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STRICTLY star Saffron Barker has broken down in tears as she opened up on her sad split from her model ex for the first time.

The 26-year-old called it quits with Josh Miln last week as they unfollowed each other on Instagram.

Saffron and Josh were together for two years and lived in Dubai after she packed up her life in Brighton to be with him.

But now, the YouTuber has spoken out for the first time since the split was revealed.

Speaking in a video shared on the streaming platform, she said: “As you guys know, I came to New York. I came here nearly six weeks ago now, I came here for an acting school.

“When I first came to New York, Josh and I were still together. However, since being here, our relationship has ended.”

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She continued: “Obviously we were together for nearly two years but we also pretty much lived with each other for two years.

“And anyone that has lived with a partner will know when you live with someone it feels like you’ve been with them a lifetime.”

Saffron got teary-eyed as she confessed she was “hurting” and told fans she wouldn’t be detailing what went on between the pair.

“It’s very fresh it’s very new. I’ve cried way too much already. I really don’t want to cry again,” admitted Saffron.

“If this relationship and all my relationships have taught me anything it’s probably just that I need to really focus on self love and focus on myself and do things that are going to make me happy.”

The social media star then wiped the falling tears from her eyes as she thanked her near 2.5 million YouTube followers for their support.

She sobbed as she said she felt “really loved” amid their shock split.

Saffron ended the clip on a positive note as she plastered on a smile and admitted it was “just one of those things.”

The formerly loved-up couple featured on each other’s socials nearly everyday.

They did everything together as they embraced their new adventure over 3,000 miles away from her family and friends.

Saffron is now living the single life in New York and looks happier than ever as she picked up acting again after putting her dream on hold.

Josh has so far stayed silent amid their break up.

An aide involved in an affair with Gavin Newsom more than 20 years ago, when he was mayor of San Francisco, detailed their relationship and her journey to sobriety in an essay published by Vanity Fair on Tuesday.

Although Ruby Rippey, 54, has spoken previously about her relationship with the now-governor, her first-person essay offers the most intimate description yet of the affair. It comes at a time when Newsom is wrapping up his final year as California governor and considering a presidential run in 2028.

Rippey, who had worked as Newsom’s appointments secretary, was married to Alex Tourk, the then-mayor’s close friend, campaign manager and prior deputy chief of staff, when the affair became public in 2007. Tourk resigned after Rippey told him that she had been sleeping with their boss, she writes.

At the time, Newsom was newly divorced from Kimberly Guilfoyle and he apologized in front of a gaggle of reporters who packed his office for a news conference, admitting “everything you’ve heard and read is true.” Later, he said he was seeking treatment for alcohol abuse.

In the essay, Rippey details that the affair with Newsom happened when she was a new mother and when her drinking, which had been a problem before the relationship, spiraled out of control.

Rippey writes that their relationship began in July 2005 after a wedding at a Napa Valley estate and spanned months, with intermittent sexual encounters until she entered rehab in May 2006.

They met at his penthouse in San Francisco’s Russian Hill neighborhood, at a private back room in a bar in North Beach and at the W Hotel in Los Angeles, she writes.

“We meet and we drink. There is sex, but it isn’t the point. The point is proximity — to power, to being chosen, to feeling newly visible — no longer muted by pregnancy, by new motherhood, by the strain of white-knuckling long stretches of sobriety,” she writes. “It isn’t love. It isn’t romance. It’s intoxication.”

Izzy Gardon, a spokesperson for the governor’s office, said on Tuesday that Newsom acknowledged his role and publicly apologized for the affair nearly two decades ago.

“In the time since, he met his wife, started a family and has focused on serving Californians. He addressed this chapter of his life, including in his memoir, and out of respect for everyone involved, does not have anything further to add,” Gardon said.

The affair occurred while Gavin Newsom was mayor of San Francisco.

(San Francisco Chronicle / Hearst Newspapers)

Newsom faced renewed criticism for the affair during the 2018 governor’s race amid a larger reckoning over sexual misconduct in politics, corporate America and Hollywood. But Rippey has said she doesn’t see herself as a victim of a powerful man.

“Yes, I was a subordinate, but I was also a free-thinking, 33-yr old adult married woman & mother. (I also happened to have an unfortunate inclination towards drinking-to-excess & self-destruction.),” she wrote on Facebook at the time.

She still doesn’t place blame on the governor for what happened, but noted in her essay that in the post-#MeToo era she came to realize that her then-boss had a responsibility to “hold the line.”

“That didn’t happen. But I didn’t stumble into the space left open — I saw a possibility and went for it,” she writes. “Both things are true: I am responsible for what I did. Power does not distribute consequences evenly.”

For Newsom, she writes, the affair is merely a “footnote in a longer arc of ascent. For me, it is the fracture that split my life into before and after.”

In his memoir, “Young Man in a Hurry: A Memoir of Discovery,” published this year, Newsom acknowledges the liaison with Rippey, describing it as “the briefest of affairs.”

He also writes that he admitted the betrayal to Tourk, a detail that Rippey takes issue with in her essay. She says she was the one who first broke the devastating news to her husband via email while she was at her parent’s house in Napa and he was home in San Francisco with their young son.

“But resentment is a luxury I can’t afford,” she writes. “Instead, I return to gratitude, not for the affair, not for the pain I caused Alex, but for the totality of what followed. I required something catastrophic to change direction. Something that made the cost of going back — of drinking again — unthinkable.”

After the affair, Rippey and Tourk divorced but continued to co-parent their son, who is now an adult. She’s been sober for 20 years, she writes, remarried and now has a son with her second husband.

“The damage was mine,” she writes at the conclusion of her essay. “But so is the life rebuilt in its wake.”

Times staff writer Taryn Luna contributed to this report.

One balmy October day in Havana, as the Cuban French sister act Ibeyi plotted the video for “Offerings” — an electro-spiritual ballad from the new album “Offering,” released in June — Lisa-Kaindé Díaz unceremoniously asked her twin Naomi Díaz, to ceremoniously shave her head on camera.

Naomi was accustomed to Lisa-Kaindé’s whims long before they became professional artists. But to take a blade to her sister’s voluminous curls would be a bridge too far.

“I was like, ‘Hell no. I’m not doing that!’” Naomi recalled to The Times, over a Zoom call from Paris.

“As always, when I come with my woo-woo stuff, Naomi is eye rolling like, ‘Girl, what is this s—?’” said Lisa-Kaindé. “But this time around, Naomi was like, ‘OK.’”

The music video ended with Lisa-Kaindé releasing her locks into the sea.

At the core of Ibeyi, which translates to “twins” in the Yoruba language, is the polarity between sisters. Lisa-Kaindé is the bleeding heart who whispers divinity into her lyrics, and Naomi grounds them with the beating pulse of her percussion. They sing in unison, both in tension and harmony. This is the synergy that illuminates their atmospheric approach to the Afro-Cuban jazz tradition.

Born into a musical family in Paris — their mother the French Venezuelan singer Maya Dagnino, their father the Grammy-winning Cuban percussionist Anga Díaz (of Irakere and Buena Vista Social Club) — the 31-year-old sisters jump-started their music careers at 18 when they were discovered by British producer Richard Russell, who also helms the indie powerhouse XL Recordings. After releasing a self-titled debut in 2015, the Díaz sisters appeared in the utopian short film for Beyoncé’s “Lemonade,” then released two more albums under XL: 2017’s “Ash” and 2022’s “Spell31,” which Lisa-Kaindé admitted underperformed expectations.

For “Offering,” they parted with XL and braved the studio as independent artists, inviting new collaborators into the project such as producer Michael Brun (J Balvin, Victoria Monét)and the famed Cuban conguero Pedrito Martinez.

“Things didn’t go the way you wanted them to go, now what does it free?” said Lisa-Kaindé. “It freed a lot of things, in our personal and professional lives,” she added.

The duo returned to their roots in Havana last fall to film the visuals for “Offerings” — as well as other singles “Aset” and “Hurry Hurry,” which were co-directed by Corry Van Rhijn and Roman Pichon Herrera. Family, friends and neighbors filled the frames with dancing and dominoes; their apartments painted in shades of mint, butter yellow and palomino pink, flecked with a patina cultivated by humidity and time.

As Cuba remains a topic of heated debate in the U.S. — or a political football — the Díaz sisters remind listeners that the island nation is still home to over 10 million people, including their relatives, whom they’ve visited regularly since they were little girls.

In 2027, Ibeyi will embark on a North American tour, which kicks off Jan. 27 at the Fillmore in San Francisco and includes a stop at Pacific Electric in Los Angeles on Jan. 29. (“I want everybody to cry, dance and twerk that ass at our shows!” said Naomi.) The Díaz sisters spoke to The Times about their season of upheaval and the recovery that informed their first independent outing yet.

This interview has been edited and condensed for clarity.

What has changed for you the most since you released “Spell31?”

Lisa-Kaindé: A lot has changed, personally and in the world. We needed to stop for a little bit and gather our thoughts, reflect on our career and all that we have done. We went from anger to sadness to acceptance. We left XL Recordings, which was our home for 10 years [and] three albums. We also stopped working with Richard Russell, whom we love. He was one of the first people to hear the album. But we really needed to experience something new.

Naomi: We started when we were 18, and now we’re independent and more in control than ever. We tried to find new producers with whom we felt a deep connection. That was like leaving a marriage and going on Tinder and having lots of bad dates… Our sound is so strong that we’d eat them, so we had to find producers whose sound could stay strong with ours.

I hear a lot of heartbreak in this album, but also making peace with that. How do you personally heal from the pain of such endings?

Lisa-Kaindé: We just go through the s—. There’s no other way. I think we should all be courageous to change. Look into the mirror and be like: “Who am I? What do I want to do?” And just live. L-I-V-E. It could also be L-E-A-V-E.

You have a T-shirt that says, “I used to make spells, now I make offerings.” What does that mean to you?

Lisa-Kaindé: “Spell31” [went] hand-in-hand with my high expectations. I felt like we needed to put a spell on the world, so that the world would love us. When “Spell31” didn’t meet the expectations I had, it was painful. I went into a meditation and came out thinking: “I used to make spells. Now I make offerings.” Suddenly it was so obvious I was trying to feed myself from the wrong source of protein. What if I just gave without expecting anything?

Some of your lyrics name orishas from the Yoruba religion, such as Elegua and Olokun. What does your spiritual practice look like?

Lisa-Kaindé: The older we grow, the more religious I’m becoming … but Naomi lives her spirituality in very different ways. For her, twerking in a sweaty club can be one of the most spiritual things ever. She’s getting more and more gangster.

Naomi: It’s how we grew up. We never use the word “spiritual,” but spirituality can be a lot of things. To me, there’s nothing more spiritual than being in [famed Atlanta strip club] Magic City. Some people are gonna light a candle. Everybody can do whatever the f— they want.

Lisa-Kaindé: It’s about living in a way that is aligned with what makes you vibrate, what makes you feel alive.

What was it like for Naomi to cut Lisa’s hair in the video for ‘Offerings?’

Naomi: I was scared that she would not like her reflection. She came [to me] with, “Can you be the one shaving my head?” And I was like, “Hell no. I’m not doing that!” She was like, “Please, [it’s] really important for me as a twin.”

We didn’t have any mirrors. It was tough, but [as] I was doing it, I was like, “I hope she’s gonna love herself.” At one point I looked at her and I was like, “Oh, you’re so beautiful!” And she was like, “If Naomi tells me I look beautiful, I am.” It was really powerful.

In the closing track, ‘Lucky,’ you sing: ‘We can’t manifest for s—; God will always choose for us.’ Be honest, is this in response to those trending videos on social media about manifestation magic?

Lisa-Kaindé: Funny enough, we’ve never talked about this to the press. … But I went kind of cuckoo with the manifestation while making “Spell31.” I started writing three times a day: “It’s gonna do well.” It was the first time I ever did that. And when it didn’t work, I was like, “What do you mean? I did all of the things y’all told me to do!” And that’s why I’m saying we can’t manifest for s—. What happened was exactly what was supposed to happen.

My own outlook changed after a priestess told me to keep an altar to bring offerings to my ancestors. If you want something … you have to give the universe something to work with!

Lisa-Kaindé: You need to give! That doesn’t need to be a religion or whatever. Just be kind. It’s an exchange. There’s always a price — and that doesn’t have to be a terrible thing. It could be a very beautiful thing. I think it’s better if there’s a price. You’re not just demanding the universe to give you something just because you say it enough times.

I sense more thunder in the sounds of ‘Offering,’ especially in Naomi’s percussion. ‘Mosh Pit’ is a storm of trap and acoustic elements. Can you talk about making this song?

Naomi: This was the first song we made for the album. We met Michael Brun, who is Haitian and lives in New York. We wanted a tough energy, we wanted dragon energy in this song. I listen to a lot of rap and trap, so there’s a little more of myself in this. Ibeyi is like a needle between Lisa and I; for 10 years, the needle moved a little more toward Lisa, but now it’s moving toward me. Life is like that.

You shot multiple music videos in Cuba. What made you decide it was time to make these videos in Havana?

Naomi: We recorded the videos in September and October. We wanted to show Cuba because it’s remembering our dad. Home is Paris, London and Havana for us.

Lisa-Kaindé: After having done the visuals from “Spell31” inside the studios … we needed something more personal. We had never done visuals in Cuba, but I think it’s because we’re very protective of Cuba. We’re protective of what the world sees Cuba as, whether it’s the old ladies smoking cigars, or the American cause. We’d go there in the summers [for] our whole lives. We wanted to show something beyond what tourists see. These are the people who actually live there. It’s important to know how people live.

Naomi: We wanted to be with our people and show the real Yoruba, Cuban way of living. Parties full of elderly people, young people … everybody twerking!

This big house party happens in the video for the song ‘Aset.’ Can you tell me about shooting the party scene?

Lisa-Kaindé: Funnily enough, I think our family was more involved behind the scenes. Naomi’s best friend helped with all of the wardrobe because she’s a fashion girlie. One of the directors we’ve known since we were 15 years old, he’s like a brother to us. We also worked with a conguero, like our dad, his name is Karín. We filmed the “Offerings” video in his house. Then we went to La Playita 26, which is not far from our old house, to look at the sea.

Naomi: What’s beautiful is that it was all real. It was also [full of] people we didn’t f— know. But it was raw.

Lisa-Kaindé: The day we filmed “Aset,” when I saw Naomi dance, I was like: “Here we are. Here is that freedom [we’ve been] missing.”

COOPERSTOWN, N.Y. — Dusty Baker could sense a portion of his life as he entered the National Baseball Hall of Fame’s Plaque Gallery on Saturday night. He couldn’t help but notice that some of his contemporaries from when he played with the Braves and Dodgers were walking slower, in some cases with the help of a cane or an assistant.

“I’m glad to see everybody,” said Baker, 77. “But you know, we’re getting old. I see guys in walkers who used to run fast, (and) their kids that are grown. You kind of see your life flash before your eyes.”

A record 60 Baseball Hall of Famers were in Cooperstown as Jeff Kent, Carlos Beltran and Andruw Jones were inducted Sunday. Baker traveled with the San Francisco Giants’ contingent to celebrate Kent, who credits Baker with helping transform him into the National League MVP, All-Star and eventually a Hall of Famer.

As much as Baker tried to keep his focus on Kent, however, many kept telling him that this visit was a prelude to his induction next summer. They reminded him that he’s expected to be on the Hall’s Era Committee ballot in December.

If Baker receives at least 12 votes from the 16-member committee, he’ll become the first Black manager elected into the Hall.

“I know the history,” Baker said. “I was fortunate enough to be around Hank (Aaron) in the beginning.”

Baker grew up idolizing Jackie Robinson, who broke baseball’s color barrier on April 15, 1947, 26 months before Johnnie B. “Dusty” Baker was born in Riverside.

Through 1953 National League Rookie of the Year Jim Gilliam, who spent three seasons with the Baltimore Elite Giants of the Negro Leagues before joining the Brooklyn Dodgers, Baker met several Negro League greats.

Gilliam once took Baker to eat lunch at Negro League legend Cool Papa Bell’s home in St. Louis. He also spent time with Satchel Paige and Ted “Double Duty” Radcliffe. Because of his friendship with Aaron, his Braves mentor, and his time with the Dodgers, he met Hall of Famer Roy Campanella and Don Newcombe, who spent time in the Negro Leagues before joining the Brooklyn Dodgers.

Bell, Paige and Campanella were all inducted into the Hall. Paige was the first Negro Leaguer inducted into the Hall of Fame in 1971, five years after Ted Williams used his induction speech to advocate for Negro Leaguers.

“Baseball gives every American boy a chance to excel, not just to be as good as someone else, but to be better than someone else,” Williams said on July 25, 1966. “This is the nature of man and the name of the game, and I’ve always been a very lucky guy to have worn a baseball uniform, to have struck out or hit a tape-measure home run.

“And I hope that someday the names of Satchell Page and Josh Gibson in some way can be added as a symbol of the great Negro players that are not here, only because they were not given a chance.”

Robinson became the first Black player elected into the Hall by the Baseball Writers’ Association of America in 1962. Negro Leaguers weren’t considered for the Hall until Paige was elected into the 1971 class. A year later, Gibson was inducted.

Baker first visited the Hall of Fame to play an exhibition in 1974. He made his third trip to Cooperstown this weekend, which marked his first visit for an induction weekend.

Exactly 60 years after Williams induction speech on the steps of the Hall of Fame, Baker walked into the Hall and was greeted by the loud roars of another Boston Red Sox legend, David Ortiz. Baker smiled widely, nodded his head, greeted Ortiz in Spanish, chuckled and walked over to Ortiz and Vladimir Guerrero, giving each of them hugs and pats on the back.

A few seconds later, Dave Winfield joined the trio for a picture before Baker and his wife began to mingle with other Hall of Famers and guests.

Later that night at a party the Giants held in Kent’s honor, Kent paid tribute to his family, Baker and a few teammates during a short speech.

Then Kent predicted that Baker will return next year to take his place among baseball’s immortals. Baker won a World Series title and three pennants as a manager while leading a record five teams to the playoffs over 26 seasons as a manager.

He’s eighth on baseball’s all-time managerial wins list with 2,183 as the only Black manager in baseball history with 2,000 victories.

While sipping on his coffee and munching on extra crispy bacon and blueberry pancakes Sunday morning, Baker sat at the Otesaga Resort where the Hall of Famers stay during induction weekend. He looked out at Otsego Lake while several Hall of Famer stopped to say hello.

Chipper Jones stopped by and said, “You dusting off that chair for next year, Dusty?”

Baker laughed and shook his head before calling Chipper by his first name, Larry.

“There ain’t no guarantees, so why am I going to look forward if there ain’t no guarantees?” Baker said. “I’m serious. People think I’m kidding when I’m saying that. When Bill Belichick did not get in the (Pro Football) Hall of Fame anybody has a chance to not get in the Hall of Fame.

“Am I right? That’s how I look at it. I was shocked. They can talk about Deflategate, they can talk about the media. What about the other six (Super Bowls) he won?”

Nonetheless, Baker appreciates what it would mean for a Black manager to finally be elected to the Hall.

“But most of my life had been full of ‘First Black Guy stories, Black man stories’ from the time I was in high school,” he said. “The two blacks at my high school were me and my brother in my last year of high school.

“That’s some of the reasons I went into the wine business. There’s not many Blacks in the wine business. One reason why I started but stopped in the energy business was because there’s not many Blacks in the energy business.”

There have been 354 inductees into the Baseball Hall of Fame, 23 of them as managers.

Baker will likely be the first Black manager next summer.

“I was taught pride from my mom and dad in culture about being Black,” he said. “My mom was really big (on Black history) because she was a Black Studies teacher, so we had books that I read. …

“I’m hoping I can motivate other young brothers and sisters to achieve some things that don’t seem achievable. It’s a little bit disheartening when I see regression of Black coaches, Black players, Blacks in baseball.”

LeBron James has decided this time, he’s taking his talents to Philadelphia.

The Lakers couldn’t be happier.

By not extending his contract a summer ago, they made it clear: They were ready to move on. And they have. They found their way to a front-line center and got a whole lot younger. And get this: They got better. In the long run and probably in a sprint too.

Maybe it seems sacrilegious to suggest they’ve improved by parting ways with the greatest player of all time and trading for a fifth-year pro who missed all but five games last season with the Utah Jazz after suffering a torn labrum.

It’s not. Not when Walker Kessler was the missing piece for these Luka Doncic Lakers.

Maybe you’re finding it hard to get fired up about the new guy with no playoff experience. And you’re used to the Lakers collecting the biggest names — not guys whose games are unfamiliar. Giannis, say. Not … Walker.

But please, stop and consider the tankathon Utah has been running; the last thing the Jazz wanted was Kessler on the court winning games for them.

You also still might be experiencing sticker shock on the Lakers’ behalf. They’re getting Kessler on a $130-million, four-year deal after completing a sign-and-trade that sent out a 2031 first-rounder, 2033 first-rounder and first-round pick swaps in 2028 and 2030.

But position, position, position is to the NBA what location, location, location is to real estate — and if this fit proves as fun as Doncic seems to believe, then Kessler’s contract is going to feel like a real fair trade on the hot center market.

Because, defensively, the Lakers’ new 7-foot-2 center is a shot-blocking, space-eating deterrent in the post. That’s invaluable when you’re going with Doncic and Austin Reaves on the perimeter.

Offensively, Kessler has good hands and good handoff timing. You can call for him to screen all day. He has a radar for the rim, sixth in the NBA in dunks per game in 2024-25.

And Kessler is a blessing on the glass, the king of second chances. His 4.6 offensive rebounds per game in 2024-25 led the NBA.

Also: LeBron is going to turn 42 this season; Kessler is 25.

Walker Kessler was a big presence in the paint for the Jazz before he got hurt last season.

(Frank Franklin II / Associated Press)

Age and experience count for a lot in life. But increasingly, today’s NBA is proving a young man’s game — and check ball, the Lakers are now in it.

Out went Deandre Ayton (28 years old), Rui Hachimura (28), Luke Kennard (30) and Marcus Smart (32). Jaxson Hayes (26) too, the only departing rotation player younger than 28.

In come Quentin Grimes (26), Sandro Mamukelashvili (27), Collin Sexton (27), Ziaire Williams (24), Jaden Hardy (24) and rookie summer league sensation Cameron Carr (21). Also, Kevon Looney, who will be Kessler’s backup big, and Matisse Thybulle, a proven defender on the wing, who are 30 and 29, respectively, and the only additions not younger than Doncic (27) and Reaves (28).

Still, I get it. You’re not wowed by the incoming group.

Were you wowed when the Dodgers acquired Max Muncy, Justin Turner or Chris Taylor? Probably not. But those guys went on to help the club win World Series titles.

Were the Dallas Mavericks banking on lob threat Derrick Jones Jr. — on a minimum contract — being a catalyst for their run to the 2024 NBA Finals? Do Lakers fans remember Doncic’s 17 assists to guys like Dante Exum, Tim Hardaway Jr. and Grant Williams in a 2023 victory over LeBron and Anthony Davis?

Doncic is manning the Lakers’ elevator now; it’s his job to lift his teammates to new heights. He can do it. He better do it.

Because the margins can be major, but they don’t account for most of the Lakers’ offseason grade this summer.

So give them a B+.

Not an A. No, because not every assignment has been completed.

There’s the minor matter of a starting five. The Lakers don’t appear to have one of those just yet.

They might yet add Jonathan Kuminga at forward. Or perhaps someone already rostered — hello, 22-year-old, skyscraping Adou Thiero — is waiting to wow us all in that role?

Normally, not having an answer to the most basic of questions at this point in the summer would fail you.

But this year is different.

Filling the hole at center was weighted so heavily among the Lakers’ priorities — and landing Kessler earned them so much extra credit — it bumps their grade almost all the way up.

Of course, this was only the introductory course.

The real tests for this fresh new roster — down an all-time talent but so much more solid in the center — come when the season begins. Or, really, when the postseason does.

And expecting that opponents won’t have an easy time coming up with answers for Doncic and his new dominant defensive center, the Lakers are now set up to score well there too.

AN airport in the UK has issued a warning for anyone travelling there this week, due to a major road closure.

Bournemouth Airport has said passengers will need to allow extra time there due to this, with fears of disruption.

From tomorrow until July 31, Matchams Lane just beyond the Dorset airport will be closed for ‘essential maintenance’.

Passengers arriving that way by car can expect disruption from its junction with Avon Causeway and Bostwick Lane.

The road will be closed to all vehicles from 7am to 6pm on all three days.

For drivers there will be no parking and no waiting at any time on the road.

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There will be a diversion in place, but as a result, Bournemouth Airport has told passengers to allow ‘extra time’ when travelling.

BCP Council added: “These arrangements may be amended/extended should works overrun or weather conditions delay operations; restrictions may be in effect under this Notice for up to five days, and extended by a further Notice or Order.

“The Council regrets any inconvenience to the public caused by this temporary prohibition.”

This comes just one month after Bournemouth Airport hiked its costs at short-stay pick-up and drop-off charges, with some fares doubling.

Motorists who use the pick-up and drop-off zone of the car park now have to pay £8 for up to 30 minutes of parking which is an increase of £2 from last year.

Stays between 30 and 60 minutes have doubled in price, now costing £15 to park, compared to £7.50 previously, with one to four-hour parking priced at £20.

In a sign of how high school football practices in Southern California have changed over the last 20 years, Crespi athletic director Brian Bilek was holding a beeping device on Monday to determine what modifications might be needed to practice in heat.

It was 100 degrees in Encino, but the reading from the wet-bulb device measuring heat and humidity gave out a number that allowed for practice to take place with precautionary measures.

Southern Section players were in shorts and wearing helmets around the Southland. City Section teams began five days of mandatory acclimation periods to get players into shape.

It’s an annual ritual that once had programs practicing twice or even three times a day. CIF rules that restrict tackling to two days per week and a maximum of 45 to 90 minutes a day were adopted in an effort to protect players from concussions and injuries.

By the weekend, when the shoulder pads come on, coaches will be breaking out in smiles watching their freshmen players trying to figure out the routine for the first time.

Crespi coach Brad Vonnahme grew up in the Central Valley and coached at Fresno State. He described the weather from those days as “toasty.” Monday’s environment, though, was probably the hottest opening day in his four seasons at Crespi.

It’s a big year for the Celts. They’ve improved each season after Vonnahme was put in charge of a rebuilding project following Crespi’s 0-10 season in 2022. The Celts have responded with records of 2-8 and 5-6 before their 10-1 mark last season.

This year, they’ve upgraded their schedule, adding rival Sherman Oaks Notre Dame for a season-opening nonleague game Aug. 21.

Asked if his team can continue to climb, Vonnahme said, “I think we can. But most importantly, we have to try. Everybody wants us to continue to elevate.”

Crespi’s Russell White carries the ball during a game against St. John Bosco on Nov. 7, 1986.

(John McCoy / Los Angeles Times)

This season marks 40 years since Crespi’s greatest team, led by running back Russell White, won the Division 1 championship over St. John Bosco in 1986. It remains the only San Fernando Valley team to win a Division 1 football title. Many of the players are expected to attend the Notre Dame game for a recognition ceremony.

Crespi returns a number of players who were standouts as sophomores, led by quarterback Chase Curren. They’ll need to be bigger, faster and stronger. If all goes well, they will play Salesian on Oct. 30 to decide the Del Rey League title.

A strong group of teams will be traveling to Hawaii next month, so they’ll be getting ready a little faster for football and surfing. Chaminade, Edison, Beaumont, San Clemente, San Juan Hills, Newport Harbor, El Camino Real and Villa Park are among the teams with Hawaii trips.

Athletic directors are back from vacation and will be busy trying to clear players who transferred. Making sure paperwork is correct is one of the most important tasks, because one mistake can lead to forfeits.

July 27 (UPI) — The U.S. Consulate in Toronto was shot at early Monday, according to authorities, marking the second time the facility been targeted by gunfire this year.

Deputy Chief Frank Barredo of the Toronto Police Service told reporters in a press conference that a police security detail at the consulate in downtown Toronto heard what sounded like a gunshot in the vicinity at 4:46 a.m. EDT.

The officer noticed a white late-model Honda Accord with no license plates speed away from the building and radioed the information. Additional officers noticed the suspect vehicle nearby and engaged it in a high-speed chase onto the Don Valley Parkway, heading northbound.

Barredo said the suspect vehicle was driving at speeds in excess of 87 miles per hour, prompting officers to end the chase, in accordance with police procedures because of the danger posed to the public, near the Don Mills Road and the DVP.

At the scene, police recovered a single shell casing, he said. The building’s facade also suffered damage, he added.

While no motive is known, Barredo said police suspect the shooting was premeditated.

“I don’t think it’s just a fluke that there was no license plate on the vehicle,” he said. He also described the shooting as “brazen” and “reckless” given that a police cruiser was parked outside.

Two security officers were inside the heavily fortified building at the time of the shooting, though Barredo said they would not necessarily have noticed the shot.

Toronto Mayor Olivia Chow mirrored Barredo’s description of the shooting as a “brazen attack” and vowed to work with authorities to get “the illegal American guns off our street” and to bring those responsible to justice.

“I want to say to the person or persons responsible. We will get you. We have apprehended the previous shooters, all three of them, and we will bring you to justice. You will be held accountable,” she said.

UPI has contacted the consulate for comment.

The shooting comes amid fraying relations between Canada and the United States. President Donald Trump‘s combative rhetoric and actions, including threatening to annex Canada and imposing stiff tariffs on it, have angered many across the Great White North and have compelled Ottawa to begin distancing itself economically and militarily from Washington.

In March, multiple shots were fired at the U.S. Consulate in downtown Toronto.

Last month, Toronto police arrested three people in connection with the March shooting. Constable Marc Pinizzotto was killed in a related police raid.

Police said the shooting was one of at least 27 they believe were carried out by criminals for hire. Authorities have not made public who hired them.

The second shooting at the consulate also occurred as two Jewish-owned bakeries in the city were the targets of vandalism, at least one of which was shot at.

Asked if the second shooting at the consulate was potentially another criminal-for-hire plot or connected to the bakery shootings, Barredo said it was too early to tell.

“We, obviously, would not rule that out as a possibility,” he said.

“We do know that is a phenomenon that has grown in the GTA area. Some criminals simply perform services for hire. They don’t have any personal interest in matter; they simply are hired to carry out a specific act of criminality.”

Minister of Public Safety Gary Anandasangaree said in an online statement he was “appalled by the brazen shooting” and has spoken with Chow, and offered his full support to the Toronto Police Service.

“Violence of any kind will never be tolerated in Canada,” he said.

Police have previously suggested a link between anti-Jewish attacks in the city and shootings at the US consulate.

At least one shot has been fired outside the US Consulate General in Toronto, in the second such incident in just four months.

Nobody was injured in the attack, police said on Monday, adding that a shell casing was found and the building’s facade had been damaged.

A white sedan was seen fleeing the scene at about 5am local time (09:00 GMT), which police said they briefly pursued before giving up the chase over safety concerns due to its ultra-high speed.

No suspects have been arrested, and the investigation is ongoing.

A US Department of State spokesperson said Washington was working closely with Canadian authorities following the incident.

Toronto police declined to speculate on a possible motive for this weekend’s shooting and whether it was linked to previous incidents.

Ontario Premier Doug Ford said he expected “all those responsible to be found, prosecuted and punished to the fullest extent of the law”.

This is the second time in four months that shots have been fired at the US Consulate in Toronto.

On March 10, several shots were fired at the same building, and one police officer was later killed in an operation to arrest those responsible.

Toronto police claimed in June that young people in the Toronto area were being recruited via encrypted messaging apps to shoot at various targets and record the shootings for payment.

The targets the police mentioned included synagogues, Jewish schools, a waste management company, and the US Consulate.

The police did not provide evidence, only mentioning that investigations were ongoing in cooperation with the Royal Canadian Mounted Police and the US FBI.

Betye Saar, a Los Angeles artist who transformed collections of bigoted bric-à-brac — Sambo dolls, ceramic mammies and crude renderings of pickaninnies — into potent works of assemblage that mined the searing history of race in the United States, and whose works influenced generations of artists, has died. She was 99.

Saar died in her sleep — just a few days short of her 100th birthday — in Los Angeles, her longtime gallerist Julie Roberts at Robert Projects said. Saar’s death was confirmed by her publicist Hannah Gottlieb-Graham.

“Betye Saar was one of the greatest artists of our time, and it has been an immense honor to work with her for nearly 20 years,” Roberts said. “Her singular vision transformed the course of contemporary art, and her legacy will continue to inspire generations of artists, scholars, and audiences around the world.”

A diminutive woman with a low-key manner that belied a steely resolve, Saar was known for combing garage sales, flea markets and junk piles for objects that she employed in collages and assemblages large and small. These explored difficult aspects of American history — including slavery and Jim Crow — but also touched on more personal themes of family, memory, magic and spirituality.

“My work has to do with recycling,” she told a documentary crew in the 1970s. “Each item I collect has a certain energy from its previous function that carries over into its new use.”

Artist Betye Saar in her Laurel Canyon home in 2016.

(Gina Ferazzi / Los Angeles Times)

In a 1984 profile, Times art writer Suzanne Muchnic described Saar as an artist who used found objects in a way that “draws on the power of mystery, the hurt of discrimination and the authenticity of individual vision.”

As Saar’s 100th birthday approached, her work and its groundbreaking importance were celebrated afresh in a slew of articles, including two recent profiles in The Times. As she approached the momentous milestone, Saar appeared more interested in creating new art than in dissecting her legacy. “That’s what art is,” she told The Times in an interview in late June. “Making something where there was nothing.”

Saar first rose to prominence in the 1970s, after crafting a small assemblage — roughly the size of a shoebox — that featured at its center a stereotypical Black mammy figurine bearing a rifle in one hand and a grenade in the other. The piece was first shown at the Rainbow Sign, a community center in Berkeley that was located near the headquarters of the Black Panthers.

The artist had begun her professional life as a designer of greeting cards and home accessories. But 1972’s “The Liberation of Aunt Jemima,” as the assemblage was called, catapulted her into the center of the Black Arts Movement and connected her with a broader tradition of assemblage in California and the art world at large. Three years after its creation, she had a solo exhibition at the Whitney Museum of American Art in New York. Decades later, activist Angela Davis credited “The Liberation of Aunt Jemima” with spurring the Black women’s movement.

“It’s like they abolished slavery, but they kept Black people in the kitchen as mammy jars,” Saar said in a 2015 interview. “I had this Aunt Jemima, and I wanted to put a rifle and a grenade under her skirts. I wanted to empower her. I wanted to make her a warrior. I wanted people to know that Black people wouldn’t be enslaved by that.”

In June 2020, in the wake of the uprisings following the murder of George Floyd, Quaker Oats announced that it would retire the Aunt Jemima brand. Saar took to Instagram with an image of her famous work and a message: “She’s liberated! Finally at long last! And it’s about time!”

“Liberation” now resides in the collection of the Berkeley Art Museum and Pacific Film Archive, not far from where it was first shown.

Betye Saar was born Betye Irene Brown in L.A. on July 30, 1926, the eldest of Jefferson Maze Brown and Beatrice Lillian Parson‘s three children. Her father, with whom she was close, died when Saar was about 5. And shortly thereafter, Parson relocated the family to Pasadena to live with her maternal aunt, Hattie Parson Keys. (Years later, Saar created a series of works in honor of Keys, employing objects that her aunt had left behind — something she would do for other family members as well.)

Saar’s parents weren’t artists, but art was in the air. When she was a child, her mother encouraged her to sew and make crafts. And, in the summers, she spent time at the home of her paternal grandparents in Watts, where she saw Simon Rodia building the Watts Towers and was struck by his use of materials.

“The one I find the most amusing is the corn cob,” she told the podcast “The Modern Art Notes” in 2016. “He had a piece of space with wet cement so he just put the corn cob in there. And I just love the kind of freedom to make the piece. Anything can go in there.”

After graduating from high school, Saar spent two years at Pasadena City College before transferring to UCLA in 1947. She majored in design, figuring that she would become an interior decorator — and, for a time, she did indeed work in that field, teaming up with Curtis Tann to form a cleverly named studio called Brown and Tann. Operating out of Tann’s home, the company produced an array of decorative and functional objects, including bowls, ashtrays and jewelry.

To market their goods, they turned to an informal network of African American artists, staging pop-up exhibitions in people’s homes and in other impromptu locations. In 1951, the pair was featured in Ebony magazine.

It was through that circle that she met a ceramicist of German American descent by the name of Richard Saar. In 1952, they married. The following year, their daughter Lezley was born. Two other daughters followed: Alison in 1956 and Tracye in 1961. (Lezley and Alison are now respected artists in their own right. And, in fact, on more than one occasion, all three women have shown their work together, most recently at the Museum of Art & History in Lancaster in 2018.) In 2024, the Equal Justice Initiative Legacy Gallery installed Saar’s “Seeking Secrets of Destiny” alongside her daughter Alison’s sculpture “The Beckoning.”

Betye Saar, flanked by her daughters, stands before a painted brick wall.

(Carolina A. Miranda / Los Angeles Times)

In 1962, the Saar family moved to a rambling hillside home in Laurel Canyon, then a very rustic part of L.A. It put them in a hotbed of hippiedom right as the 1960s got rolling.

“Down the road was Frank Zappa,” Saar recalled in one interview. “There weren’t that many houses. We had the long skirts and long hair, and it was very casual. You’d go to a love-in or a concert.”

“We were as hippie-ish as hippie could be, while still being responsible.”

By the late ‘60s, she and Saar had divorced. But she remained in Laurel Canyon, where she would live and work until the end of her life.

Saar came to art almost by accident. In the late 1950s, she enrolled at Cal State Long Beach to pursue a master’s degree so that she could teach. But a stroll through campus led her past the university’s printing department.

“I walked past the print workshop and I was like, ‘Heyyy!’ ” she later recalled.

The master’s degree never happened. Instead, she poured herself into printing.

“I loved making prints,” she recalled. “The move into fine art, it was liberating. It gave me freedom to experiment.”

A pair of other, longer journeys, also proved formative.

There was a trip to Chicago’s Field Museum, where she immersed herself in the institution’s extensive collection of African art, followed by a trip to Haiti in the early 1970s. Saar was drawn to the Caribbean nation because of her interest in voodoo and magic — and the power that these could confer on inanimate objects.

“In the early 1960s I began going to coffee houses and they’d have books on the occult,” she told the New York Times in 1978. “I was attracted to signs and diagrams of alchemy and palmistry, and I began to use them in my prints. I also haunted second-hand and junk stores, and I started to frame my prints in old window frames.”

But it was a visit to an exhibition of the work of Joseph Cornell at the Pasadena Art Museum (now the Norton Simon Musuem) that inspired her to take a three-dimensional turn in her work. Saar was moved by the surreal qualities of the New York artist’s intimately scaled assemblages, which were often presented in small boxes.

“I immediately started collecting stuff after I saw that show,” she told the L.A. Times in 2016. “I started going to yard sales and estate sales.”

During the ‘60s and ‘70s, she took on a series of part-time jobs to provide for her children, designing costumes at a cultural center and teaching at area art schools. These provided her with necessary income, but also allowed her enough time to make work — which she often did at the kitchen table.

Saar’s creations from that era are on display through Aug. 22 at Roberts Projects. Titled, “Let’s Get It On: The Wearable Art of Betye Saar,” the show covers the years Saar spent in the costume department for the Inner City Cultural Center’s theatrical productions.

“Art comes from the heart and the head,” she once said. “You don’t need to have a separate space in which to make it.”

Plus, art gave Saar a crucial political voice at a time of the civil rights and Black power movements. “If you are a mom with three kids, you can’t go to a march,” she once stated, “but you can make work that deals with your anger.”

“The Weight of Betrayal,” 2015, by Betye Saar.

(Brian Forrest / Roberts Projects)

In her assemblages, she incorporated symbols that channeled dark episodes of U.S. history and African American struggle: the schematics of slave ships, the hackneyed images of vintage kitsch and the cruel sobriquets used by white supremacists to describe Black children.

At first she was apprehensive about using this type of imagery in her work. “Blacks were ashamed of those derogatory images,” she told the New York Times. “I like to think I recycled those images from negative to positive.”

But there was power in those images — and Saar knew just how to harness it.

“Saar’s assemblage doesn’t just describe history,” wrote former Times art critic Christopher Knight of her work in 2019, “it embodies a visceral connection to it.”

She would go on to deploy these tropes in myriad ways throughout her career — in particular the stereotypical figure of the Black mammy.

This included one particularly potent work: a glass bottle featuring the visage of a smiling mammy, which she transformed into a Molotov cocktail. The piece, which for decades had been in a private collection, reappeared in the traveling exhibition “We Wanted a Revolution: Black Radical Women, 1965-85,” which went on view at the California African American Museum (CAAM) in 2017.

“Historically, the mammy was the ultimate image of Black female servitude in the American psyche,” wrote historian Steven Nelson in the catalog that accompanied a 2017 exhibition of Saar’s work at the Craft Contemporary (then known as the Craft & Folk Art Museum). “She was kind and giving. She cooked and cleaned and did the laundry. She took care of the children. She was harmless.”

By arming her mammies with revolvers, rifles and bullets, Saar turned a symbol of servility into one of militancy and power.

“Liberation of Aunt Jemima: Cocktail,” 1973, shown at the exhibition “We Wanted a Revolution” at CAAM in 2017.

(Jonathan Dorado, Brooklyn Museum / Betye Saar, Roberts Projects)

Her work also frequently touched on the personal: family, dreams, magic and the body (particularly the Black female body). In the process, she influenced a younger generation of artists, key figures such as Houston Conwill, Senga Nengudi and David Hammons.

“You can really see the impact she had on them,” said Kellie Jones, a scholar and independent curator who organized “Now Dig This!: Art and Black Los Angeles 1960-1980” at the Hammer Museum in 2011. “She had this multimedia practice. It was about Africa, but it was about the world. She has works with Mexican milagros, she has titles in Spanish, she at certain points has Asian influence and Haitian influence. She was really looking at the globe. She was a person in the world, and she really modeled that for people like Hammons and Conwill and Nengudi.”

Saar’s work resides in the permanent collections of more than 80 international museums, and in recent years, she was the subject of solo shows at the Museum of Modern Art in New York, the Prada Foundation in Milan and the Scottsdale Museum of Contemporary Art in Arizona (which hosted a retrospective).

In L.A., she had regular exhibitions at her Culver City gallery Roberts Projects, as well as one-woman shows at CAAM and the Craft Contemporary. In 2019, a small but potent show at the Los Angeles County Museum of Art explored the ways in which her drawing process factored into her assemblage work. But a full retrospective at one of her hometown’s major museums eluded her.

Saar told The Times that she didn’t let it bother her: “I’ve always done what I did and never felt I was competing with what was going on.”

An installation view of “Mojotech,” 1987, by Betye Saar at the Scottsdale Museum of Contemporary Art.

(Tim Lanterman / Scottsdale Museum of Contemporary Art and Roberts Projects)

If anything, she competed only with herself.

Well into her 90s, she continued to get up every day to craft assemblages out of the objects she had amassed in her studio. At 96, she scoured the Huntington Library gardens for a commissioned installation she called a “full-circle” project.

“I used to come to the Huntington with my mother when I was a child. She loved to garden, especially African violets, and she passed that love of plants and nature on to me,” Saar told the New York Times Style Magazine in 2024.

That love is palpable in “Drifting Toward Twilight” and its accompanying documentary, which sees Saar fawning over the orange tint of sloughed bark and the mystical qualities of garden scraps.

“Even in death those things can be really beautiful,” Saar said in the short documentary.

After working with a 17-foot canoe as a centerpiece for the Huntington exhibition, Saar told Curate LA that she felt compelled to return to small-scale pieces. The result was her 2024 Roberts Projects exhibit, “Betye Saar: New Work,” an objet trouvé medley in bronze and gold hues.

“At first, the new works were more nostalgic, with vintage photos and female ephemera, like gloves and such,” Saar said. “Then I brought in the tall ship bookends and African masks, and the works moved in a more ancestral and political direction.”

Even her grandson’s discarded computer parts made a cameo, a testament to Saar’s uncanny ability to mine inspiration from the most mundane objects.

“The worst problem for an artist is having nothing to say,” she once said in an interview. “I just have so many ideas. … Look at things that are important to you, what’s happening in your life. If you have that, you never run out of ideas.”

With her centennial on the horizon, Saar in 2025 formed the Betye Saar Legacy Group, a committee of her trusted curators and collaborators charged with preserving her vast archive and keeping her name fresh in the minds of new generations of artists.

A Saar biography penned by Zoé Whitley, who co-curated “Soul of a Nation: Art in the Age of Black Power,” is expected in 2027.

Saar is survived by her daughters Lezley, Alison (both artists) and Tracye (a writer), and her grandchildren Kyle Leeser, Maddy Inez, Sola Saar, Gen Saar Agustsson, Spencer Saar Cavanaugh, Megan Cavanaugh

Times staff writers Malia Mendez and Jessica Gelt contributed to this report.

WASHINGTON — The Trump administration urged the Supreme Court on Monday to lift a judge’s order and clear the way for state-by-state lists of citizens who are eligible to vote by mail.

Solicitor Gen. D. John Sauer filed an emergency appeal and said judges in Boston had wrongly intervened too soon.

In March, Trump ordered the U.S. Postal Service to direct states to compile a list of citizens who are eligible to vote. This list would limit who may receive a mail ballot.

He also ordered the Department of Homeland Security to “compile and transmit state-specific lists of individuals who are citizens and will be 18 years of age or older at the time of an upcoming election,” Sauer said.

Lawyers for California and 22 other Democratic-led states sued, arguing the states, not the federal government, have the constitutional authority to set the rules for voting and elections.

In June, they won before a federal judge in Boston who blocked Trump’s order from going forward, at least in the 23 states which had sued. Her decision was upheld over the weekend by the 1st Circuit Court of Appeals.

In his appeal, Trump’s solicitor general focused on a procedural question, not the issue of whether the president has the legal authority to impose national rules on state-run elections.

Sauer said the U.S. Postal Service and the Department of Homeland Security had not issued final specific plans to comply with Trump’s directive.

“Courts cannot enjoin implementation of Executive Orders that leave open material issues that still need to be resolved by agencies,” he wrote.

He asked the court to lift or stay the “premature injunctions.”

Time is running short, he said.

“Absent a stay … there will not be sufficient time to obtain appellate relief before the November election,” Sauer said. “That is especially true because implementation efforts for any USPS rule or DHS policy will need to begin well before November … particularly given that absentee and mail-in voting begin (in some States) several weeks prior to Election Day.”

The justices asked for a response from the 23 Democratic states by Aug. 3.

Carly Simon on Monday shared a lengthy and candid letter regarding the state of her health, which she said led to her recent withdrawal from the public eye.

The 83-year-old “You’re so Vain” singer and two-time Grammy winner in a statement shared with The Times revealed she has been diagnosed with Parkinson’s disease and has dedicated time away from the spotlight to understand and learn how to live with the illness. Simon said she decided to come forward about her health issues after “so many people have written to me, kindly wondering about my relative silence.” She did not specify when she was diagnosed.

Parkinson’s disease, according to the Mayo Clinic, is a nervous system movement disorder that worsens with time and cannot be cured. Tremors are a common symptom of Parkinson’s disease, which also notably afflicts “Back to the Future” star Michael J. Fox.

Simon explained in her statement that she experienced arthritis in both of her knees and one hip prior to receiving her diagnosis. She had those three joints replaced — “out with the old and in with delicate bouquets of metal and plastic” — but experienced worsening mobility after, including difficulty walking and standing from couches and low chairs.

“Eventually, there were periods when I could not walk without considerable help,” she continued. “My family and I knew that something more was going on.”

She said she was diagnosed with Parkinson’s after a trip to the Mayo Clinic and underwent treatment and started taking medication to aid with her symptoms.

“There is no tidy predictable schedule to the illness,” she said.

Simon also wrote that her experience with Parkinson’s wrought “anxiety, depression, exhaustion, an apathy.” Of the last, Simon recalled lying like a starfish “while nothing inside is telling you to get up, read, watch, sing, call someone, or do much of anything at all.”

Simon revealed that in the same period, she underwent surgery to treat skin cancer, specifically basal cell carcinoma on her face. The singer’s two sisters died of different cancers days apart in 2022. She said she felt self-conscious about her appearance post-surgery and retreated further from the public. “This gave my inner critic quite a lot of new material,” she wrote.

The singer, who likened herself to an “all-season” hibernating bear, said “I have not stopped living, and I have not stopped working” amid her health issues. She then promoted her upcoming album “Comes in Waves,” her first album of original music since 2008. “Comes in Waves” arrives Aug. 14. She is set to release the song “Peaches” from the album on Friday.

“Music has always known when to arrive,” she wrote. “It has rescued me more times that I can count.”

“Working on the music gave shape to days that did not always have much shape,” she said. “It gave me somewhere to go without having to leave the room. It reminded me that illness can change your life without becoming the whole of your life.”

For Simon, her Parkinson’s battle has proved “difficult, frustrating, and sometimes frightening,” but not a complete obstacle to her life. She expressed gratitude to her friends, family, caregivers and medical teams for their support.

“These days I move more slowly, I lean on others more than I once did, and I have learned to accept that every day will look a little different,” she concluded. “But I am still very much here.”

Last things first: Eve Babitz is a major minor L.A. writer who died five years ago at age 78. She spent nearly a quarter-century as a recluse, having suffered in 1997 a shocking and disfiguring accident while striking a match to light her Tiparillo. Her thin Indian skirt caught fire searing her panty hose into her flesh, leaving her with third-degree burns over more than half her body. She never published again, though many championed her gifts, including me. At the time of her misfortune, I was book editor of the Los Angeles Times. I had long admired her, especially the rollicking and indispensable “Slow Days, Fast Company,” first published in 1977, a charming and insightful series of stories bursting with pluck and sass. I recommended to John Carroll, the then-editor of the paper, that he make her a columnist and urged Babitz to write him directly. She did, and that letter from October 2000 is the last included in “Too L.A.: Letters Never Sent (But Some Were),” a book of letters expertly edited and chosen by Lili Anolik. Babitz tells Carroll that “what the paper needs is some writers that cause such an uproar, people will have to read it in order to stay abreast of the edge.” Babitz knew what she was talking about. She’d been living on that edge since she was a teenager at Hollywood High in the late 1950s.

The posthumous resurrection of Babitz’s writings is most welcome. Yet there is a risk of overpraising her merits. She was an unabashed booster of the glossy L.A. that became synonymous with a rising creative elite whose élan and narcissism she found irresistible.

Lili Anolik makes the case in her perfervid introduction: “The letters are everything you could want” and often “profound” and “frequently brilliant, invariably amusing.” She says they deserve to be put on the short shelf next to Virginia Woolf’s imperishable “A Room of One’s Own” for they are “every bit as candid, every bit as lucid, every bit as brutal, every bit as delicate as Virginia Woolf’s celebrated manifesto.”

If only.

“Too L.A.: Letters Never Sent (But Some Were)” by Eve Babitz

(New York Review Books)

Regrettably, Anolik, who is almost singlehandedly responsible for Babitz’s literary exhumation, has so fallen in love with her subject as to almost blind her to Babitz’s defects, both with respect to her writing and to the life. With two previous books — “Hollywood’s Eve” (2019) and “Didion and Babitz” (2024) — prompted by Anolik’s riveting March 2014 Vanity Fair profile, Anolik has become Babitz’s greatest champion. Now with “Too L.A.,” a title taken from Babitz’s own over-oxygenated writing, she has gathered and edited a trove of letters. They brilliantly reveal Babitz’s eye for the deep shallow as well as explore the porous boundary between the largely self-inflicted injuries of her private life and the glittering sheen of her public persona. Babitz herself, on the strength of these 197 letters, only 30 of which she ever mailed, understood in a way Anolik doesn’t the limitations of her talents, even as she strives to slip the shackles of a mansplaining culture which at almost every turn tried to blunt her ambitions, both artistic and writerly, even as her editors and admirers sought (often with her ardent encouragement) to slip between her sheets.

Eve Babitz was born in 1943 to Hollywood neo-royalty. Her Brooklyn-born father, Sol, was first violinist for both the Los Angeles Philharmonic Symphony and then the 20th Century Fox Studio Orchestra. Sol would ultimately marry Lily Mae Laviolette, a beautiful Cajun Catholic shiksa willing to convert to Judaism. Eve’s godfather was Sol’s good friend Igor Stravinsky. When puberty burst upon her at age 14, Babitz’s blossoming made her a prime candidate for induction by the fast-track girls at Hollywood High who called themselves the Thunderbird Girls and cruised the Sunset Strip in their cool cars, looking for the main chance.

From left, Sol Babitz, Mae Babitz, Mirandi Babitz and author Eve Babitz gather at a launch party for her book “Slow Days, Fast Company” in 1977.

(Photograph by Paul Ruscha; courtesy of Mirandi Babitz / The Huntington Library)

At 20, Babitz posed nude playing chess with the fully clothed Marcel Duchamp to promote Duchamp’s retrospective exhibition at the Pasadena Art Museum. At the time, Babitz was having an affair with the museum’s 32-year-old married director, Walter Hopps, which perhaps explains Babitz’s reluctance to have her face photographed so as not to give the game away to Mrs. Hopps, who attended the opening. A month later, Babitz confides in an (unsent) letter: “Everything’s so fabulous for me now I can’t believe it. There’s nothing like two boyfriends to do it for you every time. There are such fabulous boys around and they take you out on dates and to movies and I feel just like a teenager. (I’m recapturing my lost youth.) I get to get dressed up and I flirt outrageously and put people on and I do things like look soulfully out the window and man it’s just too hoozie for words. … If only all of this could last forever — not that it will, but I can.”

She spent the rest of her life torn between the excitements of everyday life — cruising the hangouts du jour (Barney’s Beanery in the early 1960s where she met many of L.A.’s up-and-coming artists — Ed Kienholz, Billy Al Bengston, Laddie Dill, Peter Alexander, and the Ruscha brothers, Ed and Paul, both of whom she’d bed, Paul becoming an on-again, off-again boyfriend whose bisexuality made for a sometimes tenuous connection; and after seducing Jim Morrison before he became famous and later the Troubadour in the late 1960s which was a happy hunting ground — Steve Martin, Glenn Frey, Don Henley, J.D. Souther, Country Joe Mcdonald, Jackson Browne, to name only a few, and then Ports restaurant where she anchored a corner table) — and the seductions of drugs — uppers, acid (which she seemed to ingest with an alarming frequency), pot, of course, and then by the mid-1970s, tragically, an Everest of cocaine. She had entered what she aptly called the era of “squalid overboogie.”

Eve Babitz and her frequent companion Paul Ruscha celebrate the 1977 release of Babitz’s seminal “Slow Days, Fast Company.”

(Photograph courtesy of Mirandi Babitz / The Huntington Library)

The name-dropping is relentless and if, like me, you have an insatiable appetite for hoovering them up, this volume will not disappoint. Still, there are many pages of vapid jottings — “I cleaned the house, did the laundry, and vowed to quit smoking” — that suggest why Babitz was a failure as a novelist (see her dud “Sex and Rage”) and a superb writer of short stories and essays that stylishly plumbed the depths of her own sensibility precisely in the degree to which she was uninterested in other people.

Nearly 30 years after she stripped to please her married lover and startle the unsuspecting Duchamp, the father of Dada, and eight years after she joined AA in 1982 — the year her beloved father died of Huntington’s disease at age 70 which ultimately would also kill her — and gave up drugs and alcohol and (almost entirely) writing as well, which had always been seen by her as enabled by dope of one kind or another, she boasted that, looking back, “Everybody wanted to be me — they looked at me with yearning faces, and said, ‘Boy, you sure had fun.’ ” She was not entirely wrong. She had struck many admirers both then and now, as the quintessential California girl, a daughter of Dionysus, whose devotion to pleasure was free of misgiving or regret. She detested the East Coast avatars of apocalypse, like Nathanael West, who saw only doom and gloom in sunny L.A. Babitz, by contrast, saw things sunny side up. If Joan Didion was unsettled and made anxious by the hot Santa Anas that regularly kicked up, Babitz luxuriated in them, recalling how she and her sister would as young girls rush to embrace them, spinning madly round and round. In a 1977 unsent letter to Joseph Heller, who had championed her work when she had sent him an unsolicited fan letter after having read “Catch-22” when it was first published and she was barely 20, she declares proudly: “I’m a gossip storyteller who likes L.A. rather than hates it.” She refers to her “shallow nature,” writing that “I feel like an upstream salmon, determined to reach the shallow water, no matter how fast the river is running the other way.”

Eve Babitz, the ultimate Hollywood reveler, on Sunset Boulevard in 1980.

(Los Angeles Times)

On the evidence of these letters, she had two great loves: Ahmet Ertegun, a principal founder of Atlantic Records, and Tom Dowd, renown recording engineer and producer who worked for Ertegun. Of the two, Ertegun had the edge, if for no other reason than he came with buckets of dough, making possible assignations at his regular bungalow at the Beverly Hills Hotel with limo pickup and dropoff services, and the best champagne and other assorted stimulants. Ertegun was effortlessly elegant and erudite, and there was no one he didn’t know and who wouldn’t return his calls. He was married, age 45, 20 years older than Babitz, when they fell for each other in 1969. She began sleeping with him even as she agreed to profile him for Jann Wenner’s newly launched Rolling Stone. The writing didn’t go well. Wenner wanted a tougher piece than she was willing to write. Ultimately, she abandoned the assignment, claiming (not unreasonably) that she didn’t see how she could write objectively about a man she loved.

Babitz courted danger with heedless bravado and exemplary recklessness. She once had the moxie to rid herself of a would-be rapist: When told not to scream, she said with unimaginable sangfroid: “Why not?” The man bolted. It might be said of Babitz, as Oscar Wilde said of his life, that she spent her talent on her writing and reserved her genius for her life. Sculpting her natural gifts of wit and brazenness into a living artwork dazzled all who came within her orbit. Her lust for life was palpable. The letters are proof. She came at people without fear. She left them without apology. She was the boss of herself. She was the girl who seemed to have it all. The only thing she lacked was inexperience.

Wasserman, a former book editor of the Los Angeles Times, is publisher of Heyday Books, a nonprofit, independent publishing house founded in 1974 in Berkeley. He is the author of “Tell Me Something, Tell Me Anything, Even if It’s a Lie: A Memoir in Essays.”

The Tour triumph marks the Slovenian’s third win in a row and draws him level with four others on the all-time list

Slovenia’s Tadej Pogacar secured a record-equalling fifth Tour de France title on Sunday after safely navigating the final stage, won by Mathieu van ⁠der Poel, to seal a third consecutive crown in cycling’s greatest race.

The 27-year-old UAE Team Emirates XRGcyclist, affectionately known as “Pogi”, only needed to avoid a race-ending mishap on the run into Paris to join Jacques Anquetil, Eddy Merckx, Bernard Hinault and ⁠Miguel Indurain as a five-time Tour champion.

Belgium’s Remco Evenepoel finished second overall, while Mexico’s Isaac del Toro rounded out the overall podium in third.

“Thank you to all the fans and to all of France for hosting this great race,” Pogacar said.

“Thank you to my competitors for putting on a great show. We fought hard over the last three weeks.”

Van der Poel takes final stage

Pogacar ‌and Van der Poel broke away on the final ascent of Montmartre with about 10km (6 miles) remaining and took a slender advantage into the run to the Champs-Elysees as the chasing group closed relentlessly.

The Slovenian’s challenge faded inside the final kilometre, but Van der Poel pressed on to secure victory in a photo finish ahead of Alpecin-Premier Tech teammate Jasper Philipsen, with Mads Pedersen of Lidl-Trek in third.

“When I was sick last year, and I had to watch the stage on television, I was already thinking about this moment,” Van der Poel, 31, said.

“The way it went, it’s a dream. It’s ⁠incredible. It was super hard, and to be up there with the best rider in ⁠the world, all my respect for Tadej.

“I thought we were going to get caught back, then I was just thinking about this moment. I put my head down in the last 500 metres. I just went as hard as I could.

“I’m super happy. I have a few races ⁠I still wanted to win in my career, and this was one of them.”

Supreme Pogacar

Pogacar underlined his supremacy throughout the Tour by claiming five stage victories.

His path to a third ⁠straight yellow jersey became less complicated when two-time Tour winner Jonas Vingegaard, ⁠widely regarded as his principal challenger, withdrew after a crash on Stage 15.

The Tour’s traditional finale in Paris was shortened after security forces were redeployed to help tackle wildfires near Bordeaux. As a result, Stage 21, which customarily takes the peloton into Paris before several laps of the Champs-Elysees, was reduced ‌to 89km from the 133km originally scheduled.

This year’s race also produced a remarkable first: no rider from France, Italy or Spain won a stage, making it the first Tour de France without a stage victory from any of the ‌three ‌nations that created and host cycling’s Grand Tours.

Pogacar’s latest triumph caps three weeks of racing since the Grand Depart in Barcelona and further cements his status as the dominant rider of his generation.

Universal Studios has issued a stern warning after an unauthorized copy of its hit film “The Odyssey” was leaked over the weekend.

“We became aware of the unauthorized posting of the film and immediately initiated takedown protocols,” the studio said in a statement. “We take copyright infringement seriously and will pursue all appropriate remedies to protect our content and intellectual property rights.”

The studio was responding to a post on X that shared a high-quality copy of the Christopher Nolan film. The post was viewed more than 2.1 million times before a takedown notice replaced the copy of the film.

The post was shared Saturday on X at 2:25 p.m. Pacific, and the account was suspended within three hours, according to Variety.

“The Odyssey” continues to be a top attraction for filmgoers, drawing huge crowds on its second weekend. Demand for advance tickets caused AMC’s app to crash in June. At the time, users on social media said wait times had reached an hour.

The film in its second weekend pulled in $87 million, acccording to Rentrak, a data analytics company that tracks box office sales.

PARIS — Tadej Pogacar confirmed his status as one of cycling’s all-time greats after winning a record-equaling fifth Tour de France title in emphatic style.

Daring mountain attacks from deep, multiple stage wins and an ice-cool temperament all helped the 27-year-old Slovenian seal his victory on Sunday. He joined Belgian Eddy Merckx, Spaniard Miguel Indurain and Frenchmen Jacques Anquetil and Bernard Hinault as the only riders to win five Tours.

“I’m speechless. It’s an incredible day, there was an incredible atmosphere,” Pogacar said. “I’ve ridden seven Tours already and I’ve always finished on the podium. You might think this is a fairy tale, it’s incredible for me too.”

After competing strongly in Sunday’s 21st and exciting final stage in Paris, Pogacar finished 6 minutes, 26 seconds ahead of Belgian rider Remco Evenepoel in the overall standings.

Two-time Tour champion Jonas Vingegaard was Pogacar’s main rival heading into the race but the Dane crashed out on the 15th stage.

“Shame that Jonas and others crashed out of this Tour,” Pogacar said. “I hope we can all fight again next year.”

Pogacar’s UAE Team Emirates XRG teammate Isaac Del Toro, a 22-year-old Mexican making his Tour debut, was third at 9:42 back from Pogacar, who smiled and held up his hand to signify his wins. His teammates then joined him as they stood proudly on the Champs-Élysées.

“I don’t know how I do it,” Pogacar said. “I now have to find a new goal to chase. Which goal? Let’s just not jump ahead of ourselves, and enjoy this moment.”

Pogacar won the Giro d’Italia in 2024 but has not won the Spanish Vuelta, which starts on Aug. 22.

“Will I be at La Vuelta in a few weeks?” he said. “Let’s see.”

Peerless Pogacar

Pogacar won five stages at this year’s race to take his impressive tally to 26 overall.

He tried to win on Sunday, too, but victory ultimately went to Dutchman Mathieu van der Poel, who just held off the chasing pack on the home straight for his second stage win at this year’s race and fourth overall.

Sunday’s 55-mile stage looped around Paris and was mostly processional, although less so than in previous years, which were usually entirely flat stages for sprinters and not for the rest of the peloton.

The stage was shortened and its starting point in Thoiry, west of the capital, was changed to Paris so as to reduce pressure on emergency services combating wildfires in the southwest. Some security forces initially mobilized for Paris were redeployed to help response efforts.

For the second straight year the stage featured the hugely popular uphill climb through the Montmartre district, a sharp 0.62-mile dash which riders tackled three times before finishing on the Champs-Élysées.

It proved even too much for Pogacar, who could not match Van der Poel’s raw power in the closing stages.

Shortly before 6 p.m. local time, Pogacar shook hands at the start line with Evenepoel and Ecuadorian veteran Richard Carapaz, wearing the polka-dot jersey for the best climber.

“I battled hard to win this jersey, it was a great fight,” the 33-year-old Carapaz said. “It’s the best feeling to win it.”

Exciting finale

Van der Poel and Dane Mads Pedersen, the green jersey winner as best sprinter, were among the expected contenders for the stage win.

Crowds roared as the riders began the first climb up Rue Lepic in Montmartre, with the famed Sacré-Coeur basilica looming over them.

Pogacar moved ahead after the second ascension of Montmartre, with Van der Poel, Evenepoel and Pedersen alongside him.

Van der Poel attacked on the third and final climb with Pogacar responding well, and the one-day classics rivals surged ahead.

But they were caught with 700 meters left and, after Pogacar faded, the 31-year-old Van der Poel still had work to do.

He got his bike just over the line ahead of Belgian Jasper Philipsen, his Alpecin-Premier Tech teammate, and Pedersen. Pogacar eased up and finished 30th.

“I thought the sprinters would catch us up so I launched [my attack] from very far away,” Van der Poel said. “I gave everything I had left in my legs and it was just enough.”

Cycling pedigree

Van der Poel is widely considered one of the best cyclists in the world. He has multiple victories in one-day classics and Cyclo-cross world championship titles, and is also a former world road race champion.

His father Adri van der Poel won two stages on the Tour in the late 1980s.

His maternal grandfather was French cyclist Raymond Poulidor, who raced in the 1960s and ’70s, finishing second on the Tour three times and third five times. Nicknamed “Poupou” and “The Eternal Runner-up,” he was adored by French fans.

Women’s Tour

The nine-stage women’s Tour starts in the Swiss city of Lausanne on Aug. 1 and finishes in Nice on Aug 9.

Frenchwoman Pauline Ferrand-Prévôt won on debut last year.

Pugmire writes for the Associated Press.

SAN FRANCISCO — Every election produces a campaign strategist whose victory bestows upon them, for at least a little while, the unofficial title of reigning political genius.

James Carville, Karl Rove, David Axelrod and Stephen K. Bannon have all worn the crown.

For many years, and many election cycles, California’s reigning political genius was Clint Reilly.

In an age before the internet, before social media, before the cable-TV chat shows and before Carville and the like, Reilly came as close to celebrity as a political operative possibly could. He was the subject of fear, admiration, contempt, envy and lengthy newspaper and magazine treatments.

His cherry-red Jaguar, Italian suits, designer eyewear and seaside mansion made Reilly an influencer before there even was such a thing. (A connoisseur of the finer things, he served visitors coffee in bone china when they called on his San Francisco office.)

“It used to be that political consultants and political mechanics were something that only a handful of people thought about,” said Eric Jaye, one of generations of campaign strategists who were trained or inspired — directly or indirectly — by Reilly. “Clint was the original star consultant who made news himself and shaped the political discussion.”

Reilly, a working-class product of Oakland who crossed the Bay and scaled the heights of San Francisco business, culture and politics, died earlier this month at age 79.

For someone who never held political office — a 1999 bid for San Francisco mayor was a notable flop — Reilly wielded considerable influence.

A list of the many Democrats he helped elect — among them Nancy Pelosi, Dianne Feinstein and Barbara Boxer — reads like a scroll of modern California history. At one time, the sitting mayors of both San Francisco and Los Angeles were clients of Reilly.

He wasn’t flawless as an election strategist. Like any political operative, he had his share of defeats.

Reilly’s particular genius lay in the methodology — vertical integration — he brought to campaigns. Typically, one consultant would handle television advertising, another direct mail, another polling, another big-picture strategy, and so on.

“Everything was in-house with Clint and, at least in San Francisco, he was the first to do that,” said Jerry Roberts, who was a scruffy reporter for the city’s alt-weekly when he met a shaggy-haired Reilly more than 50 years ago. At the time, campaigns were a sideline for Reilly, who supported himself selling doodads and other salvaged wares in a movable flea market he operated on Fisherman’s Wharf.

“It was a smart business model,” said Roberts, who went on to lead two major California newspapers.

It made Reilly very rich.

In 1988, he managed what, at the time, was the most expensive political campaign in California history, a $64-million effort by the insurance industry to beat back a Ralph Nader-inspired reform initiative. Reilly lost, but his firm cleared at least $6 million on that contest alone — or about $17 million in today’s dollars.

“So that’s where our premiums went,” one guest observed with a low whistle as he arrived at the state-of-the art headquarters Reilly built not long after the Proposition 103 campaign. (Naturally, he threw an open house; for all his affluence, Reilly never did entirely shake the proletariat chip on his shoulder.)

A onetime seminarian — he left three years shy of being ordained a Catholic priest — Reilly was no saint.

He was hot-tempered, profane and egotistical. He embraced the nickname “Satan,” which a former client affixed after Reilly went to work for an archrival, as a reflection of his reputation for intimidation and mastery of the political dark arts.

In one fit of pique, Reilly took the unheard step of firing a client — Feinstein — via faxed press release because, he said, the former San Francisco mayor lacked the requisite fire to run for governor. The two eventually reconciled, though Feinstein stuck with members of the team that replaced Reilly and helped guide her to successive terms in the U.S. Senate.

If Reilly was at times overbearing — and known for being the kind of hellacious boss who gave employees night sweats — he was also generous and a genuine bleeding heart.

Before his career took off, Reilly volunteered for the United Farm Workers and lived an ascetic life, sheltering in church halls, as he ministered to the poor. Once he established his high-end consulting firm, Reilly retained his political staffers at no small expense, even during the lull between campaigns, rather than hiring and firing them as seasonal workers, which was the norm.

After leaving professional campaign consulting in the mid-1990s, and making a substantial fortune in real estate, Reilly gave prolifically to various charities and assorted civic caucuses. He started a charitable foundation of his own, Bay Scholars, which helps poor and underserved youth attend Catholic high schools throughout the area.

In 1987, when Reilly arguably resided at the height of his power and influence, he took on Pelosi as a client.

She was running for a rare open congressional seat in San Francisco and, though well known in political circles as a prodigious Democratic fundraiser and high-level activist, Pelosi was a blank slate to many voters. Reilly came up with a slogan that played on Pelosi’s Washington connections and many important friendships: “A voice that will be heard.”

More than that, he made a key tactical decision in the waning days of the campaign.

Pelosi was one of 14 candidates, several of them well-known Democratic officeholders. Ignoring Pelosi’s objections, Reilly sent out a mail piece to the city’s vastly outnumbered Republicans suggesting that a Democrat was bound to win the congressional seat and arguing that Pelosi was the best — or, at least, not the worst — of the bunch.

On election day, Pelosi lost the Democratic vote to Harry Britt, who succeeded Harvey Milk on the Board of Supervisors after Milk’s assassination. Still, Pelosi prevailed, by less than 4,000 votes out of nearly 108,000 cast. The winning margin was her Republican support.

The rest, as they say, is history.

WASHINGTON — Justice Anthony M. Kennedy, the Supreme Court’s most influential member prior to his retirement, has watched quietly for eight years as a new conservative majority took charge.

He was troubled by partisan gerrymandering, but a year after he stepped down, a 5-4 ruling closed the federal courts to challenges to state voting maps that allow one party to rig the elections in its favor.

Though he believed abortion was a moral wrong, he cast the crucial vote in 1992 to uphold Roe vs. Wade and the principle that a woman, not the government, had the right to decide on ending an early pregnancy.

Four years ago, that decision was overturned on a 5-4 vote.

While Kennedy has refrained from commenting on the current court or President Trump, he has written a memoir that tells his life story and explains the reasoning behind the major decisions of his era.

It has become common for the justices to write books, but they steer clear of writing about the work of the court. Kennedy’s book, “Life, Law & Liberty,” is, like the justice, the exception to that rule.

An Irish Catholic from Sacramento and a Reagan Republican, Kennedy had a generally conservative voting record over 30 years on the high court. But he had a distinct view of liberty and justice.

“The nature of injustice is that we may not always see it in our own times,” he wrote in 2015.

Kennedy rejected the “rigid” view that the Constitution’s promises of liberty and equal protection of the law, as well as the protection against cruel and unusual punishment, were limited to their “original” meaning in the Bill of Rights of 1791 or the 14th Amendment of 1868.

After all, slavery and segregation were legal for much of American history, and women were not protected from discrimination by the promise of “equal protection” in the 14th Amendment.

Kennedy remained open to new rights and liberties. The goal, he wrote, was “a decent society in which the Constitution and the rule of law treat all with dignity and equality.”

He was the justice who made the difference in several areas of law, none more significant than in LGBTQ+ rights.

He wrote the court’s four major rulings rejecting discrimination based on sexual orientation. In 2015, he spoke for the 5-4 majority to uphold same-sex marriages nationwide.

“No union is more profound than marriage, for it embodies the highest ideals of love, fidelity, devotion, sacrifice, and family,” he wrote. “Many same-sex couples provide loving and nurturing homes to their children, whether biological or adopted. And hundreds of thousands of children are presently being raised by such couples.”

They “ask for equal dignity in the eyes of the law. The Constitution grants them that right,” he concluded in Obergefell vs. Hodges.

He also believed that teenagers who commit crimes are not as culpable as adults. He wrote a court opinion in 2005 ending executions for murderers who were under age 18 at the time of their crime.

Five years later, he wrote the court’s opinion holding it was cruel and unusual punishment for judges to impose a sentence of life in prison with no chance for parole for a teenager’s crime that did not involve homicide. In the case before the court, a Florida teen was given a life term for committing an armed robbery and a home burglary prior to his 18th birthday.

Kennedy marked his 90th birthday on Thursday and says his favorite topic of conversation is not the nine justices but his nine grandchildren. He still goes to the court some days and says he is worried by the tone in Washington and around the country.

“It is too partisan and confrontational,” he said in a recent interview with The Times. “I’m concerned that the divisiveness may be reflected at the court.”

Democracy requires “reasoned and respectful debate,” he said, not personal attacks and name calling.

Kennedy may be the last justice of his kind, said Washington University law professor Daniel Epps, a former Kennedy clerk.

“I don’t think we’ll see another justice who is so ideologically unpredictable and who votes against his party of appointment in some of the hugest cases in our lifetimes,” he said. Kennedy emerged from “an appointments process that was less polarized, where there were conservative Democrats and liberal Republicans and a Senate filibuster, which all made it possible for moderates to be appointed.”

While Kennedy describes himself at times as a small-town lawyer from Sacramento, he knew the two California governors, both Republicans, who reshaped the Supreme Court.

Kennedy’s father was a friend of Gov. Earl Warren, and young Tony played with Warren’s children. He also worked as a young page in the state Capitol when Warren was governor.

He was a high school senior in 1954 when Warren, the new chief justice, spoke for a unanimous court to strike down racial segregation in the case of Brown vs. Board of Education.

He and his father agreed the ruling was long overdue. It also provided an early lesson in how justices can uphold the fundamental principles of the Constitution despite intense opposition in much of the nation.

He said he later learned a second lesson. The Brown decision was “a historic step forward” but it “just a beginning” in the fight against entrenched racial injustice.

In writing the same-sex marriage case, Kennedy cited Warren’s opinion in the 1967 case of Loving vs. Virginia which struck down the bans on interracial marriages in 16 states.

As as young lawyer, Kennedy worked on special projects for Gov. Ronald Reagan and admired him greatly. He was just 38 years old when, at Reagan’s behest, he was appointed to the U.S. 9th Circuit Court of Appeals.

As president a decade later, Reagan had appointed Justices Sandra Day O’Connor and Antonin Scalia to the Supreme Court and elevated William Rehnquist to be the chief justice. But his third nominee — Judge Robert Bork — was voted down as too conservative by the Senate.

Reagan invited Kennedy to the White House and offered him the nomination. Kennedy recalled telling Reagan that he and his wife Mary were happy in Sacramento where all their friends and family lived. We don’t know anyone in Washington, he said.

President Reagan gestures toward Judge Anthony M. Kennedy’s family after nominating Kennedy to the Supreme Court in 1987.

(Dennis Cook / Associated Press)

In his best imitation of Reagan’s voice, he recounted the president’s response: “You know me. And you know Nancy.”

Kennedy accepted the nomination and was confirmed in February 1988 by a 97-0 vote, the last justice to win unanimous approval from the Senate.

His three decades on the court were shaped in part by his relationship with Scalia.

Kennedy and his wife bought a house in the same northern Virginia neighborhood where Scalia lived. In their early years on the court, they appeared to be friends and allies.

They broadly supported freedom of speech. To the surprise of many, they cast the deciding votes in 1989 to rule that the 1st Amendment protects the right to burn an American flag in protest.

A year later, Kennedy and Scalia dissented vehemently when the court ruled the Michigan Chamber of Commerce and its corporate supporters could be barred from advertising their support for state candidates.

The decision triggered a decades-long dispute that ended with the Citizens United ruling in 2010. Kennedy spoke for a 5-4 conservative majority to rule that corporations, unions and other groups were free to spend money independently to oppose or support candidates.

But when the court was closely split in major cases, Kennedy was likely to be in majority while Scalia wrote scathing and increasingly personal dissents.

“I would hide my head in a bag,” Scalia wrote in dissent in the same-sex marriage case, rather than join an opinion “couched in a style that is as pretentious as its content is egotistic.”

Kennedy was put off by a different jab. Scalia said the justices do not represent the full country. For example, the court lacks a “genuine Westerner (California does not count),” he wrote.

Since Scalia’s death, his influence has grown especially with the younger generation of conservatives.

Two of Trump’s appointees — Justices Neil M. Gorsuch and Brett M. Kavanaugh — were clerks for Kennedy in 1993, but they are far more likely to cite Scalia and his views on interpreting laws or the Constitution. Justice Amy Coney Barrett, Trump’s third appointee, was a clerk for Scalia.

While Kennedy did not respond to Scalia’s harsh dissents, they hung over their last year together on the court.

One day in early February of 2016, Scalia stopped by Kennedy’s office to talk.

“Nino said he had come to regret deeply the tone of his Obergefell dissent and its personal references. He apologized for being intemperate,” Kennedy wrote. “Neither of us is big on hugging, but we hugged, both of us smiling.”

They agreed to get together for dinner with their wives when he returned from a hunting trip to Texas.

A week later, Scalia’s wife Maureen called to tell them of his death.

“Nino and I spent 28 years on the court together,” Kennedy wrote. “We sometimes agreed and sometimes disagreed, but I respected him and miss him very much.”

Raytheon has touted a new domestic order for PAC-2-series interceptors for the Patriot surface-to-air missile system. This is the first time the U.S. military has bought any new PAC-2s in more than 30 years, according to the company. This comes amid persistent concerns about the sufficiency of American stockpiles of high-end anti-air interceptors and other critical munitions, with alarm bells now ringing very loudly due to the conflict with Iran. Global demand for Patriot systems and interceptors for them, in general, is at a high point, driven heavily by fighting in the Middle East and the ongoing war in Ukraine. Patriot has been seeing a broader renaissance in recent years amid an evolving threat ecosystem, emanating especially from Russia and China.

Patriot was an important topic of discussion during a Raytheon quarterly earnings call this morning. Raytheon is the prime contractor for the Patriot system and the PAC-2 interceptor. Lockheed Martin is the prime contractor for the separate PAC-3 family of interceptors for Patriot.

“Raytheon booked nearly $20 billion of awards, resulting in a book-to-bill [ratio] in Q2 [second quarter of the 2026 fiscal year] of 2.4[%],” Christopher Calio, President and CEO of Raytheon (now formally called RTX), said on today’s call. “These bookings included over $5 billion of GEM-T Patriot effectors, driven by international customers, and our first domestic GEM-T production order in over 30 years.”

Calio did not elaborate on the domestic order, but this appears to be a reference to a contract the U.S. Army quietly awarded back in April. That deal was valued at $441.6 million and was said to be in support of Operation Epic Fury against Iran.

GEM-T stands for Guidance Enhanced Missile-Tactical. The GEM-T configuration, which has received various upgrades over the years, is the only version of PAC-2 still in production today.

Before the contract in April, it’s not entirely clear when the U.S. Army last ordered any new-production PAC-2 series interceptors, and the nomenclature here can be a little confusing. Raytheon began production of the baseline Guidance Enhanced Missile (GEM) variant, also designated the MIM-104D, in the mid-1990s. Compared to earlier versions of the PAC-2, GEM had improved engagement capability against smaller targets or ones otherwise with smaller radar cross-sections thanks to a new seeker. Changes were also made to the missile’s fuze to improve effectiveness against fast-moving ballistic missiles. A GEM+ configuration was subsequently developed, offering even better accuracy, performance, and reliability.

The U.S. Army subsequently sent stocks of baseline GEM and other older PAC-2 interceptors back to Raytheon to be brought up to the GEM+ standard. The resulting missiles were collectively designated MIM-104Es, with deliveries starting in the early 2000s. The GEM-T moniker was originally applied to MIM-104Es rebuilt from MIM-104Ds, which were further optimized against tactical ballistic missiles in the process. You can read more in detail about the PAC-2 lineage, as well as that of the separate PAC-3 series, in this previous TWZ piece.

Whether or not the new U.S. order for GEM-T interceptors is entirely for American military use, or includes purchases on behalf of allies and partners, is unclear. GEM-T remains in active U.S. Army service, as well as with other Patriot operators globally, even as newer PAC-3 interceptors have arrived. Current-generation trailer-mounted Patriot launchers can be loaded with mixtures of PAC-2 and PAC-3-series missiles at the same time, increasing their flexibility against different threats. PAC-2 missiles are distinctly larger than PAC-3 types.

However, as Raytheon has highlighted today, the U.S. military had not placed any orders for new-production GEM-Ts in decades. Members of the House Armed Services Committee notably questioned this logic just in June, in a report accompanying a draft of the annual defense policy bill, or National Defense Authorization Act, for Fiscal Year 2027.

“The committee supports the Army’s continued investment in Integrated Air and Missile Defense (IAMD) to address the spectrum of current and future aerial threats and notes the ongoing efforts to address munitions production capacity within the domestic defense industrial base,” per that report. “The committee further notes that the Army’s procurement of Patriot interceptors in recent budget requests has been for the Patriot Advanced Capability-3 Missile Segment Enhancement (PAC-3 MSE), and not for the PAC-2 Guided Enhanced Missile-Tactical (GEM-T), which has complemented the MSE in real-world engagements.”

At that time, the House Armed Services Committee also asked for the Secretary of the Army to provide a briefing, no later than March 1, 2027, on Patriot interceptor inventories. Lawmakers specifically asked for the briefing to include the following:

• “An overview of the capabilities and limitations of both PAC-2 and PAC-3 interceptors against current and emerging theater ballistic missile and air breathing threats.”
• “Current stockpile levels for PAC-2 and PAC-3 interceptors, planned deliveries of both types across the Future Years Defense Plan (FYDP), and an assessment of inventory sufficiency relative to approved force growth, and remaining shelf-life.”
• “A description of the Army’s Total Munitions Requirement for the Patriot family of interceptors.”
• “Any recommendations to address shortfalls in inventory, to include additional procurement of PAC-2 interceptors, modernization of the PAC-2 missile, and development of a new interceptor for the Patriot system.”

Whether or not the committee was aware at that time of the GEM-T contract earlier this year is unclear. When missiles from that order are expected to start arriving is also unknown. PAC-2 and PAC-3 interceptors are long-lead-time items, and it typically takes years for deliveries to come after a contract award.

All of this speaks to the larger issues around Patriot interceptor stockpiles, which become something of a poster child for munitions supply chain concerns more broadly. Questions surrounding munitions expenditures in the course of fighting against Iran this year were front and center at a Senate Appropriations Committee hearing just yesterday. The Trump administration is currently seeking $67.1 billion in supplemental funding to help cover the costs of the conflict, including replenishing stockpiles of critical munitions.

Just how many Patriot interceptors the U.S. Army has expended in the course of operations related to Iran this year is unknown. A detailed report the Center for Strategic and International Studies (CSIS) think tank published in May estimated the figure to be somewhere between 1,060 and 1,430. Those numbers were not further broken down between PAC-2 and PAC-3 variants.

On Saturday at Dodger Stadium, as the sun dipped below the horizon, Fuerza Regida took center stage for a career-defining show, delivering cinematic time-travel segments and hints of off-stage controversy.

The Mexican American band joined an illustrious list of legendary acts — Elton John, the Beatles, Michael Jackson and Beyoncé to name a few — to perform at the iconic venue built on Chavez Ravine, the shallow canyon that served as home to thousands of Mexican American families forcibly displaced in the 1950s for the sake of progress.

In June, the San Bernardino quintet kicked off its This Is Our Dream stadium tour across nine U.S. cities to close out its manifestation project “111xpantia.” The 2025 LP peaked at No. 2 on the Billboard 200 in May 2025, becoming the highest-charting Spanish language album by a duo of band ever. It also comes a year after the band sold out the Madison Square Garden and the Hollywood Bowl in consecutive nights.

But the stadium tour — which will end Aug. 7 in New York’s Citi Field — does more than showcase the band’s recent mainstream success. It honors the years of grit it took to get there.

“It’s proof that dreams are worth chasing, fighting for, even when it feels hard or impossible,” said Khrystian Ramos, the band’s rhythm guitarist.

As part of the set design, a massive prop car stereo was affixed atop the stage. Inspired by the 1985 film “Back to the Future,” it doubled as a time traveling machine. But instead of a DeLorean, the band opted for a Chevrolet 454 SS pickup truck, a car that symbolizes the American dream for lead singer Jesús Ortiz Paz, better known as JOP, and is largely associated with the group’s corrido forefather, the late Chalino Sanchez.

The first stop in Fuerza Regida‘s journey to the past was 2018, as the band performed its breakthrough hit, “Radicamos En South Central,” a song about gradually building a drug empire that went viral on YouTube. Shortly after its release, the band signed with independent label Rancho Humilde and followed up with “Sigo Chambeando,” a bouncy corrido that embodies the band’s “never stop hustling” ethos.

It’s a mindset that has served them well.

The more than a decade-long road to selling out Dodger Stadium certainly wasn’t easy for the corrido tumbado band, which formed in 2015 and first built a fan base by performing cover songs at local parties across the Inland Empire. .

Jose “Pelon” Garcia, left, Jesus Ortiz Paz and Khrystian Ramos of Fuerza Regida perform during their This Is Our Dream Stadium tour at Dodger Stadium on July 18 in Los Angeles.

(Carlin Stiehl/For De Los)

“We got kicked out of a gig one time. The guy literally told us that he didn’t like our music,” said Ramos. “That drive home was a key moment in our career.  It showed us that it’s not all stars and rainbows.”

Ramos started the band alongside the band’s 12-string guitarist, Samuel Jáimez. The two met at martial arts school as kids and kept in touch in the years that followed, jamming out together after their 9 to 5 .

The band’s name was originally Raimez — a portmanteau of Ramos and Jáimez— but was later changed to accomodate the arrival of lead singer JOP.

“I remember exactly [where we came up with the name]. We’re driving down the 10 passing Mount Vernon Avenue,” said Ramos. “Fuerza Regida, a  governing force. Wherever you step, the presence is felt.”

That certainly was the case on that warm July evening as the more than 56,000 fans in attendance chanted the band’s name in unison.

“Not in a thousand years, I didn’t see it until it crept up. It was like alcohol,” said Jáimez about the band’s global success.

Sousaphone player José García, also known as Pelon, never imagined that leaving behind a steady job to pursue his musical dreams would pan out like this.

“I worked in construction Monday through Friday and we had gigs with Fuerza Thursday, Friday, Saturday and Sunday. I practically had two jobs,” said García. “I had life insurance. I had benefits, 401(k), all that. So I left a really good job so I could join Fuerza Regida.”

In 2022, the band added its fifth member, Moisés López, who plays the tololoche — a small upright bass. López, who contributed to the 2020 track “Vamos Bien” as a bass player, said that JOP had asked him to learn the instrument if he wanted to stay with the group. “He bought me it. I picked it up real quick and from there it’s history.”

Jesus Ortiz Paz, left, and Moises Lopez of Fuerza Regida perform during their This Is Our Dream stadium tour at Dodger Stadium on July 18 in Los Angeles.

(Carlin Stiehl/For De Los)

At the concert, the time machine took attendees back to 2022, Fuerza Regida’s bélico era marked by the corridos “Billete Grande” and “Igualito A Mi Apá” as well as its gentler viral hit “Bebe Dame,” the first Fuerza Regida song to reach the Billboard 100, peaking at No. 25.

“We went from clubs to theaters to arenas. I’ve never thought we would get this far,” said López. “We’ve always said hard work beats talent.”

But it isn’t just drive that has shaped Fuerza Regida’s career — time and time again, the band has proved to be adaptable and experimental, always evolving its sound and drawing from a wide range of influences.

2023 saw the release of “Pa Las Baby’s y Belikeada,” a party record that fuses trap, pop and EDM, and features the player anthems “TQM” and “Sabor Fresa”; to complement the womanizer themes of the record, there was a baddie camera on stage, which panned to women in the audience.

As the band sang its 2023 ballad “Una Cerveza” — a song about getting drunk to forget a lost love— a girl across my way called her ex and lifted her phone up in the air so that he could hear its heartbreaking lyrics. Then she hung up.

The Dodger Stadium show felt like a massive celebration, not just for the band but for música mexicana as a whole. Special guest performances throughout the night included Los Gemelos de Sinaloa, Calle 24, Chino Pacas, Clave Especial and Chuyin — acts that have helped fuel the meteoric rise of the genre.

“I’m proud and grateful that la raza is finally doing it. We’re here to stay,” Jaimez said.

Though the show focused on Fuerza Regida’s past, there were also hints of what’s to come. The band’s relationship with its record label Rancho Humilde has become acrimonious and litigious. In recent months, JOP has repeatedly accused founder Jimmy Humilde of withholding royalties and sabotaging the band. In turn, the record mogul has claimed that the band is not fulfilling its contractual obligations. A bitter divorce feels imminent.

“The internet tells a lot of lies. False news. That supposedly someone won a lawsuit. But that lawsuit is still underway and we know who will win,” JOP told the audience before singing “Triston,” a track released at the start of 2026 that was immediately pulled from the streamers. “They took this song off the platform but they can’t stop us from singing the song here.”

WASHINGTON — For the rescheduled White House Correspondents’ Assn. dinner on Friday at Washington’s Waldorf Astoria hotel, security will be much tighter, the guest list smaller, the partying pared down, and the dress code more relaxed.

That much, the correspondents’ association can control.

What remains out of its control — and perhaps the biggest question — is what the dinner’s most prominent guest, President Trump, will bring to the table.

Call it White House Dinner 2.0, or Take Two, or, in Trump’s own words, a “HOT ticket.” The big unknown is whether Trump will bring the fighting words (“rather nasty,” he said) against the press that he’d planned to deliver in April — before the event descended into chaos when a gunman stormed a security checkpoint, forcing an evacuation of the room.

“The president looks forward to finishing what he started,” press secretary Karoline Leavitt said on Thursday, confirming Trump’s attendance. “I encourage everyone watching tomorrow night to tune in for what promises to be a very entertaining and memorable evening.”

Trump has been coy about what he might say

As for Trump himself, he indicated last month he wasn’t sure. “I don’t know whether or not I will give the same rather nasty statements, at least as it concerns certain people, but we will soon find out,” the Republican president wrote on his Truth Social platform. “In any event, it will be a ‘HOT’ ticket!”

Besides the pared-down approach, there is another change at Friday’s dinner: two additional awards. One will be presented to Victor Gonzales, the Secret Service agent who was staffing a security checkpoint in April and was struck in his protective vest.

“Officer Gonzales … ran toward danger so that thousands of others could make it home safely,” WHCA President Weijia Jiang said in a statement. “His courage stemmed from a dedication to service, which we are looking forward to honoring this week.”

A second award will be presented to the staff of the Washington Hilton hotel, site of the first dinner.

Other changes: With security in mind, there will be only one entrance at the much smaller venue, with airport-style metal detectors. Guests received individual QR entry codes in advance, and nobody can get in unless recognized. “There is NO red carpet at this dinner,” said a memo Jiang sent to some guests last month, seen by The Associated Press. “There are NO onsite pre-dinner receptions.”

The dress code this time is a looser “black tie optional,” and dinner includes grilled peach and burrata salad, lobster, and beef Wellington. The evening, as at the last dinner, has entertainment by mentalist Oz Pearlman, along with the awards presentations and Trump’s remarks.

Jiang and her fellow board members worked hard to bring about this WHCA dinner 2.0, not wanting to let a violent act — or the image of colleagues hiding under tables — remain the final thought. Announcing the rescheduling, she emphasized the dinner’s stated purpose: “a celebration of a free press and the vital role of journalism in our democracy for over a century.”

“We will not allow an act of violence to have the last word, especially during a year when we are reflecting on the 250th anniversary of America and everything we stand for,” Jiang said.

There’s still lots of criticism of the event

But it’s also clear that some people felt the dinner should not be rescheduled at all.

Many never thought it was much of a good look in the first place, with the sight of journalists in formal wear cozying up to their sources, or the objects of their reporting.

“It undermines the public faith in how the press does its work, and it makes it look like we are pals with the people we cover,” Kelly McBride, an ethics expert at the Poynter Institute, a journalism think tank, said when the deliberations were taking place.

The new dinner comes during a time of fast-increasing tension between the media and a president who, in his second term, has tried to exert pressure on media outlets he is unhappy with in a variety of ways. That pressure has ranged from sanctions against members of the White House press corps to regulatory actions through the Federal Communications Commission to outright lawsuits.

Those tensions have only escalated since April, with the latest example reaching a New York courtroom on Thursday. There, criticized by a federal judge for sloppy legal work, the government withdrew subpoenas that would have compelled three New York Times reporters to testify about their sources for articles about Trump’s Qatari-gifted Air Force One jet.

That escalation was the impetus behind a letter from a coalition of press freedom groups and hundreds of former journalists, urging the WHCA to stand up to Trump forcefully at the dinner.

“We believe it is hypocritical to celebrate the First Amendment in front of the man who relentlessly attacks it,” the letter says. “We urge the WHCA to condemn the administration’s actions from the podium and pledge to fight all attempts by his administration to undermine this core pillar of a functioning democracy.”

Noveck writes for the Associated Press.

Aaron Donald did not attend a Rams fan event Thursday night, but the crowd at the YouTube Theater in Inglewood featured many people wearing No. 99 jerseys. One waved a large printed cutout of the three-time NFL defensive player of the year’s face.

The Rams are waiting for Donald to decide whether he will come out of a two-year retirement and join a star-studded Rams team that is favored to win the Super Bowl, which will be played in February at SoFi Stadium.

“I think it’s real clear where we can start the GoFundMe to bring Aaron back,” team president Kevin Demoff joked to a raucous crowd that was cheering ‘AD, AD, AD.”

The Rams open training camp Saturday at Loyola Marymount. Donald, 35, helped the Rams win Super Bowl LVI at SoFi Stadium to cap the 2021 season. He has indicated that he is considering a return to a defense that features end Myles Garrett, the reigning defensive player of the year, and All-Pro cornerback Trent McDuffie.

“We don’t have a ring, or a Lombardi Trophy or a banner if it’s not for Aaron Donald,” Demoff told the crowd, adding that if Donald wants to return, “We will wait with open arms.”

Tony Pastoors, the Rams chief operating officer, said the Rams want Donald to go “through his process” before making a decision.

“Whenever he’s ready, we’ll be ready,” Pastoors told the crowd. “And, ultimately, I would rather have Aaron Donald when we’re playing actual football games than in July.

“So, we’ll all be patient, and if it happens, we’ll be ready.”

Demoff echoed Pastoors.

“The last 10 years don’t happen without Aaron Donald, and if he wants to come help kick off the next 10 years, by all means we’re ready.”