On the night of September 24, 2025, Hollis Frazier-Herndon performed an acoustic rendition of his song “Eldest Child” for a sold-out crowd at USC’s Shrine Auditorium. During his croon of the lyrics, “Eldest child, eldest child, I know your momma and your daddy so goddamn proud. They don’t know me, no. They don’t know me now,” the artist known as 2hollis went from a fractured growl to a sweet silky falsetto to a full collapse into tears.
It was a moment of raw catharsis as well as a culmination. During a pre-show interview backstage, Hollis revealed the hidden meaning behind the lyrics. He said the figurative “momma and daddy” are actually his fans, whose expectations he’s glad he’s fulfilled, even though they “don’t actually know each other” in real life. Thus, a sold-out crowd enthusiastically singing back at him evoked an emotional release. In tandem with that though, is the fact that this was 2hollis’ first show in his hometown since his Altadena childhood house burned down in the January 2025 fires. The embrace from his extended community after he persevered through that tragedy and continued to ascend to musical stardom was palpable.
“I’m at a place now where I feel like, in a way, it’s sort of a phoenix situation,” Hollis said about his post-fire rise from the ashes. “The whole town burned down. It was terrible and insane. But it weirdly felt like that needed to happen [to make the new album what it is]. I don’t know, it’s hard seeing somewhere you grew up just be a deserted place.”
On the day before the release of his fourth album, “star,” in April, 2hollis posted a picture of a burnt-edged tarot card with the same title. He added a message explaining that the star card was the only thing he and his mother found intact when they returned to Altadena to assess the damage. It was also later reported by 032c Magazine that atop a tall hill behind Hollis’ family property existed a wooden and metal star statue filled with lightbulbs that would glow at night. That star, which Hollis and his childhood friends would hike up to, also burned. The album “star,” 2hollis’ best version of his signature crystalline hardstyle EDM, meets grimy rage trap, meets velvet emo pop punk, emerged directly and impactfully from the remains of the roaring flames.
At the end of the full throttle album opener “flash,” Hollis said he added recorded sounds of the wind chimes from his Altadena home porch, triggered by the Santa Ana winds in the lead up to the fire. You can also hear faint gusts and flame sounds emerge sparsely throughout the project. He let the weather itself dictate the type of immersive experience the album could be, even as it also chronicles his layered chase for notoriety and glory.
“There are a lot of self-reflective moments, and it is very personal and emotional, but it’s also like one big party,” he explained. “I feel like, in a f—ed up kind of way, that’s what a fire is, too. It’s so big and full of visceral anger and emotion and almost a sad kind of wave. But then, also, it’s lit.”
2hollis is a visual thinker, thus he envisions scenes and uses optical inspiration to craft his imaginative rave-like soundscapes. Grammy-winning producer Finneas, during a recent interview with Spotify, recalled a time in the studio with 2hollis when he described a sound he was trying to capture as “a crystal with a pretty face on it.” This is a regular practice. Backstage, he described the process of juxtaposing an RL Grime-esque intense trap drop with a synth piano inspired by the movement and presence of a porcelain Chinese lucky cat he kept in his bedroom studio at the Altadena house. This was for his song “burn” from “star,” a scorcher which also happened to be the last song recorded in his home before the flames hit.
For 2hollis’ most openly psyche’d song on the album, “tell me,” where he professes lyrics like, “Everybody I don’t know tryna know me these days I don’t even know who I am,” his mental visual for the ending electro drop is illuminating. “I always imagined heavy rain there and lightning shining on someone’s face,” Hollis said about a perhaps heroic moment linked to the fire. “And it’s also like a face-off. Maybe me versus my ego on a rainy war field at the end of ‘Squid Game.’”
2hollis often creates outlandish alternate worlds he hopes to thrust his listening audience into. “I think there’s become this thing with a lot of artists where they feel the need to be relatable,” he proclaimed questioningly. “That’s cool, but I want [to present] the fantasy of, ‘Let me listen and pretend I’m not me for a few minutes.” In a time of constantly looming shaky ground, Hollis presents escapism as mindful.
2hollis
(Sandra Jamaleddine)
2hollis, at times, appears in tandem with a white tiger. The animal bears the name of his first album and appears on stage at his shows as a large figurine that roars vehemently behind him during song transitions. As much as it feels a part of his fantastical sonic world, it is also deeply tied to his personal story.
On a follow-up call from backstage at a later show in Detroit, Hollis recalled a period of debilitating psychosis he experienced at 18 years old. He mediated and prayed to Archangels as an attempt to pull himself back together. When he invoked the spirit of the Angel Metatron, he would picture a white tiger destroying all the darkness and “demonic shit” around him. “It was wild and sounds insane, but it really helped me come out of it,” he said.
The more one speaks to Hollis, the more one realizes he embodies the Shakespearean line “All the world’s a stage.” Even in the most wholesome times in his life, as a little league baseball player and school theater kid, he would get a similar “butterfly in the stomach feeling” from the performance of it all. But by that same token, he is also someone who values solitude and garnered his appreciation for it from Altadena itself.
Hollis describes it as a place of “untouched, unscathed innocence.” A place where he could walk his dog up to the star behind his home, meditate, and look at the city of LA in the distance. “I go back there all the time even though there’s nothing there anymore,” Hollis said from Detroit about his home’s unending pull. “It’s just comforting to be there by myself. The energy that was there before didn’t die.”
That far-gone youthful time alone is where Hollis dreamed of the world he’s in now. He said, if he could, he’d say to that wide-eyed yet apprehensive kid, “Dude, you’re doing it, you were right, you knew. Now it’s beautifully harmoniously coming together.” On “tell me” 2hollis raps that he’s equal parts scared of “press,” “death,” and “judgment.” But now, with overwhelming chaos in his rearview, he proclaims, “I’m running headfirst into everything. I’m not dying. I’m not scared of sh—.”
For much of the year, the Dodgers’ starting rotation felt broken.
In large part, because the pitcher acquired to be its anchor was struggling to find himself.
It’s easy to forget now, with Blake Snell in the midst of a historic October performance that has helped lead the Dodgers back to the World Series. But for most of his debut season in Los Angeles, the two-time Cy Young Award winner and $182 million offseason signing was grappling with frustration, enduring what he described recently as “the hardest year of my career.”
First, there was well-documented early adversity: A shoulder problem that Snell quietly pitched through in two underwhelming starts at the beginning of the campaign, before sidelining him on the injured list for the next four months.
Then, there was an ordeal Snell detailed last week for the first time: In late August, on the same day his wife Haeley gave birth to the couple’s second child, Snell got so sick in the hospital that he fainted, was taken to the emergency room, and kept overnight hooked up to IV fluids.
“This is awful,” he thought to himself then.
Which now, has made his dominant postseason — including an 0.86 ERA in his first three playoff outings, and a scheduled Game 1 start in the World Series on Friday night — all the more gratifying.
“It’s been a lot,” Snell told The Times last week, while reflecting on a difficult season now primed for a triumphant final act. “But that’s what this is all about. Find the best in yourself. Fight through all the doubt, the bull—. And figure it out.”
Early in the year, that group dealt with its own rash of injuries, losing Snell, Tyler Glasnow, Roki Sasaki and others in a harrowing flashback to 2024.
This time, most of their top arms returned healthy. But up until six weeks ago, they still faced genuine questions for the fall.
At that point, Yoshinobu Yamamoto was mired in an up-and-down stretch following his All-Star selection in the first half of the year, raising worries he could be tiring en route to making a career-high 30 starts.
Glasnow had returned from his early-season shoulder problem, but grinded through six starts from July 29 to Aug. 30 with an ERA above 4.00.
And while Shohei Ohtani was pitching well, he was also continuing to build up in his return from a second career Tommy John surgery.
Suddenly, it all left Snell to be the linchpin for the pitching staff — thrusting him to the center of the late-season resurgence that was soon to come.
“With every great starting staff, you got to have that anchor,” manager Dave Roberts said. “Having him get back to pitch the way he did, sort of raised the bar for everyone.”
This past winter, the Dodgers made Snell their top priority for a reason.
They looked at the patchwork rotation that nearly derailed their 2024 World Series run, and decided the year’s staff needed another star to build around.
Yamamoto, Glasnow and Ohtani already provided a well-established foundation. Clayton Kershaw, Emmet Sheehan, Tony Gonsolin and Dustin May offered plenty of depth to withstand a 162-game marathon.
What was missing, however, was another bona fide ace; the kind capable of swinging postseason series and transforming October fortunes. In Snell, they saw such potential. His presence, they hoped, would complete their title-defense blueprint.
“As we were talking about ways that we could put ourselves in the best position to win a World Series in 2025,” president of baseball operations Andrew Friedman said the day Snell was introduced by the club, “all conversations kept coming back to Blake.”
For most of the year, of course, Snell’s impact was limited. After his two injury-hampered starts at the beginning of the season, he remained out of action until after the trade deadline.
During that time, the Dodgers slow-played Snell’s recovery — putting him through a meticulous process (similar to their handling of Glasnow and Ohtani) that was designed to have him ready for the stretch run of the season, and hopefully peaking in time for the start of the playoffs.
Upon his initial return in early August, Snell seemed to be on track, with the left-hander posting a sub-2.00 ERA in his first four outings off the IL.
Then, however, came another unforeseen setback, after he rushed home from an Aug. 22 outing in San Diego for the birth of his child.
By the time Snell’s wife went into labor later that week, the 32-year-old arrived at the hospital feeling “extremely sick,” he recounted last week. At one point, as he got up from a couch to go hold his newly born baby, he said he passed out and fainted right there in the room.
Snell was taken to the emergency room and stayed there overnight, getting two IVs to combat an unspecified illness undoubtedly compounded by exhaustion.
“I couldn’t really stand,” he said. “I just felt awful.”
And yet, a few days later, there Snell was back atop the Dodger Stadium mound; making sure that, after his extended absence earlier in the campaign, he wouldn’t miss another start.
“That’s what I signed up to do,” Snell said. “When I pitch, I just forget about it. I don’t allow a lot of excuses.”
Snell’s illness was unknown at the time, but the physical toll it had taken quickly became obvious. His velocity was noticeably down in a three-run, 5 ⅓ innings start on Aug. 29 against the Arizona Diamondbacks. Six days later, he toiled again during a “frustrating” outing in Pittsburgh, yielding a season-high nine hits and five runs to the lowly Pirates.
Pushing through those games, though, gave Snell a key to hone in on for the rest of the season. “If this is who you are today, figure it out,” he told himself. And finally, with no more disruptions to his routine, improvement flowed quickly.
Dodgers pitcher Blake Snell puts his arm around catcher Ben Rortvedt as they walk back to the dugout together on Sept. 17.
Snell said after that outing, which was followed by one more six-inning, one-run start in his regular-season finale in Arizona: “[I’m] starting to be able to play catch with more intent and work on stuff … Coming through in the push to the postseason, and being able to make it, that’s what the whole season is for.”
The old adage in baseball is that hitting can be contagious.
In the case of this year’s Dodgers, starting pitching evidently can be, too.
As Snell got hot in September, so did the rest of the team’s resurgent rotation. Yamamoto rediscovered his early-season form, winning National League pitcher of the month with an immaculate 0.67 ERA in four starts. Glasnow finished the month with a 2.49 mark, after finally refining the mechanics of his throw. Ohtani, meanwhile, got stretched out to six innings, maintaining his two-way dominance over repeated full-length appearances.
The bar had been raised, with the constant cycle of gems continuing to push it a little bit higher.
The pitchers rode off the momentum and relished in their shared success; to the point that Roberts joked they almost seemed to be competing to outdo one another.
“I think we’re all good,” Glasnow said. “So it was just a matter of time until all of us did good at the same time.”
But in these playoffs, no one has been more lethal than Snell. In his 21 innings so far, he has thrown a scoreless frame in all but one.
Dodgers pitcher Blake Snell walks off the mound after striking out the last batter of the second inning of Game 2 of the NLDS against the Philadelphia Phillies.
(Robert Gauthier / Los Angeles Times)
He was good in his first start, producing seven innings of two-run ball against the Cincinnati Reds in the wild-card round. He was superb in the next, going six scoreless against the Phillies in a hostile road environment.
His masterpiece, however, came in Game 1 of the NL Championship Series, when he tossed eight scoreless innings, struck out 10 batters, and ruthlessly toyed with a Milwaukee Brewers lineup helpless to adjust to his manipulative changeup.
“We’ve all known this: Blake, when he’s right, is the best pitcher in the game,” Kershaw, his future Hall of Fame teammate, said afterward. “To have a guy that can do that, set the tone, and just have a guy that you can count on like that, it’s huge.”
For his part, Snell continues to insist that “I feel like I could be way better.” After his repeated setbacks earlier this year, he claims that, “even now, I’m still battling.”
The numbers, of course, tell a different story. In the live-ball era (since 1920), only three other pitchers with 20 or more innings in a postseason had at least 20 strikeouts and a sub-1.00 ERA (Sandy Koufax in 1965, John Smoltz in 1996 and Justin Verlander in 2013).
On Friday night, Snell will be on the bump once again, trying to continue a dazzling streak for himself and his rotation.
What once felt like the hardest year of his career, is now four wins away from being the most fulfilling.
“It’s what you have to go through to win a World Series,” he said. “You can find an excuse, or you can find a way to figure it out.”
The “peaky effect” has seen The West Midlands Peaky Blinder Group on Facebook grow to 44,000 members
It’s the show that has become synonymous with flat caps, waistcoats and tweed suits, but 12 years on since Peaky Blinders first aired its influence continues to run through the West Midlands.
The hit BBC series, which ran for six series from 2013 to 2022, reached a global audience and helped transform Birmingham’s image, boosting tourism and birthing countless events, fan groups and street art.
The series follows the lives of Birmingham gangsters in the 20th Century, including Tommy Shelby, played by Cillian Murphy.
Off the back of a forthcoming Netflix film, it is is set to return to TV for two new seasons, the BBC recently announced, following the exploits of the gang’s new era in 1953.
PA
Barry Keoghan and Cillian Murphy will star in the upcoming Peaky Blinders film
Peaky Blinders, which was filmed across various locations in the UK, including parts of Merseyside, Yorkshire and Staffordshire, first aired on BBC Two in September 2013 and made the transition to BBC One for the fifth series in 2019.
A global phenomenon, the “peaky effect” has also inspired a number of tours, with an abundance of tourists flocking to visit local attractions and filming locations.
According to national tourism agency Visit Britain, 7 in 10 UK visitors have been to a film or TV location while on a leisure trip in the UK.
Derek Brennan won a Thomas Shelby lookalike contest last year
For many fans of the series, it’s as much about the community it has fostered, as it is about the story itself.
The West Midlands Peaky Blinder Group, which arranges monthly meet-ups and pub crawls for show enthusiasts, has grown to 44,000 members since being set up in 2018.
The group regularly shares photos and content related to the show and attends events dressed in the period attire.
Founder Derek Brennan, 67, from Dublin, was inspired to set-up the group after he was mistaken for a peaky blinder.
“I was dressed up as an old fashioned Irish man, which was a bit like a peaky blinder, and someone called me a peaky blinder and I was like – “What’s that?” he explained.
Mr Brennan, who won a Thomas Shelby lookalike competition last year, said people in Birmingham loved the series and were “very proud”.
“If you talk about Liverpool, you would talk about the Beatles wouldn’t you. You talk about Manchester, it would be Oasis,” he said.
“They say we’ve got the Peaky Blinders.”
Finlay Payne
Finlay Payne, centre, was an extra in the Peaky Blinders series
Mr Brennan said they were like “one big happy family” and had gone on to meet other fan groups around the country.
“One of the biggest ones that we’ve done, we’ve gone down to Worcester and we’ve met the Worcester Peaky Blinders,” he said.
One of the group’s admins, Finlay Payne, from Birmingham, was inspired to get into the world of Peaky Blinders after taking part in performing arts in school.
The 21-year-old, who has appeared as an extra in the series, praised its creator.
“Steven Knight has created this masterpiece of a TV show,” he said.
“It’s amazing how we’re coming together as a community.”
Edward Gostick
Edward Gostick started running a “slogging gangs” walking tour in 2022
Edward Gostick, 23, started running Peaky Blinders walking and drinking tours around Birmingham in April 2022, taking visitors to key parts of the city and local pubs.
His Slogging Gangs Walking Tour, which begins outside the West Midlands Police Museum, attracts about 30-60 people each week.
Mr Gostick, who dresses up as Edward Shelby while leading groups through the city, has been able to turn his bespoke tours into a full-time job, due to its popularity.
He told the BBC the walking tour had attracted fans from all over the world, including places as far as Kazakhstan and Uruguay.
“I’ve had over 60 different countries do the tour,” he said.
“I get a lot of Australians, I get Americans… I get loads of people from Holland, Europe in general, Ireland of course.”
Interestingly, about a quarter of visitors had never watched the drama, Mr Gostick said.
“My hope is that Peaky Blinders will do to Birmingham what say Robin Hood did to Nottingham, or what Shakespeare did to Stratford-upon-Avon,” he added.
“Birmingham is so much better than its reputation, I do think the Peaky Blinders has helped a lot.”
Edward Gostick
The historical tour takes tourists to areas where the real-life Peaky Blinders appeared
Some scenes from the series were filmed at the Black Country Living Museum, 12 miles away from Birmingham, including at its boat dock, which was Charlie Strong’s Yard.
The open-air museum, in Dudley, boasts reconstructed shops and houses, with creator Knight previously describing it as “the heart” of the programme.
David Middlemiss, deputy chief executive, said the series had put the museum “on the map” and drawing in many international tourists.
He said its popularity was only increasing year-on-year, with immersive Peaky Blinders nights at the museum attracting up to 2,500 people each time.
“We often have visitors who come to the museum as a direct result of seeing us on the show,” he said.
Black Country Living Museum
A boat dock at the museum was used to depict Charlie Strong’s Yard in the series
Mr Middlemiss said the museum was one part of the “wider ecosystem of hospitality”, alongside hotels and restaurants, that stood to benefit from the impact of Peaky Blinders.
“For us, because we’re Black Country… It’s a really important way into the region and the stories that people will find beyond Peaky Blinders when they get here,” he said.
“We’re delighted that people visit because of Peaky Blinders and then learn everything else.”
A dozen years before he charted a bold, new path for the USC football program, Chad Bowden was living on the pull-out couch of a cramped studio apartment in Hollywood with no clue where his life was headed.
Bowden couldn’t have dreamed up the role he’d one day occupy a few miles down the street at USC, where as the Trojans football general manager, Bowden has infused the program with new energy while putting together the top recruiting class in America.
So how did Bowden rise from that couch to being held up as one of the most consequential arrivals at USC since Pete Carroll himself?
Bowden thought that he might play college football. A few small schools had offered him opportunities to play linebacker coming out of high school in Cincinnati. But Bowden’s father, former baseball general manager Jim Bowden, didn’t think it was the right move. He worried about how his son would handle the rest of the college experience.
“He felt like it was best for me, from a maturity standpoint, to go right into working,” Bowden says.
USC football general manager Chad Bowden looks across the field during preseason camp.
(William Liang/For The Times)
Which is what led him to the tiny apartment off Highland Avenue. He split the place with Jac Collinsworth, his close high school friend, the two of them packed like sardines into a single room that doubled as the kitchen and dining space. Neither seemed to mind the close quarters. Everything became a competition, with each of them pushing the other.
“Both of us were highly motivated guys,” says Collinsworth, whose father is the famed commentator, Cris Collinsworth. “Plus we had [Chad’s] dad in our ear.”
So every morning, they would wake before sunrise to race each other to L.A. Fitness. After, they’d race back up the hill to devour the usual breakfast of egg whites — sometimes mashing in bananas for sweetness. Some days, they’d throw in a motivational video on YouTube to get the blood pumping again, before racing off to try to be the first in the office.
They were both staying up late, getting up early, grinding all day in between. But after a while, it felt to Bowden like he was running in place. He’d tried an internship with a sports agency, only to realize the agency life wasn’t for him. Then he sold Google ads for a company called Linktech, whiling away his days cold-calling strangers who weren’t exactly happy to hear from him. It gave him perspective, he says. But not much else.
It was important to Bowden to find his path as soon as possible. He’d always planned for success at a young age, Jac Collinsworth says. His father, after all, was hired by the Cincinnati Reds as the youngest GM in baseball history back in 1992, and Bowden had practically grown up in that Reds clubhouse. He rode in Ken Griffey Jr’s Lamborghini. He was in the draft rooms, the trade talks, the contract negotiations. Once, he even called out a Reds player’s lack of hustle on the basepaths — and ended up stuffed in a garbage can.
His childhood was intertwined with the game. Even dinnertime could turn on a night’s result. When the Reds won a game, father and son would go out to a local steakhouse for dinner. When they lost, Chad says, they would only eat Triscuits and cheese.
“[Chad] knew that he was going to have to work twice as hard to get that respect from his dad,” Collinsworth says.
As hard as he was working, Bowden didn’t seem to be getting any closer to finding his way in L.A. Evan Dreyer was worried about him.
Dreyer had coached Bowden as a freshman football player at Anderson High in Cincinnati, and they’d stayed in touch since. So when Dreyer was out in L.A., he checked in on his favorite former player.
“Chad needed somebody to look him in the eye and say, ‘What the hell are you doing?’” Dreyer says.
He called Bowden back soon after and offered him a job as his defensive coordinator at Western Brown High, back in Ohio.
Bowden was just 20 years old. He had no coaching experience, aside from filling in for a few weeks as an assistant baseball coach for Dreyer at 14. But Dreyer knew how much Bowden loved football. And he had no doubt that Bowden was bound for great things. He saw it in Bowden even before high school, as early as the fifth grade, when all of the kid’s energy was zeroed in on being the best possible water boy he could be. He sprinted full speed down the sideline to retrieve a loose ball. He didn’t care for school, but memorized the stats of opposing players. It was clear he took pride in the job.
USC general manager Chad Bowden, center, attends a team practice.
(USC Athletics)
But that was when football first swept Bowden up. Now, years later, Dreyer was offering him a chance to get his foot in the door.
“He called me and was like, ‘What are you doing with your life? Football is everything to you.’” Bowden says. “I just kind of sat there and said, ‘What am I doing?”
So took Dreyer up on the offer. The only problem? He had no idea what he was doing as a defensive coordinator.
The team went 1-9. The next year, he followed Dreyer to another high school, and it didn’t get much better. He dialed up blitz after blitz, just hoping for the best. One night, his defense gave up almost 80 points, and a frustrated Bowden was ejected from the game.
Still, he wasn’t one to sit idly by, waiting on a problem to solve itself. Even if there was no obvious — or rational — solution. One week, when his defense gave up over 400 rushing yards, he responded by buying huge tubs of peanut butter, convinced more sandwiches could be the key to bulking up his defensive front.
Once, he babysat for Dreyer’s 3-year old daughter and upon finding out she loved school buses, set out to stop one in the street in order to give her a ride.
There were no half-measures with Bowden, on or off the football field. He preferred to take matters into his own hands if he had to.
“That’s the best way to understand Chad,” Collinsworth said. “He will move a mountain to make something happen.”
He seemed to be in constant motion, attending school at the University of Cincinnati in addition to coaching.
After two seasons coaching high school football, Bowden decided to try a new direction. A friend of his father helped hook him up with an opportunity to shadow the senior vice president of the Miami Dolphins, who eventually helped connect him with Brian Mason, the new recruiting coordinator at Cincinnati.
Mason hired Bowden as a student intern, helping out with Cincinnati’s recruiting. It didn’t take long for him to make an impression on the rest of the staff.
Some staffers, Mason says, were admittedly “thrown off a little bit by his energy” when they first met him. But there was no doubting Bowden’s work ethic as an intern. When Cincinnati coach Luke Fickell gave him a task, coaches remember Bowden sprinting down the hallway to complete it.
“We had to tell him to leave the office, even as a student intern,” Mason said. “He’d go 100 miles per hour to get things done.”
Mason played a critical role helping Bowden focus that energy. He surrounded him with structure and taught Bowden how to be better organized without tamping down his enthusiasm.
“I owe a lot of what happened in my life to Brian Mason,” Bowden says. “Brian did such a great job of understanding that I was crazy. But he also saw the good in me.”
Mason connected Bowden with Marcus Freeman, who at the time was Cincinnati’s defensive coordinator. Bowden asked if he could sit in on meetings with Freeman and Fickell to absorb as much knowledge as he could.
Bowden didn’t stay quiet in those meetings for long. “I never shut up after that,” he says.
It was out of that back-and-forth banter that Bowden and Freeman formed a close bond. Both, according to their fellow coaches, seemed uniquely suited for keeping the other in balance. Where Freeman was the more measured and thoughtful of the two, Bowden was bold and daring. He would push the envelope, and Freeman would rein him back in if need be.
“Like yin and yang,” said Mason, who also worked with both at Notre Dame.
Bowden quickly rose through the ranks at Cincinnati, from defensive quality control assistant to recruiting director. Along the way, there was “tough love” from Freeman that, Bowden says, was exactly what he needed to hear.
Notre Dame coach Marcus Freeman and his team line up to enter the field against USC at the Coliseum on Nov. 30.
(Gina Ferazzi/Los Angeles Times)
“He gave me what I needed to be the best version of me,” he said. “‘If this is what you want to be, this is what you need to do.’”
When Freeman left in 2021 to be Notre Dame’s defensive coordinator, he brought along Bowden, who took a lesser role in South Bend. A year later, Freeman was promoted to head coach and Bowden became his recruiting director and right-hand man.
The recruiting operation quickly took on Bowden’s personality.
“We were flying fast,” says Chris O’Leary, who coached safeties at Notre Dame. “Whether it was offers, calling kids, it was rapid fire all the time. Every day was life or death.”
When it came to talking to recruits, Gerad Parker, who coached tight ends at Notre Dame, likened Bowden to “the crazy uncle at the birthday party.” During official visits, he orchestrated NBA style entrances for recruits and their families. Sometimes he showed up in costume. He memorably dressed up as a leprechaun, another time as an FBI agent.
A leprechaun costume at Notre Dame might seem silly, but Parker said Bowden owned it.
“It’s like going into character when you’re working at Disney,” Parker said. “Those people don’t roll their eyes because they’re in a Cinderella costume. They are Cinderella.”
Of course, not all of his ideas got past the cutting room floor. For one, Freeman refused Bowden’s request to jump out of a helicopter to impress recruits.
“He might bring a list of five ideas, right? And four of them are crazy,” Mason said. “He brought up helicopters on multiple occasions.”
Whatever others thought of his methods, Bowden’s approach was working. He was relentless in building relationships. Recruits raved about his impact. Notre Dame pulled in a trio of top-12 classes that would serve as the bedrock of a run to the national title game.
Michigan had already pursued Bowden to be its general manager before that 2024 run. He turned it down, in order to continue on with Freeman.
By the following January, Bowden decided to change directions. Four days after Notre Dame lost to Ohio State in the national championship, he was named USC’s new football general manager.
At the time, Bowden called the decision “a no-brainer.” While talking with reporters in March, he said “some things that were out of my control” at Notre Dame.
But to those who once worked with both Freeman and Bowden, it was unexpected..
“That had to weigh heavy on Chad,” said Parker, the Irish tight ends coach.
“[They were] like brothers,” said O’Leary, the safeties coach. “I know there’s a lot of layers behind it. But yeah, I was surprised to see him leave Notre Dame.”
By choosing USC, Bowden was once again striking out on his own, walking away from the world he knew best for the promise of building something bigger and better. Fittingly, it would bring him back to the city where his search for a career began.
In seven months at USC, he has completely revamped the front office operation with his hand-picked staff, repaired relationships with local coaches and power brokers and reinvigorated USC’s entire recruiting strategy. The Trojans’ 2026 class has soared to the top of the national recruiting rankings, with 32 commitments and climbing. And boosters are buying in, once again crowding the sidelines of football practices.
Staff members will tell you that Bowden’s impact in that short time at USC runs deeper. That his energy and his willingness to test limits and challenge norms has set a tone for the entire department.
When USC athletic director Jennifer Cohen approached Bowden during a recent football practice, she found him busy scribbling down notes.
“He had 15 things from that practice that he noticed or ideas that he had,” she said.
“He’s the eyes and ears of a program in a way that really takes the pressure off of everyone. He’s just been great within the university community, within the athletic department, with donors, with former players. We could not be more pleased with the progress that he’s made and his team has made and the impact that he’s having on USC football.”
Glorya Kaufman, the philanthropist who transformed dance in Los Angeles through the establishment of an eponymous dance school at USC as well as a prominent dance series at the Music Center, among many other initiatives, has died. She was 95.
Kaufman’s death was confirmed by a representative for the Music Center, which was the recipient in 2009 of a $20 million gift from Kaufman that established Glorya Kaufman Presents Dance at the Music Center. The money, which represented the largest donation in L.A.’s dance history, went toward the ongoing staging of appearances by some of the world’s most well-known dancers, troupes and companies, including the Joffrey Ballet, American Ballet Theatre, the Royal Ballet, Alvin Ailey American Dance Theater and Ballet Hispánico.
“Her gift to the Music Center has made it possible for us to bring the joy and beauty of dance into the hearts, minds and souls of countless Angelenos and visitors from around the world,” Music Center President and Chief Executive Rachel Moore said in a statement. “As a result of Glorya’s significant visionary leadership and generosity, Glorya Kaufman Presents Dance at the Music Center today stands as a vital part of Los Angeles’ cultural fabric.”
Kaufman also donated an undisclosed sum to create and endow the USC Kaufman School of Dance, and to build its home, the Glorya Kaufman International Dance Center. When it launched in 2012, the program was the first new school to be established at the university in 40 years. It opened in 2015 with 33 students and has nurtured the talents of dancers who went on to work with internationally recognized companies and artists including Alonzo King LINES Ballet, Staatsballett Berlin and Ballet Jazz Montreal.
In a tribute published by USC staff on the university’s website, USC Interim President Beong-Soo Kim said, “Glorya’s love for dance was contagious, and she spread that love by creating opportunities for people everywhere to experience the transformative impact and joy of the arts.”
“We have so much [dance] talent here in L.A.,” Kaufman told The Times in 2012 when the gift to USC was first announced, “and there’s no place for them to go. We want to get the best students, the best teachers, and the kids, when they graduate, will be able to make a living right away.”
“The new biggest name in dance is Glorya Kaufman, who shook up the arts world last month when she gave the University of Southern California a gift that despite its undisclosed amount, has been called one of the largest donations in dance history.”
USC was not the first L.A.-area institution of higher learning to benefit from Kaufman’s largess. In 1999 she gave $18 million to fund the restoration of the UCLA Women’s Gym — now called Glorya Kaufman Hall. The Times wrote that her donation was, “the largest individual gift the university has received outside of the health sciences area, and the largest arts donation ever in the University of California system.”
Kaufman also gave money to schools in New York City, including four lifetime endowments for undergraduates at Alvin Ailey American Dance Theater. A 2,300-square-foot dance studio at the Juilliard School, which she funded, is also named after her.
Although dance was her primary focus, Kaufman’s influence was felt across L.A.’s cultural landscape. She was a founding member of the Los Angeles Museum of Contemporary Art and also gave to the Los Angeles County Museum of Art. In addition, she was a founding trustee of the Geffen Playhouse and donated money to build an outdoor reception area at the theater.
Kaufman believed that dance should be experienced by as many people as possible and was committed to helping less advantaged students gain access to programs in their communities. She created an endowment for a dedicated dance teacher at Inner-City Arts in East L.A. and provided funds for more than 17,000 kids to take free dance classes there each year.
The Glorya Kaufman Performing Arts Center — a 299-seat, multi-use performing arts space, including classrooms, rehearsal rooms and a theater — opened two years ago at Vista Del Mar Child and Family Services, a nonprofit that provides mental health services for neurodivergent children and those experiencing behavioral disorders. Kaufman’s gift came with the launch of three new community-focused programs: a USC Alumni Residency, an L.A. Independent Choreographer Residency and UniverSoul Hip Hop Outreach.
The Glorya Kaufman Performing Arts Center at Vista Del Mar was founded with the announcement of three new programs: a choreography residency, a USC alumni residency and a partnership with UniverSOUL Hip Hop.
(Nic Lehoux)
Glorya Kaufman was born in Detroit to Samuel and Eva Pinkis. Her father was the production manager of Automotive News and her mother was a homemaker who held leadership roles at various charities within the Jewish community. In interviews throughout her life, Kaufman recalled early memories of dancing while standing on her father’s toes. She also loved to go to Detroit’s many jazz clubs, which informed her lifelong love of music and dance.
Kaufman was diagnosed with strabismus as a child. The condition — which causes one eye to look in a different direction than the other — and her early experiences trying to correct the issue, along with her struggles with poor vision, contributed to her interest in helping those with disabilities.
In 1954 Kaufman married Donald Bruce Kaufman, a builder and entrepreneur who in 1957 partnered with businessman and prominent philanthropist Eli Broad to co-found a homebuilding company called Kaufman & Broad (now KB Home). In 1963 the Kaufman family moved to Huntington Harbour after the company expanded to California. Three years later, they again moved to Beverly Hills. In 1969 the Kaufmans relocated to a 48-acre Brentwood ranch they called Amber Hill.
In 1983, Donald died in a plane crash with the couple’s son-in-law Eyal Horwitz while piloting an experimental biplane. To deal with her loss, Glorya threw herself into philanthropy. She created the Glorya Kaufman Foundation and dedicated its first major project — the 10,000-square-foot Donald Bruce Kaufman Brentwood Branch Library — to her late husband, a prolific reader.
Kaufman is survived by her four children, Curtis, Gayl, Laura and Zuade; 10 grandchildren; and 13 great-grandchildren.
AVP, the biggest and longest-running professional volleyball league, hosted beach volleyball matches for the first time in an NBA arena this past weekend.
Hosted at the Intuit Dome, crews were tasked with bringing 300 tons of sand from a quarry in Palm Springs, which is roughly 16 truck loads. AVP is looking for creative ways to attract a new audiences to the sport, often hosting their marquee volleyball events in unconventional locations.
Timelapse of Intuit Dome transforming into an indoor beach vollyball court. (Kelvin Kuo / Los Angeles Times)
A wooden sandbox was constructed to contain the prewashed sand and form a single court.
It took the crew, which consists of about 150 people for a change over a typical event at Intuit Dome, five hours after the conclusion of the event to ready the arena for Clippers season ticket-holders the following day.
One Love Island star has shared how they’ve now found God years after leaving the ITV2 dating show. The video struck a chord with her fans online, racking up hundreds of likes
Katie was on Love Island back in 2016(Image: ITV)
Many Love Island stars go on to take other paths after being on the show. A lot of them become influencers, while some go back to their day jobs or start their own company. However, one Love Island star has revealed how’s now found God after being on the show.
Katie Salmon, 29, was on season two of the ITV2 dating show back in 2016, coming fourth place on the programme alongside Adam Maxted. She also made Love Island history on the show to form the first all-girl couple with the late Sophie Gradon. After leaving the programme, Katie decided to become an adult star and moved to Thailand. However after falling pregnant with her daughter, Thaiga, she decided to move back to the UK before giving birth in March 2022.
Becoming a mother made Katie to take a fresh look at her life, and she decided to make a major change. She continued being an adult star on OnlyFans for a while after having her daughter but realised it “wasn’t sitting right” with her.
She said she didn’t want her daughter doing the same work she was, sit it made her ‘really look at herself’. After then going through a tough break up with her daughter’s father, Katie said she began reading the bible and was baptised.
She ditched her adult career after finding God(Image: itskatiesalmon/Instagram)
Katie has recently been taking to TikTok on her @itskatiesalmon account to talk about her new life after finding God. One recent video saw her dancing as she wrote: “When people say you’re lying about following God but you left a 6-figure business to follow him and free yourself and now you have more peace than ever.”
Captioning the post, she added: “Excuse me sir. But I think you’ll find the proof is in the pudding. Two years and thriving.”
The video struck a chord with her fans, racking up hundreds of likes. One told her: “I watched you in Love Island and I’ve just watched your videos on here and you have a special glow about you now. Some things can’t be bought and you’re happiness is shining through.”
Katie replied: “Glory to God, he hears us when we call.”
Another person added: “That’s the best part of a relationship with God, it’s just between you and him. No one else has to see your sacrifice because only his view counts ever,” to which Katie replied: “Amen.”
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Talking about finding religion to OK! magazine back in December 2023, Katie said: “I was obviously doing OnlyFans after I had my baby, but it wasn’t really sitting right with me. It helped me step away from the platform and really take a bigger look. And I found that every time I’d go on social media, all my pages were covered in the same thing that I was doing, and it made me realise that I didn’t want my daughter to be doing what I was doing, and I’d do everything in my power to make sure she doesn’t.
“That made me really look at myself and think that it was time for changes. I couldn’t just step away from the money, but unfortunately I had to in the end and it turned out to be the best thing for me.”
She added: “When I found a relationship with God, I really found a lot of truths in my opinion on what the Bible says about how we should cherish our temple and not abuse it.”
“I was seeking to be heard and to be found by someone for the help. In that moment, I found God and I felt like I was being guided to attend the church and to open the Bible and I found comfort in that.
“When I actually did attend church and open the Bible, I found a lot of comfort and a lot of healing with that which led me to getting baptised and my life has transformed since I’ve been baptised.”
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Katie’s new-found religion has also no doubt helped her through a tragedy she went through last year when the father of her daughter died.
Katie posted a photo of ex-fiancé Harry and their daughter Thiaga at the time to announce his death alongside an emotional message in which she said she was trying to ‘navigate this pain’. The cause of death is unknown.
She wrote at the time: ‘Trying to navigate this pain. The highest highs and the lowest lows with you. It’s so sad to know you’ll never see what a beautiful little girl she is or who she will become.
‘I hope your soul finds peace Harry [heartbreak emoji].’
Katie is now in a relationship with businessman Joe Rossi, with him regularly featuring in her online posts.
