WASHINGTON — Seeking to reassure U.S. allies, a bipartisan group of senators is departing for a tour of Arctic nations. And this time they’re leaving the men behind.
From the eight senators to their staff and military liaison officers, the all-female group will pay diplomatic visits to government officials in four Arctic nations, witness the challenges for militaries in the region and visit a Norwegian archipelago so remote they will need escorts to avoid run-ins with polar bears.
“I want them to experience, first of all, the awesomeness of the Arctic,” said Republican Sen. Lisa Murkowski of Alaska, who is leading the trip alongside Democratic Sen. Jeanne Shaheen of New Hampshire, the top Democrat on the Senate Foreign Relations Committee.
The trip was born out of both senators’ work to stabilize relations with U.S. allies in North America and northern Europe at a time when President Trump has taken an aggressive, go-it-alone stance in the region. Just this week, the Pentagon announced that the U.S. would pause participation on a joint board with Canada for continental defense that dates back to World War II.
Murkowski and Shaheen said that is the wrong approach in an Arctic region that has increasing strategic value and unique challenges.
“We will reassure our allies that we recognize and appreciate the importance of our allies and partners in the Arctic as in so many other areas,” Shaheen told the Associated Press, adding that she expected the group to discuss “what more we can do as members of Congress to support those relationships.”
The group is split evenly between Democrats and Republicans, with Sens. Cindy Hyde Smith, Katie Britt and Cynthia Lummis making up the Republican side, and Sens. Maggie Hassan, Kirsten Gillibrand and Catherine Cortez Masto from the Democrats. Departing Friday, they will visit Arctic or sub-Arctic regions in Canada; Greenland, which is an autonomous territory of Denmark; Svalbard, a Norwegian archipelago that is one of the northernmost inhabited areas on Earth; and Iceland.
Understanding the Arctic
Murkowski and Shaheen said they want the group to come away with a deeper understanding and appreciation for Arctic communities that are experiencing the effects of climate change, as well as the unique challenges of conducting military operations in the region.
“It’s to understand what it means to go into a remote, isolated community that has no access by road,” Murkowski said, adding that the group would see how military sites need airplane hangars because aircraft cannot be kept outside overnight in the Arctic cold.
NATO has recently tried to foster cooperation in the High North through a series of joint military exercises, especially as nations like China and Russia increase their activities there.
As climate change thins the Arctic ice, it could potentially create a northwest passage for international trade as well as reignite competition with Russia, China and other countries over access to the region’s mineral resources. The region is also host to a number of undersea cable projects that hold strategic value.
The group will also visit Indigenous communities that have lived in the region for generations and understand the environment. Murkowski said she hopes the senators come away from the trip “excited and intrigued and hopefully inspired.”
As Trump threatened to take Greenland earlier this year, Shaheen and Murkowski also teamed up to push for legislation that would prevent the U.S. from attacking any fellow NATO member. They are among the lawmakers pushing to include language in this year’s defense legislation that would prevent the Trump administration from withdrawing military commitments to NATO allies.
Shaheen said, “I also want to know if there are policy directives that we should be thinking about. And it will be great to have a strong bipartisan group there to discuss what we might want to do when we get back.”
How an all-female trip will be different
For some of the nations the group will be visiting, a high representation of women is nothing new. Iceland’s parliamentary body is comprised of roughly 46% women, one of the top ranking countries globally for female political representation.
Shaheen said that research suggests that “when women are the negotiating table, that agreements that are made have a much better chance of lasting for a longer period of time.”
She added that data show that representation of women in government leads to more stable societies, as well as investments back into their communities.
“There are very real reasons why we need to make sure that women are at the table,” she added.
Indiana’s lack of glamour is a point of pride, rooted in Midwestern practicality and endless flat fields of corn.
Lately, though, the Hoosier state has been elevated by towering sports figures. And on Sunday, two will be the fresh faces of the Indianapolis 500, which attracts more spectators than any other single-day sporting event in the world.
Indiana Fever superstar Caitlin Clark will be the grand marshal. National championship-winning Indiana football coach Curt Cignetti will drive the honorary pace car.
But even those high achievers might be awestruck by one of the race car drivers. Or at least what that driver will attempt.
Not only will Katherine Legge be the only woman among the 33 drivers in the Indy 500, which begins at 9:45 a.m. PT on Sunday. The 45-year-old motorsports trailblazer from England will then fly to Charlotte to race in the NASCAR Cup’s Coca-Cola 600, which begins at 3:29 p.m. PT.
That’s 1,100 miles of left turns around two oval tracks.
On the same day.
As impressive as undertaking what is known simply as “The Double” are Legge’s travel plans from Indianapolis to Charlotte. Five hours and 44 minutes separate the starts of the two races. The Indy 500 takes longer than three hours to complete. The commute will take close to two hours.
Legge plans to hustle. She will hop into a helicopter moments after the Indy 500 and head to a nearby private jet that will zip her 366 miles to Concord Airport near Charlotte in an hour. Another helicopter will drop her onto the Charlotte Motor Speedway infield. A golf cart will take a beeline to her Chevrolet Camaro in time for the green flag.
At least that’s the plan.
“Being focused for a three-to-four-hour IndyCar race then a five-hour NASCAR race, it’s the same as driving from New York to Daytona Beach pretty much at, gosh, an average of 200 miles an hour,” Legge said. “You cannot lose focus for a second of any of that. I don’t think anybody can comprehend that.”
Legge is the first woman and only the sixth driver overall to attempt The Double. Although her career has included IMSA sports cars and Formula E in addition to IndyCar and NASCAR, she has never attempted anything this challenging.
John Andretti, Robby Gordon, Tony Stewart, Kyle Larson and (rest in peace) Kurt Busch are the others who have tried.
Larson is the most recent, finishing 18th in the Indy 500 and 37th in the Coca-Cola 600 a year ago. He also tried in 2024 but didn’t get to his car in time in Charlotte because of a rain delay in Indianapolis.
The documentary “Kyle Larson vs. The Double” premiered Wednesday on Prime Video. It follows the two-time NASCAR Cup Series champion through preparation, logistics and grueling reality of getting through the day.
Legge is beginning to relate.
“I was thinking about what I’m going to do with a hybrid strategy at the same time as telling people about how I’m going to do the double,” she said. “It’s this weird disconnect, right? Where you’re like, ‘That’s so cool.’ And conceptually, you know exactly what’s involved, but it doesn’t sink in.”
Busch, who tragically died at 41 on Thursday from an undetermined illness, turned in a valiant effort in 2014, finishing sixth in the Indy 500 despite having limited experience in IndyCar. Engine problems torpedoed his chances in the Coca-Cola 600, however, and he completed only 271 of 400 laps on the 1.5-mile track.
“It was a challenge I put forth for myself,” Busch said. “I enjoyed it. I soaked it in.”
Only once in five attempts did Gordon complete both races, finishing eighth in Indianapolis and 16th in Charlotte in 2002. A year earlier, Stewart turned in the most impressive double, finishing sixth at Indy and third at Charlotte.
Andretti was pioneer of The Double in 1994, finishing a respectable 10th before flying to Charlotte with a nurse and registered dietitian to ensure he stayed hydrated. Andretti was penalized for missing the drivers’ meeting, however, and sent from the No. 9 starting position to the rear of the field. He crashed and withdrew on the 91st lap.
Content with one race Sunday will be defending Indy 500 winner Álex Palou, who will start on the pole after a four-lap qualifying average of 232.248 mph. Six different drivers have won the race in consecutive years.
Legge, who will be racing in her fifth Indy 500, will start in the No. 26 position. Actor and Indianapolis native Brendan Fraser will be the honorary starter and wave the green flag. It will be the beginning of an exhausting day.
“Honestly, I’m doing it because it’s a really cool thing to do, and it’s kind of like this old-school epic badge of honor that you get for doing both races in one day,” Legge told Fox Sports. “I’m not doing it to leave a legacy.
“You can do anything that you put your mind to if you want it enough. It would be remiss of me to not take that responsibility seriously, but at the same time, that’s not why I set out to do it. I set out to do it because I love to race.”
Eight years after going off the air, “Sofia the First” is getting another opportunity to find out what being royal is all about.
Disney’s first preschool princess returns for a new set of adventures in “Sofia the First: Royal Magic” premiering Monday on Disney Jr. The following day, eight episodes will stream on Disney+.
The sequel series finds Sofia — once again voiced by Ariel Winter — leaving home to attend the Charmswell School for Royal Magic. Rapunzel makes a guest appearance in the premiere episode and Moana, Jasmine, Cinderella, Aurora and Elena of Avalor will all stop by over the course of the first season.
According to Disney, “Sofia the First” still holds the record for the top three cable TV telecasts for girls ages 2 to 5 with more than 3 billion hours watched since the series premiered. The trailer for “Sofia the First: Royal Magic” was viewed 7.54 million times on social media in the first 24 hours after it was released. The show’s theme song, which has been updated for the new series, remains popular on TikTok among teens who first watched the show as preschoolers.
Series creator and executive producer Craig Gerber says the show’s tone is one of the reasons for its enduring popularity. “The charm, the humor and the storytelling was simple enough for [children] to understand, but sophisticated enough to stick with them as they were growing out of the key demographic,” he says. “They remember [the show] very fondly and it becomes a source of comfort for them.”
Rapunzel makes an appearance in the premiere episode of “Sofia the First: Royal Magic.”
(Disney)
Originally there were discussions to have a spin-off series with a whole new set of characters going to Royal Prep, the school Sofia graduated from in the first series. But soon Gerber realized that a sequel series was the way to go because of the love for the character. “It became clear that the real exciting part of coming back to this world would be to follow the further adventures of Sofia and bring her to a new audience,” he says.
Sending Sofia to a new school was the obvious choice. “We thought it would be very exciting and fresh for her to go to a school where she could focus on learning magic and mastering the powers inside her,” Gerber says. “In the first series, she learned what being royal is all about. In this series, she’s going to learn what being the most magical princess is all about.”
Winter was 12 years old when she auditioned for the role 15 years ago. At the time, she said Sofia’s voice was close to her own — what she thought she would sound like if she were a princess. But even all these years later, it was easy for her to find the voice again because she never really stopped doing it.
“If people told me that they had a child who loved Sofia, I would be like, ‘Oh, do you want me to make a voice recording for them?’ I’d make at least one of these a week, maybe more,” she says. “The show meant so much to me and I know it meant so much to so many people. To know that I am going to get to help influence another generation of kids in a positive way is just so exciting.”
In addition to Winter, all of the original cast is returning, including Sara Ramirez as Sofia’s mother Queen Miranda, Darcy Rose Byrnes as Sofia’s stepsister Amber, Wayne Brady as her beloved rabbit Clover, Eric Stonestreet as her flying horse Minimus and Tim Gunn as the castle steward Baileywick.
But a whole new series and location also means new characters. Here’s a look at three of the new characters who will be entering Sofia’s world.
Eden Espinosa as Zandrya
Eden Espinosa voices Zandrya, the new villain in “Royal Magic.”
(Disney)
Broadway star Eden Espinosa, perhaps best known for playing Elphaba in “Wicked,” will be voicing the new villain Zandrya. “She is loud, bratty, confident and powerful,” Espinosa says.
“We wanted Zandrya to have that entitled air,” Gerber says. “As if all of the magic should just be given to her and she shouldn’t even really have to work for it. She is a sorceress that is after magical items to give her more power. And because Sofia is becoming more and more confident in her magical abilities, Zandrya has a hard time getting what she wants.”
As master of disguise, Zandrya takes a different form each time she appears in an episode — the better to fool Sofia and get her hands on the magic amulet. That means Espinosa, who also voiced the Queen of Hearts in Disney’s “Alice in Wonderland Bakery” and Cassandra on “Tangled,” gets to take on a new voice with each new episode.
“She’s the most fun character to play,” she says. “Voiceover has always been a dream of mine ever since I saw ‘Little Mermaid’ when I was I think 10.”
Espinosa says Zandrya is “the most fun character to play.” The actor has to take on a new voice whenever her villain takes on a different form.
(Disney)
As in the original series, music will play a big part in “Sofia the First: Royal Magic.” In fact, there will be twice as many songs, with each 11-minute episode getting its own number. “What I love about the songs I’ve gotten the privilege to sing is that they feel current,” Espinosa says. “They feel like it’s on the pulse of what’s happening now. They are bops. The challenge is I have to sing the songs in the voice that I’m in for that episode.”
“We’re very lucky to work with folks like Eden, who can take any personality, any voice and still manage to hit all the notes and convey the acting and and really give a fun, rollicking performance,” Gerber says.
And, like Elphaba, Zandrya might be a little misunderstood. “I think as humans we have all sorts of things going on underneath the surface,” Espinosa says. “While she has a very clear mission and intention, I do know that she has moments in interacting with Sofia that she has reflections that make her think.”
Yvette Nicole Brown as Lady Saddlespur
Yvette Nicole Brown voices Lady Saddlespur, Sofia’s new teacher.
(Disney)
Yvette Nicole Brown is one of Gerber’s go-to performers. She’s been the voice of Chief Faye Fireson on “Firebuds” and Luna on “Elena of Avalor.” So it was an easy yes for Brown when Gerber asked her to be the voice of Sofia’s new magical creature teacher and flying derby coach Lady Saddlespur.
“If I’m doing a show, I’m gonna find room for her,” Gerber says of Brown. “Lady Saddlespur is a fun foil for the kids as she pushes them to be better students.”
“She is a Southern belle,” Brown says of her onscreen alter-ego.“She’s very proper. She believes that everything at Charmswell should be done just so.”
Brown says her favorite part of animation is that it encourages her to tap into her child-like side. “When we were kids, we lived in this place of wonder,” she says. “I remember the first shows I watched. I remember ‘Captain Kangaroo,’ ‘Mr. Rogers’ Neighborhood’ and ‘Sesame Street.’ Those performers have stayed with me my entire life. The honor of getting to be one of the first voices that these babies hear is everything.”
Brown is also delighted by the life lessons the show imparts. “Lessons about accountability, sharing, kindness, regulating your emotions and following directions. The importance of school and learning and being careful and gentle with animals and other people and their feelings. I think it’s a great stepping stone for the babies to learn how to be productive, caring members of society, which is what we’re all supposed to be trying to be.”
Pepper is Sofia’s pet puppy-unicorn. Nate Torrence, who is also the voice of Clawhauser in the “Zootopia” movies, says nothing sounds more adorable than “the collab of a puppy and unicorn.”
Gerber has wanted to create such a character since the original series. “He’s there for comic relief to a large degree,” Gerber says. “And also to give us that little bit of daily magic because Sofia can talk to animals.”
“He’s a pretty lovable guy,” Torrence says. “Even though he plays a little air-headed, he actually is really witty. It’s that old-school Abbott and Costello kind of timing or Charlie Chaplin because there’s so much physical comedy going on with Pepper.”
Because he’s getting to voice a character for so many episodes, Torrence says he’s felt more growth with Pepper than many of the other characters he’s played. “I do think they’ve allowed my voice to be a new kind of voice in the world,” he says. “I get to have a bit more attitude and sass. To be a part of a franchise like this is a nice little dream come true for me.”
For L.A. cool girl and actor Taylour Paige, the perfect Sunday involves lots of shopping — shopping for statement jewelry at Maxfield, minimalist yet playful clothing at Jacquemus and vintage home decor at Pierce & Ward.
“I really love fashion,” says the Inglewood native. “I appreciate fashion. I respect fashion.”
In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.
Paige’s latest project, “I Love Boosters,” is centered on fashion as well. Written and directed by Boots Riley, the maximalist film follows the Velvet Gang, a pack of small-time shoplifters (played by Paige, Keke Palmer and Naomi Ackie) as they attempt to take down a ruthless fashion mogul in the name of “fashion-forward filantrophy.” It hits theaters Friday.
Once she learned that Riley was behind the film, she knew she had to be a part of it.
“When I met Boots, he was like, ‘This is the smaller role of the three in the Velvet Gang,’ and I was like ‘I don’t care. I want to work with you,’” says Paige, who has also starred in the film “Zola” and HBO’s “It: Welcome to Derry.”
With her baby and husband by her side, here’s how the new mom would spend a Sunday in L.A.
This interview has been lightly edited and condensed for length and clarity.
7 a.m.: Take a little walk and grab a matcha
I’m a mother so I could wake up anytime between 6 to 8 a.m. When I breastfeed, he’ll actually go back to sleep but it really just depends on the night we had. I’ll have my morning matcha. There was a period where I was making my ceremonial-grade matcha at home and I would like to get back to that, but there’s something about walking to get my matcha that I just really enjoy. I like that it’s a little outing. I like the matcha at Erewhon, but only because I know that when I ask for almond milk, they’re giving me the Almond Malk [brand] which only contains almonds and Himalayan salt. I also like Community Goods, which my homie Pedro runs. My typical breakfast is eggs with Celtic salt and I’ll drizzle some olive oil on it. Maybe I’ll have some cottage cheese or shredded carrots as well.
10:30 a.m.: Stock up at the farmers market
Once we’re up, I have to go to the farmers market in Atwater Village. I need my organic eggs, my strawberries, my lemons, my lemongrass, my hummus and my ghee. Maybe I’ll get like some gorgeous Japanese sweet potato cause I try to eat a sweet potato daily. I eat it with the skin on because you gotta get beta carotene [laughs]. Also, my husband makes this beautiful lemongrass tea that I love at night. It’s kind of been my little postpartum treat that I look forward to. I feel so feminine when I drink it. I don’t know how to explain it, but we get a big bunch at the farmers market on Sundays. Going to the farmers market makes me feel ready for the week.
12:30 p.m.: A second matcha and a late breakfast
Then we’re going to have a late breakfast at All Time. I’m getting the salmon with the crispy rice, broccoli, onions and two big eggs on top. It’s got a little bit of a tart taste. It has a special sauce that you pour on top of it. Probably because I’m sleep-deprived, I’m getting another matcha and a hot water with lemon.
2:30 p.m. Time for some shopping
Then we’re gonna stroll into Pierce & Ward, which is just a couple stores down. It’s a home interior design store. The storefront is literally the color green. It’s just beautiful. I love beautiful things. They do upholstering, but they have a lot of cute little tchotchkes. They’ve got incense. They’ve got beautiful stools, striped upholstering, but they also have, you know, soaps and again incense, and just cute things. The people are so kind in there.
Then we’re going to head over to Melrose Place. We’re going to Margiela and Violet Grey. I’m going to pop into Maxfield. I’m going to try on jewelry. I recently tried on this beautiful Jennifer Meyer emerald gold necklace that I wanted and I was like “How much?” They were like “14” and I was like “Oh, $1,400,” and they were like, “No, $14,000.” I was like, “Oh, OK, cute. I’ll be back.” They have gorgeous Phoebe Philo [pieces], Miu Miu flats, Louise Trotter’s Bottega. I’m having a ball trying things on. Maybe we’re going to swing into Jacquemus because it’s so cute. It’s like a French dream. The girls who work there are so kind and so fly. They told me that he had the couches specifically designed to look like his mom’s couches in his childhood home. They’re bright yellow. It just feels really happy and like a breath of fresh air, and obviously the clothes are beautiful.
4 p.m.: Discover new beauty brands at Formula Fig
There’s this place called Formula Fig. I’m not going to spend too much time in there. Of course they have really beautiful, curated skin care, but they also have cute random things for your hands and feet. You know how we have social media, which is constantly feeding us with things we don’t need, but because someone is selling it to us, it impacts us psychologically. I like that Formula Fig is an experience where you go into the store and discover on your own.
If we have time, we’ll hop in the car and head over to Arcana [Books on the Art]. I can ask anyone who works there, but I’ll ask Lee about absolutely anything. Let’s just say I don’t know what I want, but I know what I’m feeling, or what I want to learn more of, they’re actually art historians in there and they deeply care about books and artists and people. It ends up opening other tabs of people, artists, photographers, writers, painters, watercolor and musicians that I’ve never heard of or I’ve always wanted to know more about.
5:30 p.m.: Sushi for dinner
We’re going to drive our ass to Burbank and we’re getting Sushi Yuzu. Life hack: If they’re too full, we’ll literally go a couple blocks west and hit Kabosu, which is their sister restaurant. I’ve been going here for 10 years. It’s the greatest sushi, so fresh. I love every chef there. We’re starting with the garlic edamame, obviously. Then I’m getting the lime roll, the albacore crispy onion, the garlic sashimi, and I’m going to keep ordering and ordering and be so happy. I’ve put so many people on. I should get equity in the restaurant or something.
7:30 p.m.: Sunset walk before bed
You want a fart walk right after your meal, right? [laughs] So we’re going to go for a nice sunset walk in our neighborhood. Then we’re heading home, giving the baby a bath, I’m taking a shower and we’re going to bed at like 9:30 p.m.
A POPULAR “time warp” attraction has reopened this week following months of closure.
A multi-million pound grant has helped resurrect the model Victorian town in time for the half term.
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The 1900s style town has reopened following months of closureCredit: Alamy Stock PhotoThe Shropshire attraction features a shoe smith and candle factoryCredit: Alamy
Blists Hill, a living Victorian Museum in Shropshire, finally reopened yesterday (May 21), allowing visitors to step back in time once more.
The 1900s style attraction closed in February this year after the National Trust took over the property from the previous owners, the Ironbridge Gorge Museum Trust.
The open-air museum features staff working in 18th and 19th century clothing, with a candle factory, butcher’s shop, school and a shoesmith for visitors to explore.
There is even a bank trading in shillings and pence, which visitors can use to spend at the confectionery store.
JASON ISBELL is a song writer’s song writer. You can tell by the company he keeps.
He’ll never forget the moment some years ago when he heard a certain person singing one of his choruses back to him in unmistakeable tones.
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Grammy-winning Isbell and his band play the UK and Ireland next monthIsbell says recovering from addiction meant dealing with his emotionsCredit: Unknown
“I’ve grown tired of travelling alone. Won’t you ride with me? Won’t you ride? Won’t you ride? ”
Isbell recalls: “At first, I thought it was somebody doing a Bruce Springsteen impersonation of singing my song. And then I realised, ‘No, that’s actually him!’
“It was a huge deal for me to meet Bruce, and for him to know who I was.”
Turned out that one of Springsteen’s sons had brought to his dad’s attention Isbell’s breakthrough 2013 solo album Southeastern, complete with the track Traveling Alone.
To the 47-year-old born in northern Alabama, two miles from the Tennessee state line, it was validation — just like his six Grammys and the fact that Southeastern appears in Rolling Stone magazine’s list of greatest albums of all time.
“I’m a punk but I’m not that big of a punk to pretend something’s not an honour,” the one-time member of Drive-By Truckers decides in his Southern drawl.
“I met Randy Newman and it was the same kind of thing,” he continues, casting his mind back to the 2021 Newport Folk Festival when both artists were on the same bill.
“I was so nervous to talk to Randy but I said to him, ‘Man, your songs are very important to me as a musician, as a human being’ — and he leaned in and said, ‘I like your songs, too’.
“I knew Randy was probably not the sort of person to bulls**t you.”
I’m speaking to Isbell as he prepares to hit these shores with his ace band, The 400 Unit, for a tour of the UK and Ireland which culminates with a night at London’s hallowed Royal Albert Hall on June 11.
But on this day, the hard- working singer is in Dallas for a solo acoustic show, showcasing last year’s captivating, intimate Foxes In The Snow album, when we’re connected via video call.
“My flight was cancelled last night because of bad weather so I drove here — took me nine and a half hours,” he reports from his hotel.
It’s 10am US Central Time and 4pm UK time and, despite the previous day’s exertions, Isbell seems fresh and focused for a deep dive into his life in music — and the songs that define him.
It’s clear from talking to this thoughtful soul that his career can be divided into two distinct categories — before and after he got sober — which he describes in depth later.
But first, we go back to his early life as the son of teenage parents, the subject of his song Children Of Children, and his early introduction to music.
Mom Angela was 17 and dad Mike was 19 when he was born so “I got to spend a lot of time with my grandad, who preached in a Pentecostal church in Alabama, and played guitar, mandolin, fiddle, banjo.
A big moment for Isbell arrived with a yearning composition on his third album, Here We Rest, his second with his band The 400 Unit and the last before he went into rehabCredit: ALYSSE GAFKJENIsbell became ‘obsessed’ with blues after hearing Robert Johnson’s recordings
“And my uncle, my dad’s little brother, played guitar in a rock band.
“When I was around four, my parents would take me to band practice in his friend’s garage, and I would fall asleep, usually when they did Neil Young’s Like A Hurricane.
“Though my dad and mom didn’t play music, pretty much everybody else in my family did, at least as a hobby. It was seen as a birthright thing.
“I know this sounds like down-home Southern horses**t, but my grandad would make me play gospel music with him for a couple of hours a day.
“Then if I could get through it without getting lazy, I could play rhythm guitar. The guitar was huge, and I was small, and it would take a lot of work.”
Isbell became “obsessed” with blues after hearing Robert Johnson’s recordings and “this little white kid from a hillbilly town” would bombard his music teacher with questions about the Mississippi Delta pioneers.
“My teacher was a big rock and roll guy who had a different Rolling Stones T-shirt for every day of the week,” he says.
“He would call me out of class on the loudspeaker in a really gruff voice, so it sounded like I was in trouble. But I knew that he had made me a mixtape.
“There were a lot of people who took an interest in me early on. I got very lucky that way.”
As a teenager in the Eighties, “radio was huge” for Isbell, who singles out Crowded House and Elvis Costello in particular.
“As my parents were not much older than me, we listened to a lot of the same music,” he says.
“In those days, it was big arena bands like Journey and Foreigner, My dad liked country music, too, so he had Merle Haggard and Hank Williams records.”
At this time, Isbell started playing bars in the Southern music mecca of Florence and Muscle Shoals, which, “because of the liquor laws”, also had to sell food.
He says: “They would check the receipts to make sure you sold more food than alcohol, which was terrible for any kind of music scene — but really good for a 15-year-old kid because they couldn’t kick me out!”
In these places, he got to see legendary session men like Spooner Oldham, Donnie Fritts and, crucially, bass player and trombonist David Hood, father of Drive-By Truckers frontman Patterson Hood.
In 2001, Isbell joined the Truckers and hit the ground running by contributing two outstanding songs to their 2003 album Decoration Day, the title track and Outfit.
The singer is touring the UK this summer – kicking off in Belfast on June 2Credit: Getty ImagesIsbell, who battled alcohol addiction, pictured with his bandCredit: Unknown
He says: “I liked playing guitar and singing background vocals, but I had a lot to prove.”
He describes how his dark, Southern gothic magnum opus about a multi-generational family feud came into being: “I wrote Decoration Day on the road, in Carbondale, Illinois, I think.
“We were staying at a friend’s and everybody else was asleep in the house.
“One person always had to sleep in the van to stop people stealing our gear. That night, it was me.
“I woke up early — around eight o’clock in the morning. So I had a couple of hours before everybody else started moving and I came up with Decoration Day.”
Another memorable Drive-By Truckers effort by Isbell is Danko/Manuel, his tribute to roots rock icons The Band, which appeared on the 2004 album The Dirty South.
He says: “At the time, Rick Danko and Richard Manuel were the only two not still alive. Now, none of them are.
“I was reading [drummer] Levon Helm’s book, This Wheel’s On Fire. He talked about having to siphon gas out of cars in parking lots while the rest of them were on stage. They were a bunch of feral kids in the early days.”
In 2007, largely thanks to heavy drinking and unreliable behaviour, Isbell left the Truckers and went solo.
It’s good to report that he’s on friendly terms with his old bandmates these days and joined them on stage last year for Stephen Colbert’s The Late Show.
He says: “We were very close at one point. It’s not easy to make friends in general so I try to keep the ones that I can.
“Even after I got sober, I didn’t quite know why I’d had drinking problems to start with.
“At first, you’re just hanging on for dear life and trying to stay sober. Eventually, if you do it right, you do repair the parts of yourself that you were ignoring.
“Once that happened for me, I was able to reconnect with those guys. We were able to be friends again and they’ve continued to make really valuable music.”
When it came to Isbell making his first solo album, Sirens Of The Ditch in 2007, highlighted by a couple of fan favourites, Dress Blues and The Magician, he had a lot to learn — and fast.
“I didn’t know what the hell I was doing,” he sighs. “I know I had to argue a lot, which actually turned out to be a good thing.”
A big moment for him arrived with a yearning composition on his third album, Here We Rest (2011), his second with his band The 400 Unit and the last before he went into rehab for alcohol addiction.
To this day, Alabama Pines is one of his most performed live songs.
“When I wrote it, everything else in my life sucked,” he says. “It was a very dark time. I was in physical and psychological pain. Working on it was the most relief I got.”
He adds: “The complication in that song adds a lot of value to it — the fact that you’re yearning for a place that isn’t perfect.
“It’s a dynamic that finds its way into a lot of Drive-By Truckers’ work and a lot of my own. It’s very possible to miss a place that wasn’t necessarily all that good to you.
“That song doesn’t have a chorus, it never gets huge so it’s not an anthem. But it stands out in my solo work and I still like it. It has never let me down.”
Everything changed for Isbell after rehab and first notice of his sober approach is 2013’s breathtaking Southeastern with its enduring keepers, Cover Me Up, Stockholm, Elephant and the aforementioned Traveling Alone.
“I wasn’t in the same type of pain,” he says. “Recovering from addiction heavily involved dealing with myself — my life, my emotions, my situation — not postponing it.
“When I was drinking, I would write until the sun went down and then I’d think, ‘I need a drink’.
“With Southeastern, I would stay working for hours and hours at a time because I didn’t have anything else to do. It’s not like I was going to the bar.”
The record proved a big commercial success even if a song like Cover Me Up, recently covered by Morgan Wallen, is about recovering from addiction and the healing power of love, while Elephant is an unflinching study of mortality and the impact of cancer.
Today, Isbell performs such tracks from a slightly different perspective.
“With a room full of people cheering for these songs, we get to celebrate the fact that these horribly sad songs exist,” he smiles.
Next, we rattle through a few more Isbell staples like 24 Frames from 2015’s Something More Than Free with its sparkling electric guitar passages.
“I may have doubled up two exact same slide-guitar parts on that. It’s the old George Harrison trick from My Sweet Lord and it works every f***ing time.”
He sees guitar playing as his “hobby”. “My girlfriend paints very seriously and that’s her work,” he says by way of example.
“Lately she started working with miniatures and building doll houses, and that’s her hobby. It’s very close to painting but it’s not a commercialised part of her life.
“That’s how I look at guitar playing. Singing, songwriting, touring — that’s my job. If left alone for a couple of hours, I just sit and play guitar — that’s my hobby.”
There’s a profound Isbell song on 2017’s The Nashville Sound, If We Were Vampires, a big favourite of his friend, the late, great singer John Prine, who he describes as “thoughtful, witty, highly intelligent and emotionally open”.
“There’s some magic in that song,” he says. “Everything else on the album was written when I thought, ‘There’s so many f***ing love songs, why would I bother to do another one?’
“By the time I got to the chorus of If We Were Vampires, something hit me — the reason you love somebody, go through all that effort and pain, is because you’re going to die.
“Without death, we wouldn’t be motivated to live. It was one of those moments where I was like, ‘Wow! Thank God I weaved my way to that path’.”
A telling Isbell insight is revealed by It Gets Easier with its line, “it gets easier, but it never gets easy”, from the 2020 album Reunions.
It addresses his sobriety and brings this reflection: “I don’t think about drinking as much as I used to, but I do sometimes, not necessarily when things are bad.
“When it is going badly, the first thing you do is you make a plan – talk to friends, talk to a therapist, go to a meeting.
“For quite a few years, the hardest times have been to not think about drinking when things are going really well.”
Isbell’s consistently fine recorded output includes 2023’s Weathervanes, with standouts like reflective acoustic ballad Cast Iron Skillet and gritty rocker King Of Oklahoma, about the downward spiral of a blue-collar worker who turns to prescription meds.
Mention of them is cue for him to offer a warning to those attending his upcoming shows.
“When I’m writing a record, I think, ‘How am I going to make these people hold their pee for four more minutes?’
“Because when the new material comes out, that’s usually when everybody heads to the bar!”
Jason Isbell & The 400 Unit play Belfast June 2, Dublin June 3, Bristol June 5, Gateshead June 6, Glasgow June 7, Manchester June 8, Birmingham June 10 and London’s Royal Albert Hall June 11
For a guy who has become known for his monstrous output of clips, comedy specials and content, it’s a wonder Josh Johnson has time to stop to think about what makes his comedy timeless. As a former writer and now one of the hosts of “The Daily Show,” much of Johnson’s humor outside of specials relies on his ability to deliver jokes on the dumpster fire du jour when it comes to pop culture and politics. But for his latest one-hour special, “Symphony,” premiering Friday on HBO, he wanted to orchestrate something different that would still be funny 40 years from now, regardless of what’s fashionable or who is running the country.
Using music as a canvas to paint a funny, layered portrait of the human experience, Johnson creates a set that comes alive with the sound of more than the laughter at the Wiltern, where the special was filmed earlier this year. With stories focused on surviving rowdy family, moments of loneliness, struggles with faith, and navigating our deepest human relationships, Johnson’s abilities as a pensive storyteller are conducted masterfully. The result is an hour that helps showcase his refined comedic voice, surprise the audience and sound the trumpets for his next round of touring.
This interview was edited for length and clarity.
Why was it important for you to veer so strongly into music as a theme of your new special, “Symphony”?
I think music, in a way that nothing else does, brought the central points and themes of the special home. In the beginning [scene] with the title card and the busker who has a [music-related] quote in front of him, that’s sort of the mission statement of the special and everything I’m trying to do. The thing to me is including the music to help bring about these ideas and bring each section home and bring it all the together in a way that obviously I’m also attempting to do through the comedy. I think thematically there’s nothing stronger to make the overall point than music.
What inspired you to shoot it at the Wiltern?
The Wiltern is so beautiful and it also lends itself to that sort of art aspect I’m talking about in the very beginning of the special. Things that have that look of the Wiltern help not just create a spectacle, but give you something really beautiful to look at. You get something really beautiful to listen to in the music, and then the comedy helps decorate the hour that we’re spending together.
“If you speak to a lot of people’s timelessness around family and culture and some of the bigger topics, but without naming names, I think that you create something that really stands the test of time,” Johnson says about his new special, “Symphony,” premiering Friday on HBO.
(Ser Baffo / HBO)
You definitely play around with the format of a typical special in this new hour. As somebody who has mastered the ability to release a crazy amount of comedy in recent years on YouTube and social media, what aspect of a traditional one-hour special do you still find important?
I think that everything that I’ve been doing so far is pretty topical and very of the moment, even when I’m not talking about a specific pop culture or political topic. I think that there’s a time for comedy of the moment, but then I also think there’s an aspect that you want to be timeless, and that’s what the specials are for me. You want the piece to be something that people watch 40 years from now, and I don’t always expect every single set that I put out to have that level of longevity. Because no matter how it feels right now, there’s going to come a time where we look at the people who take up so much of our bandwidth and our thoughts throughout the day as just a sort of passing political fashion or the things that we see as like huge indicators of where society is right now will eventually become forgotten crazes. But I think that if you speak to the human condition, if you speak to a lot of people’s timelessness around family and culture and some of the bigger topics, but without naming names, you create something that really stands the test of time.
There’s a duality between your timely comedy on “The Daily Show” and the timelessness you’re aiming for in specials. Was it important for you to separate the two ways that people might see you as a comedian?
People are going to have their takeaways from whatever you do. I try bringing the same amount of intention to everything, but as far as the way people see me, it’s something that’s kind of out of my control.
Religion comes up a lot in the special, the Bible specifically. I’d read somewhere that you had taken a break from practicing Christianity in recent years. If so, what was your reason for including the topic in your special?
I wouldn’t even necessarily call it a break, I just think that there’s moments you’ll find yourself in, where whether you grew up on a text or a certain few tenants that you live by, there’s always going to come a time where it’s really important to revisit those things… It’s not necessarily that I bring religion up in the special because I stopped practicing. It’s actually because I think that if I’m breaking life down into these sort of pillars that make up a person — I’m not saying religion has to be one of them — but I do find it to be an aspect for a lot of people. So if I’m once again trying to speak to things from a universal perspective as best I can, I think it’s something that that definitely comes up.
Comic Josh Johnson turns his new hour into a concertlike experience, using live music, a busker’s credo and L.A.’s ornate Wiltern Theatre to tie jokes into a single, sweeping theme.
(Ser Baffo / HBO)
Considering how well you use music as a backdrop for the special, how long did it take to come up with a concept for the hour? Did you write the jokes before coming up with the structure or vice versa?
I basically had a structure before I had a set, and I went to the director Jacob Menache about the idea for this thing like three years ago and we were talking about how best to make it work. That was long before I knew what jokes were going to go where, or how many things, how many aspects we were going to add to it, or anything. So I think that it’s been a long time coming, as far as like the actual structure of what you end up seeing.
Watching your special was the first time I paid real attention to who the musical director was in the credits. What was it like working with respected bassist and producer Derrick Hodge on creating the concept for the music in “Symphony”?
I look at Derrick as someone who was doing a lot of interesting things, and so I thought it was going to be a fantastic opportunity to get to work with him. I don’t know that much about music, to be honest. I try to dabble with producing here and there because I have ideas, but it’s the real musicians, the real artists that take the ideas that I might pitch out and create something with it. So I really leaned on Derrick as much as possible to like bring us home. I feel like so much of what I was trying to do was in bringing an overall idea of the structure of a set and asking Derek, “Hey, what do you think about this?” I don’t know if I could have ever thought up a way to create what I was trying to build without him.
Was there something about you that you felt like you wanted to get across in this special that maybe you haven’t gotten to in your previous specials?
It can be tough to show new shades of yourself when you put out a lot of stuff, and you are always kind of coming with stories about your life and your childhood or anything like that when I think of putting a set together, especially something that is attempting to be timeless. Overall, I think every new story is a new story to [the audience]. But I think that if you can express how you used to think versus how you think now, that can be revealing. Towards the beginning [of “Symphony”] I talk about how there are things I didn’t understand until pretty close to the special in theory, things I didn’t understand until like a week ago, or I’ve always held this belief, or something like that, and I think that if you can give people insight to your evolution as a person, I think that’s a really powerful thing.
“I think music, in a way that nothing else does, brought the central points and themes of the special home,” Johnson says.
(Ser Baffo / HBO)
Were there any things that occurred during the rehearsal process that genuinely surprised you?
Watching it come together was a huge surprise, because you know, [the director] Jacob’s out here in L.A., I’m in New York, and so I make the flight down and everything, but the Thursday rehearsal with the musicians [before the taping] was the first time I was seeing everything come together. It was first time I was hearing everything, and so I think watching something finally come to life after such a long period of time is always going to throw you for a loop.
Now that the special will finally be out, what plans do you have next about how to showcase your comedy?
I’m really excited for people to see what’s coming. I start the tour Comedy Band Camp in June. I have some surprises for people there as well, and I’m looking forward to showcasing lots of artists. I’m looking forward to showcasing as much as I can that helps me elevate the level of craft and what I bring to people. And so I’m doing that through even more collaborations. I’m going to be hyping up some people that maybe you’ve heard of, or maybe you haven’t heard of. The special is kind a beautiful kick off for the tour that I’m going to be doing because we are going to be on the road for quite a while, and I chose Comedy Band Camp as a theme, because camp is this thing that people are nostalgic for, it’s a place to go that is safe, where you make friends. Band is about people coming together for a shared goal, it’s about everyone having a singular purpose towards creating art. So I think mixing those two things together will be a unique experience that no one can get anywhere else, and it’ll be a challenge to present it as best as possible. But I have a lot of plans for how I’m going to do that.
Netflix is dropping a three-part docuseries that revisits Michael Jackson’s2005 trial in which he was acquitted on charges of child molestation.
“Michael Jackson: The Verdict” drops June 3 and features archival footage and interviews with key players involved in the trial including jurors, figures from both the defense and the prosecution, journalists who were inside the courtroom and other eyewitnesses who saw the events unfold firsthand.
“It has been 20 years since the trial of Michael Jackson in which he was found not guilty. Yet, to this day, controversy still rages,” the filmmakers said. “No cameras were allowed in court, and so the public’s view of the facts at the time were filtered by commentators and presented piecemeal. It was time to take a forensic look at the trial as a whole.
“Anyone interested in the Michael Jackson story should feel this documentary gives them a window into what was largely a closed event and a chance to feel closer to what happened.”
The Santa Barbara Superior Court trial lasted 14 weeks, and the jury, which included eight women and four men, deliberated for more than 30 hours across seven days.
Jackson was acquitted on 10 felony charges: four counts of child molestation, four counts of plying a minor with alcohol in order to molest him, one count of attempted child molestation and one count of conspiracy to hold the boy and his family captive at the Neverland Ranch. He faced more than 20 years in prison.
Produced by Candle True Stories, the production company behind Netflix’s “Untold: The Liver King,” and directed by Nick Green, “Michael Jackson: The Verdict,” comes at a time of renewed interest in the “King of Pop.”
The Jackson-estate-approved biopic “Michael” hit theaters last month, and depicts the origin story of the hitmaker from childhood through his upward trajectory to superstar status in the 1980s. Notably, the movie omitted the slew of allegations that followed Jackson from the ’90s until his death in 2009.
SAN DIEGO — The good people of New York like to consider themselves tough. If you can make it there, as Frank Sinatra crooned, you’ll make it anywhere.
Do not confuse hot takes with sounding tough. Two New York sports talk hosts this week took daft shots at Joe Davis and came off — in the last adjective with which any true New Yorker would want to be described — as soft.
Let’s rewind: Davis is the lead voice of the Dodgers on SportsNet LA. He is also the lead voice of the national baseball broadcasts on Fox. In the latter role, he called last Saturday’s game between the New York Yankees and the New York Mets.
At one point, Mets outfielder Carson Benge dropped an easy fly ball. Without missing a beat, Davis said: “Oh, no! Oh, no, the Mets!”
It was the perfect call. The foibles of the Mets are so many and so weird that Mets fans themselves have embraced a term for them: LOLMets. You can learn all about it in a 23-minute YouTube video narrated by a former Mets pitcher.
Commentator Stephen Nelson, Dodger Shohei Ohtani, interpreter Will Ireton, Dodger Roki Sasaki and broadcaster Joe Davis address fans during Dodger Fest at Dodger Stadium on Jan. 31.
(Jae C. Hong / Associated Press)
Firing one manager (Willie Randolph) at midnight in Anaheim? Dumping another manager (Carlos Beltran) before he could manage a game because he was the only player cited in the commissioner’s report on the Houston Astros’ cheating scandal? Opening this season with baseball’s highest payroll and spending some time with baseball’s worst record?
“This year, and in recent years, there have been so many moments where it looks like the Mets are right there, ready to make a run or win the division or win a championship, and then something just tends to go wrong,” Davis said in San Diego Tuesday.
“They were in a stretch right there where every single day, they were getting a stud hurt. They put together a winning streak against the Tigers, then Clay Holmes has the comebacker break his ankle.”
The next day, Benge totally clanked it, and Davis totally nailed it — in the moment, not with some scripted phrase waiting in his pocket.
“You hope that your reactions in those moments — in any moment in this job — are authentic,” Davis said. “You don’t have much time for it to be anything else.”
On Monday, Evan Roberts — a host on WFAN, New York’s top-rated sports station — unloaded on Davis for “mocking” the Mets.
“Joe Davis has become a clown for the Los Angeles Dodgers and we all hear it,” Roberts said, in remarks posted by the Awful Announcing website.
Got anything else?
“I think he’s a Dodger fanboy,” Roberts said. “I think he wants to just make love to Shohei Ohtani every time he talks about him … He’s a great broadcaster, and I’ll admit it. But, for now, I think Joe Davis is a Dodgers shill and it’s obnoxious.
“And I’d give him this advice, not that he cares, he doesn’t care: Don’t go to the Dodger parade and be the emcee. It’s a bad look. It just is. You’re sitting there as the national voice and now you’re pom-pom waving at the Dodger parade. Come on, man.”
Davis works for the Dodgers. When the boss wants you to emcee the World Series championship rally, you do. Would the Mets’ broadcasters do the same? When the Mets win their first World Series championship since 1986, we’ll find out.
Let’s hear from Sal Licata, formerly at WFAN and now working independently: “What’s up with Joe Davis, by the way? You Dodger homer. ‘Oh no, the Mets,’ that’s a national unbiased broadcast? You biased Dodger blue fool.”
There always will be people who claim Davis is biased toward the Dodgers, just as people claimed his predecessor, Joe Buck, was biased toward the St. Louis Cardinals. Buck worked for Fox on weekends and called Cardinals games during the week.
And, for the people who see only what they want to see, Davis is the voice of baseball’s evil empire. Maybe that aggravates New Yorkers, but consider how aggravated we are that we have to fight through hellish traffic to get to Dodger Stadium or a television set by 5 p.m. so we can see our team play in the World Series because the East Coast needs to see the game in prime time.
Or how annoyed we are that we get televised Yankees-Red Sox games shoved down our throats when Red Sox management has opted for irrelevance and the best rivalry in baseball is here, between the Dodgers and Padres.
Better yet, how about we all chill? It’s just a game. We could break bread with New York’s famous bagels, except the New York Times told us we have the better bagels.
The Bob Baker Marionette Theater was about to debut its first new production in 45 years, and it was uncertain whether one of the show’s signature new puppets would even work. A pelican, with an oversized bucket-like beak, was in need of last-minute maintenance.
This gangly bird, designed to hop, skip, soar and sing to Clarence Henry’s mid-’50s rhythm and blues hit “Ain’t Got No Home,” was supposed to surprise the audience, as its elongated bill is actually hiding a frog. Getting the pelican-frog duo to perform in unison was a feat of mechanical artistry for the team, not to mention the choreography needed by the puppeteer.
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And in the minutes before showtime, director Alex Evans was trying to stay calm. In such moments, he would say later, he only need remind himself of an old adage in the puppet arts.
“Puppets,” he says, “break all the time.”
With that, he was ready to embrace the unknown.
“I always say I love the chaos of live theater,” Evans says. “We got to believe in this thing.”
“Choo Choo Revue,” the latest in a long line of song-and-dance productions, is arriving at a momentous time for the Bob Baker Marionette Theater. Just last month the troupe announced its intent to purchase its venue on Highland Park’s York Boulevard for $5 million, doing so as it was gearing up for performances at the Coachella Valley Music and Arts Festival. The latter went viral, a fact Evans attributes to many of the first week shows of “Choo Choo Revue” selling out.
An organist plays while people file into the premiere of “Choo Choo Revue” at the Bob Baker Marionette Theater.
In many ways, “Choo Choo Revue” is a statement piece. Evans, who also serves as co-executive director with Mary Fagot, wants to place the spotlight on the theater’s current crop of artists, fabricators and collaborators. While the show pays tribute in many ways to the theater’s legendary namesake founder, perhaps most notably in its use of his vintage record collection, it’s time, Evans says, for the Bob Baker Marionette Theater’s next generation to shine.
Evans was instrumental in the decision to shift the team away from the previously announced production of “Arabian Nights,” a project once spearheaded by Baker, who died in 2014. Just ahead of the arrival of the 2020 COVID-19 pandemic, the theater had gone so far as to print an “Arabian Nights” program, and had finished sets and puppets ready to go.
“Choo Choo Revue” is the first new Bob Baker Marionette show since 1981’s “Hooray LA!”
During the forced closure, however, the team began to rethink its future. “It was a deep-breath time to do some internal thinking about who we are and what we want to prioritize,” says Evans, who joined the company in 2007 as a volunteer and became a staffer in 2009.
“The first new show in 40 years — us finishing one of Bob’s shows would have been deeply personal and meaningful, but it would have kept the narrative, internally and externally, that this was one person’s vision,” Evans says. “‘Choo Choo’ is the culmination of so many different ideas and people. It was purposefully about opening the floodgates, that Bob Baker could be more than just the person of Bob Baker.”
It wasn’t a sure thing the Bob Baker Marionette Theater would even reach this milestone. For much of the past decade — since about the death of the theater’s patriarch — the narrative surrounding the theater was one of survival.
In 2019, the Bob Baker Marionette Theater needed a lifeline. Forced out of its edge-of-downtown home of more than 55 years, the beloved troupe with its thousands of handcrafted puppets — a saucy black cat in heels, a fish out of water that can’t help but wiggle — ultimately found a new location in a Highland Park theater, where it signed a 10-year lease.
Then came the pandemic, when the theater relied heavily on community fundraising to cover its rent. California, and Hollywood in particular, has a rich puppetry tradition. Bob Baker Marionette Theater likes to refer to itself as the largest ongoing puppet theater in the U.S. The oldest puppet space in the country resides up north in Oakland at amusement park Children’s Fairyland. And in 2020, Bob Baker found it had many fans, asking at one point to raise $365,000 over the course of a year. It did so in four weeks.
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1.L Castro twirls a marionette.2.The audience gives a round of applause after the premiere of “Choo Choo Revue.”3.People stand in line for the premiere of “Choo Choo Revue” at the Bob Baker Marionette Theatre.(Carlin Stiehl/For The Times)
Old favorites, including the theater’s famed black cat marionette, make appearances in “Choo Choo Revue.”
But it was the long process of buying its home, namely the belief that it would be in Highland Park to stay, that gave the company the confidence that it could go forward with a new show. The obvious question, of course, is why it took 40 years for a completely fresh Bob Baker experience. Evans gives a long answer, pointing to numerous hurdles, be it the shift in locations, the cost of preserving its historic puppets and collection, as well as just managing priorities.
“It’s not necessarily a financial hurdle,” Evans says, noting “Choo Choo Revue” cost $300,000, with about half of that sum dedicated to the creation of new puppets and scenery.
“I think it was more about priorities,” Evans says. “Like, do we get the staff healthcare first, or do we do a new show first? So we got the staff healthcare. Or do we give the stage better lighting.”
As for how and why the team settled on “Choo Choo Revue” as its first production since 1981’s “Hooray LA!,” Evans says not to overthink it.
“It made me giggle,” he says. “It was a jumping off point to imagination. ‘Choo Choo Revue,’ by name itself, I thought to giggle.”
The show is a fantastical representation of a cross-country train trip, filled with adorable puppet trains.
A meticulously detailed log with windows, for instance, or a car that seems to balance natural, mountainous wonders on its back. They’re colorful playthings, at least until the background scenery starts depicting various locomotive styles. Puppeteers will whisk train cars out into the open, each often housing a fantastical creature — a moose, for instance, who takes a break from knitting to prance around to a rendition of the on-theme traditional blues ditty “Midnight Special.”
Behind it all are tens of thousands of hours of handcrafted proficiency. Each new puppet is a work of art. Take, for instance, a swarm of bats that seemed to glow in the dark (the creatures, created for “Choo Choo Revue,” made their debut during last year’s Halloween season).
The Bob Baker Marionette Theater created more than 100 new puppets for “Choo Choo Revue,” including a pelican hiding a frog in its beak.
Or an intricately detailed cicada band. They’re each playing tiny instruments — one a half-open sardine can, another a stringed matchbook. Their wings deserve a close inspection, as the translucent curved fixtures are inspired by stained glass windows. There are trees that ski, and train whistles with big lips and high heels, modeled after harmony group the Andrews Sisters. Wait till the latter toot off their tops, as each of the 100 new puppets is full of surprises.
“We get a bunch of different artists together, and we all brainstorm,” Evans says of the creation process. “Like, ‘Let’s all think for a second about anthropomorphizing trains.’ We did a series of sketches and showed them to each other. I honestly probably have a thousand different fascinating ideas for train movement.”
On opening night, the crowd claps along to the numbers, cheering with delight at each new piece of whimsy that rolls or soars onto the floor-level stage. And as for the showstopping pelican, the frog erupts out of its beak right on cue, a moment that indeed inspires a round of laughter and childlike awe.
As the imaginary train whisks the puppets around the country, the show manages to build anticipation just by making the crowd wonder what comes next. Say, for instance, a fluffy Sasquatch, or a crooner of a moon in pajamas singing an old-timey lullaby to all the little ones seated cross-legged on the floor.
Puppeteer Ginger Duncan twirls a marionette named Comedy.
Much of “Choo Choo Revue,” like the yawning, serenading moon, is rooted in the music of the past. That was a decision made to ensure the show feels in line with earlier Bob Baker works. Yet Evans says the team is emboldend after Coachella to start tackling more contemporary songs at its Highland Park headquarters. The crowd at the Indio festival, for instance, went wild for the puppets swooning to Ben Platt’s cover of Addison Rae’s hit tune “Diet Pepsi.”
“Honestly, if we had done Coachella last year, it would have pushed ‘Choo Choo’ further,” he says, noting he initially feared pop music could distract. “I didn’t think it could work in a way that wouldn’t throw you out of the show.”
And yet Evans doesn’t want to get ahead of himself. He nearly teared up at the end of the “Choo Choo Revue” premiere, saying the following afternoon that seeing this show come together after multiple years was second only to his 2025 wedding in terms of creating an “overwhelming feeling of pride, love and care.”
“Choo Choo Revue” culminates in a look toward the future. That’s when a sleek, silver, oversized high-speed bullet train arrives on the scene.
It can be read as a metaphor.
While the nonprofit is still seeking donor help — at the premiere, Fagot said the company now has secured $4.7 million toward its $5 million goal of buying the theater and it also hopes to raise an additional $2 million for building upgrades — its future is more secure than it has been at any time over the past decade.
At long last, the Bob Baker Marionette Theater can relax and look toward new horizons.
Evans, for instance, can’t help himself excitedly tease a potential next Bob Baker show. He says twice in the interview that the Olympics are on the troupe’s mind.
“We’ve got two years,” he says. And now the permanent home to house it.
HAVING racked up nearly 60 countries in just a couple of decades, it’s fair to say I’ve been on a LOT of flights.
But at the same time, I’ve been cursed with the double whammy of being unable to sleep on public transport, and old knee injuries that swell up on planes. Not ideal for a Travel Editor.
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I fly every month and there is a great economy seat more people need to know about
So when it comes to choosing a seat on a plane, I think I’ve got it down to a fine art.
But my favourite seat is the one behind the bulkhead row on either the left or the right side of the plane.
Some of the bulkhead rows only have two seats on either side of the centre, due to the layout of the aircraft door.
This seat feels like a bulkhead but has no one walking in front of you
That means the seat behind these by the window has a crazy amount of legroom, but is more tucked away than the bulkhead.
Bulkhead seats, while often the best for legroom in economy, also come with the downside of lots of passenger traffic of people using the toilet or stretching their legs.
But this tucked away seat is a gem when it comes to economy.
In fact, I think it can be even better than premium economy, especially when you factor in the price.
Unlike other rows, seats 68A and 68K are tucked away but with legroom
I paid around £65 to pick this seat, whereas Premium Economy seats can be hundreds of pounds more expensive.
Not only that, but a lot of Premium Economy seats have built in arm rests you can’t lift.
If I lucked out with no one next to me on this seat, I could even lift the arm rests and have a double set to myself.
As a non-sleeper, I managed to get about five hours on and off of sleep, something unheard of for me normally on planes.
Not all planes will have this seat, so if it doesn’t I still recommend paying for the bulkhead seat if they are still available.
Long before Billie Jean King won dozens of Grand Slam tennis titles, founded the Women’s Tennis Assn., became part owner of the Dodgers and was awarded the Presidential Medal of Freedom, she enrolled in what was then called Los Angeles State College.
Three years later in 1964, King left without a degree to devote full attention to her burgeoning tennis career.
Failing to earn the degree bothered her, and King would correct anyone who said she had graduated.
“I said, ‘Don’t ever say ‘graduated.’ I haven’t earned it — yet,’” she said.
“Yet” became a reality Monday when King, 82, received her bachelor’s degree in history from the same school she attended more than 60 years ago — now called Cal State Los Angeles — walking across the Shrine Auditorium stage with the rest of the Class of 2026.
King also served as a commencement speaker, telling the roughly 6,000 fellow graduates, “It is a privilege for me to be here.
“Yeah, baby, only 61 years!”
King mentioned that “like many of you,” no one in her immediate family had graduated from college.
She noted that her lifelong fight against discrimination began when she realized at age 12 that nearly everyone at tennis clubs was white.
“I asked myself, ‘Where is everybody else?’” King said. “From that day forward, I committed my life to equality and inclusion for all. Tennis is a global sport and it became my platform, but equality was my dream — to make the world a better place.”
“We can never understand inclusion unless we’ve been excluded.”
Known then as Billie Jean Moffitt, she chose Los Angeles State because tennis coach Scotty Deeds trained men and women together. She soon became an international star, winning a Wimbledon doubles championship at 18 with Karen Hantze, who was only 17.
She married her college sweetheart Larry King in 1965 and they divorced in 1987. Afterward, King and Ilana Kloss, an accomplished tennis player in her own right, were a couple for decades before marrying in 2018 in a secret ceremony in the apartment of former New York City Mayor David Dinkins.
“You’re finding your truth, and it doesn’t have to stay the same,” King told People magazine at the time. “I only liked guys when I was young. I didn’t think about girls. And then all of a sudden I’m like, ‘Oh my God, what’s happening?’ My truth was changing over time. It took me forever.”
King became a trailblazer for LGBTQ+ and women’s civil rights and was awarded the Presidential Medal of Freedom in 2009 in part for her advocacy for equality. King and Kloss co-founded the Billie Jean King Leadership Initiative to promote inclusive workplaces and gender equality.
Shortly after they married, King and Kloss became part owners of the Dodgers and the Sparks, acquiring undisclosed minority stakes in the franchises through an invitation from controlling owner Mark Walter.
“We believe all professions, and professional sports, need to be more inclusive and equitable,’’ Walter said at the time. “It’s going to be wonderful to have a role model like her in both clubhouses from time to time.’’
King returned to Cal State L.A. in the 2025 spring semester. She also earned course credit for her interaction with fellow students enrolled through the university’s Prison Graduation Initiative.
“They have made a commitment to improving their lives through education,” she said, and “getting their degree will be life-changing for them.”
King now knows the feeling firsthand. At the graduation ceremony on Monday, she wore a gold stole embroidered with a multicolored tennis racket and the letters G.O.A.T — greatest of all time.
“It means a lot more to me than I thought,” she told reporters. “I am so glad I did it. My hope is that one other person will go back to school.
“It’s never too late, whatever age you are, whatever your abilities are, go for it if you want it.”
Kylie Minogue tried to have children via IVF and battled breast cancer for a second time in 2021Credit: GettyThe pop star uses her docuseries to speak about struggling to conceive after her fight with cancer in 2005Credit: Netflix
Kylie, 57, says in the show, which is out today: “It was always with such a thread of hope but I couldn’t not try.
“I did try IVF a number of times. If it had happened it would have been just shy of a miracle. But it didn’t work out that way.”
Poignantly, she adds: “One can’t help but wonder what it would have been like.”
Kylie’s singer sister Dannii, 54, has one son, as does her brother Brendan, 55.
Dannii said of Kylie: “She is amazing with kids. Just naturally incredible. She is amazing with her nephews.
“I never saw myself being a parent and she always did. And that is heartbreaking.”
The lyrics of Kylie’s 2012 song Flower dealt with the pain of not having children.
It includes the line: “Distant child my flower, are you blowing in the breeze?”
Brave Kylie, 57, pictured with her singer sister Dannii, 54Credit: GettyKylie, above on stage in 2025, now has the all-clear and hopes to encourage women to go for early screeningsCredit: Getty
In another revelation, Kylie said she secretly battled cancer for a second time after being diagnosed with primary breast cancer in early 2021.
Kylie said: “I was able to keep it to myself and go through that year.
“I didn’t feel obliged to tell the world and actually I just couldn’t at the time as I was just a shell of a person.
“I didn’t want to leave the house again at one point.
“Thankfully I got through it again, and all is well.”
Kylie now has the all-clear and hopes that speaking out will encourage women to go for early screenings.
She said: “I know there will be someone out there who will benefit from a gentle reminder to do their check-ups.”
Welcome back to The Times’ Lakers newsletter, where we’re not in Cancun just yet.
I fortunately have gotten some much-needed sleep during the week since the Lakers were eliminated, but NBA news never rests, especially during this pivotal offseason that could reshape the entire roster.
With almost half of the roster spots in flux, we’ll start with one player who we know will be back next season.
All things Lakers, all the time.
Get all the Lakers news you need in Thuc Nhi Nguyen’s weekly newsletter.
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Luka Doncic fourth in MVP voting
He led the league in scoring but Luka Doncic finished a distant fourth in the most valuable player voting, which was announced Sunday before Game 7 of the Eastern Conference semifinals.
While Oklahoma City’s Shai Gilgeous-Alexander won his second consecutive MVP in a landslide, Doncic didn’t receive a first-place vote. Gilgeous-Alexander finished with 939 total points and 83 first-place votes. Nikola Jokic was second (634 total points, 10 first-place votes) and Victor Wembanyama was third (569 points, five first-place votes). Doncic, who had 250 total points, only had one second-place vote, and even fifth-place finisher Cade Cunningham had two first-place votes that contributed to his 117-point total.
A global media panel of 100 voters selected the winner of the 2025-26 Kia NBA Most Valuable Player Award.
This MVP discussion was one of the most competitive in recent memory. A fourth-place finish, especially without a single first-place nod, doesn’t quite do justice to how productive Doncic’s season was. He averaged 33.5 points, 7.7 rebounds, 8.3 assists and 1.6 steals per game. Despite playing without Doncic for the last month, the Lakers maintained a top-four seed in the competitive Western Conference and won 50 games for the second consecutive year. It was just the fourth time in the last 20 years that the league’s scoring champion didn’t receive a first-place MVP vote.
Some of the MVP race comes down to campaigning. Wembanyama, along with stellar play, repeatedly made his case during interviews. Doncic brushed off any chances to do the same.
Doncic preferred to let his play speak, but the message didn’t quite get through. During one of the most magical Marches in league history, Doncic dropped from second in NBA.com’s MVP ladder to fourth.
The season-ending hamstring injury on April 2 didn’t give him a chance to restate his case.
The more disappointing effect of the injury was that Doncic was not close to returning in time for the postseason, where he watched from the sideline as the Lakers got swept by the Thunder.
“It’s very frustrating,” Doncic said last week in his exit interview immediately after the season-ending loss. “I know some people wanted me back, but obviously I wasn’t close to clearing. … If I could be out there, I would be, 100%. Everybody in that room knows that. But it was very tough. Like I said, this is the best time to play basketball. I was sad not to be able to help my team.”
Doncic said he will not play for the Slovenian national team this summer while he prioritizes time with his daughters and recovering. His second daughter Olivia was born in December, and Doncic, who missed two games to be present for the birth, quietly managed a custody battle during the season after he and his former fiancee split.
The last 15 months have been tumultuous for Doncic, but he grew as a leader for the Lakers, coach JJ Redick said, specifically in his dedication to building off-court relationships with teammates after the shocking trade that brought him to L.A. left him in a daze for months.
“I don’t think we got the best version of Luka, the person, [last year],” Redick said. “He was great, but he was phenomenal this year as a teammate and a leader. And obviously, as a player, the guy had a tier one season relative to the rest of the league.”
Still first in the Lakers’ hearts
Will Marcus Smart and Deandre Ayton be back with the Lakers next season?
(Kenneth Richmond / Getty Images)
Doncic took his role as a leader so seriously last season that it started during free agency when he placed recruiting calls to Marcus Smart and Deandre Ayton. With both players facing player options to return, Doncic didn’t commit to trying to woo anyone back.
“We’ll see,” Doncic said. “Can’t tell you nothing.”
Most of the Lakers’ roster could change next season, but Doncic is still at the center of every decision. General manager Rob Pelinka said it’s an “ongoing collaborative process” with Doncic regarding any offseason moves.
Pelinka said the roster will be “retrofitted” around Doncic. It wasn’t that long ago that a superstar still in his prime fell in the franchise’s lap, which shook up every existing blueprint. The new archetype are three-and-D players and rim-running centers.
Ayton was supposed to be a solution at center when he signed last year. When asked how he is approaching his player option, Ayton said after the season-ending game that he hadn’t made a decision yet, but that he had enjoyed his time with the organization thus far.
“It’s purple and gold, that’s about it,” said Ayton, who was the No. 1 pick in the same draft in which Doncic went third. “Just being honored and happy to be on this platform. And another chance, and all of that. There’s great players I learned [from] here.”
Ayton flashed his potential. He was a force during the first-round playoff win over Houston. The Lakers needed him in that series and he delivered. But he also acknowledged that it was “a very humbling experience” being on a team that did not need him to score, instead asking him to primarily rebound and defend the rim with consistency.
Considering that Ayton is coming off career-lows in points (12.5), rebounds (eight) and minutes (27.2) per game, it might be hard for him to command a better salary than the $8.1-million option he has on the table.
Smart can opt into $5.4 million. The 32-year-old could decline the player option with hopes of securing a long-term contract, whether with the Lakers or elsewhere, after he proved he could still be an effective defensive spark plug and offensive shot-maker. Had a late-season right ankle injury not lingered so long, Smart, who played only 62 regular-season games, could have been in the conversation for an all-defensive team nod.
The Lakers need strong defensive players around Doncic and Austin Reaves if the duo reunite as the team’s backcourt of the future. The chemistry on and off the court between the guards was one of the highlights of the season and a reason to be hopeful that it could work in the future.
Doncic called playing with Reaves and LeBron James “an unbelievable experience.” Pelinka said at his end-of-season news conference that Reaves has expressed interest in returning to the Lakers. James’ future is more uncertain: Pelinka said the team will give James space to decide on his own, although he “would love” to have the NBA’s all-time leading scorer back.
Favorite thing I ate this week
Pho with rare beef and beef balls from Pho Show in Culver City.
(Thuc Nhi Nguyen / Los Angeles Times)
I was playing hurt the last few days of the season. I sniffled, sneezed and hand-sanitized my way through Game 4 and the end-of-season news conference with Pelinka and Redick then scooped up the ultimate sick day dinner: pho.
The pho tai bo vien (rare beef and beef ball pho) from Culver City’s Pho Show didn’t heal me completely, but it sure helped. I basically slept for three straight days after the Lakers’ season ended. Now between the remaining playoff games across the league, I’ll be catching up on TV shows, reuniting with the friends I neglected for months and enjoying my rent.
Francesco Caballero has been juggling a lot — quite literally.
When he’s not tending to his online studies at the California Virtual Academies, the 13-year-old can be found in the circus ring — hurling bowling pins, straw hats, hollow rings and rubber balls high up in the air, all in one harmonious cycle.
But the bright-eyed teen is also balancing something far greater: a legacy. The rookie showman is proving his mettle as part of the Caballero Circus, a five-generation family of performers, by enchanting audiences with his charismatic stage presence and sharp coordination.
“My family is a circus family. That’s what they did when they were kids and it just passed on to me,” said Francesco, hours before a Wednesday night performance in Santa Ana.
Though Francesco is only a month into his journey as a traveling cast member, he pranced about the ring Wednesday with the confidence of a seasoned ringmaster. For his act, the teen juggled up to five objects at a time; as a couple of stray balls fell to his side, he swiftly picked them up and tossed them into the air, as if it were part of the script all along.
And, once the thrill wore off, Francesco marched into center stage with a small motorbike — enclosing himself in a chamber known as the “Globe of Death”: a mesh sphere where riders ramp their bikes using the power of centripetal force to loop around the Globe. He also played the trumpet.
“In order to grow as a performer and to be better, you really have to be patient,” said Caballero. “It’s not something that’s easy, that you’ll be better in like a week.”
Francesco Caballero, 13, poses for a portrait at the Caballero Circus on Wednesday, May 13, 2026, in Santa Ana.
As boldly charismatic as Caballero appeared on stage, his path to performing in the family circus was hardly clear-cut.
At the age of 3, he was diagnosed with leukemia: a cancer that causes the body to produce too many abnormal white blood cells. This made it difficult for his body to fight infections, carry oxygen and stop bleeding. He was in treatment for four years, until he finally beat cancer by age 7.
This is why his mother, Liliana, a former flying trapeze artist, felt overprotective of him when he began showing interest in the performing world — which began with a small role in the Cirque du Soleil show “The Beatles Love,” in which he played one of the Fab Four in childhood.
At first, Liliana would watch closely to make sure Francesco didn’t get tired or bruised. Yet doctors eventually assured her that physical activity for a recovering pediatric leukemia patient would be beneficial to his quality of life.
“I was against it [at first], but he was so spoiled,” said Liliana. She joked that her son, the youngest of her three children, was “mimado” — a term in Spanish used to describe someone who receives excess attention. Back in the ring, as Francesco prepared his juggling act for another night of play, she stood farther back in the stands, being an ever-observant coach.
“When he told me that he wanted to be like my family, like his grandparents, it was a great satisfaction for me,” said Liliana. “After everything we’ve been through, and still my son dreams of being in the circus, it was a huge blessing for me.”
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The Cartoon Poodles perform at the Caballero Circus on Wednesday, May 13, 2026, in Santa Ana. (Kayla Bartkowski / Los Angeles Times)
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Chicharron performs at the Caballero Circus on Wednesday, May 13, 2026, in Santa Ana. (Kayla Bartkowski / Los Angeles Times)
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Francesco Caballero, 13, juggles pins during his performance at Caballero Circus on Wednesday, May 13, 2026, in Santa Ana. (Kayla Bartkowski / Los Angeles Times)
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Nicole Caballero, 15, second from left, Gianna Rios, 8, Francesco Caballero, 13, Judith Caballero, 15, and Chicharron perform at the Caballero Circus on Wednesday, May 13, 2026, in Santa Ana. (Kayla Bartkowski / Los Angeles Times)
The Caballero circus dynasty dates back to the turn of the 20th century in Guadalajara, with Adelaida Caballero was the first in the family to practice the joyous spectacle. Her daughter, Isabel, would be the first of the Caballeros to open her own circus, as a way to earn income during the Mexican Revolution. (They allegedly entertained Pancho Villa, a well-known circus-lover, in 1916.)
During this time, circus families blossomed all over Mexico, aided by the appearance of the steamship and railway systems, as the circus historian Julio Revolledo Cárdenas would detail in a 2018 article for the Fédération Mondiale du Cirque.
However, much of the Caballero family’s performance lore begins with Isabel’s son, 82-year-old Rubén: an apparatus connoisseur well-versed in the high wire, trapeze and hand balancing. Around 1981, Rubén would bring the entire Caballero family to the United States; all eight of his children performed for the esteemed Ringling Bros. and Barnum & Bailey circuses, with the flying trapeze as their specialty act.
Two members of the Caballero family, Rubén Sr. and Rubén Jr., are also recognized for being the first to execute the quadruple somersault under the big top tent in 1985. It requires extreme faith in the opposite catcher, as much as it does for the individual flipping multiple times over — they even recorded the groundbreaking stunt for posterity’s sake, along with other home videos.
In 1995, this risky act helped the family secure the esteemed Payaso de Oro: the top prize at the International Circus Festival of Monte-Carlo, an award comparable to soccer’s Ballon d’Or or music’s Grammy. Some of the Rubén’s direct descendants would win the award once again 30 years later.
By 2000, Rubén would open his own white-and-purple tent circus, Caballero Circus, where Liliana now oversees the concession stand. Her sisters Maria and Judith manage the circus and supervise show details, respectively.
“My father’s American dream was always to run his own circus,” said Liliana.
Rubén Sr., who continues to be the patriarch of the Caballero family, is teaching his youngest grandson everything he knows. “He wants me to be better,” said Francesco.
Nicole Caballero, 15, from left in the front row, Melody Caballero, 22, Francesco Caballero, 13, and Judith Caballero, 15, at the end of the show at the Caballero Circus on Wednesday, May 13, 2026, in Santa Ana.
Now carrying the family’s torch is the fifth generation of tumbling acrobats skilled in the art of balance and flexibility. Liliana’s 15-year-old daughter, Nicole, specializes in the Globe of Death, where she gets in the locked cage with her cousin Judith, also 15; together they maneuver the motorbikes around the globe at opposing-intersecting paths. This is a skill set she takes pride in, since many in the audience assume there are men underneath the protective gear.
“Once we come out, we take our helmets out and they see girls can do it too,” said Nicole before her Wednesday performance.
Melody, host of the bilingual show, competed as a contortionist on Season 8 of “America’s Got Talent,” which aired in 2013. “ We could have the worst day of our lives, but when we step on stage, we have to have the biggest smile in the world,” said Melody.
Two of Rubén’s older sons, who married Russian acrobats during international stints, broke off and founded their own troupe as Circus Caballero. They have their own touring show stationed in Bell through May 25.
Francesco Caballero, 13, gets ready in a mirror inside a trailer at the Caballero Circus on Wednesday, May 13, 2026, in Santa Ana.
Some of the Caballero family members also compete internationally as the Flying Caballero — something the youngest Caballero member, Francesco, hopes he can work his way up to.
“ I’ve been told that they’ve been to France, to Italy, Germany, everywhere,” he said. “My primos just went to one of the most prestigious festivals in Monaco and they won first place. I wanna be like my cousins and do what they’re doing.”
Francesco might still be learning the ropes of the circus world — but before he can compete on the glamorous world stage, he must first conquer his school’s virtual talent show. On June 8, he will participate in a nationwide competition by the virtual academy K12, which will showcase student talent from across the country.
Thankfully, he will have plenty of time to practice. The Caballero Circus will station itself in Lakewood between May 22 to June 7.
“Not a lot of kids do what I do,” said Francesco. “It teaches us to connect with the public, to connect with other people.”
Welcome back to the Times of Troy newsletter, where USC and Notre Dame are back at the bargaining table — as you first read in this space last Monday — and also back to bickering about who’s to blame for blowing up their century-old rivalry in the first place. One step closer to order being restored!
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I have less faith in the rest of college football and its leadership, which now appears to be mobilizing around a playoff format that’s almost universally disliked by actual consumers of college football. The 24-team playoff is a great deal for coaches, who want to be able to point to as many playoff berths as possible for job security. It’s probably a good deal for athletic directors, digging through couch cushions for extra NIL dollars. And for the TV networks, it’s especially juicy. Twenty four teams means more than double the number of games, and each of those games is pulling in an average of between 10 million and 20 million viewers. That’s a lot of eyeballs and a lot of advertising dollars. (For everyone but ESPN, which currently has exclusive rights up to 14 teams.)
It’s also a good deal for Notre Dame, whose athletic director Pete Bevacqua came out this week in support of the 24-team playoff in an interview with the Athletic. The Irish would essentially assure themselves of a bid in most years, which, per Bevacqua, would make it easier to clear the way for USC and Notre Dame to play again.
Big Ten commissioner Tony Pettiti has been leading the charge on the 24-team playoff. So while USC athletic director Jennifer Cohen hasn’t said anything about her preference, it would be a surprise to hear her publicly oppose what the rest of the conference has been pushing.
But why do we have to push anywhere? Why do we have to keep fixing the playoff? And if you must keep tinkering with college football, well, there are plenty of ways to fix it that won’t water down the product and devalue the regular season the way playoff expansion does. Plus, who’s to say that after two seasons at 24 teams, the conference commissioners don’t decide they want to expand again? To 28 teams? To 36 teams?
The 12-team playoff already makes a lot of money. But like everything now, it has to make the mostpossible money or be as big as possible. I actually long for the days when college football’s leaders did whatever they could to keep the game from changing.
Now it’s the only thing that feels inevitable these days around college football.
Back to school
Marqise Lee at his graduation ceremony.
(USC)
Marqise Lee stepped to the lectern Friday, in full cap and gown, looked out over a full crowd at Galen Center, and cleared his throat. For so many reasons, the former USC wideout still couldn’t quite believe he was standing there.
Growing up, no part of Lee thought that college would even be available to him. He was brought up in the most difficult of circumstances in Inglewood. Separated at a young age from his sister and his mother, who was deaf. Thrust alone into the foster care system. He ended up living in a motel for three years.
When he did make it to USC, class hadn’t been a priority. Football was his focus from the start, and it would ultimately lead him to the NFL, where he’d never really taken the idea of returning to school that seriously. A counselor would try to convince him on a few occasions and even got him onto campus to set up a schedule.
“But it just never happened,” Lee told me.
Then, his football career ended, and his daughters started getting older. They never got to see him play football. He started thinking about what it would mean to show them what he could accomplish. So Lee decided to go back.
It wasn’t easy at first. He was taking five classes, a full course load. He felt uncomfortable being the oldest student in the class.
“When I first sat in there,” he said, ”I was like, I really don’t need to come back.”
His statistics class, especially, was daunting. He looked for any reason to leave. Then, he thought of his daughters.
“To go back to school and tell my daughters, yeah, I went back, but I wasn’t successful — and expect them to succeed?” Lee said. “Yeah, I can’t.”
But before long, Lee found that he actually liked his classes now. He enjoyed the group projects where he used to only do the bare minimum.
After sloughing off his final semester the first time around at USC, Lee needed at least three B’s and two A’s. No easy feat at USC.
Lee ended up getting A’s across the board. At the end of the semester, the school asked him to be the speaker at its student athlete commencement. Which is what led Lee to that stage, where he delivered a hell of a speech Friday.
“It was just like, this is something that you never ever dreamed about,” Lee said. “You never dreamed about graduating from college. So like to get that done was amazing. And then, I have an opportunity to sit up here and say to these kids and get them prepared for their future, by at least letting them understand where I come from and how hard it is. So they know that we actually can fight through anything that comes our way.”
Next up for Lee?
“I’m about to try and go get my master’s degree after this,” he said.
Cofie’s plans changing?
Jacob Cofie reacts after a layup and a foul during a win over Washington State last season.
(Steve Galluzzo / For The Times)
A month ago, USC basketball announced that Jacob Cofie, one of its starters from last season, planned to return next season. It was a huge coup for Eric Musselman, who had a grand total of two returning players in two seasons as USC’s coach.
Cofie decided to still take part in the G League scouting combine. But in the process, he became one of five players who earned invites to the NBA scouting combine last weekend.
While in Chicago, Cofie was asked if he’d considered keeping his name in the draft. And he didn’t say no. “I’m leaving that up to my agent right now,” he said.
But even with the combine invite, I don’t expect that Cofie could climb any higher than the second round of this NBA draft. And depending on where he would be drafted, if he’s drafted at all, he might actually stand to make more at USC in revenue sharing dollars and NIL.
Cofie has nine days, technically, to make a decision. But I expect we’ll hear sooner than that on his future, and I’d be shocked to hear he’ll be spending next season anywhere but USC.
—USC baseball locked up the fourth seed in the Big Ten tournament. But what about hosting a regional? The Trojans managed to take one of three against Oregon to at least lock up a bye until Friday in the Big Ten tournament. But right now, USC is likely on the outside looking in at hosting its first NCAA regional since 2002. All that could change with a run in the Big Ten tournament. Doing so, though, probably means pulling off an upset of No. 1 UCLA. If USC wins its first tournament matchup against whomever emerges out of Illinois, Iowa, Michigan State and Purdue, then the Bruins will almost certainly be on tap. Win that game, and their hosting fate could change fast.
—Pete Carroll is coming back to teach “The Game of Life” at USC. The former USC coach delivered the commencement address for the Marshall School of Business last Friday, and in the process, announced that he’ll be making his triumphant return as Professor Pete next school year. A spot in Carroll’s class was one of the most coveted on campus in his first go-round — good luck getting off that waitlist the second time!
—Honor Fa’alave Johnson, USC’s top commit in 2027, reaffirmed his plans to sign with USC. That was after a group of USC coaches flew down to the safety’s hometown of San Diego via helicopter. Not a bad way to show you mean business — especially as Texas was doing its best to flip Fa’alave Johnson.
—Some Big Ten championship results from the weekend: The USC men finished fourth in the Big Ten track and field championships, while the USC women finished third. Meanwhile, women’s rowing placed sixth at their Big Ten championships.
What I’m Reading This Week
Patrick Radden Keefe writes for the New Yorker.
(Manuel Balce Ceneta / Associated Press)
It’s a quiet time for new TV, so I took the radical step of picking up a new book this week. (Crazy, I know.) That said, I’m always game for reading something new from New Yorker staff writer Patrick Radden Keefe, who, for my money, is one of our greatest living nonfiction writers. His latest book, “London Falling” follows an American family investigating the death of their 19-year-old son, who they find was living a secret life within London’s criminal underworld mysteriously before he jumped mysteriously from a building into the Thames River in 2019.
Keefe is a tremendous reporter and writer, capable of turning a nonfiction narrative into a roller coaster, page-turning story that reads like a crime novel. This book, like “Say Nothing” and “Empire of Pain” before it, is one I won’t forget any time soon.
Scheduling note
I said I’d be off this week, however the Lee graduation was so nice that waiting to report on it seemed wrong. But the newsletter will be on hiatus the next two weeks.
That concludes today’s newsletter. If you have any feedback, ideas for improvement or things you’d like to see, email me at ryan.kartje@latimes.com, and follow me on X at @Ryan_Kartje. To get this newsletter in your inbox, click here.
A VICTORIAN train station has reopened to the public after four years of construction.
The project has faced major delays throughout, with the station initially scheduled to open in 2025.
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Darlington Station has officially reopened after years of development workCredit: LNERThe station has seen two platforms refurbished, alongside a new concourseCredit: Network Rail
Darlington Station has reopened after receiving a £140million makeover, with first-time travelers enjoying the revamped facilities this weekend.
Darlington is considered to be the home of the modern railway, but the Victorian station needed a redesign.
Redevelopment for this historic Grade II listed station has been in the works for years, with the project starting in August 2022.
At the time, concerns were raised about whether the modern design would be in keeping with its Victorian history.
The station developments cost £140million in total, taking nearly four yearsCredit: Network RailThe redevelopment of the station has made it completely accessible and step-freeCredit: Network Rail
After major building work, such as cutting a hole in the roof to install a new footbridge, the project was pushed back due to “additional design requirements”, surpassing the initial completion date in 2025.
Now, after these delays, visitors in this northern town can enjoy a modern new copper-coloured concourse, an elevated walkway connecting two new platforms, and a 650-space multi-storey carpark.
The design of the station also means that it is now fully accessible, with step-free access across the whole station.
Completion of the station was celebrated on May 15, with conductors whistling in the famous steam locomotive Tornado to mark the occasion.
An LNER Azuma train also took passengers on a special inaugural journey to York, with live music, entertainment and refreshments on board.
On May 17, with the station fully working, locals got to try out the new facilities, funded by £43million from Tees Valley Combined Authority and £96million from Network Rail and the Department for Transport.
Visitors praised the new station, reports The Northern Echo, with one hailing the new station as “like a palace to the railway“, and others saying it was “modern and unbelievable”.
One particularly happy visitor also told the Echo: “If you said something like this would be in Dubai, you would think oh my goodness.
“This is in Darlington – and there’s not a railway station on the East Coast Mainline as good as this.”
Lola McEvoy, MP for Darlington, has praised the redevelopment of the station: “This absolutely cements it with the connectivity that we need, £160 million, and so many hours and hours of work.
“I just want to pay tribute to everybody who has put so much graft into this.
“I think it’s really important because for visitors and for investors, this is going to mark us out as a place to come and visit and enjoy and build.
“But for residents, what it’s going to do is unlock new adventures and make sure that we get the economic opportunities and the growth that we so desperately need and absolutely deserve.”
Over the last five years, there has been a significant shift in how fashion and sports intersect, both on and off the court, with athletes’ influence extending beyond the court and into culture at large. Why now? And how has athlete style evolved?
These were some of the questions that three prominent athlete stylists — Brittany Hampton, Courtney Mays and Dex Robinson — unpacked last week at the panel “Game Changers: Where Sport Meets Style.” Moderated by Image contributor Darian Symoné Harvin and co-organized with the Only Agency, the event took place at the private members club Gravitas, a hub for folks at the intersection of sports, business and luxury in Beverly Hills. Gathered in the swanky yet intimateupstairs bar and events room, guests sat in plush chairs and sipped pink vodka cocktails and flipped through Image’s May sports and arts issue ahead of it hitting the newsstands. An also-plush takeaway?Stress balls in the shape of footballs, courtesy of the Only Agency.
The evening could’ve kept going — Hampton, Mays and Robinson had so much to say about an industry that is still widely misunderstood and filled with gatekeeping. The below edited version of the conversation gives you a glimpse into the demanding yet deeply fulfillingworld of styling athletes.
Darian Symoné Harvin: Athletes often are not sample size. How do you source clothes and work with brands? Are they supportive? Anything you would tell brands if you could?
Courtney Mays: Size inclusivity is a huge thing. Because, especially when you’re talking about the W[NBA], you’re talking about women who are sometimes a men’s size 13 shoe, who are sometimes a 36-inch inseam. And although we’re using this platform to talk about larger issues, sometimes the larger issue is: I’m here and I’m a plus-size woman. Sometimes you have to use your presence to talk about those things, if you’re not verbally saying that, [and] you have to get the brands to stand behind you.
“We’re making sure that that Old Navy looks like Bottega,” said Courtney Mays, “so that at the end of the day you feel like the superstar that you are. We’re really curating the moment.”
Brittany Hampton: It’s also important for everyone that’s in the room to know that stylists can’t always get the ask that you guys may be asking for. If I have a seven-foot athlete, which I do have on my roster, and he’s, you know, he’s massive — he wears a 16-and-a-half shoe. There may only be a few brands [with his size]. There are going to be certain things that I may even have to pull out of his own closet. And then it still means, “Well, why do we have to give you that budget for that?” And it’s like, well, because I had to have an assistant go get that piece from his closet, have it dry-cleaned, have it picked up, then have it delivered to set. It’s still a process, there’s value in the work that we put in. We’re trying our hardest.
DSH: From a tunnel walk to a press run to a campaign, how do you break down your budget and your fee?
Dex Robinson: Each stylist approaches fees and pricing a different way, right? Also depends on how you were groomed or how you came into the situation. I was an assistant for years before I ever said I was a stylist, and even then I kind of treaded lightly before I was like, “I am a lead stylist.” I was someone’s assistant, and that’s when I asked all the questions that I needed to ask about what my fees would be. I knew the structures, I knew the things, so I wasn’t asking my peers, “Oh, how do I charge for this?”
BH: I do want to jump in and state for the people in the room that may or may not know we’re speaking in terms of expenses. The current budgets that they are talking about are particular to clothing expenses. That does not allot to our fees. We have labor that is very imperative, labor that goes into us doing market research, that goes into us having assistance across cities most of the time. I live in Los Angeles. None of my clients live in Los Angeles. So let’s say my client is currently in the playoffs and lives in Cleveland, but I’m pulling from both New York and Los Angeles, then we’re meeting in Cleveland to have a fitting with him, and that all takes a tailor of this, of that, etc. Now, having tunnel looks is one thing, but then also having a campaign is something completely different. We also then have to be very strategic about brands that we’re pulling from. And we are using our own cards!
CM: A lot of times, we are giving our own money down to say, “I’m taking this half a million dollars’ worth of wardrobe out of your store, and I’m promising you that I’m going to bring it back in a certain amount of time.”
DR: It’s a more lengthy exercise to get people to let you borrow clothes versus [when] the [clients] just pay for this stuff and I don’t have to worry about it after. I would much rather let them have it in their wardrobe and I figure out what to do with it after. And I’m not like, “Oh, you wore this one time,” and just throw this out. No, we gonna cut the arms off of this. We gonna turn this into some shorts.
When asked for one piece of advice for aspiring stylists, Dax Robinson encouraged people to first do their research. “Being fashionable does not make you a stylist … it takes years of perfecting a craft to become a stylist.”
But then to pull from a [showroom], that’s a whole ‘nother situation. That’s not really a money exchange, that’s more of a publicity exchange. And again, it’s still based off your name or your client.
CM: That’s when it’s important to get the shot. We live in a social media world. When we work with brands and we work with designers, we work with PR firms — what they’re looking for is that image. Not only the tunnel walk, but maybe it’s the walk out of the hotel or that paparazzi shot.
So we’re also partnering with photographers, saying, “Hey, our clients are going to the opening of LACMA. We need to capture the moments before.” Just like all the celebrities, they go to the SAG Awards, whatever, and they have these beautiful editorial shots before they even hit the red carpet. Why? Because they invested in a photographer to come to their home, to their hotel room, and say, “Let’s use 15 minutes before you walk out the door, get this BTS, get this shot, and we’re going to make it look beautiful.” Because we want to build the relationships with the brands of the clothing that we’re wearing.
DSH: What I love about what you’re saying is that it’s not only the tunnel, it’s not only the press run, it’s not only the campaign. It’s like, how are you creating this world around who the athlete is? To me, that’s exciting. It’s when you get into the creativity.
Let’s say that you receive a cold email from someone who wants to work with you. What kinds of questions do they ask that lets you know that they’re informed or they mean business? What lets you know, “Oh, they’ve done their homework a little bit, and they’re not just going to toss me around as a possibility”?
BH: We are brand architects, and because you guys are reaching out to us about a particular client, our job is not to just create a character, right? We don’t just create characters. We work with athletes. We understand that we have to know that athlete before they even walk in the room, and we have to understand their identity, understand their brand, and then build that with you [the brands] before we can even do the job right. There’s nothing more that I love than being on a call with a full production team for a full hour for a commercial. Because we actually want to know: One, what’s going into that player. Two, what they look like. Three, what they’re going to be doing, if there’s a double or if they’re going to be active — our talent is very performative, they’re performance-based first, and so we have to remember that when we’re dressing them.
Brittany Hampton on the role stylists play beyond the tunnel walk: “We’re not just bringing them a rack of clothes. We’re truly there to help build their identity and then who they’re about to become.”
CM: I feel like those conversations need to happen at the onset of working with a new client, with the agent, with the manager, with the assistant so that you can understand what the broader goal is for that client. A lot of times when people hire stylists, whether it’s per project or for a longer stint, a season, I think it’s like, “Oh, they just need clothes.” Like, I just had a job. [Her team] was like, “It’s the opening of the WNBA season. She needs clothes tomorrow.” Like an idiot, I took it: I really want to work with this girl. I’m gonna just send her a box. And I knew that was the dumbest thing I could have ever done, because I’ve never met her in person. I didn’t have the right sizes, and I think it ruined the relationship, because I didn’t have any context. So the fact that I couldn’t execute in 24 hours is sticking with me. I should have said no, because that is not my job — to go shop for you at the mall. My job is to really have a conversation about what your goals are, what your fit is, what brands do you love, what do you want to do when this basketball thing is over? I think that part and those conversations are important.
BH: It’s also important to have emotional intelligence. As we are the people that work with athletes on a consistent basis, we have to understand their bodies, but we also have to understand that they win games, they lose games. And half the time we are picking up their energy. We’re not just bringing them a rack of clothes. We’re truly there to help build their identity and then who they’re about to become. Sometimes you don’t get that lucky and get to have someone for that long, but the relationship building and creating that trust is something that’s so important, which is why those factors matter, like hiring someone maybe a month in advance and setting up those calls between the client and the stylist. Even if we just get on the call and we just want to shoot the shit and we’re like, “What colors do you like? What size do you like? What are brands that you love? Who do you look up to in terms of fashion?” Because some of these kids like it, and some of them absolutely don’t know.
DR: Well, that [direct relationship] might not be the reality depending on how big your client is sometimes, too. I’ve worked with people where they had to have that middleman for a little bit until they felt comfortable. So it wasn’t a situation where you could do that direct situation until they were ready. It’s also a different situation for me as a male, because guys don’t like being around other guys, so that’s why [women] dominated [the styling landscape] for years. Think about it. Like, as a guy, your mom is your first stylist. And then when you get a shorty you may say, “Yo, babe, I look nice. I’m good.” Guys really feel confident with a woman saying, “You look nice.” Not, “Yo, bro.” And then, even for me, a lot of the bigger guys I worked with, it was really their wives that was like, “You know what? My man can’t dress. I need you to come in.”
CM: That’s still the case. It’s somebody’s girlfriend or wife or agent. Like, “Please help.”
DSH: I want to talk about the people who you all work with when you are on set. I’m thinking particularly about glam. I’m curious about the makeup, hairstyle and grooming conversation that you are having, and why it matters.
“What you’re saying is that there’s a level of love that you have to put into it, and it’s not just about the clothes, but about the person,” reflected moderator Darian Symoné Harvin. “What do you like off the court? Where do you want to be? Where do you want to show up, right?”
CM: I feel like the stylist always becomes the creative director. We’re the hype man. We’re the one that’s talking to the hairstylist to say, “OK, she’s wearing this dress, we got to do XYZ, LMNOP.” We’re talking to the hairstylist. We’re talking to the photographer. We’re saying, “OK, we need a green backdrop instead of a yellow.” And I feel like that’s why we’re asking for certain rates; it’s not just me going to Old Navy to get y’all some jeans. And even if I am, because sometimes [Old Navy is] cute, we’re tailoring it. We’re making sure that that Old Navy looks like Bottega, so that at the end of the day you feel like the superstar that you are. We’re really curating the moment.
DSH: What advice would you give if you were sitting across a coffee table with a stylist who says, “I want to get into styling athletes”? What’s the one honest piece of advice you would give them?
BH: We can’t do everything. There are hundreds and hundreds of athletes across the board, and although we all came from a world of gatekeeping, it’s just not that anymore. Like we all have to share relationships. We have to continue to boost one another up. There’s been jobs where I’m like, “I can’t take that. Can you take that? Would you want that? This could be a good girl for you.”
DR: I think that a lot of people think because they’re fashionable, that means they should be a stylist. And I think being fashionable is just that. Being fashionable does not make you a stylist. I think it takes a sharpened eye. I think it takes understanding skill and proportion. I think it takes years of perfecting a craft to become a stylist. I think that people should just do research. I think that people should assist people. I think that when you come into a space and you don’t assist people, [maybe] you can easily attain a client, but retaining them is going to be hard, and I think that’s a difference, right? I wish a lot of the younger people that came into the space were more open to being a student first and not trying to become a professor.
CM: I also think that what we do is such an intimate thing. We’re getting people dressed. We’re in their homes, we’re in their hotel rooms. We’re with their families. Come as your authentic self and know that you have to do your best professionally — but also there’s a level of love that you have to put into it, and it’s not just about the clothes, but about the person, and about their goals and their aspirations. Make sure that you become a part of those conversations in a real, authentic way.
BH: It’s not just transactional. This is truly our passion. And we want to continue to work and just push for every person that comes after us.
A NEW direct rail service connecting two major UK cities started running again for the first time in over two decades.
The first direct service left the station this morning at 7am.
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The new service will now mean there is a direct line between two popular UK citiesCredit: AlamyStarting from today, the direct service will run from Mondays to SaturdaysCredit: Getty Images – Getty
A new daily rail service between Oxford and Bristol Temple Meads began today, offering a direct service between the two cities for the first time in 23 years.
The new service started this morning after plans were finally given the go-ahead on Friday, May 13, by Network Rail and Great Western Railway.
Running from Monday to Saturday, the new service will travel via the following stations: Oxford, Swindon, Chippenham, Bath Spa and Bristol Temple Meads.
Both services began today with the first train leaving Oxford at 7am, arriving into Bristol Temple Meads at 8.20am.
The new rail line also means there is now a direct service for passengers travelling between Swindon and Oxford.
Previously travellers needed to change at either Didcot Parkway or Reading.
Great Western Railway’s managing director, Mark Hopwood, said the decision comes after years of campaigning from customers and partners.
“The economic and social benefits are clear, and we are confident that these new services demonstrate the value of rail in driving economic growth, environmental benefits, and creating education and employment opportunities which previously were not possible – as well as directly linking two of the key leisure markets in the UK,” he said.
Swindon South MP and Secretary of State for Transport, Heidi Alexander, said the “weekend trial of direct trains was hugely popular” and the new service will provide travellers with “a fast, convenient alternative to being stuck in a traffic jam on the A420”.
Network Rail Western route director, Marcus Jones, said bringing back the direct service “is a significant step in improving connectivity across the Western route” and the new links “will make it easier for people to travel between key economic centres, opening up new opportunities for work, education and leisure”.
HIS love life has been almost as varied as his incredible songwriting catalogue.
Sir Paul McCartney endured the tragedy of losing first wife Linda to cancer and a catastrophic £24million divorce from Heather Mills before finally finding happiness again with American businesswoman Nancy Shevell.
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Sir Paul McCartnet’s love life has been almost as varied as his incredible songwriting catalogueCredit: SuppliedGirlfriend and fellow Sixties icon Jane Asher in 1965Credit: ITV
But today The Sun can reveal the identity of the secret childhood crush who became Sir Paul’s “one that got away” — a pretty neighbour whose striking good looks inspired the opening track to his new album, which tells the story of his childhood in Liverpool.
The record was unveiled at a preview event in London this month, where the legendary Beatles songwriter recalled memories of a pretty neighbour called Jasmine, who lived close to his home.
Today, it has emerged she is retired mum-of-three Jasmine Howe, who left the area and resettled in Hertfordshire before retiring to the New Forest in Hampshire.
And the now 83-year-old’s family were stunned to learn of the £800million rock legend’s youthful infatuation — revealing she had “absolutely no idea” about his fondness for her.
They explained: “It’s a cute story, she lived nearby and knew who he was, but she never got close to him — meanwhile, he obviously felt very differently!
“It’s an amazing story — a very long time ago now, but we’ve chatted as a family in the past about how Jasmine grew up close to Paul McCartney. Goosebumps
“She just knew him as one of the boys in the local area. It’s enough to give you goosebumps!”
The Boys Of Dungeon Lane is Sir Paul’s first solo album in five years, and critics say it is his “most personal to date”.
Paul with Jane in 1968Credit: Getty Images – GettyPaul with first love Dorothy ‘Dot’ RhoneCredit: Supplied
The title is taken from Days We Left Behind, a wistful acoustic track that references Dungeon Lane, near the River Mersey, where McCartney played as a boy, as well as a “secret code” and mysterious promise made to John Lennon at the time, which he insists “will never be broken”.
At a special event, held at the iconic Abbey Road studios in London where the Fab Four produced their biggest hits, Sir Paul played tracks from the new record and explained their origins — beginning with opening song As You Lie There.
The lyrics recall: “Do I ever cross your mind as you lie there? As you lie across your bed, am I there inside your head?”
Revealing the inspiration to a small invited audience, Sir Paul explained: “Up in one of the windows, there was a girl I fancied called Jasmine.
“But I didn’t know how to approach her — I never spoke to her.
“The joke was, she did show up later that year and knocked on the door. I was indisposed — I was on the toilet — so I missed Jasmine!”
Turning to his wife Nancy, who he married in 2011, he grinned and quipped: “Sorry, Nancy.”
Prior to meeting his third wife, Macca famously had quite a colourful love life.
His first serious romance was with Dorothy ‘Dot’ Rhone, who he met at the Casbah Coffee Club in Liverpool in 1959.
The pair dated for more than two years and even got engaged, but split just before Beatlemania exploded.
In 1963, Paul met actress and model Jane Asher backstage at one of the band’s concerts.
The relationship would last five years and Paul even moved into the family home on London’s Wimpole Street.
Paul with beloved first wife Linda in 1973Credit: GettyPaul with third wife Nancy in New York in 2024Credit: Getty
Jane was his muse and introduced him to the avant-garde arts and classical music scene, which would inspire some of his most famous songs.
Despite being charmed by Jane’s cultured family and domestic life, Paul had secret flings with model Maggie McGivern and US writer Francie Schwartz — betrayals that ultimately shattered one of the Sixties’ most iconic romances.
He met his second wife, model and amputee activist Heather Mills, at a charity event in 1999, marrying her three years later.
Their daughter Beatrice was born the following year. However, the pair split acrimoniously three years later with a very publicly played-out divorce — one that cost the star £24million.
However, the singer enjoyed real happiness with his first wife, American photographer Linda.
They married in 1969, raised four children together, and were inseparable until her death from breast cancer in 1998.
Growing up, Sir Paul lived with his parents at 20 Forthlin Road in Allerton, Liverpool, while Jasmine lived with her family on the corner of neighbouring Hurstlyn Road, just 20 yards away.
Both properties still stand in the south Liverpool suburb, nestled in a series of brick-built terraces — though Sir Paul’s is now owned and maintained by The National Trust as a museum.
The Trust operates tours around Sir Paul’s home and also John Lennon’s childhood home nearby.
Inside, the three-bed property has been meticulously preserved as a snapshot of 1960s Liverpool, including some of the family’s original decor — and a blue plaque outside commemorates “The Birthplace of The Beatles” as Paul and pal John would meet there to compose their earliest songs.
Jasmine later married her boyfriend Charles, known to the family by his middle name, Christopher, and they had three sons — Philip, Matthew and, amusingly, Paul.
A photograph of Jasmine posted online by a family member shows her looking elegant in a navy blazer at a relative’s wedding, with carefully cropped blonde hair beneath a wide-brimmed hat.
A picture of Sir Paul, later used on a 2005 album cover, taken around the time he was pining for neighbour JasmineCredit: SuppliedMacca’s modest childhood homeCredit: Alamy
The relative explained: “She is 83 now and lives quietly. She wouldn’t want it to become any more of a story than it is — she had no idea that Sir Paul liked her, but she’s happy to leave it as that.
“It’s a good story for our family.”
The album, released on May 29, returns the world’s greatest living songwriter to many of his early memories and experiences, with Sir Paul going on to explain more about his 18th solo collection.
He said: “This was a lot of memories of Liverpool for me, but also any days we’ve left behind.
“Everyone’s got them, school, old mates . . . It has memories of John in the middle — that’s lovely to go back to. Someone asked: ‘What’s the secret code?’ I’m not telling.
“You make up a lot of stuff when you write songs.”
And that admission may chime with Jasmine’s family, who later jokingly insisted: “She never actually knocked on his door.”
On another track, Salesman Saint, Sir Paul turns to his parents. “I was born in 1942, in the war. I was too young to appreciate that, but my parents weren’t.
“My dad was a fireman, putting out fires from the bombs. My mum was a nurse and midwife. But they carried on, because they had to.
“Like people in Ukraine, Gaza and elsewhere now.”
Meanwhile, Down South, one of the album’s most nostalgic tracks, recalls a story of hitchhiking with Lennon and fellow pal and later Beatles bandmate George Harrison.
The lyrics explain: “It was a good way to get to know you before we learned Twist & Shout.”
The Fab Four: Paul, Ringo, John and George in 1963Credit: GettyPaul with second wife Heather MillsCredit: Getty – Contributor
And reminiscing about the trip, Sir Paul reveals how he and George climbed on to a milk float.
He says: “There was the driver’s seat, a battery and a passenger seat. George got the battery. His jeans had a zip on the back and it connected with the battery. Later, he showed me the big zip burn.”
The new record was unveiled in Liverpool with a series of cryptic posters around the city.
Artwork for the project was designed by Sir Paul’s nephew, Josh.
And its release coincides with a series of major Beatles retrospectives — including Peter Jackson’s seminal Get Back documentary put together from restored archive footage that details the creation of their final album, Let It Be, and the band’s break-up.
But still to come is a major new dramatisation of the band’s rise to fame directed by Sam Mendes and with Paul Mescal as Macca.
The blockbuster will be released simultaneously as a quadrilogy in 2028, with each movie focused on one of the Fab Four’s formative years, charting their coming together as the world’s greatest musical group.
Filming with Mescal as Paul, Harris Dickinson as John, Barry Keoghan as Ringo and Joseph Quinn as George has already begun.
The holiday destination is hugely popular with UK tourists, and it’s brilliant – but one significant difference is hard not to notice
06:01, 17 May 2026Updated 07:57, 17 May 2026
The holiday destination is loved by many – including me(Image: Nicola Roy)
There’s nothing quite as exciting as discovering somewhere new on holiday. Trying out new restaurants, exploring the attractions and wandering for hours makes for the ideal short break, especially when the weather’s lovely and warm.
I love to travel and aim to visit a new city or country at least once a year. That said, I’m also a bit of a creature of habit, and there’s one destination I’ve returned to repeatedly that never loses its appeal. I first went to Playa Blanca in Lanzarote aged just nine, and it’s since become my family’s ultimate go-to retreat.
If you’ve visited before, you’ll know it feels very much like a second home. British and Irish tourists are everywhere, numerous seafront bars screen football while serving pints and full English breakfasts, and the streets are lined with familiar shops including Spar, Mango, Aldi and Lidl.
But the glorious sunshine, stunning beaches, distinctive landscape and lovely villas make it exceptional, so it’s hardly surprising that my family and I always look forward to our visits there.
We’ve been so often that all the typical tourist attractions have been crossed off our list. Timanfaya volcano, the cactus gardens and Mirador del Rio – a spectacular viewpoint nearly 500 metres above sea level – are all worthwhile visits, but nowadays when we go it’s purely for unwinding.
However, after our return earlier this month, I spotted a major difference, and unfortunately not a positive one.
Like most holidaymakers, there’s only one thing occupying my thoughts when I travel — and that’s the food. Playa Blanca has an abundance of outstanding restaurants catering to every possible taste, from traditional Spanish tapas and paella to sushi, curries, pasta and countless other options.
There are certain places we return to without fail, as well as exciting newcomers constantly appearing on the scene. It’s really unusual to have a disappointing meal anywhere across Playa Blanca.
However, this year many of the restaurants we went to were noticeably quieter than usual. The island itself appeared no less busy than normal, but even during peak periods, the dining spots we passed or visited had noticeably fewer customers.
Asia Playa Blanca, a personal favourite, was practically empty when we dropped in for lunch one afternoon. One family arrived, took their seats and promptly left — a disheartening sight, especially given the exceptional standard and presentation of the Japanese cuisine.
La Bodegon, a superb tapas spot along the waterfront, also seemed to be serving considerably fewer customers than I’ve seen before. While Lanzarote has pleasant weather throughout the year, visitor numbers typically drop during winter — but this was May, and the streets were as packed as ever.
The slump in restaurant footfall could be down to the construction of several large, all-inclusive hotels near the resort over the past few years.
For families in particular, opting for half-board at one of these properties is likely far more cost-effective and convenient than hunting down a different restaurant each evening.
If Playa Blanca is on your travel radar this year, a wander through the old town and a visit to a couple of local restaurants is highly recommended. Top picks would include Imagine India, La Casa Roja and Primari for curries, paella and Aperol Spritz respectively.
The staff are wonderfully friendly and attentive — you’ll often be treated to a complimentary Limoncello or honey rum at the end of your meal — and you might just stumble upon your new favourite dining destination.
