The multidisciplinary artist rafa esparza was maybe 19 and in the break room of the now-defunct Orchard Supply Hardware in Pasadena when he first found out about the revolutionary art group Asco. It was the early 2000s, and he was working full-time while going to school part-time at East Los Angeles College. He’d bring his homework to his job, and an older colleague, Ignacio, took interest in the books he was reading — mostly about Chicana/o studies and art.
Ignacio grew up in East L.A., and showed esparza a big manila envelope stuffed with incredible sketches and drawings by Glugio “Gronk” Nicandro. Gronk, a friend of Ignacio, was one of the founding members of Asco, which roared to life as an unapologetically Chicano organization in the early 1970s and was made up of East L.A. natives including Patssi Valdez, Harry Gamboa Jr. and Willie Herrón.
Esparza is now among two generations of L.A. Chicano and Mexican artists who have passed the torch that Asco used to blaze its groundbreaking trail. The story of the art group and its descendants, also including Maria Maea and San Cha, is featured in the new documentary, “Asco: Without Permission.” Executive produced by Gael García Bernal and Diego Luna, the film premiered last year at SXSW and arrives on TV for the first time at 7 p.m. Friday as part of PBS SoCal’s “Voces” series (plus PBS.org and the PBS app).
The beginning of a movement
When Asco first coalesced, Gamboa Jr. went to Los Angeles County Museum of Art and noticed a striking absence of Chicano pieces. In the film, he recounts how, after his concerns were dismissed by a higher-up at LACMA, Asco decided to take matters into its own hands. The group came back later that evening and tagged the building with their names (“Spray Paint LACMA,” 1972), effectively reclaiming the entire museum as a work of Chicano art.
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The No-Movie “Chicano Cinema,” starring Harry Gamboa Jr. (Asa Nisi Masa Films / PBS)
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A group shot of the art group Asco. From left to right: Willie Herrón, Gronk, Patssi Valdez and Harry Gamboa Jr. (Asa Nisi Masa Films / PBS)
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Members of the art group Asco pose in Malibu. From left to right: Gronk, Patssi Valdez, Willie Herón and Harry Gamboa Jr. (Asa Nisi Masa Films / PBS)
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Patssi Valdez poses with her golden No-Movie Award, a parody of the Academy Awards, protesting the lack of Latino representation in Hollywood. (Asa Nisi Masa Films / PBS)
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The Asco No-Movie “The Gores (Whittier Blvd + Ax)” (1974). (Asa Nisi Masa Films / PBS)
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The Asco No-Movie “Star” (1980), starring Patssi Valdez. (Asa Nisi Masa Films / PBS)
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A still photo of the Asco performance piece “Birds Wave Goodbye,” from 1972. (Asa Nisi Masa Films / PBS)
Asco’s work remained in relative obscurity — living in local mythology through storytellers like Ignacio — for decades. Then, in 2011, LACMA‘s views evolved and the museum gave Asco its first major retrospective, “Elite of the Obscure.” Documentary writer and director Travis Gutiérrez Senger came across press coverage of the retrospective and felt immediately drawn to the group, connected “on almost a cellular level.”
But it wasn’t until Trump’s first run for presidency and subsequent election, when his language around Latinos and immigrants dangerously sharpened, that Gutiérrez Senger knew in his gut that he needed to make this film now.
What set Asco apart was the fact that it was an art group, not a singular artist, working in tandem to react to social and political realities, including the 1968 East L.A. walkouts, the 1970 Chicano Moratorium, the Vietnam War, police brutality and gang violence.
“I would have never done the film if it wasn’t a collective,” Gutiérrez Senger said. “The thing about art history — and in literature and film — we often canonize individuals. When I saw Asco and it was a group, and they’re [on] the cover of Artforum or at the Whitney … that to me was really, really captivating. And, I thought, also very constructive.
“This isn’t just a group; this is a metaphor for how we mobilize and change,” Gutiérrez Senger remembers thinking.
Art as action
Asco was a fecund ecosystem, as is the close-knit community of contemporary artists following in its footsteps. The documentary recounts the history of the original group while heeding its call to action by collaborating with next-gen artists to carry the tradition forward. In 2023, Gutiérrez Senger curated a pop-up exhibition — featured in the film — alongside Pilar Tompkins Rivas, called “Asco and the Next Gen: An Inter-Generational Celebration of Latinx Art.” “Asco and the Next Gen” included esparza, Maria Maea, San Cha, Ruben Ulises Rodriguez Montoya, Guadalupe Rosales, Gabriela Ruiz and Dorian Wood.
“When you’re deeply collaborating with folks, and you’re in each other’s mediums and you’re sharing thoughts, and you’re thinking together, conceptualizing together, birthing a project together from scratch, you really have to step beside yourself, and understand that this is something that you’re co-creating,” esparza said. “Versus, I think art teaches us to center the single voice, the singular author of an artwork. And my experience of life, of art-making, has been the complete opposite: I think that we’re constantly reflecting each other.”
Esparza’s contribution to that 2023 pop-up was called “Corpo RanfLA: Terra Cruiser” and was originally staged outside the fairgrounds of Art Basel Miami a year prior. The L.A. version took place in the parking lot of an Arts District strip mall. Esparza bounced. He lay in a prone position, arms extended, body ensconced in gold and green lowrider armature, adhered to a blue bike frame, rocking on a 25-cent mechanical ride mechanism. The early connections esparza had with Asco resonated deeply in his relationship to art-making.
“They’re guerrilla, not asking for permission, just doing what they wanted to do with the help of their collective efforts,” esparza said. “That’s an ethos that’s very present in my own performance work, and it’s something that I hold very dear to me. It’s something that I always want to protect, in terms of how the art industry so powerfully commodifies everything you make as artists. I feel like performance still holds this power to really resist that, depending on how we will it into being.”
The interdisciplinary artist Maria Maea (left) and the filmmaker Travis Gutierrez Senger (right), writer and director of “Asco: Without Permission,” pose at Barker Block. Maea is featured in the film, in which she and Gutierrez Senger collaborated on a new “No-Movie,” titled “Pasado/Futuro.”
(Carlin Stiehl / For The Times)
Moving pictures are part of the revolt
Asco also had an interest in film. The art group members didn’t see themselves — or Chicanos or Latinos — represented in Hollywood, so they did it themselves, subverting a movie into a single still photograph that became its own story; an implied narrative. These, featured in the documentary, were called No-Movies.
In addition to the “Asco and the Next Gen” pop-up exhibition, Gutiérrez Senger and the filmmaking team invited multidisciplinary artist Maria Maea, San Cha, musician Fabi Reyna and Mexico City-based Ruben Ulises Rodriguez Montoya to create new No-Movies, also featured in the film, in response to Asco’s original No-Movies.
Maea first learned about Asco through esparza, too. He’s a mentor of sorts to her (they’re part of the same “interlocked brown community,” she says), and they were making adobe bricks together on the banks of the L.A. River for esparza’s 2017 Whitney Biennial installation when he told her the story about the hardware store and the manila envelope.
“They had a finite amount of resources, and they took this cinematic film lens or film camera film and shot these stills,” Maea said. “I think for me, it was so beautiful to see the infinity that could happen in front of it, the story that could happen behind it. It felt like we were just seeing this snapshot of a beautiful cinematic moment.”
The documentary’s new No-Movies are slightly longer, but still snippets of less than five minutes. The main character of Maea’s “Pasado/Futuro” No-Movie, the Being, sprang from the show “L.A. Fonts,” in the artist Alfonso Gonzalez Jr.’s backyard. (“Pasado/Futuro” also includes a group of kids working in a garage, meant to emulate Asco’s own garage origins — and to represent the next next gen. Its cast includes Maea’s younger sister, Ariel-Evelia Tuilaepa Diaz.) The Being is alien, mystical and magical, a migrant finding her way in a new world. (Maea often works with palm weaving, incorporated here, and palms have their own migration story to L.A.)
A still from “Pasado/Futuro,” one of the contemporary No-Movies in the film, featuring Maria Maea as The Being.
(Asa Nisi Masa Films / PBS)
“Something that really intrigued me was their sci-fi aspect of this film,” Maea said of Asco. “Like, they lived in a real world where they were experiencing the Chicano Moratorium, they’re experiencing violence in the streets, and they were also experiencing … the news projected back at them, that they were the issue,” stranger-than-fiction scenarios they synthesized into sometimes-futuristic or dystopian work.
Composer and performer San Cha’s No-Movie, “Luna,” made together with the musician Fabi Reyna, began as a song San Cha had written for a friend who had died; she had had a dream of him on the moon. In collaboration with Gutiérrez Senger, the No-Movie evolved into a piece about a lover, played by Reyna. Now, “Luna” is tender and otherworldly, drenched in the high drama and glamour that San Cha so loves.
San Cha was born in San José, then moved to San Francisco, where she was taken in by the Bay Area drag scene — specifically by her drag mother Per Sia, who’s still there. (San Cha recently relocated to Amsterdam.)
“She is from South-Central, but she studied art, visual art,” San Cha said. “She was a photographer, and she really got into the drag scene, and she was super familiar with Asco. We would do these processions in the Mission, from the Mission to the Castro … and she would always mention Asco in these moments.”
That’s likely because Asco’s early performances, as the art historian and curator C. Ondine Chavoya points out in the film, emphasized procession, mobility, mobilization and occupation, marking sites of political violence. Once San Cha moved to L.A., she found community quickly, too. She met Maea — with whom she made a video, “Coatlicue,” for the Music Center’s For the Love of L.A. program — and later lived with esparza.
“We can’t really perform in a vacuum,” San Cha said. “I can’t imagine doing this by myself, ever.… When I moved to L.A., there’s someone for everything.… And that way I didn’t feel the need to do everything alone. And even though in L.A. it was a little more professional, there’s so many people that are just like family.”
A still from “Luna,” one of the contemporary No-Movies in the film, featuring Fabi Reyna (left) and San Cha (right).
(Asa Nisi Masa Films)
When Gutiérrez Singer first started making this film, he thought that it — and Asco itself — was about saying “f— you” to the systems and institutions and racism that give us asco. (“Asco” means nausea or disgust in Spanish.)
“But at the end of the project, I started looking at the work and myself and the artists I had made the film with, and just seeing this incredible beauty and love,” he said. “And I realized that the power of Asco’s work is ultimately about self-love, and that when you feel that — and you can feel almost a collective sense of self-love as brown people — it gives you incredible potential and strength.”
Celebrity Traitors fans are convinced they have ‘worked out’ who was murdered after spotting a clue earlier in the first episode of the series
07:19, 02 Oct 2026Updated 07:29, 02 Oct 2026
Celebrity Traitors fans have worked it out!
Celebrity Traitors fans will have to wait until this evening to find out who was recruited and who was murdered – but some think a huge clue in the first episode has already revealed who stays.
The BBC show ended on a cliffhanger last night when it was revealed that James Acaster and Amol Rajan had been hauled in front of the two Traitors – Maya Jama and Richard E Grant – to be given their fate.
And with them face to face with the two ‘murderers’, there was only one way it would end. They had to plead their case to be saved and recruited or face instant ‘death’ and become the first person to leave the show.
Following the huge cliffhanger, there has been much discussion on who might go and who might become a Traitor and fight to save another day – with a big twist expected.
However, fans of the BBC show are convinced they’ve worked out who is off – with them claiming BBC bosses left a rather large clue in the first episode on who would be waving goodbye.
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“Amol’s diary room bits scream ‘I’m not seeing any more of this,'” one said of who might be chosen. As another replied: “He got a lot of screen time, think he’s a goner.” A third shared: “Definitely Amol got murdered.”
Fans are also convinced the reports that James had a panic attack on set ‘proves’ he will stay.
“Too much in the news about James being so stressed the others in there had to calm him down. So far he hasn’t had time in there for all that. (I guess),” one wrote.
Another added: “The fact that we’ve already heard that Acaster has a panic attack at a round table at some point in the show surely spoils that it’s Amol who goes – unless Acaster had the panic attack while the traitors were being chosen?”
“If it’s true (I remember reading that he had a panic attack but don’t remember if it was specified it was a roundtable) that’s a massive ball to have dropped for the first cliffhanger,” a third shared.
The leader of the world’s biggest band is nervous.
“I think I revised this speech about 10 times, but somehow the more I worked on it, the more confused I became, like always,” said K-pop star and BTS rapper RM on Tuesday at a preview of a show he has co-curated at San Francisco Museum of Modern Art called “RM x SFMOMA: Between You and Me”
Three years ago, RM held an anonymous show in South Korea, but this is the first proper exhibition he has staged. For many of his fans — some of whom wait outside the museum trying to get a glimpse of him — his favorite activities, including museum-hopping, bicycling and being out in nature, come as no surprise. There is even a word for it: “namjooning,” a play on the singer’s first name, Namjoon. But still, the exhibition is the rare chance to view RM as a serious art collector; someone who values Korean identity in art but also loves works from many genres, eras and countries.
Philip Guston, Untitled (Red and Black Book), 1969; from the collection of RM.
(The Estate of Philip Guston / Hauser & Wirth)
Dressed in a gray T-shirt, dark collared shirt and leather pants, RM’s hair is a light burnt sienna color matching the fur of the stylized tiger on the screen behind him. From a 17th century painting by Lee Won-chan, it’s from his personal collection of more than 400 artworks. For this exhibition, 142 pieces owned by RM will be shown alongside 36 works from SFMOMA for a total of 178 works on display.
RM sees “Between You and Me” as an introduction to his inner life and reflection of contrasting aspects of his personality, whether as a public figure interacting with his adoring fans or an erudite intellectual and avid reader with a reputation as a clumsy and lovable goofball.
RM was on a hiatus from BTS and on the cusp of beginning his mandatory military service in South Korea when SFMOMA first approached him for the project two years ago. As it came to fruition, he sought to answer two main questions when contemplating which works of his collection to share with the public.
Does the artwork move him deeply? And, if the work is from a noncontemporary artist, does the piece have something to communicate in 2026?
“In an age where everything is consumed so fast,” RM explained, “I believe the attitudes of some of the past artists can resonate even more deeply today.
“I’ve always dreamed of seeing different places, times, boundaries and backgrounds all mixed together in harmony,” he continued. “It could be a mess because I’ve never formally studied, and I’m not a ‘curator, curator,’ but in any field sometimes an outsider can bring in a new breeze.”
Wonwoo Lee, “Candy,” 2023; from the collection of RM
(Wonwoo Lee / PKM Gallery)
It’s not RM’s first time working with a museum. In 2023, he partnered with Los Angeles County Museum of Modern Art to provide guided audio narration for “The Space Between: The Modern in Korean Art”.
At SFMOMA, RM was joined in his effort by two co-curators: SFMOMA project manager América Castillo and assistant curator of painting and sculpture Hyoeun Kim.
Kim, who has long championed Korean artists internationally, was particularly impressed with the diversity of Korean art that RM has amassed, including its “remarkable range.”
“His collection began with 6th century works, moved through the Joseon Dynasty, and continued to major Korean modern and contemporary art. It spans nearly 1,500 years,” Kim said during the preview.
The show is arranged in eight parts and begins with a large white wall at the entrance with the title of the show scrawled in RM’s handwriting. Handwritten touches are found everywhere — “Plz take it in with your eyes and heart” is scribbled on the floor in both English and Korean. The wall text for each piece, which also includes a QR code for audio narration, is composed by RM in both languages.
An inscription on the floor of an SFMOMA exhibit curated by RM of BTS features RM’s writing as part of the wall (and floor) text.
(Christine Terrisse.)
Guests will also receive a zine-style pamphlet with the same homespun appeal explaining each of the eight sections in RM’s words alongside a diagram of the room.
“Blue Water” centers the work of Kim Whanki, the late globe-trotting abstract artist and the first RM says he “fell for.” In addition to Whanki and works by Vija Celmins and Tony Feher, some RM fans might recognize one of Roni Horn’s glass cylinder sculptures from a now-archived Instagram post where it was casually displayed in RM’s apartment.
There’s even a room filled with especially eclectic pieces called “i don’t know..but i like it.” By way of explanation, RM said, “Sometimes I don’t really know why I collected all these things.”
The last room, “Umber” or “Dasaek” (referring to the color of Korean rice fields) might be the most meaningful to the singer. It features works by the late artist Yun Hyong-keun, for whom RM has a particular personal affinity. The cover for his debut solo studio album, “Indigo,” depicts Hyong-keun’s 1972 painting “Blue,” and the album’s lead track, “Yun,” a collaboration with Erykah Badu, kicks off with recorded dialogue from the artist.
Back in 2018, around the same time RM began his art journey with not much formal training in art history, co-curator Castillo began her career with SFMOMA.
At the time, she was in awe of the power of art to connect with people, but frustrated that more people from unconventional backgrounds weren’t being given opportunities to curate major shows, thereby shaping the stories told. Her work on this exhibition is part of a continuing mission to bridge the art world and the ordinary person.
Chang Ucchin, “Road,” 1986, from RM’s collection.
(Chang Ucchin Foundation / Seoul Auction)
This mission guided her through the process of selecting works by famous artists from SFMOMA’s collection to contextualize RM’s pieces from lesser-known but equally important names.
“The first time we pulled a list on the SFMOMA side, we had like 500 options we then dwindled down,” she said in an interview while standing in the “Umber” room. “There were some artworks and specific artists that we knew from the get-go we wanted to be in the show. We wanted them to have a moment. Mark Rothko was definitely one of them.”
The sole Rothko piece in SFMOMA’s collection, “No. 14,” (1960) is featured in one of the final rooms in the exhibition. Adjacent to it is “untitled” (1986-90) by Hyong-keun. In the exhibit pamphlet, RM notes that Hyong-keun’s paintings are often compared to Rothko’s, but “their darkness is not the same.” “To my eyes, if Rothko’s darkness is one that ‘opens’ then Yun’s is the darkness that remains after he endured everything he possibly could,” he writes.
As RM steps into the spotlight of the art world, he is learning to become comfortable with the uncomfortable in-between spaces he occupies. “I started this with an innocent heart. As I’m standing here talking to you, I still feel like I’m always drifting and floating somewhere, ” he said, adding that the feeling comes when he’s in the U.S. but also when he’s in his hometown of Seoul. “It’s not a very pleasant feeling. I think I’ve leaned on art a lot because of that feeling.”
Before the preview, BTS fans, called the ARMY, passed out small gifts to the press, and afterward donors lined up for a special reception. RM’s mother, father and sister even arrived to celebrate, but he didn’t have much time to hang around. He was scheduled to depart for Bogotá, Colombia, to join his bandmates on the Latin American leg of their ARIRANG stadium world tour.
It is time to leave the quiet of the museum for the roar of the crowd.
“RM SFMOMA: Between You and Me” opens to the public on Oct 3, and runs through Feb.7, 2027. For more information visit sfmoma.org
The Fraud Act 2006 states that dishonestly making a false representation with the intention of making a gain or avoiding a loss can lead to individuals being imprisoned for 10 years and facing an unlimited fine, if charges are brought and proven.
“Surely the Man City findings are now a police matter,” said Lord Cruddas, a banker and businessman.
“If accounts have been falsified and auditors have been misled then it is potentially a criminal matter. The auditors will call in the police, directors are personally liable for any fraud of a UK company even if it is foreign-owned.”
For the case to move from football wrongdoing to something more, there would first need to be an investigation by the relevant authorities.
The bodies who can investigate potential financial crimes in the UK include regional police forces, the National Crime Agency, HMRC and the Serious Fraud Office.
BBC Sport has contacted each of those bodies and been given no indication that any kind of investigation has begun, but some do not routinely confirm investigations owing to confidentiality.
But former Manchester City chairman David Bernstein – who left the club five years before its current owners took control – raised the possibility during an interview on BBC Radio 5 Live.
“This is very serious and I wonder whether some of these issues might need to be referred to authorities outside of the league,” Bernstein said.
“My immediate thoughts are – can the board of directors continue and should the people involved be suspended immediately?”
Football finance expert Kieran Maguire feels wider investigation may be unlikely.
“HMRC might consider it but there is not a lot for them to go on,” he said. “There is certainly no corporation tax to recover. Football clubs lose money and City would have lost more money had it not been for the activities it undertook.”
Kennedy Center officials were long aware of serious structural issues that they cited as new problems after the abrupt decision to close the performing arts venue this month, a group of former employees allege in a letter to Congress.
The center’s executive director and chief operating officer, Matt Floca, did not treat the roofing issues as priorities and in April halted a funded plan to address them, according to the letter Thursday signed by David Seide, a lawyer representing the anonymous whistleblowers.
Floca denied their allegations, saying recent investigations of the leaks exposed new hazards at the building.
In a September court declaration, Floca noted there were “acute risks to public safety” when the aging building temporarily closed its doors after an inspection of a deteriorating roof terrace canopy and a partial ceiling collapse. The former employees, however, claim those “acute” issues were known previously by Floca, who joined the Kennedy Center as vice president of facilities in 2024.
“More than one year ago, Mr. Floca had requested and received the needed funds to remediate the New Problems he references,” Seide wrote, citing President Trump’s tax cut and spending bill that he signed in the summer of 2025. “Yet six months ago – with the funds in hand – he stopped the remediation process from moving forward.” In the legislation, Congress earmarked $257 million for the Kennedy Center.
The letter, first reported by The New York Times, is the latest in a series of tensions over an iconic Potomac River waterfront building that has become a focus of the Republican president in his remaking of the nation’s capital in his second term. Trump has installed his own leadership to the center’s governing board and had his name placed on the building before a judge ruled the new lettering was illegally added and ordered it removed.
The Trump-aligned board voted earlier this month to close the center indefinitely for repairs hours after U.S. District Judge Christopher Cooper blocked its plans to return Trump’s name to the building.
Cooper has told the center that it must give 30 days’ notice before making any major physical changes to the building, including demolishing it, as Trump has threatened. The Kennedy Center leadership also must file a status report no later than Friday on the temporary closure and emergency repairs.
Asked for a response to the whistleblowers’ claims, a Kennedy Center spokesperson sent a written statement from Floca, who said the safety of patrons, artists and staff is his priority.
“The Kennedy Center has known for years that the roof overhang leaked,” he wrote. “What we did not know until this summer was how far the damage had spread inside it.”
Floca added that rather than halting design plans in April as the whistleblowers alleged, he had reassigned the work to a more comprehensive plan because the contractor’s quote for the initial plans were nearly three times the expected cost.
“That was a change in the approach to procuring and delivering the work, not a determination that the work was unnecessary,” Floca wrote.
Rhode Island Sen. Sheldon Whitehouse, the top Democrat on the Senate Committee on Environment and Public Works, wrote Floca on Thursday after receiving the whistleblower letter. Whitehouse said the documents showed Kennedy Center leadership had “hoarded” congressionally appropriated funding for repairs “while blaming previous leadership for the state of repairs.”
“My initial investigation into misconduct at the Center focused on cronyism and corruption, with documents demonstrating considerable excessive and self-serving spending under President Trump’s chairmanship,” Whitehouse said. “The documents that I attach today seem to reveal deeper financial mismanagement.”
A spokesperson for the committee’s Republican majority did not immediately reply to a request for comment Saturday.
Today marks the end of an era. Mark Swed — the last full-time classical music critic at a major American newspaper — has retired. On Thursday, members of The Times editorial staff gathered to celebrate Swed, but the mood was somewhat somber. Although we were glad for our beloved colleague, this was not a happy milestone for journalism — or classical music.
Swed is the rarest of writers: a critic with deep empathy and encyclopedic knowledge who can turn the sonic details of an orchestra playing Mahler’s Seventh Symphony into an epic journey for readers. At a time when orchestra leaders struggle to find new audiences for the art form, Swed’s writing did the job for them.
And in an era when everybody is an expert on TikTok, Swed’s informed criticism was a life raft in a sea of slop. He told us why the music mattered — in its historical context, as it related to the modern landscape, and what it meant to him personally. He made us better listeners, and most importantly, he made us curious. After reading his take, we wanted to run out to a concert, an opera or a new music festival.
That this particular kind of writing — and of seeing and explaining the world to readers — is going away with Swed, is truly a tragedy. Thankfully he is leaving of his own accord, and will hopefully continue to write a monthly column, but his loss still stings.
Like many, I watched with sorrow in February as the Washington Post slashed its staff, including its classical music critic, Michael Andor Brodeur. That blow came a little less than a year after the New York Times shook up its culture desk and reassigned its classical music critic, Zachary Woolfe, to serve as the obituaries editor. (The paper is now actively searching for a new classical music critic.)
A number of staffers spoke at Swed’s retirement lunch, and deputy A1 editor John Penner was among them. In his touching speech, Penner noted that Swed was the last of his kind, adding, “with no full-time critic writing anywhere in any newspaper about classical music, American journalism will be poorer, and its readers less informed, inspired and enlightened.”
Penner continued, saying what all of us gathered in that conference room knew to be true, “Mark’s 30 years at The Times coincided with this city’s Golden Age of classical music — the era of Salonen and Dudamel and Disney Hall. L.A. has been the most important and exciting music capital in the country, if not the world. (Why else would New York be stealing Gustavo from us now?) And central to that excitement and importance has been Mark’s writing and criticism. For my money, even when there were many music critics writing for many publications, Mark set the standard for classical music criticism, while opening our ears to new and under-appreciated music.”
Hear, hear.
I’m Arts editor Jessica Gelt wishing Swed a happy retirement and humbly asking him to come back to us now and again. This is your arts and culture news for the week.
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The week ahead: A curated calendar
FRIDAY
Demand To Be Heard Festival The Sunflower Project presents a celebration centering the voices of survivors of abuse beginning with a screening of the film “Break The Silence: The Gabby Petito Story,” followed by a panel discussion with the Gabby Petito Foundation. Saturday and Sunday is the Resident Artist Showcase, featuring the work of six survivor/artists. Also Saturday are three three arts workshops focusing on music, candle making and body movement, respectively. Film screening, 6 p.m. Friday; 6:30 p.m. Saturday-Sunday, Resident Artist Showcase. Wisteria Theater, 7061 Vineland Ave., North Hollywood. Arts workshops, 11:30 a.m., 1 and 2:30 p.m. Art Share L.A. 801 East 4th Place, downtown L.A. towardsthesun.org
Jonah Elijah: Ambiguously Free The first U.S. museum solo exhibition by the L.A.-based contemporary painter and mixed-media artist features work that blends personal memories with broader mythologies, religion and history to explore Black culture. On view through December 16. Xela Institute of Art, 2176 Pacific Avenue, Long Beach. xela.art
Joshua Redman Quartet: Words Fall Short The saxophonist performs a new program of music with his ensemble — pianist Paul Cornish, bassist Philip Norris and drummer Nazir Ebo, plus special guest Skylar Tang, an up-and-coming Bay Area-born trumpeter and composer. 7:30 p.m. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills.thewallis.org
Melrose Gallery Walk Gallery spaces, including Hostler Burrows, Lawson-Fenning, Meg Turner, Object, Seventh House, The Window and 22RE, open their doors to celebrate the local design community. Free and open to the public. 5-8 p.m. Hostler Burrows, 6819 Melrose Ave. hostlerburrows.com
SATURDAY
Midterms: This Will Hurt Someone Brightwork newmusic performs a program of contemporary works inspired by civic life and social change, including Ted Hearne’s “Bye Bye Huey,” Natalie Dietterich’s “Philosophy of Furniture,” Ian Dicke’s “Get Rich Quick” (with video), Matt Marks’ “This Will Hurt Someone,” Hesam Abedini’s “What Remains” and “Frederic Rzewsk’s “Coming Together” (with video). 8 p.m. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org
Aperghis Trilogy Long Beach Opera performs three works by experimental composer Georges Aperghis: “Le corps à corps”,” Les Sept Crimes de l’amour,” “Récitations.” Directed by James Darrah Black. Christopher Rountree conducts. 7:30 p.m. The Queen Mary, 1126 Queen’s Way, Long Beach. longbeachopera.org
The Horror Show An immersive deep dive into the movie genre presented in six themed galleries: Gothic, Psychological, Science, Slasher, Religion and Ghosts, with behind-the-scenes looks at a range of titles that includes everything from Oscar winners to drive-in classics. But first, you must pass through “The Hallway,” bwahahaha. 10 a.m.–6 p.m. Wednesday–Monday, on view through July 25, 2027. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
Senon Williams: here now, now gone, gone here A solo exhibition of the artist’s work, in which he collects materials such as nails, slips of paper, fragments of language and industrial remnants, then uses assemblage to rearrange them and discover deeper meaning. Noon-6 p.m. Tuesday-Friday, on view through Nov. 15. The Philosophical Research Society, 3910 Los Feliz Blvd. prs.org
Promised Lands: California’s Unratified Treaties and Native Resilience Archival materials, contemporary objects, images and voices from local tribal communities relate the complex history of the state with its indigenous people. 10 a.m.-4 p.m. Tuesday-Friday, 10 a.m.-5 p.m. Saturday-Sunday. Autry Museum of the American West, 4700 Western Heritage Way, Griffith Park. theautry.org
Rodgers & Hammerstein’s The Sound of Music Sing-A-Long Actor and comedian Melissa Peterman hosts the annual screening of the 1965 Oscar winner for best picture complete with a costume contest and more than a few of your favorite songs. 7:30 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com
Daymé Arocena’s Alkemi The Grammy nominee and Juno Award–winner blends Afro-Cuban beats with neo-soul, jazz and contemporary Latin pop. 7:30 p.m. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
San Pedro Festival of the Arts The 20th annual event, presented by Los Angeles Choreographers & Dancers, features 20 dance companies demonstrating a variety of styles and cultural traditions. 1-4:30 p.m. Peck Park, Upper Green near the Community Center, 560 N. Western Ave. triartsp.com
Tokio Ueyama: The Hollows Between Mountains The first museum exhibition in California of the Little Tokyo-based Japanese artist (1889–1954) features his drawings, prints, photographs and paintings as well as artists he was associated with, including Diego Rivera, Tōyō Miyatake, Edward Weston and Henrietta Shore. 11 a.m.-6 p.m. Wednesday–Sunday, on view through Feb. 28, 2027. UC Irvine Langson Orange County Museum of Art, 3333 Avenue of the Arts, Costa Mesa. langson.uci.edu
SUNDAY
Grant Gershon conducts the Los Angeles Master Chorale at Walt Disney Hall, Nov. 16, 2025.
(David Butow/For the Times)
Brahms’ Requiem The Los Angeles Master Chorale, led by Grant Gershon, opens its silver anniversary season with a program that also includes Bruckner’s “Te Deum.” 7:30 p.m. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. lamasterchorale.org
WEDNESDAY
Rubén Blades & Roberto Delgado Big Band: Fotografías Tour The Panamanian salsa greats perform classic Afro-Cuban music flavored with rock, jazz and Latin American influences. Silvana Estrada opens. 8 p.m. Hollywood Bowl, 2301 N Highland Ave. hollywoodbowl.com
Menopause The Musical: 25th Anniversary Tour Four women at a lingerie sale share their experiences with “the change” through parody songs of pop hits. 7:30 p.m. Bank of America Performing Arts Center, 2100 E. Thousand Oaks Blvd., Thousand Oaks. bapacthousandoaks.com
The Broadway production of “The Outsiders.”
(Matthew Murphy)
The Outsiders The Tony Award-winning musical adaptation of S.E. Hinton’s coming-of age-novel set in 1960s Tulsa arrives with Ponyboy Curtis and his fellow greasers facing off against the upper-class Socs. Through Oct. 18. Hollywood Pantages Theatre, 6233 Hollywood Blvd., Hollywood. Oct. 20-Nov. 1. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. tour.outsidersmusical.com
THURSDAY
Laura Benanti: Nobody Cares The Broadway star sings original songs and shares stories with her trademark wit in this one-woman show. Directed by Annie Tippe. 7:30 p.m. Thursday-Saturday. 2 p.m. Saturday-Sunday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills.thewallis.org
The Dance and the Railroad Asian American theater collective Artists at Play and Latino Theater Company team up for a rare revival of an early David Henry Hwang play set during the 1867 Chinese railroad workers’ strike. Directed by Katherine Chou. Previews, 8 p.m. Thursday and Oct. 2. 8 p.m. Thursday-Saturdays, 2 p.m. Sundays, through Nov. 1. Los Angeles Theatre Center, 514 S. Spring Street, downtown L.A. latinotheaterco.org
Mahler’s Symphony No. 2: Resurrection Alexander Shelley conducts the Pacific Symphony with soprano Miah Persson, mezzo-soprano Dame Sarah Connolly and the Pacific Chorale. 8 p.m. Thursday-Oct. 2. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. pacificsymphony.org
The SoCal scene
Gov. Gavin Newsom mingles with guests at the Lucas Museum of Narrative Art opening party.
(Carlin Stiehl/For The Times)
I spent my Saturday night at the Lucas Museum opening party where I got to stand in the lobby by the nifty elevators watching Gov. Gavin Newsom talk to Kim Kardashian. Later, I went to Skywalker Grill and saw U.S. Rep. Nancy Pelosi sitting at a table next to Leonardo DiCaprio and his entourage. It would be an understatement to say that the night was both bizarre and memorable.
Times theater critic Charles McNulty (the paper’s only remaining arts critic) has kept exceptionally busy this fall season. Late last week he wrote a review of “The Ford/Hill Project” At REDCAT, which transforms Senate testimony from Anita Hill and Christine Blasey Ford into a docu-play that explores the details of two of history’s most consequential Supreme Court confirmation hearings. “The restraint imposed by the production adds to its power. There’s no need to editorialize. The proceedings skewer themselves,” McNulty writes.
Huguette Caland in Stone Doorway, France, 1970.
(Huguette Caland Estate)
McNulty also drove to San Diego to see the Old Globe’s world-premiere musical adaptation of John Carney’s “Begin Again,” which explores the stories of two music-industry vets who embark on a grassroots recording project. The show features a score by rocker Pat Monahan and Train. “‘Heartwarming’ is a cliche of theater reviewing that I have studiously tried to avoid, but I’m tempted to use the word in my review of ‘Begin Again’,” McNulty writes.
McNulty penned one of his harshest reviews since last year’s take down of “Hamlet” after he went to Atwater Village Theatre to see Echo Theater Company’s world premiere production of “The Peterson Show,” by Janine Nabers. “Unfortunately, the production is hamstrung by fundamental problems in the writing, directing and acting, all pointing to a failure of control. Control of the story, control of the tone and control of the cast,” McNulty wrote of the show, which is about the impact of disgraced Bill Cosby-like star on his TV family.
Meanwhile contributor Tara Anne Dalbow wrote a beautiful story about the late, great artist Huguette Caland in advance of the largest U.S. retrospective of her work, opening Sunday at the Hammer Museum.
Ernest “Ernie” Wolfe III, owner of an eponymous gallery on Sawtelle, is dying of a traumatic brain injury and his family is looking for homes for his 15,000 pieces of African Art. Contributor Jane Horowitz writes about Wolfe‘s legacy and the (sometimes controversial) origins of his collection.
As one chapter closes with Swed’s retirement, a new one begins as we welcome our new entertainment and arts reporter, Laura Zornosa, who hit the ground running by writing three great arts stories: The first is about the private art collection of Armand Hammer (including Mary Cassatt’s “Summertime,”) coming up for auction at Sotheby’s; the second, covering opening day at the Lucas Museum where Zornosa interviewed guests on their thoughts about the place; and the third is a fun news brief about how Los Angeles Chamber Orchestra commissioned fanfares from half a dozen film composers, including John Williams and Ludwig Göransson, curated by “none other than Seth MacFarlane (best known as the creator and star of “Family Guy”).”
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Coy Middlebrook has been named the new artistic director of the Wallis.
(Jeff Lorch / The Wallis)
The Wallis Annenberg Center for the Performing Arts announced the appointment of longtime creative staffer Coy Middlebrook as its new artistic director. “Coy brings an extraordinary depth of knowledge about The Wallis and its audiences, along with deep relationships throughout the performing arts nationally and internationally. He understands both the artistic possibilities of this institution and the importance of its relationship to our community. I am excited to work with him as we build a future that is artistically ambitious, deeply connected and open to everyone,” said Wallis Executive Director and Chief Executive, Jean Davidson, in a news release.
Meanwhile Theatre Commons LA (TCLA), the nonprofit organization created and launched a year ago as part of a concerted effort by some of the city’s most prominent theater leaders to unify the city’s sprawling theater scene, has announced its first Executive Director, David E. Shane. Shane previously served as director of program services at the Alliance of Resident Theatres/New York where, according to a news release, “he set the strategic vision and goals for a robust suite of programs serving over 450 of New York’s nonprofit theaters.” He is tasked with doing the same thing in L.A. and we wish him the best of luck.
— Jessica Gelt
And last but not least
The Getty Museum has acquired the recently rediscovered 17th-century painting “Portrait of the Count-Duke of Olivares” by Spanish artist Diego Velázquez (1599-1660). It will be displayed in the museum’s East Pavilion this fall. According to ArtNews, “The acquisition means a Velázquez painting will for the first time be represented in the collection of a West Coast museum.”
DENVER — The office of Colorado’s attorney general is a perch 10 stories above downtown Denver. From his aerie, Phil Weiser has a sweeping view of the city skyline, the gold-domed Capitol and, occasionally, a red hawk on the wing.
But looking toward November, Weiser sees something darker.
“With this administration what we have seen is it’s important that we not limit our imagination to what … type of harm could happen,” Weiser said during a sunny noon hour in the Mile High City.
For that reason, Colorado’s attorney general and his Democratic peers around the country have spent more than a year strategizing — by phone, via Zoom, sometimes in person — on ways to Trump-proof the midterm election.
They’ve researched history and the law, war-gamed what-ifs, divvied up responsibilities and drafted emergency lawsuits and temporary restraining orders so they can be hurried into court at a moment’s notice.
“We have prepared for a range of contingencies … so that we’re ready to act,” Weiser said.
“We’re not going to be reacting in real time” or pulling all-nighters, he added. “We are going to be following through on plans we’ve made, having looked at what’s possible.”
The efforts of Weiser, California’s Rob Bonta and more than 20 other Democratic attorneys general are part of a mass mobilization aimed at thwarting Trump’s unprecedented efforts to pervert and subvert November’s midterm balloting.
It’s remarkable that kind of man-the-barricades action is needed to preserve and protect the voting franchise in this, the land of the free and home of the brave. But having weighed the threats, Weiser said his greatest fear of election interference comes not from a bad overseas actor or some terrorist group, but rather our own federal government “and what this administration might do.”
So here we are.
To fend off that threat from within, state Democratic parties across the nation are aiming to recruit 10,000 volunteers to guard polling places in the event armed federal agents show up.
Various sponsors have launched education campaigns to explain election rules and offer hotlines for voters who have trouble casting their ballot.
Civil rights groups and democracy-defending organizations have staged their own tabletop exercises brainstorming and rehearsing various scenarios. A group of Democratic U.S. senators has done the same.
“What we’re doing is preparing for the fact that Donald Trump, in 2020, lied about the election in advance, lied about it in the aftermath, went to court … and then he instigated a violent insurrection in this very building,” Marc Elias, a Democratic elections attorney, told MS NOW in a July interview at the Capitol. “So I think we need to take these threats in the 2026 midterm run-up … both seriously and literally.”
In a more courageous, less heedlessly partisan world, Republicans would be working with Democrats to keep the power-drunk Trump in check. (The House and Senate supposedly comprise a separate and equal branch of government, with its own power, prerogatives and such.)
But, as Weiser noted, this Republican-led Congress “has been lacking in backbone, lacking in the role of checks and balances. That has left it to state attorneys general to fill that vacuum, going to court and essentially playing the role of a check on a lawless and often bullying president.”
The nation’s 24 Democratic attorneys general have filed more than 125 lawsuits in Trump’s second term alone, fighting his moves on trade and tariffs, energy and immigration policies and efforts to gut or eliminate programs and whole government agencies. They’ve prevailed in the overwhelming majority of cases that have been adjudicated or settled.
Even before Trump was elected again, some attorneys general began conferring on ways to fight the excesses they anticipated in a second administration. Anyone who didn’t see them coming wasn’t paying attention, said Weiser, who, most likely, will be elected Colorado’s next governor on Nov. 3.
(His victory in Colorado’s Democratic primary stemmed in good part from Weiser’s record battling Trump in court.)
Trump is constitutionally (small “c”) incapable of acknowledging the result of any election he didn’t win. He’s openly urged supporters to “cheat like hell.” Thus, one can only assume malign intent when the president tries to wantonly purge voter rolls, hijack the U.S. Postal service to gum up mail balloting and override the Constitution (capital “c”) by federalizing November’s election.
Some might call such fears melodramatic, or overblown.
Trump’s refusal to accept the outcome of elections “is historic,” the attorney general said. “It is unique. It’s a threat. And it’s why we have to stand our guard.”
Vote, to bring this rogue president to heel. Stay vigilant, to make sure that vote counts.
Leaders gather at the UN to talk peace, but the wars continue. Al Jazeera’s Emma Withrow asked Al Anoud Al Thani, Nonresident Fellow Middle East Council on Global Affairs, what diplomacy can achieve while the bombs are still falling.
WASHINGTON — A federal judge in Rhode Island struck down a Trump administration directive that would have barred some immigrants from accessing certain federal programs, including Head Start preschools, community health clinics and adult education initiatives.
U.S. District Judge Mary McElroy, who was appointed by President Trump in 2019, temporarily barred his administration from moving forward with the rule last year, so it never was implemented. On Monday, she made the injunction permanent.
Officials from the Republican administration had said the directive would stop “illegal aliens” from accessing federal benefits by reclassifying broad swaths of social services programs under a Clinton-era law, the Personal Responsibility and Work Opportunity Reconciliation Act.
But the rule also would have swept up many immigrants in the U.S. legally, including work and student visa holders. It also would have barred services from Temporary Protected Status holders, who are granted work permits if the U.S. government determines conditions in their home country are too dangerous to return, along with recipients of Deferred Action for Childhood Arrivals, who were brought to the country illegally as children and receive temporary protection from deportation and work authorization.
Those groups, which are considered “nonqualified aliens” under the law, already are unable to access full Medicaid benefits and federally funded food aid and cash assistance.
The Trump administration issued its directive in July 2025. Democratic attorneys general from 20 states and the District of Columbia sued.
They said the change upended three decades of policy allowing people to access community health clinics, domestic violence shelters and Head Start centers without proving their immigration status. They warned the harms could spread, deterring any immigrant from seeking services and throwing up barriers even for U.S. citizens unable to document their legal status. The new rules also would have put administrative burdens on underfunded social service agencies, including Head Start operators, which might have been forced to close if they were unable to comply with the directive’s new requirements, the lawsuit said.
In her ruling, McElroy declared the directive “unlawful” and said the Trump administration did not follow the proper avenues to rewrite the rules. She called the administration’s actions “procedurally invalid.” She added that the administration still could pursue rule changes through the federal notice-and-comment process, which officials bypassed when they issued the directive last year.
Requests for comment were sent to the departments named as defendants in the wide-ranging lawsuit. The Administration for Children and Families, a division of the Department of Health and Human Services that oversees Head Start, said it does not comment on ongoing litigation. The Labor Department referred inquiries to the Justice Department, which did not immediately respond to a request for comment.
In a statement, New York Atty. Gen. Letitia James, who was among those who sued, hailed the judge’s ruling.
“From cancer screenings to food banks to early childhood education, the federal government’s attempts to decimate the social safety net would have been catastrophic for working families,” James said.
