen Oremus maintained the production’s high musical standards, bringing out the extensive palette of a rock score with quicksilver moods.
One could feel Erivo, a generous performer who understands that listening can be as powerful as belting, building up trust in her less experienced musical theater castmates. The way she registered Lambert’s bravura moments bolstered not only his confidence in his non-singing moments but also the miracle of her own fully realized performance.
Ultimately, Jesus’ spiritual journey is a solitary one. In “Gethsemane,” the path of suffering becomes clear, and Erivo’s transcendence was all the more worshipped by the audience for being painfully achieved. Unmistakably modern yet incontestably timeless, abstract yet never disembodied and pure of heart yet alive to the natural shocks that flesh is heir to, this portrayal of Jesus with piercings, acrylic nails and tattoos met us in an ecumenical place where all are welcome in their bodily realities and immortal longings.
Lloyd Webber is undergoing a renaissance at the moment. Fearlessly inventive director Jamie Lloyd has given new impressions of “Sunset Blvd.,” which won the Tony for best musical revival this year, and “Evita,” which is currently the talk of London’s West End.
Trujillo’s production of “Jesus Christ Superstar” deserves not just a longer life but more time for the actors to investigate their momentous relationships with one another. The drama that occurs when Erivo’s Jesus and Soo’s Mary Magdalene interact should provide the model for all the cast members to lay bare their messy human conflicts. “Jesus Christ Superstar” depends as much upon its interpersonal drama as its rock god swagger — as Erivo, in a Bowl performance that won’t soon be forgotten, proved once and for all.
It felt like 2022 all over again when Josh Gad took to Instagram to express his heartbreak about contracting a “virus known as COVID” and announce his decision to pull out of playing King Herod in the highly anticipated production of “Jesus Christ Superstar” at the Hollywood Bowl, which staged its first night of a three-night run Friday.
Gad hinted that maybe — if he tested negative — the situation might change. The following day, however, John Stamos announced on social media that his weekend “just got biblical” and that he was stepping in for Gad in the show.
On Friday, things got extra dramatic when Gad said that he had tested negative. Fans on his social media clamored to know what that might mean, but he stayed mum until Saturday when he posted a photo of himself in an elaborate gold lamé costume with the words, “See you all Sunday night.”
A rep for the Los Angeles Philharmonic said that final confirmation that Gad will step onto stage won’t come until noon Sunday.
Stamos appeared onstage as Herod on Friday night, bringing some comic relief to an electric, deeply emotional show.
After one of star Cynthia Erivo’s solos, the audience clapped so loud, long and reverently, that tears came to the singer’s eyes — which only caused the crowd to cheer harder. The moment of symbiotic love lasted for at least 3 minutes, maybe more.
The Bowl was packed with marquee names, including former Second Gentleman Doug Emhoff, Jim Carrey and Ted Neely (who played Jesus in the 1973 film adaptation of the musical). Erivo brought composer Andrew Lloyd Webber onto the stage as a special guest during curtain call.
Still, Gad fans were many — you could tell because they held Olaf dolls and wore Olaf jewelry — and they could be heard expressing their sorrow at the absence of Gad in the crush of the crowd after the show.
Gad’s addition to the cast, which included Erivo as Jesus, Adam Lambert as Judas and Phillipa Soo as Mary Magdalene, was hailed by fans; and in an interview with The Times during rehearsal, Gad spoke about being beyond excited to perform at the Bowl for the very first time with a stellar cast that he called the Avengers of musical theater.
“I’ve wanted to play the Hollywood Bowl forever,” said Gad. “But I never thought I was good enough to play the Hollywood Bowl,” he added with a self-deprecating smile
Even though the role of King Herod entails a single song — a kind of comic interlude that Gad likened to the part of King George in “Hamilton” — Gad showed up at as many rehearsals as possible before he came down with COVID. He just liked sitting on the sidelines, soaking up the scene and the incredible talent on display, he said.
At a Saturday rehearsal before the show, he filmed numbers on phones for various cast members and cheered his heart out. His sense of excitement was palpable. Now he’ll get one night to give “King Herod’s Song” his all.
Franchises could see teams based in major cities like London, Tokyo, Cape Town and Miami.
Reports suggest that no club has been set aside for Rees-Zammit.
On his decision to end his NFL career, 32-time capped international Rees-Zammit said on social media: “I’ve got an exciting announcement to make! I’ve decided to leave the NFL and return to rugby!
“It’s been a great experience but it’s time to come home.
“I’ve decided that this is the best time to make this decision to give myself time to get everything in place for next season.
“There’s only one thing that’s on my mind, that’s coming back to rugby and doing what I do best. I can’t explain how excited I am!!
“There’ll be more news to come soon but for now, see you soon rugby fans.”
Chuck Mangione, the Grammy-winning flugelhorn player and prolific jazz musician known for songs including “Feels So Good” and “Children of Sanchez,” has died.
Mangione died in his sleep Tuesday in his home in Rochester, N.Y., his manager Peter S. Matorin confirmed to The Times on Thursday. He was 84.
The New York native, over the course of his career which began in the 1960s, earned a reputation as a stylish, lyrically smart trumpeter and played alongside jazz giants Art Blakey, Dizzy Gillespie, Sam Jones, Ron Carter and Kai Winding. He also collected 14 Grammy nominations, notably winning two prizes: one for his smooth “Bellavia” in 1977 and another a year later for the titular anthem he composed for the 1978 drama “The Children of Sanchez.”
There are multi-talents, and then there was Salvador Bagüez.
Hollywood used him as a bit actor in 1950s B-movies and classic Western television series from “Death Valley Days” to “Bonanza” to “The Cisco Kid.” Studio executives frequently hired the Mexican immigrant as a technical advisor or dialogue coach for movies set in Latin America or Spain involving stars such as Marlon Brando, Robert Mitchum and Cary Grant.
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Bagüez’s baritone took him to radio programs and stage shows alongside Jose Arias, a pioneering bandleader of Mexican and Californio music. In his later years, he covered the Dodgers as a sports writer for La Opinión. But for two decades, the longtime Lincoln Heights resident made his biggest mark in Southern California life — no pun intended — as a star illustrator for The Times from the mid-1920s until about World War II.
Not a bad career for one of the first Latinos to work at this paper, amiright?
I first heard about Bagüez in 2023 from Times editorial library director Cary Schneider, who had received a query from someone trying to find out more information about “Sal Baquez.” He gave me a heads-up because one of the trillion sub-beats I have is trying to tell the stories of pioneering but forgotten Latinos at the paper. So far, I’ve profiled columnist Pepe Arciga, cartoonist Manuel M. Moreno and artist-turned-Commerce Councilmember Alex O. Perez.
Now, here’s Bagüez’s story.
Copy boy turned star
He was born in Juarez in 1904 and came to this country in 1921. Bagüez’s first jobs for The Times were as a copy boy and a singer in the paper’s monthly radio variety show on KHJ (and I thought appearing in our videos reels was intimidating). Singing classic and contemporary songs in English and Spanish, his voice was so stirring that an Aug. 12, 1926, Times story revealed that colleagues in the art department took up a collection to gift him singing lessons.
By then, Bagüez was establishing himself as an illustrator in the paper’s pages. His main beats would become sports, entertainment and the Los Angeles Times Sunday Magazine. His style varied — Pee-Chee folder-style illustrations that spanned the length of the front page of the sports section, sketches in charcoal of Hollywood stars like Charlie Chaplin and Douglas Fairbanks, even Art Deco-style flights of geometric fancy. When World War II came, Bagüez drew caricatures of Hitler and Stalin and even maps of Axis advancements across Europe. He signed all of his illustrations with an umlaut over the U in his last name, a grammatical courtesy not offered to him by The Times typesetters, who went with “Baguez” in his byline.
When he wasn’t drawing, Bagüez was interpreting for Times reporters and penning Spanish-language film and music reviews. His importance to the paper was such that he was listed as one of The Times’ stars in a Dec. 3, 1928, ad in the Pasadena Post urging readers to subscribe to this paper — the only Latino staffer afforded the honor.
A 1941 illustration of author Booth Tarkington drawn by Salvador Bagüez.
(Los Angeles Times)
The last mention I could find of him as a Times employee came in the May 17, 1943, edition of “Lee’s Side o’ L.A.,” in which longtime columnist Lee Shippey mocked people who expressed sympathy for pachucos, the Mexican American men who were increasingly being assaulted by white servicemen in a series of attacks that culminated in the Zoot Suit Riots just a few weeks later. Shippey cited Bagüez and fellow Times artist Perez as Mexicans done good, writing, “Both worked up to enviable reputations because they were thoroughly good men as well as good workmen … gangsters go to jail, good citizens do well. Pick out the right examples, boys.”
I wonder if that tokenism is what La Opinión sports editor Rodolfo B. Garcia was referring to in a 1979 Bagüez appreciation when he said the artist left The Times at the height of his fame because he didn’t like how a Times editor “called his attention.”
One person who knew Bagüez well was Hall of Fame Dodgers broadcaster Jaime Jarrín. His first radio job, for KWKW in 1955, was as Bagüez’s replacement after the latter quit the station for a movie gig. The two would dine before games at Dodger Stadium — “full meals, not the hot dogs they give reporters now” — once Jarrín became the team’s Spanish-language broadcaster and Bagüez covered them for La Opiníon from 1960 to about 1970.
“I held him in high regard because he was always so calm and respectful,” Jarrín told me. “Salvador had the soul of an artist and a beautiful voice — he spoke marvelous Spanish and perfect English.”
Don Jaime remembers weekend trips to Tijuana with Bagüez and some of his Hollywood friends, legends like Anthony Quinn, Ricardo Montalban and Gilbert Roland. He also laughed during our short conversation at the fact Bagüez never referred to the Blue Crew as the Dodgers but rather “Los Esquivadores” — the literal translation of “dodgers.”
But Jarrín, as much as he hung out with Bagüez, said there was always something inscrutable about his friend: “Salvador was a very private man. Never talked about his personal life, never even talked about whether he was married.”
Bagüez died in 1979 and is buried in Calvary Cemetery in East Los Angeles alongside his mother. Garcia, the La Opinión sports editor, praised Bagüez in his remembrance as the “cleanest writer” he ever edited.
“Rest in piece, the Juarez native who triumphed in the United States as artist, reporter and announcer,” Garcia concluded. “Another of the old guard that has crossed over the path that waits for us all, late or early.”
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A question for you: What’s your favorite California beach?
Diane Miller writes: “Avila Beach in San Luis Obispo, Calif.”
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For the record: Yesterday’s newsletter incorrectly stated the name of a reader’s favorite California beach. Jot McDonald’s favorite beach is Asilomar Beach, not Ancillary Beach.
Indiana Pacers star Tyrese Haliburton will miss the 2025-26 NBA season after having surgery to repair a torn right Achilles tendon.
The 25-year-old had sustained the injury during the first quarter of the decisive game seven of the NBA Championship play-off finals against the Oklahoma City Thunder last month.
Haliburton fell down without any contact as he attempted to drive to the basket and was in obvious distress as he was helped from the court during the game that the Pacers lost 103-91 to end their hopes of a first NBA title.
Confirming the point guard’s lengthy absence, Pacers president Kevin Pritchard said he hoped Haliburton “will be back better than ever”.
“The surgery went well,” Pritchard told WISH-TV.
“He will not play next year though. We would not jeopardise that now. So don’t get any hopes up that he will play.”
A two-time All-Star, Haliburton averaged 18.6 points, 9.2 assists, 3.5 rebounds and 1.4 steals in 73 games during the 24-25 regular season and 14 points, 5.9 assists and 4.6 rebounds during the NBA Finals.
He had played the decider against the Thunder despite suffering a calf strain in game five of the finals.
Haliburton became the third high-profile player to suffer a ruptured Achilles tendon in the play-offs, following the Boston Celtics’ Jayson Tatum and the Milwaukee Bucks’ Damian Lillard.
A similar injury had also kept Kevin Durant out for a full season when he was hurt in the 2019 NBA Finals while playing for the Golden State Warriors.
On a day the Sparks retired the jersey of the superstar whose departure has coincided with their five-year funk, Candace Parker nearly missed her pregame news conference.
With a room full of media types eager to write that rare positive Sparks story, Parker got caught in convention traffic and was so late that the game was starting and she took just five minutes’ worth of questions.
The Candace Curse struck late.
In the fourth quarter against the Chicago Sky at Crypto.com Arena, in front of a crowd waving yellow Candace Parker T-shirts, the Sparks did something they’ve been doing in bunches since Parker skipped town after the 2020 season.
A dreary Sky team missing star Kamilla Cardoso still managed to beat a Sparks team filled with Parker inspiration, winning 92-85 with a fourth-quarter rally and turning what should have been the best day of the year into the worst loss of the season.
“It’s tough,” said the Sparks’ Emma Cannon.
Tough to play, tougher to watch, this being the Sparks’ 12th loss in 17 games as they spiral toward their familiar spot in the bottom of the WNBA standings.
This was once a special franchise, as the classy halftime jersey retirement ceremony for Parker reminded everyone, with Lisa Leslie introducing and Parker embracing and the standing crowd a little teary.
This is now a blight of a franchise, as the surrounding 40 minutes of basketball reminded everyone, the Sparks playing hard but sorely lacking in talent, direction and any sort of playoff future.
In the final five of Parker’s 13 seasons here, the team went 108-50 and reached the Finals twice while winning their third championship.
In the five years since then, they are 55-110 and haven’t reached the playoffs.
If that’s not a curse, it’s a mighty powerful coincidence.
History shows that it could have been, and should have been, so much different.
Parker, a two-time MVP and seven-time All-Star, should have played her entire career here. She never should have left as a free agent. Like Leslie, she should have been a Spark forever.
The jersey of former Sparks player Candace Parker is displayed during her jersey retirement ceremony.
(Jessie Alcheh / Associated Press)
She left because of problems with then-coach Derek Fisher, because of the Penny Toler postgame-tirade controversy, because the organization had already begun its downward spiral.
If the Mark Walter-led ownership group had been paying attention, she would have stayed a Spark. If the owners put the same effort they put into running the Dodgers, the issues would have been handled and Parker would have been prioritized. She was not, and then she was gone.
“The culture was toxic…I was part of that culture and had been absorbed in that toxicity,” Parker wrote in her book, “The Can-do Mindset.”
She also left because she wanted to play near her Chicago-area hometown, and she later bolted there for Las Vegas, and won titles in both places when she should have been winning them here. Here’s guessing she would have rather won them here, as Sunday she acknowledged Los Angeles had become her home.
“L.A. isn’t just about ball,” she told the crowd during the halftime ceremony. “For me anymore, it’s now where we call home and we will forever call home. So thank you so much, I love you all, I’m so appreciative, and I can’t believe it. Thank you all. Thank you.”
One can’t blame her if she no longer recognizes her former team. The Sparks no longer have a superstar, a deep bench, a championship hope in hell.
Full disclosure: I am a Sparks honk. I’m such a fan that my daughter MC and I have partial season tickets.
Also full disclosure: When picking our seats for this season, we had a choice to sit behind either bench, so we took the ones behind the visiting bench. The visitors always have more stars, the visitors are always more fun.
Certainly, these Sparks have some shining moments. Kelsey Plum works as hard as any star in any local sport, Azurá Stevens is one of the league’s underrated forces and Dearica Hamby is solid.
But a series of lousy draft picks and a lack of an attractive infrastructure — that imaginary permanent practice facility is being built any day now! — have kept them from acquiring the sort of superstars that carry teams in crunch time, the kind of difference-makers this town deserves.
“I feel like we’re right there,” Plum told me before Sunday’s game. “We’re young, we lack depth and cohesion, those things take time, I have faith that throughout the season we’ll continue to build.”
Plum has been an outstanding addition since coming here last winter in a trade, she works harder in pregame warmups than some players during the entire game, but what she’s saying, we’ve heard before.
Candace Parker was a two-time MVP, rookie of the year and led the Sparks to the 2016 title in her 13 seasons with the team.
(Associated Press)
The latest spin is that the Sparks’ No. 2 overall draft pick Cameron Brink will make a big difference when she returns from knee surgery later this summer. But she didn’t make a huge difference early last season when she played. Their other top draft pick from last season, Rickea Jackson, scored six points Sunday and has basically been a bust.
Barring the signing of a major free agent — who wants to play on a team with no permanent home? — there’s not much help coming next year because they’ve traded their first-round pick.
So their motto should be…Waiting for JuJu?
It’s all so depressing, especially on a day that should have been so uplifting.
Before the game, new coach Lynne Roberts — her honeymoon is already over — called this a “must-win.”
Since the Candace Curse, that has meant, “About to lose.”
