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U2 will be honored as the 2027 MusiCares Persons of the Year, the Recording Academy announced Thursday, half a century after the four members of the Irish rock band met as high school students in Dublin in 1976.

The award, which recognizes an act’s philanthropy and cultural impact and comes with an all-star tribute concert typically held two nights before the annual Grammy Awards, will be presented to the group’s Bono, the Edge, Adam Clayton and Larry Mullen Jr. at the Peacock Theater in downtown Los Angeles on Feb. 5.

In a statement, MusiCares Executive Director Theresa Wolters hailed the band’s work on issues “spanning global health, disaster response, addiction recovery, mental health and access to music education” and said that what “resonates so strongly” with the Recording Academy’s charitable arm is the members’ “belief that success in music comes with an opportunity to care for the people around you.”

Added Harvey Mason Jr., the academy’s CEO: “Not only has their music defined generations, but they’ve been equally exemplary in their dedication to humanitarian work and using their platform for good.”

The statement quoted the members of U2 as saying they’re “huge fans of MusiCares and the lifelines they provide across the incredible pool of talent that is the music industry. We’ve been recording and touring for 50 years because of that pool, from producers and engineers to carpenters and riggers.” The band said they are “very excited to be in the front row of our first ever U2 gig,” adding, “We know we’re gonna be outplayed.”

In late January, Mariah Carey received the MusiCares award at a gala that featured performances by Foo Fighters, Jennifer Hudson, Teddy Swims, Busta Rhymes, Laufey, Jon Batiste and Charlie Puth. Previous honorees include Joni Mitchell, Dolly Parton, Lionel Richie, Bob Dylan and Barbra Streisand; Bono was previously named Person of the Year on his own in 2003.

U2’s recognition comes in the wake of a much-discussed residency at Sphere in Las Vegas, where the band looked back at its 1991 album “Achtung Baby” in a high-tech multimedia presentation. In July, the group released “Street of Dreams,” the lead single from a studio album due out later this year.

BEIJING: A week after his robot outran humanity’s fastest man, Jack Guo is already chasing a harder goal.

TianGong Ultra stunned spectators at the World Humanoid Robot Games ​when it covered 100 meters in 8.64 seconds, almost a full second faster than Usain Bolt’s world record. Behind the feat were days of round-the-clock testing and repairing battered robots between races.

“When it started smoothly and got past 50 meters, that was when I finally relaxed,” said Guo, who leads development of Ultra and Omni, a smaller model used in 400m races, at the Beijing Humanoid Robot Innovation Center, known as X-Humanoid.

Just a week later, the bespectacled 34-year-old engineer is already focused on a bigger challenge.

“We want to turn high performance into high reliability and high usability,” he told Reuters in his first interview with foreign media.

The record-breaking run offers a rare window into China’s growing lead in humanoid robotics, where state-backed research, deep supply chains and intense competition are accelerating advances in machine mobility. Yet Guo’s next goal underscores a harder task facing the industry as it struggles to turn dazzling demonstrations into useful workers.

Inside the workshop

X-Humanoid sits in Yizhuang, a high-tech development ‌zone in Beijing’s southeast ‌and one of China’s main robotics clusters. Long home to automakers, the district now boasts a robot ​sales center ‌and ⁠even a ​robot-themed ⁠restaurant, part of the capital’s push to showcase the industry.

The first-floor showroom traces generations of TianGong robots, including one that still wears the vest from a winning half-marathon run last year.

On the ninth floor, white Ultra and Omni humanoids stand suspended in metal frames. One wears a red “Champion TianGong” headband.

During a Reuters visit, engineers repaired and tested robots, with one removing a head cover, another tightening a leg, and others running walking trials.

In the adjoining office, Guo’s team develops software before testing it on physical machines.

Established in November 2023, X-Humanoid is backed by state-owned and private investors including robotics firm UBTech, along with domestic tech giants Xiaomi and Baidu. It develops hardware, motion-control software and AI for the wider industry while commercialising its own robots.

X-Humanoid has not disclosed how many of its own robots it has sold or deployed commercially.

Its customers include universities, research institutes and companies ⁠exploring industrial applications. At Foton Cummins’ engine factory in Beijing, the company’s robots have been trialled moving boxes, with its ‌Tianyi 2.0 robot lifting 8-12 kg boxes onto shelves in what the factory described as an early-stage ‌exploration.

Useful work begins

Ultra was not originally designed to win a race. It started as an experiment to ​push the boundaries of humanoid movement.

Guo likens today’s humanoids to the ‌earliest cars: first make them controllable, then pair reliable bodies with smarter AI “brains” capable of handling complex tasks on their own.

He said the immediate challenge was ‌making the robot body and movement-control system stable and reliable for everyday use. Developing the AI needed for more complex autonomous tasks would take longer.

Making a robot run develops generalized mobility, improving its ability to cope with different terrain.

The smaller Omni has already shown what that can mean in practice. In an internal test this year, it climbed from the first floor to the 17th floor of X-Humanoid’s headquarters.

Guo expects smaller humanoids to find early roles in commercial services and light industry, while Ultra could eventually perform outdoor inspection or emergency ‌rescue.

One major challenge is braking. Ultra weighs 75kg and at top speed can exceed 17 meters per second. At the Games, a crash mat sat beyond a short run-off area, leaving sprinting robots in the 100m races ⁠to slam into the barrier.

Future versions could ⁠be lighter, brake harder and adopt a safer posture, Guo said.

Conquering speed

Ultra arrived at the Games armed with three running strategies trained in simulation. One was battle-tested, two faster on paper but less proven.

Each strategy is a trained motion-control system that continuously adjusts joints and balance, allowing the robot to sprint upright without an operator directing every step.

Ultra used a different program in each race, running 9.39 seconds in the preliminary, 8.86 in the semifinal, and 8.64 in the final.

Between races, engineers returned to their test site to push faster programs harder and adjust navigation and running controls. Engineers pulled several all-nighters, sometimes testing into the following day before returning to the venue.

Pushed to their limits, robots stumbled, lost balance and crashed, forcing teams to roll out backup machines while repair crews scrambled to fix the damaged ones.

Earlier in development, the breakdowns were even more dramatic. “Legs broke, waists broke,” Guo said.

A late surge

Even on the morning of the final, the team was testing a newly trained running program. It worked repeatedly during trials, but not on the competition track. Differences between individual robots also created headaches, leaving Guo uneasy before the race.

Ultra’s heavier legs limited early acceleration, but once it passed about 10 meters per second, it could keep building speed and reel in rivals.

The team had shaved roughly ​half a second from its starting response by the semifinal, Guo estimated. ​From there, attention shifted to outright speed.

In the final, a faster reaction time and late acceleration allowed Ultra to pull off a more decisive overtake.

Backstage, the team celebrated. At the closing ceremony, a row of TianGong humanoids donned red capes emblazoned with “Champion,” some waving pom-poms.

“Finally, I could get a good night’s sleep,” Guo said.

Workers at “World of Warcraft” video game developer Blizzard Entertainment have ratified union contracts after two years of bargaining.

The ratification vote means all union-represented Blizzard employees — nearly 1,900 people across all units in the company’s games teams and shared services — will have the same contract language in their respective departments, the union said Wednesday.

Blizzard quality assurance workers in Albany and Austin were the first to unionize in 2022, followed by “World of Warcraft” employees in 2024. Last year, workers on the “Overwatch,” “Diablo,” “Hearthstone” and Warcraft Rumble” games teams, as well as the story and franchise development and platform technology units unionized.

“This contract marks the beginning of a new era at Blizzard Entertainment, but it doesn’t stop with us,” “Overwatch” bargaining committee member and quality analyst Simon Hedrick said in a statement. “I believe that the positive change we have won will ripple out and help make the games industry as a whole a better place for workers and players alike.”

The Blizzard contracts include wage increases and a hybrid work week of three days in the office, among other provisions, the union said. The contracts also require Blizzard to discuss and bargain over the use of artificial intelligence in the workplace.

“We appreciate the dedication and engagement of our represented employees and the bargaining committees throughout this process, as well as every Blizzard employee whose work continued alongside it,” Johanna Faries, Blizzard’s president, said in a statement. “The ratification of these agreements marks a significant milestone and reflects our shared commitment to continuing to work together in support of our teams and our players.”

Blizzard is a subsidiary of Santa Monica-based Activision Blizzard. The company was acquired by tech giant Microsoft Corp. in 2023.

In July, Microsoft said it would cut 3,200 jobs in its video game division, or about 20% of that staff, over the next year as the gaming industry continues to face a flagging landscape. The layoffs were part of a larger cost-cutting effort at Microsoft, which is laying off about 2% of its workforce in total.

Blizzard’s union said the planned layoffs, as well as job cuts throughout the video game industry, were a major issue during contract negotiations.

One of the provisions in the Blizzard contracts gives laid-off workers the right to be “recalled” into open jobs across Blizzard’s bargaining units for 14 months after the announcement of their layoff.

“This contract secures a lot of what people already love about working here while adding strong protections around layoffs, job security and remote work,” Daniel Weltz, platform and technology bargaining committee member and principal software engineer, said in a statement. “Blizzard helped shape the gaming industry, and I’m proud that this contract allows us to continue setting new standards for this work.”

Sept. 8, 2026 9:01 AM PT

WASHINGTON — Work on the White House North Portico appears to be nearing completion before Chinese President Xi Jinping’s state visit to the United States in late September.

Scaffolding was being taken down Tuesday after workers over Labor Day weekend removed a shroud that had obscured the work. The Executive Mansion’s front columns had been covered since July. The work, ordered by President Trump, began in June.

The portico was first completed in 1830 during Andrew Jackson’s presidency. Administration officials said previously that stonework and plaster on the structure were being refurbished because of routine damage from age and weather exposure.

Trump has said he noticed it was in “deplorable condition” before insisting on repairs. The work is part of the president’s sweeping overhaul of the White House and other federal property in the nation’s capital — with most of his more ambitious moves drawing lawsuits and criticism from preservationists.

Trump said last week that workers finished construction of a helipad on the South Lawn.

His signature project, a White House ballroom and underground bunker, continues as legal fights play out. Multiple lawsuits were filed after Trump demolished the East Wing before going through the usual regulatory steps for major work on historic federal buildings in Washington. The massive project will add more square footage than what the existing White House footprint comprises.

That means Trump must host Xi’s state dinner, scheduled for Sept. 24, in existing spaces and in a construction zone — a circumstance that will afford the president a new opportunity to extol his ballroom project.

Barrow and Martin write for the Associated Press. Barrow reported from Atlanta.

George Lucas and Mellody Hobson want their massive spaceship of a museum to be an experience. Across 300,000 square feet and 11 acres of park space, there’s a lot to take in. Staring up at the 90-foot-diameter oculus four stories above the entrance plaza makes one feel like a speck in the galaxy.

Instead of trying to conquer everything on a first visit — there are more than 1,300 works — hit our highlights below. If you aim to walk around the striking building to view a mishmash of masterpieces, children’s illustrations, movie memorabilia that’s heavy on “Star Wars” and comic strips, you’ll have a good time. If you’re hoping to learn about what’s on display or how adjacent pieces relate, curb your enthusiasm. It’s almost as if the museum is making a statement: you don’t need some analysis to connect with the works. If you complain about the collection, the co-founders don’t care. “Is it fine art? It’s finer art because it’s actually telling a story,” Lucas said at a museum party last week.

The 90-foot-diameter oculus provides unique viewing from the fourth-floor gallery.

(Ariana Drehsler / For The Times)

The gee-whiz elevators at the entrance of the museum.

(Ariana Drehsler / For The Times)

Whoosh up in the glass-tube elevators to the massive fourth floor to begin. Best to explore the bulk of the galleries when your gas tank is full. Then head up a floor to see the murals. Take a break at the rooftop Skywalker Grill before ambling to the library and grounds. Skip the first floor’s “History of Narrative Art.” The exhibition is mostly screens, projections and reproductions, with a handful of great works from the 16th and 17th centuries and feels superficial at times. If you care about whether something is an original or a copy, check the gallery labels. Hungry for more detail? There’s a $30 exhibition catalog in the gift shop.

Prepare to get your steps in and feel a little turned around once it opens Sept. 22. Admission is $25 for adults, free for kids.

The far-right Alternative for Germany (AfD) is “very, very close” to taking power, its deputy parliamentary leader has told the BBC, after a historic victory in elections for the eastern state of Saxony-Anhalt.

Sunday’s preliminary results show it fell three seats short of an outright majority, with 43.8% of the vote. It is now seeking support from other parties or individuals in order to govern.

While most German political parties refuse to work with the AfD, Beatrix von Storch called for its opponents to enter talks and said: “You cannot say I do not accept the vote of the people”.

Germany’s Chancellor Friedrich Merz said he was “deeply shocked” by the result, describing it as “seismic… not just in the country but also in my own political party and I take that very seriously”.

His party, the conservative CDU, saw its share of the vote almost halved to 17.2% in the state’s preliminary results.

Merz said it was not possible to return to “business as usual”, adding that the country needed “profound reforms” and the CDU needed to “reach people at an emotional level.

“This election result is a seismic result not just in the country but also in my own political party and I take that very seriously,” he said.

No far-right party has controlled a German state since World War Two, and governing at state level would mean powers over policing and local education.

Von Storch said the state’s results “were on the table and now democrats have to talk to [one] another. This is what democracy demands”.

She added that if parties refused to work with the AfD, “then we might end up in severe chaos and maybe we have a new election”.

Her comments were echoed by AfD’s leader in Saxony-Anhalt, Ulrich Siegmund, who told a news conference on Monday that the party had won a “clear mandate to govern”.

The state’s defeated premier, the CDU’s Sven Schulze, also said the mandate to govern Saxony-Anhalt “now lies with the AfD”.

Saxony-Anhalt has a small population of 2.1 million and the AfD in the state is assessed by domestic intelligence as “right-wing extremist”, a classification rejected by Siegmund, 35.

The party’s plans for Saxony-Anhalt, which include segregating child refugees into special classes and setting up a task-force to help detain and deport migrants who no longer have the right to be in the state, are highly controversial within Germany.

Siegmund said discussions with other parties were initiated on Sunday night and could potentially take days or weeks to conclude.

“We reach out to everybody first, we will have consultations and then we’ll see whether [there are] individual parliamentary groups or MPs who would be willing to help us,” he added.

The AfD is currently heading for 39 seats in the 83-seat state parliament instead of the 42 needed for an outright majority, although the result has not yet been finalised.

Von Storch told the BBC the AfD was talking to individuals within the CDU group – the largest party in both the state’s outgoing coalition and Germany’s government – because they were “very, very unhappy with their own party”.

It was 1963 and up-and-coming freelance journalist Gloria Steinem had been a working writer in New York City for roughly three years when Show magazine sent her on an undercover assignment that she was uniquely qualified for: to infiltrate Manhattan’s “greatest new showbiz gimmick,” the Playboy Club. She already had the beauty and brains, all she’d need was an alias, a leotard and a notebook. The assignment would change the course of her career, but not in the way that she’d hoped.

“GIRLS:

Do Playboy Club Bunnies Really

Have Glamorous Jobs,

Meet Celebrities, And

Make Top Money?

Yes, it’s true! Attractive young girls can now earn $200-$300 a week at the fabulous New York Playboy Club, enjoy the glamorous and exciting aura of show business, and have the opportunity to travel to other Playboy Clubs throughout the world.”

Armed with the above ad and welcomed by a grinning private guard calling, “Here bunny, bunny, bunny!” Steinem set out to expose the working conditions and interior lives of the bunnies slinging booze to the playboys who patronized the club. She subjected herself to the wardrobe fittings, which included getting her bunny suit stuffed to boost her breast size; she was poked and prodded during an invasive physical exam; she strutted through the club near-naked with sore feet and a suit so tight, she had to wrap gauze around her midsection where her skin had been rubbed raw; and various other indignities she underwent for the sake of journalism.

Documenting a lunch shift at the club, Steinem wrote, “Somehow, the usual tail pullings and propositions and pinching and ogling seemed all the more depressing when, outside this windowless room of perpetual night, the sun was shining.”

Steinem’s article accomplished what it set out to do, and not only were the working conditions at the club exposed, but some were subsequently improved because of her work. In her essay collection “Outrageous Acts and Everyday Rebellions,” Steinem wrote that in response to the story, Hugh Hefner wrote her a letter saying that her “beef about the physical given [to] the girls before they start work at the club prompted my eliminating it.”

Also as a result of her piece, she was slapped with a $1-million libel suit, subpoenaed as a witness in a liquor laws case against the Playboy Club, and received “obscene and threatening” calls.

Most notable, of the short-term results of the story, was the immediate impact it had on her career. Sure, in a lot of ways it had put her on the map, but she struggled to land serious journalistic assignments because, as she put it, “I had now become a Bunny — and it didn’t matter why.”

Steinem, a feminist icon and one of the most widely recognized leaders of the second-wave women’s movement, died on Wednesday at 92. Since she shed the bunny suit after her 11-day stint on the job at the Playboy Club, she went on to cofound New York Magazine and Ms. Magazine, which changed the course of the abortion rights movement with its “We Have Had Abortions” petition in which high-profile women admitted to having illegal abortions, Steinem among them. She played a pivotal role in spearheading some of the most influential and successful women’s rights efforts. And in 2013, she was awarded the Presidential Medal of Freedom for her lifetime of work as a journalist and activist.

Still, with all the aforementioned accomplishments, and decades later, Steinem said that her naysayers used her bunny work in an attempt to discredit her. For decades she considered the story a “professional error of gigantic proportions.” But later, she changed her tune.

“I’m not sorry I did it,” she told Ronan Farrow in 2020, when she was 86 years old. “But it is true that as old as I am, when anybody wants to put me down, they say, ‘Well, she was once a bunny.’ ”

In Steinem’s “Famous Last Words” interview, released on Netflix following her death, she closed the segment by addressing the audience. “Please tell your own story,” she said. “This is the most important thing we can do for each other: is to know each other through stories.”

I was hesitant to tell this story, and stewed over the potential risks I would be taking by telling it, but then I thought of the risk Steinem took. She dealt with fallout and she grappled with the ways the article may have hurt her career more than helped. But of the ample wisdom she imparted, its the power of women’s stories to shift culture, change policy and empower other women that feels most resonant.

I didn’t discover Steinem’s “I Was a Playboy Bunny” exposé until I was in college. I was in my late twenties at the time because I’d taken a few detours after I left high school, most of them dead ends.

One such detour led me through the massive hedge-lined gates of the Playboy Mansion. I was 18, and the E! reality series “The Girls Next Door” sparked renewed interest in Playboy bunnies. I wish I could say that I’d arrived at the mansion on an undercover magazine assignment, but the reality was different. I’d been watching a rerun of the E! show from a bedbug-ridden townhome in downtown Los Angeles, and earlier that day I grappled with whether I should pay my parking debt or buy a burrito.

I watched as the girls bounced around the mansion, appearing carefree, bedbug-free and parking ticket-free. Their lives, produced and edited as they were, appeared to be stable and glamorous, and I thought, “Hmm, maybe I should do that.” If Hefner was good at anything, it was creating a facade.

Like Steinem found, applying to be a Playboy bunny was surprisingly simple. I emailed a photo of myself in a swimsuit and shortly afterward, an invitation to a casting call at the mansion arrived.

At the casting call, I was handed a satin robe and pointed toward a small tent where I could change and a large tent with the photo crew inside. Steinem had likened wearing the bunny suit to feeling like meat on a hook. I, too, couldn’t shake the thought of a meat factory and almost instantly, realized I wanted off the conveyor belt.

My trip to the mansion and endeavor to become a bunny was short-lived. I’d driven there feeling like a femme fatale, and left feeling naive and out of my depth. Worse, it was just another humiliating misadventure that I’d carry around for years with shame.

That is until I came across her story in her essay collection “Outrageous Acts and Everyday Rebellions.”

Steinem said that she was pigeonholed because of the story. She struggled afterward to be taken seriously and that may be true, but I’d argue an opposite point. Because Steinem was ultimately held in such high regard as a journalist and activist, and because she was an undercover bunny along the way, she helped the bunnies of the world to take themselves a little more seriously, to see that beyond the bunny suit, there is a world of possibilities waiting for them.

In the collection, originally published in 1983 and reprinted several times, Steinem wrote that after a town-hall meeting in New Bedford, Mass., a little girl of 6 or 7 gave her a crayon drawing of her in the bunny costume copied from a photo that had circulated online. “ ‘Even if a girl looks silly,’ she said, ‘boys should know that’s she’s smart.’ ”

“This story may outlast me,” she wrote. “but it’s not going to outlast or outsmart that little girl.”

In the book, Steinem wrote that one longer-term result of the article was “realizing that all women are Bunnies. After feminism arrived in my life, I stopped regretting that I had written the article.”

The line “All women are Bunnies” stands out. But what I imagine she meant is, bunnies are just women.

A HAPPY Mondays star has been forced to cancel work and an Ibiza holiday – as they revealed their mother is in hospital after a fall.

The singer, 60, performed with the iconic alternative dance band across two stints.

Rowetta – ful name Rowetta Idah was part of the group from 1990 to 1993 and again from 2012 to 2024.

Taking to Instagram, she shared a photo of her mother lying in a hospital bed, sipping a drink.

Rowetta captioned her post: “Apologies to friends & family but my mum has had another fall.

“She has 3 broken ribs and her left lung needs to heal, so I won’t be on here much and studio & Ibiza are on hold.

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“She’s in a great place so hopefully back soon.”

One person commented: “Thinking of ye both. I hope she gets better soon.”

Another wrote: “Wishing her a speedy recovery and sending you lots of love, strength and courage.

“Please do get in touch if I can help with anything.”

A third said: “Hope she feels better soon.”

Aside from her work with the Happy Mondays, Rowetta is the vocalist on 1989 track Reach Out.

It has since been sampled by other artists including The Black Eyed Peas and Steve Angello.

Meanwhile, Rowetta competed on The X Factor‘s inaugural 2004 series, placing fourth and being the highest placed female contestant.

GRAB granny and pack your bags – multi-generational holiday packages are an absolute bargain.

It comes as new research from Jet2 reveals that more and more families are bringing the grandparents with them on holiday.

According to booking data, most family trips are taken in groups of five or six, with the Canary Islands proving to be the most popular spot.

Choice of destination is a huge consideration for multi-gen groups, with 43 per cent choosing somewhere based solely on suitability for their party.

Following the Canary Islands on the list of most in-demand multi-generational getaway locations is Turkey, the Balearic Islands, Greece and mainland Spain.

Sophie Swietochowski shares her pick of holidays for the whole family . . . 

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TENERIFE

Promising year-round sunshine and affordable deals, the rugged Canary Isle of Tenerife is the sweet spot for families after something quick and easy with unlimited R&R.

Check in to the 4H Paradise Park Fun Lifestyle Hotel, which has enough to keep the kids happy while the older generations kick back with a pina colada.

Kids’ clubs, for those aged four to 12, will keep them busy in the day with arts, crafts and competitions, while evening entertainment is geared up for everyone, with bingo, live music and mini discos.

Five outdoor pools ensure you won’t struggle to find a sunlounger and there’s an onsite spa, too.

TURKEY

This European hotspot is crammed with all-inclusive resorts where vast food choices help take the faff out of having multiple mouths to feed.

The Aquapark at Orka World Hotel stays open until mid-October and the kids will absolutely love it.

The park is home to 13 water slides, four pools and a lazy river that even the grandparents can enjoy.

You’ll keep well fuelled at the buffet restaurant, which has all the favourites plus some traditional Turkish offerings, including pide (a savoury flatbread) and gozleme (a thin, doughy pancake stuffed with spinach, feta or meat).

GREECE

You don’t need to spend buckets to bag a deal that will suit everyone, and the calm Rodos Palace resort in Rhodes is a prime example.

The Greek island offers fascinating history for the grandparents to sink their teeth into, as well as high-intensity activities for the kids and views that look super in the sunshine.

Rooms are bright and airy, while the eight restaurants on site will ensure you’re never short of dinner options.

There’s also a plush private beach with plump cabanas and a volleyball net.

Sept. 4, 2026 7:12 PM PT

BUENOS AIRES — A long-lost Italian portrait looted from a prominent Jewish art dealer during World War II was set to be returned to his heir after an Argentine court on Friday approved a deal under which the daughter of a fugitive Nazi official agreed to give up her claim rather than face trial.

The agreement paves the way for the long-sought return of “ Portrait of a Lady ” to Marei von Saher, the sole surviving heir of Dutch-Jewish art dealer Jacques Goudstikker, whose celebrated collection was sold under duress to Nazi officials after Adolf Hitler’s Germany invaded the Netherlands in 1940.

Patricia Kadgien, the daughter of the late high-ranking Nazi official Friedrich Kadgien, and her husband, Juan Carlos Cortegoso, were charged with aggravated cover-up last year after authorities said they hid the 18th-century painting despite knowing it was being sought by Argentine and international investigators.

Under the agreement, a copy of which was obtained by the Associated Press, the couple agreed to give up any claim to the work and consent to its return to Von Saher in exchange for avoiding a criminal trial and spending two years under court supervision. During that time, they must make payments to a hospital in Argentina’s coastal city of Mar del Plata, where they live, and keep authorities informed of their whereabouts.

The deal ends a generations-long search for the missing portrait and a yearlong legal saga that began in August 2025. Dutch reporters investigating Friedrich Kadgien, a fugitive Nazi financial official who fled to Argentina after World War II, spotted “Portrait of a Lady” hanging above a green velvet couch in an online real estate listing for his daughter’s rustic home in Mar del Plata.

The listing disappeared within hours of the Rotterdam-based newspaper Algemeen Dagblad publishing its findings. Police raided the home several times but failed to find the painting. More than a week later, Kadgien’s lawyer turned it over to authorities.

For decades, the portrait had been identified as a work by the Italian Baroque painter Giuseppe Vittore Ghislandi. It appeared under that attribution in Goudstikker’s collection records and was exhibited as a Ghislandi in Amsterdam before the war. But a court-ordered examination by Argentina’s National Academy of Fine Arts reached a different conclusion, attributing the work to the Italian artist Giacomo Antonio Melchiorre Ceruti.

Experts authenticated the painting as part of Goudstikker’s collection and estimated its value at about $290,000.

Goudstikker was one of Europe’s leading art dealers before World War II, known for a collection that included works by Rembrandt and Vermeer. He died in a shipwreck while fleeing Amsterdam with his family as German forces swept into the Netherlands in May 1940.

An estimated 1,100 works from his collection were illegally sold to Hermann Göring, known as Hitler’s right-hand man, who amassed a vast art collection during the war. It remains unclear exactly how “Portrait of a Lady” came into the possession of Kadgien, Göring’s financial advisor, who handled foreign currency, precious metals and the sale of confiscated property for the Nazi regime.

Kadgien fled Europe after Germany’s defeat, first for Switzerland and later Argentina. He died in the South American country in 1978 without having been arrested or charged with war crimes.

Lawyers for Von Saher, who now lives in Greenwich, Conn., and spent decades trying to recover her family’s looted art, said she has agreed to let the painting be exhibited in Argentina before being returned to her.

During last year’s raids on homes owned by Kadgien and her sister in Mar del Plata, Argentine police also seized two 19th-century paintings, along with other prints and engravings. Authorities are still investigating whether any of them may also have been looted during World War II.

Farella and Calatrava write for the Associated Press. AP writer Isabel DeBre in Buenos Aires contributed to this report.

Wendell Berry, a Kentucky farmer and writer whose work advocated fiercely for working landscapes and working people, died “suddenly and peacefully” on Monday at his home in Port Royal, Ky., according to his family. He was 92.

His daughter, Mary Berry, confirmed his death. On Thursday, she told The Times that her father, until about six months ago, was still writing regularly in his cabin on the banks of the Kentucky River, a place he called “camp,” where many of his more than 50 volumes of poetry, short stories, essays and novels were written.

Berry championed sustainable farming and rural community preservation and railed against industrial agriculture and corporate agribusiness.

“He was fierce and he was fearless, and he remained fearless,” she said, explaining that her family taught her the erosion of rural places wasn’t inevitable but “destruction by design,” engineered by corporate interests and political policies.

Berry, whose writings were often fueled by an anger toward the forces that have driven the destruction of the rural land and communities that he dedicated his life to defending, softened in his final years, according to his daughter. “He was always a tender man, and that part of him got stronger. He was rereading a lot of books that he had loved in his life, and he told me he was looking for the tenderness in the books, and that’s a lovely thing.”

Berry’s most influential work began with a list of the problems he’d observed in modern agriculture, scribbled onto a legal pad as he traveled the long stretch of road between Kentucky’s Henry County and Spokane, Wash., where Berry would deliver a speech at the “Agriculture for a Small Planet” symposium in 1974.

“I was asked to talk about labor-intensive microsystems agriculture. That’s not my language, and it’s not the sort of language that I wish to use because it’s the way people speak when they don’t want to be understood by most people,” he began.

Berry spoke of the six generations of farmers who worked his land before him, and the concerns for farming communities and their agricultural economy that he inherited from his father. He decried “the experts and politicians who have prescribed, encouraged, and applauded the disintegration of such farming communities all over this country into our allegedly miraculous modern American agriculture.”

The speech would later become Berry’s 1977 manifesto “The Unsettling of America: Culture & Agriculture,” which launched a sustainable-farming movement and cemented Berry’s authority on agrarian issues on the national stage.

Beyond his cultural critiques, Berry wrote notable novels including “The Memory of Old Jack,” “Jayber Crow” and “Hannah Coulter.” He was a prolific poet as well. His verse included his debut collection, “The Broken Ground,” and his celebrated Sabbath Poems series, which explored living in harmony with the land.

Over the course of his career, he was honored with the T. S. Eliot Prize, the Aiken Taylor Award for Modern American Poetry and the Richard C. Holbrooke Distinguished Achievement Award from the Dayton Literary Peace Prize, among other accolades. In 2010, Berry was awarded the National Humanities Medal by then-President Obama for his achievements as a poet, novelist, farmer and conservationist. In 2016, he was the recipient of the Ivan Sandrof Life Achievement Award from the National Book Critics Circle.

Wendell Erdman Berry was born on Aug. 5, 1934, in Louisville, Ky., to John Marshall Berry Sr., a lawyer and tobacco farmer, and Virginia Perry Berry. Wendell was the eldest of four children, two boys and two girls. In high school, his parents shipped him off to Millersburg Military Institute, a former military boarding school in Kentucky, where rather than conform to the teachings, he later wrote that his takeaway was, “Take a simpleton and give him power and confront him with intelligence — and you have a tyrant.”

He went on to study English and creative writing at the University of Kentucky. There he met and wooed Tanya Amyx, who would become his wife and the mother of his two children, Mary and Pryor. He landed a Wallace Stegner writing fellowship at Stanford in 1958, and in 1961 he was granted a Guggenheim Fellowship, which allowed him to pack up the family and live in Tuscany and southern France.

After Berry’s scholarly pursuits took him to the West Coast, then Europe, then the East Coast, where he taught at New York University, he accepted a job at the University of Kentucky, allowing him to return home and back to his roots, on a farm near the river.

Then-President Obama presents the 2010 National Humanities Medal to Wendell Berry during a ceremony March 2, 2011, in the East Room of the White House.

(Mark Wilson / Getty Images)

“Within a few years, Mom and Dad were raising 85% of the food we were eating,” Mary told The Times. “We had a milk cow, raised hogs for our own use, and by the time I was a teenager, I resented the whole thing pretty seriously, and I remember saying to them more than once, ‘I did not choose to live this way, and I don’t know why we have to do everything the hardest way possible.’ We had no television. … But I was in a heck of a position with my parents because I never really thought they were wrong about anything, and I still don’t.”

When Mary would gripe, she said, her dad would laugh or “just keep working.” But “he talked about what we were doing and why we were doing it,” she said. “He told my brother and me from the time I can remember to look and see that this is good and don’t forget, and I have not forgotten.”

In 2011, when Berry was nearly 80 years old, he joined a high-profile sit-in at the office of Kentucky’s then-Gov. Steve Beshear to protest the destructive mountaintop strip-mining of coal. In an interview with Bill Moyers shared by the Berry Center in 2025, Berry said that he and his compatriots had had enough of the state government ceding control of resources to the coal companies. “In our society,” he said, “people with money are bigger and more powerful and more noticeable and count more as citizens than people without much money. … So we did confront the governor and tell him we weren’t going to leave.”

His attempt at civil disobedience was turned on its head when the governor invited Berry and the Kentucky Rising activists to stay.

“We did stay,” he said. “The whole weekend.”

“We were beautifully treated by the security staff and people who sent us food and bedding and good wishes and even came in and gave us massages. And it was altogether one of the loveliest weekends I’ve ever spent in my life.”

Berry continued writing into his old age.

Next month, Counterpoint Press will posthumously release “Dispatches From Rural America,” a collection of 15 essays. In one, “The Problem Is Industrialism,” Berry wrote about a 2021 conversation he had with a friend of more than 40 years, author Wes Jackson.

“To the extent that we were talking in earnest, our subject was the set of calamities that the media and the commentators frequently take up, typically dealing with each one in isolation from the others and representing each as an emergency more or less apocalyptic, and in tones recalling a number of vernacular alarms, from ‘Last chance for beer’ to ‘Prepare to meet God.’”

He continued later that the two discussed how industrialism “grows only by consuming, once and for all, the living world.”

Mary said she wanted people to know that, yes, her father was worried and wouldn’t have written so much if he weren’t terribly concerned about the future of rural America, but she wants people to understand that he was a man of great hope.

“Hope he felt was a duty, and I learned that from him,” she said. “As he said in one of his many poems, hope is what we owe people younger than ourselves.”

Mary said she was continuing her father’s work through the Berry Center, a nonprofit that aims to put Berry’s writings to work and advocates for farmers, land-conserving communities and healthy regional economies.

Berry is survived by his wife of nearly 70 years, Tanya, his daughter Mary, son Pryor, five grandchildren and four great-grandchildren.

I wasn’t born in Los Angeles, but it’s the city that raised me. I moved here fresh out of college with a doe-eyed dream of stepping into the kind of art scene I’d read about in history books. Instead, it quickly became clear that I wasn’t going to be able to just waltz in with my Southern charm and big smile; there would need to be some sort of hack into the art world — a place rife with unspoken roles and gatekeeping — if I wanted to get anywhere as a non-nepo artist.

After years of blister-inducing heels-on-the-ground gallery hopping and late-night schmoozing, I found myself falling in love with this city and slowly realizing that the best parts of L.A. were rarely found in mainstream spaces. There’s an inventiveness here that comes from the sprawl of the city — artists like myself who are constantly improvising, building their own ecosystems because nothing is handed to them. I fell in love with how “never-ending” the artist’s practice can feel in Los Angeles, how a studio visit can veer into an hours-long conversation about life. It made the city feel less like a scene to fit into and more like a living, breathing network you have to contribute to before receiving anything back.

In 2014, Alex Benzer and I decided to put our hard-earned knowledge to work by creating Curate LA: a community-driven platform designed to pull back the curtain on the Los Angeles art world by mapping under-the-radar exhibitions and adventurous artist-run spaces, and connecting our audiences directly with artists, curators, galleries and collectors through candid interviews, weekly guides and real-time event recommendations. Because despite appearances, an art scene isn’t held up by pristine white walls; it’s built by the artists sharing a cig and an idea outside on the sidewalk, the gallerists stocking the free booze and championing new voices, and the person you meet sitting at the front desk who tells you about the cute spot around the corner with affordable bites.

For me, an ideal L.A. weekend is a little bit of all of that: a great studio visit that turns into an unexpected conversation, stumbling onto an unconventional exhibition of an artist I’ve never heard of, eating something delicious with friends who I ran into at a show opening, and ending the night at a bar where half of the room just spilled out from the gallery down the street. What I’ve made for you is my personal, slightly circuitous, weekend guide to Los Angeles’ sprawling creative landscape. These are my snapshots of the places and people that I return to, the ones that have fed me, surprised me, taught me something or made a long day of circling the block to find parking impossible to forget.

FRIDAY: Downtown → MacArthur Park → Koreatown

Greg Ito with “Personal Effects,” 2026, “The Spectrum Within,” 2025 and “Love is a Vessel,” 2026.

1. My first stop is visiting Greg Ito at his DTLA studio. I love the way his work draws me into a layered dreamscape and rearranges my sense of time and space. Greg is also a great storyteller. Pulling from archival family photos and childhood memories as a fourth-generation Angeleno in West L.A., his work weaves together a certain kind of nostalgia that always makes for a heartfelt studio visit. DM @gregitooo for availability and address.

   

   Eduardo Medrano at John Doe Gallery.

2. From there, I head over to John Doe Gallery, which is run by two artists, Eduardo Medrano Jr. and Alfonso Gonzalez Jr. They show some of the best up-and-coming artists in Los Angeles, and their openings are always a good time. It’s the kind of place where I’m just as likely to run into someone I know as I am to discover someone I don’t, which in my opinion is exactly what a good art space should do. 107 E. 11th St., Los Angeles. DM @johndoegallery for open hours.

   

   Vita Kari in front of “My Girlfriend Named Herself After a Water Bottle,” 2024, at their DTLA studio. Kari wears Barrio Drive.

3. You might recognize Vita Kari as “The craziest thing about being creative” personality from IG, but what you might not know is that they completed their MFA with a thesis on “Virality as Form,” wherein lies the proof in the pudding, a.k.a. their art. Vita uses textiles, performance and video to speak about internet culture, along with stunning visuals that incorporate their family’s Middle Eastern diaspora and history. DM @vitakari for availability and address.

   

   Samala Meza in her DTLA studio with works in progress.

4. I make my way over to Samala Meza, who creates soft, sexy paintings that look like she literally breathed a secret into them. Her studio is situated at Princess Castle, an artist-run studio space, so you can pop over to some other great artists while you’re there. DM @samalameza for availability and address.

   

   Devin Troy Strother on the roof of his studio overlooking DTLA.

5. Devin Troy Strother is an L.A.-born and -based artist and co-founder of Coloured Publishing, a printing press making books, zines, T-shirts and other editioned works, all by artists of color. Nestled among the produce district, there’s never a dull moment in Devin’s studio. Often working all hours of the night, there’s usually a cast of characters coming in and out, similar to the subjects you’ll see throughout his paintings. DM @devintroy for availability and address.

   

   Commonwealth and Council Team (L to R clockwise): Isabel Einaudi, Audrey Bui, Brenda Reyes-Chavez, Oliver Sweet and Young Chung.

6. What began as an artist-run exhibition space in Young Chung’s apartment 15 years ago has grown to be one of L.A.’s most championed emerging artist safe havens, Commonwealth and Council. I’ll always make time for this space if I’m in the neighborhood. 3006 W. 7th St., Suite 220, Los Angeles, door code: 01220 (please note that this space is not wheelchair–accessible). Thursday to Saturday, 10 a.m. to 5 p.m., @commonwealthandcouncil

   

   Holcomb in front of the Prince. Styled by Jocelyn Corona, wearing AYANEGUI, TANAMACHI and Vacr.

7. To round out the day, I recommend decompressing at the Prince in K-Town, a place where you can spot celebrities and L.A. artists under one roof. Many galleries have had their after-parties here, where you can catch up on the night’s gossip in a dimly lit booth over a kimchi pancake. 3198 1/2 W 7th St., Los Angeles. Call before your visit to confirm hours and dining details (this space is also not wheelchair–accessible). princektown.com

SATURDAY: Beverly Hills → Hollywood → Eastside

Jerson Hondall in the library of Gagosian Gallery, Beverly Hills.

8. I start the day by visiting one of my favorite people in the L.A. art scene, Jerson Hondall. Jerson worked for Curate LA back in the day, but now you can find him working as an artist liaison at Gagosian Gallery and serving on the board of LACE. He is a literal art encyclopedia, which you can see through his Instagram series #dosisdiariadearte, and he is one of the loveliest people you will find, so don’t be afraid to approach him if you see him out and about. DM @jersonhondall for availability.

   

   Jonny Negron in his Los Feliz studio featuring works in progress “virtue signal” and “tellurian lube.”

9. Next, I head east to Los Feliz to visit Jonny Negron at his home studio. His paintings make you feel like you’re sitting across the bar from some of the coolest people in the room. You might recognize his work, which was commissioned for Rosalía’s single “Dolerme.” There’s something about seeing his works in the exact place where they were made that makes the paintings feel even more alive. DM @jonnynegron777 for availability and address.

   

   LAST Projects exterior in Lincoln Heights with co-founder Ilona Berger and pup.

10. I then make my way to Lincoln Heights and visit LAST Projects, an alternative space and gem. This gallery has given many artists in L.A. their first shows in their early careers (myself included). It’s one of those places where I know I’m going to see something that makes me pause, even if I have no idea what I’m walking into beforehand. 206 S. Ave. 20, Los Angeles. Open Thursday, 1 to 5 p.m. and Sunday, 1 to 6 p.m. @last_projects

    

11. Next I visit Drex, owned and curated by Vivian Hicks, a vintage homeware store tucked into Cypress Park. With a knowledge of designers that is truly unmatched, Vivian scours the internet and estate sales to hand-select some of the most desired American Modern, Italian and French design collectibles ranging from the early 20th century to the early 2000s. DM @drex.drex.drex for an appointment and address.

    

    Huevos a la Mexicana breakfast burrito at Lupita’s Restaurant in Cypress Park.

12. I skipped breakfast, so Vivian recommends I go around the corner to Lupita’s Restaurant, and they do not disappoint with their huevos a la Mexicana breakfast burrito. Simple but effective. 2634 Idell St., Los Angeles. Open daily 7 a.m. to 2 p.m.

    

    Ever Velasquez outside of Charlie James Gallery on Chunk King Road, Chinatown.

13. Satiated, I hop over to Chinatown to visit curator Ever Velasquez at Charlie James Gallery. While her name might not be on the door, Ever is the star of the show, putting together show after show of L.A.’s hottest rising artists. 969 Chung King Road, Los Angeles. Open Tuesday to Saturday, 11 a.m. to 5 p.m. and by appointment. @charliejamesgallery @ever.a.k.a.thegirlabouttown

    

    Human Resources exterior in Chinatown.

14. A few blocks away, there is Human Resources. An L.A. staple, HRLA has been around for 16 years now and continues to showcase some of the most experimental works coming out of the city. This space is truly a breeding ground for pure creativity and expression. Make sure to check the calendar on their website to see what’s happening. 410 Cottage Home St., Los Angeles. @humanresourcesla

    

    Drinks at El Prado in Echo Park.

15. Finally, I end the day at El Prado, a local artist watering hole. Nick Fisher, the owner, used to bartend his personal bar called FISHTANK at gallery openings and come up with the craziest drink concoctions and home-brewed beers on theme with whatever exhibition was opening that evening. With names like the Loudspeaker cocktail and a Blood and Fire Smoked Lager, they were sure to get you litty. You can still sample his creations at the bar, albeit they might not be as experimental as they once were. 1805 Sunset Blvd., Los Angeles. Open Monday to Friday, 5 p.m. to 2 a.m., Saturday to Sunday, 2 p.m. to 2 a.m. @ficknish, @elpradobar

SUNDAY: South L.A. → Mid-City → Pico

Aleza Zheng in her South L.A. studio featuring “The Unbearable Lightness of Being,” 2026, “Of Providence,” 2026 and “All That Is In Heaven,” 2026.

16. I start Sunday with Aleza Zheng at the artist-run Tlaloc Studios. Much like her artwork, she is quite the whimsical, spontaneous person. The first time we met, I was deep in the trenches of L.A. Art Week, starving at my probably fifth art event of the day. I was ready to call it quits when Aleza popped out of her car, dressed to the nines, with multiple bags of In-N-Out. She’s been feeding me ever since. DM @alezazheng for availability and address.

    

    Dominique Clayton at Harun Coffee in Leimert Park.

17. From there I spend some time with Dominique Clayton in the heart of Leimert Park, where she was born and raised. Dominique is an L.A. native, curator and woman about town. She’s currently organizing Mom’s Night Out at Harun Coffee, a bimonthly meetup of mothers looking to connect with other creatives and artist moms. I love the way Dominique thinks about community — not as some abstract art world buzzword, but something you have to actually cultivate IRL. DM @lookatdominique to connect.

    

    Jamal Hasef in front of his mural “Sky is the Limit,” 2026 on 11th & Vernon in Leimert Park.

18. I make my way to see Jamal Hasef, who uses paint to move between the personal and the political, digging into the complex and sublime afterlives of the African diaspora in his canvases and portraits. You can check out his mural on the corner of 11th and Vernon or visit him at his studio in nearby Baldwin Hills. @_hasef_ DM for availability and address.

    

    Holcomb in front of Watts Towers in Watts, wearing Desigual and styled by Jocelyn Corona.

19. If you haven’t heard of or visited the fairy-tale world of Simon Rodia’s Watts Towers, you’re in for a treat. Next door to the famous landmark is the Watts Towers Arts Center, a historical site of political activism and assemblage art, most notably by L.A. legendary artist Noah Purifoy, who once ran the gallery. I love bringing people here because it reminds me of why I’m so enamored with the city: It’s weird, completely handmade and unlike anything else. 1727 E. 107th St., Los Angeles. Gallery hours are Wednesday to Saturday, 10 a.m. to 4 p.m., but you can check out the towers from the street any day of the week. wattstowers.org

    

    Books purchased from Reparations Club in Mid City (L to R): “Assata: An Autobiography,” “Love Poems’ by Nikki Giovanni, “Directed by Desire: The Collection of Poems” by June Jordan and “Communion: The Female Search for Love” by bell hooks.

20. By now I’m ready for some retail therapy, so I head to Reparations Club in Mid-City, my absolute favorite bookstore in Los Angeles. I could buy the entire store if my wallet and storage would allow, but on this particular trip my haul was “Assata: An Autobiography” by Assata Shakur, “Love Poems” by Nikki Giovanni, “Communion: The Female Search for Love” by bell hooks and “Directed by Desire: The Collected Poems of June Jordan.” Considering the state of literacy we are facing in this AI-driven world, I’d say we all could benefit from frequent visits here. 3054 S. Victoria Ave., Los Angeles. Open Monday to Saturday, 11 a.m. to 7 p.m., Sunday 11 a.m. to 5 p.m. @reparations.club

    

21. And finally, I end the weekend with pure sustenance. My last stop is Merkato, an Ethiopian cafe where the walls are filled with eclectic knickknacks and the plates are eat-with-your-hands style, packed with flavorful goodness; it’s the kind of meal that makes you want to linger. If you have the time, don’t skip out on the traditional Ethiopian coffee. 1036 1/2 S. Fairfax Ave., Los Angeles. Open daily 11 a.m. to 11 p.m.

Shelley Holcomb is an artist, curator, writer and cultural leader, whose work spans painting, installation, storytelling, advocacy and making art more accessible.

The U.S. Postal Service is poised to launch a hastily built, error-riddled computer system that could jeopardize the process of mail voting relied upon by one-third of all voters, according to a whistleblower statement released Tuesday by Democratic Sen. Richard Blumenthal.

The effort is part of the implementation of President Trump’s executive order limiting mail voting and has been temporarily halted by a federal judge. The ruling is being appealed by the administration and the directive may ultimately end up back before the U.S. Supreme Court.

The disclosure from the unidentified whistleblower contends that the Postal Service has been scrambling to try to build a complex system that would normally take a year or more in only three months, sometimes in defiance of the judge’s orders halting work. The goal is to have it ready for use in the midterm elections.

The disclosure contends that, due to the new procedures, a single scanning error in a batch of tens of thousands of ballot envelopes could prevent any from reaching voters. It details a system that election officials have already warned could not be implemented before the first mail ballots begin going out Friday in North Carolina.

“The Postal Service has designed a system to disenfranchise millions of Americans,” Blumenthal told reporters in advance of releasing the whistleblower information. “This administration seems hell-bent on changing the framework on casting ballots in this country clearly for political reasons.”

Executive order is subject to furious court action with midterms nearing

Trump’s executive order, signed in March, directed U.S. Citizenship and Immigration Services and the commissioner of the Social Security Administration to develop state citizenship lists and then required the Postal Service to send mail ballots only to voters who are on such a list. Ballot envelopes would have to comply with new Postal Service rules and include bar codes.

The online portal that is the subject of the whistleblower complaint is intended for states to deliver their lists of verified voters to the Postal Service.

The Postal Service did not comment on Monday night. The White House did not immediately respond to a request for comment Tuesday. The White House has called the mail voting provisions “commonsense measures” necessary to combat fraud.

Trump has long opposed voting by mail, even though he has repeatedly used the method to cast his own ballot. He falsely blamed mail voting for his 2020 election loss and has spent years spreading conspiracy theories about it. A report by the Brookings Institution published in 2025 found that mail voting fraud occurred in only about four cases out of every 10 million mail ballots cast.

Since returning to office, Trump has said Republicans should be “taking over” vote counting in Democratic areas and launched a sweeping attempt to reinvestigate the 2020 election, despite a mountain of evidence that he lost fairly to Democrat Joe Biden.

Until Trump came out against mail voting in 2020, the system was used equally by both parties. Since then, it has become more common among Democratic voters. More than 29% of all voters in 2024 cast their ballots through the mail.

After Trump issued his executive order, Democrats and civil rights groups sued and eventually won a ruling from U.S. District Court Judge Indira Talwani in Boston barring implementation of the system before the November midterms. But without ruling on the legality of Trump’s order, the Supreme Court’s conservative majority last week found that was premature and overruled Talwani, momentarily clearing the way for its implementation.

On the night of Aug. 21, the Postal Service released a final rule outlining how it would implement the order.

It said it would only send mail ballots for states that got approval for the design of their envelopes and submitted a list of voters receiving them through the still-not-active online portal. That rule gave plaintiffs a chance to sue again, and Talwani on Thursday night issued a 14-day restraining order against implementation of the measure.

Whistleblower complaint says portal development is rushed and sloppy

The letter from Blumenthal and an accompanying summary of the whistleblower’s statements says the Postal Service began work on the portal on June 15 and stopped on June 25 after Talwani’s initial order. Then on July 29, the Postal Service restarted the work. That was when the administration appealed the judge’s order to the Supreme Court. The high court did not strike Talwani’s injunction down until Aug. 24.

Talwani last week found the Postal Service violated her order by continuing to work on the final rule, but she imposed no sanctions on the government. On Monday, she issued a ruling refusing to lift the restraining order that also said the Postal Service could continue work on its portal, as long as it wasn’t forcing states to use it.

In its summary of the whistleblower’s statement, the group Whistleblower Aid says the hurried construction of the portal, with a goal of being active on Tuesday, meant it did not undergo full testing.

“The apparently sloppy and rushed manner in which the Federal Ballot Mail Portal and supporting IT systems are being built poses significant risk,” the group wrote. “Potentially millions of American voters may not receive their mail-in ballot this election cycle in a timely manner, or at all.”

The statement also says the Postal Service is implementing a “zero percent” rule in which any errors in any mail ballots sent out by an election office could lead to all of them being discarded — even if it’s simply one problem amid tens of thousands of legitimate ballots.

The rule requires ballots to be handled in a physical post office by an election official. Those will then be scanned to ensure they match the voter database. During three layers of checks, a single apparent error could cause the whole batch to be rejected, the statement says.

Blumenthal said he has “a very strong hope and some faith that our system of justice will strike down this unconstitutional and unconscionable rule.” But, he added, if it somehow goes into effect for the midterms, he would not advise voting by mail.

Riccardi writes for the Associated Press. AP writer Lindsay Whitehurst contributed to this story.

Yayoi Kusama, the Japanese artist known for her hypnotic, repetitive polka dot artworks, died earlier this week at the age of 97. Hers was the third in a string of deaths this week that left me feeling quite melancholy. First Dolly Parton, then Tim Curry and finally, Kusama.

The silver lining in the death of an artist, whether they be musician, actor, writer or visual artist, is that they leave a trail of comfort for fans through their work. I can (and did) sit in my breakfast nook weeping to the sound of Parton’s voice in songs including 1971’s “Coat of Many Colors.” When it comes to mourning Kusama, I am planning a trip to the Broad museum in downtown L.A., which houses two of her famous Infinity Mirror Rooms.

“Longing for Eternity” (2017) is on view on the third floor and can be accessed with a free general admission ticket. “Infinity Mirrored Room —The Souls of Millions of Light Years Away” (2013), however, requires a separate free reservation. A rep for the museum said reservations are currently available through September with many time slots already completely full. The museum is also accommodating as many walk-ups as capacity allows — and these walk-ups have increased in the wake of Kusama’s death.

In an email to The Times, Broad founding President and Director Joanne Heyler wrote that Kusama’s Infinity Mirror Rooms, “have been among the most beloved works at The Broad since we opened in 2015.”

Heyler noted that the Broad’s 2017 exhibition, “Yayoi Kusama: Infinity Mirrors,” “was an incredible moment in the museum’s early history. It was a beautiful show, and unprecedented operationally: the only time our ticketing system broke down due to demand, minutes after release. Her work is both wildly popular and conceptually rigorous; her journey as an artist is complex, full of resilience and a refusal to be limited. Visitors have found deep connection inside the Infinity Mirror Rooms at The Broad — smiles, tears, even marriage proposals. We’re grateful to be one of the places where people can go to spend time with her work and remember her, and we’ll keep working to ensure her art is experienced as she intended: by everyone, infinitely.”

This is welcome news, and the devoted interest makes sense. In many ways, these physically small but emotionally vast rooms encapsulate the essence of Kusama’s practice throughout her life. Built in a distinctively analog way, the rooms create the illusion of endless space through the use of light, mirrors and splashes of color. Kusama incorporated hand-sewn cloth, and later, multimedia video projections, but at their core the rooms remained largely technology-free.

The irony being that a decade ago they emerged as social media sensations, and were ubiquitous in selfies across the internet as they traveled from blockbuster show to blockbuster show.

It’s a pity because all the people who stepped into those rooms with their cellphone cameras at the ready missed a profound opportunity to inhabit a floating dreamscape of true peace and quiet — the kind we rarely grasp in our digital-notification suffocated world.

I can still remember the first time I had the opportunity to experience one of Kusama’s Infinity Mirror Rooms. It was dark and glittering with tiny pinpricks of colored light. I felt as if I were suspended in a deep, black pool of energy that extended beyond me in all directions. I could hear my blood rushing in my ears and briefly wondered if this could be what it felt like in the womb.

I got dizzy and recovered, and then — for what felt like a long time but was only a matter of seconds — I was free.

I’m Arts editor Jessica Gelt taking moments of solace where I can get them. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

Babatunde Akinboboye
The baritone fuses classical opera with hip-hop on “Toreador,” “Funiculi, Funicula,” “O Sole Mio” and more.
8 p.m. Friday and Saturday. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org

Director Richard Linklater at the 2023 Toronto Film Festival.

(Jay L. Clendenin / Los Angeles Times)

Richard Linklater
A three-movie American Cinematheque tribute featuring Q&As with the Texas filmmaker. In a recent interview, Times film writer Mark Olsen asked Linklater what it’s like to reflect on his work: “What resonates with me in my mind is the experience of making the movie more than the movie itself — all the people you worked with and the cast and all those good feelings.”
“Boyhood,” 7:30 p.m. Friday; “Waking Life,” 4 p.m. Saturday. Aero Theatre, 1328 Montana Ave., Santa Monica; “Dazed & Confused,” 7:30 p.m. Saturday. Directors Village, 961 Broxton Ave. Westwood. americancinematheque.com

Pericles
Boston Court, in partnership with Play On Shakespeare, presents the West Coast premiere of Ellen McLaughlin’s modern verse translation of Shakespeare’s rarely performed adventure tale. Directed by Margaret Shigeko Starbuck.
Through Sept. 27. Boston Court Pasadena, 70 N. Mentor Ave. bostoncourtpasadena.org

Romeo & Juliet
A site-specific, immersive, queer adaptation of Shakespeare’s tragedy.
7:30 p.m. Friday and Saturday; 1 p.m. Saturday and Sunday. Sassafras Saloon, 1233 Vine St. eventbrite.com

SATURDAY

Place Is the Space
A four-hour immersive performance experience created by artist Edgar Arceneaux and co-creator Frank Lawson employs live jazz improvisation, theatrical storytelling and multimedia design inspired by Sun Ra’s philosophy and his film “Space Is the Place.” Presented by CAP UCLA, the event includes an audience procession to the Hammer Museum in conjunction with the current exhibition, “Space Is the Place,” for a final performance.
1 p.m. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu

Joshua Smith Untitled (Yellow Heart), 2026 Acrylic on canvas 14 ¾ x 14 ½ in.

(839 Gallery)

Joshua Smith: Hearts and Triangles
The artist’s first Los Angeles solo show includes brightly colored monochrome paintings on shaped canvases.
Opening reception, 5-8 p.m. Saturday; exhibition continues through Oct. 17. 839, 839 N. Cherokee Ave. 839gallery.com

Winter’s Bench
The world premiere of Mike Kenny’s play about a woman who returns to a park where she thinks a tree once spoke to her. Starring Anne Gee Byrd and Shih-wei Wu. Directed by Debbie Devine. All performances will feature Spanish supertitles.
Previews, 8 p.m. Saturday; 2 p.m. Sunday; 7:30 p.m. Wednesday, Thursday and Sept. 4; 8 p.m. Saturdays, 2 p.m.; Sundays, 8 p.m.; Sept. 7 and 14; through Oct. 25. 24th Street Theatre, 1117 W. 24th St. 24thstreet.org

SUNDAY

Element Band
Led by Ara Dabandjian, the ensemble features 12 musicians and vocalists, including Soseh Aramouni Keshishyan and Natalie Avunjian, in a celebration of Armenian heritage, creativity and live music.
7:30 p.m. The Ford, 2580 Cahuenga Blvd. East. theford.com

TUESDAY

Dvořák & Bruch
Conductor Anja Bihlmaier and violinist Bomsori join the Los Angeles Philharmonic.
8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

THURSDAY

Amadeus in Concert
The Los Angeles Philharmonic, led by conductor Norman Huynh, conductor, and the Pacific Chorale perform live to Milos Forman’s 1984 Oscar-winning best picture starring Tom Hulce and F. Murray Abraham.
8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com

The Arsonists
Max Frisch’s 1953 absurdist satire, translated by Alastair Beaton and directed by Luke Harlan.
8 p.m. Thursdays through Saturdays; 5 p.m. Saturdays; 2 p.m. Sunday; through Sept. 20. Skylight Theatre, 1816 1/2 N. Vermont Ave. skylighttheatre.org

Under the Oaks
A weekly salon series featuring performance and music: “Currents: Composers in Concert” (Sept. 3); “Beer! A New Musical-in-Development” (Sept. 10); “Cabaret Theatricum Sings Marvin Gaye” (Sept. 17); and “The Voice of Dr. King” (Sept. 24.
7:30 p.m. Thursdays through Sept. 24. Will Geer Theatricum Botanicum, 1419 N. Topanga Canyon Blvd. Topanga. theatricum.com

Arts everywhere

Sarah Bareilles in the documentary “Sarah Bareilles: Good Grief.”

(A Group Effort Films / Naked Edge Films)

Sara Bareilles: Good Grief
The Grammy-winning Broadway star and pop singer’s return to the recording studio for the first time in seven years is captured in this intimate documentary directed by Josh Alexander receiving a one-night-only theatrical release. The film looks at Bareilles’ experience of channeling her own pain to create art and the healing journey that accompanied it. Bareilles will perform at the Dolby Theatre, Oct. 12-14.
7 p.m. Wednesday. Laemmle and AMC theaters. sarabmusic.com

Culture news and the SoCal scene

Dolores Huerta photographed at Dolores Huerta “Help Wanted/Leave Now” exhibit at California Museum.

(Beth Baugher / California Museum)

Dolores Huerta has prioritized involving herself in projects relating to labor and women’s rights in the wake of going public with sexual abuse allegations against former labor leader Cesar Chavez. One of those projects can now be seen at the California Museum in Sacramento in an exhibition called “Help Wanted/Leave Now: ‘Operation Wetback’ and the Revolving Door of Mass Deportation,” which, according to a story by contributor Isa Farfan, “examines decades of the federal government’s deportation campaigns against Mexican immigrants even while it recruited millions of these farmworkers and rail workers to fill labor shortages during and after World War II.”

Contributor Leah Ollman reviews a new Eileen Cowin retrospective called “Between Panic and Paradise” at Los Angeles County Museum of Art. Labeling Cowin a “wry disruptor,” Ollman notes that over the artist’s nearly six-decade career, she has toyed with time in a novel way: “By deviating from straightforward chronology, the installation resonates smartly with one of Cowin’s key operating principles — that we don’t experience time as a continuous line moving in one direction, but as episodic, fragmented, interrupted, layered.”

Gustavo Dudamel at the end of the first half his show at the Hollywood Bowl on Aug. 20.

(Jason Armond / Los Angeles Times)

Gustavo Dudamel is really leaving — although it feels as if the city has been mourning the eventuality for years. Times classical music critic Mark Swed was, of course, on hand to bear witness to Dudamel’s final farewell: a four-night Hollywood Bowl extravaganza. “Dudamel addressed the audience, sounding very much like he had 17 years ago at the Bowl, extolling in our being a crowd of many types together for many musics. L.A., he said, made him an Angeleno,” Swed wrote.

Swed also attended a Tuesday night show at the Hollywood Bowl after the Dudamel farewell extravaganza and found it rather empty and a bit “forlorn,” a situation, he writes in a review, that “left Anna Handler, who becomes the Los Angeles Philharmonic’s conductor-in-residence this fall, with the trickiest conducting assignment of the summer anywhere.”

Theater Director Bart DeLorenzo on the set of “Enemy of the People” at the Odyssey Theatre on Friday, Aug. 21, 2026.

(Ariana Drehsler / For The Times)

Times theater critic Charles McNulty recently sat down for a lunchtime conversation with Bart DeLorenzo, “L.A.’s most playfully provocative theater auteur,” about his decision to direct (and adapt) Henrik Ibsen’s “Enemy of the People” at Odyssey Theatre. “If ever there was a moment to revive ‘An Enemy of the People,’ it’s now,” McNulty writes. “The demoralizing spectacle of the U.S. Senate’s inquisition of Dr. Anthony Fauci last month, led by Sen. Rand Paul (R-Ky.) in unapologetic witch-hunt mode, was yet another reminder that Ibsen’s drama about a public health crusader being targeted by politicians and business leaders when his medical advice goes counter to their interests hasn’t lost its punch.”

The drama never stops at the beleaguered Kennedy Center as it deals with the continued tumult resulting from President Trump’s takeover early last year. Most recently the Justice Department claimed in a recent court filing that Trump’s “efforts and prestige provide the sole hope for the Center’s financial survival, and structural renewal.” If the center isn’t shut down for the two-year renovation Trump demands, it may need to be demolished, the filing reads.

Visitors line up outside the Japanese American National Museum for a 2022 event recalling World War II incarceration camps.

(Genaro Molina / Los Angeles Times)

After closing in early January, 2024, the Japanese American National Museum has announced it will reopen its newly renovated Pavilion on Jan. 23, 2027. Renovations include a new main entrance and new first-floor galleries for a brand new exhibition titled “In the Future We Call Now: Realities of Racism, Forging Democracy.” The special exhibition galleries on the second floor have also been updated and will feature the inaugural exhibition, “Pictures of Belonging: Miki Hayakawa, Hisako Hibi, and Miné Okubo.”

The Broad has announced its next fall exhibition, “Has the myth been shattered,” opening Nov. 21. The exhibition is set to include recent acquisitions by Guadalupe Rosales, Hank Willis Thomas and Mickalene Thomas. “Gathered together, works in the exhibition create unexpected connections across six decades, prompting an examination of how media has shaped history, memory, and collective experience,” a news release notes.

— Jessica Gelt

And last but not least

A little rare bird is making people happy, and I’ll take the moment of levity.

Peter Cullen, the voice actor whose regal timbre as the heroic Optimus Prime in the “Transformers” franchise and deep tone as the gloomy Eeyore in “Winnie the Pooh” projects who was beloved by generations, has died. He was 85.

Cullen died Wednesday in his Los Angeles home, his agent Kevin Motley confirmed to The Times on Thursday. A cause of death was not given.

He “passed away peacefully, surrounded by his loving family — and held in the hearts of his many friends and countless fans worldwide,” his family said in a statement. They ask “that you honor his remarkable legacy by serving your communities and leading others with compassion, integrity, and loyalty and always remember ‘be strong enough to be gentle.’ ”

A prolific voice actor whose work spanned television shows, movies, video games and even theme park rides, Cullen amassed more than 200 credits over his career. This includes the eponymous giant ape in the 1976 remake of “King Kong,” the villainous vehicle KARR (Knight Automated Roving Robot) in the “Knight Rider” TV series and the clicks and trills of the deadly alien hunter in the original “Predator” film.

But Cullen is best known for his work in animation and children’s cartoons in the 1980s and ‘90s.

His signature role was Optimus Prime, the leader of a heroic faction of sentient alien robots known as Autobots who battle the villainous Decepticons in the “Transformers” franchise. Cullen often spoke about how his voice for the leader — who transforms into a truck — was inspired by his older brother, Larry, a Marine who had served in Vietnam.

On the day of his “Transformers” audition, Cullen had mentioned to Larry, his roommate at the time, that he was on his way to try out to be the voice of “a hero truck.”

Larry responded, “Well, if you’re gonna be a hero, be a real hero. Don’t be a jerk … Be strong enough to be gentle. Be understanding. Be compassionate, and be able to kick ass — in a good way,” Cullen previously told The Times.

“He said it in a voice that was subdued and calm,” Cullen continued. “He’s 13 months older and 6 inches taller. Made of steel. He was my hero. [His words] weighed heavily on me. So I’m at the audition reading the breakdown of the character and what I have to say in the audition. I can just feel Larry’s words coming out of my mouth. So, I took his sound — my first words were, ‘My name is Optimus Prime.’ ”

“Transformers” voice actors Peter Cullen, left, and Frank Welker at the 2024 Comic-Con Fan Expo in Rosemont, Ill.

(Rob Grabowski / Invision/Associated Press)

Cullen originated the role in the 1980s animated “Transformers” series, referred to by fans as “G1” or “Generation 1.” The era also includes the big-screen “The Transformers: The Movie” (1986), which featured the beloved character’s controversial death, but the character eventually returned after fan outcry.

When “Transformers” jumped to live action in Michael Bay’s 2007 film, Cullen was once again tapped to voice Optimus Prime. He continued through the follow-up films, including “Revenge of the Fallen” (2009), “Dark of the Moon” (2011), “Age of Extinction” (2014) and “The Last Knight” (2017), as well as the 2018 prequel “Bumblebee” and “Transformers: Rise of the Beasts” (2023).

He told NPR that returning to play Optimus Prime in these films was “like slipping into an old pair of shoes that you hid in the back of your closet.”

Cullen was nominated for a Daytime Emmy for his work as Optimus Prime in the TV series “Transformers: Prime” in 2011 and won a Lifetime Achievement Award at the Children’s and Family Emmy Awards in 2023.

Peter Claver Cullen was born on July 28, 1941, in Montreal, to American parents Henry and Muriel Cullen. One of four children, he graduated from the National Theatre School of Canada in 1963. He later did Shakespeare for a summer in Stratford, Ontario, before working for a year at the Crest Theatre in Toronto as a member of the repertory company, according to the Hollywood Reporter.

He told NPR he discovered his talent for doing different voices while working on a farm as a child and imitating animals.

Besides Optimus Prime, one of Cullen’s favorite roles was Eeyore, the endearing but pessimistic donkey from “Winnie the Pooh.” Cullen first voiced the character in “The New Adventures of Winnie the Pooh” series, which aired from 1988–1991. He continued his work as Eeyore through numerous franchise installments, including “The Tigger Movie” (2000), “Piglet’s Big Movie” (2003) and “The Book of Pooh” series.

“I enjoyed doing Eeyore because he was simply charming,” Cullen said to NPR. “And I get an awful lot of reactions from, especially, young kids, when I go up and just say [in Eeyore’s voice], ‘Hello. Thanks for noticing me.’ And to see their faces light up, that to me is one of the great joys.”

Cullen is survived by his four children, Angus, Claire, Pilar and Clay, according to the Associated Press.

Shelley Fabares’ cause of death has been revealed.

Fabares was known best for her television roles , including Christine Armstrong on the ’90s sitcom “Coach,” Francine Webster on the 1970s sitcom “One Day at a Time” and Mary Stone on “The Donna Reed Show,” as well as her Billboard Hot 100 song “Johnny Angel” and appearances opposite Elvis Presley in “Spinout,” “Clambake” and “Girl Happy.”

The actor died Saturday in Los Angeles surrounded by loved ones after battling pneumonia, her family told The Times on Thursday. In the 1990s, Fabares fell ill, but doctors struggled to pin down what the problem was. After years of health problems, she was diagnosed with autoimmune hepatitis. Doctors ultimately discovered severe liver deterioration, and she spent nearly two years on a waiting list for a liver transplant. She received the lifesaving surgery in the fall of 2000.

In 2011, Fabares told PBS Houston that after suffering liver failure and facing death, her outlook on life completely changed. “It really brought home the fragility of life and how fast everything can change and how extraordinarily lucky we are to be alive, and to have this opportunity to be here, and in my case, to get really an entire second chance,” she said during the appearance. “It does make things more precious.”

She said that, after the close call and lengthy recovery, she feared death less.

“To her family and friends, Shelley was a source of love, strength, laughter, and comfort,” Fabares’ husband, “MASH” actor Mike Farrell, said in a statement.

“She was a devoted wife, cherished stepmother, daughter, sister, niece, aunt, family member, and loyal friend whose warmth, generosity, humor, and grace made an enduring difference in the lives of everyone who knew her. She had a remarkable ability to make people feel welcomed, valued, and cared for.

“For millions, Shelley was a beloved actress whose work became part of the fabric of American television and film. … But to those closest to her, her greatest legacy was personal: the love she gave so freely, the friendships she treasured, and the family bonds she held dear.

“We will remember Shelley for her kindness, loyalty, wit, courage, and beautiful spirit. We will miss her deeply — not only as a celebrated performer, but as the loving and extraordinary person she was in our everyday lives.

“We are heartbroken by her loss, yet profoundly grateful for the years we shared with her and for the joy, compassion, and love she brought to so many. We ask that our family’s privacy be respected as we grieve. We take comfort in knowing that Shelley’s work and the memories she created with those who loved her will continue to live on.”

She is survived by her husband and her daughter, Erin.

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.”

When you’re a Hollywood icon, everyone in town has a story about you. But with Dolly Parton, so do visitors of a 160-acre Tennessee theme park.

I waited for what felt like my entire life to see Dollywood. As a theme park journalist, it was the absolute summit of my professional bucket list — always close yet somehow out of reach. Pigeon Forge, Tenn., like many regional gems, thrives from its proximity to nearby towns but is a haul and a half to get to from Los Angeles. (Consider it no coincidence that Delta Airlines canceled our flight there on two separate occasions.)

My friends and I wore Dolly and Mickey Mouse T-shirts for the occasion.

(Carlye Wisel)

After a failed attempt in 2025, my crew of friends rallied to at long last make the successful pilgrimage to the country crooner’s compound earlier this spring. Once we checked into our Lincoln Logs rental cabin and reality hit that we’d actually made it — cowboy boots on the ground! — we realized all four of us were unusually clueless about what came next.

As Disney obsessives, my friends and I know theme parks, but had no barometer for what to expect from … a celebrity-themed one. Would it feel worn-down and somewhat sad? Would they smell the coastal elite media bias on us? Was the cinnamon bread actually that good?!

Of course, it was all perfect. Gloriously lush, vast and yet somehow deeply quaint, it was jarringly unexpected in the best of ways.

The 12,000-pound Dollywood Eagle is the mascot for the park’s winged roller-coaster, the Wild Eagle.

(Amy Harris / Invision / AP)

Mornings at Dollywood were spent wandering the now-relocated bald eagle sanctuary and crafting village, afternoons were spent riding black bears, coasters and log flumes. We watched candle-dipping artisans at work with wide eyes, heard the screaming whistle of the authentic steam locomotive train, and perused each room of the Dolly Parton Experience museum with glee. By the second day, one friend was walking arm-in-arm toward the cinnamon bread grist mill with its cashier. There was a palpable kindness that emanated throughout, as though every employee was working in her honor, whether performing in a show alongside her blood relatives or selling bedazzled tank tops.

The glorious cinnamon bread at Dollywood.

(Carlye Wisel)

Standing in front of the Grist Mill, a.k.a., the home of the cinnamon bread.

(Carlye Wisel)

And then there were the rides. As for enduring monuments, Elvis fanatics have Graceland, Beatles obsessives have Abbey Road, but Dolly? Dolly acolytes have a wooden-steel coaster so intense it can pop your boob right out of your bra. (In retrospect, my friend’s incident was a perfectly unintended homage to the busty star.)

With funnel cakes in the shape of her beloved butterfly and fashion exhibits with eye-popping heels and wigs, Dolly Parton’s theme park has history, entertainment, reverence. She was inviting us into her figurative and literal home — the tour bus she resided in for over a decade, with an overzealous guide to boot. In fact, most employees couldn’t wait to talk about Dolly, and neither could we. To be here is to be close to Dolly Parton, but to work here seems almost spiritual.

The Lightning Rod roller coaster is intense.

(Carlye Wisel)

At some point between the blacksmithery heat, second loaf of cinnamon bread and feeling my soul leave my body aboard a haunted coal mine coaster, it hit me that this simply will never happen again. The splintering of mass media, the confluence of a cultural icon whose priorities are so admirable — the zeitgeist will simply never again support someone so pure of heart. Who else could pull off an eponymous theme park without it feeling brazenly self-serving?

After all, Dollywood isn’t just a pile of rides in the Great Smoky Mountains. Rooted in authenticity, service and philanthropy, they’re honoring Appalachian culture by forging iron and blowing glass in their Craftsman’s Valley, while inviting you in to do the same. The Imagination Playhouse, a live musical staging of children’s books, promotes her literacy initiative and its work gifting hundreds of millions of free books. Even the property’s most expensive hotel room is a low-key fundraiser for the Dollywood Foundation. In the era of budget cuts, corporate consolidations and layoffs, it feels like a respite from the fiscally overwhelming sides of America’s other theme parks these days, but that’s always been its objective. Dolly’s original investment in Silver Dollar City, the park’s predecessor, was purely to give back to the community and support jobs in the area.

Dollywood’s Palace Theater has hosted iconic shows through the decades.

(Amy Harris / Invision / AP)

Until her death Tuesday at age 80, Dolly was the closest thing we had to a modern day Walt Disney mixed with Mr. Rogers’ kindness and Miss Piggy’s flair. A true Renaissance woman who pulled herself out of a state of poverty that for many seems unimaginable (until, of course, you overstay your welcome ogling the exhibit of her two-room Tennessee Mountain childhood home, which I obviously have).

Dolly Parton was a living testament to what’s important in life: treating others the way you want to be treated, while also looking hot as hell. How unbelievable it is to have been alive at the same time as such a remarkable woman, and to have a place we can forever visit to celebrate her.

All I can do after the end to such a historic run is to urge you: Don’t wait as long as I did to experience Dollywood’s magic firsthand. Make the pilgrimage. Go there and see it yourself, in her honor.

And maybe, just maybe, wear a more supportive bra on Lightning Rod.

Fans gathered at Dollywood after she died at the age of 80.

(Melissa Sue Gerrits / Getty Images)

THE world’s most famous nepo-baby North West has revealed she is planning to land a job at Starbucks next year.

The 13-year-old star is arguably the most famous child-star and nepo-baby thanks to her parents being Kim Kardashian and Kanye West.

She has already carved out an impressive career having released her own music, appeared in stage productions and taken part in fashion editorials all before becoming a teenager.

But despite already living the life of luxury in the fame world, North has now admitted that she wants to give it all up and bag a “regular job”.

In a brand new interview with Dazed magazine, North confessed that as well as her music career, her dream role is to be work as a barista at Starbucks.

Speaking to the publication, North said: “I still wanna work.

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“I wanna work at, like, Starbucks next year.

“I think I can next year ’cause I’m gonna be 14, so… I think I can.

“I want to have a regular job, I guess.”

It marks a major U-turn for the young star to pivot away from the mega Kardashian brand.

In her first magazine interview, North also opened up on her well-discussed look.

Despite her tender age, conversation has swirled around her dyed blue hair and multiple body piercings.

Clapping back, she said: “Everyone’s in love with boys, vaping and doing all kinds of bad stuff.

“All I want is blue hair and piercings.”

But North did reveal that she had been disallowed from getting her “bridge pierced” – a piercing that goes through the top of your nose and under your eyebrow.

When the Booker Prize longlist was recently announced, it included a book with the memorable title “May We Feed the King.” The debut novel by British author Rebecca Perry isn’t yet available in the U.S., and when it does hit shelves, it will be coming from Transit Books, a small Bay Area publisher run by the husband-and-wife team Adam Z. Levy and Ashley Nelson Levy.

Cited by the Booker committee as “a playful, stirring meditation on history and storytelling” about a curator and a king, the book “has been an early favorite with indie booksellers,” Ashley says.

“May We Feed the King” by Rebecca Perry

(Transit)

“We knew the book was special when we acquired it,” Adam adds. “Ever since, we’ve been crossing our fingers and knocking on wood and sending up flares to the Booker gods, and sent the book to the printer a little earlier than usual just in case.”

Transit, known for publishing intelligent international fiction, began about a decade ago, when Ashley and Adam were convinced that great works of literature were being passed over by New York publishers, and that those books should have a place in America.

There were, Adam says, “really great authors who might have incredible reputations elsewhere not finding publishing houses here that are able to champion them in a way that gets them to access to a broader readership.”

The two were working full-time jobs while talking about their literary dreams over the dining room table. They had met at Columbia in New York and both worked in publishing there before moving to California, where Ashley is from.

Adam Z. Levy and Ashley Nelson Levy, co-publishers of the Bay Area nonprofit publisher Transit Books.

(Jennifer Baquing)

They carefully set out to connect with the international literary community and went through the slow process of launching Transit as a nonprofit. They now have a small staff, an office in Berkeley and count a Nobel Prizewinner, Jon Fosse, among their authors.

At the same time Transit was starting out in Northern California, a pair of not-married friends in Los Angeles saw the same possibilities. Chris Heiser and Olivia Taylor Smith were convinced that they could begin a publishing house, starting with international noir.

Smith, who is now a senior editor at Simon & Schuster and lives in Germany, recalled those early days for me over Zoom. “We launched it at a time when it was almost the golden age of independent, small publishing, a lot of which was translation-focused,” she says.

They jumped right in, came up with a name, Ricochet, and a logo. Then they got a cease-and-desist letter — a small poetry press was also starting as Ricochet. “We had to change names,” Heiser says. “We were literally unnamed.” That’s how they launched Unnamed Press.

“A Certain Hunger” by Chelsea G. Summers

(Unnamed Press)

“I’m very grateful to the litigious poets who forced us to change our name,” Heiser adds. Their original crime-fiction focus rapidly expanded. Science fiction? Nonfiction? Feminist cannibal fiction? Yes, yes, yes.

That last was “A Certain Hunger” by Chelsea Summers, which Smith acquired. “I really loved that it is violent and intense and so visceral,” Smith said. “The prose is incredible and it absolutely was a cut above. Not to use a cannibalistic meat pun.” To date, the 2021 novel has been Unnamed Press’ biggest seller.

Where many literary novels from small presses sell fewer than 2,500 copies, “A Certain Hunger” has sold close to 200,000. “We’re a hits-driven business, you know — you have to have a book that does well enough to keep you going,” Heiser says.

Heiser remains with Unnamed as its publisher, and continues to guide it to unpredictable destinations. In 2022, the press opened North Figueroa Bookshop in Highland Park with fellow L.A. publisher Rare Bird Books — it stocks all publishers’ titles, not just their own.

Guests gather at the North Figueroa gallery for Unnamed Press’ launch of “Four Nose Jobs a Day,” a poetry book with an accompanying vinyl album by Devendra Banhart, center.

(Hoda Mallone)

And next door is the gallery they opened late last year. In June they held a gala launch for Devendra Banhart’s new collection of poems, “Four Nose Jobs a Day” in the North Figueroa gallery, published by Unnamed as both book and record album. The party was a little livelier than your typical book launch: Heiser says it “featured a reading backed by an excellent jazz trio, ceramic noses, a scent-maker, mimes and speed therapy, among many other things.”

Where Unnamed often makes unexpected turns, Transit has stuck close to its original mission: to translate a handful of books a year, often works of translation themselves, with a certain aesthetic.

For readers in sync with Transit’s sensibility — literary, bold and with an edge that feels fresh — they offer subscriptions. Their biggest swerve was adding children’s books. “The quality of the writing is really important, first and foremost,” Ashley said on a Zoom call with Adam and their executive editor, Lizzie Davis.

“We’re really attracted to literature that takes risks on the page,” Adam said. They began publishing acclaimed Norwegian author Jon Fosse’s work three years before he was awarded the Nobel Prize in literature. Transit is the American home of Fosse’s big and bold “Septology,” translated into English by Damion Searls.

“Septology 1-VII,” by Jon Fosse

(Transit Books)

Despite years of a cohort within the publishing community advocating for international literature, such as the National Book Awards’ translated literature prize being relaunched in 2018, translated works remain only 3% of the U.S. publishing market. Transit has remained committed to publishing works in translation, and has had genuine success.

Small publishers can be caught in a catch-22 when they have a sudden success. They have to pay to print books and get them distributed, then wait months before the profits (or unsold returns) come back. An author winning the Nobel Prize in literature is about as big a bonanza of demand as you can imagine.

When Fosse won the Nobel in 2023, that meant publishing a big run of his almost 700-page masterwork. “It was a bit of a cash crunch for us,” Adam admits, “but I think we were also lucky in a lot of ways.” The year before they had published “I Who Have Never Known Men” by Jacqueline Harpman, a Belgian novelist who died 20 years before — hardly a guaranteed success.

“Stories, Like Illnesses” by James Elkins

(Unnamed Press)

The publishers themselves can’t fully describe what happened — it was well-reviewed, it went viral, it kept selling, it went viral again. Now, the novel has sold more than 450,000 copies. “I feel like for a small press you really need to, not just catch a break, but catch a break every time,” Adam said, “if you want to last.” Those two pillars — the Fosse and Harpman — allowed the Levys to open their office in Oakland in 2024.

Transit recently released another Harpman book, “We Were Forbidden,” a trio of never-before translated novellas. In September, in addition to Perry’s book, they’ll also be publishing two novels by esteemed French writer Marie Darrieussecq.

Unnamed Press’ fall schedule includes James Elkins’ “Stories, Like Illnesses,” the third installment of a multivolume work called “Five Strange Languages.” Unnamed is publishing in five volumes over five years, “an epic publishing project for any publisher,” Heiser says. Luckily, the first volume got a boost when Jacob Elordi was photographed reading it during a marathon Frankenstein makeup session.

The Levys and Heiser all maintain that there was something about being in California that gave them the creative space to launch their publishing houses.

From their similar visions a decade ago, Transit and Unnamed were born separately, and have taken very different paths to sustainability. The Levys were deliberate and focused; Unnamed spontaneous and evolving. Both are flourishing and show what a little freedom can do.

After nearly six months of war on Iran, the US appears to be taking a different approach.

President Donald Trump says Washington will carry out a “crushing economic operation”.

Attempts to reach an agreement to end the war have stalled.

Now, the US is calling on other countries to join what it calls the greatest coordinated economic isolation in history.

For its part, Iran says that any countries joining the US campaign will be treated as enemies.

What does this mean for the conflict?

Presenter: James Bays

Guests:

Jamal Abdi – president of the National Iranian American Council

Hassan Ahmadian – professor at the University of Tehran and deputy director at the Center for Middle East Scientific and Strategic Studies

Mark Pfeifle – former White House deputy national security adviser and president of Off the Record Strategies

This remains a Liverpool side offering more questions than answers.

One significant question is the Cody Gakpo conundrum, which will roll into the final week of the transfer window.

If Liverpool do bring in two more attacking players then Gakpo may leave.

The club have been linked with Paris St-Germain’s Bradley Barcola and Ibrahim Mbaye and have had two bids rejected for Brighton‘s Yankuba Minteh.

Yet Dutchman Gakpo was Liverpool‘s best player at Newcastle and took his goal brilliantly – while there was another positive in the performance of Spanish forward Victor Munoz on his Liverpool debut from the bench.

Munoz won the late penalty after replacing Ngumoha but Iraola’s decision to take off the English teenager off after just over an hour summed up how much he struggled down the right.

Ngumoha will turn 18 next week and has preferred to play down the left throughout his youth career but failed to have an impact on the other side.

With Iraola determined to have his wingers able to play on both sides, it remains to be seen if that experiment persists once Liverpool get more attackers in.

What is for certain is that Iraola needs more options. Once Munoz and Alexis Mac Allister came on in the 63rd minute, Iraola’s remaining bench options were: Giorgi Mamardashvili, Ronald Araujo, Wataru Endo, Kostas Tsimikas, Trey Nyoni, James McConnell and Lewis Koumas.

Defensively, both Milos Kerkez and Jeremie Frimpong had poor games at full-back and Liverpool were undone on the counter attack for both of the goals they conceded.

The lack of a defensive midfielder showed and it was revealing to see Iraola use Mac Allister just ahead of the back four after Joe Willock put Newcastle 2-1 up.

Liverpool have now conceded more goals via fast breaks in all competitions than any other Premier League team since the start of last season – nine.

All that and more will be food for thought for the new Liverpool boss but this was a relatively positive start to life under Iraola – who prefers to wait until the day after the match for a debrief.

“I’ve liked a lot of the things I’ve seen from the team,” he said. “There’s definitely things to improve like the goals but I’ve seen a lot of things I’ve liked from the team. I’ve liked the energy, especially the players coming from the bench. I think we finished the game quite strong physically.”

“We will never give up. I can guarantee you that,” Szoboszlai told Sky Sports. “We have to fight every time – all day long during the 90 minutes. Everybody who came off the bench also made an impact as well. We need the whole squad and we need to be ready.”

That desire was never a cause for concern on Tyneside. But this Liverpool squad must improve, both in terms of quality and quantity.