Just after the U.S. Supreme Court overturned Roe vs. Wade in 2022, ending the nationwide right to legal abortion, Olivia Rodrigo walked onstage at the Glastonbury festival in the United Kingdom, sad and furious but also galvanized. “I’m heartbroken over what happened in America yesterday,” Rodrigo said onstage then. “I’m devastated and terrified that so many women and so many girls are going to die because of this.”
Four years later, Rodrigo has a new festival of her own this weekend, Daisy Chain Fields in Irvine’s Great Park, that’s entirely in service to those causes of women’s rights and reproductive autonomy.
“I remember being at Glastonbury that day with the most exciting opportunity to perform on that stage, but at the same time, being shaken to my core knowing that women’s rights were being stripped away,” Rodrigo told the Times via e-mail just before the festival. “I want people to walk away from here feeling hopeful and feeling like they can effect change. That was the entire thesis of this festival. I do think we can. We’ve seen it happen before, and we’re seeing some change now.”
Daisy Chain Fields is an ambitious escalation of Rodrigo’s activism in this sphere, which has paralleled her chart-topping success after debuting as a teenager with her LP “Sour” in 2021. The festival — with similarly-aligned acts including Chappell Roan, Doechii, Bikini Kill, Katseye and others — will be a globally-prominent cultural event, underlining the urgency for reproductive and women’s rights work amid the current right-wing backlash. It raises funds to benefit 10 like-minded advocacy groups, and intertwines her music career and women’s rights advocacy in ways few pop artists at her scale are attempting.
“We are ecstatic to have Olivia supporting our work, not only financially, but using her voice and reach to shine a light on these urgent issues,” said Nancy Northup, president and chief executive of the Center for Reproductive Rights, which challenged abortion bans in 11 states, and filed the first lawsuit on behalf of women denied abortions in 50 years. “Women are continuing to suffer under these bans, and that won’t stop until abortion is federally protected once again. Her support will help us continue filing lawsuits and advocating for laws that expand reproductive rights, both in the U.S. and globally.”
Olivia Rodrigo performs during the opening night of her Guts tour at Acrisure Arena on Feb. 23, 2024, in Palm Desert, Calif.
(Michael Blackshire / Los Angeles Times)
Rodrigo’s public work in activism began in earnest on the tour for “Guts” in February 2024. That tour coincided with the launch of Rodrigo’s Fund 4 Good, a nonprofit (under the fiscal sponsorship of the 501(c)(3) group Entertainment Industry Foundation) that steered $2.5 million in profits and donations from that tour to a range of global groups working in women’s rights, health and reproductive care. These included Jhpiego — a Johns Hopkins-affiliated global women’s health NGO — along with Women’s Shelters Canada, Women Against Violence Europe, and the Korea Foundation for Women.
“She did something. She could have played it safe, but she acknowledged that she has the power to make stuff happen, and she’s going to use it for good,” said Kathleen Hanna, founder of the legendarily activist punk group Bikini Kill, who will play Daisy Chain Fields on Saturday. While Hanna recalled feeling initially skeptical about the all-women Lilith Fair in the ’90s, she respects how Rodrigo learned about that fest’s communal, radical goals from a recent documentary, and sought to update it for her fans’ generation.
“What’s awesome about that is that it’s not that rare” for artists to be outspoken on these issues now, Hanna said. “Look at Megan Thee Stallion, Hayley Williams — all I see is women who are like ‘This is bull—.’ In a fascist era, we need to be meeting each other and opening friendship circles instead of isolating ourselves.”
Rodrigo’s advocacy hasn’t always gone smoothly. While on tour for “Guts” in 2024, Rodrigo brought abortion rights groups under the National Network of Abortion Funds to canvass at shows, and some groups handed out free condoms and emergency contraceptives to fans. Those efforts upset conservatives in states like Missouri, which had enacted a near-total abortion ban, and where state legislators sought to ban the morning-after pill. Fearing political backlash, Rodrigo’s management team at the time reportedly asked the groups to refrain from passing out contraceptives, but still encouraged them to canvass on-site.
“I don’t think demanding that women and girls be safe and have ownership over their own bodies is a radical idea,” Rodrigo said. “I was raised by parents who encouraged that belief in me.”
At Daisy Chain Fields, Rodrigo will likely face little resistance — but the show arrives in an ever more challenging time for women’s health and rights.
The return of President Trump to office has resulted in legislation like the One Big Beautiful Bill Act that slashed funding for healthcare; decimated funding for groups like USAID; and saw controversial, conspiracy-pushing figures like Health and Human Services Secretary Robert F. Kennedy Jr. brought into government. Crucial issues in women’s health risked being ignored or exacerbated.
“It is a fraught moment” said Angela Aina, co-founder and executive director of the Black Mamas Matter Alliance, one of the groups supported by Daisy Chain Fields. Aina said that American Black women die in childbirth at three times the rate for white women, and 87% of these deaths were preventable.
“What matters most to us is that the festival is showing people the organizations that are doing this work and pushing solutions,” Aina added. “Black maternal health has too often been treated as a niche concern, something discussed among public health professionals and then set aside.” But when these topics underpin a massive, sold-out festival of music with an audience of young women, it becomes “part of ordinary civic life,” she said.
These organizations said Rodrigo made a real effort to connect personally with their teams and more closely learn about their issues and strategies. Some, like the National Institute for Reproductive Health and Planned Parenthood, focus on reproductive justice. Baby2Baby supports mothers in poverty while Johns Hopkins Center for Indigenous Health focuses on Native and First Nations community healthcare; FreeFrom responds to the epidemic of gender-based violence, while the National Domestic Workers Alliance advocates for care workers, the vast majority of whom are women.
“It’s really extraordinary,” said National Domestic Workers Alliance President Ai-Jen Poo. “[She’s] making the time to come to meetings and learn about each organization directly from us, offering to think through different ways that she can lift up our work even beyond the festival.”
Part of NDWA’s mission is to change the cultural conversation around domestic labor — “We as a culture often refer to it as ‘help,’ as opposed to the profession that it is for millions of workers,” Poo said — an undertaking Poo said Rodrigo understands well.
“I think that she is a great storyteller herself through her music, and she knows that great storytelling is at the heart of what moves people and what creates change for people,” she said.
Olivia Rodrigo speaks at the beginning of the July 14, 2021, daily briefing at the White House in Washington, where she was filming a video to promote vaccines.
(Susan Walsh / Associated Press)
The National Women’s Law Center works across virtually every issue affecting women and girls in the United States. “One of the things I like to say is that our fingerprints are on the lives of women in this country in ways that they’re probably not even aware of,” said Uma Iyer, NWLC’s chief external affairs officer.
Iyer said that the “constant conversation” between law, policy and culture change is at the heart of the NWLC’s work, and Rodrigo’s advocacy keeps that conversation urgent.
“We’ve seen that in how #MeToo played out. That spawned litigation, but it was also a big global cultural moment,” Iyer said. “You’re talking about it at kitchen tables and movie theaters and on talk shows, and that discourse really matters when you’re trying to effect change.”
Each of the nonprofits will have a physical presence at the festival in Irvine’s Great Park. For their station, Poo said the NDWA will set up a space for visitors to learn about care work and pay tribute to the caregivers in their own lives through artwork, which will all knit together “in a big chain of care” by the festival’s end.
“We’re really excited about all the people who will come to our tent and have a conversation with us and stay involved in our movement long afterwards,” she said. “We feel like Daisy Chain is almost like a catalyst for really growing this movement for care in our country.”
Several organizers said the recognition and opportunities for connection that the festival brings are just as meaningful as whatever financial support it generates.
While the festival’s total donation pool is yet unclear, Rodrigo has said that all artists on the lineup are performing for free, though production and staffing costs for a fest this size will be substantial.
What money the nonprofit groups do receive will go right back into “continuing the work,” Iyer said. “The work of gender justice in whatever form it shows up for any of these 10 organizations is really the work of protecting our democracy.”
Money generated by Daisy Chain Fields will be “flexible dollars,” Iyer explained, usable for anything an organization needs to fill in the gaps. “Those are critical dollars for nonprofits to be able to survive and do the work,” she said. Beyond the impact for populations the organization serves, Iyer said the promise of Daisy Chain Fields has boosted morale among NWLC staff during an extremely difficult time in America.
“When you have this big festival with people you love to hear, who bring you joy and bring you comfort and peace and entertainment and laughs and love, and they’re all banding together because this one incredible person asked them to, because she believes it’s the right thing to do — it makes the work a little less hard.”
The work seems to be catching on. Roan, long outspoken on LGBTQ+ rights issues, will throw the Super Graphic Spectacular concert at the Shrine in Los Angeles on Oct. 21-22, benefiting trans youth through Roan’s Midwest Princess Project. Last year, Doechii told the audience at the GLAAD Media Awards in L.A. that as ”hard-won cultural change and rights for transgender people and the LGBTQ+ community have been threatened,” the superstar rapper was “disgusted” by the revanchism.
“Olivia’s involvement is such a gift, because she is reaching and educating young people who may feel checked out or hopeless on these issues,” Northup said. “Olivia is giving us a chance to meet young people where they’re at, and she’s approaching it with positivity. Her message is not about what we’ve lost, it’s about what we can accomplish if we channel our collective power as women and girls.”
Rodrigo just followed up her acclaimed LP “You Seem Pretty Sad for a Girl So in Love” with a new single, “Serena Joy,” titled after a character in Margaret Atwood’s “The Handmaid’s Tale” who complies with an oppressive theocracy.
“If they do it to them, they’re gonna do it to you,” Rodrigo sang, with a fury that brooks no room for despair.
“There’s a growing sentiment among young people and women that we have to create change, and hopefully people are inspired, whether it’s by engaging with some of our NPO partners or simply finding whatever way feels right to them,” Rodrigo said. “There is no doubt in my mind that protecting women and girls, and ensuring they have ownership over their own bodies, has to be a priority for all of us.”
A woman has praised Primark’s clever £25 cabin suitcase which can supposedly save travellers money at the airport – and it’s even perfect if you fly with Ryanair regularly
The suitcase ticked all the boxes for the woman (Stock Image)(Image: yacobchuk via Getty Images)
Anyone travelling with Ryanair will know how hard it can be trying to keep within the hand luggage size limits. Often passengers have to spend extra money on not taking any luggage in the hold – or upgrading to priority travel.
That’s why one woman was thrilled to find a piece of hand luggage that doesn’t break the bank, and also fits in the Ryanair baggage policy. Primark’s £25 suitcase, complete with detachable wheels, means you can get through the priority lane supposedly without having to spend extra money at the gate.
Ryanair Priority allows passengers to bring a 55cm x 40cm x 20cm cabin bag (up to 10kg) for the overhead locker, plus a small personal under-seat bag – and this Primark suitcase ticks all the boxes.
TikTok user Denic joked: “Ryanair has got nothing on me,” as she popped the wheels off her pink suitcase before testing it against the recommended measurements.
And sure enough, it slotted in perfectly – meaning she was able to board her flight without any unnecessary stress or hassle.
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The dimensions of the case are 48.5cm x 30cm x 20cm, making it a perfect fit for Ryanair priority boarding passengers.
The under-seat personal bag you’re also permitted must measure 40cm x 30cm x 20cm. Many commenters suggested she wouldn’t be allowed the white bag shown in the clip – but rest assured, an additional personal bag is permitted.
In the comments, one user clarified: “The top hole is a personal bag (small bag 40 x 30 x 20, no maximum weight, but you have to carry it yourself). You can only take 1 per person. But you have 2, the one in the hole on top and the one on the floor next to you. The bottom hole is the carry-on bag (the name speaks for itself, 55 x 40 x 20, 10kg).”
One fuming commenter wrote: “Acting like you tricked Ryanair when you bought a suitcase specifically sized for Ryanair?”
Another hit back: “It’s still better than paying 70€ for 2cm.”
A third chimed in: “If your luggage is going in the top bin, that suggests it’s your handbag allowance, so what are you doing with the second bag?
“If you’ve paid for overhead, then you’ve just demonstrated what a completely useless feature that is, as such a small bag would easily have fit in the bigger bin with the wheels.”
Others said the bag was a smart idea.
What is Ryanair’s baggage policy?
Ryanair travellers can carry a free cabin bag no larger than 40 x 30 x 20cm, provided it fits under the seat in front.
To upgrade baggage to priority, this allows passengers to keep a small under-seat bag plus a larger 10kg trolley bag (55 x 40 x 20 cm) in the cabin.
Alternatively, a 10kg bag can be checked in and dropped at the airport desk before security. While anyone who goes for checked baggage, this includes a 20kg bag or 23kg. No single checked bag can exceed 32kg, and any excess weight can lead to an airport fee.
Beth Hackman receiving her clothes in Australia(Image: Beth Hackman/SWNS)
A British woman shipped 8kg of clothes from her wardrobe to Australia for £4 – using a Vinted hack.
Beth Hackman, 25, moved the 10,000 miles from Windsor in Berkshire to Sydney with her partner, Nathan Riley, 25, while travelling in the region from March 2026. The physiotherapist moved with just two large rucksacks worth of clothes, but realised she needed more.
Instead of spending a fortune buying new clothes or on shipping, she downloaded Vinted to see if she could see what her mum, Mel Belsdon, 49, was selling, as she was an avid poster on the app. She then realised she could ship the clothes for free as part of Vinted’s launch in Australia.
Beth FaceTimed her mum so she could buy four bundles of her own clothes for £1 each as her mum listed them, so they didn’t get nabbed by anyone else.
All four 2kg parcels, within the confines of Vinted’s weight limit, arrived within nine days.
Beth said: “It was such a good hack to discover! I could literally picture the clothes I wanted to wear in my wardrobe back home and really didn’t want to have to waste money on new ones.
“I had just redownloaded Vinted on my phone with its location now showing as Australia and it came up saying there was no shipping fees for packages from the UK.
“I couldn’t believe it was true and immediately worked with my mum to get it sorted.
“All my stuff ended up arriving just over a week later on my birthday, which was just perfect.”
Vinted has since removed the free shipping in Australia, with the average parcel now costing £1.50 ($3.03 AUS) to deliver.
Singer Dolly Parton died Tuesday at the age of 80.
In death as in life, Parton left us one of the few spaces where Americans can still unite under a single banner. The banner of Dolly.
Flags are flying at half-mast to honor singer Dolly Parton, who died Tuesday at the age of 80.
There are few artists, let alone individuals of any stripe, whose loss compels a national day of mourning. Especially now, when it can appear there is little to agree upon and everything to debate.
But in death as in life, Parton left us one of the few spaces where Americans can still unite under a single banner: The banner of Dolly.
Her music was borderless, disarming and genuine. Simply put, it was a reflection of the woman who wrote and performed the songs. Her outsized personality, warmth, compassion and charm made her more than a country music star. Parton was an icon whose music, philanthropy and authenticity superseded genre, class, sexuality, color and politics.
She ingratiated herself to the public in bigger-than-big wigs, “trashy” outfits (her words) and with an unfailing sense of humor about herself. When I interviewed Parton in 2001 upon release of her album “Little Sparrow,” she expounded on her fashion sense.
“Just ‘cause I’m singing about a farmer doesn’t mean I have to come out in overalls,” she said. “Or just ‘cause I’m singing about a woman having a baby doesn’t mean I have to wear a maternity smock. But if I did, I’d put rhinestones on it.”
Parton’s self-effacing jokes made her immense talent less threatening in an entertainment industry that often reserved the title of “genius songwriter” for men. And women’s contributions were often minimized by putting the focus elsewhere.
In 1977, when she appeared on “The Tonight Show Starring Johnny Carson,” the most powerful man on television asked what her ample bustline would have been called back home. “Healthy,” he joked? She laughed it off. He then said he would give a year’s pay to “peek under there.” She was quick with a comeback, “I paid good money for these.”
Parton was a master at meeting wisecracks about her shapely figure with her own one-liners. When Carson’s successor Jay Leno asked if her breasts were real, Parton replied, “They’re real big!”
The boob jokes were predictable during her frequent appearances on talk and variety shows. But the of-its-time sexism was neutralized when she’d pull out her acoustic guitar and perform a song as comfortably as if she were sitting on the porch of her childhood home in Appalachia. The audience was then reminded that it was her indelible songs like “Coat of Many Colors” or “Jolene,” and the home-spun beauty of Parton’s voice, that made her a star.
The fourth of 12 children born to a poor sharecropper in a one-room cabin on the banks of the Little Pigeon River in Pittman Center, Tenn., Parton over six decades sold more than 100 million records to become one of the bestselling music artists of all time. She expanded her audience when in 1980 she played an overworked, underappreciated secretary alongside Jane Fonda and Lily Tomlin in “9 to 5.” The title track she wrote and performed for the film is an enduring work anthem, no matter the generation.
Despite Parton’s huge pop successes, which also included “Here You Come Again” and “Islands in the Stream,” she always came back to her roots. “When I came out of the Smoky Mountains, I tried to make a living doing [mountain music], but I couldn’t,” she said back in 2001. “I had to prostitute myself in certain ways musically in order to make a living. It’s almost like I had to get rich in order to sing like I was poor again.”
But it was largely what Parton did and said outside the recording studio and film set that made her such an inspiring and beloved figure, especially in communities that had been overlooked, marginalized or demonized.
She spent her lifetime giving back to Appalachia and other regions of her home state, sponsoring literacy programs and building the Dollywood theme park to attract tourism and create jobs. She covered tuition and related college expenses should Dollywood employees enroll in higher education. It was also reported that Parton had anonymously paid for the band uniforms for a number of Tennessee high schools for years.
When Whitney Houston popularized the country singer’s song “I Will Always Love You,” Parton used her songwriting royalties to buy property in a historically Black Nashville neighborhood, and moved her own business offices into the complex rather than in the city’s corporate or music-row districts. Functioning as a local commercial building and office space, it allowed her to invest directly in the surrounding community. Parton referred to the property as “the house that Whitney built.”
Parton was also known for her long history of openly supporting the gay community. She raised money for HIV-related charities, and her production company, Sandollar Productions, co-produced the Oscar-winning documentary “Common Threads: Stories From the Quilt,” which honored people lost to AIDS. She also publicly came out in support of same-sex marriage in 2009 and voiced her support for the trans community after several anti-trans measures came into law in Tennessee in 2023.
Hayley Hayes, 60, from Newport, Wales, hasn’t been on a proper summer holiday in eight years because of her husband’s love of sport – but she’s now won a trip of a lifetime to Svalbard, Norway
Wife gifted holiday of a lifetime – without her husband
A woman who has gone without a proper summer holiday for eight years, due to her husband’s passion for sport, has been rewarded with the trip of a lifetime — without him in tow.
Hayley Hayes, from Newport, Wales, hasn’t enjoyed a summer getaway in almost a decade. Their summer plans have long been dictated by major sporting events, allowing husband Anthony, 66, to watch his favourite fixtures — meaning the couple typically holiday at other times of the year.
Yet even then, a large chunk of their time away is still taken up by sport. A trip to India in 2024, for example, coincided with test match cricket, and when the couple — who married in 2016 — returned to India the following year, they found themselves there during the Six Nations.
Despite a four and a half hour time difference, Hayley pulled on her Wales rugby shirt and sat up with her husband for late-night and early-hour match screenings from their holiday accommodation.
Now, the 60-year-old retiree has been handed the chance of a lifetime — a journey to Svalbard, Norway, a cold weather landscape that has long captivated her — alongside her friend Rebecca, while her sports-loving husband stays home to follow his beloved fixtures.
Hayley was named the winner of giffgaff’s Fair-play Summer Fund, an initiative designed to help people break down the barriers preventing them from having a great summer and make the season feel a little more equal.
Speaking about her trip of a lifetime, Hayley said: “I was literally both bouncing up and down and crying with excitement when I found out I’d won and would be going on a cold weather summer holiday I could only previously dream about.
“I’m fascinated by the landscapes of Svalbard, and in particular the varied wildlife that calls the island home.
“Since my husband absolutely does not tolerate the cold, a wintry weather trip was never going to be on the cards for us, so this prize delivers on two fronts. Summer is turning into a whole new adventure for me.”
Juggling sports and summer holiday plans isn’t just a balancing act for Hayley and Anthony. Research revealed that more than a fifth (21%) of holidaymakers regularly check the sporting calendar before booking a trip.
A poll of 2,000 holiday-goers discovered 22% have booked, changed or adjusted their travel plans because of a sporting event, with 42% of those scheduling activities around matches.
A quarter of fans have cut their trips short to return home for a sporting event, while 14% admitted they’ve previously cancelled a holiday altogether because of sport.
Half of respondents who were still away watched or streamed live sport, according to the OnePoll findings. Of those, a quarter have tuned in from a restaurant, while 14% have followed the action poolside.
Time differences don’t stop dedicated supporters either, with 21% waking up early or staying up late to catch their favourite team in action.
And some admit to going to remarkable lengths to avoid missing a moment on holiday – with 5% of all those polled confessing they’ve watched while in the middle of sightseeing.
Others have been willing to spend extra to stay connected, with 10% paying for Wi-Fi access and nine% using mobile data despite incurring roaming charges.
giffgaff internal data backs up this demand for watching sports abroad, as it saw large data roaming surges during the football this summer with international matches seeing uplifts of up to 90% for key matches.
Kate Dohaney, CEO for the mobile and broadband provider, which is currently giving data boosts on SIMsstarting from just £8 per month, said: “We launched the Fair-play Summer Fund following new data that showed many of us feel like summer doesn’t always play fair.
“From rising costs and hidden charges to missing out on experiences that matter, we wanted to help tackle some of these. This season, we’ve provided even greater value on our SIM plans so our members can stay connected for less.
“We’ve also helped 200 people solve their summer sting via our Fund, and are delighted to be sending Hayley to Norway as her fairness fix so she doesn’t have to miss out on the summer trip she’s always dreamed of.”
Dolly Parton was the last star in music everyone in America could agree on. Her brilliant career as a carefully-sculpted backwoods icon (one with unmatched insight into the human heart) told the nation stories it craved to hear about itself — songs about resilience and dignity under poverty and labor, how to hold conflicting feelings of devotion and loss. None of the canon of extras — the charmingly ramshackle Dollywood theme park, the purehearted children’s literacy initiatives, the rhinestone cowgirl aesthetics — would be possible without one of the most emotionally attuned, beautifully performed and broadly reaching catalogs in American music.
She is one of the finest singer-songwriters this country ever produced, and it’s inconceivable to sum up her catalog in just an LP’s worth of tunes. But Parton — the songwriter, the vocalist, the instrumentalist, the collaborator — only ever wanted to invite a listener in, wherever they arrive from. Here are 10 songs to start with.
Coat of Many Colors (1971)
The foundational text of Parton’s career, this 1971 single lovingly details her mother’s make-do resilience, stitching a fall coat from scraps of cloth in the spirit of a beloved Bible story. Its storytelling economy is just as crafty, finding splendor with humble tools, and distills Parton’s whole persona into one perfect song.
Touch Your Woman (1972)
You could spend tens of thousands on couple’s therapy and never get as good advice as “We can’t always both be right, we sometimes disagree / But you’ve got the right to speak your mind and it’s the same with me / When the anger’s at an end, and you want inside my arms again / All you have to do to make it right is just / Touch your woman.”
Jolene (1974)
Try to forget how ubiquitous this song is in pop culture, even though it’s been covered by Beyoncé (who laced her own domestic strife into a version), the White Stripes and Parton’s goddaughter Miley Cyrus. Listen to how eerie the thing actually is, how the harmonies capture the desperation, panic and preemptive grief of losing a love to someone whose appeal is undeniable. Nothing that haunted can ever be overplayed.
I Will Always Love You (1974)
Any songwriter should be so lucky — to have one of your hallmark tunes be lovingly swept out from under you and become one of the definitive ballads of pop music. Whitney Houston’s powerhouse version stands alone, but Dolly’s quieter, mournful ode to her collaboration with Porter Wagoner is the artful, formative sketch to a colossal mural.
The Bargain Store (1975)
Taking the themes of “Coat” in intimate new directions, there’s a pained, darker tang to lines like “Take these old, used memories from the past / And these broken dreams and plans that didn’t last / I’ll trade them for a future, I can’t use them anymore.” A perfect distillation of Parton’s themes and craftsmanship, where melancholy and resilience fight it out in the empty spaces.
Two Doors Down (1977)
One of Parton’s first forays into purer pop, this single has the stomp and shuffle of funk and could easily be retrofitted into disco DJ sets. Soul horns and synths liven the production up, but it all underlines how far her writing and vocal performances could travel through genres.
9 to 5 (1980)
The song that made Parton a true pop crossover, a movie star with Jane Fonda and Lily Tomlin and an Oscar nominee. But don’t let the relatable career-girl pluck of the movie dilute the fact that this song is pissed off about capitalism, even as its hooks make the grind of working life more bearable.
Old Flames (Can’t Hold A Candle To You) (1980)
Dolly chose her covers carefully, but even she couldn’t have known how full-circle this would come around. A take on songwriter Pebe Sebert’s ballad that went to No. 1 on the country charts in 1980, Sebert’s daughter Kesha would eventually return the favor with a version decades later, two women who turned an act playing ditzy into resonant, affecting music.
To Know Him Is To Love Him (1987)
Parton’s pen and persona had no equals, but she was an enthusiastic collaborator as well, from her early partnership with Porter Wagoner up to her 2023 hard rock LP. She was at her best with the women of Trio, a supergroup with Linda Ronstadt and Emmylou Harris, and this regal single of nascent, unrequited commitment is as lovely as they come.
Smoky Mountain Memories (Live – 1994)
Parton was a virtuoso at staying, if not apolitical, at least a neutral zone of relatability for conservatives and leftists alike, each of whom had ways to read their lives into her storytelling. A song like “Smoky Mountain Memories,” a gut-wrenching live rework of an earlier song, lent dignity to her family’s toil and loneliness, while raging against the circumstances that created it — “It takes all I’ve got to give what life demands / Oh, you go insane if you give into it.”
Dolly Parton, the singer and songwriter from Locust Ridge, Tenn., who willed herself into being the very symbol of country music stardom, has died in Nashville.
Parton died peacefully Tuesday, her nephew Bryan Seaver announced in a press release shared with The Times. Seaver also announced her death in a video shared to the singer’s Instagram page. She was 80.
The fabled entertainer died after a series of health issues that led her to postpone several performing commitments. In September 2025, she missed the announcement of a Dollywood attraction to recover from a kidney stone. Later that month she delayed her residency at Caesars Palace — her first residency on the Las Vegas Strip in more than 30 years — due to unspecified “health challenges.”
Over the course of a flamboyant 50-plus-year career as a songwriter, recording artist, actor and businesswoman, Parton reinvented the American success story through a combination of grit and wit, faith and sex appeal, virtuosity and plainspokenness, empathy for the human condition and plastic surgery.
She seized on the roles that American culture allowed for women in the spotlight — waif, trollop, fallen woman, country girl in over her head — and played them to the hilt, achieving artistic and financial heights few female performers have ever reached. By the time of her death, she was said to be one of the few things that Americans of most every persuasion could agree on.
One of the most honored musicians in modern history, Parton earned 10 Grammy Awards, two Academy Award nominations, a Primetime Emmy, 10 Country Music Assn. awards, and in 1999 she was enshrined in the Country Music Hall of Fame.
In 2005 President George W. Bush presented Parton with the National Medal of the Arts, and a year later she was given a Kennedy Center for the Arts Award for her lifetime contribution to the arts. Parton logged some 25 gold or platinum records and 25 No. 1 songs on the country chart. Parton also won a Liseberg Applause Award, the biggest prize in the theme park industry, for her fabled tourist attraction Dollywood.
Parton’s rags-to-riches tale reads like a classic country music story-song. But before it became mythical, it was only incredibly hard.
Dolly Rebecca Parton was born in Locust Ridge, Tenn., in the Great Smoky Mountains, on Jan. 19, 1946. Her father was a tobacco sharecropper and she was the fourth of 12 children. In her autobiography, “Dolly: My Life and Other Unfinished Business,” Parton related how her parents were so poor they paid the doctor who delivered her with a sack of cornmeal.
Raised in a one-room cabin with no electricity, she listened to the Grand Ole Opry on a battery-powered radio. When she was 7 she started writing songs; a year later she picked up the guitar. At 10 she was singing on a Knoxville radio and TV program, “Cas Walker Farm & Home Hour.”
The Parton family was musical, and there were always banjos, fiddles, mandolins and guitars around the cabin. Her voice, a birdlike soprano with an animated trill, hadn’t changed much from her youth: “I sound like a little girl singing all these Lord-awful songs,” she told “Fresh Air’s” Terry Gross in 2001.
On a Friday night in 1964, Parton became the first in her family to graduate from high school. The next afternoon she was on a bus heading for Nashville, targeting a career in country music.
Bob Hope gets an adjustment to his reindeer costume as he and Dolly Parton prepare to tape a 1988 Christmas special on a cruise ship docked in Miami.
(Kathy Willens / Associated Press)
Women had little real power in Nashville at the time, and though rural women were a growing part of the country music audience, they were marginalized as artists. Parton signed to the Monument label, but felt that they wanted a pop singer more than they wanted her. An early breakthrough came when singer Bill Phillips heard a demo version of her “Put It Off Until Tomorrow”; not only did he want to record the song, but he recorded it with Parton singing harmony on it. The song went to No. 6 on the country chart in 1966.
In 1967 she recorded Curly Putman’s “Dumb Blonde,” her first charting song as a singer and a savvy choice that spoke to her as both an image and as flesh and blood, as she sang:
Just because I’m blond Don’t think I’m dumb ‘Cause this dumb blond ain’t nobody’s fool
Nashville noticed. That year, country music star Porter Wagoner was looking for a new “girl singer” for his popular TV show, after Norma Jean left. Parton got the gig, and for weeks, legend has it, was greeted by the studio audience shouting “Norma Jean” when Parton opened her mouth. It was the kind of challenge she lived for. Carefully deferential to the star, Parton carved out a foothold for herself.
They were a complicated team. Tall, gaunt and calculating, Wagoner’s angles had angles, but somehow standing next to her, his pompadour dwarfing her considerable bouffant, it worked. At their peak, they had a weekly TV viewership of over 3.5 million, and recorded numerous hit duets, “Holding on to Nothin” (1968), “If Teardrops Were Pennies” (1973) and “Please Don’t Stop Loving Me” (1974) among them.
On her solo recordings at the time, Parton included a raft of songs about poor children in trouble. These gothic, occasionally autobiographical compositions, including “Coat of Many Colors,” “My Blue Ridge Mountain Boy,” “Evening Shade,” “Daddy Come and Get Me” and “Down From Dover,” would have been more than enough to make her, if not a star, at least a country music legend. But the kind of attention even her lesser work with Wagoner enjoyed continued to elude her own material.
Dolly Parton and Kenny Rogers laugh together backstage at an April 2010 show honoring her “Islands in the Stream” singing partner.
(Rick Diamond / Getty Images)
By 1973, Parton realized that if she was going to be her own star she would have to be on her own. Wagoner fought and threatened, and finally, Parton wrote a song as a way to help him understand both her gratitude and her need for independence, “I Will Always Love You.” He liked the song, but it didn’t convince him. Wagoner sued her for $20 million over breach of contract and settled for $1 million.
But Parton had won her freedom, and she made the most of it. Her album from that year, “My Tennessee Mountain Home,” was a reintroduction to her audience, an autobiographical cycle of songs telling the story of a singer leaving home to make it on Music Row. And in 1974, “Jolene” became her chart-topping breakthrough.
The title was the name of a red-haired, green-eyed young fan Parton met signing autographs, and the story of a woman begging a rival to leave her man alone. Parton said she made it up after discovering a bank teller had a crush on her husband. With a beveled chord progression and a haunting repetition of the name, it became perhaps her most requested song, and was covered by many, including the White Stripes, Candi Staton, Reba McEntire and Olivia Newton-John.
“I wanted to be seen, I wanted to be recognized, I wanted to be a star,” she explained. The last part was now coming into focus.
In 1976 she hosted a short-lived variety TV series, “Dolly!” Her name was her brand, and so, too, was her profile: the full bosom and tiny waist, platinum wig and baubles like sprinkles on an ice cream cone, 5 feet tall standing in five-inch heels. She was a disarming contradiction: manufactured and utterly sincere.
“A country girl’s idea of what glamour was,” she explained.
“I didn’t have any money to have stuff and I’ve often joked about it, but it’s the real truth that I patterned myself after what they considered the trash in our hometown.” She took shame and made it a flag, one big enough for all sorts of Americans to settle beneath.
Dolly Parton checks out an exhibit honoring her life and career at the Country Music Hall of Fame and Museum in May 2025.
(Jason Kempin / Getty Images)
Building on her fame, in the mid-’70s Parton decided to reinvent herself by reaching beyond the confines of country music. She signed with L.A.-based talent manager Sandy Gallin, who had made Mac Davis a country crossover star and would soon work with Cher and Michael Jackson.
Parton laid off her longtime Traveling Family Band and sought out musicians and songs that were more purely pop. Hits that followed included “Here You Come Again” (No. 20 on the pop chart, 1977), “Heartbreaker” (No. 37, 1978) and duets with Kenny Rogers like “Islands in the Stream” (No. 1, 1983).
The pop move was muttered over and seen by gatekeepers as a rejection of Southern-based authenticity. It was the era of “Urban Cowboy” and purity was being policed. “I love country music. It’s my first love,” she told the SoHo News. “But it was confining. You can only go so far in a circle.”
The movie “9 to 5” from 1980 settled her broadening stardom; acting alongside Jane Fonda and Lily Tomlin in a comedy about three office workers who get even with an abusive boss, Parton charmed viewers. It was her first acting role, and Roger Ebert called her “a natural born movie star.” She wrote and sang the movie’s theme song, which topped Billboard’s pop and country charts.
Dolly Parton and her “9 to 5” castmates Jane Fonda, left, and Lily Tomlin assemble at a 1980 news conference to promote the movie.
(Wally Fong / Associated Press)
Parton would go on to act in “The Best Little Whorehouse in Texas” (1982), “Rhinestone” (1984), “Steel Magnolias” (1989), the “Hannah Montana” TV series (she was Miley Cyrus’ godmother in real life too), and in many more films and TV shows. But her biggest cinematic moment came with a song she’d written years before; “I Will Always Love You” was sung by Whitney Houston in the 1992 film “The Bodyguard,” turning her air kiss to Porter Wagoner into a No. 1 hit for 14 weeks.
In the mid-1980s, Parton suffered a number of setbacks. She experienced depression. “I was just broken down,” she said later. In 1982, abdominal pain and bleeding forced her to cancel a tour, and in 1984 she had a partial hysterectomy. There were bouts of binge eating, and when she hit bottom she considered suicide. A series of conversations with God were instrumental in her recovery, Parton said.
Underscoring her connection to her origins while also illustrating how far she had gone, in 1986 she bought an old amusement park in Pigeon Forge, Tenn., and reinvented it as Dollywood, a booming theme park, resort and theater. Other businesses included Sandollar Productions, a film and TV company. In the 1990s Parton formed her own label, Blue Eye Records.
Success meant she could settle into being Dolly. A trio of beloved bluegrass albums, “The Grass Is Blue,” “Little Sparrow” and “Halos & Horns,” around the turn of the millennium reestablished her as a performer with extensive roots in rural America. She recorded with everyone from Linda Ronstadt and Emmylou Harris to Ladysmith Black Mambazo. Her 2019 cover of John Hiatt’s “Faith,” made with Swedish duo Galantis, topped the EDM charts.
She embraced her Christian and LGBTQ+ fans, and perhaps no American artist had more of each. Inclusivity mattered to Parton. She was an icon to the LGBTQ+ community. In 2002 at the House of Blues in Los Angeles, Parton replaced the name Jolene with “drag queen” and sang her famous song as a roster of drag performers looked on.
Dolly Parton at the 57th Academy of Country Music Awards in 2022.
(John Locher / Associated Press)
Just two years later, in 2004, the Library of Congress presented Parton with the since-retired “Living Legend Medal,” which sought to recognize those that made significant creative contributions to American life.
Singer and songwriter Brandi Carlile called Parton “an angel on my shoulder and also the devil on my other shoulder.”
“When I was 15 years old I read the back of Dolly Parton’s book when she became the first country artist ever to speak out in support of LGBTQ people. And I can tell you that as a queer kid from a small town, getting love from Dolly is second only to God.”
Parton has been honored in musical tributes by Carrie Underwood, Alison Krauss and Shania Twain. “Jolene” became the subject of the short story “Jolene: A Life,” by E.L. Doctorow. In 2019 WNYC and Jad Abumrad presented “Dolly Parton’s America,” a nine-segment podcast devoted to, and with the cooperation of, Parton; it examined her persona and impact on American life.
That same year Netflix presented “Dolly Parton’s Heartstrings,” an anthology series in which each episode presents a fictional narrative built around a Parton song; the series features appearances by Kathleen Turner, Delta Burke and Melissa Leo.
Dolly Parton and President Carter embrace as First Lady Rosalynn Carter looks on before a White House luncheon in October 1979.
(Georges / Associated Press)
Her influence was so vast she has even been proposed as a field of academic study, and scrutinized in the 2018 academic study from Leigh H. Edwards, “Dolly Parton, Gender, and Country Music.”
She was married to the same man, Carl Thomas Dean, for over 50 years. They met on the day she arrived in Nashville in 1964, as she stood outside a laundromat. Parton and Dean were rarely seen in public together, and renewed vows in 2016. Dean died at age 82 in March 2025.
“Carl and I spent many wonderful years together,” Parton said in a statement at the time. “Words can’t do justice to the love we shared for over 60 years. Thank you for your prayers and sympathy.”
Parton remained a source of interest and fascination, and though few if anyone could really claim to know her, many thought they did. As she once put it: “I look one way and am another. It makes for a good combination.”
A spate of ‘extreme weather’ in Ibiza has left many locals and tourists experiencing heavy rainfall, flooding and strong winds – and some are now worried about their flights home
Ibiza is a popular destination for many holidaymakers thanks to its natural beauty, serene beaches, and world famous bars and clubs (file)(Image: Getty Images)
A mum who booked a trip to Ibiza is having regrets after a spate of “extreme weather” has left her worried her “flight may be delayed”. Ibiza is widely regarded as the party capital of the world, with images of vibrant clubs packed with keen revellers moving to beats spun by world famous DJs most often coming to mind when hearing its name.
But that’s not all it’s known for – its pristine, serene beaches offer a breathtaking retreat for those craving a spot of relaxation; hikers are spoiled for choice with rugged yet scenic cliffs, coastal paths, pine forests and other dramatic areas; while the UNESCO-listed walled old town of Dalt Vila is a haven for history lovers; with plenty more on offer too.
It’s no surprise then that the destination is a top choice for a wide range of holidays, with its usually hot summers and mild, gentle winters making it a decent getaway destination all year round.
This August, however, is a different story entirely. A sudden change in sea levels has led to flooding, heavy rainfall and strong winds.
There’s been reports of locals and tourists alike bolting from Platja de s’Arenal beach, which can be found in the town of Sant Antoni de Portmany, while an event planned to honour the music of a Spanish rock band was cancelled by San Antonio Town Hall “for security reasons”, after the stage was surrounded by sea water.
The flooding followed previous warnings from weather chiefs on the threat of ‘mini tsunamis’ – or rissagas, as they’re known locally – due to hit parts of the Balearic Islands at the beginning of the week.
Majorca Daily Bulletin reported: “Mallorca experienced two minor ‘rissagas’, also known as meteotsunamis, in the ports of Andratx and Soller on Monday, as the Balearic Islands remained under watch for sudden sea level changes.”
How have holidaymakers fared?
Many visitors to Ibiza have shared their experiences of the “extreme weather” online. One mum captured footage of the pool area around her hotel, with winds whipping the palm trees and the cushions strapped to the sun loungers, and shared it to TikTok.
In text written over the top of the clip, the mum penned: “Go to Ibiza in August they said!!!” while in the caption, she added: “Think our flight may be delayed!”
In the comments section, fellow TikTok users were keen to share their thoughts. One person said: “I went in August and it was so sunny and hot 33 degrees.”
Another shared: “Mate last year we were caught in the worst storm’s Ibiza’s had in decades.”
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A third said: “We are doing 12 hours in Ibiza with no hotel THIS SATURDAY.”
To which, the mum replied: “Saturday will be beautiful I’m sure! Don’t worry, it’s very rarely like this!”
But someone else said: “Everyone knows around this time of year there is a chance for extreme weather.”
And another agreed: “It rains every year by this time so it’s nothing new and won’t stop anything either.”
Another Ibiza-holidaymaker shared a light-hearted clip mocking herself after sharing envious clips of her getaway before being “humbled” by the torrential downpour.
In the caption, she explained: “Yesterday: ‘Basically, I’m in Ibiza… and you’re not.’
“Today: Ibiza humbled me. We held out under that umbrella for FAR longer than was sensible before admitting defeat!”
It would be great if “The Hangover” screenwriters-turned-directors Jon Lucas and Scott Moore would leave moms well enough alone. After the one-two punch of 2016’s “Bad Moms” and 2017’s “A Bad Moms Christmas” (both bad comedies), they’ve returned with “Spa Weekend,” which isn’t about bad moms but good moms who could stand to be a little bad.
If you’re not sure how much misbehavior a few friends can get up to at a luxury resort spa, you haven’t met Isla Fisher’s Mel. Yes, “Spa Weekend” is a plate of reheated “Wedding Crashers” nachos, because no one stirs up cheerful chaos like the spirited Fisher. Her Mel brings a delightfully vulgar joie de vivre into the over-scheduled lives of her lifelong friends: workaholic lawyer Jane (Leslie Mann), bitter divorceé Coco (Michelle Buteau) and people-pleasing pushover Sophie (Anna Faris).
“Spa Weekend” is built around the same fearsome foursome ethos as shows like “Sex and the City” and “Girls,” with several different character types and lots of available friction between them. More recently, golden-years comedies like “Book Club,”“80 for Brady” and way too many movies starring the late Diane Keaton have sent friend groups on journeys that have them reevaluating relationships and life goals. Romantic, criminal and naughty hijinks ensue and bonds are tested — and ultimately reinforced. Roll the blooper reel.
Mel might be a disaster with her loud mouth and impolite antics, but her over-the-top meddling does her buddies some good. She helps uptight Jane hook up with a hunky yoga instructor (Adam Demos), gets Sophie fired from her toxic job and lures Coco’s ex-husband Roger (Dominic Ona-Ariki) to the resort for a little reconciliation. Her friends are furious, but while they might not get what they want (relaxation), they get what they need (liberation). All it took was some coke and strippers (Lucas and Moore have a bizarre fixation on moms and male strippers).
You know what? Fine. It’s true that working moms often put themselves last and “Spa Weekend” is an argument for them to come first. It’s a film about embracing the craziest friends because they bring excitement to an otherwise boring and overscheduled life. All of these things are true. They’re just executed here with all the subtlety of a sledgehammer. In case we didn’t get it, these themes and lessons are spoken out loud by Jane in big declarative speeches.
One of the most distracting things about “Spa Weekend” is its uncanny geography. It’s set in Los Angeles but the cafés and shops are obviously not local and the worst, most dated stock L.A. traffic footage can’t cover that up.
They drive what seems to be about 45 minutes to the resort, through wooded forests on windy roads, and arrive in a tropical location overlooking miles of white sandy beach. At one point, Jane claims they’re 100 miles away from home. Ain’t no way this is Encinitas. Nothing about it makes sense until the credits roll and you learn the film was shot entirely in Queensland, Australia. But if one’s thinking about the geography that much, it means the story isn’t all that compelling.
Call it nitpicking but it’s indicative of how much care and craft — or how little — goes into a movie like this, aimed at female audiences. Much like the “Bad Moms” movies, “Spa Weekend” isn’t insightful, isn’t interesting and isn’t funny. It’s condescending and hacky and the humor always aims for the lowest common denominator. Please don’t expect me to laugh at the goats from goat yoga rampaging through a hotel lobby or a high-speed golf cart chase. Guess what? Mel has brought a suitcase full of dildos.
Worse than tired gags, we don’t get a sense of who these women really are in relationship to themselves or other women. We only know them through the prism of men: Jane lusts after Yoga Dude, Coco rages at Roger, Sophie is bullied by her boss. We know nothing about them outside of their superficial signifiers.
That’s why Fisher’s Mel feels so radical. She might be a grifter and a liar (a vastly underexplored subplot) but she has fully decentered men — so hard that no rule of polite society can hold her. If that’s a disaster, sign me up. But please don’t let Lucas and Moore make more comedies for women. They can stick to the frat houses and bachelor parties they’re used to.
‘Spa Weekend’
Rated: R, for language throughout, sexual material and some drug use
With two LA28 ticket drops done and an ever-shrinking number of Olympic seats remaining, some sports fans are looking at a possibility they hadn’t considered before: hospitality packages.
These are combined Olympic experiences — an event ticket paired with upgrades in access and perks, designed by LA28’s official hospitality provider On Location. And they’re not not bargain-basement options. The LA28 hospitality packages start at $400 and run up to $15,000 per person, sometimes more. They’re becoming more tempting to many because they give buyers access to otherwise unavailable seats, bypassing ticket draw lotteries like the one that happened in April and another that wraps up Thursday.
“It’s more than a seat. It’s a seamless way to experience one of the biggest global sporting events,” On Location President Paul Caine has said.
But sports fans have mixed opinions. Some ticket hopefuls scoff at the price tags, which are far higher than the widely promoted $28 tickets that half a million people snagged in the first locals presale. Others warmed up to the offer. In a public LA28 Facebook group, a member named Tara initially described the $1,700-per-person price for a three-hour equestrian event as “robbery” but four days later, announced their decision to “splurge.”
“Crazy expensive but I’m assured of seeing the event that I want, have great seats and food …” Tara wrote. “I know I’ll probably never go to another Olympics so hoping I walk away feeling [that] it was completely worth it and I think I will.”
So are these packages worthwhile? Nobody will know until 2028 and answers will depend on the package, your tax bracket and your level of fandom. Here’s what you get with the hospitality packages and some things to consider.
Do the packages include a ticket to the Games?
Many guests who buy hospitality packages at the 2028 Olympics will get access to lounges. Artist’s portrayal shown here.
(On Location)
Yes, and the offerings include more in-demand sports and sessions than you will find in LA28’s ticket-only sales. Packages that included tickets for artistic gymnastics, diving, swimming and beach volleyball appeared in an Aug. 19 search.
Even when stand-alone tickets are unavailable, hospitality-package tickets are often available because they are handled separately. An On Location spokesperson said that LA28 Hospitality “is the only provider that offers those coveted and exclusive front row seats, private suites, etc. … We have reserved sections in each venue for each sport for hospitality guests, ensuring they have the best vantage points of the event, and they get the best value out of their package.”
For basketball competition, the top seating categories (including most or all courtside seats) have been made available only through hospitality packages.
Veteran ticket-seekers warn, however, that consumers should always make sure they’re satisfied with locations of their hospitality-package seats.
All hospitality packages include tickets to events, their prices varying by event, supply and demand. Also, hospitality-package tickets do not count toward the limit of 12 stand-alone tickets per buyer.
As packages are unveiled and sold, available inventory on the website fluctuates — which means fans can spend a lot of time checking and rechecking.
How much more do packages cost than individual tickets?
A lot more. Seats alone at the 2028 Games can cost anywhere from $28 to north of $500, including a 24% service fee. The most affordable hospitality packages cost $400 and many cost far more.
As of Aug. 19, a hospitality-package shopper could pay $15,000 and up for one ticket to opening ceremonies (July 14, 2028) coupled with eating, drinking and hanging-out privileges in a Premium Lounge at SoFi Stadium before or during the event. (That same $15,000 would cover about eight months’ rent for the average tenant in L.A. County, according the U.S. Census data.)
For $450 and up, a fan could buy a hospitality package for the July 15 elimination round of the men’s and women’s judo competition in L.A. Convention Center Hall 2. Besides a seat, the package includes access to a shared lounge space, a welcome drink, an L.A.-inspired food item and entry to a hospitality pavilion before or after the selected session.
What’s a hospitality pavilion? What are the package tiers?
Hospitality packages for the 2028 Games include access to private lounges and pavilions. Artist’s portrayal shown here. (On Location)
(On Location)
In the Olympic hospitality pecking order, the premium lounges beat the leisure lounges and the hospitality pavilions, which provide shared havens for followers of multiple sports.
For instance, the Valley Zone Pavilion is “a backyard-inspired oasis” near venues for 3×3 basketball, modern pentathlon, skateboarding, cycling BMX racing and cycling BMX freestyle.
The Carson Zone Pavilion is an open-air setting near the archery, track cycling, hockey, rugby sevens and tennis venues. There are similar pavilions elsewhere, including Long Beach and DTLA, for the multiple sports in those areas.
LA28 organizers say all of those pavilions will be climate-controlled or shaded, featuring “Olympic Games-inspired décor, an L.A.-inspired food item and welcome drink, and additional food and beverages available for purchase.” Those pavilions do not include direct views of each sport.
Similarly, leisure lounges often include one drink and one L.A.-inspired food item but may not have a direct view of competition. Premium lounges often do have direct views of competition and ongoing access to fancier food and drink.
For instance, package purchasers can spend $1,750 per person for seats and Premium Lounge access at the July 23 preliminary beach volleyball competition in Alamitos Beach Stadium. That Premium Lounge is expected to include a second-floor open-air terrace, “continuous food and beverage service,” priority entry and a commemorative gift. For the less-spendy Leisure Lounge version of this experience (one drink, one food item, access to a climate-controlled space at the venue), prices start at $625 per person.
A spokesperson said the LA28 On Location hospitality plan currently includes about 13 premium lounges and nine leisure lounges and hospitality pavilions.
Does that cover all the tiers?
Almost. There’s also a hospitality category that outranks all of the others: the Platinum Access packages, which often include luxury accommodations, private suites and private transport. These packages, which often run into thousands of dollars, attract many celebrities and corporate buyers who see the Games as a chance to butter up clients or reward top performers. (To see Platinum Access prices, you’ll have to sign up and wait for a response from On Location’s Platinum Access Team.)
Will more packages be added?
Yes. As with individual tickets, hospitality packages are being gradually rolled out as 2028 nears.
On July 28, for instance, On Location unveiled a “Follow My Team” package, giving fans a chance at enhanced access to their country’s men’s & women’s basketball matches, allowing big spenders to avoid the scramble for individual event tickets. The packages include games in the Group Phases and Quarterfinals. As of Aug. 19, prices for a basketball package started at $5,250 to follow the USA men’s team, $3,150 to follow the USA women’s team. (According to census figures, the median monthly income per capita in L.A. County is about $3,800.)
More hospitality packages are due to open in August for football (soccer). Hospitality package offers for badminton, cricket and rhythmic gymnastics are due later in the year.
An On Location spokesperson said the company is also putting together hospitality packages for the LA28 Paralympic Games. Stand-alone tickets for those Games also will go on sale in 2027.
Does On Location authorize people to resell hospitality packages the way they can resell tickets?
No, said a spokesperson from On Location.
Should people wait for more tickets to become available in 2027, explore the resale market, or spring for a hospitality package now?
That depends on many variables — how much you’re willing to spend, how eager/desperate you are to see a particular sport, how you feel about dealing with the resale market.
LA28 organizers have said more stand-alone tickets will become available in 2027, not through lotteries but first-come, first-served sales.
With so much unknown about availability and pricing in 2027, many have chosen to hold off on any Olympic purchases. Yet for those who can afford it, buying a hospitality package may bring peace of mind. As Tara wrote on Facebook: “I just didn’t want to wait and miss out.”
Lisa Hayden-Johnson was jailed after fabricating her son Matthew’s illnesses
23:00, 19 Aug 2026Updated 23:00, 19 Aug 2026
Lisa Hayden-Johnson is defending herself years after being jailed for cruelty in a new Channel 4 series(Image: Channel 4)
Lisa Hayden-Johnson has defended her actions in a new Channel 4 documentary.
The Devon woman has spoken out for the first time since being released from prison. She was jailed in 2010 for three years and three months after admitting cruelty and perverting the course of justice.
Matthew’s supposed health battle attracted widespread media attention. The youngster went on to appear on various TV shows and was famously introduced to the Duchess of Cornwall, now Queen Camilla.
The young boy, now aged 25, was also subjected to medical interventions before doctors grew suspicious about his alleged health problems. Now, both mother and son are telling their sides of the story in new Channel 4 three-part series, Love You to Death.
A synopsis for the show states: “Young Matthew’s health problems worry medics and his mum Lisa. But when doctors’ efforts to improve Matthew’s condition don’t work, suspicions are raised and the police are called in to investigate.”
In the first episode, which aired on Wednesday (August 19), Lisa refutes the infamous ‘most evil mum’ title she earned as a result of the story.
She says: “I’ve never had the opportunity to [tell her story]. The newspaper articles are so incorrect. How can I be ‘Britain’s Most Evil Mother?'”
She goes on to add: “The only thing I was guilty of was putting my son first and fighting his battle, which is what I did. And I don’t regret that.”
Matthew, who will feature in the second episode of the series, spoke to the BBC about how it felt to hear his mother’s perspective.
He said: “It was a lot of disappointment but I think also frustration as almost two decades on, there is still a lack of accountability from her side.
“When I could see, even after two decades… she still holds the same story and believes that she did the best by me… that obviously isn’t right.” Matthew’s older sister, Laura, also speaks out in the documentary.
Love You To Death Episode 1 is streaming now on Channel 4
WASHINGTON — A Massachusetts woman who told police that she brought homemade firebombs to the U.S. Capitol to kill Treasury Secretary Scott Bessent was sentenced on Tuesday to just over six years in prison.
Riley English, a 26-year-old transgender woman, said she was in the grips of a mental health crisis and abusing drugs when she drove to Washington in January 2025 and told Capitol police that she was there to kill Bessent on the day of his Senate confirmation.
“I never wanted to hurt anyone,” she told U.S. District Judge Rudolph Contreras. “I’m not a political person. I’m not a violent person.”
Contreras, who was nominated to the bench by Democratic President Barack Obama, sentenced English to six years and one month of imprisonment followed by three years of supervised release. English has remained jailed since her arrest and will get credit for the nearly 20 months that she already has spent in custody. She pleaded guilty in March to two weapons charges.
“You’ve had a very difficult life,” Contreras told English. “Hopefully, the progress you’ve made in jail to this date has set you on the right path.”
Nobody was injured, and Contreras said her plan to harm Bessent had an “exceedingly low or non-existent” chance of success. Bessent wasn’t at the Capitol when English arrived on Jan. 27, 2025. The Molotov cocktails that English brought to the Capitol appeared to be incapable of igniting, the judge noted.
Prosecutors had recommended a prison sentence of 10 years and one month for English. Assistant U.S. Attorney Brendan Horan said English had been planning the “attempted political assassination” for at least a month at a time when the threat of politically motivated violence has been mounting in the U.S.
“This was not a chance encounter or an impulsive act,” Horan said.
The case against English fits a pattern of politically motivated violence that has plagued the U.S. over the past decade. In a letter addressed to the judge, Bessent said he worries the country “cannot survive this assault.”
“Political violence is an attack on the rule of law and on representative government itself,” Bessent wrote. “It also deprives our country of service by talented men and women with ability and integrity who may reasonably decide that no job is worth threats to themselves and their families.”
English’s prosecution drew comparisons to the case against California resident Sophie Roske, who was sentenced last October to over eight years in prison for attempting to assassinate U.S. Supreme Court Justice Brett Kavanaugh at his Maryland home. Prosecutors had recommended a prison sentence of no less than 30 years for Roske, a transgender woman. They appealed Roske’s sentence by U.S. District Judge Deborah Boardman, calling it unreasonably lenient.
Defense attorney Maria Jacob said English was “terrified and traumatized” by fears of what would happen to transgender people under the second Trump administration.
“Our argument is that she was in a diminished mental state,” Jacob said.
Investigators said they found a folding knife, two homemade firebombs and a lighter in English’s possession at the Capitol.
English, of South Deerfield, Massachusetts, told police that she was influenced by Luigi Mangione, the man who was charged with fatally shooting the CEO of UnitedHealthcare. She said she was “on a mission” and “had been thinking about this for a while because of Luigi Mangione,” prosecutors said. English told officers that she was terminally ill and “wanted to do something before I go,” according to prosecutors.
English also said she traveled from Massachusetts to Washington intending to kill other Republican political figures — Defense Secretary Pete Hegseth and House Speaker Mike Johnson — and to burn down the Heritage Foundation, a conservative think tank, according to police. English changed her target to Bessent after reading an internet post about his confirmation hearing, police said.
Jacob said English’s actions last year were “a cry for help.”
“There was no indication that she was acting rationally that day,” the judge said.
Nearly every week, I pass a colleague in the office who taunts me with four words: “Count of Monte Cristo, Count of Monte Cristo,” as he shakes his head. He’s disappointed his favorite book didn’t make the cut of our 101 best book club picks list, which served as the 2026 LA Times Festival of Books curtain-raiser. I don’t mind the barb. There’s nothing more exciting than an impassioned reader — even when they’re wrong. I’m all for rallying around a book or author and debating their merits like it’s a sporting match. Our book lists, after all, aren’t meant to be final verdicts. They’re invitations to read more (and, maybe, better).
Reading List
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To compile our expansive list we surveyed more than 200 bookish luminaries — along with a few zealous book club members. Our readers had their own ideas for their top book club picks, many of which we deeply considered. Here you’ll find some of our worthy Los Angeles Times reader selections.
“A favorite book my book group read and discussed is ‘Farenheit 451.’ It was fascinating to see what the past thought the future might bring,” reader Margaret Hardy writes of the 20th century classic. “In terms of technology and control by the government we are seeing today what Bradbury was thinking about in 1953. We felt that the future was found in the past. It was a chilling read.” Equally chilling is that the book often shows up on banned books lists — not unlike in its narrative.
“You missed ‘Homegoing’ by Yaa Gyasi!” reader Melanie H. writes of the critically acclaimed Ghanian historical fiction novel. “My book club read it and I was enthralled. I can’t stop thinking about it ever since. The amount of research and empathy into every single character and era Gyasi put into this story is incredible. It altered my brain and to this day I tell everyone about this book.”
Reader Roxanne Yahner writes, “It is beautifully written, elegant and eloquent, and there is no preparing anyone for the sheer inexorable force of Baldwin’s language. This novel expresses the personal — and historical — grief of two gay, perhaps bisexual, men as they explore their sexuality at a time and place where such behavior was dangerous. The reader aches for these men and feels their grief. Some in our book club were disturbed by this novel, but all agreed they were deeply moved by it.”
Several readers wrote to us recommending Rushdie’s magical realist epic. “It’s such a complex, yet entertaining novel. We learned a lot about the tenets of Islam as woven into the story,” Ellyn Moscowitz shares about their book club pick. “It provoked great discussions about death, afterlife, religion in general and great character studies.”
Reader Francesca Smithwick-Driver chose this as a book club pick in the ‘90s for her group and the 1989 National Book Award fiction finalist remains a favorite.
“[It’s] about a family who runs a carnival of ‘freaks.’ The story is told by an albino dwarf. There are strong themes about what it is to be normal, falling in and out of love with yourself — your family — and the world around you. Wonderfully written scenes about horrible things and beautiful things. I still remember the discussion of my book club — from ‘why in the world did you recommend this disgusting book’ to ‘what a book’ … I couldn’t wait to get back to it each time I put it down.”
Reader Kate Karp, who has a cat who resembles a key character in this Russian classic, writes: “[It] turned out, no surprise, to have been the inspiration for the Stones’ ‘Sympathy for the Devil.’” She notes it also requires multiple readings to grasp all the subplots — but it’s worth it.
“I am terrible at book clubs because I have found that I am a very picky reader who simply will not read a book that I do not enjoy,” reader Mike Gascoigne writes. “That said, in a book club I did very much enjoy Kazuo Ishiguro’s ‘Klara and the Sun’ and Nana Kwame Adjei-Brenyah’s ‘Chain Gang All-Stars.’ There was a lot to discuss about both titles including AI/robots, intellectual enhancements, climate change, reality television, prison reform/abolition and human nature.”
“‘All the King’s Men’ is a powerful summer read — a Pulitzer-winning novel that feels strikingly current,” reader Ken Muche writes. “Set in the 1930s South, Willie Stark’s political rise echoes modern demagogues, reminding us how easily power can blur truth. Even more important, the novel invites reflection on our own bad life choices — showing that taking accountability for one’s actions is the first step toward forgiveness, peace, and ultimately, a more grounded kind of happiness.”
Reader Seth Kivnick’s pick is this work of fiction that co-won the Booker Prize in 2019, he notes that the compelling book describes the Black women in the British Isles who came from all walks of life and different countries. “[It] appealed to male and female club members.”
“It’s good-humored without being comedy or satire but opens serious friendly discussions about contemporary problems,” reader Christine Almeida writes of the novel that won the 2021 National Book Award for fiction. “Our library-based book club talked about it for a solid 90 minutes without straying from what the book itself had to offer its readers.”
Romania’s Defence Ministry didn’t specify the origin of the drone but has previously blamed Russia for similar incidents.
Published On 16 Aug 202616 Aug 2026
Russian strikes on Ukraine have killed at least one person and wounded seven more while a Spanish jet has shot down a drone that entered Romanian airspace.
A woman was killed and six others wounded in a missile and drone attack on Kryvyi Rig, the hometown of Ukrainian President Volodymyr Zelenskyy, the region’s governor said early on Sunday.
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Authorities in the Ukrainian capital also said Kyiv was “under ballistic missile attack” late on Saturday, with one person wounded and fires sparked at non-residential sites in the Obolonsky and Holosiivskyi districts.
Separately, Romania’s Defence Ministry reported on Sunday that a Spanish F-18 fighter jet pilot on a NATO air policing mission to Romania had shot down a drone illegally breaching its national airspace.
Romania’s Defence Ministry did not specify the origin of the drone.
In July, a Romanian jet shot down a suspected Russian drone, and in May a stray drone injured two people in the Romanian city of Galati when it collided with a building.
Romania shares a 634km (394-mile) border with Ukraine and has repeatedly seen Russian drones breaching its airspace as Moscow escalates its bombing campaign against Ukrainian civilian and military infrastructure.
Escalating long-range strikes
Russia has maintained near-daily missile and drone strikes across Ukraine since launching its full-scale invasion in early 2022, with areas far from the front lines frequently coming under attack.
The war’s impact has also spread to key regional shipping lanes, with reports of mines and unmanned sea drones found floating in the Black Sea.
Civilian casualties in Ukraine hit their highest level since 2022 this July, with at least 437 killed and 2,610 injured, according to the United Nations Human Rights Monitoring Mission.
Meanwhile, in Russia on Sunday, authorities reported a large-scale drone incursion from the Ukrainians.
Moscow officials said they had downed more than 100 drones heading towards the capital overnight.
Emergency services were deployed to sites where debris fell, Mayor Sergei Sobyanin said, adding that three people were wounded.
Ukraine has increasingly targeted military, industrial and logistical facilities deep inside Russia, arguing its strikes are a response to Moscow’s ongoing bombardment of Ukrainian towns and infrastructure.
On Friday night at the SoFi Stadium, there was nothing random about the songs that played just before Karol G took the stage for the first of three evenings at the venue. We can safely assume that the Colombian superstar selected the cuts herself — the perfect tropicoqueta mix to set up the mood.
First, a shadowy “Bésame Mucho”; Elvis Crespo’s merengue smash “Suavemente”; the Afro-Cuban nugget “El Manisero”; and two life-affirming hits by the Queen of Salsa herself, Celia Cruz: “La Vida Es Un Carnaval” and “La Negra Tiene Tumbao.”
These carefully curated gems share a common element: They managed to transcend the stylistic contours of their respective genres and become something bigger — the kind of irresistible, it-takes-a-village anthems that will lure everyone to the dance floor, even if they don’t understand the lyrics.
And that is exactly what Karol G — la bichota, the South American Cleopatra, the woman with the billion-dollar smile — has been doing for global pop since the release of “Tusa,” her imperial duet with Nicki Minaj, back in 2019.
(Jill Connelly / For De Los)
Karol is currently the 42nd-most-streamed artist on Spotify, and her albums “Mañana Será Bonito” (2023) and “Tropicoqueta” (2025) helped reinvent the sound of contemporary Latin. She emerged from the reggaeton thunderstorm that hijacked the planet, but then guided it smoothly into a different aesthetic territory, far away from the movement’s misogynistic toxicity. Her ongoing collaboration with producer Ovy On The Drums — they’re the same age, 35, both from Medellín — was transformative, combining clanging, tribal beats with liquid textures and a refined, champagne-like lightness.
Part of the massive “Viajando Por El Mundo Tropitour,” Friday’s performance confirmed the singer’s stature as one of the most vital and charismatic Latin artists of the 21st century. More than a conventional concert, it felt like a stark, delirious fantasia, a relentless cinematic mosaic of decadent dance numbers and hyper-popped fragmentation presented in five acts, unified by a tropical visual motif: lush vegetation; a blue lagoon where cleansing erotic rituals take place; plumes of purifying fire to expiate the aftertaste of all those failed romances.
(Jill Connelly / For De Los)
Beginning with the wicked reggaeton beat of “Latina Foreva” — an existential jam about curves and pleasure, the freedom of the flesh — Karol ignited a deafening roar of adoration from the full-capacity crowd. For a moment, I got a taste of what Beatlemania must have sounded like in the 1960s.
As the cameras followed her closely, projecting every playful grimace and flirtatious wink onto the giant video screens, the complexity of her artistic persona became increasingly transparent: an indomitable woman who is deeply connected with primal joy and sensuality, but also vulnerable enough to get her heart broken on the way to the red carpet (and still embrace the experience). In the world of Karol G, what doesn’t kill you makes for an international hit.
Admittedly, it was the aggressive, in-your-face numbers that worked best. Karol sounds even better when surrounded by half-naked dancers — “Gatúbela” and “Ojos Ferrari” were highlights in that respect — and the choreography evoked the sweaty rapture of a full-blown Roman orgy.
(Jill Connelly / For De Los)
But she’s also smart enough to alternate the futurism of neo-reggaeton (the cutting-edge territory where her work with producers like Ovy On The Drums and Tainy has given us some astonishing records) with an affectionate nod to the past glories of Afro-Caribbean lore: the 20th century cultural bubble where Colombian families listened to the “14 Cañonazos Bailables” compilations during the Christmas season.
On the title track of “Tropicoqueta,” she draws an imaginary line that connects her current sexual emancipation to the frisky downbeats of 1950s mambo and the early 2000s movement that jazzed up the Afro-Caribbean classics with a digital bounce. On Friday, she salsified “Provenza” and added the riff of Willie Colón’s “La Murga” as an intro to “Tusa.” Her visual recreation of the “Tropicoqueta” album cover onstage was one of the show’s wittiest moments.
At one point after the success of “Mañana Será Bonito,” Karol must have realized that her newly acquired diva status gave her the chance to voice some valuable thoughts on the merits of Latin American culture.
In between songs, Karol spoke with compassion about the recent earthquakes affecting Colombia and Venezuela — the latter of which is where her poised opening act, Elena Rose, also hails from — but her pan-Latino ideology seeped into the music as well. Her face was covered in tears after she performed “Ese Hombre Es Malo” backed by female mariachi players. At the end of the show, a stunning reading of “Si Antes Te Hubiera Conocido” revealed the instinctive ease with which she can navigate the sweet, syncopated phrasing of Dominican merengue.
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Elena Rose opens for Karol G at SoFi. (Jill Connelly/For De Los)
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Inglewood, CA., Aug. 14, 2026. – Opener Elena Rose performs during the first of Karol G’s three nights headlining the SoFi Stadium for her Viajando Por El Mundo Tropitour. (Jill Connelly / For De Los) (Jill Connelly/For De Los)
A few tracks from her recently released sixth studio album,”No Me Arrepiento De Sentir Tanto,” displayed a more introspective side. On the dreamy ballad “Después de Ti,” she was joined on guitar by Greg Gonzalez of Cigarettes After Sex, reenacting their performance together from April, when Karol headlined Coachella.
The deafening volume at SoFi was the only aspect of the show that got in the way. The sound stage felt bludgeoned into submission throughout, as the intense distortion of bass, percussion and guitars made the instrument separation within the mix almost inaudible.
That said, the overall experience transcended the sonic elements, as Karol is clearly using the Tropitour as a good reason to celebrate her extraordinary achievements with the fans (she even hugged a security guard).
Somewhere in the venue, a young Latina girl must have been dazzled by this extravagant spectacle and perhaps dreamed of one day following in the footsteps of Carolina Giraldo Navarro: a gifted singer and composer, a woman intelligent enough to cherish the emotional value of dancing the night away.
An Austrian activist in Vienna is challenging the city over public toilet fees, arguing women are discriminated against because they must pay to use cubicles while men can access urinals for free.
Federal authorities charged Melissa L. Farris, 41 of Kentucky, with felony vandalism for allegedly spray painting the National Mall’s World War II Memorial. Photo courtesy of U.S. Attorney’s Office in Washington, D.C.
Aug. 14 (UPI) — A Kentucky woman was arrested for allegedly vandalizing the National Mall’s World War II Memorial, officials said Friday.
Melissa L. Farris, 41 of Elizabethtown, is charged with depredation against federal property and destruction of veterans’ memorials, both of which are felonies. She faces 10 years in prison on each charge.
“Vandalizing our World War II Memorial is a despicable attack on a sacred monument honoring the Americans who fought and died for our freedom,” U.S. Attorney Jeanine Pirro said in a statement on X.
Farris was arrested about 2 p.m. on Thursday when U.S. Park Police responded to reports of a disorderly person, according to the criminal complaint.
The words “Clean Hands Dirty $” were sprayed onto the walls in orange paint. There were also splatters of green and pink paint.
Officials said Farris had been arrested four days earlier for allegedly camping on federal property, the criminal complaint said.
She is also alleged to have posted videos on social media admitting to the vandalism.
In the postings, Farris said she is “cognitively aware” and “doing so to push my whistleblower case into the courtroom,” according to the criminal complaint.
“Our beautiful World War II Memorial was just hit by Spray Painting Vandals,” President Donald Trump said in a statement on Truth Social. “THERE CAN BE NO GREATER INSULT TO THOSE AMERICAN HEROES WHO DIED IN WORLD WAR II.”
Members of the National Guard patrol near the Washington Monument on Tuesday. Photo by Bonnie Cash/UPI | License Photo
