A Happy Mondays star revealed their elderly mother is in hospital – stepping backCredit: Instagram/rowettaSinger Rowetta has performed with the group across two stintsCredit: Getty – Contributor
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.
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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.
Rowetta performing with Happy Monday’s lead vocalist Shaun RyderCredit: GettyIn 2004, she competed in the first-ever series of The X FactorCredit: News Group Newspapers Ltd
“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.
All ages can bond on a sunshine holiday togetherCredit: PeopleImagesSparkling Lindos on the Greek island of RhodesCredit: davidionut
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.
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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 . . .
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.
GO: TENERIFE
Seven nights’ B&B is from £619pp including flights from London Stansted on September 15.
Price is based on four adults and two children sharing, 22kg baggage allowance and return transfers. See jet2holidays.com.
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).
GO: TURKEY
Seven nights’ all-inclusive is from £600pp including flights from London Gatwick on September 30.
Price is based on four adults and two children sharing two rooms and includes luggage and transfers. See easyjet.com/en/holidays.
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.
GO: GREECE
Seven nights’ all-inclusive is from £439pp including flights from East Midlands on September 29.
Price is based on four adults and one child sharing a family suite and includes luggage. See loveholidays.com.
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.
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.
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.
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.
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.
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.
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.
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.
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.”
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.
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
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.
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.
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.
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.
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.
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.
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.
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.
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.
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
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.
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.
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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.
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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.
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.
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.
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.
